SAINT KIERAN'S CEMETERY
ST KIERAN'S CEMETERY HEBRON ROAD IN KILKENNY [2017 LEGACY PHOTO COLLECTION]
St Kieran's Cemetery: A History
St Kieran's Cemetery, on Hebron Road in Kilkenny, is a significant landmark that reflects the city's evolving relationship with death and remembrance. While the cemetery was officially consecrated on 27 June 1931, the need for a new public burial ground in Kilkenny was first recognised as far back as 1875. This realisation stemmed from growing concerns about overcrowding and public health in the city's older graveyards. In 1907, a sworn inquiry was conducted to assess the condition of these burial grounds, revealing a dire situation with overcrowded plots and frequent disturbances of human remains during new interments. These concerns ultimately led to the establishment of St Kieran's Cemetery, which likely opened for burials soon after its consecration in June 1931.
Management and Regulations
Kilkenny County Council plays a crucial role in the administration and upkeep of St Kieran's Cemetery. City Hall on High Street oversees the cemetery's daily operations, ensuring its smooth functioning and adherence to established regulations. The Council maintains comprehensive records of all burial plots and interments, which are valuable resources for genealogical research and historical inquiries.
To ensure the respectful and orderly management of the cemetery, the Council has implemented a set of bye-laws that cover various aspects of its operation, including the purchase of grave spaces, the erection of headstones, and permissible activities within the cemetery grounds. These regulations provide a framework for maintaining the sanctity and serenity of this important community space.
In recent years, cremation has become an increasingly popular choice in Ireland, and St Kieran's Cemetery has adapted to accommodate this trend by incorporating a columbarium wall. This wall provides a dedicated space for the interment of ashes, offering an alternative to traditional burial practices and reflecting the changing landscape of funeral customs.
Notable Burials and Historical Figures
While St Kieran's Cemetery may not boast the same historical depth as some of Kilkenny's older burial grounds, it serves as the final resting place for many of the city's citizens. Research was conducted to identify any prominent individuals buried at St Kieran's, but unfortunately, the available historical records do not provide specific details about notable burials or historical figures interred within the cemetery. Further investigation into local archives and genealogical resources may uncover more information about those laid to rest in this hallowed ground.
Stories and News Reports
St Kieran's Cemetery has been featured in recent news reports, primarily concerning issues of anti-social behaviour and drug dealing within the cemetery grounds. These reports highlight concerns raised by community members and local representatives about the safety and security of the cemetery, prompting calls for increased security measures and community engagement to address these challenges.
The Mystery of the Low Walls
One of the most distinctive features of St Kieran's Cemetery is the low height of its surrounding walls, which stand at approximately waist height. This design choice, coupled with the apparent lack of stringent security measures, raises questions about the cemetery's vulnerability to vandalism and other disturbances. The reasons behind this architectural decision remain unclear from the available historical records. It is possible that the low walls were a deliberate attempt to create a more open and accessible space, fostering a sense of community and connection with the deceased. Alternatively, this design may reflect historical factors, budgetary constraints, or prevailing architectural trends at the time of the cemetery's construction. However, it is important to acknowledge that the accessibility afforded by the low walls may be a contributing factor to the reported issues of drug dealing and anti-social behaviour.
St Kieran and Kilkenny
St Kieran, the patron saint of the Diocese of Ossory, which encompasses Kilkenny, holds a significant place in the city's religious and cultural heritage. While his most renowned monastic site is located in Seir Kieran, County Offaly, it is believed that his original foundation may have been in Saighir. St Kieran's influence extended throughout the region, leaving an enduring legacy in Kilkenny.
St Kieran's College, a prestigious Catholic secondary school in Kilkenny City, stands as a testament to the saint's enduring presence. The college, named in his honour, has been a cornerstone of Kilkenny's educational landscape for centuries. Its motto, "Hiems Transiit" ("Winter has passed"), symbolises St Kieran's association with the arrival of spring and the promise of new beginnings.
The Origins of Hebron Road
The name "Hebron Road" has intriguing biblical roots, referencing the ancient city of Hebron in the Middle East. In the Bible, Hebron is closely associated with Abraham, a revered figure in Judaism, Christianity, and Islam. The Hebrew word for Hebron is derived from the word for "friend," signifying Abraham's profound connection with God. However, the historical records do not reveal how this name came to be adopted for a road in Kilkenny. Further research into local history and street naming conventions may shed light on this fascinating link.
GEORGE HANLEY R.I.P.
A SIMPLE TRIBUTE TO GEORGE HANLEY R.I.P [WE MISS YOUR WIT AND WISDOM LOVED AND MISSED BY ALL]
A Quiet Corner in Mount Jerome: Reflections on Life, Loss, and Legacy
Mount Jerome Cemetery in Dublin is a place of grand monuments and sweeping statements etched in stone. It's where many of Ireland's most prominent figures have been laid to rest, their achievements and accolades immortalised in elaborate memorials. Walking through its avenues, one can't help but be struck by the weight of history and the grandeur of these tributes to the "great and the good".
But amidst the imposing mausoleums and soaring obelisks, there are quieter corners, simpler tributes that speak volumes in their understated eloquence. One such tribute first caught my eye in 2017: a modest plaque, standing alone, bearing the following inscription:
"George Hanley R.I.P. We Miss Your Wit And Wisdom Loved And Missed By All"
In a place where so many inscriptions boast of worldly accomplishments and social standing, this simple message struck a chord. It wasn't about what George Hanley did, but about who he was. His legacy, it seems, lay not in titles or wealth, but in the qualities that made him uniquely himself: his wit, his wisdom, and the love he inspired in those around him.
This unassuming plaque serves as a powerful reminder that in the face of loss, we are all equal. Whether a celebrated public figure or a beloved friend, the pain of absence is universal. "Loved and missed by all" is a sentiment that transcends social status, resonating with anyone who has experienced the grief of losing someone dear.
In the context of Mount Jerome, with its sometimes ostentatious displays of wealth and status, George Hanley's plaque offers a different perspective. It speaks of a different kind of wealth – the richness of human connection, the enduring value of personal qualities like wit and wisdom. It's a quiet testament to the idea that a life well-lived, filled with laughter and love, leaves its own unique and enduring legacy.
Of course, without knowing more about George Hanley, it's impossible to know his full story. Perhaps he was a person of great influence who chose a humble memorial. Perhaps he was an ordinary person whose loved ones chose to commemorate him in a way that truly reflected his character. Whatever his story, his plaque provides a moment of quiet reflection amidst the grandeur of Mount Jerome. It reminds us of the enduring power of human connection and the simple truth that a life filled with love and laughter leaves a mark that transcends any monument.
There's a certain beauty in the anonymity of this tribute. It allows us to connect with the sentiment without the distractions of a specific life story. The inscription itself becomes a universal story about the things that truly matter – wit, wisdom, and love.
Leaving George Hanley's story untold allows each visitor to bring their own interpretation and connect with the inscription on a personal level. It becomes a mirror reflecting our own values and the qualities we cherish in those we love.
Perhaps, in a way, this anonymity makes the tribute even more powerful. It reminds us that ultimately, it's not about worldly achievements or fame, but about the impact we have on others and the love we share.
imply prefer to enjoy the outdoors without any cost.
THOMAS DRUMMOND MEMORIAL
THOMAS DRUMMOND MEMORIAL AT MOUNT JEROME CEMETERY [A LIFE OF SERVICE AND INNOVATION]
Thomas Drummond (1797-1840) was a Scottish-born officer, civil engineer, and public servant who made significant contributions to both engineering and Irish history. He is best known for his invention of the Drummond Light, a powerful limelight used in surveying, and for his impactful tenure as Under-Secretary for Ireland. This article delves into Drummond's life, explores his family history, and examines his lasting legacy within the context of Irish history.
The Thomas Drummond Monument in Mount Jerome Cemetery
Drummond's final resting place is in Mount Jerome Cemetery in Dublin. His dying wish was to be buried in Ireland, "the land of my adoption," a testament to his deep affection for the country he served. His grave is marked by an impressive monument, constructed of granite with a marble book atop a granite vault, situated prominently on the East Walk. This monument stands as a lasting tribute to Drummond's enduring impact on Ireland.
Early Life and Career
Born in Edinburgh in 1797, Drummond showed an early inclination towards mathematics. He received his early education at Musselburgh grammar school, then through private tutoring and at a small Edinburgh school. He continued his studies at Edinburgh High School and later at the University of Edinburgh, demonstrating a natural talent for the subject. In 1813, he enrolled at the Royal Military Academy at Woolwich and joined the Royal Engineers in 1815, where he quickly earned a reputation as a skilled surveyor. During this early part of his career, he was involved in public works in Edinburgh and participated in the trigonometrical survey of Great Britain and Ireland.
In the early 1820s, Drummond was assigned to a survey of the Scottish Highlands, a challenging project that further developed his surveying expertise. It was during this time that he began experimenting with limelight, having learned about its discovery through lectures by Sir Michael Faraday. This early work laid the foundation for his later invention of the Drummond Light.
While working on the boundary commission to redraw parliamentary boundaries for the Reform Act of 1832, Drummond's skills and growing reputation brought him to the attention of Lord Brougham. He gave a private demonstration of his light to the Lord Chancellor, and this connection led to further opportunities. In 1831, he even dined with the King at the Royal Palace in Brighton, a sign of his increasing recognition in society. He was subsequently appointed to head the boundary commission, where he worked with Lord Althorp, the chancellor of the exchequer, and eventually became his private secretary in 1833.
The Drummond Light and the Ordnance Survey of Ireland
In 1824, Drummond joined the Ordnance Survey of Ireland, where he continued to refine and utilise the Drummond Light. This innovative device, created by directing an oxyhydrogen flame at a block of lime, produced an intensely bright light source. It proved invaluable for surveying, enabling accurate measurements over long distances, even in challenging conditions and at night. Drummond reported that the light could be seen from 68 miles away and cast a strong shadow at a distance of 13 miles. While he did not invent limelight itself, he was the first to recognise and harness its potential for surveying and cartography.
During his time with the Ordnance Survey, Drummond also collaborated with Colonel Thomas Frederick Colby to produce self-compensating measuring bars, further enhancing the accuracy of their surveying work. He had aspirations to adapt his limelight for use in lighthouses, but the high cost proved to be a barrier.
Under-Secretary for Ireland: A Legacy of Reform
Drummond's most significant contribution to Irish history came during his tenure as Under-Secretary for Ireland from 1835 to 1840. This position placed him at the centre of the British administration in Dublin Castle, where he was responsible for the day-to-day operations of the government. He was widely respected for his impartiality and his dedication to improving the lives of the Irish people.
Before assuming the role of Under-Secretary, Drummond had temporarily left Ireland prior to the Reform Act 1832. Upon his return, he brought with him a wealth of experience and a commitment to reform that would shape his approach to governance.
One of Drummond's key achievements was the establishment of the Royal Irish Constabulary (RIC) in 1836. This professional police force replaced the existing system of local watchmen, which was often inefficient, partisan, and corrupt. Prior to establishing the RIC, Drummond had already taken steps to improve the Dublin police force, replacing 400 watchmen with 1,000 more capable constables. He firmly believed that peace in Ireland could be best achieved by trusting and fairly treating the Irish people, a radical notion at the time. The RIC, composed primarily of Catholic peasants, proved to be a more effective and impartial force, contributing to a period of relative stability.
Drummond also advocated for land reform and challenged the prevailing view that property rights were absolute. In a now-famous letter to Tipperary magistrates in 1838, he asserted that "property has its duties as well as its rights". This statement, which sparked public controversy and debate, argued that landlords had a responsibility to their tenants and should not use their power to unjustly evict them. This stance, while controversial, reflected Drummond's commitment to social justice and his belief in fair treatment for all.
In 1839, Drummond further demonstrated his commitment to Ireland by defending the government's Irish policy before a select committee of the House of Lords. This appearance highlighted his deep involvement in the political landscape of the time and his dedication to promoting policies that would benefit the Irish people.
Drummond's tireless work ethic and dedication to reform took a toll on his health. He died prematurely in 1840 at the age of 42, likely due to overwork and stress. His death was deeply mourned by many in Ireland, with Daniel O'Connell, a prominent Irish nationalist leader, serving as chief mourner at his funeral. A statue in his honour, sculpted by John Hogan, was erected in Dublin's City Hall in 1843 as a lasting tribute to his contributions.
Drummond's Family and Legacy
Drummond's parents, James Drummond and Elizabeth Somers, had connections to the Scottish literary world. His father was a member of the Society of Writers to the Signet, a prestigious legal society in Scotland, and his mother was the daughter of Whig writer James Somers. Thomas was the third of four children, with two brothers and a sister. His father died in 1800, leaving the family in considerable debt, which forced his mother to sell their estates and move the family first to Preston and then to Musselburgh.
In 1835, shortly before assuming the role of Under-Secretary for Ireland, Drummond married Maria Kinnaird, a wealthy heiress and the adopted daughter of critic Richard "Conversation" Sharp. Maria was described as an "accomplished, attractive, and intelligent woman" who actively supported her husband's work. Together, they had three daughters: Emily, Mary, and Fanny.
Unfortunately, the research material provides limited information about the lives of Drummond's wife and daughters after his death. Further investigation into genealogical records or historical archives might reveal more information about their marriages, families, and any notable achievements.
Drummond's family history can be traced back to the Lundin family, who descended from Thomas de Lundin, a natural son of King William the Lion. His paternal grandparents were Robert Lundin and Anne Inglis, daughter of Sir James Inglis of Cramond.
Conclusion
Thomas Drummond's life was one of remarkable achievement and unwavering dedication to public service. From his early days as a skilled surveyor, he honed his talents and developed innovative solutions to the challenges he faced. His invention of the Drummond Light revolutionised surveying techniques, enabling more accurate mapping and contributing to advancements in cartography.
Drummond's legacy, however, extends far beyond his engineering achievements. His time as Under-Secretary for Ireland cemented his place in Irish history as a champion of fairness, justice, and reform. He challenged established norms, advocated for the rights of the Irish people, and implemented policies that aimed to create a more just and equitable society. His establishment of the Royal Irish Constabulary, a professional and impartial police force, marked a significant step towards greater stability and security in Ireland.
While the available research offers limited insight into the fate of his family after his death, their story remains an important area for further investigation. Uncovering more details about the lives of his wife and daughters would provide a more complete picture of this remarkable man and his lasting impact on those around him.
Drummond's papers are located in the National Library of Ireland. For those interested in learning more about his life and work, historical accounts and biographies provide valuable insights. John F. M'Lennan's "Memoir of Thomas Drummond R.E., F.R.A.S." (1867) and the entry in the Dictionary of National Biography offer detailed accounts of his life and career.
HENRY ROE FAMILY VAULT
THE FAMILY VAULT OF HENRY ROE [I SUSPECT THAT HENRY ROE MAY NOT HAVE BEEN BURIED HERE]
The Rise and Fall of Roe Whiskey: A Dublin Dynasty
Mount Jerome Cemetery in Dublin, Ireland, is the final resting place for many prominent figures, including members of the Roe family, famous for their once-thriving whiskey distillery. A family vault in Mount Jerome bears the inscription "The family Vault of | HENRY ROE D.L | Mount Anville Park, Dundrum, Co Dublin". However, records from the cemetery office indicate that only "Baby CATHERINE ROE Died 1859" and "Baby HENRY ROE Died 1860" are interred there. This, coupled with the fact that Henry Roe died in England in 1893, suggests that he may not be buried in the family vault as the inscription implies. This intriguing detail serves as an entry point into the fascinating history of Roe Whiskey, a brand that experienced a meteoric rise, a dramatic fall, and an eventual revival in the modern era.
The Rise of Roe Whiskey
The story of Roe Whiskey begins in 1757 with Peter Roe, who established a small distillery on Thomas Street in Dublin. This distillery, powered by the largest smock windmill in Europe at the time, marked the beginning of a whiskey dynasty. In 1766, Richard Roe took over the Thomas Street Distillery, and in 1784, Nicholas Roe founded a separate distillery on Pimlico Street. This demonstrates the deep roots the Roe family had in the Irish whiskey industry. The windmill tower, now known as St. Patrick's Tower, still stands today as a testament to the distillery's early beginnings.
In 1832, George Roe took over the distillery and expanded it into a massive complex, covering 17 acres. Under his leadership, George Roe & Co. became one of the largest and most successful distilleries in Ireland, producing two million gallons of whiskey annually by 1887. The company's success contributed significantly to the golden era of Irish whiskey in the 19th century.
Upon George Roe's death in 1863, his nephew, Henry Roe, inherited the distillery. Henry continued to expand the business, further solidifying Roe & Co.'s position as a leading force in the Irish whiskey industry. Interestingly, during this period, a sort of "philanthropy competition" arose between Henry Roe and Benjamin Lee Guinness. Guinness financed the restoration of St. Patrick's Cathedral between 1860 and 1865, while Roe, not to be outdone, funded the restoration of the nearby Christ Church Cathedral between 1871 and 1878.
The Fall of a Giant
Despite its remarkable success, Roe & Co. faced a series of challenges that ultimately led to its decline. Instead of simply listing the factors, let's explore how these challenges unfolded and intertwined to create a perfect storm that brought down the whiskey giant.
The late 19th and early 20th centuries saw the rise of blended Scotch whisky, a formidable competitor that quickly gained popularity both domestically and internationally. This new rival put increasing pressure on Irish whiskey producers like Roe & Co., who were already grappling with the aftermath of the Irish War of Independence and the subsequent Civil War. These conflicts disrupted trade, destabilised the Irish economy, and created an unfavourable environment for businesses.
Adding to these woes, the introduction of Prohibition in the United States in 1920 dealt a severe blow to Irish whiskey exports. The loss of this crucial market significantly impacted the industry, and Roe & Co. was not immune to the fallout. Furthermore, the Dublin Distillers Company Ltd., which Roe & Co. had merged with in 1891, had overproduced spirit in the early 20th century, accumulating significant stocks of whiskey that proved difficult to sell in the face of declining demand.
These external pressures, combined with internal challenges, created a downward spiral for Roe & Co. Henry Roe's generous funding of the reconstruction of Christ Church Cathedral, while a testament to his philanthropy, may have strained the company's resources at a critical time. Ultimately, these combined challenges proved insurmountable, and the distillery finally closed its gates in 1926. All that remained of the once-sprawling distillery was the windmill tower and a pear tree that still flowers today. The closure marked the end of an era for the once-dominant Irish whiskey brand.
Henry Roe's Philanthropy
Henry Roe's generous funding of the reconstruction of Christ Church Cathedral may have strained the company's resources.
The Diageo Revival of Roe & Co.
Decades after the closure of the original Roe & Co. distillery, Irish whiskey experienced a resurgence. Diageo, the global drinks giant, recognised the potential of the Roe & Co. brand and took steps to revive it. Diageo invested €25 million to build a new distillery in Dublin, located in the former Guinness Power Station. This new distillery, situated in the heart of Dublin's Liberties district, a once poverty-stricken area now experiencing a revival with the establishment of many distilleries and breweries, opened in 2019.
To create a modern expression of Irish whiskey that honoured George Roe's legacy while appealing to contemporary tastes, Diageo adopted a collaborative approach. Master blender Caroline Martin worked closely with a team of Irish bartenders to develop a new premium blended Irish whiskey under the Roe & Co. name. This collaborative effort ensured that the new whiskey would not only be of exceptional quality but also resonate with today's whiskey enthusiasts and bartenders.
The new Roe & Co. distillery is equipped with state-of-the-art facilities and boasts a visitor experience that celebrates the history of Irish whiskey and the Roe & Co. brand.
The Roe Family and Their Legacy
The Roe family's influence extended beyond the whiskey industry. George Roe, the man who built the distillery into a powerhouse, was a prominent figure in Dublin society. He served as an alderman and Lord Mayor of Dublin in 1843. His nephew, Henry Roe, continued the family's involvement in civic affairs and was known for his philanthropy, particularly his contribution to the restoration of Christ Church Cathedral.
While available information provides limited details about other family members like George Roe Jr. and Peter Burton Roe, it's clear that the Roe family played a significant role in Dublin's social and economic landscape during the 18th and 19th centuries.
One interesting detail reveals that Henry Roe lived in Mount Anville Park, Dundrum, Co. Dublin. This residential area, located near Deerpark, is known for its proximity to amenities, schools, and recreational facilities.
Conclusion
The inscription on the Roe family vault in Mount Jerome Cemetery, while potentially misleading, offers a captivating glimpse into the rich history of Roe Whiskey and the Roe family. The fact that Henry Roe may not be buried there, as the inscription suggests, adds a layer of intrigue to the family's story and highlights the complexities of historical records.
From its humble beginnings in a small Dublin distillery to its rise as a leading Irish whiskey brand, Roe & Co. has left an indelible mark on the industry. The company's journey reflects the broader trajectory of the Irish whiskey industry itself, with periods of remarkable success followed by challenges and decline.
The factors that contributed to Roe & Co.'s downfall, such as the rise of Scotch whisky, Prohibition in the United States, and the turbulent political climate in Ireland, highlight the vulnerability of businesses to external forces.
Despite its eventual closure in 1926, the Roe & Co. brand has been revived in the modern era, thanks to Diageo's investment and commitment to preserving its legacy. The new Roe & Co. distillery, located in the revitalised Liberties district of Dublin, stands as a testament to the enduring appeal of Irish whiskey and the remarkable story of the Roe family. The distillery's state-of-the-art facilities and visitor experience ensure that the legacy of George Roe and his family will continue to inspire and captivate whiskey enthusiasts for generations to come.
The story of Roe Whiskey is a testament to the resilience and adaptability of Irish businesses. Despite facing numerous challenges throughout its history, the brand has persevered, ultimately finding new life in the 21st century. The questions surrounding the Roe family vault serve as a reminder that even within the most well-documented histories, mysteries and unanswered questions remain, adding to the richness and complexity of the past.
SIR RICHARD MORRISON
THE SIR RICHARD MORRISON VAULT [MOUNT JEROME CEMETERY MARCH 2017]
Sir Richard Morrison (1767-1849) was a prominent Irish architect who left an indelible mark on the architectural landscape of Ireland during the 18th and 19th centuries. His works, characterized by a blend of classical and Gothic styles, grace numerous public buildings and private estates across the country. This article delves into the life and career of Sir Richard Morrison, explores his family history, and examines the significance of his vault at Mount Jerome Cemetery in Dublin.
Family History and Early Life
Born in Midleton, County Cork, Sir Richard Morrison was born into a family with an architectural background; his father, John Morrison, was also an architect. While some accounts suggest he was initially intended for a career in the church, he ultimately followed his father's path and pursued architecture. His godparents were Frederick Augustus Hervey, the Bishop of Cloyne, and Richard Boyle, 2nd Earl of Shannon, individuals who held prominent positions in society. These connections may have provided young Morrison with valuable social and professional networks that would later benefit his architectural career.
Morrison began his architectural training as a pupil of the celebrated architect James Gandon in Dublin. Under Gandon's tutelage, he honed his skills and developed his distinctive style, which would later blend classical and Gothic elements. Through his godfather, the Earl of Shannon, he secured a position in the ordnance department in Dublin. However, he later abandoned this role to dedicate himself fully to his architectural practice.
In 1790, Morrison married Elizabeth Ould, the daughter of Reverend William Ould and granddaughter of the esteemed physician Sir Fielding Ould. The couple had at least four children, including William Vitruvius Morrison, who would later become his father's architectural partner.
Architectural Career and Importance
Sir Richard Morrison's architectural career spanned several decades and encompassed a wide range of projects, from public buildings to private residences. He was a leading architect of country houses in Ireland during his time, and his works are scattered throughout the country. His architectural style blended classical and Gothic elements, drawing on the traditions of earlier Irish architects such as Edward Lovett Pearce and Richard Cassels while adapting them to the Irish context. This resulted in buildings that were both elegant and functional, often incorporating distinctive features like elliptical entrance-halls.
Early Career and Public Works
Morrison's early career involved modifications to the cathedral at Cashel, where he designed a tower and spire for Archbishop Charles Agar. He dedicated his pattern book, Useful and Ornamental Designs in Architecture (1793), to Archbishop Agar. This publication was the first of its kind attempted in Ireland, showcasing Morrison's innovative approach to architectural design and his desire to contribute to the architectural discourse of his time.
He also designed courthouses in Carlow, Clonmel, Roscommon, Wexford, and Galway, as well as gaols in Enniskillen, Tralee, and Roscommon. These buildings reflect his understanding of classical principles and his ability to create functional and aesthetically pleasing structures that served the needs of the community. In Dublin, he designed Sir Patrick Dun's Hospital, a significant public building that showcases his architectural expertise.
Country Houses and Collaboration with William Vitruvius Morrison
Morrison was particularly renowned for his designs of country houses for the landed gentry. He often remodelled existing houses, adding castellated features to create a sense of grandeur and historical significance. Examples include Shanganagh Castle in County Dublin and Castle Freke in County Cork. He also designed a series of compact classical villas, including Bearforest, Bellair, Cangort Park, and Weston, demonstrating his versatility in adapting his designs to different scales and contexts.
From 1809 onwards, Morrison increasingly collaborated with his son, William Vitruvius Morrison. Together, they designed notable country houses such as Baronscourt in County Tyrone, Killruddery House in County Wicklow, Ballyfin in County Laois, and Fota in County Cork.
Later Career and Legacy
From 1807 to 1831, Morrison served as the architect to Trinity College Dublin (TCD). During this time, he completed the student accommodation in Botany Bay and designed an anatomy house, further contributing to the architectural development of the university.
In 1839, Morrison played a key role in the establishment of the Royal Institute of the Architects of Ireland, serving as its first vice-president. This initiative reflected his commitment to the advancement of the architectural profession in Ireland and his desire to promote high standards of design and practice. In recognition of his contributions to architecture, he was knighted by the Lord Lieutenant, Thomas de Grey, 2nd Earl de Grey, in 1841.
Interesting Stories and Accounts
While specific anecdotes about Sir Richard Morrison may be scarce, his life and work provide glimpses into the social and architectural context of his time. His connections to prominent figures such as James Gandon and the Earl of Shannon highlight his position within the architectural circles of late 18th and early 19th century Ireland. His marriage to Elizabeth Ould, a descendant of a respected physician, further cemented his social standing.
After losing his position in the ordnance department, Morrison moved to Clonmel, County Tipperary, where he established his architectural practice. This move proved to be a turning point in his career, as he gained the patronage of Archbishop Agar and began to receive commissions for significant projects.
The remodelling of Shelton Abbey in County Wicklow in 1819 exemplifies Morrison's ability to transform existing structures into romantic Gothic fantasies. This project, along with his other country house designs, reflects the prevailing taste for picturesque and historically evocative architecture among the landed gentry of the period.
The Sir Richard Morrison Vault at Mount Jerome Cemetery
Sir Richard Morrison died in Bray, County Wicklow, on 31 October 1849, and was buried in Mount Jerome Cemetery in Dublin. Mount Jerome Cemetery, established in 1836, is known for its Victorian funerary architecture and its association with prominent figures in Irish history. While the specific details about the design or appearance of Morrison's vault are not available, its presence in this historic cemetery further underscores his significance in Irish architectural history.
Conclusion
Sir Richard Morrison's contributions to Irish architecture are undeniable. His designs, ranging from grand country houses to important public buildings, shaped the built environment of Ireland during a period of significant social and political change. He was a leading figure in the architectural profession, contributing to the establishment of the Royal Institute of the Architects of Ireland and receiving a knighthood for his achievements. His legacy continues to inspire and influence architects today, and his vault at Mount Jerome Cemetery serves as a reminder of his enduring impact on the architectural landscape of Ireland. His ability to blend classical and Gothic styles, his attention to detail, and his sensitivity to the Irish context ensured that his buildings were not only aesthetically pleasing but also functional and enduring. He left behind a rich architectural heritage that continues to be studied and admired, solidifying his place as one of Ireland's most important architects.
THE INGRAM MEMORIAL
THE INGRAM FAMILY VAULT [ANOTHER IMPRESSIVE MEMORIAL AT MOUNT JEROME CEMETERY]
Note: The larger structure included in some of my photographs is the Cusack Family Vault.
The Ingram Memorial in Mount Jerome Cemetery
Mount Jerome Cemetery in Harold's Cross, Dublin, is a testament to the passage of time and the enduring power of memory. Amidst its serene landscape and intricate monuments, the Ingram Memorial stands out as a striking example of funerary architecture. This report delves into the details of this remarkable structure, exploring its design, the family it commemorates, and the symbolism woven into its form.
The Ingram Family in Dublin
While the specific Ingram family associated with the memorial requires further investigation, research reveals several prominent Ingram families with ties to Dublin. This section explores their stories, offering potential connections to the memorial and shedding light on the Ingram family's presence in Dublin's history.
John Kells Ingram: A Scholar and Writer
John Kells Ingram, a renowned scholar and writer, left an indelible mark on Dublin's intellectual landscape in the 19th century. Born in County Donegal in 1823, Ingram embarked on a distinguished career at Trinity College Dublin, where he served as a fellow and professor. His academic pursuits spanned economics, history, and literature, resulting in a prolific body of published works. Ingram's connection to Mount Jerome Cemetery is undeniable, as he was laid to rest within its grounds in 1907.
Rex Ingram: A Pioneer of Cinema
Another notable Ingram with Dublin roots is Rex Ingram, a film director who brought stories to life on the silver screen. Born Reginald Ingram Montgomery Hitchcock in Rathmines in 1893, Ingram's parents, Rev. Francis Ryan Montgomery Hitchcock and Kathleen Maria Ingram, were both Dublin natives. Ingram achieved international acclaim for his directorial work, with films like "The Four Horsemen of the Apocalypse" (1921) and "Scaramouche" (1923) solidifying his place in cinematic history. Though his career took him to the United States, Ingram's Dublin origins add another dimension to the Ingram family narrative. Further research into genealogical records and cemetery archives may unveil the specific Ingram family commemorated by the memorial and provide a deeper understanding of their history in Dublin.
The Ingram Memorial: Structure and Design
The Ingram Memorial commands attention with its distinctive architectural features and the enduring beauty of its construction material. This section explores the elements that make this memorial a unique presence in Mount Jerome Cemetery.
Portland Stone: A Timeless Material
Crafted from Portland stone, a fine-grained limestone quarried on the Isle of Portland in Dorset, England, the Ingram Memorial embodies elegance and permanence. This choice of material is significant, as Portland stone has been favoured for monuments and buildings for centuries, renowned for its durability and aesthetic appeal. Its use in the Ingram Memorial speaks to the family's desire to create a lasting tribute.
The significance of Portland stone extends beyond its physical properties. It has been used in the construction of iconic structures, including St. Paul's Cathedral and Buckingham Palace in London. Even the Monument to the Great Fire of London, a towering Doric column, is built from Portland stone. This association with grandeur and permanence may have influenced the Ingram family's choice of material, suggesting their intention to create a memorial that would stand the test of time.
Furthermore, Portland stone is the material of choice for Commonwealth war gravestones, including those commemorating British personnel who lost their lives in the First and Second World Wars. This widespread use in memorials further emphasises the stone's association with remembrance and commemoration.
Classical Elements and Symbolic Features
The memorial's design draws inspiration from classical architecture, with four fluted columns supporting a canopy and covering slab. Fluted columns, characterised by vertical grooves carved into their surface, are a hallmark of classical architecture, often used to convey strength and dignity.
The presence of ionic capitals atop the columns adds a decorative flourish, further enhancing the memorial's visual appeal. Ionic capitals, with their distinctive spiral scrolls, are often associated with knowledge and wisdom, adding another layer of meaning to the memorial's design.
Beneath the canopy, a Portland stone draped funerary urn rests on a pedestal. The urn, a classic symbol of mortality and remembrance, is draped with cloth, introducing a layer of symbolism. The draped cloth represents the veil between life and death, signifying the separation of the physical and spiritual realms. It also symbolises protection for the soul on its journey to the afterlife.
Interestingly, the use of a draped urn in the Ingram Memorial is notable because cremation was not a common practice in 19th-century Ireland. This suggests that the draped urn was chosen not for its literal association with cremation but for its symbolic representation of death and the soul's transition to the afterlife.
Unfortunately, the research material does not provide information about the construction date or architect of the Ingram Memorial. Further investigation into cemetery records or architectural archives may uncover these details.
Symbolism of the Funerary Urn
The funerary urn has been a symbol of death and remembrance since ancient times. In classical antiquity, urns were used to hold the cremated remains of the deceased, often adorned with elaborate decorations and scenes from mythology. This practice reflected the reverence with which ancient cultures treated their dead and their belief in an afterlife.
While cremation was not common in 19th-century Ireland, the urn retained its symbolic meaning, primarily representing death and the finality of earthly existence. It served as a reminder of mortality and the inevitable passage of time.
The draped cloth on the Ingram Memorial's urn adds another layer of symbolism. It represents the finality of death, the separation of the living from the dead. The drape also suggests a sense of peace and closure, as if the soul is protected and at rest.
In modern interpretations, urns are seen as vessels of memories, tangible links to the departed soul. They carry emotional significance, encapsulating sentiments and memories associated with the deceased. This contemporary understanding connects the historical symbolism of the urn with the personal grief and remembrance of those left behind.
THE CUSACK FAMILY VAULT
THE CUSACK VAULT [ONE OF THE MOST IMPRESSIVE AT MOUNT JEROME CEMETERY]
Note: The smaller structure shown in some of the photographs is the Ingram Memorial and it consists of four Portland stone fluted columns with iconic capitals that support a canopy and a covering slab that house a Portland stone draped funerary urn on a pedestal. I will discuss this in greater detail in a future post.
The Cusack Vault
Location: Mount Jerome Cemetery, Dublin, Ireland. It's situated along the 'Guinness Walk', a prominent path within the cemetery.
Construction Date: Erected in 1861.
Occupants: The vault was built for James William Cusack, a renowned surgeon of his time. He served as president of the Royal College of Surgeons in Ireland three times and was surgeon to Queen Victoria in Ireland. Several generations of the Cusack family are interred within the vault.
Architectural Significance: It's considered one of the most prominent and imposing monuments in the cemetery due to its size and elaborate design. The use of high-quality materials like granite and Portland stone also contributes to its grandeur. The design, with its Tuscan columns and entablature, evokes classical temple architecture, symbolising permanence and grandeur.
The Cusack Family
The Cusacks were a prominent family in Dublin, particularly in the medical field.
James William Cusack (1788-1861): The patriarch interred in the vault, he was a leading surgeon and held significant positions in Dublin's medical institutions.
Other Notable Cusacks: While James William is the most well-known, other family members also achieved prominence in medicine and other fields. The family's influence in Dublin society is evidenced by the size and prominence of their vault.
SAINT JOHN'S GRAVEYARD
UNEARTHING YOUR IRISH ROOTS IN KILKENNY [A JOURNEY THROUGH ST JOHN'S CEMETERY]
Are you fascinated by your Irish heritage and eager to connect with your ancestors? A trip to Kilkenny, Ireland, could be the perfect opportunity to trace your family history and immerse yourself in the rich culture of the Emerald Isle.
Kilkenny, a charming medieval city in southeast Ireland, boasts a wealth of historical sites, including St. John's Cemetery. This ancient burial ground, located on Dublin Road, offers a captivating glimpse into the lives of past generations.
A Unique Burial Ground
The first thing you'll notice about St. John's Cemetery is the distinctive orange/brown hue of its gravestones. This unusual colouring sets it apart from many other Irish cemeteries and adds to its unique character.
The cemetery bears the marks of time, with some gravestones and monuments showing signs of decay. However, this only adds to its charm, offering a poignant reminder of the passage of time and the enduring nature of human memory.
A Rich History
St. John's Cemetery has a long and fascinating history, dating back to the 14th century. It was once the site of a leper hospital and a 17th-century Catholic chapel, highlighting its early ecclesiastical significance.
The earliest inscription found on a tombstone dates back to 1699, providing a tangible link to the past. The cemetery is also the final resting place of many prominent Kilkenny citizens, making it a treasure trove of local history.
Tracing Your Ancestors
If you're researching your Irish roots, St. John's Cemetery could hold valuable clues to your family history. Many of the gravestones bear intricate inscriptions, providing details about the deceased and their families.
With a little patience and perseverance, you might just uncover the final resting place of one of your ancestors, connecting you to your Irish heritage in a profound way.
Tips for Visiting St. John's Cemetery
Plan your visit: The cemetery is open to the public during daylight hours.
Dress appropriately: Wear comfortable shoes and clothing suitable for the weather.
Be respectful: Remember that this is a sacred place.
Take photos: Capture the beauty and history of the cemetery.
Share your experience: Let others know about your visit and what you discovered.
ST NAHI'S CHURCH
ST NAHI'S CHURCH AND GRAVEYARD IN DECEMBER 2010 USING A SONY NEX-5 [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.
MOUNT ST LAWRENCE
80 RANDOM IMAGES OF MOUNT ST LAWRENCE CEMETERY IN LIMERICK [THERE ARE ABOUT SEVENTY THOUSAND BURIED HERE]
Patrick Sarsfield: Remembered in Limerick, Buried in Belgium
Mount Saint Lawrence Cemetery in Limerick holds a prominent memorial to Patrick Sarsfield, a key figure in Irish Jacobite history. However, it's crucial to note that Sarsfield himself is not buried there. While the monument serves as a focal point for commemorating his contribution to Irish history, his remains lie hundreds of miles away in Huy, Belgium.
Sarsfield, known as "Patrick Sarsfield, Earl of Lucan," was a leading Jacobite general during the Williamite War in Ireland (1689-1691). He is best remembered for his courageous defense of Limerick and his negotiation of the Treaty of Limerick, which ultimately led to the Flight of the Wild Geese, the exodus of Irish Jacobite soldiers to continental Europe.
Mortally wounded at the Battle of Landen in 1693, Sarsfield was taken to Huy, where he died and was buried in the grounds of St. Martin's Church. His grave is believed to be unmarked.
The Search for Sarsfield's Remains
For centuries, the exact location of Sarsfield's burial remained unknown. However, recent research led by Dr. Loïc Guyon has shed new light on this historical mystery. Dr. Guyon has identified the likely location of the graveyard associated with the now-demolished St. Martin's Church. Plans are underway for an archaeological dig at the site to search for Sarsfield's remains. If found and confirmed, there is a possibility they could be repatriated to Ireland.
The Memorial at Mount Saint Lawrence
Despite Sarsfield's burial in Belgium, the memorial at Mount Saint Lawrence Cemetery serves as an important reminder of his legacy in Limerick and Ireland. It stands as a testament to his bravery, military skill, and dedication to the Jacobite cause.
Mount Saint Lawrence Cemetery is located on Mulgrave Street in Limerick City, Ireland. It is the largest cemetery in Limerick and the final resting place of many of the city's most prominent citizens. The cemetery is named after Saint Lawrence, a deacon in the early Christian church who was martyred in 258 AD. Lawrence was known for his charity work and for his defiance of the Roman authorities. He is the patron saint of deacons, cooks, and librarians.
The cemetery was opened in 1849 and was originally intended to be a non-denominational burial ground. However, it soon became predominantly Catholic. The location of the cemetery was chosen because it was on the outskirts of the city at the time and because it was on elevated ground, which was thought to be healthier.
The location of graves within the cemetery can indicate the status or importance of those buried there. For example, the most prominent graves are located in the older part of the cemetery, which is closer to the entrance. These graves are often larger and more elaborate than those in the newer part of the cemetery. Some of the most notable people buried in Mount Saint Lawrence Cemetery include:
Michael Hogan, the Bard of Thomond, a 19th-century poet.
Jim Kemmy, a socialist politician and historian.
Someone from abroad might visit Mount Saint Lawrence Cemetery for a number of reasons. They may have ancestors buried there, or they may be interested in the history of Limerick City. The cemetery is also a beautiful and peaceful place to visit.
The graves and burial history at Mount Saint Lawrence Cemetery are well documented. The cemetery has a searchable online database of burial records, and there are also a number of books and articles available on the history of the cemetery.
The 304 bus does indeed serve Mulgrave Street, with a stop very close to the main entrance of Mount Saint Lawrence Cemetery. It generally runs about every 20 minutes but I have found it to be unreliable . However, it is a short walk from the city centre.
Mount Saint Lawrence Cemetery is not associated with a church or parish because it was originally intended to be a non-denominational burial ground. However, the cemetery is now managed by Limerick City and County Council.
Here are some additional details about Mount Saint Lawrence Cemetery:
The cemetery covers an area of 18 hectares.
There are over 70,000 people buried in the cemetery.
The cemetery is open to the public from 9am to 4pm, Monday to Friday.
CELTIC CROSSES
A FEW OF THE MANY CELTIC CROSSES IN MOUNT ST LAWRENCE CEMETERY [LIMERICK APRIL 2022]
There is a large number of Celtic crosses in Mount St. Lawrence Cemetery, Limerick. It's a common sight in Catholic and non-denominational cemeteries across Ireland and beyond. These crosses, with their distinctive ring around the intersection of the arms, speak to a rich history and enduring symbolism.
The Cost of Craftsmanship
Historically, the complexity and size of a Celtic cross would have directly correlated to its cost. Intricately carved high crosses, made from durable stone like granite, would have been a significant investment, commissioned by those who could afford to commemorate their loved ones in a grand manner. The craftsmanship involved in shaping the stone, carving the detailed knotwork and figuring, and erecting the cross would have required skilled artisans and considerable labour.
Even simpler Celtic crosses would have represented a financial outlay. While not as elaborate as the high crosses, they still required skilled stone masons to cut, shape, and often carve inscriptions. The material itself would have added to the cost, particularly if transported from a distant quarry.
Celtic Crosses: A Brief Overview
The Celtic cross, with its distinctive ring, has its roots in early Christianity in Ireland and Britain. The ring is often interpreted as a symbol of eternity or the halo of Christ. While the classic form is instantly recognisable, there are variations in design and style:
High Crosses: These are the monumental freestanding crosses, often intricately carved with biblical scenes, interlace patterns, and figures. They were typically erected in monastic sites or as public monuments.
Grave Markers: These are smaller crosses, often simpler in design, used to mark individual graves. They may feature inscriptions, decorative motifs, or a combination of both.
Celtic Crosses with a Corpus: While the traditional Celtic cross does not include a depiction of Christ, some later versions, particularly in cemeteries, do feature a corpus (the body of Christ).
From Ancient Symbol to Modern Memorial
Although Celtic crosses have ancient origins, their widespread use in graveyards and cemeteries is a more recent phenomenon, dating back to the 19th century. This coincided with the Celtic Revival, a period of renewed interest in Celtic art, culture, and history. The Celtic cross became a popular symbol of Irish and Celtic identity, and its association with early Christianity made it a fitting choice for funerary monuments.
High Cross vs. Celtic Cross
Essentially, a high cross is a type of Celtic cross. The term "high cross" refers specifically to the large, freestanding crosses that were erected in early Christian Ireland and Britain. These crosses are distinguished by their size, their elaborate carvings, and their public or ecclesiastical setting. The term "Celtic cross" is a broader term that encompasses both high crosses and the smaller crosses used as grave markers.
THREE PRIESTS MEMORIAL
MEMORIAL TO THREE PRIESTS [FEATURES LATIN INSCRIPTIONS]
This really caught my attention but I had serious problems with lens flare, because the lens was wet because it rained just as I arrived, and it took a lot of effort and time to process the images to the stage that they could be published.
This memorial features a fascinating inscription! It commemorates three priests, likely brothers, with impressive careers. Here's a breakdown of the Latin and abbreviations, along with a translation. I've kept the original line breaks to preserve the inscription's structure.
Translation and Notes
Rmo. Timothero Shanahan / Eccl. sancti munchini parocho, diaec. limericien. Decano. Et vicario generali. / Qui fortitudinem, in juribus summi pontificis propugnando, / Et fidelitatem, in omni munere sacerdotali obeundo; testificatus. / Tandem, longinquitudine dierum, meritus, et virtutibus repletus. / Obdormivit in domino / xiv maii mcmxv, anno lxxxix suae aetatis et lix sacri presbyteratus / R.I.P. / Hoc monumentum, frates devotissimi, fieri fecerunt.
Rmo. - Reverendissimo (Most Reverend)
Eccl. - Ecclesiae (of the Church)
sancti munchini - (of Saint Munchin - likely a church in Limerick)
parocho - parish priest
diaec. - dioecesis (diocese)
limericien. - Limiricensis (of Limerick)
Decano - Dean
vicario generali - vicar general
Qui fortitudinem...propugnando - Who showed strength in defending the rights of the Supreme Pontiff,
Et fidelitatem...obeundo - and faithfulness in fulfilling every priestly duty; having testified (to these).
Tandem...repletus - At last, by the length of his days, deserving, and full of virtues,
Obdormivit in domino - he fell asleep in the Lord
xiv maii mcmxv - 14th of May 1915
anno lxxxix suae aetatis - in the 89th year of his age
lix sacri presbyteratus - and the 59th year of his sacred priesthood
R.I.P. - Requiescat In Pace (May he rest in peace)
Hoc monumentum...fecerunt - His most devoted brothers had this monument made.
Rev. Dionysio R. Shanahan / Qui in hac dice: per quinquaginta an[nos] strenue / Sancteque administrvit. Per multos an[nos] ut fidelis / Pastor parcecias de Askeaton st[sic] pat[ri] et stae[sic] / Mariae: in urbe: multo cum fructu rexit. Laboribus / Tandem infirmitatibusque confectus. novissima / quo securius provideret onus pastorale. maerens / Abdicavit. sagr[is] eccl[esiae] sacramentis munitis / Pie in domino requievit / Natus 1845 Presby: 1868 Mort 1924. / R.I.P.
Rev. - Reverendus (Reverend)
dice[cesi] - diocese
quinquaginta an[nos] - fifty years
strenue / Sancteque administrvit - he diligently and holily administered.
Per multos an[nos] ut fidelis / Pastor - For many years as a faithful pastor
parcecias de Askeaton - the parish of Askeaton
st[sic] pat[ri] et stae[sic] Mariae - [of] Saint Patrick and Saint Mary (likely churches within the parish)
in urbe - in the city
multo cum fructu rexit - he ruled with much fruit (success).
Laboribus / Tandem infirmitatibusque confectus - Worn out at last by labors and infirmities,
novissima / quo securius provideret onus pastorale - to provide more securely for the pastoral office in his last days,
maerens / Abdicavit - grieving, he resigned.
sagr[is] eccl[esiae] sacramentis munitis - fortified with the sacred sacraments of the Church,
Pie in domino requievit - he piously rested in the Lord.
Natus 1845 - Born 1845
Presby: 1868 - Ordained (Presbyter) 1868
Mort 1924 - Died 1924
Rmo. Giraldo Augustino Shanahan, / Ecll. S. Patrici Apud Thornaby-on-Tees. / Parocho. / Diae. Medioburg. Candnico, Ecrecia[sic] ob / Merita Titulo / Praelati domestico A Pio P.X ornato, / Qui. In comit. / Linerici Natus. In angl. Ann. Lui Pastor / Indefessus / Fideique catholicae intrepidus defensor, / Kal. Feb. A.D. MCMXIX. suae vero / Act. LXXIX. / Perculso crege ejus dolore incenti / Pie in Domino obdormivit. / R.I.P.
Ecll. - Ecclesiae (of the Church)
S. Patrici - Saint Patrick
Apud Thornaby-on-Tees - At Thornaby-on-Tees (location of the church)
Diae. - Dioecesis (Diocese)
Medioburg. - Middlesbrough
Candnico - Canon
Ecrecia[sic] ob / Merita Titulo - by the Church, on account of merit, with the title
Praelati domestico - Domestic Prelate
A Pio P.X ornato - decorated by Pope Pius X
Qui. In comit. - Who, in the county
Linerici Natus - of Limerick, born.
In angl. Ann. Lui Pastor - In England for many years a pastor
Indefessus - tireless
Fideique catholicae intrepidus defensor - and a fearless defender of the Catholic faith,
Kal. Feb. - Kalends of February (1st of February)
A.D. MCMXIX - A.D. 1919
suae vero / Act. LXXIX - in the 79th year of his age
Perculso crege ejus dolore incenti - his flock having been struck with grief at his loss,
Pie in Domino obdormivit - he piously fell asleep in the Lord.
Key Takeaways
This inscription honours three brothers who were all Catholic priests.
They served in various roles and locations (Limerick, Askeaton, Thornaby-on-Tees).
Their service was marked by dedication, faithfulness, and longevity.
The inscription highlights their virtues and accomplishments.
This translation and the notes should give you a good understanding of this detailed inscription.
Such a monument would have been a significant expense, especially in the early 20th century. While the inscription doesn't explicitly state how it was funded, there are a few clues and possibilities:
"Fieri fecerunt" - "had it made": This phrase, used in the inscription for Timothy Shanahan, suggests that the brothers commissioned and paid for the monument themselves. This is a common pattern with elaborate memorials, reflecting the family's desire to honour their deceased relatives.
The brothers' prominent positions: All three Shanahan brothers were high-ranking clergymen. Timothy was a Vicar General and Dean, Dionysius was a long-serving parish priest, and Gerald was a Canon and Domestic Prelate. These positions may have come with some financial resources or access to benefactors who could contribute.
Contributions from parishioners: It's possible that parishioners, especially those in Askeaton where Dionysius served for 50 years, may have contributed to the monument out of respect and gratitude for their pastors. This was not unusual, particularly for beloved priests.
Combination of sources: Most likely, the funding came from a combination of the brothers' own resources, contributions from family and friends, and perhaps donations from grateful parishioners.
Unfortunately, without further documentation (such as church records or family archives), it's impossible to know the exact funding sources. However, the inscription and the brothers' clerical careers provide some likely scenarios.
ROBERT POTTER MP
This Memorial caught my attention because of its shape, which I thought was by design, however today [28 November] I came across an old photograph http://www.flickr.com/photos/nlireland/31366311888/ which clearly shows that it was was originally a cross with the inscription Robert Potter MP. When I examined my photographs I noticed that the person in question is actually buried at Askeaton Abbey and the memorial was erected by his wife/widow Anne Potter.
Robert Potter (1799-1842): A Controversial Figure
Robert Potter was a prominent figure in Limerick politics during the early 19th century. He served as a Member of Parliament (MP) for Limerick City from 1832 to 1841. He was known for his strong advocacy for Catholic Emancipation and Repeal of the Union. However, he was also a controversial character, described as a "firebrand" and a "political maverick." He was involved in several duels and was known for his outspoken views. It's certainly possible that Robert Potter's early death at the age of 43 was due to a duel. He was known for his fiery temperament and involvement in several disputes, which could have led to such a confrontation. Unfortunately, I haven't been able to find definitive evidence confirming his death was caused by a duel.
Observations from the old image:
Celtic Cross: The memorial is is/was a Celtic cross, a traditional Irish form often used on graves.
Inscription: The inscription reads "Erected by Anne Potter in memory of her beloved husband Robert Potter MP who died 2nd Nov 1842 aged 43 years." This confirms that it was his wife who commissioned the memorial.
Material: The cross appears to be made of a light-coloured stone, possibly limestone or marble. This might explain its vulnerability to damage over time.
Damage: The cross seems to be broken at the intersection of the arms and the shaft. This could be due to vandalism, natural weathering, or even a falling tree branch.
Considering all images and the inscription, here are some possibilities for the broken cross:
Accidental Damage: Given the cross's material and location, accidental damage seems the most likely explanation. Strong winds, falling debris, or even accidental impact could have caused the break.
Symbolic Act: While still possible, the fact that the memorial was erected by his wife makes a deliberate act of vandalism by political opponents seem less likely. It's possible that the damage occurred much later and was unrelated to any political animosity towards Potter himself.
Natural Deterioration: The break could also be due to the natural weathering of the stone over time, especially if there were any pre-existing flaws or weaknesses in the material.
Anne Potter's Devotion:
The inscription and the elaborate nature of the memorial clearly demonstrate Anne Potter's devotion to her husband. Despite his burial elsewhere, she chose to create a prominent memorial for him in Mount Saint Lawrence Cemetery. This suggests a deep emotional connection to the place or a desire for his memory to be publicly honoured in Limerick City.
Askeaton Abbey (also known as Askeaton Friary) is a ruined medieval Franciscan friary located in County Limerick, Ireland. It sits on the east bank of the River Deel, just north of the town of Askeaton.
Here's a glimpse into its history:
Founded: It was founded for the Order of Friars Minor Conventual by either Gerald FitzGerald, 3rd Earl of Desmond, between 1389 and 1400, or by James FitzGerald, 6th Earl of Desmond, in 1420.
Reformed: The abbey underwent reforms in 1490 and 1513, becoming part of the Order of Friars Minor.
Troubled Times: Askeaton Abbey faced difficult periods, including plundering and abandonment in 1579 during the Second Desmond Rebellion. Some friars were even killed during this time.
Revival and Abandonment: Despite the hardships, it was revived in 1627, only to be abandoned again in 1648 as Cromwell's forces approached.
What Remains Today:
Although in ruins, Askeaton Abbey remains an impressive site. It's known for its:
Size and Extent: The abbey was a substantial complex, and the remaining structures give a sense of its former grandeur.
Architectural Features: Visitors can still see the church, north transept, sacristy, cloister arcade, and domestic buildings.
Cloister: The abbey boasts one of the finest medieval cloisters in Ireland, offering a peaceful and contemplative atmosphere.
Proximity to Askeaton Castle: The abbey is located near the equally impressive ruins of Askeaton Castle, making it part of a significant historical landscape.
THE REPUBLICAN PLOT
WHEN I VISITED IN APRIL 2022 THE YEW TREES HAD BEEN REMOVED [THE HIGH CROSS AT THE REPUBLICAN PLOT]
The Republican Plot and the High Cross are not merely historical relics; they are living memorials. The ongoing efforts to preserve and enhance the site demonstrate the enduring respect and gratitude felt for those who gave their lives in the pursuit of Irish freedom.
The High Cross and the Republican Plot: A Story of Remembrance and Restoration
The Republican Plot in Mount Saint Lawrence Cemetery, Limerick, stands as a poignant symbol of Ireland's fight for independence. It is the final resting place of nineteen individuals who made the ultimate sacrifice during the War of Independence and the Civil War, including revered figures like Mayors George Clancy and Michael O'Callaghan, and Sean South. Dominating the plot is a magnificent High Cross, a testament to their bravery and a focal point for remembrance.
History of the Republican Plot
Established in 1921, the plot was specifically designated for those who died fighting for Irish freedom. The names of those interred are etched into the base of the High Cross, erected that same year, ensuring their sacrifice is never forgotten. The site has become a place of pilgrimage and reflection for those wishing to honour these heroes.
The High Cross: A Symbol of Sacrifice
The High Cross is a striking feature of the Republican Plot. Crafted from durable Kilkenny limestone and standing at 24 feet tall, it is a powerful symbol of remembrance. Its design is attributed to the renowned Irish sculptor, Oliver Sheppard. It's possible that the cross was formally blessed or unveiled in a ceremony in 1934, but it appears to have been erected in 1921 along with the establishment of the plot itself.
Oliver Sheppard: The Artist
Oliver Sheppard (1865-1941) was a key figure in the Irish art world. He is best known for his iconic statue of The Dying Cuchulainn, located in the General Post Office (GPO) in Dublin, a building synonymous with the 1916 Easter Rising. Sheppard's work often explored themes of Irish nationalism and mythology, making him a fitting choice to create this monument.
A 20-Year Struggle for Restoration
For two decades, the Limerick Republican Graves Committee, led by Desmond Long, fought to have yew trees removed from the plot. They argued that the trees were not part of the original design and were damaging the memorial plaques. Despite initial resistance from Limerick City Council, who claimed the trees were of "historical interest," the committee eventually prevailed.
Recent Developments and Ongoing Restoration
In 2019, the "unsightly" yew trees were finally removed. This victory for the committee marked a significant step in their efforts to restore the Republican Plot to a condition befitting the sacrifice of those buried there. However, as Mr. Long noted, further repair work is needed to ensure the site remains a fitting tribute to these heroes.
SACRED HEART CHURCH
THIS WAS THE SACRED HEART CHURCH WHEN I PHOTOGRAPHED IT [THE CRESCENT LIMERICK APRIL 2022]
The Sacred Heart Church in Limerick city has undergone some changes in recent years and especially since I last photographed it in April 2022.
The church was previously under the care of the Redemptorists, but in 2006, it was entrusted to the Institute of Christ the King Sovereign Priest (ICKSP). This is a society of apostolic life of Pontifical Right within the Catholic Church. They are known for celebrating the Traditional Latin Mass and sacraments.
It seems the church building itself was in need of some refurbishment, and the ICKSP have been undertaking this work since they took over. This likely explains the renovations I witnessed in April 2022.
While the official name of the church remains Sacred Heart Church, it is now commonly referred to as Sacred Heart Church - Institute of Christ the King Sovereign Priest to distinguish it from other churches with the same name.
Sacred Heart Church: A History
Early Years: The Jesuits arrived in Limerick in 1609, but it wasn't until the mid-19th century that plans for Sacred Heart Church took shape. Construction began in 1864, designed by architect William Edward Corbett and overseen by Charles Geoghegan. The site chosen, interestingly, was once occupied by a grand Georgian residence called Crescent House, disrupting the uniformity of The Crescent and creating a focal point.
Architectural Significance: The church was dedicated in 1869, though some aspects remained unfinished for decades. It's described as a "gable-fronted barn style" Roman Catholic church. Over the years, it underwent several additions and alterations:
1900: William Henry Byrne drafted designs for a new façade (it's unclear if these were implemented).
1922: Patrick Joseph Sheahan designed an internal chapel.
1938: Sheahan (with the firm Sheahan & Clery) oversaw painting and decoration.
1920s/1930s: A Sacred Heart shrine was erected, marble altar rails were added, and Italian craftsmen created a sanctuary mosaic.
The Redemptorists: While initially a Jesuit church, the Redemptorists took over in the early 20th century. They served the parish for many years until declining numbers led them to hand over the church in 2006.
The Institute of Christ the King: Since 2006, the ICKSP has been the custodian of Sacred Heart Church. Their commitment to the Traditional Latin Mass has attracted a new congregation, and they've undertaken significant renovations to restore and maintain the building.
Changing Religious Landscape in Limerick
Limerick, like many Irish cities, has seen a decline in vocations and a shift in religious practices. This has resulted in:
Reduced Number of Priests and Religious: Many orders, like the Redemptorists, Dominicans, and Franciscans, have had to consolidate their efforts or withdraw from certain parishes.
Church Closures and Repurposing: Some churches have closed altogether, while others have been adapted for new uses (community centres, arts spaces, etc.).
Amalgamation of Parishes: To address the shortage of priests, parishes have been combined, with fewer clergy serving larger areas.
MOUNT ST LAWRENCE
Mount St Lawrence graveyard, located in the South Liberties, has been the primary place of burial in Limerick City for all strata of society since its opening in 1849.
Mount St. Lawrence Cemetery: Limerick's Timeless Resting Place
Located in the South Liberties area of Limerick City, Mount St. Lawrence Cemetery stands as a poignant testament to the city's history. Since its consecration in 1849, it has served as the final resting place for people from all walks of life, a silent chronicle of Limerick's rich and varied past.
Establishment and Early Years:
Overcrowding and Public Health: By the mid-19th century, Limerick's existing graveyards were overflowing, posing significant public health concerns. The need for a new, larger burial ground became critical.
1849: Mount St. Lawrence Cemetery was established on a spacious site, offering a more hygienic and organised approach to burial. Its location outside the then city limits provided ample space for future expansion.
Non-Denominational: Unlike many older graveyards, Mount St. Lawrence was designed to accommodate people of all faiths and denominations, reflecting the city's growing diversity.
Development and Expansion:
Victorian Influence: The cemetery's layout reflects the Victorian era's fascination with symbolism and elaborate memorials. Grand mausoleums, Celtic crosses, and ornate headstones adorn the grounds, showcasing the craftsmanship of the time.
20th Century: As Limerick grew, so did Mount St. Lawrence. The cemetery expanded throughout the 20th century, with new sections added to accommodate the city's increasing population.
Modernisation: While retaining its historical character, the cemetery has undergone modernisation efforts, including improved accessibility and the development of a memorial garden for cremated remains.
Unique Features:
Social Diversity: Mount St. Lawrence is unique in its reflection of Limerick's social diversity. The graves of wealthy merchants, prominent politicians, and renowned artists lie alongside those of ordinary citizens, creating a tapestry of Limerick society across the ages.
Historical Significance: The cemetery houses the graves of many notable figures, including Richard Russell, a former Mayor of Limerick who played a key role in the city's development, and Michael Hogan, the renowned "Bard of Thomond."
Architectural Variety: The range of architectural styles in the memorials is a testament to changing tastes and trends over the centuries. From the grandeur of Victorian mausoleums to the simplicity of modern headstones, the cemetery provides a fascinating glimpse into the evolution of funerary art.
Stories, Myths, and Incidents:
Ghostly Sightings: Like many old cemeteries, Mount St. Lawrence has its share of ghost stories. Local folklore speaks of spectral figures wandering the grounds at night, adding an air of mystery to the place.
The Crying Angel: One popular tale involves a statue of a weeping angel said to shed real tears. Legend has it that the angel weeps for the souls of the departed, adding a touch of poignancy to the cemetery's atmosphere.
Historical Echoes: The cemetery also bears witness to Limerick's turbulent past. Sean Wall was a prominent Irish Republican and Commandant of the East Limerick Brigade of the IRA during the War of Independence. He was tragically killed by Crown Forces in May 1921, just a few months before the truce that ended the war. His death was a significant loss for the Republican movement in Limerick. He is buried in the Republican plot in Mount St. Lawrence Cemetery, and his grave is a place of remembrance and commemoration for those who fought for Irish independence.
The South Liberties: A Historic Heartbeat of Limerick
The South Liberties is a vibrant and historic area located on the south side of Limerick City, Ireland. Steeped in tradition and community spirit, it holds a unique place in the city's identity.
Historical Roots:
Ancient Origins: The area's name harkens back to medieval times when it existed outside the city walls and enjoyed certain freedoms and privileges, hence the term "liberties."
Gaelic Games Stronghold: The South Liberties has a strong association with Gaelic games, particularly hurling. The South Liberties GAA club, founded in 1884, is one of the oldest in the country and a source of immense local pride.
Community and Character:
Tight-Knit Community: The South Liberties is known for its strong sense of community, with a network of local shops, pubs, and businesses fostering a close-knit atmosphere.
Residential Heart: Predominantly residential, the area is home to a mix of housing types, from traditional terraced houses to modern developments.
Green Spaces: Despite its urban setting, the South Liberties boasts green spaces like the People's Park, offering recreational opportunities and a welcome respite from city life.
Landmarks and Points of Interest:
St. John's Cathedral: This magnificent cathedral, with its soaring spire, is a prominent landmark in the South Liberties and a testament to the area's rich religious heritage.
St. John's Hospital: A long-standing institution providing healthcare services to the community.
Mount St. Lawrence Cemetery: As we discussed earlier, this historic cemetery holds a significant place in Limerick's history and is a poignant reminder of the area's past.
GAA Grounds: The South Liberties GAA club grounds at Dooley Park are a hub of sporting activity and community gatherings.
Modern Developments:
Regeneration Efforts: Recent years have seen regeneration efforts in the South Liberties, with improvements to infrastructure and public spaces.
Changing Demographics: The area is experiencing a gradual shift in demographics, with a growing multicultural population adding to its vibrancy and diversity.
Challenges:
Social and Economic Issues: Like many urban areas, the South Liberties faces challenges such as unemployment, poverty, and social deprivation.
Traffic Congestion: Its proximity to the city centre can lead to traffic congestion, particularly during peak hours.
Overall:
The South Liberties remains a vital and dynamic part of Limerick City. Its rich history, strong community spirit, and ongoing development make it an area with a unique character and a promising future.
THE BLACK CHURCH
ST MARY'S KNOWN AS THE BLACK CHURCH [LOTS GOING ON IN THE IMMEDIATE AREA AND THE BUS SERVICES WILL CHANGE IN DECEMBER]
The Black Church at St. Mary's Place has a fascinating story associated with it, and the "blackness" is related to rain.
The Legend of the Devil:
Local legend has it that if you walk around the Black Church three times anti-clockwise at the stroke of midnight, you will encounter the Devil himself!
This legend likely stems from a combination of factors:
The church's dark and somewhat foreboding appearance, especially at night.
Its association with death and burial (being a former church).
A general human fascination with the supernatural and the macabre.
Whether or not you believe in the Devil, the legend adds an air of mystery and intrigue to the Black Church. It's a fun piece of folklore that has been passed down through generations of Dubliners.
The "Blackness" and the Rain:
The church's nickname comes from the calp limestone used in its construction. This type of limestone has a high iron content, which reacts with rainwater to create a dark, almost black appearance. So, the church is at its "blackest" when it's wet! This unique characteristic adds to its visual impact and contributes to its somewhat eerie atmosphere.
There are also stories of a ghostly woman in white who is said to haunt the church. This is linked to a tale of a woman who took her own life there after being jilted by her lover.
The church's unusual parabolic arches are a distinctive architectural feature, and they contribute to the building's unique character.
The immediate area is undergoing massive change. There was a derelict site beside the Church on Paradise Place but it has been redeveloped as the Node Student Accommodation Complex.
The nearby St Mary's Place and Dorset Street flats are in the process of being demolished. The redevelopment will greatly impact on the lower section of Upper Dominick Street.
The well known T O'Brennan's Pub which claimed to be the oldest Georgian Pub in Dublin ceased trading many years ago and remains unoccupied.
Many of the bus routes serving the immediate area will cease in December to be replaced by two high frequency services
E1 Route:
Route: Northwood - DCU - City Centre - Bray - Ballywaltrim
Frequency:
Daytime (6 AM - 10 PM): Every 8-10 minutes
Nighttime (12 Midnight - 6 AM): Every hour
Replaces: Routes 4 and 155
Broadstone Bus Stops: Will serve the Broadstone stop.
Western Way Bus Stops: Will NOT serve Western Way.
Key Features:
Connects Northwood, DCU, and the city centre with Bray and Ballywaltrim.
Provides frequent daytime service and a 24-hour link along this corridor.
Offers an alternative to the Dart for travel between the city centre and Bray.
E2 Route:
Route: Ballymun (IKEA) - DCU - City Centre - Dún Laoghaire
Frequency:
Daytime (6 AM - 10 PM): Every 8-10 minutes
Nighttime (12 Midnight - 6 AM): Every hour
Replaces: Parts of routes 4 and 155
Broadstone Bus Stops: Will serve the Broadstone stop.
Western Way Bus Stops: Will NOT serve Western Way.
Key Features:
Connects Ballymun and DCU with the city centre and Dún Laoghaire.
Provides frequent daytime service and a 24-hour link along this corridor.
Offers a new direct link between Dún Laoghaire and DCU.
Route 19 (Dublin Airport):
Route: Dublin Airport - DCU - Parnell Square (City Centre)
Frequency:
Daytime (5 AM - 11 PM): Every 20 minutes
Key Features:
Provides a direct link between Dublin Airport and the city centre.
Offers a frequent service for airport travellers.
Other Important Changes:
Local (L) and Express (X) Routes: New L and X routes will be introduced to provide better connectivity for areas like Greystones, Newcastle, and Blackrock. These routes are designed to offer faster journeys to the city centre and nearby stations with fewer transfers.
Changes to Routes 4, 11, and 13: These routes will undergo significant changes as part of the network redesign.
Discontinued Routes: A number of routes will be discontinued, including the 46a, 46e, 63, 63a, 84, 84a, 84x, 143, 144, 145, 155, 184, and 185.
Here's what I can deduce about Western Way bus services after December 8th:
Route 4: With Route 4 diverting at O'Connell Bridge, it will definitely NO LONGER serve Western Way. This confirms that the E1 and E2 are NOT replacements for Route 4 on the Western Way section.
Route 11: The new Route 11 routing via Phibsborough also means it will NO LONGER serve Western Way.
Route 13: Terminating at Mountjoy Square means Route 13 will also NO LONGER serve Western Way.
Conclusion: It seems very likely that NO current routes will continue to serve Western Way after the December 8th changes.
This is a significant change for people who rely on those stops. It highlights the importance of checking the Dublin Bus and TFI websites for detailed information about alternative travel options.
Recommendations for people who use the Western Way stops:
Use the TFI Journey Planner: Enter your starting point and destination as a Western Way stop to see what alternative routes and connections are available after December 8th.
Check the Dublin Bus website: Look for updated route maps and timetables to understand how the changes affect your journey.
Consider nearby stops: Identify alternative bus stops on nearby roads that will still be served by buses after the changes.
ST ANTHONY'S CHURCH
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
ST PETER'S CHURCH IN PHIBSBOROUGH [HAS A NUMBER OF STUNNING HARRY CLARKE CREATIONS]
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.
ST JOHN THE BAPTIST
ST JOHN THE BAPTIST CATHOLIC CHURCH [CLONTARF ROAD AND CHURCH GATE AVENUE]
St John the Baptist Church on Clontarf Road is a Catholic church with a rich history dating back to the 19th century.
History & Architecture
Early Years: The church was designed by renowned Dublin ecclesiastical architect Patrick Byrne. The foundation stone was laid in 1835, and it opened in 1838, though it wasn't fully completed until 1842.
Growth and Expansion: The church underwent significant expansion in 1895, thanks to the generosity of Mr Owison Allingham. He funded a 17-foot extension, a new high altar, pulpit, altar rails, sacristy, and bell tower. His sister, Miss Allingham, decorated the church's interior.
Parish Priests: Several notable parish priests have served St John the Baptist, including Fr Callanan (died 1846), Rev Cornelius Rooney (1846-1878), and Fr Patrick O'Neill (1879-1909). Fr Edward McCabe, a curate under Fr Callanan, went on to become Cardinal Archbishop of Dublin.
Parish Changes: The parish boundaries have shifted over time. Initially, Clontarf was part of a union of eight parishes. In 1879, this was split, with Clontarf then including Killester, Coolock, and Raheny. In 1909, Clontarf became a separate parish. With the growing population, chapels-of-ease were opened: St Anthony's in 1927 and St Gabriel's in 1956. These became independent parishes in 1966 but were reunited with St John the Baptist in 2009.
Holy Faith Sisters: In 1890, the Sisters of Holy Faith established a convent and schools for girls and junior boys in Clontarf at the invitation of Fr O'Neill.
KILMACUD PARISH CHURCH
ST LAURENCE O'TOOLE CHURCH - HARLEYS HANGER [AND NEARBY MOUNT ANVILLE PRIMARY SCHOOL]
On a recent visit to St Laurence O'Toole's Church in Kilmacud, I was unable to photograph the interior in detail due to ongoing renovations. A worker, who suggested I return later, surprised me by referring to it as "Harley's Hanger"! This piqued my curiosity as I attended this church in the 1960s and 70s and never encountered that nickname. (A previous visit was also unsuccessful as a large funeral was taking place.) It should be mentioned that my younger sister attended the school.
The nickname "Harley's Hanger" for the 1969 church does seem to derive from its resemblance to an aircraft hangar! The "Harley" part undoubtedly refers to Canon Brendan Harley, the first Parish Priest of Kilmacud. Here's what I've gathered about the nickname's origin:
Modern Architecture: The church, designed by Stephenson Gibney & Associates, has a distinctive modernist style with clean lines, functional design, and a large open space, contributing to its hangar-like appearance.
Canon Harley's Influence: Canon Harley played a key role in the church's construction, overseeing the project and likely influencing its design. Parishioners may have associated the building's unique look with his leadership, hence the nickname combining his name with its hangar-like form.
Affectionate Term: "Harley's Hanger" appears to be a largely affectionate nickname, perhaps with a touch of gentle humour about the church's unconventional design. It reflects the close relationship between a priest and his parishioners.
While I couldn't find definitive documentation on the nickname's exact origin, the combination of the church's unique architecture and Canon Harley's strong presence in the parish likely led to its adoption by the community.
Mount Anville Primary School
Located near St Laurence O'Toole's, Mount Anville Primary School boasts a rich history dating back to 1831 when a school was first established on Kilmacud Road. Here's a brief overview of its development:
Early Years (1831-1866): In 1831, following the establishment of the National Board of Education, a free elementary school was set up on Kilmacud Road. This marked the beginning of formal education at the location. The Sisters of the Sacred Heart arrived at Mount Anville in 1853.
Mount Anville School (1866-1954): The Sisters of the Sacred Heart opened a primary school in 1866. Plans for a new school building were approved in 1869, and it opened in 1870 as Mount Anville National School. It was likely located within the grounds of Mount Anville Convent, not at the current Lower Kilmacud Road location.
The Current School (1954-Present): A new primary school building was constructed on Lower Kilmacud Road in 1954, and officially opened in 1955 by Archbishop McQuaid. Sr. Eileen O'Donovan served as the first principal of the school at its current location (1952-1956). The school continues to thrive as a Catholic primary school for girls, upholding the Sacred Heart ethos with a focus on inclusivity, personal development, and academic excellence.
On a recent visit to St Laurence O'Toole's Church in Kilmacud, I was unable to photograph the interior in detail due to ongoing renovations. A worker, who suggested I return later, surprised me by referring to it as "Harley's Hanger"! This piqued my curiosity as I attended this church in the 1960s and 70s and never encountered that nickname. (A previous visit was also unsuccessful as a large funeral was taking place.) It should be mentioned that my younger sister attended the school.
The nickname "Harley's Hanger" for the 1969 church does seem to derive from its resemblance to an aircraft hangar! The "Harley" part undoubtedly refers to Canon Brendan Harley, the first Parish Priest of Kilmacud. Here's what I've gathered about the nickname's origin:
Modern Architecture: The church, designed by Stephenson Gibney & Associates, has a distinctive modernist style with clean lines, functional design, and a large open space, contributing to its hangar-like appearance.
Canon Harley's Influence: Canon Harley played a key role in the church's construction, overseeing the project and likely influencing its design. Parishioners may have associated the building's unique look with his leadership, hence the nickname combining his name with its hangar-like form.
Affectionate Term: "Harley's Hanger" appears to be a largely affectionate nickname, perhaps with a touch of gentle humour about the church's unconventional design. It reflects the close relationship between a priest and his parishioners.
While I couldn't find definitive documentation on the nickname's exact origin, the combination of the church's unique architecture and Canon Harley's strong presence in the parish likely led to its adoption by the community.
Mount Anville Primary School
Located near St Laurence O'Toole's, Mount Anville Primary School boasts a rich history dating back to 1831 when a school was first established on Kilmacud Road. Here's a brief overview of its development:
Early Years (1831-1866): In 1831, following the establishment of the National Board of Education, a free elementary school was set up on Kilmacud Road. This marked the beginning of formal education at the location. The Sisters of the Sacred Heart arrived at Mount Anville in 1853.
Mount Anville School (1866-1954): The Sisters of the Sacred Heart opened a primary school in 1866. Plans for a new school building were approved in 1869, and it opened in 1870 as Mount Anville National School. It was likely located within the grounds of Mount Anville Convent, not at the current Lower Kilmacud Road location.
The Current School (1954-Present): A new primary school building was constructed on Lower Kilmacud Road in 1954, and officially opened in 1955 by Archbishop McQuaid. Sr. Eileen O'Donovan served as the first principal of the school at its current location (1952-1956). The school continues to thrive as a Catholic primary school for girls, upholding the Sacred Heart ethos with a focus on inclusivity, personal development, and academic excellence.
ST BRIGID'S CHURCH
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.
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.
KILMACUD CHAPEL OF EASE
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.
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
ARBOUR HILL CEMETERY AND 1916 MEMORIAL [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 AT ARBOUR HILL
CHURCH OF THE SACRED HEART [NEXT TO ARBOUR HILL PRISON]
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.
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