Catholic Church of the Assumption

Detached ten-bay double-height Catholic church, designed 1950; built 1951-3; opened 1954, on a cruciform plan comprising nine-bay double-height nave opening into single-bay (three-bay deep) double-height lower transepts centred on single-bay double-height apse to crossing (south) on a bowed plan. Renovated, ----, with sanctuary reordered. Pitched slate roofs on a T-shaped plan; half-conical slate roof (south), clay ridge tiles, lichen-spotted "Cavetto" coping to gables on drag edged dragged cut-limestone "Cavetto" corbel kneelers with Cross finials to apexes, and cast-iron rainwater goods on eaves boards on rendered eaves retaining cast-iron downpipes. Gritdashed fine roughcast walls on dragged cut-limestone chamfered cushion course on rendered plinth with drag edged dragged cut-limestone flush quoins to corners; gritdashed fine roughcast surface finish to entrance (north) front on dragged cut-limestone chamfered cushion course on rendered plinth with wrought iron finial-topped drag edged dragged limestone ashlar clasping stepped buttresses to corners having drag edged dragged cut-limestone "slated" coping. Round-headed window openings in square-headed recesses between rendered piers with dragged cut-limestone "Cavetto" sills, and drag edged dragged cut-limestone block-and-start surrounds framing fixed-pane fittings having stained glass margins centred on square glazing bars. Round-headed window openings (transepts) with drag edged dragged cut-limestone block-and-start surrounds framing storm glazing over fixed-pane fittings having stained glass margins centred on square glazing bars. Round-headed window openings (south) with drag edged dragged cut-limestone block-and-start surrounds framing storm glazing over fixed-pane fittings having leaded stained glass margins centred on leaded stained glass panels. Round-headed door opening to entrance (north) front in chevron-detailed full-height round-headed recess with dragged cut-limestone step threshold, and drag edged dragged cut-limestone surround having chevron-detailed rebated reveals with hood moulding framing diagonal timber boarded or tongue-and-groove timber panelled double doors. "Rose Window" or "Wheel Window" (gable) with cruciform mullion, and drag edged dragged cut-limestone crow stepped surround with hood moulding framing fixed-pane fittings having leaded stained glass panels. Interior including vestibule (north); round-headed door opening into nave with glazed timber panelled double doors; full-height interior with arcaded choir gallery (north) supporting timber pipe organ below stained glass "Rose Window" (----), vinyl tiled central aisle between timber pews, Gothic-style timber stations centred on timber panelled confessionals, barrel vaulted ceiling with moulded plasterwork ribs on pilasters on "Cavetto" corbels, and cut-veined white marble panelled side altars centred on bull nose-detailed round-headed chancel arch framing stepped dais to sanctuary to apse (south) reordered, ----, with cut-veined white marble panelled high altar below stained glass windows (----). Set in landscaped grounds with granite ashlar chamfered piers to perimeter having cut-granite shallow pyramidal capping supporting wrought iron double gates.

A church erected to a design (1950) by Ashlin and Coleman (formed 1903) of Dawson Street, Dublin (Irish Builder 21st November 1953, 1229), representing an important component of the mid twentieth-century built heritage of County Wexford with the architectural value of the composition, one evoking comparisons with the Ashlin and Coleman-designed Catholic Church of Christ the King (1937-9) in Pollpeasty (see 15702409); and Catholic Church of Saint John the Baptist (1949-51) in Ballaghkeen (see 15702706), confirmed by such attributes as the cruciform plan form, aligned along a liturgically-incorrect axis; and the slender profile of the openings underpinning a streamlined Romanesque theme. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the vaulted interior reordered (----) in accordance with the liturgical reforms sanctioned by the Second Ecumenical Council of the Vatican (1962-5) where a vibrant "Rose Window" supplied (----) by the Harry Clarke Stained Glass Studios (closed 1973) of Dublin; contemporary joinery; a modified high altar; and restrained stained glass, all highlight the artistic potential of a church forming part of a self-contained group alongside an adjacent parochial house (see 15602545) with the resulting ecclesiastical ensemble making a pleasing visual statement in a suburban street scene.