‘What means soever may be used for the procuring of Unity, or Settlement, in a Country, Men must at the same time be careful not to deface and dissolve the Bonds of Christian Charity; nay of humane Society, since acting to the contrary, is but to dash the second Table against the first; and so to consider others, as of this or that Persuasion, and to treat them ill upon that account, is to forget that they are Men; and indeed to me it seems full as unreasonable to destroy other People, purely because they cannot think as we do, as it is for one man to ruine another, because the outward Figure and Shape of his Body is not the same with his own.’
The Rev George Story (1691)
The Irish Aesthete wishes all friends and followers a Happy and Safe Christmas
Category Archives: Irish Church
In Anticipation…
In anticipation of next Monday, here is one of the windows found in St Manchan’s, Boher, County Offaly. This little church takes its name from a local saint and houses a 12th century reliquary, St Manchan’s Shrine, believed to have held his bones (alas, for unexplained reasons the shrine was not on view during a recent visit). But the building also has a series of five splendid stained glass windows commissioned in 1930 from the pre-eminent artist then working in the medium, Harry Clarke. This one shows St Anne, traditionally held to be the Virgin’s mother, with her young daughter, in turn the mother of Christ.
Tales of the Unexpected
Designed by J.J. McCarthy in 1867, the Church of the Nativity in Kilcormac, County Offaly appears to differ little from a multitude of other such buildings constructed during the same period throughout Ireland. The interior, however, contains a couple of surprises, one of which is a 16th century polychromatic carved oak Pietà, thought to have come from mainland Europe. Local legend has it that at the time of the Cromwellian Wars, when Catholic churches were under attack, the sculpture was hidden for safekeeping in a nearby bog. Many years later, just before the last of those responsible for concealing the work died, he was able to say where it lay. It has remained in Kilcormac ever since, except, apparently for one short period when a curate who was moved to another parish decided to take the sculpture with him: a number of parishioners carried out a rescue mission and returned it to the church.
The Pietà may have come to Kilcormac thanks to the Mac Amhalghaidhs (anglicised as Magawly), once a prominent family in the area who lived at Temora House (destroyed by arson in 1930). A monument at the rear of the church lists the achievements of a number of them, beginning with Philip Magawly who, having left Ireland in the late 17th century joined the Imperial Habsburg army and rose to the rank of Field Marshal before being created a Count of the Holy Roman Empire. This title descended to his great-nephew and so down the line to the fourth count, who, as the monument notes, was assassinated by members of the Young Italy movement in March 1856 in Parma where he was serving as Chamberlain to the Duchess-Regent, her husband having similarly been assassinated two years earlier.
A Quiet Spot
‘A fifth tower stood at Aghaviller, (probably Agha-oillir, field of the pilgrim) the lower part only remains; above the foundation it measured fifty feet round; beneath this, it has a circular base, projecting six inches, and fourteen inches high, resting on a square foundation; that at Kilree is built in the same way, as the others probably are: this tower is peculiar by having a door-way even with the ground, and apparently co-eval with the building; this door way is five feet one inch high, two feet nine inches wide at top, and from two to three feet wide at bottom: internal diameter of the building, eight feet ten inches, wall four feet thick, two courses remain for floors, and part of a third story with a small window: on the first, an old floor is remembered to have stood about forty years ago. The first story within, is twelve feet high; without, it is thirteen feet to the old door way, which this had, like others, opening to the first floor, but which has been modernly walled up. The tower stands twenty feet to the S. of the foundation of the old church and at the S. W. angle; it is built of siliceous breccia.’
From A Statistical Survey of the County of Kilkenny by William Tighe (1802)
‘The pillar tower is fifty-one feet in circumference at the base; hence the diameter is sixteen feet two inches. There are two doorways; one at the ground level, of cut stone, rectangular, with places for hanging-irons; a small bolt hole and a rabate are on the inside; it is five feet two inches high by two feet ten and a half inches wide and looks N.E. The other doorway, and in all probability the original one is about 13 feet up from the ground to the door-still. The higher and narrow that on one below, and looks north. A rectangular open, of dressed stone, is situated at about twenty-seven feet up; it may be three feet high by two wide; its aspect is S.S.W. The tower terminates a few feet above this open, begin only a dilapidated stump.’
From Transactions of the Kilkenny Archaeological Society (1855)
Although a number of authors have written about the ruins found at Aghaviller, County Kilkenny, much of the site’s history remains obscure, and even the origins of its name open to question. For example, in his 1856 Introduction to the Annals of the Four Masters, John O’Donovan is scathing about Tighe’s earlier suggestion that the place’s name derived from the Irish meaning Field of the Pilgrim, declaring this to be ‘a mere silly guess by one who had no acquaintance with the Irish annals or Irish literature, and who indulged in those wild etymological conjectures which characterize the Irish antiquaries of the previous century.’ (O’Donovan instead insisted that the Irish name meant ‘Field of the Watercresses’). Even the origin of the religious foundation here continue to be uncertain. The church was dedicated to St Brénainn (that is, St Brendan of Birr, rather than the more famous St Brendan of Clonfert) and dates from the 12th century, although it underwent modifications in the 15th century when a substantial tower, serving as residence for the clerics, was built over the chancel: the latter survives but only the foundations of the nave can be seen. The round tower adjacent is notable both for being truncated and for being set on a square stone plinth. A quiet spot less well know or visited than many other such sites in the county.
Just a Skeleton
The skeleton of the former Roman Catholic chapel in Hugginstown, County Kilkenny. This building was constructed c.1800, in other words almost three decades before Catholic Emancipation, and had an interior that preserved its original decoration, a rare survivor from that period. However, as so often is the case, this was judged to be outdated and forty years ago the church was put out of service, with a singularly unimpressive replacement erected elsewhere in the village. The interior was subsequently dismantled and the roof removed, so that today only the shell seen here remains.
A Stout Burial Place
Inside a walled enclosure overlooking the plains of County Kildare, the church of Oughterard (from the Irish Uachtar Árd, meaning ‘a high place’) is thought to have been originally established in the sixth or seventh centuries, although the present buildings are of later date. What remains of what must once have been a substantial religious settlement are a truncated round tower and a barrel-vaulted chancel with a 14th century three-light window at the east end. Much of the nave has been lost, but on the south wall is the burial site of Arthur Guinness, founder of a certain well-known Irish business. The reason he was entombed here: his maternal grandfather William Read was a tenant farmer in this part of the country (and, it is sometimes said, Arthur Guinness was born in his mother’s family house when she returned there for the event).
Ireland’s Taj Mahal
Welcome to Ireland’s equivalent of the Taj Mahal, and the smallest chapel in Europe (also reputedly the second-smallest in the world), located in the centre of Carrick-on-Shannon, County Leitrim. Designed by architect William Hague and completed in 1879, the chapel was commissioned by local businessman Edward Costello to commemorate his wife Mary Josephine who had died two years earlier at the age of 47. Erected on the site of a former Methodist chapel and faced with ashlar limestone, the building measures 12 feet wide by 16 feet long. Crests on either side of the entrance contain the letters EMC and the Costello coat of arms with the motto ‘Ne te quaesiveris extra’ (Do not look outside for yourself). Lined in Bath stone, the interior has a carved marble altar behind which are stained glass windows by Mayer of Munich. Sunk into the floor and on either side of tiles bearing symbols of the Passion of Christ, are two large sheets of glass: through that on the left can be seen the coffin of Mrs Costello, while her husband’s remains lie to the right.
A Norwegian Connection
The name of St Olav’s church in Waterford testifies to the city’s Viking origins: Olaf II was a Norweigan king killed at the Battle of Stiklestad in 1030, and canonised in 1164. The original church here, likely made of wood, is supposed to have been constructed around 1050, long before Olav became a saint, so it must have been named after him at a later date, perhaps when the stone structure was built. The latter had fallen into ruin by the early 17th century and only an arched doorcase survives at the west end of the present church, which occupies the same site but was erected in the 1730s on the instructions of the then-Bishop of Waterford, Thomas Milles: its design has been attributed to William Halfpenny who, during the same period, produced designs for the Bishop’s Palace and Christ Church Cathedral, neither of which were executed (see: The Finest 18th century Ecclesiastical Building in Ireland « The Irish Aesthete). St Olav’s remained a place of worship until 1970 and today serves as a community centre.
A Pocket Church
Visited on a particularly wet day during this particularly wet summer, here is what remains of the little church at Kilbunny, County Waterford, named after St Munna and originally founded in the 8th century. The present building, with its restored Romanesque arch entrance and chevron moulding, is from the 11th century. Seemingly at one time some 230 monks lived here, but it is difficult to imagine such numbers today: certainly, only a handful of them would fit into the church which only measures about 8.5 metres in length and 5 metres in width. Outside, a faint trace of what was possibly representing a human head, can be discerned at the base of the arch on the right-hand side, while inserted into the wall on the left-hand is an animal head, perhaps that of a ram. On the ground to either side are bullaun stones, it is thought originally used as baptismal or water fonts.
A Wife’s Devoted Attention
The Wilson Lynch family of Belvoir, County Clare may have been descended from one Ralph Wilson, a Cromwellian soldier who settled in this part of the world in the mid-17th century and served as Mayor of Limerick city in 1657, 1663, 1664, 1667 and 1668. In any case, at the end of the same century, a Richard Wilson was acting as agent for Sir Donough O’Brien, first baronet of Lemeneagh and Dromoland. In 1712, his son, also called Richard, leased the lands of Ballycullen from Henry O’Brien, seventh Earl of Thomond: these lands would form a large portion of the eventual Belvoir estate. The Wilsons, who somewhat unusually were Roman Catholic, continued to reside here until the mid-19th century. Richard junior had been succeeded by his eldest son John, who married late in life and died in 1797, leaving a seven year-old son, David John Wilson. On reaching adulthood, he proved to be a landlord with serious concern for improving the condition of his tenantry, building a number of schools on his estate, and also developing one of the first model agricultural schools in the country at Belvoir. Following what became known as the Sixmilebridge Massacre in July 1852 (when soldiers opened fire on a group of protestors during an election, leading to the deaths of seven persons and leaving the same number injured), he published a pamphlet denouncing what had happened and then established a relief fund for the families of the victims. David J Wilson died in April 1864 when the Belvoir estate passed to his nephew John Wilson Lynch.
The Lynchs were one of the Tribes of Galway, the 14 powerful families who had effectively ruled the city during the Middle Ages and subsequently become landowners in the surrounding counties. Roman Catholic, like the Wilsons, at the start of the 19th century Mark Lynch of Renmore, County Galway, a successful banker and merchant, was able to buy the Durus (or Doorus) estate outside Kinvara, County Galway from its previous owner, Jacques, Comte de Basterot. In 1820, Mark Lynch’s son, Patrick Marcus Lynch, married Ellen, sister of David John Wilson. Some years later, when Wilson found himself in financial difficulties, his brother-in-law, Patrick M Lynch, lent him money secured by a mortgage on Belvoir and the prospect of a life interest in the Belvoir estate for Lynch’s son John. In due course, following Lynch’s death in 1864, John Wilson Lynch came to be responsible for Belvoir, although he does not seem ever to have lived there, instead leasing the house and surrounding land. By further agreement with David John Wilson’s widow, Mary, on John Wilson Lynch’s death, the estate was to be inherited by his second son, if he should have one. At this time, Wilson Lynch had a very substantial property: according to the 1876 Landowners of Ireland his Duras estate ran to almost 5,410 acres, while the Belvoir estate covered just over 3,100 acres. Within a couple of decades, however, circumstances began to change rapidly, due to the Land Wars and accompanying unrest among tenants. In December 1885, for example, the wife of John Murphy, Belvoir estate bailiff, was shot in the leg. Accordingly, John Wilson Lynch began to sell much of the land and by the time of his death in 1911 he had embarked on disposing of the greater part of the old Belvoir estate. Accordingly, by 1922 his successor there, a younger son William Wilson Lynch, retained just the house and part of the demesne. On his death, he left the property to a housekeeper.
Belvoir would appear to be an 18th century house built by one of the Wilson family, perhaps John who lived here until his death in 1797. A month later, the place was advertised to let, since his heir David John Wilson was, as mentioned, then only a minor of seven. In 1814 it was recorded as being unoccupied in 1814, but presumably some time after that date David John Wilson decided to restore the building and gave its regular two-storey over basement, five bay facade a superficial Gothic makeover. With Tudoresque hooded mouldings over the windows and an ogee doorcase inside an arched porch featuring the family coat of arms. As for the interior, it would seem to have followed the usual layout of two smaller reception rooms to the front and two larger to the rear, with entrance and staircase halls occupying the central portion of the building. Given that he had other residences elsewhere in Counties Clare and Galway, John Wilson Lynch does not seem to have lived in Belvoir and in 1872, presumably following the death of Mary Wilson, the house’s furniture was sent to his properties at Duras and Kilcornan. Belvoir was then let to a Lady Loftus, and during the following decade was burnt down; despite an insurance claim, it was never rebuilt. Instead, when William Wilson Lynch came to this there with his wife in the second decade of the last century, they occupied the old service courtyard, which lies to the north-west of the main building; this remained in use until relatively recently but has now begun to fall into ruin. The other notable feature of the property is a chapel to the north of the house and linked to it by a Gothic screen wall. An arch above the doorcase proclaims, ‘The Ladye Chapel, Erected in return for a Wife’s Devoted Attention during a Severe Illness in 1862 & 1863.’ This indicates the little three-bay, single storey building was constructed towards the end of John Wilson Wright’s life in gratitude for his wife Mary’s care. The chapel was maintained and seemingly still in use until a few years ago, but alas has since been vandalised and some of its stained glass windows broken. It seems only a matter of time before it falls into the same condition as the rest of the site.
