THE CHURCH AND THE GRAVE

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ST NAHI’S CHURCH AND GRAVEYARD IN DECEMBER 2010 USING A SONY NEX-5

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LEGACY PHOTO COLLECTION

St Nahi’s Church, located in the heart of Dundrum, Dublin, is an 18th-century Anglican church with a rich history. The adjacent graveyard, dating back to at least 1734, provides a tangible link to the area’s past. Here’s what we know:

Early History: While the current church building dates from the 18th century, the site itself has likely held religious significance for much longer. St. Nahi, the church’s namesake, was an early Irish saint associated with County Dublin.

The Graveyard: With over 467 headstones bearing inscriptions, the graveyard serves as a poignant record of Dundrum’s residents across the centuries. The oldest legible headstone dates from 1734, offering a glimpse into the lives of those who lived in the area during that time.

Evolution of the Site: The graveyard has expanded over time, reflecting the growth of the surrounding community. The presence of the Luas line nearby highlights how infrastructure has developed around this historic site, juxtaposing the old and the new.

Notable Burials: St Nahi’s graveyard is the final resting place of several notable figures, including:
Séamus Brennan: A prominent Irish politician and former government minister.
William Monk Gibbon: A respected poet and writer.
David Richard Pigot: A judge who served in the 19th century.

Preservation Efforts: While some headstones show signs of weathering, efforts have been made to preserve this valuable historical resource. The Taney Parish, which oversees St Nahi’s, maintains records of those buried in the graveyard, making this information accessible to those interested in genealogical research.

The Sony NEX-5: A Pioneering Mirrorless Camera

My decision to switch to the Sony NEX-5 in 2010 was a big risk and it was very expensive. At that time, DSLR cameras dominated the market, and mirrorless models were often seen as inferior. However, the NEX-5 offered several advantages that made it a compelling choice:

Compact Size and Weight: One of the key benefits of mirrorless cameras is their smaller size and lighter weight compared to DSLRs. This made the NEX-5 more portable and convenient for everyday photography.
Image Quality: Despite its compact size, the NEX-5 boasted an APS-C sensor, which was comparable in size to those found in many DSLRs. This allowed it to produce high-quality images with good detail and dynamic range.
Interchangeable Lenses: The NEX-5’s interchangeable lens system provided flexibility and creative control. The ability to adapt my existing Canon lenses to the NEX-5 via an adapter highlights another advantage of this system.

Video Capabilities: The NEX-5 was one of the first mirrorless cameras to offer Full HD video recording, a feature that was becoming increasingly important for photographers.

Today, mirrorless cameras have become the dominant force in the camera market, proving that my early adoption was indeed a good one.

ST ANTHONY’S CHURCH ON CLONTARF ROAD AND WHAT WAS ONCE CLONTARF TOWN HALL

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2017 LEGACY PHOTO COLLECTION BY WILLIAM MURPHY

St Anthony’s Church on Clontarf Road (and what was once Clontarf Town Hall)

Many are familiar with Saint Anthony’s Church on Clontarf Road, but fewer realise that the current parish church is actually situated behind an older building, a structure that once served as the town hall.

St Anthony’s parish, Clontarf, was formed in 1966 when it separated from the historic Parish of Clontarf. The parish, located in the Fingal South East deanery of the Roman Catholic Archdiocese of Dublin, is served by a Church of St Anthony of Padua, built in 1975.

This modern church succeeded an older building of the same name which initially served as a chapel-of-ease. This older church, a protected structure, had previously been the Town Hall for Clontarf during the brief period when the district was incorporated as a town under the control of local Commissioners.

The parish encompasses the part of Clontarf from the junction of Howth Road with Clontarf Road, extending south of the Parish of Killester and then dividing the district along the line of Castle Avenue. This area includes the Garda station, a secondary retail area, and localities such as Seafield.

Interestingly, within the parish bounds, there was once a holy well, named for either St. Philip or St. Dennis. Located in the vicinity of The Stiles Road, this well is no longer visible.

St Anthony’s Hall: A Building with a Rich History

St Anthony’s Hall, previously known as St Anthony’s Parish Church (Irish: Eaglais Pharóiste Naomh Antaine) and, before that, Clontarf Town Hall (Irish: Halla an Bhaile Cluain Tarbh), is a former ecclesiastical building and, even earlier, a municipal building on Clontarf Road. Today, it serves as a parish hall for St Anthony’s Parish Church.

From Town Hall to Place of Worship

The township of Clontarf appointed town commissioners in 1869 following significant population growth, partly due to the area’s popularity as a tourist destination and its development as a residential suburb of Dublin. In the early 1890s, the town commissioners decided to erect a town hall. The site they selected on the north side of Clontarf Road was generously donated by the local landowner, Colonel Edward Vernon, whose seat was at Clontarf Castle.

The new building, designed in the Gothic Revival style by William George Perrott, was constructed in red brick by Robert Farquharson and completed in 1896. The design featured a gabled main frontage facing onto Clontarf Road. The side elevations, each with six bays, were fenestrated by pairs of lancet windows and flanked by buttresses.

In 1899, the town commissioners were replaced by an urban district council, and the building on Clontarf Road briefly served as the meeting place of the new council. However, the town hall ceased to be the local seat of government in 1900 when the urban district was annexed by the City of Dublin.

A Hub of Republican Activity

The Irish republican, Michael McGinn, became caretaker of the town hall in 1901 and also keeper of the town hall library, which was established in the building in 1902. He played a crucial role in facilitating meetings of the supreme council of the Irish Republican Brotherhood at the town hall. It was at one such meeting in January 1916 that the supreme council agreed to a proposal from Seán Mac Diarmada that a rebellion should proceed “at the earliest date possible”. At this same meeting, the leader of the Irish Citizen Army, James Connolly, was persuaded to join the rebellion. On 16 April 1916, another republican, Paddy Daly, was questioned in the town hall about his proposal to destroy the Magazine Fort in the Phoenix Park. The Easter Rising went ahead a week later.

The town hall, which had already started showing silent films, reopened after the First World War as a picture theatre in December 1919. After Michael McGinn’s death, his wife, Catherine, became caretaker and provided accommodation for republican leaders during the Irish War of Independence.

From Civic Building to Sacred Space

The building was converted into a chapel of ease in 1926. The main frontage facing onto Clontarf Road was refaced in rusticated granite. The new facing featured an arched doorway, dressed with an ashlar granite architrave and enhanced with a carved shield in the tympanum. The entrance was flanked by two small arched windows, and there was a tripartite mullioned window on the first floor.

The building became a parish church in its own right, as St Anthony’s Parish Church, in 1966. After a modern Catholic church was built for the parish just to the north in 1975, the original building was converted for use as the parish hall for the area and became known as St Anthony’s Hall. The former presbytery at the back of the hall was demolished in 1998.

ST PETER’S CHURCH IN PHIBSBOROUGH HAS A NUMBER OF STUNNING HARRY CLARKE CREATIONS

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LEGACY 2022 PHOTO COLLECTION

As a woman objected to me photographing within the church I was unable to properly photograph the windows by Harry Clarke which is a pity as that was the purpose of my visit.

St. Peter’s Church in Phibsborough, Dublin, is a beautiful and historically significant building that has served the local Catholic community for almost two centuries. Built in phases, it’s an interesting blend of architectural styles, with the main structure dating back to the 1860s and its striking tower and spire added in 1907. But beyond its architectural and historical significance, St. Peter’s houses a hidden gem: a collection of exquisite stained-glass windows by the renowned Irish artist, Harry Clarke.  

Harry Clarke: A Master of Stained Glass

Born in Dublin in 1889, Harry Clarke was a leading figure in the Irish Arts and Crafts Movement. Though he tragically died young at the age of 41, he left behind an impressive legacy of stained glass, illustrations, and illuminated manuscripts. His unique style, characterised by vibrant colours, intricate details, and a touch of the macabre, set him apart from his contemporaries.  

Clarke’s artistic vision was influenced by Art Nouveau and Symbolism, but he also drew inspiration from Irish mythology and religious iconography. His windows often feature elongated figures, flowing lines, and rich jewel tones, creating a mesmerising and otherworldly effect.  

Clarke’s Windows at St. Peter’s

St. Peter’s Church is fortunate to possess several of Harry Clarke’s stunning creations. These windows, installed in the 1920s, showcase his signature style and exceptional craftsmanship. Some notable examples include:

The Nativity Window: This vibrant window depicts the birth of Christ, with intricate details and a beautiful array of colours.
The Sacred Heart Window: A devotional window showcasing the Sacred Heart of Jesus, surrounded by symbolic imagery.  
The St. Patrick Window: This window portrays scenes from the life of Ireland’s patron saint, with Clarke’s characteristic use of Celtic motifs.
These windows are not merely decorative elements; they serve as powerful visual narratives that enhance the spiritual atmosphere of the church. Clarke’s artistry transforms light into a medium of religious expression, casting colourful patterns and illuminating the sacred stories depicted in the glass.

A Synthesis of Art and Faith

St. Peter’s Church stands as a testament to the enduring power of art and faith. The building itself, with its rich history and evolving architecture, reflects the growth and resilience of the Phibsborough community. And within its walls, Harry Clarke’s stained-glass windows offer a glimpse into the soul of a gifted artist, inviting contemplation and inspiring awe.

The Celtic Cross outside St. Peter’s – it’s a striking monument that adds another layer of historical and artistic interest to the site.

This High Cross, standing tall and proud at the main entrance, is actually a 19th-century creation, dating back to the mid-1800s, a period when there was a revival of interest in Celtic art and heritage in Ireland. It’s a beautiful example of this Celtic Revival style, with intricate carvings and traditional symbolism.

Here are some key features of the cross:

Materials: It’s crafted from granite, a durable material that has weathered the years well.
Design: The cross follows the classic form of a Celtic High Cross with a ring around the intersection of the arms. It features elaborate carvings with interwoven patterns and figures, typical of Celtic art.  
Symbolism: The cross is richly symbolic. Notice the skull and crossbones at the top, a reminder of mortality. Below this are four panels depicting symbols associated with the Passion of Christ:
The Cock: Represents Peter’s denial of Christ.
The Chalice and Host: Symbols of the Eucharist.
The Crown of Thorns: Represents Christ’s suffering.
The Spear and Sponge: Refer to the instruments of Christ’s crucifixion.
This cross serves as a powerful visual reminder of faith and mortality as people enter the church. It connects the church to Ireland’s rich Christian heritage, which has its roots in early Celtic Christianity. It’s also a testament to the enduring appeal of Celtic art and its ability to convey spiritual meaning.

If you ever find yourself in Dublin, a visit to St. Peter’s Church is highly recommended. Take some time to appreciate the beauty of its architecture and the artistry of Harry Clarke’s windows. You won’t be disappointed.

SAINT BRIGID’S CHURCH ROAD IN STILLORGAN

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PHOTOGRAPHED BY WILLIAM MURPHY

Unfortunately I could not gain access to the church or the graveyard.

St. Brigid’s Church, Stillorgan: A History Spanning Centuries

Stillorgan, a suburb south of Dublin, boasts a rich history intertwined with St. Brigid’s Church. The name Stillorgan is believed to be a corruption of the Irish Teach Lorcáin, meaning “Lorcán’s Church”. Lorcán may have been an Irish chieftain or even Saint Laurence O’Toole, who had connections to Kildare and St. Brigid.

Early Origins and Monastic Connections

The church’s dedication to St. Brigid suggests a strong link to Kildare’s renowned monastery. In early Christian Ireland, monastic communities, rather than parishes, were central to religious life. St. Brigid’s Church likely originated as a chapel connected to Kildare, reflecting the monastic tradition of extending influence through satellite locations.

Intriguingly, the thirteenth-century clergyman in charge of Stillorgan also held the position of Treasurer of St. Brigid’s Cathedral in Kildare, further cementing the connection.

Norman Influence and Architectural Evolution

The arrival of the Normans in the twelfth century marked a turning point. Norman knights, such as Raymond Carew, who received lands in Stillorgan, were not only skilled warriors but also enthusiastic builders. They significantly influenced Irish church architecture, shifting from the smaller, simpler structures of the Celtic period to grander edifices. Christ Church Cathedral and St. Patrick’s Cathedral in Dublin exemplify this Norman impact.

While no physical remnants of the early Celtic church remain, the site itself, the churchyard, and possibly a nearby holy well provide tangible links to this distant past. The present St. Brigid’s Church stands on this ancient site, a testament to the continuity of Christian worship in Stillorgan for over a millennium.

Turbulent Times and Fortified Manor Houses

The Norman era also brought instability and conflict. Raids from native Irish clans based in the Dublin and Wicklow Mountains were a constant threat, prompting the construction of fortified manor houses and castles. Stillorgan’s fortified manor house, occupied by various families over the centuries, played a crucial role in local defence.

Despite these challenges, agriculture flourished under Norman rule, with monastic communities contributing to improved farming techniques. The Dean’s Grange area, originally a monastic farm, bears witness to this agricultural development.

Rebuilding and Restoration

St. Brigid’s Church, like many others, fell into ruin during the tumultuous sixteenth and seventeenth centuries. Its rebuilding in the early eighteenth century, thanks to the efforts of Archbishop King and Colonel John Allen, marked a new chapter in its history. However, the building required further restoration in 1760, highlighting the challenges of maintaining religious structures in those times.

The eighteenth century saw Stillorgan emerge as a prominent social hub, with Stillorgan House, built by the Allen family, hosting gatherings attended by notable figures like Dean Swift and the Earl of Kildare. The surrounding area gradually transformed, with the development of Carysfort House and other grand residences.

St. Brigid’s Church Today

St. Brigid’s Church continues to serve the community, its present structure incorporating elements from various periods, including the tower and northern aisle added in 1812. Although many parish records were tragically lost during the destruction of the Four Courts in 1922, the church remains a vital part of Stillorgan’s heritage.

In summary, St. Brigid’s Church in Stillorgan has witnessed centuries of change, from its early monastic connections to Norman influence, periods of conflict and rebuilding, and its role in the social life of a thriving community. It stands as a symbol of continuity and resilience, a tangible link to Stillorgan’s rich and layered past.

CHURCH OF THE ANNUNCIATION ARBOUR HILL

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10 OCTOBER 2024

The Church of the Annunciation, nestled in the historic Arbour Hill area of Dublin, boasts a fascinating history that reflects the evolving landscape of the city. Originally built in the late 19th century (circa 1890), the building first served as the Victoria Kindergarten School. This was during a period when Arbour Hill was heavily associated with the British military presence in Dublin, with the nearby Arbour Hill Prison and Royal Barracks (now Collins Barracks).

Designed by George Smith, the building exhibits typical Victorian architectural features. Its sturdy red brick construction and distinctive arched windows speak to the prevailing aesthetic of the time. While its early years were dedicated to education, the building’s purpose would eventually shift, reflecting the changing demographics and needs of the city.

Interestingly, the church shares its name and dedication with a far older and more famous site: The Greek Orthodox Church of the Annunciation in Nazareth, Israel. Also known as the Church of St. Gabriel, this Nazareth church is one of two claimants to the site where the angel Gabriel appeared to the Virgin Mary. Likely first established in the Byzantine era, it has a long and complex history, having been rebuilt during the Crusades and again in the 18th century. It is revered for its connection to the Annunciation and for housing an underground spring, believed to be the very place where Mary was drawing water when the angel appeared.

In Dublin, the journey towards becoming the Church of the Annunciation began in 1993 when the building was acquired by the Greek Orthodox community for £80,550. Following extensive renovations, it was consecrated just 12 months later, in 1994. The church’s interior is particularly noteworthy, drawing inspiration from the 14th-century Byzantine Basilica of the Dormition in Kalambaka, Greece. This gives the relatively small church a sense of grandeur and history, connecting it to a rich tradition of Orthodox architecture.

However, the Greek Orthodox community’s time in Arbour Hill was relatively short-lived. In 2001, they moved to a new, larger premises in Harold’s Cross: the Greek Orthodox Cathedral of the Annunciation. This move reflects the growth of the community and their need for a larger space to accommodate their congregation.

Since 2001, the Arbour Hill church has been home to the Ethiopian Orthodox Tewahedo Church, serving the growing Ethiopian Orthodox community in Dublin. This transition highlights the dynamic nature of religious spaces in a multicultural city like Dublin, where buildings can adapt to serve the needs of different faith communities over time. It’s a testament to the spirit of interfaith understanding and cooperation.

Though under new stewardship, the church in Arbour Hill retains its dedication to the Annunciation, a beautiful continuity in its sacred purpose. It stands as a testament to the enduring power of faith and community, the adaptability of historic buildings, and the evolving religious landscape of Dublin.

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