Manny Harris

Corperryale L'Adorable "Manny" Harris (born September 21, 1989) is an American professional basketball player who last played for Merkezefendi Bld. Denizli Basket of the Turkish Basketball Super League (BSL). He has previously played for the Los Angeles Lakers, Cleveland Cavaliers, and Dallas Mavericks of the National Basketball Association (NBA), and is a former All-Big Ten Conference guard who played three seasons for the Michigan Wolverines.

He decided to forgo his final year of collegiate eligibility and declare himself eligible for the 2010 NBA draft, but went undrafted. He signed with the Cavaliers of the National Basketball Association (NBA). He began his second year injured and rehabbed for two months in the NBA D-League with Cavaliers' affiliate, the Canton Charge, before being re-signed by the Cavaliers. He signed with BC Azovmash of Ukraine in September 2012 and spent 2012–13 playing in the Ukrainian Basketball SuperLeague. For the following two seasons he split time in the NBA, NBA D-League and in the Turkish Basketball Super League. He is an NBA D-League All-star and six-time D-League performer of the week. He has set single-game scoring records for the Legends, Charge and D-Fenders franchises.

At Michigan, he was a 2008–09 first team All-Big Ten Conference selection, a 2007–08 second team All-Big Ten selection and a 2009–10 third team All-Big Ten selection. Harris also earned Big Ten Academic All-Conference honors as both a sophomore and a junior after the 2008–09 and 2009–10 Big Ten Conference regular seasons. Harris began the 2009–10 NCAA Division I men's basketball season by recording the second triple double in school history.

Harris previously attended Redford High School in Detroit, Michigan, where he won the state's Mr. Basketball award as a senior. Harris is one of only five Big Ten Conference basketball players to have finished in the top ten in the conference in scoring, rebounding, and assist average in the same season and prior to Evan Turner's 2009–10 season, Harris' 2008–09 season was the only time a player had finished in the top six of all three categories.

## High school

Born in Detroit, Michigan, Harris was a 2005 Class A All-State fifth team selection as a sophomore by The Detroit News. He was an Associated Press Class A All-State first team selection in each of the next two seasons. Harris was selected as the 2007 Mr. Basketball of Michigan. That season he led the Redford to the Michigan High School Athletic Association Class A championship game, which it lost to Saginaw High School. During his high school basketball career, he became the first player to start for three consecutive Detroit Public School League championship teams since Jalen Rose and Voshon Lenard had done so from 1989 to 1991. At Redford, Harris once recorded 52 points and 15 rebounds. During the 2006–07 season, his last at Redford, Harris averaged 33.5 points, 11.5 rebounds and 5.5 assists. Harris was highly recruited, receiving offers from Tennessee, UCLA, Wisconsin, George Washington, and Indiana before committing to the University of Michigan. He was ranked by Rivals.com as the sixth-best shooting guard in the country in the 2007 high school class, while Scout.com ranked him the twelfth-best shooting guard. ESPN ranked him \#7, but they listed him as a point guard. When Michigan announced that it would replace Tommy Amaker with John Beilein as head coach, Harris was initially unsure if he would honor his signed letter of intent, but when Michigan re-signed assistant coach Mike Jackson, he again decided to attend the school.

## College career

### Freshman year

Prior to the 2007–08 basketball season, Freshman Harris was selected as a second team pre-season All-Big Ten Conference selection. He started every game for the 2007–08 Michigan Wolverines men's basketball team. He scored 13 points and tallied 4 steals in his debut on November 9 against . After the 2007–08 NCAA basketball season, Harris was selected as a second team All-Big Ten Conference selection and an All-Freshman team selection. He led the Wolverines in scoring (16.4), assists (2.8), steals (1.5), minutes (32.9) and free throw percentage (82.0). Among his highlights during the season were being named to the Great Alaska Shootout tournament team, becoming the fourth U-M freshman to score over 500 points in first season (516), and setting the U-M freshman record for free throws made in a season while playing at least 20 minutes and starting every game. During the season, he keyed the first three-game winning streak of the season for the team, which earned him his first Big Ten Player of the Week Award.

### Sophomore year

As a 2008–09 first team pre-season All-Big Ten player, he was the first Wolverine to earn the honor since Daniel Horton in 2004. Although he was the leading returning scorer and top draft prospect, Purdue's Robbie Hummel was named Big Ten Preseason Player of the Year. Preseason All-Big Ten status has not always led to regular season honors. In both 2005 and 2007, only two preseason selections made the regular season team. Harris opened the 2008–09 Michigan Wolverines men's basketball season with a career-high 30 points in a 77–55 victory over Michigan Tech on November 11. The following night in the second game of the Coaches vs. cancer classic, Harris nearly posted a triple double when he posted 26 points, and career-highs with 10 rebounds and 8 assists in a 76–56 win against Northeastern University. This quick start earned Harris the November 17, 2008 Big Ten Player of the Week Award. Harris led the Big Ten Conference in scoring until the second to last game of the preconference schedule when he snapped a ten-game double digit scoring streak. Throughout the season, he continued to battle with fellow sophomores Evan Turner and Talor Battle for the Big Ten scoring leadership. On February 5, Harris was selected along with Kalin Lucas as one of only two Big Ten John R. Wooden Award 2008–09 Midseason Top 30 Candidates. On March 5, the National Association of Basketball Coaches honored Harris as a District 7 (Big Ten) first-team selection along with four other sophomores (Lucas, Turner, Battle, and JaJuan Johnson). On March 9 after the conclusion of the 2008–09 Big Ten Conference men's basketball season, he was named to the first team All-Big Ten by both the Big Ten coaches and the Big Ten media along with the same four sophomores. He was also chosen on March 10 by the U.S. Basketball Writers Association for its 2008–09 Men's Division I District V (OH, IN, IL, MI, MN, WI) Team, based on voting from its national membership. On March 26 Harris was honored as one of four Michigan men's basketball Winter Sports Big Ten Academic All-Conference selections.

Harris, at 86.3% (176/204), was NCAA free throw shooting percentage champion. Harris led the Wolverines in points, minutes, assists and steals. Additionally, Harris finished one behind teammate DeShawn Sims for the team leadership rebounds. In the Big Ten, Harris ranked first (or second depending on the source) in free throw percentage, first in free throws made, second in points per game, fifth in assists per game, and sixth in rebounds per game. Harris and Evan Turner (who led the Big Ten in scoring) were the only Big Ten players to finish in the conference's top 10 in total points, rebounds, assists, and steals. They are the 4th and 5th players in conference history to finish in the top ten in average points, rebounds, and assists since assists became a statistic in 1983–84. Of these five, Harris was the only one to finish in the top six in each stat prior to Turner's 2009–10 season.

### Junior year

Entering the 2009–10 NCAA Division I men's basketball season for the 2009–10 Wolverines, Harris was named to the FOX Sports preseason All-American list included him on its second team. Harris and Sims were named among the 50 preseason Wooden Award watch list nominees. Harris was also named to the preseason Naismith College Player of the Year watchlist. The 24-member Big Ten media panel selected Harris as a first team preseason All-Big Ten team member.

Harris opened the season by recording the second triple double in school history (Gary Grant was the first) against Division II Northern Michigan. This earned him his third Big Ten player of the week honor. Harris was suspended prior to the January 23 game against \#13 Purdue due to unsportsmanlike conduct in one of the team's practices. Harris was named as a finalist for the 2010 Bob Cousy Award and a Midseason Top-30 finalist for the 2010 John Wooden Award. At the conclusion of the regular season, he was named a third-team All-Big Ten selection by both the conference coaches and the media. He was recognized as an All-District second-team selection by the National Association of Basketball Coaches making him eligible for the State Farm Division I All‐America teams. Since the Big Ten Conference was its own district, this is equivalent to being named second team All-Big Ten by the NABC. Harris concluded his junior season with 484 free throws made. Cazzie Russell holds the official Michigan career record with 486 with Louis Bullock's 505 total having been vacated due to the University of Michigan basketball scandal. He joined Jalen Rose and Mike McGee as the only Wolverines to amass 1600 points over a three-year period. Harris finished the season among the Big Ten Conference leaders in several statistical categories including: fourth in scoring, tenth in rebounds, fifth in assists, seventh in free throw percentage, second in steals (1.83 to 1.81), and eighth in minutes played.

### 2010 NBA draft

On March 29, Harris held a press conference in which he announced his intentions to enter the NBA draft. Multiple draft outlets ranked Harris as likely to be drafted in the 2nd round or go undrafted. Two days after the announcement, Harris was recognized as an Academic All-Conference performer again. Harris suffered a hamstring injury shortly before the draft, which hampered his draft workouts and draft potential. Harris was undrafted in the 2010 NBA draft.

### College statistics

\|- \| style="text-align:left;"\| 2007–08 \| style="text-align:left;"\| Michigan Wolverines \| 32 \|\| 32 \|\| 33.1 \|\| .381 \|\| .318 \|\| .817 \|\| 4.2 \|\| 2.7 \|\| 1.4 \|\| .2 \|\| 16.1 \|- \| style="text-align:left;"\| 2008–09 \| style="text-align:left;"\| Michigan Wolverines \| 35 \|\| 35 \|\| 32.9 \|\| .414 \|\| .327 \|\| .863 \|\| 6.7 \|\| 4.4 \|\| 1.2 \|\| .5 \|\| 16.8 \|- \| style="text-align:left;"\| 2009–10 \| style="text-align:left;"\| Michigan Wolverines \| 31 \|\| 30 \|\| 36.1 \|\| .421 \|\| .308 \|\| .800 \|\| 6.0 \|\| 4.1 \|\| 1.8 \|\| .4 \|\| 18.1 \|- class="sortbottom" \| style="text-align:center;" colspan="2"\| Career \| 98 \|\| 97 \|\| 34.0 \|\| .406 \|\| .318 \|\| .827 \|\| 5.7 \|\| 3.7 \|\| 1.5 \|\| .4 \|\| 17.0

## Professional career

### Cleveland Cavaliers (2010–2011)

Harris played for the Cleveland Cavaliers in the NBA Summer League in 2010. He saw limited action due to the same ankle injury that impaired his draft status. After being an undrafted player from Michigan for about 31⁄2 months, Harris joined the Cleveland Cavaliers with a \#6 jersey number as a non-guaranteed free agent member of the 20-man preseason roster. Harris made the final roster. He made his debut on October 29 against the Toronto Raptors in which he scored 8 points. Harris' agent is Henry Thomas. After compiling a 7–14 record in the first 21 games, head coach Byron Scott shuffled the lineup on December 8, and Harris played twenty-one minutes that night.

On December 29, Harris made his first start when Mo Williams was recovering from an injury and Harris earned the surprise start instead of Ramon Sessions, scoring 8 points. In his fourth start on January 7 against the Golden State, Harris posted his first double-double with career highs of 16 points and 10 rebounds and added 3 steals and 4 assists, too. Then, on January 9, he posted a new career-high 27 points against the Phoenix Suns. With the return of Daniel Gibson and Anthony Parker to the lineup he saw little action until February 23.

Harris was waived by the Cavaliers on December 22, 2011. The transaction came as the 2011–12 Cavaliers made their final cuts from 17 to 15 players. The move, which surprisingly left Mychel Thompson on the roster, was attributed to a freezer burn that Harris suffered on his foot during the 2011 NBA lockout in a cooling chamber designed to augment recuperation from injuries at the Nike facility in Oregon.

### Canton Charge (2011–2012)

On December 28, 2011, Harris signed with the Canton Charge of the NBA Development League (D-League). The Charge are the D-League affiliate of the Cavaliers, but the Cavaliers had no exclusive rights to Harris. He was signed under the NBA Development League's player affiliate rule allowing ". . .D-League teams to acquire up to three players that were waived from their affiliate's NBA training camp that do not otherwise have their rights held by another team." After about a week of rehab with the Charge, he was getting close to returning to the court with the Charge. Technically, he was waived by the team, but the Charge retained their rights to him during his rehab. On January 9, he was readded to the roster by the Charge, and he scored 15 points for the team on the 10th in his debut.

On January 24, he contributed a game-high 32-point effort against the Springfield Armor, surpassing both his professional career-high of 27 set on January 9, 2011 with Cleveland and his post-secondary career-high 30 set on November 11, 2008 with Michigan. He earned the NBA Development League Performer of the Week for games played from January 23–29 for his three-game performance in which he averaged 25.0 points, 7.3 rebounds, 4.3 assists and 2.0 steals in 34.3 minutes per contest. On February 3, Harris logged his professional career-high 14 rebounds along with 21 points on his way to his second D-League double-double against the Austin Toros. On February 16, Harris posted a new career high 46 points along with 9 rebounds, 6 assists and 4 steals against the Rio Grande Valley Vipers. This is a Charge record for the franchise since its move to Canton. In the rematch two nights later, he added 36 points, 9 rebounds, 6 assists and 3 steals. He became the first player to earn two player of the week awards in the 2011–12 season when the league recognized him for his performance for the week of February 13–19. In 17 games for Canton, he had averages of 21.4 points, 7.9 rebounds, 3.3 assists and 1.6 blocks per game, while shooting 47% from the field and 40.9% on three-point shots.

### Return to Cleveland (2012)

On February 21, the Cleveland Cavaliers announced they had signed Harris to a 10-day contract. He was re-signed on March 2 to a second 10-day contract. After the second 10-day contract expired on March 11 and with the trade deadline approaching on March 15, the Cavaliers opted not to sign Harris to a guaranteed contract for the rest of the season.

On March 17, 2012, the Cavaliers re-signed Harris for the remainder of the season. On March 21, Harris moved into the main rotation and began playing about 20 minutes or more per game. On April 6 with Parker, Kyrie Irving and Gibson all injured, Harris made his first start of the season and 16th of his career against the Toronto Raptors. On April 20, Harris posted his first NBA double-double of the season with 19 points and a game-high and career-high 12 rebounds against the New York Knicks. In two seasons with the Cavaleiers, Harris averaged 6.2 points, 2.6 rebounds and 1.5 assists in 17.4 minutes in 80 games (including 20 starts).

On July 2, 2012, the Cavaliers waived Harris. Harris then joined the Houston Rockets for the 2012 NBA Summer League.

### BC Azovmash (2012–2013)

On September 13, 2012, Harris signed with BC Azovmash in Ukraine.

### Los Angeles D-Fenders (2013–2014)

On September 27, 2013, Harris signed with the Orlando Magic for training camp. A long shot to make the 15-man roster, Harris was waived on October 25. On December 7, Harris' rights were acquired by Los Angeles D-Fenders in a trade with the Canton Charge. In his D-Fenders debut on December 14, 2013 against the Santa Cruz Warriors, he scored 41 points. He also had a professional career-high 5 steals, 4 rebounds and 3 assists. On December 16, he was one of the top D-League players of the week. On December 23, he was again one of the top D-league players of the week, based on a pair of 20+ point performances. He was also a finalist for D-League Player of the Month. Harris averaged 29.3 points per game for the week ending January 5, leading his team in scoring and to victory in each of the three games. As a result, he earned his first D-League player of the week award of the season and third of his career. On January 10, Harris posted 49 points along with 6 rebounds, 3 steals, 3 assists and a block against the Idaho Stampede. The 49 points was a Los Angeles D-Fenders franchise record. and tied the 2013–14 NBADL season high set earlier by Pierre Jackson. On January 13, Harris earned his second consecutive NBA Development League Performer of the Week award. On January 13, Harris scored 42 against the Maine Red Claws to improve his season scoring average to 30.6, taking the league lead from Jackson. In 13 games with the D-Fenders, Harris averaged a league-leading 30.6 points, league-leading 8.9 free throws made and a league-leading 10.2 free throws attempted. He also averaged 6.5 rebounds, 3.7 assists and 2.1 steals (6th in the league), while shooting 48.5%.

### Los Angeles Lakers (2014)

On January 16, 2014, Harris signed a 10-day contract with the Los Angeles Lakers. On January 26, he signed a second 10-day contract after averaging 6.4 points, 3.6 rebounds and 1.6 assists in 20.9 minutes in 5 games. The Lakers were enduring injuries of guards Kobe Bryant, Steve Nash, Steve Blake, Jordan Farmar, and Xavier Henry. After re-signing, Harris posted a season high 18 points that night against the New York Knicks.

On February 3, 2014, Harris was named to the Futures All-Star roster for the 2014 NBA D-League All-Star Game. At the time of the announcement, Harris was one of at five players on an NBA roster that were selected, but who had played over half of their D-League team's games through January 26. On February 4, the eve of the end of Harris' second 10-day contract, the Lakers appeared to be returning to good health, with the return of Nash, Blake and Farmar to the lineup imminent. That night, although Nash and Blake returned to the starting lineup against Minnesota, Jodie Meeks and Jordan Hill were injured in the first quarter and Harris contributed 19 points and 8 rebounds even though he had been told before the game he would not be re-signed.

### Return to D-Fenders (2014)

On February 7, 2014, Harris was re-acquired by the D-Fenders. On February 8, 2014, Harris again set a new D-Fenders franchise scoring record, this time with 56 points, while adding 15 rebounds against the Santa Cruz Warriors. It was two points shy of the league record set by Jackson four days earlier. He was a nominee for D-League Player of the Week, but Jackson won. Harris played 12 minutes in the February 15 D-League All-Star game. Afterwards, he missed some games due to an ankle injury. He was a finalist for player of the week on March 3 and 10.

### Türk Telekom (2014)

After playing a total of 22 games in the NBA D-League for the D-Fenders and averaging 31.6 points, 7.9 rebounds and 3.7 assists, Harris signed with Türk Telekom B.K. of the Turkish Basketball League on March 13.

### Third stint with D-Fenders (2014)

On November 1, 2014, Harris was reacquired by the Los Angeles D-Fenders. On December 6, Harris posted a triple-double with 23 points, 12 assists and 10 rebounds to help the D-fenders defeat the Reno Bighorns. On December 20, Harris recorded his second triple-double of the season with 39 points, 13 assists and 10 rebounds in an historic win. The D-Fenders set new NBA Development League records of most points scored in a single quarter, half and game en route to a 175–152 win over Reno. On December 22, Harris earned his first D-League Performer of the Week of the season and fifth of his career.

### Eskişehir Basket (2014–2015)

On December 30, Harris left Los Angeles in order to sign with Eskişehir Basket of the Turkish Basketball League the following day.

### Fourth run with D-Fenders (2015)

On October 31, 2015, Harris returned to the Los Angeles D-Fenders for a fourth stint. He began the season as a finalist for performer of the week during the first week and a half of the season.

### Texas Legends (2015–2016)

On December 14, Harris was traded to the Texas Legends in exchange for the returning player rights to Damion James.

### Return to Türk Telekom (2016)

On January 26, 2016, Harris left Texas and signed with Türk Telekom for a second stint.

### Anhui Dragons (2016)

In May 2016, Harris signed in China with the Anhui Dragons for the 2016 NBL season.

### Return to Texas (2016–2017)

On October 30, 2016, Harris was reacquired by the Texas Legends. On November 12, Harris established a Texas Legends franchise record by scoring 49 points in the season opener against the Maine Red Claws. The total was a record for a Red Claw opponent. On December 27, the Dallas Mavericks signed Pierre Jackson to a two-year NBA contract from the Legends. On December 28, Harris posted 47 in a win for the Legends. On January 2, 2017 Harris again earned NBA Development League Performer of the Week based on his 38.0 points average on 57.4 percent shooting as well as 5.0 rebounds, 4.0 assists and 2.0 steals per game in two games on December 28 against the Austin Spurs and December 30 against the Reno Bighorns. At the time he was leading the D-League in scoring and was second in steals. Despite leading the league in scoring, Harris was not selected to the 2017 D-League All-Star team.

### Dallas Mavericks (2017)

On March 8, 2017, the Dallas Mavericks signed Harris to a 10-day contract. Harris had been the NBA D-League leading scorer at the time of the signing with averages of 26.3 points, 7.6 rebounds, 4.0 assists, and 2.2 steals. He made his debut for the Mavericks later that day during a 105–96 win over the Brooklyn Nets, playing two minutes off the bench. On March 18, the Mavericks announced that they would re-sign Harris to a second 10-day contract. During the 2016–17 season, Harris was assigned multiple times to the Texas Legends. Harris was not resigned by the Mavericks after his second 10-day contract expired.

### Return to Anhui (2017)

On July 29, 2017, Harris re-joined the Anhui Dragons of the National Basketball League. Harris was recognized as Asia-Basket.com All-Chinese NBL Player of the Year and Asia-Basket.com All-Chinese NBL Import Player of the Year in 2016 as he helped Anhui Dragons win the Chinese NBL championship title in 2016 with averages of 31.5ppg, 7.2rpg, 3.7apg and 2.7spg.

### AEK B.C. (2017–2018)

On August 12, 2017, Harris signed a one-year contract with Greek club AEK. Harris was selected the MVP of the 14th round of the FIBA Champions League 2017–18 season. Harris posted 21 points in the February 11, 2018, HEBA Greek All Star Game. He was also named the MVP of the 2017–18 Greek Cup tournament, after leading AEK Athens to victory. He also earned 2017– FIBA Champions League regular season MVP, as AEK earned the 2018 FIBA Basketball Champions League championship.

### Rytas Vilnius (2018)

On September 3, 2018, Harris signed with Greek club Olympiacos, for their preseason practices, while their rosters were depleted due to the 2019 FIBA Basketball World Cup qualification events. On October 9, Harris signed with Rytas Vilnius.

### Bahçeşehir Koleji S.K. (2018–2019)

On December 14, Harris signed with Bahçeşehir Koleji S.K.

### NLEX Road Warriors (2019)

On October 17, 2019, Harris joined the NLEX Road Warriors of the Philippine Basketball Association for the PBA Governor's Cup. In his PBA Debut, Harris had an impressive statline of 45 points, 5 rebounds and 4 assists in a win 117–111 win over Columbian Dyip.

### Hapoel Helon (2020)

On December 10, 2019, Harris signed with the Shandong Golden Stars of the Chinese Basketball Association. He parted ways with the Golden Stars after the CBA season was postponed due to the coronavirus outbreak. On February 9, 2020, Harris signed with Hapoel Holon of the Israeli Premier League for the rest of the season.

On February 15, 2020, he made his debut in a 90–86 win over Hapoel Tel Aviv, recording 22 points and four rebounds off the bench.

### Shandong Heroes (2020–2021)

On October 4, 2020, Harris signed with the Shandong Heroes of the CBA. On November 5, he was named CBA player of the week after posting 44 points and ten rebounds, while his team defeated the Nanjing Monkey Kings.

### Return to AEK (2021)

On July 29, 2021, Harris signed back with AEK Athens of the Greek Basket League and the Basketball Champions League. He left the team on October 3.

### Kaohsiung Steelers

On March 2, 2022, Harris signed with Kaohsiung Steelers of the Taiwanese P. League+ for the remainder of the season.

### Return to Hapoel Holon (2023)

On February 25, 2023, he signed with Hapoel Holon of the Israeli Basketball Premier League.

### Merkezefendi Bld. Denizli Basket (2023)

On April 28, 2023, he signed with Merkezefendi Bld. Denizli Basket of the Turkish Basketball Super League (BSL).

## Career statistics

### NBA

#### Regular season

\|- \| style="text-align:left;"\| 2010–11 \| style="text-align:left;"\| Cleveland \| 54 \|\| 15 \|\| 17.3 \|\| .374 \|\| .370 \|\| .763 \|\| 2.6 \|\| 1.6 \|\| .6 \|\| .1 \|\| 5.9 \|- \| style="text-align:left;"\| 2011–12 \| style="text-align:left;"\| Cleveland \| 26 \|\| 5 \|\| 17.5 \|\| .400 \|\| .333 \|\| .695 \|\| 2.7 \|\| 1.2 \|\| .5 \|\| .2 \|\| 6.7 \|- \| style="text-align:left;"\| 2013–14 \| style="text-align:left;"\| L.A. Lakers \| 9 \|\| 0 \|\| 20.0 \|\| .400 \|\| .350 \|\| .833 \|\| 3.8 \|\| 1.2 \|\| .4 \|\| .1 \|\| 8.1 \|- \| style="text-align:left;"\| 2016–17 \| style="text-align:left;"\| Dallas \| 4 \|\| 0 \|\| 6.3 \|\| .200 \|\| .000 \|\| .500 \|\| 2.3 \|\| .5 \|\| .0 \|\| .0 \|\| 2.0 \|- \| style="text-align:center;" colspan="2"\| Career \| 93 \|\| 20 \|\| 17.1 \|\| .380 \|\| .353 \|\| .738 \|\| 2.7 \|\| 1.4 \|\| .5 \|\| .2 \|\| 6.2

### NBA D-League

#### Regular season

\|- \| style="text-align:left;"\| 2011–12 \| style="text-align:left;"\| Canton \| 17 \|\| 12 \|\| 32.9 \|\| .470 \|\| .409 \|\| .857 \|\| 7.9 \|\| 3.3 \|\| 1.7 \|\| .4 \|\| 21.4 \|- \| style="text-align:left;"\| 2013–14 \| style="text-align:left;"\| Los Angeles \| 22 \|\| 22 \|\| 38.7 \|\| .472 \|\| .302 \|\| .883 \|\| 7.9 \|\| 3.8 \|\| 2.1 \|\| .2 \|\| 31.6 \|- \| style="text-align:center;" colspan="2"\| Career \| 39 \|\| 34 \|\| 36.2 \|\| .471 \|\| .329 \|\| .874 \|\| 7.9 \|\| 3.6 \|\| 1.9 \|\| .3 \|\| 27.2 \|- \| style="text-align:center;" colspan="2"\| All-Star \| 1 \|\| 1 \|\| 12.0 \|\| .500 \|\| .000 \|\| .000 \|\| 3.0 \|\| 4.0 \|\| 1.0 \|\| .0 \|\| 6.0

### International domestic leagues

#### Regular season

## Personal life

His name, Corperryale, is a combination of the names of his cousin (Corrine), an uncle (Perry) and the "ale" of his immediate siblings—Janelle, Jerrelle and Al. He has a total of nine brothers and sisters and is the son of Merrick (Harris-Carter) and James Carter. His nickname, "Manny", was given to him by his father after the character Manny Ribera in Scarface. During the 2013–14 season, the @DFenders and @nbadleague Twitter accounts occasionally referred to Harris using the hashtag \#MichiganMamba. Upon being called up to the NBA, @LakerNation used the nickname once.

American basketball player (born 1989)

American expatriate basketball people in China

American expatriate basketball people in Greece

American expatriate basketball people in Israel

American expatriate basketball people in Turkey

American expatriate basketball people in Ukraine

American expatriate basketball people in the Philippines

Merkezefendi Belediyesi Denizli Basket players

Michigan Wolverines men's basketball players

Philippine Basketball Association imports

Undrafted National Basketball Association players


Loretta Jones

Loretta Jones is a fictional character from the British Channel 4 soap opera Hollyoaks, and its spin-off series, Hollyoaks Later. The character is played by Melissa Walton and first appeared on-screen on 26 November 2008 during the first series of the Hollyoaks spin-off Hollyoaks Later as a new love interest for the character Dominic Reilly (John Pickard). She made her first appearance in the Hollyoaks series in February 2009 and was the first character to be introduced to the series by producer Lucy Allan. In 2010 Loretta was axed from the series, along with 15 other characters, during a cast cull by executive producer Paul Marquess.

The character development has Loretta having worked as a pole dancer and Walton put extensive research into the role, including visiting strip clubs. Despite this occupation Loretta has been portrayed out of conjunction with the blonde stereotype. She has been involved in storylines which include facing prejudice, body scarring issues and stalking fellow characters. The character is most noted for the series intending to portray her as a child murderer trying to piece her life back together. The plot was subsequently axed having caused a great amount of controversy among the British public after newspapers alleged that the storyline was copying a real-life case. Loretta has been positively received by the media for her appearance and has been dubbed a "blond bombshell". Before Loretta's departure from the series Marquess made changes to the characters persona: portraying her as a stalker being obsessive, calculating and pretending to have leukaemia. In her final storyline it was revealed that she had been sexually abused as a child and admitted herself to a psychiatric hospital.

## Character creation and casting

The character of Loretta was created as a temporary love interest for Dominic Reilly (John Pickard) and was intended to feature only in Hollyoaks Later, the spin-off from the Hollyoaks series. In 2009 it was announced that the Hollyoaks' producer Lucy Allan had decided to introduce both Loretta and Cheryl Brady (Bronagh Waugh) into the main show. Allan said, "Cheryl and Loretta will bring an energy and a sense of fun to the show. Both Melissa and Bronagh impressed me with their performances in Hollyoaks Later and I'm sure viewers will warm to them quickly." Loretta was initially paired with Dom and, after ending their relationship, was given links to other characters in the series. Walton had a pole set up in her living room to practice pole dancing. Speaking of her research Walton stated: "I loved it. It's really good exercise. It's really good for toning. They didn't ask me to, but I did... I went and I had pole dancing classes. I had a pole put up in my living room."

Though Walton had initially signed on for a three-month stint Allan decided to renew her contract in 2009 and keep Loretta in the series until 2010. In early 2010 it was announced that Allan had stepped down from the position of executive producer and that Paul Marquess had taken over the role. It was soon revealed that Marquess planned to give Hollyoaks a "shake up", changing the productions team and beginning a cast cull by axing three established characters. Stephanie Waring (who plays Cindy Hutchinson) then revealed that all remaining cast members feared their own character would be axed. One month later Marquess announced his plans to axe a further 11 characters, including Loretta at the end of Walton's contract. It was also revealed that Loretta would depart at the same time as her love interest Jake Dean (Kevin Sacre).

On 8 June 2010 Walton filmed her final scenes for the series, along with two fellow cast members Scare and Gerard McCarthy (who plays Kris Fisher). She spoke of her upset over leaving her fellow cast members, but later said she was looking forward to pursuing other projects. Walton also confirmed that she was happy the door was left open for a potential return, stating that she would consider reprising her role as Loretta in the future. Walton also said she understood why Marquess axed her character, he did not feel Loretta had anywhere left to go after the cancellation of her main storyline. However, she also felt like she deserved another chance to prove herself.

## Character development and impact

### Characterisation

Loretta has stated on-screen that she does not want to conform with the stereotype of a blond pole dancer, and makes it clear that she is a keen bird watcher and enjoys documentaries. Speaking of the character Walton stated, "I love that Loretta's not a stereotypical stripper sort of girl—there’s a lot more depth to her. She’s actually quite shy and reserved. She’s got lots of interesting little hobbies, like bird-watching and Roman history! Then at night she skips off and turns into a stripper. It’s like two different lives, and I think many real-life pole-dancers are like that. They’re really nice, normal girls by day, and by night they turn into these temptresses." Walton also praised the soap's realistic portrayal of the occupation, saying that many pole dancers attend university or have good professions but rely on stripping for extra money, and that she has met people like her character in the strip club where Hollyoaks films scenes. Walton hopes viewers will find Loretta's alter ego as a stripper tasteful commenting, "As tasteful as you can be in a pink frilly bra and knicker set, with a little skirt that’s more like a belt, and back-combed hair and fake eyelashes!" Loretta's stripper clothing is in stark contrast to her every day look of non-revealing clothing.

Loretta's relationships helped develop the character. Her first relationship is with Dom Reilly who shares her interests in bird watching, documentaries on ancient Rome and literature. The relationship immediately gave viewers an insight into the character. However, as their relationship progressed, it became apparent that Dom could not handle Loretta's profession as he feared for her safety, which ultimately led to their break up. Loretta's second relationship is a short-lived fling with Ravi Roy (Stephen Uppal) where she is determined to see the good in him, and help him while he suffers from a brain aneurysm, but ends the relationship when he attempts to assault her. Loretta then begins a secret romance with Jake, who had tried to murder his child and rape his wife. Loretta believes he had been misled and is still a good person, demonstrating Loretta's willingness to give people second chances. Walton comments, "[Loretta] is just lovely – she sees the good in everyone." When television listings magazine What's on TV challenged Walton to explain why Loretta would be interested in Jake after his crimes Walton said, "Loretta's big on forgiveness. She believes Jake’s changed, that he's learnt from his time inside and he's paid his debt to society."

After Marquess decided to axe Loretta he changed the character's direction and her persona. She became obsessive over men, controlling towards Jake, manipulative and began lying to get what she wanted. Jake later decides he does not want her, of this Walton states that: "She's not going anywhere. She's deluded and manipulative and he hasn't seen anything yet!" She also is shown have "bunny boiler" tendencies, with Walton agreeing to the label. Walton later revealed that Loretta began pole dancing to have power over men because of the abuse she suffered as a child although, as Loretta's exit approached, she was now a dangerous and deluded woman.

### Child murderer controversy

In November 2009 Loretta became the centre of media controversy when various media outlets announced that Loretta would be part of a storyline which revealed that she had murdered a child in her past. The controversy began when tabloid newspaper The mother of murdered toddler James Bulger, Denise Fergus, condemned the storyline. While speaking to the news website Click Liverpool she criticised the decision to air a plot that allegedly mirrored her son's death, stating they should have consulted her first. She said, "I'm shocked and disgusted at what Hollyoaks is doing. They have clearly based this story on what happened to James and it's outrageous that they should do this without consulting with me in any way." She threatened to encourage a boycott of the show. Channel 4 released a statement defending the plot, explaining it had nothing to do with any real life case: "The forthcoming storyline is not based on any real-life case and it will in no way seek to recreate real events. The storyline focuses on the psychological repercussions for two characters in the show who were responsible for the death of a 12-year-old girl in the past."

Speaking about delving into her character's history Walton commented to entertainment website Digital Spy, "It took a little while and until now, we've known little about her. Nobody in the village knows who she is or where she's come from. She's just planted herself in the village knowing hardly anybody. She's quite a mysterious character. I'm absolutely loving the opportunity to explore her backstory." Speaking about her reaction to the plot she continued, "I was like, 'Oh my gosh!' I was so shocked but absolutely chuffed to bits because this is what all actors want – something massive like this to sink my teeth into. I feel so privileged that they've trusted me with this story. I know they've wanted to do it for a while and they've finally chosen me!"

In the same interview Walton described the storyline, "Loretta and Chrissy were best, best friends through childhood. They were closer than sisters. She somehow tracks Loretta down and turns up out of the blue after Loretta's finished a dance class. What we learn is that when they were 12, they bullied a young girl and didn't stop until they killed her. They kept pushing and pushing and eventually killed her. Since then, Loretta and Chrissy have been completely separated from each other, their families and friends. They've spent years in institutions having psychiatric and behavioural treatment."

Kevin Sacre, whose character was directly involved in the storyline, voiced his support for the plot stating: "I think the fact that it's the sort of thing that happens in real life means it's something that should be addressed. Anyone who buries their head in the sand is a bit naïve. And I think soap is a medium where you can explore issues of real life."

Just days before the episodes were set to transmit Channel 4 announced that it was axing the storyline, due in part to Fergus's reaction to the storyline. Whilst Walton had previously claimed the storyline was about three twelve-year-old girls, Channel 4 admitted the similarities between the story and the Bulger case. "This particular storyline was not based on any real life case and was not intended to recreate actual events. However, after conversations with Denise Fergus we have agreed to amend certain aspects of the storyline." Amber Hodgkiss, who was cast to play Chrissy, expressed her disappointment over the decision to axe the plot all together saying, "The storyline has been completely cut. I am not so happy about it. I would like it to go ahead, but I don't have that decision. It wasn't based on Jamie Bulger, but people portrayed it that way. It was quite a big storyline that could affect people, but it happens." Fergus said she was grateful that the plot was axed saying, "I'm grateful that they are respecting my wishes. I made it clear that I did not want those scenes broadcast and I'm pleased to say they clearly understood my feelings."

When episodes that were intended to feature the storyline transmitted, they instead featured a selection of then "last minute" scenes. In these scenes Hodgkiss portrays a new character, Caroline, who holds Loretta and Jake hostage.

### Stalker and exit storyline

Walton's exit from the series was described as dramatic, with Walton commenting on this during an interview with magazine programme Live from Studio Five stating, "I'm very pleased with my exit, you know. I'm very, very pleased with what I've been given and I've really enjoyed doing it. I've probably enjoyed the last few months of filming more than I've enjoyed anything else that I've done, to be honest."

Loretta's backstory gradually began to unfold on-screen. Loretta decided she needed to win Jake back. Her ex-boyfriend Adam (Vlach Ashton) warned Jake that Loretta had previously stalked him. This starts to damage their relationship and during an interview with What's on TV Walton commented on it saying that Jake was suspicious of Loretta's motives. Loretta love for Jake turned into an obsession with Walton saying, "She's definitely not giving up on him. What he thought was love is already actually an obsession. She wants to totally control him". The story line reveals her past of obsessions with men and Walton stated, "You sense Adam wasn't the only ex-partner she stalked. She has a mobile full of men's numbers." Walton explains the cause of her behaviour, "You find out much later on that it's because of something that happened in her past. Her obsession really is getting full-on [...] She's jealous of anybody who gets Jake's attention." After Jake's sister Steph Cunningham (Carley Stenson) is diagnosed with cervical cancer Loretta pretends she once had leukaemia in order to trap Jake. He throws her out though because his son had previously suffered from the illness. Loretta refuses to give up and her behaviour becomes more erratic.

In the final episodes of her departure Loretta manages to convince everyone that Jake was mentally ill once more. She takes Nancy Hayton (Jessica Fox) hostage for snooping into her life with Adam and Walton states, "Loretta is dangerous and deluded, Nancy's terrified of her – she tries to escape but Loretta won't let her She accidentally pushes Nancy, who crashes into a table and bangs her head badly". Walton also revealed more of Loretta's past saying, "Adam confesses that Loretta was violent towards him, basically she did some awful things to him that she's doing to Jake now." The storyline sought to explain all the unanswered questions left in her backstory with Walton saying, "He [Jake] tries to talk her round, and at that point she reveals she was sexually abused when she was very young. It's supposedly the reason she went into stripping to have power over men." Walton also defended Loretta's final actions, saying the character was confused and did not mean to hurt anyone. In Loretta's final scene she voluntarily admits herself into a psychiatric hospital after being convinced to by Jake.

## Storylines

Loretta first appears as a stripper who works in a lap-dancing club. During her job Loretta meets Dom. The pair like each other but she decides not to go out with him, she feels he is not yet over the death of his wife Tina (Leah Hackett).

Loretta is not seen again until February 2009, when she and Dom begin a relationship. Loretta clashes with Mercedes Fisher (Jennifer Metcalfe) who is not happy to find out that Dom has moved on from Tina. Loretta moves in with Cindy Cunningham (Stephanie Waring) and Darren Osborne (Ashley Taylor Dawson). Loretta lies to Dom saying she has quit her job and does not tell him the truth until Darren finds out and begins to blackmail her. Loretta then quits her job for Dom, but later finds a new job as a stripper at a different club. Dom worries about Loretta's safety at her job and gives her a rape alarm, much to her amusement. Loretta reassures him, but realises how serious it is for him when he reveals that Tina's abduction and death has left him uptight about safety. They then end their relationship.

Loretta drunkenly teaches Nancy Hayton (Jessica Fox), Zoe Carpenter (Zoë Lister), Hannah Ashworth (Emma Rigby) and Sarah Barnes (Loui Batley) how to dance in the Student Union bar. She slips and falls onto some glass bottles which break and cut her stomach. Loretta is horrified when she is left scarred by the glass. Her boss sacks her, because her scars have rendered her unattractive, and Loretta is given a job in Tan & Tumble by Ash Roy (Junade Khan). Loretta develops a crush on Ravi Roy which makes his brother Ash jealous. After Loretta catches Ravi being violent towards his sister Leila (Lena Kaur) she distances herself from him and Ash starts flirting with her. Ash kisses Loretta and Ravi sees it and lashes out at. This leads an angry Ravi to fight in an illegal boxing match. After Ravi taunts Ash he punches Ravi, who was diagnosed with an aneurysm, and Ravi falls into a coma. Loretta explains to Kris Fisher (Gerard McCarthy) and Anita Roy (Saira Choudhry) that Ash tried to kiss her, which Kris believes and Ash tries to deny.

Loretta gradually becomes good friends with Nancy and Hannah. When Nancy's abusive ex-husband Jake Dean, who tried to rape her and kill his and his ex-wife Becca's son Charlie (Joshua McConville), returns to the village Loretta consoles Nancy and moves in with her. Loretta grows close to Jake and, although initially hesitant, forms a relationship with him. After Jake and Loretta go public, Loretta is kicked out by Nancy and moves in with Jake. When Jake's sister Steph Cunningham (Carley Stenson) suggests the pair are moving too quickly Loretta agrees, she talks to Jake who gets angry showing his temper to Loretta for the first time. The couple reconcile with the help of Steph. Loretta strikes up a friendship with Holly Hutchinson (Lydia Waters) who aspires to be a dancer like Loretta after feeling unnoticed by her mother Cindy. As they bond Loretta gives Holly advice on dancing. Loretta faces prejudice when she starts applying for new jobs, as no one will employ her due to her previous jobs as a stripper. She later lies during an interview, her interviewers discover her previous employment and make derogatory remarks to her.

Holly runs away from home and a large-scale police investigation is put in place to find her. Many other residents in the village suspect Loretta's boyfriend Jake of being her kidnapper, unaware that she is safe and hiding in Darren's flat. Loretta leaves Jake after she begins to doubt his innocence but later reconciles with him. After Jake finds Holly he chases her, she falls over and takes a blow to the head and falls into a coma. Initially the police suspect that Jake was behind this but later release him. Loretta once more begins to doubt him. Upset, Jake goes to stay with his old friend Caroline (Amber Hodgkiss). After sleeping with him Caroline drugs him, ties him up, tries to kill him, and holds him hostage for a few days. She is angered to learn he is going out with Loretta and sets out to try to kill Holly but Loretta is there by Holly's bedside. Caroline tries to attack Loretta with a syringe needle but Jake saves Loretta and, in the process, Caroline is stabbed with the needle. After the ordeal Loretta disappears, having to accept the fact that Jake had cheated on her much to his dismay. She returns but while she was away Loretta had become involved with a realtor called Adam. At first Jake thought she was looking for a home. However, when he saw them both arguing, Jake realises something was not as it seemed. When Jake confronts Loretta she tells him that Adam was harassing her. This leads to Jake confronting Adam and warning him to stay away from Loretta. However Adam tells him that Loretta had been controlling his life and that she wants to be with him. Adam explains that Loretta had told him about Jake and that he was the biggest mistake of her life in the hope that Adam would take her back.

Later she goes on a night out to The Loft nightclub and threatens Charlotte Lau (Amy Yamazaki). She says that she will kill Lau if she ever goes near Jake again, making viewers realise that Loretta had changed her personality and her behaviour since her absence. Loretta pretends she had Leukaemia but Jake finds out the truth and ends their relationship. She later convinces Steph that Jake lied when he told Steph that Loretta had said she was ill and she makes Frankie and Steph believe Jake is losing his mind again. She send messages from Jake's mobile phone and plants defaced pictures of her and Jake in his coat to make it look real. Loretta reveals to Steph that she was sexually abused as a child. Jake gets back together with Loretta to stop her from getting him put back into a mental health clinic. Nancy finds out the truth about Loretta from Adam, she confronts Loretta who pushes her over and Nancy is badly hurt. Jake saves Nancy and she agrees not to go to the police. Loretta reveals she did not lie when she was sexually abused and Jake asks her to get help and will stand by her. Loretta is last seen admitting herself into the hospital.

## Reception

Loretta has been well received for her good looks and "sexy" image. According to British tabloid The Daily Star the character was extremely popular with viewers on Hollyoaks Later and "went down a storm" with them. They also add that she rivals other characters such as Carmel Valentine (Gemma Merna) and Mercedes Fisher (Jennifer Metcalfe) with her "hot babe" image. Loretta has been noted in the media because of her "sexy blonde" image. When she was axed from the series a magazine dedicated to "sexually attractive females" titled Babemag commented that the series would not be the same without her and praised Walton's portrayal, stating, "Sundays may never be quite the same as news filters through that Hollyoaks star, Melissa Walton, is to get the chop from the teen soap. Horny Hollyoaks hangover TV might not be the same for us without the charms of Melissa Walton who plays Loretta Jones in the series." She has also been dubbed a "blonde bombshell" by media sources such as Digital Spy and the South Wales Evening Post. Five's soap opera reporting website Holy Soap describe Loretta's finest moment as her food fight with Mercedes when they clashed over Dom. Jon Horsley writing for Yahoo! included Loretta's child killer plot in a feature about soap opera's most controversial storylines.

UK soap opera character, created 2009

Television characters introduced in 2009


Honan Chapel

The Honan Chapel (Irish: Séipéal Uí Eonáin, formally Saint Finbarr's Collegiate Chapel and The Honan Hostel Chapel) is a small Catholic church built in the Hiberno-Romanesque revival style on the grounds of University College Cork, Ireland. Designed in 1914, the building was completed in 1916 and furnished by 1917. Its architecture and fittings are representative of the Celtic Revival movement and evoke the Insular art style prevalent in Ireland and Britain between the 7th and 12th centuries.

Its construction was initiated and supervised by the Dublin solicitor John O'Connell, a leading member of the Celtic Revival and Arts and Crafts movements. He was funded by Isabella Honan (1861–1913), the last member of a wealthy Cork family, who made a significant donation towards the construction of the chapel. O'Connell oversaw both the design and the commissioning of its building and furnishings. He guided the architect James F. McMullen, the builders John Sisk and Sons, and the craftsmen and artists involved in its artwork.

The Honan Chapel is known for its interior which is designed and fitted in a traditional Irish style, but with an appreciation of contemporary trends in international art. Its furnishings include a mosaic flooring, altar plate, metalwork and enamels, liturgical textiles and sanctuary furnishings, and especially its nineteen stained glass windows. Of these, fifteen depict Irish saints, the remainder show Jesus, Mary, St. Joseph and St. John. Eleven were designed and installed by Harry Clarke, while the other eight are by A. E. Child, Catherine O'Brien and Ethel Rhind of An Túr Gloine cooperative studio. In 1986, the sculptor Imogen Stuart was commissioned to oversee the installation of a new altar and other carvings, furnishings and fittings.

## Background and construction

Population growth and urbanisation in early 20th-century Ireland led to the development of a number of suburbs around Cork, which necessitated the building of churches to serve these new areas; the Honan Chapel was the first church to be built in Cork in the new century. Its genesis was rooted in a longstanding educational disagreement between the Protestant and Catholic hierarchies. Queen's College Cork (today known as University College Cork, or UCC) was incorporated in 1845 as part of a nationwide series of new universities known as the Queen's Colleges. Although the Colleges were intended to be non-denominational, the lack of provision for any religious instruction made them unacceptable to the Irish Catholic bishops, who strongly discouraged Catholics from attending, and in 1851 founded the Catholic University of Ireland. In 1911, the Queen's Colleges ceased as legal entities. The Irish Universities Act 1908 forbade government funding for any "church, chapel, or other place of religious worship or observance"; thus any centre for Catholic students would have to be built with private funding.

Isabella Honan (born Isabella Cunningham in 1861) was the sister-in-law of Robert Honan, the last male heir of a wealthy Catholic family of butter merchants. Robert and his brother Matthew had both died by 1909, and Robert had left his estate to Isabella. When she died in 1913, she left £40,000 (equivalent to £ in 2019) to the city of Cork, including £10,000 which her executor, a Dublin solicitor John O'Connell, was instructed to use to establish a centre of worship for Catholic students in UCC, along with other charitable and educational purposes. These monies became known as the Honan Fund. O'Connell used part of the funds to provide scholarships for Catholic students at UCC and acquired the site of St. Anthony's Hall (also known as Berkeley Hall) from the Franciscan order to develop an accommodation block for male Catholic students known as the Honan Hostel.

The Honan Chapel was one of the first modern Irish churches conceived with a thematic design not directed by the clergy. O'Connell entered the priesthood in 1929, after the death of his wife. He was an active member of the Celtic Revival movement, a member of both the Irish Arts and Crafts Committees and the Royal Irish Academy, a fellow of the Royal Society of Antiquaries of Ireland, and chairman of the Arts and Crafts Society of Ireland in 1917. He was deeply interested in ecclesiastical archaeology and sought to construct a chapel that was "something more than merely sufficient ... a church designed and fashioned on the same lines and on the same plan as those which their forefathers had built for their priests and missioners all over Ireland nearly a thousand years ago." He disliked the contemporary, international approach to church building – which he described as "machine made" – preferring a localised and uniquely Irish approach to style and form, which he sought from the most skilled local craftsmen available. He wanted work on the chapel to be "carried out in Cork, by Cork labour and with materials obtained from the City or County of Cork".

O'Connell was assisted in the project by the university president, Sir Bertram Windle. The art historian Virginia Teehan describes O'Connell and Windle as not only devout Catholics, but especially single-minded, creative and energetic. O'Connell employed the firm of Cork architects James Finbarre McMullen and Associates. The building's plans were drawn up in 1914. The contractor John Sisk, also from Cork, was the principal builder and undertook the work at a cost of £8,000. The foundation stone, laid on 18 May 1915 by Thomas A. O'Callaghan D.D., Bishop of Cork, records that the chapel was built "by the charity of Isabella Honan for the scholars and students of Munster". It was consecrated on 5 November 1916 and dedicated to Saint Finbarr (also spelled as Finbar, Finnbarr, Finnbar, or Fin Barre), patron saint of Cork and of the Diocese of Cork, on grounds believed to be close to an early Christian monastic site founded by the saint.

## Architecture

O'Connell was mainly inspired by medieval architecture, and the Honan Chapel's architectural style is Hiberno-Romanesque revival. Compared to the decorative and sculpted elements of the interior, its architecture, austere and modest, was described by architectural historian and conservationist Frank Keohane in 2020 as "a little too commonplace and formulaic". The chapel is located on a hillside overlooking the valley of the River Lee, near a site thought to contain one of Finbarr's original churches. The western entrance is approached through double-hinged wrought iron gates. Its façade was influenced by the 12th-century St. Cronan's Church, Roscrea and features an arcade and gabled wall. The side walls project slightly beyond the gables to form antae, described by Keohane as "surmounted by improbable pinnacles...and probably better regarded as clasping buttresses".

The chapel's interior has a simple layout consisting of a main entrance, a six-bay nave, and a two-bay square chancel. It does not contain either lateral aisles or transepts. The oblong nave measures 72 by 28 feet (22 by 8.5 m). Above, a timber barrel vaulted ceiling ends at the chancel; this is 26 by 18 feet (7.9 by 5.5 m). The nave lacks shrines where worshippers normally light candles or place flowers near devotional images; in this sense, it is similar to a Protestant church. The plain, round bell tower is based on the 12th-century Irish round tower on Teampull Finghin (Fineen's church) in Clonmacnoise, County Offaly.

The mouldings around the tops of the five arches on the west façade are carved with lozenge and pellet decoration. The doorway at one point had an iron grille which has since been removed. It is capped by three limestone ribbed vaults, supported by capitals carrying reliefs of the heads of six Munster saints: Finbarr of Cork, Coleman of Cloyne; Gobnait of Ballyvourney; Brendan of Kerry, Declán of Ardmore and Íte of Killeedy. The reliefs were sculpted by Henry Emery, assisted by students at the nearby Cork School of Art. The tympanum over the door was designed by the sculptor Oliver Sheppard and is dominated by the figure of St. Finbarr, dressed in bishop's vestments.

The timber doors hang on wrought iron strapwork hinges designed by the architect William Scott in (according to the writer Paul Larmour) a "Celticized art nouveau" style. The sacristy is on the north side (left, looking towards the altar) under the bell tower. The building is listed as a protected structure under Section 51 of the Irish Planning and Development Act.

### Altar

The original altar table was built from a slab of local limestone, chosen as a reaction against the ornately carved Italian marble then in fashion with church builders. It contained silver ornaments fitted by the Dublin gold and silversmith Edmond Johnson and William Egan and Sons of St Patrick's Street, Cork. The altar was positioned on a five-legged table, each leg of which was embedded with an Irish crucifix formed from simple geometric designs, including zig-zag patterns in lozenge and saltire, continuous dots and chevrons.

The altar was replaced in 1986 when the chapel was considered to contravene the requirements of the Second Vatican Council in several ways: it was based on medieval churches and the old rites; it was built with a large spatial divide between the nave and chancel; and the altar was positioned at the very back of the chancel with the priest facing away from the congregation. That year, the chapel authorities commissioned the architect Richard Hurley to redesign elements of its fixtures. He in turn employed the German-Irish sculptor Imogen Stuart, aided by John and Teresa Murphy, to undertake a redevelopment, including replacement of the altar, pulpit, ceremonial chairs and baptismal font.

Stuart works with other materials but favours wooden carvings, as exemplified by those at the front of the Honan altar. Her replacement altar, constructed in oak, depicts two of the Evangelists. Being movable, it allowed clergy and attendants to be closer to the congregation. Although the altar was first intended for the centre of the chancel at the focal point of the mosaic floor, this arrangement proved to be too far back and was impractical during ceremonies.

### Tabernacle

The tabernacle is positioned at the far end of the chancel and is the chapel's focal point. It is formed from carved stone and shaped in a manner reminiscent of the arched roofs and entrances of medieval Irish churches. Its upper, triangular panel is set in the gable of the "entrance" and shows the Trinity of God the Father, Jesus crucified, and the Holy Spirit in the form of a dove; around them, two angels carry the sun, moon and other symbols of creation.

The lower, rectangular panel represents the doorway and is set against a background of branches and leaves attached in silver-gilt; it shows the Lamb of God standing on a brightly coloured altar decorated with three-ringed crosses and two angels acting as servers kneeling before it. The dove is surrounded by what Teehan describes as "the deep blue void of Heaven". Here, he is accompanied by flights of angels, carrying instruments of the Passion. The enamel embellishments are by the Irish craftsman and stained glass specialist Oswald Reeves and described by Teehan as the best of his work.

### Mosaic floor

The mosaic flooring was designed and installed by the UK-based artist Ludwig Oppenheimer. It contains symbols of the zodiac, images based on the mythological "River of Life", and depictions of flora, fauna and river scenes. These designs celebrate the Genesis creation narrative and illustrate passages from the Old Testament including the "Benedicite" (also known as "A Song of Creation") from the Book of Daniel, which was sung during the office of lauds on Sundays and feast days. The pattern at the entrance contains a verse from Psalm 148 ("Praise to the Lord from Creation").

The floor consists of four sections. The main entrance on the west side is dominated by a sunburst and stars surrounded by signs of the zodiac, while the imagery on the aisle depicts the head of a beast, his jaws open to form a river in which fish swim toward the chancel. The east side of the nave shows a large coiled sea creature which is part-serpent, part dragon and part whale. There are stags, deer, sheep and other animals, drinking from a river in a forest, while exotic birds fly around them. The section inside the chancel shows a globe and symbols of creation, including animals, plants and imagery of planets. The four sections are unified by interlaced Celtic and zoomorphic border designs.

The representations of the sun and night stars at the entrance signify both the new day and the resurrection, as Jesus is traditionally believed to have risen at dawn. Reflecting 12th-century Christian art, the presence of signs of the zodiac symbolises God's dominion over time. The beast's head in the aisle contains a series of tripartite motifs representing the Trinity: spirals, trefoil knots and interlace containing three saltire crosses. The sea creature at the east end of the nave is mentioned in the verse on the floor by the entrance dracones et omnes abyssi ("Dragons and all the depths"); alongside are the words cete et omnia quae moventur in aquis ("whales and all that move in the water"), which in medieval exegesis conjured images of death and reference the Biblical story of Jonah.

The colouring on the floor by and inside the chancel is more subdued and restrained. The imagery depicts a paradise which can be interpreted both as the Garden of Eden and the eternal paradise promised at the end of time. The imagery includes the seasons, the classical elements and symbols of the Resurrection. A similar representation on a 5th-century sarcophagus in the Lateran Museum shows Jonah swimming towards the open jaws of a whale with horned ears and a long, coiled tail. In both examples the imagery emphasises how Jesus overcame death. This connection is further made by the inclusion of trees in reference to the tree of life, which in mythology grows in paradise and represents Christ, and the surrounding animals at rest, presented as symbols of Christ's followers.

## Stained glass windows

O'Connell planned that Sarah Purser's studio, An Túr Gloine, at that time the leading proponent in the production of stained glass in Ireland, would provide all of the windows for the chapel. However, he also commissioned designs by the emerging stained glass artist Harry Clarke, and eventually set him and Purser's studio in competition against each other.

When O'Connell viewed Clarke's cartoon for the Brigid window, he commissioned him to produce five for the chapel. Later, having viewed the design for St Gobnait, he requested a further six from him. Although Purser was upset with the younger artist being awarded the majority of windows, An Túr Gloine ended up producing the original eight planned for them.

Both studios were asked to depict Gaelic saints from the early-medieval, so-called "golden age", of Christianity in Ireland. The nineteen stained glass windows in the chapel are: Our Lord (or "Christ in Majesty") (Child), Mary as Our Lady of Sorrows (Clarke), St. John (O'Brien) and St. Joseph (Clarke). To the right of the chancel looking down are: St. Finbarr (Clarke), St. Albert (Clarke), St. Declan (Clarke), St Ailbe (Child), St Fauchtna (Child) and St Munchin (O'Brien). To the left are: St Ita (Clarke), St Coleman (Child), St. Brendan (Clarke), St Gobnait (Clarke), St Flannan (O'Brien) and St Carthage (Rhind). The windows in the west gable are all by Clarke and represent St Patrick, St Brigid and St Columcille. Six are on each side of the nave; four are within the chancel and three are above the west gable. Eleven were designed by Harry Clarke, and eight by An Túr Gloine. Of the latter, four are by Child, three by Catherine O'Brien, and one by Ethel Rhind. Four windows depict female saints, each in a deep royal blue colour scheme.

Although the windows from each studio contain comparable imagery, their styles differ greatly. Clarke's are highly detailed while An Túr Gloine's are deliberately simple. Both studios displayed their cartoons in Dublin before they were transferred to glass and installed in Cork; both shows were highly praised, and critics debated which group was superior. Following the Honan's opening, the art historian and collector Thomas Bodkin wrote that "nothing like Mr Clarke's windows had been seen before in Ireland" and praised their "sustained magnificence of colour ... intricate drawing [and] lavish and mysterious symbolism".

### Harry Clarke

Clarke was 21 years old and working in his father's studio when commissioned by O'Connell. The Honan windows became his first works for a public space and went on to establish his reputation as a significant international artist. A contemporary reviewer, comparing the windows to French medieval glass, including those in the Gothic royal chapel of Sainte-Chapelle, described them as "remarkable" and a "distinct advance on anything which has been heretofore done in Ireland in stained glass". Clarke's windows are all single-light (that have just one opening, or vertical panel), each consisting of nine separate panels. They are decorated with simplified, often whimsical forms which are nevertheless highly stylised. The windows contain Celtic designs and motifs, as well as figures and incidents from the life of each saint. The most obvious Celtic embellishments are Mary's red hair and green halo, and Brendan's pampooties. The writer M. J. O'Kelly suggests they evoke "the spirit of the ancient Celt". His designs blend Catholic iconography with motifs from Celtic mythology in a style that draws heavily from Art Nouveau, in particular the darker, fin de siècle works of Gustav Klimt, Aubrey Beardsley and Egon Schiele. His blending of bold and dark colours has been praised, especially for the effects they achieve in morning light.

The designer Percy Oswald Reeves highlighted Clarkes' windows for their "beauty of ... colour, quality and treatment of each piece of glass". His individualised depictions of saints and merging of Catholic and early medieval imagery in a modern and individualised style was at odds with prevailing trends in Irish church art, which were still favouring soft, Raphael-like imagery. According to the scholar Luke Gibbons, Clarke's break "from episcopal interference ... enabled [him] to exploit vernacular traditions of local saints ... that belonged more to legend and folklore ... and whose popular appeal lay outside the highly centralised power of post-famine ultramontane Catholicism."

#### Patrick, Brigid and Columcille

Designed in 1915 and the first of Clarke's designs to be completed, the Triadis Thaumaturga windows of Ireland's three patron saints, Brigid, Saint Patrick and Columcille, are positioned on the west wall above the main entrance door. The Patrick window was the first of Clarke's windows. He worked on it for two months beginning on 18 March 1915, the day after his 21st birthday. The window, at 11.6 x 2.10 inches (29.5 x 5.3 cm) the largest in the chapel, is positioned on a base of five lilies, and the deep blue and green hues in the window were achieved using sheets of "antique" pot metal glass which were specially ordered from Chance Glasswork in Birmingham. Patrick wears a bishop's mitre and holds a crosier in one hand and a shamrock in the other. The upper panel shows the saint's birth, the lower panel his death. The borders are decorated with what O'Connell described as "symbols of his learning, his justice, his kingly dignity, of truth, of spiritual fire, of light overcoming darkness, of the serpent typical of the reptiles which he banished from Ireland".

Clark depicts Brigid in a blue cloak and robe, wearing a white headdress decorated with spirals. A large angel wearing a multi-coloured robe is positioned above her, while another four hover at her feet. She holds a representation of Kildare Cathedral, which she is said to have founded. A lamb alongside her represents faith, while the calf signifies innocence. The window was well received by critics when first shown in Clarke's studio in Dublin, and was a key element in his attaining the commission for the Honan windows.

Columcille, whose name translates as "Church Dove" (Colm Cille), lived in the 6th-century and is said to have founded Iona Abbey. Clarke shows him as accompanied by the dove O'Connell describes as his "daily adviser and companion", and the white horse said to have "comforted him in his last days". He is dressed in red, green and blue vestments, and holds a silver and gold mitre.

#### Brendan, Declan and Gobnait

The Brendan, Declan and Gobnait windows were completed as a group from August to October 1916. Following the Easter Rising that year, Clarke and his wife, Margaret Quincey, had left Dublin to move into a cottage in Mount Merrion, Blackrock. Clarke was under considerable pressure to complete and install the three windows in time for the chapel's 5 November consecration.

St Brendan's window illustrates episodes from the "Voyage of Saint Brendan the Abbot", first recorded c. 900 AD. Brendan wears a robe of blue, purple, greens and gold hues, and fishnet gloves. In his left hand he holds a paddle as a reference to his reputation as a seaman and voyager. In the lower panel a grotesque, claw-limbed Judas Iscariot appears, described by the writer Lucy Costigan as a "devilish figure surrounded by red and yellow flames", his lower body transformed into that of a goat. According to legend, Brendan found Judas abandoned on a rock in the ocean, condemned to be tormented for eternity by demons. In another traditional recounting, he arrives at an island referred to as the "Paradise of Birds", where birds sing psalms "as if with one voice" in praise of God; Clarke reflects this in the depictions of birds on the window's borders. As with several of Clarke's windows at Honan, Brendan's panels reflect the artist's taste for the macabre, especially in what Costigan describes as "the woefully metamorphosed fallen angels from the Paradise of Birds island" and "Brendan's sore-tried contemporaries" lining the window's borders.

Declán of Ardmore lived in the 5th century and is the patron saint of the Decii clan of County Waterford. The main image is dominated by mustard yellow hues, and shows Declán wearing a hooded cloak in red and gold. He holds a long cross and is surrounded by a patchwork of red, purple, gold and black glass shards. The upper panels detail his return to Ireland from Wales and show the saint carrying a bell, one of his attributes. According to legend, the bell, sent to Declán as a gift from heaven, was inadvertently left behind on a rock, but in response to his prayers, it miraculously reappeared in Ardmore. In the lower panel Declán, his assistant Ruamus, and followers are shown meeting Patrick on their return from Rome where Declán had studied and been consecrated bishop. Declán wears a red and gold cloak, and opposite him, Patrick is dressed in green, purple and fawn. On either side of them are Ruamus, holding the bell, and an unidentified attendant, holding a candle.

The Saint Gobnait window was described by the curator and writer Audrey Whitty as the "most remarkable" of the Honan windows and a high point of Clarke's career. While a number of the early Honan windows were completed by assistants working from his designs, Clarke designed the cartoon, the final window, oversaw the installation in Cork. It is located on the north side of the chapel, and depicts scenes from the life of Gobnait, a healer who established a convent in Ballyvourney and became the patron saint of bees.

In the main panel, Gobnait is shown in half-profile with a pale, thin and ascetic face and individualistic, unmistakably Irish features. She wears royal blue and purple robes adorned with lozenged jewels, a veil and a silver cloak. Her clothing draws on Léon Bakst's costume for Ida Rubinstein's 1911 performance of Le Martyre de saint Sébastien. Her right arm is outstretched in a pose influenced by Beardsley's facial and figurative types, Alesso Baldovinetti's c. 1465 Portrait of a Lady in Yellow, and portraits by Donatello. In the upper panel, the victims of a plague flee to her for sanctuary and protection. The image shows her drawing the sign of the cross on the road and marking a line around her church with her crosier. According to O'Connell, the line represents the point beyond which "the infection did not come, so that none of those who lived and served with her suffered from the plague".

Clarke and his assistant Kathleen Quigly completed the window's modello under considerable time pressure over five weeks in 1914, during the offer period for the commission. A monochrome study was made in pencil, pen, inks, and watercolour on board, before the cartoon, now at the Corning Museum of Glass, was completed and eventually transferred to glass. During this process, each panel was cut up, waxed and painted. This was an expensive process for the largely unknown artist, and was funded by both his father and his friend Austin Malloy.

The window is described by Teehan as "kaleidoscopically sumptuous" and "filled with a wealth of art historical allusions, often unexpected". According to the Irish novelist E. Œ. Somerville, it evokes late 19th-century decadence in its resemblance to a Beardsley–type female face, which "though horrible [is] so modern and conventionally unconventional ... [Clarke's] windows have a kind of hellish splendour."

#### Finbarr and Ita

The chapel is dedicated to Finbarr, patron saint of Cork. His window was completed in 1916 alongside Ita's, and is located on the north wall of the nave. Its colour scheme is dominated by a series of red hues. The upper panel depicts his parents who, by legend, were sentenced to death by burning after his mother refused to marry the chieftain Tyagerlach of Rathluin. The panel shows them rescued by the divine hurricane said to have put out the fire about to engulf them. Finbarr, like his mother in the upper panel, has blond hair. He wears a chasuble coloured in a variety of red and rosepink colours. He holds an ornately decorated crosier in his left hand, and on his right hand is the glove he is said to have worn continuously since the day he met with Christ, who, according to O'Connell "raised the kneeling saint by his right hand, after which it ever glowed with a celestial radiance which could not be obscured, and which was only to be borne if the hand were kept covered with a glove". In the lower register, Finbarr prays alongside bishop Maccuirp, under whom he studied in Macroom.

The little-known ascetic Íte of Killeedy (sometimes "The Brigid of Munster") was born as either Deirdre or Dorothy in the 6th century to a local chieftain, probably in Decies-within-Drum in County Waterford, and thought to have been a descendant of Fedlimid Rechtmar and Conn of the Hundred Battles. She is in places referred to as Ita the Wise, and having changed her name to Ita due to her "extraordinary thirst for divine love", later becoming the patron saint of Killeedy in County Limerick. Her window is dominated by shades of blue, a colour usually associated with Brigid.

Íte wears royal blue clothes and her facial features are based on representations of the Eastern Roman Empress Theodora, who died in 548. The white glass surrounding her head is intended to represent a halo. The upper register shows Mary enthroned as Queen of Heaven. She is dressed in red, gold and blue robes, and shards of white glass interwoven with painted oak colours radiating from her head, representing a halo. which according to O'Connell, "symbolizes the spiritual fire which Ita spent her life in enkindling and keeping burning". Clarke wrote of the window that "in the border and wherever possible emblems are introduced symbolising Ita's great devotion to the Holy Trinity". Three jewels representing the holy trinity are sewn into her gown. The lower panel shows her, alongside her maids, in prayer to the Trinity, with, according to O'Connell, their "prayers ascending through the firmament to the Throne of God". Clarke's preparatory notes describe the lower register as depicting "St. Ita with her holy maids [who pray] with St Coleman and St. Brendan", while the borders show "the heads of four Irish saints over whom St. Ita exercised spiritual influence".

#### Albert of Cashel

The window of the little-known 8th-century missionary saint Albert of Cashel was designed immediately after the Finbarr and Ita windows. It was installed in 1916 in the chapel's north wall. Albert is shown preaching in the upper panel, with red hair and a purple chasuble, crimson stole and a mitre. He sits on an elaborately decorated green, blue and golden throne, which is positioned underneath a large cross. His shoes are decorated with blue and grey diamonds, while the keys to the Kingdom of Heaven are shown at his feet. The window is adorned with Celtic motifs, including the bronze spirals around his beard. The lower register shows him in the act of blessing as he walks in a procession with his followers, who include St. Erhard and St. Hildulph, both of whom he is said to have met while in Regensburg in Bavaria, Germany.

#### Our Lady of Sorrows and Joseph

The last two of Clarke's windows depict Mary and Joseph, and were installed in Cork in April 1917, a year after the chapel's opening. Both were favourably reviewed when previewed in his Dublin studio. Mary's window is located to the right of the altar. Due to its mournful tone, it is said to depict Our Lady of Sorrows. She is shown as "Mary of the Irish", with red hair and an emerald halo. She wears a deep royal blue and turquoise robe, and is shown holding a pink rose. The uppermost panel contains a star representing of the Holy Family, below which is the Holy Spirit indicated by tongues of fire. In the lower panel, St. Cronan of Roscrea holds a scroll inscribed with notation and lyrics from "Cronan na Magdine", an Irish lullaby. He is surrounded by four early Christian martyrs, each bearing emblems. Around these figures are four Japanese seals, influenced by work from Henry Payne's students at the Birmingham School of Art.

The upper panel of Joseph's window shows the saint wearing a crown of fire, and standing beside the Holy Family and four angels. In the main panel, he wears a gold and red cloak, and is given a blue and green halo. Clarke's depiction of Joseph is based on a 14th-century representation of the prophet Zephaniah now in the Victoria and Albert Museum, London. In contrast to contemporary Catholic representations of Joseph which depict him as a healthy and strong middle-aged man, Clarke shows him in the medieval tradition, as an old and frail man. The lower panel illustrates Joseph's death, with Mary, Jesus, Finbarr, Columcille and a number of other saints kneeling in prayer at his deathbed.

### An Túr Gloine

Sarah Purser and Edward Martyn formed An Túr Gloine ("The Glass Tower") in 1902 as a workshop to advance the artistic quality of stained glass production in Ireland. The workshop was managed by Sarah Purser's pupil A. E. Child, who was then teaching at the Metropolitan School of Art in Dublin. The studio's eight windows are attributed to Child, O'Brien and Ethel Rhind. The cartoons, like those from Clarke's studio, were designed and realised in Dublin before installation in Cork. Although their subject matter is similar to Clarke's, An Túr Gloine window's are very different in style and not of the same quality, being somewhat conventional by comparison. They are minimalist in line and colour, consisting of a dominating but simply rendered and naturalistic central figure in pale hues, surrounded by uncomplicated, largely empty opaque sub-panels. The most prominently placed window is Child's "Our Lord" on the east gable above the altar. Child depicts the risen Christ in simple forms, subdued colours and with a strong but dignified facial expression. O'Kelly's describes the portrait of Christ's eyes "as look[ing] out on humanity with a welcoming and understanding sympathy".

#### Our Lord (Child)

The central single-light window was designed by Alfred Child and is located directly above the altar. It is set in pale and subdued tones, and shows the risen Christ holding the banner of the Resurrection. He is marked apart from the other saints by the window's stone frames, the splendour of his crown, his crimson robe and his royal jewels. O'Connell described the window as a "touching and appealing figure marked apart in its frame of stone [which] forms the centre of such rich but restrained decoration as the chapel contains". O'Kelly wrote that his "bearded countenance is calm and dignified and the eyes look out on humanity with a welcoming and understanding sympathy".

#### St John (O'Brien)

Catherine O'Brien, who came from an Anglo-Irish and devout Church of Ireland family, joined An Túr Gloine in 1904 and is credited with three of the chapel's windows. The "St John" window is the only window in the chapel to portray a biblical narrative and is usually considered the strongest of An Túr Gloine's windows. It is divided into three registers, each containing pairs of medallions. Its imagery mostly comes from the life of Christ as told in the Gospel of John and draws more from close readings of scripture than traditional Catholic iconography. The upper panel is based on Revelations 1:1, and shows a vision of the glorified Christ in Majesty, with the Alpha and Omega symbols and the seven candles.

The crucifixion scene in the central panel is more richly coloured than the other panels and follows tradition in showing Mary and John at the foot of the cross. More characteristic of Protestant than Catholic iconography is the depiction of a serpent with its mouth open, coiled around the cross below Jesus' feet; the serpent probably refers to Genesis 3:15: "And I will put enmity between thee (the serpent) and the woman, and between thy seed and her seed; it shall bruise thy head, and thou shalt bruise his heel." The medallions below the crucifixion reflect two accounts of John's brother James. The lowest register is again in bright colours and shows the calling of James and John. The images stay with scriptural tradition; James and John are accompanied by their father, and are the second pair to be called, after St. Peter and St Andrew, who are already at Jesus' side. The eagle at the foot of the window is John's usual symbol.

## Furnishings, textiles and objects

O'Connell was keen that the chapel's artwork would draw from Ireland's ancient culture and was heavily influenced by 19th-century antiquarian research into early Christian and early medieval art, in particular early medieval metal and stone works and illuminated manuscripts. He wanted the chapel to reflect the earlier period's influence on Irish culture, while maintaining a relatively simple physical outlay, comprising what Teehan describes as a "peaceful, dignified space". The chapel's furniture includes circular iron ventilation ceiling panels and the oak chair and kneeler reserved for the president. The majority of the fittings were designed by McMullen or Sisk & Sons. The original furnishings and oak pews were designed to blend into the chapel's Celtic Revival style and (according to Teehan) create "a way that represented the spirit and skill of earlier times [that] could nonetheless be fully appreciated by contemporary society. The overall effect is one of simplicity and restfulness." Changes in liturgy following Vatican II meant that a number of furnishings had to be replaced, a project overseen by the chapel's then dean, Gearóid Ó Súilleabháin. The Honan has a large collection of metalwork and enamel pieces built by Edmond Johnson's and Egan & Sons, all in the Celtic Revival style. The most well-known piece is a large processional cross, a replica of the 12th-century ornamented processional Cross of Cong, which contains a number of inscriptions, including a remembrance for the chapel's benefactors, Mathew, Robert and Isabella Honan; and for John and Mary O'Connell.

Other items include further processional crosses, chalices, candlesticks, dishes, bells, hinges, and the iron gates at the entrance. O'Connell commissioned Egan & Sons for the altar plate and vestments. Most of the textile collection was designed by the Dun Emer Guild co-founded in Dublin by Evelyn Gleeson, with her niece Kitty MacCormack working on the textile designs for the chapel. Their additions include vestments, chasubles, burses, veils, stoles, maniples, altar cloths, wall hangings and altar fronts. The tapestry dossal on the east wall, designed and woven by Gleeson, contains Celtic symbols borrowed from the Book of Durrow. Materials vary from silk embroidery, gold braid, gold thread, linen, poplin and cotton. In general the textiles follow the usual liturgical colours for the seasons of the liturgical year. Most of the designs are centred around the Life of Mary, or the Passion, or Crucifixion, with black and white being the predominant colours.

The pipe organ is on the west wall in a timber frame. It was built by Wicklow native Kenneth Jones and installed in 1996.

Michael Barry Egan's firm designed and sewed many of the vestments. A highlight is the Y-shaped, silver threaded chasuble in black poplin cloth, made for use at funerals. Covering the altar is a violet altar cloth with an altar frontal that is decorated with Celtic interlacing, realised in shades of purple silk with orange and yellow highlights, and a border of lemon and violet cotton satin. The "Black set" of Honan textiles includes an altar frontal with a Celtic cross based on a gravestone from Tullylease Church in Cork, and a black hooded cope with a crown of thorns design, and a black chasuble designed for funeral masses containing Celtic interlace patterns.

## Administration and liturgical services

The chapel's day-to-day operations are run in conjunction with UCC's chaplaincy department, while management and funding is provided by the Honan Trust, established in 1915. The Honan is a separate legal entity from the university and holds the title for its demise, bounded by its back wall and chapel gates. Its dean is secretary to the Board of Governors of the trust, manages the staff and finances, and is responsible for the chapel's conservation and maintenance. The chapel holds daily and Sunday masses as well as memorial services for deceased students and staff. Morning prayers are held each Monday and daily during Advent and Lent. It hosts an average of 150 wedding services per year for graduates, which are a funding source for the chapel. It also holds a number of musical and other cultural events.

Catholic church at University College Cork, Ireland

20th-century Roman Catholic church buildings in Ireland

20th-century churches in the Republic of Ireland

Roman Catholic churches completed in 1916

Romanesque Revival architecture in Ireland