Hidden In Plain Sight – An Old Kilmainham History – Jack Croombe gives us a wonderful history of Old Kilmainham
As you wander through your local streets, take a moment to appreciate the beauty, lore, and history that surround you. Every corner of Dublin 8 really does hold a story, many beautiful buildings whisper tales of the past. By immersing yourself in the unique charm of your community, you can uncover hidden gems and foster a deeper connection to the place you call home. Taking regular walks through different parts of your community allows you to observe architectural details, discover new local businesses, and appreciate the natural beauty that might go unnoticed in busy daily routines. By actively participating in and observing your local environment, you not only enrich your own life but also contribute to the vitality and cohesion of your community. Embracing the unique aspects of your local area fosters a sense of belonging and appreciation for the diverse elements that make it special.
Shakespeare House
Nestled in the historic enclave of Kilmainham, Riversdale House once stood as a testament to 18th-century architecture. Constructed around 1725 by John Fitzpatrick, a Dublin lawyer, the residence was after sold to his colleague, Simon Bradstreet. The house was notable for its distinctive Dutch Billy gables and its construction entirely in stone, a departure from the more common brick structures of the time. A particularly intriguing feature of Riversdale House was a full-length statue believed to represent William Shakespeare, positioned above the front door. This statue remained hidden beneath a thick layer of ivy for years until workmen uncovered it in 1912. The discovery sparked local legends, with some residents speculating that Shakespeare himself had once resided there a claim unsupported by historical evidence but nonetheless captivating. Over the years, Riversdale House transitioned from a private residence to tenement housing in the late 19th and early 20th centuries, reflecting the broader social and economic changes in Dublin. Despite its decline, the house remained a subject of interest, often referred to as “The Shakespeare House” due to the enigmatic statue. Regrettably, the majority of Riversdale House was demolished around 1965, with complete demolition occurring in 1969. Today, the site a closed down car wash serves as a poignant reminder of how much of Dublin’s rich history was demolished in the 1960s unfortunately something that is happening to our built heritage to this very day.
Abbey Stained Glass Studios
Above an unremarkable looking entrance on Old Kilmainham road you might spot a sigh for Abbey Glass Studio but what lies beyond that entrance is quite something indeed founded in 1944 by the Ryan family, the Abbey Stained Glass Studios originally operated from Abbey Street, Dublin, which inspired its name. Over the decades, this third-generation family business has evolved, shifting its focus from creating new stained glass windows to specializing in the restoration of high-quality stained glass. Their expertise is not confined to Ireland they’ve undertaken commissions abroad, including projects in Columbus, Ohio, and various locations in Scotland. Prior to the 20th century, many stained glass windows in Ireland were imported from countries like Germany and France. These pieces, characterized by light pastel shades and minimal leadwork, were aesthetically pleasing but often lacked distinctiveness. The early 1900s marked a renaissance in Irish stained glass artistry, with the establishment of An Túr Gloine (The Tower of Glass) in 1903. This cooperative studio brought together artists such as A.E. Child, Sarah Purser, Michael Healy, Evie Hone, Wilhelmina Geddes, Beatrice Elvery, Ethel Rhind, and Catherine O’Brien, who collectively produced remarkable works for nearly five decades. Among these artists, Harry Clarke (1889–1931) stands out as a luminary. In his brief yet prolific career, Clarke created over 130 stained glass windows, leaving an indelible mark on the art form. His distinctive style, characterized by intricate details and vibrant colours, continues to captivate viewers. Today, studios like the Abbey Stained Glass Studios carry forward this rich tradition, blending historical techniques with contemporary artistry. Their work not only preserves the legacy of Irish stained glass but also contributes to the cultural fabric of communities both locally and internationally.
Ceannt Fort
Ceannt Fort, located in Mount Brown, is a residential estate with a rich historical and architectural heritage. Developed between 1917 and 1922 by Dublin Corporation, it was initially known as McCaffrey’s Estate. The estate was later renamed in honour of Éamonn Ceannt, a prominent figure in the 1916 Easter Rising. Born Edward Thomas Kent on September 21, 1881, in Ballymoe, County Galway, Éamonn Ceannt was a dedicated Irish nationalist and a founding member of the Irish Volunteers. As Commandant of the 4th Battalion during the Easter Rising, he led his forces in the defence of the South Dublin Union, a complex that now forms part of St. James’s Hospital. Following the insurrection, Ceannt was executed on May 8, 1916, and is commemorated for his unwavering commitment to Ireland’s independence. In the early 20th century, Dublin faced severe housing challenges, exacerbated by the aftermath of the Great War and the 1916 Rising. To address this, Dublin Corporation initiated the development of McCaffrey’s Estate, situated adjacent to the South Dublin Union. The project aimed to provide quality housing for working class families, reflecting contemporary urban planning ideals that emphasized community cohesion and improved living conditions. The original design for the estate was prepared by City Architect C.J. McCarthy. However, concerns about the monotonous layout led to the involvement of T.J. Byrne, an architect with significant experience in working-class housing. Byrne’s revised plan featured a more dynamic and visually engaging layout, incorporating reduced housing density and improved spatial arrangements to enhance the living environment. His approach harmonized functionality with visual appeal, contributing to the estate’s enduring charm and its designation as an Architectural Conservation Area. Within Ceannt Fort, several streets bear the names of individuals associated with the 1916 Rising, honouring their sacrifices:
McDowell Avenue: Named after William McDowell, a member of ‘B’ Company, 4th Battalion, who was killed in action during the Rising.
O’Reilly Avenue: Commemorates Richard O’Reilly of ‘K’ Company, 4th Battalion, who fell in the conflict.
Owens Avenue: Honours John Owens, one of the first casualties of the Rising, was serving in ‘B’ Company, 4th Battalion.
Burke Place: Named for Frank Burke, a section commander in ‘C’ Company, 4th Battalion, who was killed in action.
Traynor Place: Dedicated to John Traynor of ‘B’ Company, 4th Battalion, who died at the age of 17 during the insurrection.
Donnellan Avenue: Commemorates Brendan Donnellan of ‘B’ Company, 4th Battalion, who was killed while defending the Rialto Gate entrance .
Quinn Avenue: Named after James Quinn, who also fell during the Rising.
In September 2022, Ceannt Fort celebrated its 100th anniversary with a vibrant community event. The festivities included historical talks, live music from the St. James’s Brass & Reed Band, and family-friendly activities, reflecting the estate’s strong communal spirit and honouring its historical roots. Recognized as an Architectural Conservation Area, Ceannt Fort maintains its historical integrity. Ongoing efforts by residents and local authorities ensure that the estate’s heritage is preserved for future generations,. Ceannt Fort stands as a symbol of Dublin’s social history and the enduring legacy of those who fought for Ireland’s independence. Its thoughtfully planned architecture and commemorative street names serve as daily reminders of the nation’s past and the great sacrifices made to get us where we are as a nation today.
St James Brass and Reed Band
St. James’s Brass and Reed Band, officially established in 1800 but with records dating back to 1737, stands as Ireland’s oldest band and possibly Europe’s. Originating in Dublin’s St. James’s parish, a working-class neighbourhood with deep industrial roots, the band was formed by local tradespeople, including tanners and weavers, who shared a passion for music and community. Throughout its extensive history, the band has been intricately linked to Ireland’s political and cultural movements. In the 19th century, they performed at significant events such as meetings led by Daniel O’Connell and Charles Stewart Parnell. Parnell even invited them to play at his home in Avondale and later, they led his funeral procession to Glasnevin Cemetery. The band’s involvement continued into the early 20th century, notably at the funeral of Jeremiah O’Donovan Rossa in 1915, where Patrick Pearse delivered his famous oration. At Thomas Ashe’s funeral in 1917, the band performed the first public rendition of “The Soldier’s Song,” which later became Ireland’s national anthem. Beyond political events, St. James’s Band has been a cultural mainstay in Dublin, performing at various community events, church services, and public celebrations. Their repertoire spans from classical pieces to contemporary music, showcasing their adaptability and commitment to engaging diverse audiences. The band has also been a nurturing ground for musicians, with many members dedicating decades to their craft. Notably, John Gannon was recognized by the Guinness Book of World Records for the longest continuous active service in a civilian band, having been a member since March 22, 1936. Today, St. James’s Brass and Reed Band continues to thrive, blending tradition with innovation. They have embraced modern genres, attracting younger musicians and audiences, ensuring their enduring presence in Dublin’s vibrant cultural scene. Their commitment to community engagement and musical excellence remains unwavering as they carry forward a legacy that has been over two centuries in the making.
Murder Lane
Between Mount Brown and Bow Bridge a narrow passage historically known as “Murdering Lane” now called Cromwell’s Quarters has intrigued locals and visitors alike. The origins of its ominous name, dating back to at least 1603, remain uncertain. However, it’s believed that the area was once notoriously dangerous, which may have led to its grim designation. Adjacent to it was “Cutthroat Lane,” a name in use since 1488, further suggesting a history of peril in the vicinity. Despite the foreboding names, there is limited documentation of specific crimes occurring in these alleyways. In 1876, Alderman McSwiney proposed renaming Murdering Lane to Cromwell’s Quarters to “preserve historical continuity.” This suggestion was met with some amusement, as it evoked memories of Oliver Cromwell’s brutal campaign in Ireland from 1649 to 1653. However, the name change was intended to reference his son, Henry Cromwell, who served as Lord Deputy of Ireland in 1657. Today, Cromwell’s Quarters is a peaceful alley concealed by high walls leading to a steep stairway known as “The Forty Steps.” This area is often included in walking tours that explore Dublin’s ghost stories and darker histories, contributing to its enduring mystique.
The Hybrid Loveseat
The Hybrid Loveseat is a significant public art installation in Dublin, which seems to go quite unnoticed maybe dismissed as just a iron railing next to the luas stop busy commuters tend not to give it a second glance, but this is not only my personal favorited but I think one of the best public art works in the city created by artist Louise Walsh in collaboration with local teenagers from the James Street area. Situated at the James’s Hospital Luas stop this 40-meter-long sculptural intervention blends art, community engagement, and social commentary. The Hybrid Loveseat (2004–2008) is a permanent public sculpture featuring 16 bronze somewhat bazar mythical creatures mounted on a curved railing and seating structure. It serves as a boundary between the Mary Aikenhead Flats and the Luas tram stop, transforming a functional divider into a space for connection and creativity. Walsh worked with teenagers from a historically marginalized area, engaging them in a four-year participatory project. Through workshops in local schools and a dedicated studio on Donore Avenue, the young artists explored themes of identity, heritage, and community using Celtic art, local architecture, and gargoyles as inspiration. Art students from the National College of Art and Design (NCAD) mentored the teens, fostering peer-led learning and skill-building in sculpture and design. The teenagers’ clay creations were cast into bronze, ensuring their work became a lasting part of Dublin’s urban landscape. This artworks includes fantastical creatures such as “horses with boxing gloves” and “peacocks with mice’s heads,” reflecting the teenagers’ playful reinterpretation of traditional motifs. The project challenged perceptions of young people in disadvantaged areas, showcasing their potential through public art The Hybrid Loveseat stands as a testament to the value of participatory art. Take a moment to search this art work out and lose yourself in this fanciful world of whimsy.
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