All Saints Church Raheny
The story of All Saints’ Church began one Monday evening in the month of April of the year 1885, when the people of the Church of Ireland Parish of Raheny assembled for a meeting in the old Church of St. Assam, the ruins of which still stand in the village centre today. It was a mild spring evening and the attendance at the meeting could be assessed by the number of pony traps tethered at various points around the old graveyard.
They had come to hear more about a generous offer made by Lord Ardilaun Arthur Edward Guinness Lord Ardilaun born All Saints Day 1840 at St. Anne’s Clontarf to build a new and costly church on a different site within his estate and entirely at his expense. A decision was not difficult to arrive at and the parishioners accepted his Lordships offer to build a new parish church.
Although the offer must have caused a riple of excitement to pass through the assembly, there must have been a feeling of sadness that the life of the old church, which had played such an important part in their lives and that of their forebearers, was now slowly ebbing to a close. Yet they had to be realistic too, for the fabric of the old building was slowly but surely deteriorating and becoming much too costly for a small community to maintain. A decision was not difficult to arrive at and the resolution to accept Lord Ardilaun’s offer was passed unanimously.
Lord Ardilaun had retained the services of a notable church architect named George Coppinger Ashlin to carry out the project. Ashlin was a pupil of Pugin the master architect, and also became his son-in-law, he also designed the Red Stables in St. Anne’s Estate. Collen Brothers of Portadown were chosen as contractors for the building of the church and Messrs. A.V Sharpe of Great Brunswick Street (now Pearse Street), were entrusted with the work of erecting the tower and spire. Ashlin used only the best of materials and the skill of the greatest craftsmen available in the construction of the church.
An important feature of the building is the perfect symmetry of the overall design and the perfect blending of the church and tower. The green Cumberland slates create a perfect contrast to the sparkling granite walls and the clever use of two patterns of slates laid in alternating strips enlivens the appearance of the building.
The tower and steeple are modelled on those at Salisbury Cathedral. The granite blocks used in the construction were hauled by horse and cart from the Ballynockan Quarries on the eastern side of the Blessington Lakes to Raheny, and if any one block was found to be imperfect in either shade or grain, it was returned immediately by the Clerk of Works on the site.
The interior of the church is a veritable gallery displaying the skill and talents of the stained glass artist. Eighteen beautiful windows of various sizes contribute in no small way to the aura of peace that surrounds one in this hallowed place. The exquisite font of marble and alabaster was created by Sharpe’s of Dublin and is a wonderful example of the monumental sculptor’s handiwork. So too, is the expertly carved pulpit which was also executed by Sharpe’s to the design of the architect. It was carved from solid oak to merge with the choir stalls and the doors of the church. The carved figures upon it are representatives of the four apostles.
The organ was a gift in 1921 from Lady Ardilaun and cost eight hundred pounds which was a considerable sum of money at the time. It has a beautiful tone and at one time it was considered by experts to be unrivalled in this country.
All Saints Church Raheny – Description
The Porch
Entering the church by the main door in the tower, the visitor is immediately impressed by the beauty of the four miniature stained-glass windows, which depict the building of the temple of the King Solomon. The first window shows the timbers of cedar and fir being brought by the sea from Lebanon. The second window portrays King Solomon and King Hiram at the building. The third shows the glory of the lord filling the House so that the priests could not stand to minister and the fourth is of King Solomon dedicating the temple. The inscription reads:
“In remembrance of Laurence Brodie Drury, a former chorister of this church, only son of Canon T. W. E. Drury, Rector of Raheny. These windows were erected by his friend, B. J. Plunket, Bishop, 1929.”
Laurence Brodie Drury was a popular young man of eighteen years when he died at Leysin, Switzerland, in March 1928. A past pupil of Baymount School, Clontarf, he had enlisted in the British Navy and attained the rank of Midshipman before illness brought his young life to a close. Another memorial tablet in the porch is inscribed:
“To proclaim the Glory of God and in loving memory of the Lady Olivia Charlotte, Baroness Ardilaun of St. Anne’s Clontarf. Born at Macroom Castle, Co. Cork, August 25th, 1850. Died in Dublin, December 13th, 1925. The bell in this tower is erected by her nephew, Benjamin John Plunket, D.D., Bishop 1926. May her soul rest in peace and my light eternal shine upon her.”
The bell was cast in the famous bell foundry at Loughborough, Leicester, from whence came the great peals at St. Patrick’s Cathedral, Dublin, St. Patrick’s Cathedral, Armagh, and St. Colman’s Cathedral, at Cobh, Co. Cork. It weighs about one ton, sounds the note Tenor E and measures four feet in diameter by three feet four inches in height. The inscription on the bell face reads: –
“To proclaim the Glory of God and in affectionate remembrance of Olivia Charlotte, Baroness Ardilaun, died December 13th. 1925. The gift of Benjamin John Plunket, Bishop 1926.”
The Stairs in the porch lead to the choir robing room and the belfry.
The Great West Window
In this beautiful four paneled stained glass window, excerpts from the Sermon on the Mount are portrayed in pure artistry and bring to our hearts and minds the teachings and promises of the Saviour: “Blessed are the pure in heart for they shall see God”; “Let your light so shine before men, that they shall see your good works and give Glory to your Father who is in heaven”; “Blessed are the poor in spirit”; “Blessed are the merciful”; “Blessed are they that mourn”; “Blessed are they that hunger and thirst after righteousness”.
Baptistry
This exquisite font of marble and alabaster was made by Messrs. A.V. Sharpe of Great Brunswick Street, Dublin, and is a wonderful example of the monumental sculptor’s art. Messrs. J. Fagan & Son who were also of Great Brunswick Street made the oak cover with its ornamental brass work and counterbalance contrivance.
Like the miniature-stained glass windows in the porch the three windows in the baptistery were presented by Bishop Plunket in April 1929. The first window is of St. Brigid and commemorates the charity for which she was renowned, and the oak tree at Kildare where she founded one of her communities. St. Brigid died about the year 523 A.D. Inscription: –
“In loving memory of Elizabeth Charlotte Plunket, eldest daughter of William, fourth Baron Plunket and Anne Lee Guinness, his wife. Born August 1st, 1868, and died October 26th, 1914. This window is erected by her brother, Benjamin J. Plunket, Bishop 1929.”
The second window of another Irish Saint portrays St. Patrick making his Christian assault on Tara by preaching before the High King, Laoghaire, and afterwards baptizing the King’s two daughters, Eithne and Feidelm. Inscription: –
“In loving memory of William Lee, fifth Baron Plunket, eldest son of William Conyngham, fourth Baron Plunket and Anne Lee Guinness, his wife. Born December 19th, 1864, died January 24th, 1920. This window is erected by his brother, Benjamin J. Plunket, Bishop 1929”.
The third window commemorates St. Columba, the fierce Ulsterman who later became a famous missionary to Scotland. He is seen being ordained by St. Etchen of Clonfad and supervising the building of his settlement at Iona, where he died in 595 A.D. Inscription: –
“In loving memory of Olivia Anne Plunket, wife of John R. B. Newman. Second daughter of William Conyngham, fourth Baron Plunket and Anne Lee Guinness, his wife. Born August 5th, 1873. Died January 24th, 1896. This window is erected by her brother Benjamin J. Plunket. Bishop 1929.”
The Nave
There are six windows in the nave of the church, three on the right-hand side and three on the left. Of those on the right, the first is of the marriage at Canaan. The second is in three panels and depicts (a) the child Jesus in the temple with the doctors; (b) “The Good Shepherd’, represented by Christ and (c) in the carpenter’s shop at Nazareth. The third window is of the resurrection. Mary has spices to balm Jesus, but he is not here. “He is risen”.
Of the three windows on the left-hand side of the nave, the first shows Jesus with the children: “And forbid them not for of such is the Kingdom of Heaven”. The second window, like its counterpart on the right of the nave, is also divided into three panels. (a) St. Peter’s window ‘the healing of Dorcas”, (b) Peter and John heal at the gate beautiful and (c) Peter’s faith fails as he walks on the water. The third window shows Joseph and Mary presenting the child Jesus in the temple and offering a sacrifice. Simeon and Anna recognize the Christ Child.
The Transept- Right Hand
The window in the transept depicts the angel with the golden censer and the angel with the trumpet –
“And another angel came and stood at the altar, having a golden censer; and there was given unto him much incense, that he should offer it with the prayers of all Saints upon the golden altar which was before the throne.” Rev. 8.3.
“And the seventh angel soundeth: and there were great voices in heaven, saying, the kingdoms of this world are become the kingdoms of our Lord and of his Christ; and he shall reign for ever and ever.” Rev. 11.15
Two armorial windows in the transept are of the Ardilaun and Bantry coat of arms. Inscription –
“The windows in this transept are erected by Olive, Lady Ardilaun, to the dear memory of her husband, Arthur Guinness, Lord Ardilaun who built this church. Born November 1st. 1840 at St. Anne’s, Clontarf and there on January 20th, 1915, passed on to a higher service.”
Mortuary Chapel
Here lie the mortal remains of Lord and Lady Ardilaun in two sepulchral tombs. A tablet on the wall facing the left-hand tomb is inscribed: –
“Here rests Olivia Charlotte, Baroness Ardilaun, wife of Arthur, Baron Ardilaun, and daughter of William, 3rd. Earl of Bantry. Born August 25th, 1850. Died December 13th, 1925. It was said of her “great hearted, bountiful and gracious. She enriched the lives of all who knew her’. Grant her Lord eternal rest.”
A tablet on the wall facing the tomb on the right hand is inscribed: –
“Here rests Baron Ardilaun. Eldest son of Sir Benjamin Lee Guinness Bart., born at St. Anne’s Clontarf, All Saints’ Day 1840, and there fell asleep on January 20th., 1915. It was said of him “He did good in his day and generation and left a good memory behind him”.
The Ardilaun and Bantry Coats-of-Arms are illustrated on two miniature stained glass windows in the mortuary chapel, while on the left hand wall is a curse which is probably the only one to be found in any church in Ireland: “God bless the man who doth this hallowed place revere, but curs’d be he who would disturb those sleeping here.”
Chancel
The great east window portrays the “Incarnation” and the “Adoration”. In the centre are Mary, Joseph and the child Jesus. The shepherds are on the left panel and the wise men on the right.
“The Gentiles shall come to thy light and kings to the brightness of thy rising.”
Three armorial stained-glass windows were fitted to the right-hand wall of the chancel by Lady Ardilaun, in memory of various members of her family. A brass plate on the right-hand window is inscribed:
“William, 4th Earl of Bantry, Born July 2nd, 1854, died November 30th, 1891. Only son of William, 3rd Earl of Bantry and his wife Jane Herbert.” “Lady Emily Anne White. Born September 5th, 1848, died September 5th, 1860. Second daughter of William, 3rd Earl of Bantry and his wife Jane Herbert.”
The inscription on the centre window reads:
“Lady Ina Maud White, Countess Ferrers, born May 20th, 1852, died June 7th, 1907. Fourth Daughter of William, 3rd Earl of Bantry, and his wife Jane Herbert. “Jane Herbert of Muckross, wife of William, 3rd Earl of Bantry. Born March 22nd, 1823. Died July 7th, 1898”.
The left-hand window is inscribed:
“William, 3rd Earl of Bantry, born November 10th, 1801, died January 24th, 1884. Lady Elizabeth Leigh, born January 25th, 1847, died October 1st, 1880. Eldest daughter f William, 3rd Earl of Bantry, and his wife, Jane Herbert.”
“These windows are erected to their dear memory, by Olive, wife of Arthur, Lord Ardilaun, and daughter of the 3rd Earl of Bantry, and his wife Jane Herbert of Muckross. I thank God that without ceasing I have remembrance of them. Grant them rest eternal, grant them, Lord, thy rest, and light perpetual shine upon them.”
The Pulpit
The pulpit is a perfect example of fine woodcarving and well worth a minute study of every detail. Messrs A.V. Sharpe of Gt. Brunswick Street, Dublin, made it to the design of the architect, Mr. George C. Ashlin, R.H.A. It was constructed from solid oak to merge with the choir stalls and the doors of the church. The carved figures are representations of St. Matthew, St. Mark, St. Luke and St. John.
The Organ
The organ was a gift from Lady Ardilaun in 1919 at a personal cost of eight hundred pounds. Prior to its delivery she expressed fears that it might be too powerful in relation to the size of the church and in comparison, to the somewhat poor and inadequate organ which had done duty before. However, when it was made and installed by Vincents of Sunderland, she was very pleased with the variety and sweetness of tone. In 1944 it was considered that some of the organ stops were unrivalled in this country.
Other Details about the Church
The church was planned to seat one hundred and fifty persons exclusive of the transepts, and measures eighty feet through the chancel choir and nave, by fifty-two feet out to out of transepts. The height of the church from floor of nave to apex of roof is forty feet. The tower with spire measures one hundred and ten feet from the ground to the point of the weathervane.
The foundations of the church were built of limestone, and the interior walls were lined with Bath stone. The marble for the columns in the chancel, the chancel arch and the supports for roof trusses, etc., came from Cork, Galway and Kilkenny. The floor is paved with blocks of Irish oak, and the aisle is paved in ceramic mosaic to the architect’s design.
The seating in the nave of the church is made from Riga Oak and like the Choir stalls, pulpit, font, tower and steeple, were made by Messrs. A.V. Sharpe.
The mortuary chapel was added to the church in 1891 and was built by Messrs. J. & W. Beckett of Ringsend, who also built the boundary wall and gate piers. The mortuary is lined with Bath stone, and the outer covering of the roof consists of limestone slabs, so arranged and locked together as to form a perfectly tight roof, even independent of the asphalt covering on which it is laid,
The entrance gates and the ornamental hinge flaps on the church doors were supplied by Messrs. J. Fagan & Son of Great Brunswick Street and the iron grilles for the mortuary by J. McLoughlin & Co. Ltd.
The contractor for the artistic mosaic work above the communion table and the ceramic tiling of the nave, aisle and baptistery floor was Messrs. Oppenheimer & Co., of Manchester.
Lady Ardilaun
Lady Olivia Charlotte, Baroness Ardilaun of St. Anne’s Clontarf. Born at Macroom Castle, Co. Cork, August 25th, 1850. Died in Dublin, December 13th, 1925.
Lord Ardilaun
Arthur Edward Guinness, Baron Ardilaun. Eldest son of Sir Benjamin Lee Guinness Bart, born at St. Anne’s Clontarf, All Saints’ Day 1840, and there fell asleep on January 20th, 1915.
The church of All Saints’ stands on the Howth Road at Raheny, from the main road it is partly concealed from view by a cluster of comely trees and ornamental shrubs, but a closer study of it’s fair proportions and elegant design may be obtained from a stroll through the church grounds.
“All Saints’ Church is a pure example of Irish architecture at its best, It stands as a tribute to the skills and abilities of Irish craftsmen and artists who lovingly bestowed upon it the hallmark of their talents, that it might truly be a temple for the worship and glory of God.” – Arthur Garrett Author of Through Countless Ages published Centenary year 1989 of the building of the Church.
