THE CHURCH AND THE GRAVE

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

November 12, 2024 by infomatique

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

November 4, 2024 by infomatique

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.

THE ORIGINAL KILMACUD CHURCH OF EASE

November 4, 2024 by infomatique

NOW REPURPOSED AS A COMMERCIAL BUILDING

The building featured in the property pages of local newspapers as was described as follows: The subject property occupies a high profile location in the centre of Stillorgan village, a coveted south Dublin trading location, which benefits from its ease of accessibility and close proximity to a host of mature south Dublin suburbs. Ideally situated within a short distance of Stillorgan Shopping Centre, adjacent occupiers include Platinum Pilates, Gotham South, DID Electrical, and The Mill House Bar.

Early History:

Ancient origins: While Kilmacud’s name derives from the 7th-century Saint Mochuda, the area’s religious history likely goes back further, with possible connections to St. Brigid’s monastery in Kildare.

Medieval church: A church likely existed in Kilmacud from the early medieval period, possibly resembling typical early Irish monastic churches with a small church, cells, a refectory, and a school.
Decline and Reorganisation: The church in Kilmacud seems to have faced periods of decline and disrepair. By the 17th century, the area was part of the large Booterstown parish, which underwent various boundary changes over time.

Chapel of Ease:

Construction: In the mid-19th century, due to the growing population and the “overcapacity” of the old primary school, Monsignor Forde, the Parish Priest of Booterstown, decided to adapt and enlarge the school building into a Chapel of Ease. This was completed in 1867 and dedicated to SS Laurence and Cuthbert.
Purpose: Chapels of Ease were built to serve areas distant from the main parish church, providing a more convenient place for worship.
Growth and Change: The Chapel of Ease served the Kilmacud community for many years. In 1948, it was amalgamated with the chapel of ease in Mount Merrion. Then, in 1964, Kilmacud became a parish in its own right.
Present Day:

New Church: With the growing population, a new church (St. Laurence O’Toole) was built in 1969, and the old Chapel of Ease was eventually deconsecrated.
Repurposed: The building now serves as a cafe/shop/restaurant, retaining some of its original architectural features. This is a common fate for many old churches, allowing them to continue serving the community in a new way.
Additional Notes:

Location: The old church is located on Lower Kilmacud Road.
Architecture: While the exact architectural style is unclear, it likely reflects the prevailing styles of the mid-19th century, possibly with Gothic Revival elements.

I noticed a sign outside the church indicating that it was Stillorgan Village but when I was young this was very much Kilmacud.

Stillorgan and Kilmacud are essentially intertwined, with a somewhat blurry boundary between them. Here’s how they interface:

Geographically:

Lower Kilmacud Road: This road runs from Goatstown through Kilmacud and eventually meets the Stillorgan dual carriageway (N11). This is a key point of intersection where the two areas merge.
Residential Areas: Housing estates and residential roads in the area often straddle the boundary, making it difficult to pinpoint exactly where one ends and the other begins.
Shared Amenities: Residents of both areas often share amenities like shops, schools, and parks, further blurring the lines between them.

Historically:

Parish Boundaries: Kilmacud was historically part of the larger Booterstown parish, which also included Stillorgan. This shared religious history contributed to their interconnectedness.

In Practice:

Overlapping Perceptions: Even locals sometimes disagree on where exactly Kilmacud ends and Stillorgan begins. It’s more of a gradual transition than a clear dividing line.
Postal Addresses: Some addresses might use “Stillorgan” even though they are geographically closer to the centre of Kilmacud, and vice versa.

Key landmarks near the interface:

Stillorgan Shopping Centre: Located in Stillorgan, it’s a popular shopping destination for residents of both areas.
Kilmacud Crokes GAA Club: Based in Glenalbyn, it’s a prominent landmark near the border and draws members from both Stillorgan and Kilmacud.
Essentially, Stillorgan and Kilmacud are closely linked suburbs with a shared history and overlapping community. While there’s no official boundary marked on the ground, the Lower Kilmacud Road and surrounding residential areas represent the main interface between them.

ARBOUR HILL CEMETERY AND 1916 MEMORIAL

October 28, 2024 by infomatique

PHOTOGRAPHED 10 OCTOBER 2024

What was once a parade ground for the Arbour Hill prison is now the burial plot of 14 of the leaders of the 1916 Easter Rising, the armed insurrection that eventually led to the establishment of an independent Irish Republic.

Arbour Hill in Dublin holds a profound place in Irish history, particularly in relation to the 1916 Easter Rising. It is the site of a military cemetery, where fourteen of the executed leaders of the Rising are laid to rest.

The 1916 Memorials at Arbour Hill

The central memorial at Arbour Hill is a large, curved wall constructed from Wicklow Ardbraccan limestone. This wall features the full text of the 1916 Proclamation of the Irish Republic, meticulously hand-carved by sculptor Michael Biggs. The proclamation, a powerful declaration of Irish independence, stands as a testament to the ideals that motivated the Rising.

Before this imposing wall lies a simple, unadorned plot containing the remains of the fourteen executed leaders. Their names are individually inscribed on the stone kerbing that surrounds this plot. This design choice allows for individual recognition while still powerfully conveying the message of their collective sacrifice for the cause of Irish freedom.

The adjacent Church of the Sacred Heart, originally the chapel for Arbour Hill Prison, also plays a role in commemorating the 1916 leaders. An annual commemoration ceremony is held here every May, hosted by the Minister for Defence. This ceremony includes a Requiem Mass and ceremonies at the gravesite, honouring the memory of those who gave their lives for Ireland.

History of Arbour Hill

During British Rule, Arbour Hill served primarily as a military site. The prison, built in 1796, initially housed British soldiers. However, its purpose shifted dramatically following the 1916 Rising. The leaders of the rebellion were held and court-martialled at Richmond Barracks before being transferred to Kilmainham Gaol for execution. Their bodies were then brought to Arbour Hill for burial in a mass grave.

After Ireland achieved independence, Arbour Hill continued to be used as a military cemetery and barracks. However, its significance as a place of national remembrance grew. The 1916 Proclamation memorial was added in 1964, further solidifying its status as a place of pilgrimage for those wishing to honour the leaders of the Rising.

Today, Arbour Hill stands as a powerful reminder of Ireland’s fight for independence. It is a place where history and memory converge, offering visitors a space to reflect on the sacrifices made in the pursuit of freedom.

Arbour Hill Cemetery isn’t solely the resting place of the 1916 leaders. It also holds the remains of over 4,000 British military personnel and their families, a testament to its long history as a military site.

Detailed records about individual graves within the older section of the cemetery are not readily available online. However, here’s what I’ve been able to gather:

Maintenance: While the 1916 memorial site is meticulously maintained, the older section with the British graves appears to receive less attention but is nevertheless well maintained. This is likely due to a combination of factors, including the sheer number of graves, their age, and potentially, limited resources. It should be mentioned that a large number of old British regiment headstones are now placed along the boundary walls to the right from the gate lodge toward the building, Arbour House, that now houses the Irish United Nations Veterans Association.

Responsibility: The Office of Public Works (OPW) is responsible for the upkeep of the 1916 memorial site. It’s likely they also have some responsibility for the older section of the cemetery, but the exact level of maintenance they provide is unclear.

Commonwealth War Graves Commission (CWGC): The CWGC is responsible for commemorating Commonwealth war dead. While they don’t appear to have direct responsibility for Arbour Hill, they may have records of those buried there who died in service during the World Wars.

CHURCH OF THE SACRED HEART NEXT TO ARBOUR HILL PRISON

October 27, 2024 by infomatique

PHOTOGRAPHED 10 OCTOBER 2024

The Church at Arbour Hill, Dublin, is a building with a layered history. Constructed in 1848 as a Church of Ireland chapel for the adjacent Arbour Hill Prison, it was designed in a cruciform style with transepts and a distinctive round tower. The church is linked to the main entrance of the prison by screen walls, creating a rather imposing façade.

Originally built to serve the predominantly Protestant prison staff, the chapel likely had a different name, which is yet to be definitively confirmed. Further research into archival records, architectural plans, and local historical societies may reveal its original title.

In 1997, the church was re-consecrated as a Roman Catholic church and renamed the Church of the Sacred Heart. It also became the Church of the Defence Forces following the closure of the nearby Collins Barracks.

The church is perhaps most well-known for its connection to the 1916 Easter Rising. The leaders of the Rising, including Patrick Pearse and James Connolly, are buried in the grounds of the church, making it a site of national and historical significance. A ceremony commemorating the Rising is held at the church every year.

Architecturally, the Church of the Sacred Heart has some interesting features. The interior is elaborately decorated and boasts a stained-glass window by the renowned Harry Clarke Studios. The entrance porch is unusual, with stairs leading to twin galleries for visitors at the nave and transept.