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Elevation of South Front, Church of St Nicholas, Ballymakenny, Co. Louth

attrib. Thomas Cooley (1742-84)

1783

Ink and colour washes on paper

IAA RIAI Murray Collection 92/46.104

Building for Faith I: Church of Ireland

Elevation of South Front, Church of St Nicholas, Ballymakenny, Co. Louth

attrib. Thomas Cooley (1742-84)

1783

Ink and colour washes on paper

IAA RIAI Murray Collection 92/46.104

In a letter of 1820, the architect Francis Johnston referred to the fact that he had been employed between 1785 and 1794 on various architectural projects for Richard Robinson, 1st Baron Rokeby, who had become Archbishop of Armagh in 1765, including supervising the construction of Ballymakenny Church, Co. Louth. This led to speculation that Johnston had designed the church. Primarily on stylistic grounds however, this drawing – one of a set of four surviving for Ballymakenny Church – has been attributed to the architect Thomas Cooley. Born in London in 1742, Cooley won the Dublin Royal Exchange (now City Hall) architectural competition of 1768-9. This victory brought him to Ireland where he remained for the rest of his life. In 1775 Cooley succeeded Joseph Jarratt as Clerk and Inspector of Civil Buildings at the Barrack Board. He also had a number of influential private clients including Archbishop Robinson who employed him as his architect in building projects in the city and diocese of Armagh. It was Robinson who sent Francis Johnston to work in Cooley’s office circa 1778. Johnston remained with Cooley until the latter’s death and succeeded him as the Archbishop’s architect. It seems therefore that Cooley designed Ballymakenny Church and that Johnston supervised its erection after Cooley’s death.

This client’s drawing, and the others in the set, depict Ballymakenny Church as built. It shows a tower, topped by a steeple, located at the west end of the building and contained the main entrance. Behind the tower is the body of the church, a narrow hall lit by three pointed-arch windows with Y-tracery. This hall-and-tower type would become the near-default design approach adopted by the architects of the Board of First Fruits and its successor from 1834, the Ecclesiastical Commissioners, for new churches in their decades long post-Union programme of Government-funded building, repairing and enlarging of the churches and glebe houses of the Established Church throughout Ireland.

Architectural drawing by Thoams Cooley from 1783 showing an elevation of south side of the Church of St Nicholas, Ballymakenny, Co. Louth.

First Fruits Churches

Stuart Kinsella

There in pinnacled protection,
One extinguished family waits
A Church of Ireland resurrection
By the broken, rusty gates.

Passing through the Irish countryside, one of the most distinguishing features is the pricking of the skyline by the pinnacles noted above by the poet and spy, John Betjeman. These western towers, with or without spires, demarked sometimes quite sober looking hall churches in both rural and urban landscapes. Built mostly towards the end of the long reign of King George III (1760-1820), they were known as ‘First Fruits’ churches (5.1).

They all belong to the Church of Ireland (or, between 1800 and 1871, the United Churches of England and Ireland). They were erected in a sustained period between 1777 and 1823, with an extraordinary flurry of building activity between 1810 and 1816, such that, by 1822, fifty percent of Church of Ireland churches had been rebuilt. A legal clause of 1772 only permitted the funding of a new church in Ireland if the old one had been ruined for twenty years, so the sad corollary is that half of Ireland’s medieval churches (held by the Established Church, the Church of Ireland being the state church since the Reformation) were allowed, by neglect, to crumble away.

The term ‘First Fruits’ (Proverbs 3:9) came from a tax on clerical income sent to the Papacy in Rome during the medieval period. King Henry VIII sequestered this to the English crown in 1534. In 1704, Queen Anne redirected proceeds to poorer English clergy (Queen Anne’s Bounty), and through the intervention of writer and later Dean of St Patrick’s Cathedral in Dublin, Jonathan Swift, a version of it in Ireland saw the establishment of the Board of First Fruits in 1711. The Board was controlled by the bishops of the Church of Ireland and empowered to build and improve their churches and the glebe houses which accommodated their clergy. Little activity took place until after 1777 when the Irish parliament increased the allocation of funds. Funding was increased again following the Union. Worth noting is that this Irish activity predated the Church Building Act of 1818 which saw 612 churches built in England by 1856.

Watercolur view by Daniel Grose, of the Board of First Fruits Church at Annaduff, Co. Leitrim, in about 1830.
5.1 Daniel Grose, Church at Annaduff, Co. Leitrim, c. 1830 (IAA Grose MS 97/116.83)
Plan of the Church of St Nicholas, Ballymakenny, Co. Louth by Thomas Cooley in about 1783, showing positions of box pews and pulpit.
5.2 Thomas Cooley, plan of Church of St Nicholas, Ballymakenny, Co. Louth, c. 1783, showing positions of box pews and pulpit (IAA RIAI Murray Collection 92/46.102

Part of the reason for this building frenzy may have been related to Richard Robinson, Archbishop of Armagh (1765-94), being ex-officio treasurer of the Board of First Fruits. A builder bishop, he was known for transforming the urban landscape in Armagh. He retained the services of the English architect, Thomas Cooley (1742-84), who had won the 1768-9 competition to build the Royal Exchange in Dublin. A series of twelve generic plans by Cooley for classical and gothic churches survives from 1773-4 in the Robinson Library in Armagh which demonstrates the early architectural direction of the Board of First Fruits. Cooley’s star continued to rise and in 1775 he was appointed architect of the Barrack Board.

Cooley’s churches, including Ballymakenny, Co. Louth, were usually simple halls with a hipped roof and gable at the west end, often with a two- or three-stage tower, usually with battlements and corner pinnacles, some with a spire, and some with pilaster buttresses, most likely informed by Cooley’s professional familiarity with both Dublin cathedrals. The style of building was often signalled by the round-headed (classical) or pointed (gothic) nature of the windows, very often using simple Y-tracery for two-light windows, and switch-line for three. In sparsely populated parishes, the church often had no north-facing windows as a cost- and heat-saving measure.

Internally, Cooley did include linear pews (i.e. all facing east) as well as box pews (5.2). In practice it was very difficult to wean congregations off the boxes (which included seats facing away from the clergy and the east end). These were in effect private property, acquired from the vestry for an annual pew rent. Few churches had chancels, which were often simply demarked by wooden communion rails. The east wall was usually decorated with a display of scriptural sentences on wooden panels including the Ten Commandments or the Apostles’ Creed placed either side of the east window or, in the absence of a window, dominating the eastern wall. There were a variety of means by which the pulpit and reading desks were arranged, and some accommodation for galleries, but rarely any mention of musical embellishments like bells, which were widespread, or organs, which were far rarer before the 1830s.

Politically, the reason for such a surge in buildings of the Church of Ireland is not difficult to see. In the aftermath of the 1798 rebellion and the passing of the Act of Union in 1800, members of the Church of Ireland, a mere eleven percent of the population at the time, understandably felt under threat. The Board of First Fruits was a means of dispensing governmental largesse to this minority population through the mechanism of architectural renewal. This was coupled with a spiritual renewal, the so-called ‘Second Reformation’, where a surge of evangelism attempted to convert the entire population to the Anglican faith.

As architect of the Board of First Fruits from 1784 to 1814 (and of the Board of Works from 1805), Francis Johnston played his part in designing churches during this time (and perhaps in the promotion of bells, as an avid campanologist). His range as an architect was wide, exemplified in his unusual elliptical or ‘Round Church’ of St Andrew’s (1800-7), his glorious St Martin-in-the-Fields-inspired classical St George’s at Hardwicke Place (1801-14), and his gothic Chapel Royal in Dublin Castle (1807-14), all in the capital, providing ample inspiration for subsequent Irish ecclesiastical architects. His St Catherine’s in Tullamore (1808-18), combined elements of his chapel royal in Dublin with those of Cooley’s First Fruits designs (5.3).

The most active episcopal supporters of this architectural revitalising were William Stuart, Archbishop of Armagh (1800-22), and Charles Broderick, Archbishop of Cashel (1801-22), who later became co-adjutor Archbishop of Dublin (1811-20) following the mental incapacity of its then incumbent, Euseby Cleaver. This is reflected in the statistics that forty-one percent of First Fruits churches were in the ecclesiastical province of Armagh, and twenty-two percent and twenty-seven percent respectively in Dublin and Cashel. A mere eight percent were built in the province of Tuam. An unusually high number of churches built in Meath, such as Castlejordan (c.1820) represented the building enthusiasm of Thomas Lewis O’Beirne, Bishop of Meath (1798-1823), a former Roman Catholic who converted to the Church of Ireland in 1773.

Dublin architect, John Bowden, succeeded Johnston as architect to the Board of First Fruits from about 1814 until 1821, and continued in its traditional style, sometimes classical, such as St George’s, Belfast (1811-16) and St Stephen’s ‘Pepper Canister’, Dublin (1820-4), but mostly gothic, such as Tarmonbarry, Co. Roscommon (1813), Magorban, Co. Tipperary (1814), and Tartaraghan, Co. Armagh (1816). After Bowden’s death in 1822, the Board of First Fruits split the position into four, one for each ecclesiastical province, and in April 1823 appointed William Farrell (Armagh), John Semple (Dublin), James Pain (Cashel) and Joseph Welland (Tuam), which allowed for the development of some regional variation.

Architectural drawing by Francis Johnston from 1808 showing the south elevation of St Catherine’s Church, Tullamore, Co. Offaly.
5.3 Francis Johnston, south elevation of St Catherine’s Church, Tullamore, Co. Offaly, 1808 (formerly in the Charleville Forrest Drawings Collection, IAA Photo Collection 28/69 R9)
Colour photograph of St Mary’s Chapel of Ease, also known as the Black Church, St Mary’s Place, Dublin, taken by Niall Montgomery in 1969.
5.4 St Mary’s Chapel of Ease (the ‘Black Church’), St Mary’s Place, Dublin, 1969 (IAA Niall Montgomery Slides Collection 2020/18.48/10)

William Farrell appears to have been from Dublin, and his style clearly owes much to Johnston. Both his chapel for Kirwan House, North Circular Road, Dublin, the Church of Ireland’s institution for female orphans (1817-19, now demolished) and St Patrick’s, Monaghan (1831-6), referenced Johnston’s Dublin Castle Chapel Royal. His St Paul’s Church, North King Street, Dublin (1821-4), unusually, was in a Tudor idiom, while his churches for Armagh province included, for example, St Tighernach, Clones, Co. Monaghan (1823) and Stabannon (1825-6) of which only the tower remains; Charleston (1825-30), now disused; and the now demolished St Mark’s, Drogheda (1827-8), all in Co. Louth. Few strayed far from Johnston’s First Fruits template. A satirical poem of 1832 by ‘Nicholson Numskull’ noted:

With rosy gills – round as a little barrel,
A first fruits architect – see Billy F-rr-ll,
Who thrives and fattens on anothers brains,
He toils and labours – Billy counts the gains.
Speaking of ‘anothers brains’, he not only borrowed Johnston’s style, but also that of one of his fellow Board architects, John Semple, who was in charge of the Dublin province from 1823 to 1833, or, more specifically that of his son, another John Semple (1801-82). Maurice Craig stated that the brand of gothic of the younger John Semple could be ‘identified at longer range than any style I know’ and as Michael O’Neill has pointed out, it was a uniquely Irish gothic idiom. The appointment of the Semple partnership to the Dublin province coincided with that of William Magee as Archbishop of Dublin, a fierce ‘Second Reformation’ advocate, whose sermon preached at St Patrick’s Cathedral in Dublin on 24 October 1822 used vigorous militant language: ‘… the gates of the Citadel must be well guarded. And the Bishops must act as faithful sentinels’. One can sense the defensive fortress mentality developing in churches such as St Maelruain’s, Tallaght (1823-9), Kilternan (1826), Whitechurch (1826-7), Rathmines (1828), Monkstown (1829-31), a particularly exotic flavour, and the ‘Black Church’, St Mary’s Chapel of Ease (1830) (5.4), all in Co. Dublin, exaggerating the pinnacle buttresses between bays that Johnston had used at Dublin Castle almost into defensive palisades. Other features included the deeply recessed gothic windows and west doors, the latter of which in some cases with recursively reducing jambs, all added greatly to these churches’ projection of almost muscular power. Lastly, there was the imaginative use of parabolic vaults at Rathmines, at Abbeyleix, Co. Laois (1825), Graiguecullen, Killeshin, Co. Carlow (c.1827), and the ‘Black Church’ (5.5). Cormac Allen noted the latter as ‘a uniquely Irish corbelled vault [which] recalls the ancient Glendalough church of St Kevin’, and there is little doubt that Semple’s personal reinvention of Irish gothic is a significant legacy of the Board of First Fruits.

Black and while photograph of the interior of St Mary’s Chapel of Ease, St Mary’s Place, Dublin taken about 1940.
5.5 Interior, St Mary’s Chapel of Ease (the ‘Black Church’), St Mary’s Place, Dublin, c. 1940 (IAA Photo Collection 14/65 Y4)

Elsewhere, the province of Cashel was overseen by James Pain (who settled in Limerick), assisted by his brother, George Richard Pain (who settled in Cork). Both were from a family of architects and, uniquely of the Board’s four provincial practices, trained in England, with John Nash in London. Like Semple, James’s style was distinctive, using stocky west towers often rising to octagons at belfry level with needle spires, and adding low vestries at the east end appended at angles to the north and south of the east window. Their churches include, for example, St John the Baptist, Midleton (1823) (5.6), St Mary’s Carrigaline (1823-4), St Mary’s, Castletownroche (1825) and St John’s, Buttevant (1826) and St George’s, Mitchelstown (1830), all Co. Cork.

Joseph Welland, born in Midleton, Co. Cork, was appointed to the province of Tuam. Trained under John Bowden, stylistically his churches represented a seamless continuity of the Board of First Fruits’ expressed aims. They included Booterstown, Co. Dublin (1821-4), Kilfree (Gurteen), Co. Sligo (1824) (5.7), Kilcolman, Claremorris, Co. Mayo (1828), Tubbercurry, Co. Sligo (1830), Aille (c.1830) and Oranmore (1831), both Co. Galway, and Ballymote (1832) and Kilmacteige (c.1832) both Co. Sligo. At Oranmore and Kilmacteige, Welland also began to use a more economical style, dispensing with the characteristic west tower for the rather humble bell-cote above the west gable (doubtless obliging some bell casting).

Photograph of h eexterior of the Church of St John the Baptist, Midleton, Co. Cork, taken in 1971.
5.6 Church of St John the Baptist, Midleton, Co. Cork, 1971 (IAA Photo Collection 62/80 X3)
Photograph by Robert O'Byrne of Kilfree Parish Church, Goteen, Co. Sligo, taken in 2021.
5.6 Kilfree Parish Church, Goteen, Co. Sligo, 2021 (IAA Robert O’Byrne (the Irish Aesthete) Collection 2023/15)

In 1833, the Church Temporalities Act brought the Board of First Fruits to an end and replaced it with the Ecclesiastical Commissioners, effectively a centralised government department. Farrell, Pain and Welland survived the change, but the innovations of the Semples were not to last beyond Magee’s episcopacy (1822-31). They were replaced by Frederick Darley (1798-1872), another Dublin architect from a long and extensive stonecutting and building lineage. The legacy of the First Fruits was a transformation of the Irish ecclesiastical landscape with many modern, and some innovative buildings, sadly often at the cost of surviving medieval churches and their monuments.

‘And what remains when disbelief has gone?’ as Philip Larkin drolly asked. The Church of Ireland, today at almost five percent of the island’s population, has long since relinquished many of the First Fruits churches. Many are at risk, some already ruinous, where ‘Nettle-deep the faithful rest’, as Betjeman nostalgically put it. What remained for Larkin was ‘Grass, weedy pavement, brambles, buttress, sky’, but perhaps the concluding half of Betjeman’s opening verse might allow him the final word:

Sheepswool, straw and droppings cover,
Graves of spinster, rake and lover,
Whose fantastic mausoleum,
Sings its own seablown Te Deum,
In and out the slipping slates.

 

Dr Stuart Kinsella is Research Advisor to Christ Church Cathedral, Dublin.

 

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