THE TINY HAMLET OF BURRAGA OWES ITS EXISTENCE TO THE DISCOVERY OF COPPER ORE DURING THE LATE 1800's. LARGE NUMBERS OF MINERS FLOODED INTO THE AREA AND JUST AS QUICKLY LEFT. AMONG THEM WERE MANY IRISH WHOSE RELIGIOUS NEEDS WERE MET BY REGULAR VISITS FROM THE PARISH OF ROCKLEY. IN THE MID 70's BURRAGA BECAME LINKED TO SOUTH BATHURST THEN IN 1979 WHEN THE LATTER WAS CLOSED BURRAGA PASSED IN TURN TO THE CATHEDRAL PARISH IN BATHURST.

DURING THE LATTER 1800's BURRAGA EFFECTIVELY CONSISTED OF TWO "VILLAGES". THERE WAS "IRISH" BURRAGA TO THE WEST AND A MORE SUBSTANTIAL "PROTESTANT" BURRAGA TO THE EAST. THERE WAS A NOTABLE ANIMOSITY BETWEEN THEM SO WHEN A STATION CHURCH WAS ESTABLISHED IN 1883 USING A FORMER SHANTY IT WAS LOCATED WITHIN "IRISH" BURRAGA. THE LITTLE CHURCH WAS DEDICATED TO A SUITABLEY IRISH SAINT, ST DYMPNA. IT WAS JUST A BASIC "GODBOX" OF GALVINISED IRON LINED WITH PINE COMPRISING A LARGE NAVE AND WEST PORCH.

WITH THE LATER LINKING UP OF THE TWO HAMLETS, THE CHURCH WAS RELOCATED TO A MORE CENTRAL POSITION IN 1897. THE CHURCH COULD NOW SERVE BOTH HALVES AND IT WAS TO CONTINUE THERE AS THE STATION CHURCH OF BURRAGA UNTIL THE NEW BRICK CHURCH WAS ERECTED IN 1940. THE OLD ST DYMPNA'S WAS THEN USED BY PARISHIONERS FOR MANY YEARS AS A PARISH HALL TILL DEMOLISHED.

THE SECOND CHURCH WAS OPENED ON 5 MAY, 1940 JUST DAYS BEFORE THE GERMAN INVASION OF FRANCE. WITH ITS IDIOSYNCRATIC DESIGN AND ITS ATTRACTIVE RURAL PRACTICALITY THE CHURCH IS THE EXACT TWIN OF THE CONTEMPORANEOUS ST MICHAEL'S CHURCH MANILDRA.

BUILT OUT OF BRICK WITH STONE FOOTINGS WHICH WERE CUT FROM THE LOCAL PROPERTY OF 'FLOWERBRAE' THE DESIGN, BENEATH ITS IDIOSYNCRACIES, IS TYPICALLY RURAL. A SIMPLE NAVE, MARKED BY THREE LANCET WINDOWS AT THE WESTERN END, A LARGE SIDE PORCH WITH A PRETTY OPEN BELLCOTE RISING ABOVE, AND A SIZEABLE SACRISTY WITH BUILT-IN CHIMNEY - A REMINDER THAT PRIESTS WOULD TRAVEL DOWN THE DAY BEFORE AND STAY OVERNIGHT TO SAY EARLY MASS. THE HIGH GABLED "ATTIC" WINDOWS ARE AN ATTRACTIVE AND HIGHLY UNUSUAL FEATURE WHICH WAS NECESSITATED BY A STEEP SLOPING ROOF BEING CONTINUED DOWN TO COVER THE SIDE PORCH.

THE SIMPLE PLAN OF THE NAVE AND CHANCEL IS CLEARLY EVIDENT.

THE INTERIOR OF ST DYMPNA'S CHURCH IS OF PARTICULAR HISTORICAL INTEREST AS, APART FROM A TABLE ALTAR LOCATED IN THE SANCTUARY TO ALLOW THE MASS TO BE CELEBRATED VERSUS POPULAM, IT IS ESSENTIALLY UNALTERED FROM ITS PRE-VATICAN II LOOK AND THEREFORE FORMS A BIT OF CRYSTALISED CHURCH HISTORY.

THE PLASTERED WALLS ARE SET OFF BY SOME ATTRACTIVE EXPOSED BRICKWORK AROUND THE WINDOWS AND BEHIND THE ALTAR. THE SIMPLE APSIDAL SANCTUARY CONTAINS TWO LOVELY STAINED GLASS WINDOWS. THE CHANCEL IS DIVIDED FROM THE NAVE BY TRADITIONAL ALTAR RAILS.

THOUGH THE NARROWNESS OF THE NAVE DOES NOT PERMIT THE USUAL ARRAY OF CHAPELS AND SIDE ALTARS ST DYMPNA'S IS, WITHIN THE LIMITATIONS IMPOSED BY ITS SIZE, A MATCHLESS JEWEL OF PRE-VATICAN CATHOLIC ECCLESIOLOGY, FROM THE HEIRARCHICAL ORDER OF THE NAVE AND CHANCEL TO THE VERY PROMINENT STATIONS OF THE CROSS ON THE WALLS.

(ABOVE) THE SANCTUARY WITH THE PRESENT WOODEN ALTAR AND AMBO. THE ALTAR RAILS CAN BE SEEN AT THE FAR RIGHT AND LEFT OF THE PHOTO.
(RIGHT) THE ORIGINAL STONE HIGH ALTAR AND SOLID TABERNACLE WITH ITS PRETTY DECORATIVE BRICKWORK REREDOS BUILT IN AS PART OF THE WALL.

THE ALTAR ESCHEWS THE FILIGREE DECORATIVE EFFECTS FOUND IN MOST MARBLE ALTARS OF THE TIME AND GOES FOR PLAIN RUGGED STONEWORK. THIS ASTHETIC IS CONTINUED IN THE SQAURE STONE TABERNACLE PLACED CENTRALLY ON THE ALTAR TABLE AS SEEN ON THE LEFT (<<). THE SOLE DECORATIVE EFFECTS ARE THE BRASS DOOR AND THE SMALL BRONZE CROSS SET ATOP THE STRUCTURE.

THE SAME PRACTICALITY IS ALSO SHOWN IN THE REREDOS WHICH IS COMPRISED OF POINTED BRICKWORK ARCHES BUILT DIRECTLY INTO THE CHANCEL WALL. VARIATION IS PROVIDED BY THE CENTRAL ARCH BEING POINTED WHILE THE TWO SIDE ARCHES ARE TRIANGULAR. A BRASS CRUCIFIX IS LOCATED WITHIN THE CENTRAL OF THE ARCHES.

THE TWO MAGNIFICENT CHANCEL WINDOWS.

THE PRESERVED STATE OF THE CHURCH IS PERHAPS MOST CLEARLY SEEN IN THE DEVOTIONAL PARTS OF THE CHURCH DECORATION. THIS COMMENCES AT THE HIGH ALTAR IN THE CHANCEL AND THEN CONTINUES WITH THE TWO LARGE AND PROMINENT STATUES OF OUR LADY (LEFT) AND THE SACRED HEART (RIGHT). BOTH STATUES ARE OF PAINTED PLASTER AND FOLLOW TRADITIONAL ICONOGRAPHY. THESE STATUES, ALONG WITH ANOTHER OF OUR LADY AT THE BACK OF THE CHURCH, WERE KEPT OVER FROM THE PRE VATICAN II ERA.

THIS CATHOLIC SPIRITUALITY OF THE PRE-VATICAN 11 ERA CONTINUES IN THE STATIONS OF THE CROSS AND THE OLD-FASHIONED CRUCIFIX AT THE REAR OF THE CHURCH. THE ART OF THESE ITEMS IS REPRESENTATIONAL AND LARGELY UNSANITISED IN THEIR DETAILED PORTRAYAL OF CHRIST'S SUFFERING. THIS STYLE, DERIVING FROM BOTH THE MIDDLE AGES AND THE BAROQUE, WAS VERY MUCH THE TYPE OF CATHOLIC ART BEFORE THE AGGORNIAMENTO USHERED IN BY THE SECOND VATICAN COUNCIL ENCOURAGED THE USE OF NEWER FORMS OF NON-REPRESENTATIONAL ART IN THE PORTRAYAL OF RELIGIOUS AND ECCLESIASTICAL THEMES.

THE ELEGANT BEAUTY OF THE NAVE AS SEEN FROM THE ALTAR AND THE ATTRACTIVE DEVOTIONAL CRUCIFIX AT THE REAR OF THE CHURCH.

(<<<<) OUR LADY, THE STATIONS OF THE CROSS (^^) AND THE WEST WINDOW (>>>>).

AMONGST THE MANY HISTORICAL TREASURES OF THE CHURCH (^^^^) IS THIS BEAUTIFUL OLD MANUAL ORGAN. DESIGNED FOR USE IN SMALLER CHURCHES IT HAS BEEN PRESERVED INTACT FOR OVER SIXTY YEARS.

A UNIQUE FEATURE OF THE CHURCH ONLY TO BE SEEN ELSEWHERE IN ITS TWIN IN MANILDRA IS THE BAPTISMAL FONT LOCATED OUTSIDE THE CHURCH IN THE LARGE SIDE PORCH. THE FONT IS AN UNUSUAL SEMI-CIRCLE BUILT INTO THE WALL OF THE NAVE (>>>>) AND IS CAPPED BY A PLAIN WOODEN COVER WITH A CROSS MOUNTED DIRECTLY ABOVE IT.

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STATION CHURCHES

THE LAGOON

THE TINY RURAL HAMLET OF THE LAGOON LIES SOUTH EAST OF BATHURST. THIS IS A PEACEFUL LOCATION WHICH IS THE HEART OF A PROSPEROUS FARMING COMMUNITY.

IN AN AGE WHEN TRANSPORT WAS MORE DIFFICULT AND PRIESTS ATTENDED THEIR STATIONS RATHER THAN THE OTHER WAY AROUND THE LAGOON WAS ONE OF THOSE CATHEDRAL OUTSTATIONS WHICH DOTTED THE ROLLING HILLS ROUND THE TOWN OF BATHURST. THOUGH A STATION FROM THE EARLY 1900's IT WAS NOT UNTIL THE 1930's THAT A BRICK CHURCH WAS BUILT. IN 1964 IT BECAME A PART OF SOUTH BATHURST PARISH BUT WAS LATER REJOINED TO THE CATHEDRAL PARISH IN THE YEAR OF 1979.

DURING THE 1980's WITH FEW PRIESTS AND MUCH FASTER TRANSPORT TO BATHURST THE STATION WAS CLOSED. THE STATION CHURCH REMAINS IN PARISH POSSESSION AND THOUGH IT IS NO LONGER USED FOR HOLDING REGULAR MASS AN OCCASIONAL SERVICE SUCH AS AN INFANT BAPTISM OR WEDDING FOR A LOCAL COUPLE HAS BEEN CELEBRATED IN THIS TINY RURAL CHURCH.

THE CHURCH IS CONSTRUCTED OF BRICK IN A PLAIN "GODBOX" STYLE CONSISTING OF A NAVE, A PORCH AND A SACRISTY. A NICE TOUCH IS THE PRETTY BRICKWORK CROSS ON THE FRONT OF THE PORCH. THE INTERIOR FOCUSES ON THE ESSENTIALS WITH A SIMPLE ALTAR AND AN ORDINARY CHAIR FOR THE CELEBRANT IN THE SANCTUARY. A STATUE OF THE CHURCH PATRONESS, ST MARY, IS LOCATED IN A NICHE HIGH ON THE EAST WALL. THE CHURCH RETAINS A NUMBER OF PRE-VATICAN II FEATURES INTACT INCLUDING THE WROUGHT IRON ALTAR RAILS. IN CONTRAST THE STATIONS ARE MODERN POST-VATICAN PRODUCTIONS. TWO INTERESTING FEATURES OF THE SACRISTY ARE THE ORIGINAL RETABLE AND TABERNACLE OF THE PRE-VATICAN II ALTAR NOW USED ONLY FOR STORAGE AND THE SMALL SACRISTY CONFESSIONAL BOX.

(<<<) THE STATIONS AND (^^^) THE ORIGINAL RETABLE AND TABERNACLE. (>>>) THE CONFESSIONAL

ROCKLEY IS A TINY HAMLET JUST TO THE SOUTH OF BATHURST WHICH HAS KNOWN BOTH GROWTH AND DECLINE. IT WAS THE DISCOVERY OF COPPER THAT LED TO THE POPULATION BOOM WHICH AT ITS HEIGHT REACHED 3000 PEOPLE BUT TODAY IT HAS DWINDLED INTO A SMALL RURAL VILLAGE.

IN 1869 BISHOP MATTHEW QUINN DECIDED THAT ROCKLEY WAS IMPORTANT ENOUGH TO FORM THE NUCLEUS OF A NEW PARISH AND LAID THE FOUNDATION STONE OF THE CHURCH IN THAT YEAR. DURING THE NEXT HUNDRED YEARS THE PARISH OF ROCKLEY SERVED AN AREA WHICH COVERED TUENA, PEELWOOD, NEWBRIDGE, TRIANGLE FLAT, MOORILDA, BURRAGA, MOUNT DAVID AND TRUNKEY CREEK. SADLY BY THE LATE 20th CENTURY THIS PARISH COULD NO LONGER BE SUSTAINED AND ACCORDINGLY IN 1975 IT WAS AMALGAMATED WITH THE PARISH OF ST PHILOMENA'S AT SOUTH BATHURST.

THE LOVELY CHURCH OF ST PATRICK IS BUILT ON A GENTLE SLOPE OVERLOOKING THE SMALL VILLAGE OF ROCKLEY. THE CHURCH'S DESIGN WAS BY THAT WELL-KNOWN LOCAL ARCHITECT AND BUILDER OF A NUMBER OF CATHOLIC CHURCHES LOCATED IN THE BATHURST DIOCESE, EDWARD GELL. THE CHURCH IS BUILT IN THE EARLY ENGLISH GOTHIC STYLE WHICH WAS RECOGNISED DURING THAT TIME AS THE MOST APPROPRIATE FOR ECCLESIASTICAL BUILDINGS. IT IS MADE OF DRESSED STONE WITH A SLATE ROOF.

THE CHURCH IS VERY MUCH OF ITS PERIOD IN ITS DESIGN, CONSISTING OF NAVE, DISTINCT CHANCEL, SACRISTY, A NORTH-WEST PORCH AND A PRETTILY SPIRED BELLCOTE RISING FROM THE HIGH-PITCHED ROOF. THE WINDOWS ARE IN THE FORM OF NARROW LANCETS ALONG EITHER WALL OF THE NAVE WHILE AN THE WEST WALL IS A MAGNIFICENT THREE-LIGHT WEST WINDOW. THE CHURCH HAS NOT BEEN VARIED ONE IOTA OVER THE YEARS AND THUS REPRESENTS THE PERFECT IDEAL OF A 19th CENTURY COLONIAL CHURCH IN A RURAL SETTING AND SO IS A GENUINE TRIBUTE TO MR EDWARD GELL'S SKILL AND GENIUS.

THE VARIATION IN COLOURING OF THE LOCALLY CUT SANDSTONE GIVE AN INTERESTING MULTI-COLOURED APPEAL TO THE CHURCH EXTERIOR MAKING IT APPEAR TO BE A NATURAL PART OF THE SURROUNDINGS AS THOUGH IT HAD BEEN CARVED FROM THE VERY ROCK OF THE HILLSIDE ITSELF. IN COMMON WITH MANY OF THE CATHOLIC CHURCHES BUILT AT THIS TIME THE INSPIRATION FOR THE CHURCH WAS ENGLISH RATHER THAN CONTINENTAL WITH A SQUARE END AS OPPOSED TO AN APSIDAL CHANCEL. AN ESPECIAL POINT OF INTEREST IS THE PROVISION FOR AN EAST WINDOW WHICH IS OBVIOUSLY MARKED ON THE EXTERIOR WALL BUT WAS NEVER INSERTED (BELOW RIGHT). THE OUTLINE INDICATES A LARGE ARCHED WINDOW WHICH SHOULD HAVE MADE A MAGNIFICENT ADDITION TO THE CHURCH. OF NOTE TOO IS THE BELFREY (LEFT) THAT HAS BEEN MOST CLEVERLY DESIGNED TO GIVE AN APPEARANCE WHEN SEEN FROM THE DISTANCE OF A VERY SUBSTANTIAL CHURCH STEEPLE.

THE CHURCH INTERIOR IS ONE OF SIMPLE RESTRAINED BEAUTY, THE MORE MARKED AS THE WALLS ARE NOW PAINTED WHITE. PRIOR TO THIS THE WALLS WERE A SHADE OF GREEN WITH FRESCOES. IN CONTRAST THE SANCTUARY WAS DONE IN AZURE AND MAROON WITH A PAINTED SCROLL ABOVE THE CHANCEL ARCH INSCRIBED WITH THE ADOREMUS IN AETERNUM. IN SPITE OF THE LOSS OF THESE GLORIES PRESENTLY THE CHURCH STILL DISPLAYS A PERFECT VIEW FROM THE NAVE UP TO THE BRILLIANTLY LIT CHANCEL AN EARTHLY FORETASTE OF THAT HEAVENLY HOME WHICH AWAITS US.

THE CHURCH IS FULL WITH REAL ARTISTIC TREASURES, AMONG THEM IS A FULL SET OF VICTORIAN STAINED GLASS WINDOWS A MAGNIFICENT HIGH ALTAR - THE WORK OF WILLIAM DRYDEN - A SET OF TRADITIONAL PAINTED STATIONS OF THE CROSS AND A BRILLIANT WEST WINDOW DEPICTING OUR LORD OF THE MOST BLESSED SACRAMENT THE HOLY VIRGIN MARY AND ST JOSEPH. A GENUINE HISTORIC REMNANT IS THE OLD CONFESSIONAL BOX PLACED IN THE BACK.

UNDOUBTEDLY THE GREATEST OF ALL THE CHURCH'S TREASURES IS THE THREE-LIGHT WEST WINDOW. THIS WONDERFUL EXAMPLE OF 19th CENTURY STAINED GLASS WITH ITS WARM AND BRILLIANT HUES OF AZURE, RED AND YELLOW REPRESENTS A HIGH POINT IN VICTORIAN STAINED GLASS MANUFACTURE.

THE CENTRAL PANEL SHOWS OUR LORD OF THE BLESSED SACRAMENT HOLDING FORTH THE CHALICE WHICH IS HIS OWN BLOOD OF THE NEW COVENANT. ON HIS LEFT HAND IS OUR LADY, HIS HOLY MOTHER AND TO HIS RIGHT ST JOSEPH, HIS EARTHLY FATHER AS WELL AS BEING PATRON OF THE UNIVERSAL CHURCH. SCROLLED AROUND THESE THREE ARE THE LILIES WHICH REPRESENT PURITY.

THE WEST WINDOW REPRESENTS THE TRUE GLORY OF THE 19th CENTURY CHURCH THAT IS THE USE OF THE FUNCTIONAL IN ORDER TO ENCOUORAGE THE DEVOTIONAL. IN THIS CASE THE HOLY FAMILY HAS BEEN UNITED WITH DEVOTION TO THE HOLY SACRAMENT.

THE MINING VILLAGE OF TRUNKEY CREEK SPRANG INTO BEING ALMOST OVERNIGHT WITH A FINDING OF GOLD IN THE NEARBY ABERCROMBIE RIVER BUT THE GOLDRUSH SOON RAN OUT LEAVING THE VILLAGE TO EKE OUT A LONELY RUSTIC EXISTENCE AS A PITSTOP ALONG THE GOULBURN ROAD.

THE TRUNKEY CREEK AREA WAS AN EARLY STATION OF THE PARISH OF ROCKLEY AND TRANSFERRED TO SOUTH BATHURST WITH THE LATTER IN THE MID-70's THEN IN DUE COURSE IT WAS JOINED WITH BATHURST.

TRUNKEY CREEK PLAYED A STAR ROLE IN THE HISTORY OF THE JOSEPHITE SISTERS WHO FOUNDED THEIR SECOND CONVENT IN THIS ROUGH AND READY FRONTIER TOWN DURING AUSTRALIA'S GOLDRUSH PERIOD FROM 1874 TO THEIR DEPARTURE IN 1876.

LIKE SO MANY OF THE EARLY GOLD SETTLEMENTS THAT SURROUND BATHURST, TRUNKEY CREEK QUICKLY DEVELOPED INTO A BUSTLING TOWNSHIP OF SLAB HUTS AND TENTS. TRUNKEY CREEK WAS IN FACT THE CLASSIC TYPE OF INSUBSTANTIAL TOWNSHIP WHICH PROVOKED SUCH CONCERN FOR SOULS ON THE PART OF BISHOP QUINN. QUINN ENCOURAGED THE CONSTRUCTION OF CHURCHES TO SATISFY THE SPIRITUAL NEEDS OF HIS FLOCK AS WELL AS SERVING AS SCHOOLS FOR THEIR CHILDREN. TRUNKEY WAS NO EXCEPTION WITH BOTH THE DENOMINATIONAL SCHOOL AND A CHURCH BEING FOUNDED IN 1870.

THE CHURCH OF ST JOSEPH WAS BUILT IN 1870 OF WOOD AND IRON, TYPICAL OF THE SMALLER COMMUNITY CHURCHES OF ITS TIME. IT IS LOCATED ON A LOW HILL OVERLOOKING THE MAIN STREET AND COMPRISES A NAVE, PORCH, AND SACRISTY WITH THE SOLE TOUCH OF ADORNMENT THE WINDOWS AND ITS USUAL ROOF CROSSES NOW SADLY DECAYED. WHEN IT WAS FIRST CONSTRUCTED THERE WAS A LARGE DOOR WHICH OPENED STRAIGHT INTO THE NAVE. WHEN THE PORCH WAS ADDED AROUND 1920 THIS ORIGINAL DOOR WAS KEPT SERVING AS A DIVISION BETWEEN THE ENTRANCE PORCH AND NAVE.

THE SIMPLE ELEGANCE OF THE CHURCH'S INTERIOR REFLECTS THE SAME SENSE OF PRACTICALITY SHOWN BY THE EXTERIOR. THE NAVE IS UNADORNED APART FROM A SET OF TRADITIONAL FRAMED PRINTS OF THE STATIONS OF THE CROSS, TWO HOLY IMAGES AND SOME BARE WOODEN PEWS.

IT IS THUS WITH A SENSE OF AWE THAT A VISITOR MOVES ON TOWARD THE LOVELY SANCTUARY AND THE BEAUTIFUL CARVED WOODEN ALTAR PIECE. IT IS THERE THAT THE FAITH OF PRE-VATICAN II CATHOLICS IS BEST REFLECTED IN THE EFFORTS AND LOVE THAT THEY LAVISHED ON THE MOST CENTRAL ITEM OF LITURGICAL FURNITURE. PAINTED WHITE TO IMITATE THE MARBLE TRADITIONALLY USED TO DESIGN ALTARS THAT OF ST JOSEPH'S HAS THE CLASSICAL APPEARANCE THAT ATTRACTS ATTENTION FORWARD TO THE HOME OF THE BLESSED SACRAMENT. TO EACH SIDE OF THE ALTAR ARE THE USUAL STATUES OF THE SACRED HEART AND OUR LADY WHILST THE USUAL CRUCIFIX IS PLACED ABOVE THE FLOWER-BEDECKED AND CANOPIED WOODEN ALTAR

WATTLE FLAT WAS ONCE A MAJOR GOLDFIELD LYING BETWEEN SOFALA AND BATHURST. AT ITS HEIGHT THE POPULATION REACHED 40,000 AND IT WAS SO PROLIFIC THAT IT CONTINUED GENERATING GOLD WELL INTO THE 1920's. IN THE 1870's IT WAS A MAJOR STATION FIRST OF BATHURST AND THEN LATER KANDOS FINALLY RETURNING TO BATHURST DURING THE 1960's.

ONE OF BISHOP QUINN'S MOST IMPORTANT PRIORITIES UPON TAKING UP HIS JOB AS BISHOP WAS TO MAKE PROVISION FOR THE SPIRITUAL NEEDS OF THE GOLDMINING TOWNSHIPS THAT SPRANG UP AROUND BATHURST. AMONG HIS INITIATIVES WAS THE FOUNDATION OF THE JOSEPHITE CONVENT AT WATTLE FLAT, THE FIRST SUCH TO BE MADE FROM PERTHVILLE. THE COMMUNITY WAS SERVED AT THE TIME BY A LITTLE WOODEN CHURCH THAT FUNCTIONED AS BOTH MASS CENTRE AND AS A SCHOOL. THIS CHURCH WAS DEDICATED TO OUR LADY OF THE ASSUMPTION (>>>) AND WOULD CONTINUE IN SERVICE TO THE MINING TOWNSHIP AND RURAL HAMLET FOR OVER 120 YEARS.

IN 1998, AT A TIME WHEN RURAL CHURCHES WERE SHUTTING DOWN AT AN EVER ACCELERATING RATE, THE WATTLE FLAT CATHOLIC COMMUNITY DECIDED TO MAKE KNOWN THEIR OWN CONFIDENCE FOR THE NEW MILLENIUM BY DEMOLISHING THIS LITTLE WOODEN CHURCH FOLLOWING ITS LONG SERVICE AND REPLACING IT WITH AN ATTRACTIVE MODERN-STYLE CHURCH.

THE PRESENT CHURCH AT WATTLE FLAT WAS STARTED IN 1998 AND WAS COMPLETED THE SAME YEAR. APPROPRIATELY, THE BUILDING WAS DEDICATED TO AUSTRALIA'S NEWLY BEATIFIED SAINT, MOTHER MARY MCKILLOP, WHOSE SISTERS BROUGHT SPIRITUAL COMFORT TO THE FAITHFUL OF THE TOWNSHIP IN 1874. DESPITE THE UP-TO-DATE CONSTRUCTION THE CHURCH HAS A TRADITIONAL LOOK ABOUT IT. CONSTRUCTED OF STONE CONGLOMERATE THE CHURCH PRESENTS AN ATTRACTIVE APPEARANCE TO THE MAIN ROAD. THE EAST END IS MARKED BY A CROSS SHAPED WINDOW WHILE THE VERANDAHS ARE A VERY TYPICAL RURAL ADDITION. THE ENTRANCE IS ROUND THE BACK PROTECTED BY A PLAIN MODERN OPEN PORCH. BEHIND THE CHURCH IS LOCATED THE HISTORIC CEMETERY WHICH IS STILL USED TODAY.

THE CONTEMPORARY CONSTRUCTION OF THE CHURCH TOGETHER WITH THE TREND OF POST VATICAN II LITURGICAL IDEAS IS CLEARLY EVIDENT IN THE FLEXIBLE OPEN-PLAN DESIGN OF THE CHURCH'S INTERIOR.

THE INTERIOR COMPRISES A SINGULARLY UNIFIED ROOM FOR LAYFOLK AND CLERGY. THE NEW FURNISHINGS ARE VERY SPARSE COMPRISING A PLAIN BOX-SHAPED ALTAR AND AMBO AND A FEW STATUES BROUGHT FROM THE OLD CHURCH. THE SEATING IS MODERN AND FUNCTIONAL AND THE MANY SQUARE WINDOWS ENSURE AN ADEQUATE LIGHTING OF THE NAVE. AT THE EAST END IS A CROSS-SHAPED WINDOW. THERE ARE ALSO SOME ATTRACTIVE PENDANT ROOF LIGHTS. AT THE REAR CAN BE FOUND THE ORIGINAL TABERNACLE ALONG WITH TWO WALL CARVINGS AND A SIMPLE CRUCIFIX.

WHEN NOT REQUIRED FOR THE MASS THE NAVE CAN BE CONVERTED INTO AN OPEN SPACE WHICH CAN THEN SERVE VARIOUS FUNCTIONS FOR THE LOCAL COMMUNITY.

<<<< >>>>
A LIVING LINK WITH THE CHURCH'S PAST IS KEPT BY THE INCLUSION OF TWO STATUES FROM THE OLD CHURCH - TO THE RIGHT IS OUR LADY OF LOURDES AND ON THE LEFT THE SACRED HEART.

ABOVE IS THE NEW BOX-SHAPED ALTAR TABLE FORMING PART OF THE MODERN FURNISHINGS.

THE 1950's REPRESENTED AN HISTORIC HIGH FOR THE CATHOLIC CHURCH IN AUSTRALIA WITH PACKED CHURCHES AND BULGING SEMINARIES. IN THIS SITUATION MANY EXISTING CHURCHES FOUND IT DIFFICULT TO PROVIDE FOR THE GROWING NUMBERS OF FAITHFUL ATTENDING MASS ESPECIALLY IN THOSE REGIONAL CITIES SUCH AS BATHURST WHICH WERE EXPERIENCING A POPULATION SPURT AS MANY CITY PEOPLE MOVED OUT OF THE INCREASINGLY CONGESTED CAPITALS. THIS SITUATION CREATED AN URGENT NEED FOR NEW MASS CENTRES TO PROVIDE FOR THE EXPANDING NUMBERS. WEST BATHURST WAS ONE SUCH AREA SELECTED BY BISHOP NORTON. AT THE BEGINNING OF THE 1950's HE BOUGHT 'COBAR HEIGHTS' AND HAD IT MADE INTO A COMBINED CHURCH, SCHOOL AND CONVENT THUS REPRESENTING THE START OF THE CATHOLIC COMMUNITY OF WEST BATHURST, A COMMUNITY THAT CONTINUES TO THIS TIME.

ALTHOUGH THE SCHOOL WAS COMMENCED IN 1952 IT WAS NOT UNTIL 1955 THAT A SEPARATE CHURCH WAS ERECTED IN WEST BATHURST. FOR SOME YEARS IT SERVED AS A STATION OF THE CATHEDRAL PARTICULARLY DURING THE RENOVATION CARRIED ON IN 1960. IN 1964 WEST BATHURST WAS ELEVATED TO PARISH STATUS WHICH IT WOULD RETAIN UNTIL THE TURN OF THE CENTURY. THE HISTORIC HIGH OF THE 1950's COULD NOT BE SUSTAINED HOWEVER AND BY THE MID-1970's BOTH CONGREGATIONS AND VOCATIONS HAD DECLINED DRAMATICALLY. AS A RESULT THE PARISH OF BATHURST WEST WAS SUPPRESSED IN THE FIRST YEARS OF THE 21st CENTURY AND ONCE AGAIN BECAME AN ACTIVE STATION OF BATHURST CATHEDRAL PARISH.

THE ORIGINAL 'CHURCH' WAS THE PRESENT COMMUNITY ROOM OF THE CONVENT. IN 1955 HOWEVER ADVANTAGE WAS TAKEN OF THE DESIRE OF THE FEDERAL GOVERNMENT TO SELL OFF THE LARGE NUMBER OF BUILDINGS ERECTED TO HOUSE SOLDIERS DURING WORLD WAR II. THE NEW CHURCH WAS ONE SUCH CONVERTED WOODEN HUT TRANSPORTED FROM THE BATHURST ARMY CAMP. REFURBISHED, IT WAS TO SERVE AS THE LOCAL MASS CENTRE FOR NINE YEARS UNTIL DECEMBER OF 1964 WHEN TRAGICALLY IT WAS TO BE COMPLETELY DESTROYED BY A FIRE.

THE RED BRICK CHURCH OF THE ASSUMPTION WAS ERECTED IN MARCH 1966. IN STYLE IT WAS A HALL CHURCH WITHOUT DISTINCTIVE PARTS. A LOW WIDE NAVE LIT BY LARGE SIDE WINDOWS WITH A BROAD ENTRY PORCH FORMS THE BASIC OUTLINE OF THE CHURCH WITH A BIG PLAIN CROSS ATOP THE GABLE. THE SOLE DECORATIVE EFFECTS ARE FOUND IN THE ORNAMENTAL BRICKWORK OVER THE WEST GABLE.

THE CHURCH WAS VERY MUCH A PRODUCT OF THE CHANGING LITURGICAL FASHIONS WHICH WERE AT THE PERIOD TAKING HOLD AFTER VATICAN II. IT IS MORE OF A CONGREGATIONAL THAN SACRAMENTAL CHURCH BUT NOT QUITE A THEATRE IN THE ROUND.

THE DARK MOULDED WOOD PANELLING OF THE CHURCH INTERIOR LIT BY THE WARM AMBER GLOW FROM SEVERAL LARGE SIDE WINDOWS CREATES WITHIN THE CHURCH AN ESPECIALLY MYSTICAL ATMOSPHERE.

THE HALL-LIKE STRUCTURE IS OBVIOUSLY NOTABLE WITH THE SEATING FOCUSED ON THE SANCTUARY SPACE WHICH IS DIVIDED FROM THE NAVE BY FOUR NARROW STEPS.

THE SANCTUARY IS ORDERED ACCORDING TO PROGRESSIVE LITURGICAL PRINCIPLES WITH THE SMALL ALTAR TO THE LEFT AND AMBO TO THE RIGHT, THE CENTRE BEING RESERVED FOR THE BIG TABERNACLE AND CELEBRANT'S CHAIR. A STARK CRUCIFIX IS SUPERIMPOSED OVER A DARKENED GLASS WINDOW CROSS. THE MODERN FONT AND A STATUE OF MARY OF THE ASSUMPTION IN HONOUR OF THE PATRON SAINT FOR THE CHURCH ARE SITUATED ON THE LEFT SIDE.

THE WOODEN FURNITURE IS THE WORK OF A FORMER PARISH PRIEST, FR DELANEYA.

THE SANCTUARY FURNISHINGS BY FR DELANEY INCLUDE THE PLAIN WOODEN ALTAR (BELOW) AND THE PULPIT-LIKE AMBO (FAR RIGHT). HE WAS ALSO RESPONSIBLE FOR THE DECORATIVE TABERNACLE PLATFORM (>>>>).

THE BOX STYLE METAL TABERNACLE AND ITS WOODEN STAND (LEFT) AREA LOCATED IN THE PLACE OF HONOUR IN THE VERY HEART OF THE SANCTUARY.

(BELOW) THE STATUE OF ST MARY OF THE ASSUMPTION PATRONESS OF THE CHURCH.
(RIGHT) THE SANCTUARY WINDOW WITH THE CRUCIFIX SUPERIMPOSED ON THE WINDOW.

A PARTICULARLY LOVELY ITEM IN THE SANCTUARY IS THE PENDANT BRASS SANCTUARY LAMP PLACED NEXT TO THE EAST WINDOW (vvvv).

(LEFT TO RIGHT) THE ATTRACTIVE BRASS FONT AND ITS STONE PLINTH, THE NAVE LOOKING WEST AND A MODERN STATION OF THE CROSS.

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STATION CHURCHES

HISTORIC CHURCHES