Showing posts with label Castleknock. Show all posts
Showing posts with label Castleknock. Show all posts

29 January 2019

Saint Brigid’s Church, Castleknock:
rebuilt many times over the centuries

Saint Brigid’s Church, Castleknock, Co Dublin, stands on the site of a mediaeval Augustinian priory and church (Photograph: Patrick Comerford)

Patrick Comerford

I was in Saint Brigid’s Church, Castleknock, on Saturday afternoon [26 January 2019] for the funeral of my friend and colleague, the Revd Robert Lawson, who died earlier last week.

Robert and I were commissioned as diocesan readers on the same day 25 years ago in Christ Church Cathedral, Dublin, by Archbishop Donald Caird, in 1994. Later he was my student prior to his ordination in 2009, and more recently we were priest colleagues in Christ Church Cathedral.

It was humbling when someone pointed out that his last posting on Facebook was a reposting of one of blog postings on the labyrinth in Christ Church Cathedral.

Many years ago, he had brought me to Castleknock one Sunday morning to preach in Saint Brigid’s when the rector was Canon Paul Colton (1990-1999). Today, Bishop Paul Colton is the Bishop of Cork, Cloyne and Ross. They had remained good friends in the intervening years, and Bishop Paul was the preacher at Robert’s funeral, in that same pulpit, on Saturday afternoon.

The church stands on the site of an abbey of the Augustinian Canons Regular, who built a church here around 1220. Soon after, the church a prebendal church attached to Saint Patrick’s Cathedral, Dublin, in 1227.

Two of the early Prebendaries of Castleknock in the 14th century were John de Tamworth, who was also a canon of Wolverhampton, a royal peculiar, in 1364, and his successor, William de Tamworth.

Other clergy associated with the parish include Richard Bancroft, who later became Bishop of London (1597) and Archbishop of Canterbury (1604).

A church was built in 1609 on the site of an Augustinian church of the Canons Regular. At the time the Archbishop of Dublin, Thomas Jones, was also Prebendary of Castleknock, holding both posts at the same time (1614-1619). A similar situation occurred with Archbishop Lancelot Bulkeley (1620-1650), perhaps giving the Archbishops of Dublin a certain proprietorial interest in Castleknock.

Josiah Hort was consecrated in Castleknock despite the opposition of the Archbishop of Dublin (Photograph: Patrick Comerford)

This is the church where Josiah Hort (ca 1674-1751) was consecrated Bishop of Ferns and Leighlin in 1722, controversially, after the Archbishop of Dublin, William King, had refused to consecrate him. Archbishop King protested that this ‘gentleman is the first that I ever heard of, that pretended to a bishoprick without any degree at all.’

Saint Brigid’s Church was rebuilt in 1806-1810, with by a loan of £1000 from the former Board of First Fruits and large subscriptions.

The church has a three-stage tower at the west gable. There are granite rubble walls with an ashlar granite plinth course, quoining, gable copings and three courses at the projecting nave elevation facing the street, and a blank granite panel on the tower.

Inside Saint Brigid’s Church, Castleknock (Photograph: Patrick Comerford, 2019)

The flanking side aisles, added around 1860, have three-bay side elevations with gabled terminating bays at the east forming side transepts.

The church has a double pitched slate roof flanked by subsidiary double pitched slate transept roofs, all with clay ridge tiles, and cast-iron rainwater goods.

The church has pointed arch openings with carved granite hood mouldings, irregular quoining, cills and geometric Gothic tracery. Each opening has figurative or lattice leaded stained glass. There are three pointed arch door openings, two to the street front and one at the tower with carved granite hood moulding. There are stepped soffit and reveals, and granite steps flanked by engaged stepped granite piers with triangular coping and recessed panel.

The surrounding timber plank doors have massive wrought iron hinges and furniture. There are late 19th century timber-panelled, double-leaf doors with central octagonal panels and there is a Gothic panelled tympanum to tower opening.

The chancel in Saint Brigid’s Church was enlarged by Sir Thomas Drew, and the East Window is by William Wailes (Photograph: Patrick Comerford, 2019)

Welland and Gillespie designed the enlargement of the church in 1862-1864 to form rectangular church out of existing cruciform one. The chancel was being completed under the direction of the church architect Sir Thomas Drew (1838-1910), who also designed the Graduates’ Memorial Building in Trinity College Dublin, Rathmines Town Hall and Saint Anne’s Cathedral, Belfast. The contractors were the builders Thomas Hall and Sons.

Drew also designed the organ gallery in 1870 for a new organ by Forster and Co of Hull. This was placed in the gallery in October 1870.

The East Window, dating from the 1850s, is the work of the English stained glass-artist William Wailes (1808-1881), who supplied many stained-glass windows for churches in Ireland and England.

Wailes ran one of the largest and most prolific stained-glass workshops in Victorian England. He had studied with Mayer of Munich and later worked closely with AWN Pugin. His famous works include the windows of Gloucester Cathedral, the East Window in Saint Editha’s Church, Tamworth, the Transfiguration East Window in Saint Saviour’s Dominican Church in Limerick, and many of the windows in Saint Mary’s Church, Killarney, Co Kerry.

The three-light stained-glass window depicting Saint Hubert (centre), Saint George and Saint Luke is by Harry Clarke (Photograph: Patrick Comerford, 2019)

A three-light stained-glass window (1928) in the south aisle depicting Saint Hubert, flanked by Saint George and Saint Luke, is the work of one of Ireland’s finest stained-glass artists, Harry Clarke. The window commemorates Sir George Frederick Brooke (1849-1926) of Summerton, Castleknock, High Sheriff of Co Wexford (1882) and Co Dublin (1898), and his family, including his second wife, Alma (Barton), and his son, Lieutenant George Brooke (1877-1914) of the Irish Guards, who was killed in World War I.

A stained-glass window placed in the tower in 1864 commemorates James Hans Hamilton (1810-1863), MP for Co Dublin (1841-1863).

The monument to James Hans Hamilton and his wife Caroline (Photograph: Patrick Comerford, 2019)

The church has a number of memorials by Alexander Ballantine to members of the Hamilton family, including James Hans Hamilton and his wife Caroline Hamilton (1810-1845), and to Canon George O’Connell (1779-1842), who succeeded his father as Vicar of Castleknock in in 1809, and remained in the parish for over 30 years.

James Hans Hamilton and his wife Caroline Hamilton were the parents of Ion Hamlton, who became Lord HolmPatrick in 1897. The family took its title from Holmpatrick in Skerries, but lived at Abbotstown, near Castleknock.

The second Lord HolmPatrick’s grandmother was a daughter of the Duke of Wellington and a goddaughter of Queen Victoria (Photograph: Patrick Comerford, 2019)

Other members of the Hamilton family commemorated in the church include Hans Wellesley Hamilton (1886-1942), 2nd Lord HolmPatrick. His grandmother was a daughter of the Duke of Wellington and a goddaughter of Queen Victoria. The present Lord HolmPatrick is a Labour politician. The HolmPatrick family also has a prominent place in the churchyard.

The HolmPatrick family plot in the churchyard in Castleknock (Photograph: Patrick Comerford, 2019)

29 December 2016

Winter sunshine at Farmleigh House,
rebuilt by Fuller for the Guinnesses

Farmleigh House in the winter sunshine … rebuilt for Lord Iveagh by James Franklin Fuller (Photograph: Patrick Comerford, 2016)

Patrick Comerford

In recent weeks, in my architectural postings, I have written about a number of works in Dublin by the architect James Franklin Fuller (1835-1924), including the Superintendent’s Gate Lodge in Saint Stephen’s Green, Dublin, Saint Mary’s Church, Julianstown, Co Meath, and D’Olier Chambers or the Gallaher Building, a landmark building on the corner of D’Olier Street and Hawkins Street, Dublin.

I spent some of Wednesday afternoon [28 December 2016] in the Phoenix Park, Dublin, at another Fuller building, Farmleigh House.

This was originally a two-storey Georgian house, belonging first to the Coote family, and then passed to the Trench family. It was bought by Edward Cecil Guinness (1847-1927),1st Earl of Iveagh, on his marriage to his cousin, Adelaide Guinness.

Lord Iveagh was a great-grandson of Arthur Guinness, founder of the brewery, and in 1919 he became Baron Iveagh in 1891 and the 1st Earl of Iveagh in 1919. He extended Farmeligh Hpuse twice, first in the 1870s to designs by Fuller, and later by the Scottish architect William Young (1843-1900).

Winter colours at Farmleigh House (Photograph: Patrick Comerford, 2016)

Fuller extended the house to the west, refurbished the existing house, and added a third storey. Fuller also designed the under-gardener’s lodge, farm buildings, the conservatory, the Liffey Road lodge, the dairy, and other buildings on the Farmleigh estate.

In 1896, the ballroom wing was added, designed by the Scottish architect William Young (1843-1900), who also worked on the Guinness family’s English country seat Elveden in Surrey.

The portico at Farmleigh House, designed by James Franklin Fuller (Photograph: Patrick Comerford, 2016)

With the addition of a new conservatory adjoining the ballroom in 1901, and the increased planting of broadleaves and exotic plants in the gardens, Farmleigh had, by the early years of the 20th century, became synonymous with gracious Victorian and Edwardian living and entertainment.

Walking around the former boating lake at Farmleigh House (Photograph: Patrick Comerford, 2016)

Set in rolling countryside, the exterior of Farmleigh is restrained, with a sumptuous interior. The most obvious elaborate feature of the exterior is the fine conservatory which adjoins the drawing room and ballroom.

The interiors of the house are of two idioms. The older interiors are ‘a cheerful Baroque with much exposed honey-coloured panelling.’ The best of these is the library with its balcony level around the book shelves.

At the top-lit stairwell, Fuller introduced natural light into the heart of the building. The immediate front hallway is also top-lit by roundels set in the ceiling of the hallway or porte cochere.

Sunset at Farmleigh House (Photograph: Patrick Comerford, 2016)

Farmleigh and its 78-acre estate was bought from the Guinness family by the Irish Government in 1999 for €29.2 million. The Office of Public Works has refurbished the house as the accommodation for visiting heads of state and guests of the nation and for Government meetings, and for public enjoyment.

Later, after coffee in the Boathouse Café, two of us went for a walk around the former boating lake created by the Guinness family, and later went for a walk along the banks of the Royal Canal at the Twelfth Lock, between Castleknock and Blanchardstown.

The sun was setting and casting long shadows. It had been another crisp, bright winter’s day.

A winter scene at the Twelfth Lock on the Royal Canal (Photograph: Patrick Comerford, 2016)

23 March 2016

A journey through Lent 2016
with Samuel Johnson (43)

It is by the force of perseverance that that distant place ‘are united with canals’ … swans on the Royal Canal at Castleknock (Photograph: Patrick Comerford)

Patrick Comerford

During Lent this year, I am taking time each morning to reflect on words from Samuel Johnson (1709-1784), the Lichfield lexicographer and writer who compiled the first authoritative English-language dictionary.

Today is Wednesday in Holy Week [23 March 2016]. Samuel Johnson wrote Spes, a short poem on hope in Latin, on the Wednesday of Holy Week in 1783:

Hora sic peragit citata cursum;
Sic diem sequitur dies fugacem!
Spes novas nova lux parit, secunda
Spondens omnia credulis homullis;
Spes ludit stolidas, metuque caeco
Lux angit miseros cadens homullos.


Many years earlier, in The Rambler No. 43 (14 August 1750), Johnson wrote:

All the performances of human art, at which we look with praise or wonder, are instances of the resistless force of perseverance; it is by this that the quarry becomes a pyramid, and that distant countries are united with canals. If a man was to compare the single stroke of the pickaxe, or of one impression of the spade, with the general design and the last result, he would be overwhelmed by the sense of their disproportion; yet those petty operations, incessantly continued, in time surmount the greatest difficulties, and mountains are levelled and oceans bounded by the slender force of human beings.

It is therefore of the utmost importance that those, who have any intention of deviating from the beaten roads of life, and acquiring a reputation superior to names hourly swept away by time among the refuse of fame, should add to their reason, and their spirit, the power of persisting in their purposes; acquire the art of sapping what they cannot batter, and the habit of vanquishing obstinate resistance by obstinate attacks.


Yesterday’s reflection.

Continued tomorrow.

13 March 2016

Josiah Hort (1674?-1751),
Bishop of Ferns
‘A Rake, a Bully, a Pimp, or Spy’
and ‘Bp Judas’

Josiah Hort (ca 1674–1751) by an unknown artist, oil on canvas, 126.1 x 100.4 cm, a gift from the Revd HJ Carter to Clare College, Cambridge, in 1897 (courtesy Clare College).

Patrick Comerford

Josiah Hort (1674?–1751), began his episcopal career as the Church of Ireland Bishop of Ferns and Leighlin (1722-1727) and ended his days as the Archbishop of Tuam (1742–1751). A superficial survey of his career would seem to present a successful church careerist, arriving in Ireland after a Cambridge education as a chaplain to the Lord Lieutenant, and advancing from rector to dean, to bishop, to archbishop.

However, this was a man who never preached while he was archbishop, and closer examination shows we know little about his background, apart from the name of his father. His date of birth is unknown, the dates for his ordination have been questioned, and he never had the degrees from Cambridge he claimed at the time of his consecration as Bishop of Ferns. His arrival in the Church of Ireland from England and his quick promotion was resented by the Irish-born bishops, three of the four archbishops of the day refused to take part in his consecration, and his contemporaries doubted the depth of his faith.

Most telling of all, while he was Bishop of Ferns, Hort was lampooned in satire and verse by Jonathan Swift, who accused him of being ‘a Rake, a Bully, a Pimp [and] Spy,’ referred to him as ‘B[isho]p Judas.’ and accused him of being a whore-mongering atheist who ought to have been destined to hang from a rope.

A chaplaincy to the Lord Lieutenant was often seen by young ambitious clergy in the Church of England as the first step on the ladder of careerism in the Church of Ireland. However, when Hort was about to be consecrated Bishop of Ferns in 1722, the Archbishop of Dublin, William King, refused to take part because Hort had erroneously described himself in the Letters Patent as holding the degree of DD (Doctor of Divinity). Although the consecration went ahead, and Hort continued to advance in his career, he remained a target of satire and sarcasm.

Archbishop William King … refused to consecrate Josiah Holt as Bishop of Ferns in 1722 (Photograph: Patrick Comerford, of a portrait in the RCB Library, Dublin)

King’s refusal may have seemed outrageous, but it raised questions about Hort’s academic and clerical credentials. Indeed, my subsequent research in Cambridge shows that Hort never received any degree at the University of Cambridge and that he spent less than a full academic year there as a student.

We can imagine the impact of these scandals if we consider the consequences of similar language being used today by such a prominent church figure about a bishop, or if the same bishop was isolated by so many members of the bench.

Background and education

We know very little about the early life of Josiah Hort. Even the date of his birth is uncertain, although most authorities agree he was born ca 1674, and that his father was one John Hort of Marshfield in south Gloucestershire, 13 km (eight miles) outside Bath.[1] Leslie and Ryan are alone in saying he was educated at the Grammar School in Bristol.[2]

The words Dissenter and Nonconformist are used for the spiritual heirs of the Puritans and the Cromwellians who refused to conform to the Church of England after the restoration of the monarchy and the episcopacy in the 1660s, including Presbyterians, Independents or Congregationalists, Baptists and Unitarians.

Hort was brought up as a Nonconformist, and was probably more sympathetic to those who eventually became Unitarians rather than the stricter Calvinists among the Presbyterians and Congregationalists.

Authorities differ about where he trained as a dissenting minister. Walter Jeremy indicates that at about the age of 16 Hort went to the academy for dissenting ministers run by Thomas Rowe (1657-1705) at Little Britain, near Aldersgate in London, with a scholarship or exhibition from the Presbyterian Fund.[3] Rowe’s other students included the hymn writer Isaac Watts (1674-1748), who became a lifelong friend and described Hort as ‘the first genius in that seminary.’[4] However, Alexander Gordon says Jeremy is incorrect and that Hort studied under James Forbes (1629?-1712) in Gloucester.[5]

After his studies, Hort is said to have spent some time as the pastor of a dissenting congregation in Newbury, Berkshire. However, the records of the Unitarians and Congregationalists there fail to support this.[6] On the other hand, Murch says he became a chaplain in the household of Cromwell’s cousin, John Hampden; both Gordon and Murch say he spent some time as an assistant minister to the Revd George Sheal in the Dissenting chapel in his home village of Marshfield;[7] and both Gordon and the Cambridge antiquarian William Cole say he was a Presbyterian preacher at Soham in Cambridgeshire.[8]

If these early appointments are difficult to disentangle, it is equally difficult to ascertain when Hort conformed to the Church of England. He was admitted to Clare Hall (now Clare College), Cambridge, on 28 April 1704, as a sizar or student who received tuition, bed and board in return for menial tasks.[9] There his tutor was Richard Laughton (1670?-1723).[10] However, Hort left Clare in 1705 without graduating, and Cambridge University has no record of him ever receiving a degree.[11]

There was a tradition in his family and much-repeated that because Hort was a zealous supporter of the Hanoverian succession in 1714, and because he had scruples about re-ordination in the Church of England, this requirement was dispensed with on royal approval.[12] However, it is generally agreed that he was ordained deacon in 1705 by John Moore, Bishop of Norwich, and some months later was ordained priest by Simon Patrick, Bishop of Ely, on 23 September 1705.[13]

Ryan says that after his ordination in 1705, Hort was appointed Rector of Wicken, Cambridgeshire, in the Diocese of Ely.[14] On 19 July 1706, he became Vicar of Wendover, Buckinghamshire, in the Diocese of Lincoln.[15] In 1707, he printed a Thanksgiving Sermon on ‘the national successes,’ based on Psalm 149: 6-8; a year later, in 1708, he published a sermon preached at the archdeacon’s visitation of Aylesbury.[16]

Hort was still Vicar of Wendover in 1709 when he left England for Ireland as domestic chaplain to Thomas Wharton (1648-1715), 1st Marquess of Wharton and Lord Lieutenant of Ireland (1708-1710). Wharton was considered a man ‘void of moral or religious principles,’ for which Queen Anne disliked him intensely. He was once silenced in the House of Lords by an accusation that, while drunk, he had broken into the parish church in Great Barrington, Gloucestershire, in 1682 and urinated against the altar and the pulpit. He infected his first wife, Anne Lee, with syphilis, from which she died in 1685. His second wife, Lucy Loftus, was a daughter of Adam Loftus of Rathfarnham Castle, Co Dublin, 1st Viscount Lisburne, and a granddaughter of Sir Arthur Loftus, MP for Co Wexford.[17]

Moving to Ireland as chaplain to a new Lord Lieutenant was a sure first step on the ladder of preferment and promotion in the Church of Ireland for ambitious young English clerics. Hort was in Ireland less than a year when the Crown nominated him in 1709 as Rector of Kilskyre, near Kells, in the Diocese of Meath, a parish vacant with the appointment of Ralph Lambert as Dean of Down. However, the Bishop of Meath, William Moreton, appointed his own son Richard as rector. A long drawn-out legal battle ensued until, after an appeal to the British House of Lords, the case was decided in favour of Hort in 1717.[18] As the case continued, Hort resigned as Vicar of Wendover on 15 October 1715, having been appointed Rector of Haversham on 30 September 1715. It was only when the legal battle over Kilskyre was decided in his favour that Hort resigned from Haversham on 22 July 1717.[19]

On 3 April 1718, he was appointed Dean of Cloyne Cathedral, Co Cork, and Rector and Vicar of Louth in the Diocese of Armagh.[20] Louth was a sinecure to enhance Hort’s income, but the church was in ruins long before 1662, and no church was built in the parish until 1807.[21] On 17 June 1720, he was appointed Dean of Ardagh. Once again, this was a mere sinecure, for Ardagh Cathedral had been in ruins for over two centuries and Ardagh was a tiny village.[22]

Saint Edan’s Cathedral, Ferns ... Josiah Hort was the Church of Ireland Bishop of Ferns from 1722 to 1727 (Photograph: Patrick Comerford)

He was Dean of Ardagh for little more than a year when, on 17 January 1722, he was nominated Bishop of Ferns and Leighlin in succession to Bartholomew Vigors, who died two weeks earlier. The letters patent were issued by the Lord Lieutenant, the Duke of Grafton, on 10 February 1722.[23] However, the Archbishop of Dublin, William King, refused to take part in Hort’s consecration because Hort was wrongly described in his letters patent as DD.[24]

Castleknock Parish Church, Co Dublin … Josiah Hort was consecrated Bishop of Ferns here on 26 February 1722 (Photograph: Patrick Comerford)

King had objected the previous year to the appointment of Francis Hutchinson as Bishop of Down. King wrote to the Lord Lieutenant on 16 February 1722:

‘I have perused Dean Hort’s patent for consecration. I am by it commanded to consecrate Josias Hort, Sacrae Theologiae Doctorem, Decanum Ardaghensem : on inquiry, I find that he is so far from being a doctor of divinity, that he never took any degree in any university. So I conceive there is a misnomer here. I can find no so such man as Josiah Hort, doctor of divinity, dean of Ardagh … I am very unwilling to put a falsity under my seal … [T]his gentleman is the first that I ever heard of, that pretended to a bishoprick without any degree at all.’[25]

King complained bitterly that English clergy, having squandered the resources of their own church for short-term profit, were invading the better-managed Church of Ireland, and that handing the best dioceses to outsiders left the Irish clergy with little incentive. William Nicolson had been Bishop of Carlisle for 16 years, but King vengefully insisted he should take the most junior place on the episcopal bench in the House of Lords.[26]

Despite legal challenges, King persisted in refusing to consecrate Hort, and insisted on making his refusal a condition of accepting his own appointment as a Lord Justice.[27] Connolly suggests that King remained obstinate because of Hort’s dissenting background and rumours that he had never been ordained in the Church of England. The Bishop of Elphin, Henry Downes, said the Archbishops of Armagh, Dublin and Tuam signed a petition asking the king to recall Hort’s nomination.[28]

A commission was issued for Hort’s consecration as Bishop of Ferns, which went ahead on 26 February 1722, not in Saint Patrick’s Cathedral, nor in the Chapel of Trinity College Dublin, then the normal venues for episcopal consecrations, but in the parish church in Castleknock, close to the official residence of the Lord Lieutenant in the Phoenix Park. The consecrating bishops were John Evans of Meath, Ralph Lambert of Dromore, who had preceded him in Kilskyre, and Timothy Goodwin of Kilmore and Ardagh, where Hort was the nominal dean.[29] When Archbishop King protested that this ‘gentleman is the first that I ever heard of, that pretended to a bishoprick without any degree at all,’ he was, perhaps, unaware that one of his predecessors, Adam Loftus (ca 1533-1605), had also claimed a degree from Cambridge that he had never earned.

Archbishop Adam Loftus, ancestor of the Loftus family of Loftus Hall, Co Wexford … had no earned degrees from Cambridge University apart from an honorary DD (courtesy, Trinity College Dublin)

Adam Loftus, ancestor of the Loftus family of Loftus Hall, Co Wexford, was Archbishop of Armagh, and then of Dublin for almost forty years. Loftus claimed that as an undergraduate at Trinity College, Cambridge, he had attracted the attention of the future Queen Elizabeth I. However, there is no good reason to believe this meeting ever took place. Venn relies on Cooper for stating that Loftus was at Trinity College, but no Cambridge degree is recorded for Loftus until the weeks before he became Archbishop of Dublin.[30]

Adam C. Green, Assistant Archivist and Manuscript Cataloguer, Trinity College Library, Cambridge, has found no evidence, besides the reference in Cooper, that Loftus was ever at Trinity. He points out that Loftus did not matriculate at Cambridge, nor did he take any degrees there before he was admitted to the degree DD on 25 November 1566, and he does not appear in the printed lists of Trinity members.[31]

There are no college admissions records before the 1630s. So, was Loftus a member of Trinity briefly as an undergraduate? The buttery books, which give a complete list of members of the college in each week and contain references to some junior members of the college not mentioned elsewhere, are almost complete from 1557/1558, but this is after the ordination of Loftus. His name does not occur in the earliest lower commons book, also dating from 1557/1558, nor does his name feature in the upper commons book for the period around 1566-1567, when he took the degree DD.[32]

Swift’s attacks

Soon after Hort’s consecration, rumours about his philandering appeared in an anonymous poem, ‘On the B—ps of Ireland,’ which refers to Hort in the line: E’re I was wed I kiss’d ten thousand bitches.[33] By then, Jonathan Swift, was known to publicly despise Hort. When Hort almost drowned in a storm in Dublin Bay in December 1722, Swift responded to reports of the near-tragedy with contemptuous references to Hort in a satirical poem, ‘Great Storm of Christmas 1722,’ or ‘The Storm: or Minerva’s Petition,’ which was circulated in manuscript form though not yet printed. Swift attacks Hort as a whore-mongering atheist and constructs a fable in which the pagan gods debate Hort’s fate. Although Minerva asks Neptune to drown Hort, Venus defends him and

Pleaded the B[ishop] lov’d a W[hore],
And had enlarg’d her Empire wide,
He own’d no Deity beside.
[34]

The shape-shifting god Proteus expresses grudging admiration of the bishop since

[Hort] can assume more Forms than I,
a Rake, a Bully, a Pimp, or Spy.
[35]

Hort is also characterised as ‘B[isho]p Judas.’[36] Eventually, the Bishop of Ferns is given a reprieve – but only because the philosopher George Berkeley would have drowned too, and because Minerva thought, anyway, Hort was ‘destin’d to a rope.’[37]

When Hort learned about this poem, he complained to Archbishop King, who in turn asked Swift about the poem. King replied to Hort on 23 February 1723:

‘I have not read the scandalous libel, your Lordship mentions, but have heard about it. My neighbour [Swift] complains grievously of one Curll, who printed vile [and] abominable papers in his name. As for this he most solemnly protests, that he has no concern in it and I verily believe him. He says it is true that sometimes he passes a jest or an irony on his friend or any obnoxious person, but for black calumny as this represented to be, he detests it. He discoursed me frankly on this subject, and told me, that perhaps he would not have been forward to give his vote to make you a bishop; but now you are one, he thinks it is a wicked thing and a mischievous office to the church and public to say or do anything may make you less serviceable in your station, and that none but an enemy to the church and religion would be guilty of such a practice.’[38]

Of course, as Hort was a friend of neither King nor Swift, he is being told that he is an ‘obnoxious person,’ and that neither supported him as a bishop. Karian suggests the reference to Curll is a red herring, as neither Curll nor anyone else had published ‘The Storm,’ and he describes Swift’s denial as artful but entirely false.[39]

As Bishop of Ferns, Hort favoured a limited toleration of Roman Catholic priests under the Penal Laws, arguing that either extirpation would fail or, if successful, might lead to retaliation against Protestants abroad.[40]

Hort first lost his voice in 1724, when he was still Bishop of Ferns, while shouting at one of his servants during a visitation of his parishes in Co Wexford.[41]

He was still Bishop of Ferns and was about 50 – and had perhaps ‘kiss’d ten thousand bitches’ – when he married Elizabeth FitzMaurice on 19 February 1725. Although the genealogical tables make it difficult at times to identify her with certainty, she was a daughter of Colonel William FitzMaurice (1670-1710), and a niece of Thomas FitzMaurice (1668-1741), 1st Earl of Kerry. Her sister, Mary FitzMaurice, married their first cousin, John FitzMaurice (1706-1761), who was made 1st Earl of Shelburne in 1753, a title with its origins in Co Wexford, after he succeeded to the vast Petty estates.[42]

While Hort was still Bishop of Ferns and Leighlin, he befriended William Robertson (1705-1783), and persuaded him to consider Anglican ordination. By the time Robertson was ordained a deacon in 1728 and priest in 1729 by John Hoadly, Hort had left Ferns, but through his influence, perhaps, Robertson was appointed Rector of Rathvilly, Co Carlow. However, Roberston eventually resigned his Anglican orders, became a Unitarian preacher, and has been described as ‘the father of Unitarian Nonconformity.’[43]

Hort was appointed Bishop of Kilmore and Ardagh in 1727 and the king’s chaplain, John Hoadly, was nominated as Bishop of Ferns.[44] However, the letters patent were dated before King George I died on 11 June 1727, and new papers had to be issued for both Hort and Hoadly by George II on 4 August. Hoadly was consecrated in Saint Patrick’s Cathedral on 3 September by William King and other assisting bishops – a very different experience to Hort’s public humiliation by King five years earlier – and eventually Hoadly succeeded King as Archbishop of Dublin in 1730.[45]

As Bishop of Kilmore, Hort again spoke in favour of relaxing the Penal Laws against Roman Catholic clergy, telling the clergy of his diocese: ‘coercive laws ... may bind men’s hands and tongues, but can never reach their hearts.’[46]

Another attack from Swift

After Hort moved from Ferns, Swift’s satirical poem ‘The Storm’ was circulated once again in manuscript form, along with two other brief poetic attacks that date from 1732: ‘Advice to a Parson: an Epigram,’ and ‘Epigram on Seeing a Worthy Prelate Go Out of Church.’ Although there is no conclusive evidence, both poems have been attributed to Swift. But why did ‘The Storm’ and these two epigrams find popular readership at this time?

In February 1732, the Irish House of Lords passed two Bills, a Bill of Residence and a Bill of Division. This legislation gave the right to a bishop to compel the clergy to build rectories, and allowed bishops to divide large parishes into smaller parishes. Swift believed these measures would impoverish the clergy. The Bills were sent to the Irish Commons, and as the debate continued Swift wrote ‘Considerations Upon Two Bills,’ and with sarcasm proposed that the bishoprics should be divided too. Faulkner published excerpts from Swift’s pamphlet in the Dublin Journal on 26 February 1732, and the bills were defeated in the Commons later that day.

Swift’s ‘Epigram on Seeing a Worthy Prelate Go Out of Church’ was first published that year, and printed by James Roberts in The Lady’s Dressing Room. The worldliness of bishops promoting English interests in Ireland is epitomised when Lord Pam – representing Josiah Hort – stops praying when he hears that the Lord Lieutenant, the Duke of Dorset, is in town and promptly leaves the church to wait on him:[47]

Lord Pam in the church (you’d think it) kneel’d down;
When told that the Duke was just come to Town –
His station despising, unawed by the place,
He flies from his God to attend to his Grace.
To the Court it was better to pay his devotion,
Since God had no hand in his Lordship’s promotion
.

In 1732, Swift also wrote his poem ‘Judas,’ although this was not published until 1735. As Swift had described Hort as ‘Bp Judas’ in ‘The Storm’ in 1723, we can presume that he was referring to Hort in this poem, which predicts an ignominious death for each modern Judas.[48]

However, by 1736, Swift and Hort had become friends and collaborators. On 23 February 1736, Hort sent Swift a small satirical pamphlet, Better Regulation and Improvement of Quadrille, a then-fashionable game of cards. Swift edited the satire and sent it to Faulkner, who published it in a broadsheet. However, a formal complaint was made to the Irish House of Commons, and Faulkner, by then in a bad state of health, was imprisoned in a dungeon for three days.[49]

Josiah and Elizabeth Hort had a townhouse in Dawson Street, Dublin. It was there on 2 May 1737 her sister Mary gave birth to William FitzMaurice (1737-1805), later William Petty, 2nd Earl of Shelburne, 1st Marquess of Lansdowne, and British Prime Minister at the end of the American War of Independence.[50]

While he was still Bishop of Kilmore, Hort’s voice failed once again. This time he claimed he overstrained his voice in the pulpit while he had a cold and was hoarse. Hort would never preach again but issued a warning to ‘all young preachers whose organs of speech are tender,’ saying: ‘Experience shows that a moderate degree of voice, with a proper and distinct articulation, is better understood in all parts of a church than a thunder of lungs that is rarely distinct, and never agreeable to the audience.’[51]

Now Hort began to convey his ideas through pamphlets. Despite the fact that he never preached again, Hort was appointed Archbishop of Tuam on 27 January 1742, and was also allowed to retain the Diocese of Ardagh in commendam. Ardagh was separated from Kilmore, and remained united with Tuam until 1839.[52]

Elizabeth Hort died on 25 January 1745, and was buried in Saint George’s Chapel, Dublin. A marble monument once read:

‘To the memory of Elizabeth Hort,
a daughter of the noble house of Kerry,
and wife of Josiah, Lord Archbishop of Tuam.
With whom she lived in strict union and affection
for the space of 19 years, 11 months, and 4 days;
having in her life exhibited
a pattern of every virtue,
conjugal, parental, social;
and above all
of piety and devotion towards God.
She was received to her reward
on the 25 day of January 1745,
leaving issue two sons and three daughters.
Blessed are the dead, which die in the Lord.’[53]

Later that year, Hort bought the manor of Scullogstown, near Kilcock, Co Kildare, from the Fitzgerald family for £5,373. He changed the name to Hortland and in 1748 built a mansion designed by Richard Castle. However, Hort may have never lived at Hortland, which was leased to a succession of tenants.[54]

The archbishop collapsed on the streets of Dublin and died on 14 December 1751. He was buried with his wife in Saint George’s Chapel, Dublin. In his will, he exhorted his children to carry out his intentions ‘without having recourse to law and the subtility of lawyers,’ and in the case of difficulty to refer questions to ‘the decision of persons of known probity and wisdom, this being not only the most Christian, but the most prudent and cheap and summary way of deciding all differences.’[55]

Family and legacy:

Despite all Hort’s failings and his pillorying by King, Swift and other detractors, the Hort family quickly established a fair claim to be considered Irish.[56] Josiah and Elizabeth Hort had eleven children in all, although only two sons and three daughters survived to adult life: Josiah George Hort (1732-1786), Sir John Hort (1735-1807), Elizabeth (married Sir James Caldwell), Frances (married John Parker, Lord Bodrington) and Maria (married Sir John Cramer Coghill).

Hort’s nephew, Lord Shelburne, who was born in Hort’s Dublin townhouse, showed his loyalty to the Hort family when he secured the post of British Consul General in Lisbon for Sir John Hort in 1767.[57] The present holder of the family title is Sir Andrew Edwin Fenton Hort (born 1954). Hortland House, the mansion designed by Richard Castle for Josiah Hort, had fallen into dilapidation by the beginning of the 20th century, while the Hort monuments in Saint George’s, Hill Street, have disappeared since the chapel was demolished in 1890.

Other Bishops of Ferns, before and after Hort, had genuine degrees from Cambridge, including his successor, John Hoadly, who had been at Saint Catharine’s College, and had earned the degrees BA (1698), MA (1703) and DD (1717).[58]

Without his academic pretensions, King’s consequent refusal to consecrate him, and Swift’s allegations about his lifestyle, Hort might have been forgotten, for his theology was shallow and vapid, his ecclesiastical promotions were typical of careerists of the day, and his impact on his dioceses was unremarkable. Perhaps the greatest monument to Hort is the work of his great-grandson, the Revd Professor Fenton John Anthony Hort (1828-1892), who was Lady Margaret’s Professor of Divinity in Cambridge and was the Irish-born theologian who did more than most to shape our modern understanding of the Greek New Testament.[59]

The Revd Professor FJA Hort (1828-1892) … the Irish-born Cambridge theologian who did more than most to shape our modern understanding of the Greek New Testament (a portrait by GP Jacomb-Hood in the collection of Trinity College Cambridge).
References:

[1] Venn and Venn, I/II, p. 411; Leslie, Ferns, p. 11; ODNB, p. 209; Bergin is alone in giving a precise date of birth, 2 February 1673.
[2] Leslie, Ferns, p. 11; Leslie and Crooks, Tuam, Killala and Achonry, p. 400; Leslie and Crooks, Kilmore, Elphin and Ardagh, p. 549; Ryan, p. 268. Bergin accepts this from Leslie (see Bergin, p.799).
[3] Murch, pp 41-42; Jeremy, p. xi.
[4] Chalmers, p. 195.
[5] Gordon (1917), p 287.
[6] DNB, p. 388; ODNB, p. 209.
[7] Murch, p 42; Gordon, pp 287, 349.
[8] Gordon, p. 287; Cotton, vol 2, p. 339; DNB, p. 388; ODNB, p. 209.
[9] Venn and Venn, I/II, p. 411.
[10] Ryan, p. 268.
[11] See Venn and Venn, I/II, p. 411.
[12] Murch, p. 42; Chalmers, pp 195-196; Mant, vol 2, p 376.
[13] Mant, vol 2, p 376; Venn and Venn, I/II, p. 411; Leslie, Ferns, p. 11; Ryan, p. 268.
[14] Ryan, p. 268; Leslie, Ferns, p. 11.
[15] The Clergy of the Church of England Database (1540-1835), http://www.theclergydatabase.org.uk/jsp/persons/DisplayPerson.jsp?PersonID=16755, last accessed 22 July 2013; Venn and Venn, I/II, p. 411; Ryan, p. 268; Leslie, Ferns, p. 11.
[16] Murch, p. 42; Chalmers, p 195.
[17] Leslie, Ferns, p. 11; ODNB, p. 209; Burke’s Peerage, various eds, s.v. Ely.
[18] Erck (1830), App. p. 275; Ryan, p. 268; ODNB, p. 11; Leslie, Ferns, p. 11.
[19] The Clergy of the Church of England Database (1540-1835), http://www.theclergydatabase.org.uk/jsp/persons/DisplayPerson.jsp?PersonID=16755, last accessed 22 July 2013.
[20] Cotton, vol 1, p. 283; Leslie, Armagh, p. 358; Leslie, Ferns, p 11; ODNB, p. 209.
[21] Galloway, pp 174; Fleming, WEC, Armagh Clergy 1800-2000 (Dundalk: Dundalgan Press, 2001), pp 636-639.
[22] Cotton, vol 3, p. 188 (where he is listed as MA); Leslie, Ferns, p. 11; Galloway, pp 7-9.
[23] Mant, vol 2, pp 375-379; Cotton, vol 2, pp 338-339, where he is listed as MA; Ryan, p. 269; Leslie, Ferns, 11.
[24] Gordon, p. 287; Mant, vol 2, p. 378; ODNB, p. 209; see Cotton, vol 4, p. 17. Leslie is incorrect when he says the degree in question was BD; see Leslie, Armagh, p. 358; Leslie, Ferns, p. 11, Leslie and Crooks, Tuam, Killala and Achonry, p. 400; Leslie and Crooks, Kilmore, Elphin and Ardagh, p. 549.
[25] Mant, vol 2, p. 379; p. 231; Charles King (1906), p. 231; Acheson, p. 47; Fauske, p. 63; O’Regan, p. 309.
[26] Connolly, ODNB, p 685.
[27] Mant, vol 2, p. 378; Bergin, p. 799.
[28] Nichols, pp 535-536; DNB, p. 388; Connolly, ODNB, p 685.
[29] Nichols, pp 535-536; Mant 2, p. 378; Cotton, vol 2, p. 339; Ryan, p. 269; Dalton (1883), p. 560; Leslie, Ferns, 11.
[30] Venn and Venn, I/III, p. 100.
[31] Email correspondence between Patrick Comerford and Adam C. Green, Assistant Archivist and Manuscript Cataloguer, Trinity College Library, Cambridge, and Dr Richard Serjeantson, Website Committee Secretary, Trinity College Cambridge; Venn I/III, p. 100.
[32] Email correspondence between Patrick Comerford and Adam C. Green, Assistant Archivist and Manuscript Cataloguer, Trinity College Library, Cambridge, and Dr Richard Serjeantson, Website Committee Secretary, Trinity College Cambridge; Venn I/III, p. 100.
[33] Karian, p. 83.
[34] Poems 1: 302-303.
[35] Poems 1: 303.
[36] Poems 1: 305.
[37] Poems 1: 306.
[38] Karian, pp 83-85.
[39] Karian, pp 83-85.
[40] Bergin, p. 799.
[41] Mant, vol 2, p. 561-562.
[42] Lodge, vol 2, pp 203-204; Burke’s Peerage, 107th ed, 2003, vol 2, pp 1967, 2239.
[43] Stewart, MA, pp 423-425; Ritchey, pp 529-530.
[44] Ryan, p. 269; Cotton, vol 3, p 169, where once again Hort is listed with the degree DD; Leslie, Ferns, p. 11.
[45] Leslie, Dublin, pp 4, 736.
[46] Bergin, p. 799.
[47] De Getango and Stubblefield, p. 96.
[48] DeGategno and Stubblefield, p.213.
[49] Swift and Scott, pp 371-377; Bergin, p. 799.
[50] Geoghegan, PM, p.87; DNB/ONB.
[51] Mant, vol 2, p. 562; AF Hort, p. 2; ONDB, p. 209.
[52] Cotton, vol 4, p. 17, where again Hort is ascribed the degree DD; Leslie, Ferns, p. 11; Galloway, p. 7; ONDB, p. 209.
[53] Lodge, vol 2, pp 204-205.
[54] O’Leary, ‘Hortland,’ pp 56-66.
[55] AF Hort, p. 3; DNB, p 388; Venn and Venn, I/II, p. 411; Leslie, Ferns, p 11; ODNB, p. 209.
[56] AF Hort, vol 1, p. 3.
[57] Ditchfield, p. 84.
[58] Leslie and Wallace, Dublin, p. 736.
[59] AJ Hort, passim.

Bibliography:

Acheson, Alan, A History of the Church of Ireland 1691-1996 (Dublin: The Columba Press/APCK, 1997).
Bergin, John, ‘Hort, Josiah (1673-1751),’ Dictionary of Irish Biography (Cambridge: Cambridge University Press for the Royal Irish Academy, 2009, vol 4), pp 798-799.
Canon, John, ‘Petty [formerly Fitzmauirce], William, second earl of Shelburne and first marquess of Lansdowne (1737-1805),’ Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004), vol 43, pp 951-961.
Chalmers, Alexander (ed), ‘Josiah Hort (?–1751)’ in The General Biographical Dictionary (London: 1812), vol. 18 (H), p. 195.
Connolly, SJ, ‘King, William (1650–1729),’ Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004, vol 31).
Cotton, Henry, Fasti Ecclesiae Hibernicae: The succession of the prelates and members of the cathedral bodies in Ireland (Dublin: Hodges & Smith, 4 vols, 1847-1850). Dalton, John, History of the County of Dublin (Dublin: Hodges & Smith, 1838).
DeGategno, PJ, and Stubblefield, RJ, Jonathan Swift: A Literary Reference to His Life and Works (New York: Infobase Publishing, 2009).
Ditchfield, GM, ‘A Christian Whig: Lord Shelburne and the Latitudinarian Tradition,’ pp 79-96, in Nigel Aston, Clarissa Campbell Orr (eds), An Enlightenment Statesman in Whig Britain: Lord Shelburne in Context, 1737-1805 (Woodbirdge: Boydell Press, 2011).
Erck, JC, Ecclesiastical Register (Dublin: R. Milliken, 1830).
Fauske, Christopher (ed), Archbishop William King and the Anglican Irish Context, 1688–1729 (Dublin: Four Courts Press, 2004).
Fleming, WEC, Armagh Clergy 1800-2000 (Dundalk: Dundalgan Press, 2001) Galloway, Peter, The Cathedrals of Ireland (Belfast: The Institute of Irish Studies, 1992).
Geoghegan, PM, ‘Petty, William (1737-1805),’ Dictionary of Irish Biography (Cambridge: Cambridge University Press for Royal Irish Academy, 2009), vol 8, pp 87-88.
Gordon, Alexander, ‘Robertson, William (1705-1783),’ Dictionary of National Biography, vol 48, pp 423-425.
Gordon, Alexander (ed), Freedom after Ejection (London: Longman; Manchester: Manchester University Press, 1917).
Hort, AF, Life and Letters of Fenton John Anthony Hort, 2 vols (London: Macmillan, 1896).
Jeremy, WD, The Presbyterian Fund and Dr Daniel Williams Trust with biographical notes of the trustees (London, Williams and Norgate, 1885).
Karian, Stephen, Jonathan Swift in Print and Manuscript (Cambridge: Cambridge University Press, 2010).
King, (Sir) Charles Simeon (ed), A great Archbishop of Dublin: William King, DD, 1650-1729 (London: Longmans, Green, ad Co, 1906).
Leslie, JB, Armagh Clergy and Parishes (Dundalk: William Tempest, 1911).
Leslie, JB, Ferns Clergy and Parishes (Dublin: Church of Ireland Printing and Publishing, 1936).
Leslie, JB, and Crooks, David, Clergy of Kilmore, Elphin and Ardagh (Belfast: Ulster Historical Foundation, and Diocesan Council, Kilmore, Elphin and Ardagh, 2008).
Leslie, JB, and Crooks, David, Clergy of Tuam, Killala and Achonry (Belfast: Ulster Historical Foundation, and Diocesan Council, Tuam, Killala and Achonry, 2008).
Leslie, JB, and Wallace, WJR, Clergy of Dublin and Glendalough (Belfast: Ulster Historical Foundation; Dublin: Diocesan Councils of Dublin and Glendalough, 2001).
Mant, Richard, History of the Church of Ireland, 2 vols (London: John Parker, 1840).
Lodge, John, The Peerage of Ireland, vol 2 (Dublin: James Moore, 1789)
Murch, Jerom, Presbyterian and General Baptist Churches of the West (London: R Hunter, 1835).
Nicholas, John (ed), Letters on various subjects, literary, political and ecclesiastical, to and from William Nicolson (London: Longman, 1809, vol 2).
O’Regan, Philip, Archbishop William King, 1650-1729 and the Constitution in Church and State (Dublin: Four Courts Press, 2000). O’Leary, Des, ‘Hortland,’ in Oughterany, Journal of the Donadea Local History Group, 2/1 (1999), eds Seamus Cullen, Hermann Geissel, Des O’Leary, pp 56-66.
Reynell, William, ‘Hort, Josiah (1674?-1751),’ Dictionary of National Biography (London, 1885-1900), vol 27, pp 388-399.
Reynell, William A, ‘Hort, Josiah (c.1674–1751)’, revised by J Falvey, Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004), vol 28, pp 209-210.
Richey, Rosemary, ‘Robertson, William (1705-83),’ Dictionary of Irish Biography (Cambridge: Cambridge University Press, for Royal Irish Academy, 2009), vol 8, pp 529-531.
Ryan, John, The History and Antiquities of the County of Carlow (Dublin: Richard Moore Tims, 1833).
Scott, Walter (ed), The Works of Jonathan Swift (Edinburgh: Constable, 1824), vol 7.
Stewart, MA, ‘Robertson, William, (1705-1783),’ Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004), vol 47, pp 423-425.
Venn, John, and Venn, JA, Alumni Cantabrigienses Part I, vol II (Cambridge: Cambridge University Press, 1922), and Part I, vol III (Cambridge: Cambridge University Press, 1924).

Appendix:

‘Great Storm of Christmas 1722,’ or
‘The Storm: or Minerva’s Petition,’ by Jonathan Swift


Pallas, a goddess chaste and wise
Descending lately from the skies,
To Neptune went, and begg’d in form
He’d give his orders for a storm;
A storm, to drown that rascal Hort,
And she would kindly thank him for’t:
A wretch! whom English rogues, to spite her,
Had lately honour’d with a mitre.

The god, who favour’d her request,
Assured her he would do his best:
But Venus had been there before,
Pleaded the bishop loved a whore,
And had enlarged her empire wide;
He own’d no deity beside.

At sea or land, if e’er you found him
Without a mistress, hang or drown him.
Since Burnet’s death, the bishops’ bench,
Till Hort arrived, ne’er kept a wench;
If Hort must sink, she grieves to tell it,
She’ll not have left one single prelate:
For, to say truth, she did intend him,
Elect of Cyprus in commendam.
And, since her birth the ocean gave her,
She could not doubt her uncle’s favour.

Then Proteus urged the same request,
But half in earnest, half in jest;
Said he – ‘Great sovereign of the main,
To drown him all attempts are vain.
Hort can assume more forms than I,
A rake, a bully, pimp, or spy;
Can creep, or run, or fly, or swim;
All motions are alike to him:
Turn him adrift, and you shall find
He knows to sail with every wind;
Or, throw him overboard, he’ll ride
As well against as with the tide.

But, Pallas, you’ve applied too late;
For, ’tis decreed by Jove and Fate,
That Ireland must be soon destroy’d,
And who but Hort can be employ’d?
You need not then have been so pert,
In sending Bolton to Clonfert.
I found you did it, by your grinning;
Your business is to mind your spinning.
But how you came to interpose
In making bishops, no one knows;
Or who regarded your report;
For never were you seen at court.

And if you must have your petition,
There’s Berkeley in the same condition;
Look, there he stands, and ’tis but just,
If one must drown, the other must;
But, if you’ll leave us Bishop Judas,
We’ll give you Berkeley for Bermudas.
Now, if ’twill gratify your spight,
To put him in a plaguy fright,
Although ’tis hardly worth the cost,
You soon shall see him soundly tost.
You’ll find him swear, blaspheme, and damn
(And every moment take a dram)
His ghastly visage with an air
Of reprobation and despair;
Or else some hiding-hole he seeks,
For fear the rest should say he squeaks;
Or, as Fitzpatrick did before,
Resolve to perish with his whore;
Or else he raves, and roars, and swears,
And, but for shame, would say his prayers.
Or, would you see his spirits sink?
Relaxing downwards in a stink?
If such a sight as this can please ye,
Good madam Pallas, pray be easy.
To Neptune speak, and he’ll consent;
But he’ll come back the knave he went.’

The goddess, who conceived a hope
That Hort was destined to a rope,
Believed it best to condescend
To spare a foe, to save a friend;
But, fearing Berkeley might be scared,
She left him virtue for a guard.


Patrick Comerford: The Revd Canon Professor Patrick Comerford is Lecturer in Anglicanism, Liturgy and Church History, the Church of Ireland Theological Institute, an Adjunct Assistant Professor, Trinity College Dublin, and a canon of Christ Church Cathedral Dublin. He has contributed to this Journal on many occasions in the past. A former journalist, he once worked for the Wexford People.

This paper was first published in the Journal of the Wexford Historical Society, No 24, 2012-2013 (ed Celestine Murphy), ISSN 0790-1828.

11 July 2015

Why are German products being
packaged to look like Greek food?

Greek olives on sale this evening in Rathfarnham (Photographs: Patrick Comerford, 2015)

Patrick Comerford

After some inquiries on social media during the week about where real Greek food could be bought in my area, I decided this evening to check out what Greek products were available in my local Tesco supermarket in Rathfarnham Shopping Centre.

I was surprised there was no Greek-sourced olive oil on the shelves, no Greek wine in the wine department, and no ouzo or Metaxa brandy alongside the spirits.

But at the deli counter I found Greek olives with lemon and garlic, Kalamata olives, and Halkidiki olives stuffed with garlic.

Greek yoghurt on the shelves in Rathfarnham (Photographs: Patrick Comerford, 2015)

On the dairy shelves there was a good selection of Fage Greek yoghurt, both the original style and fruit flavoured. But the Müller yogurt nearby was labelled “Greek-style” with a UK address. Like most Müller products, it was probably made in Germany. If it was made in Greece there would have been no need to label it “Greek-style” – it simply could have been called Greek.

Müller products have similar packaging to Fage, but the ingredients include milk protein concentrate, modified food starch and gelatine. These additives make it high in protein like real Greek yoghurt and the gelatine and starch help to thicken this product. But it is not real yoghurt, and it is not Greek … indeed, with all those additives, calling it “Greek-style” stretches the imagination.

On the other hand, Fage contains only milk and yoghurt cultures.

Is Müller trying to capitalise on Fage’s branding and success? German success at the expense of Greece seems cruel at the moment.

Greek-made feta (above) and German cheese (below) … but this is not from Gazi in Athens or Gazi in Crete (Photographs: Patrick Comerford, 2015)

The Greek Feta was Tesco’s own branded and labelled cheese, and was made in Greece. However, the Gazi-branded “Greek-Style Salad Cheese” was packaged to look Greek, with Mediterranean, Greek-looking blue-and-white packaging and images, and a fruiting olive branch in the background.

But it is not made in Gazi in Athens, or in Gazi which is 6 km west of Iraklion in Crete – like Müller brands, it is made in Germany.

The villages in the Gazi municipality in Crete include Fodele, the birthplace of the artist El Greco. But it takes some artistic creativity to package this “Greek-style” cheese so unwary customers think they are buying Greek. Surely the Germans are trying to squeeze enough out of Greece without also needing to pirate its yoghurt, its cheese, its olives and its images.

Barges and boathouses at Castleknock Marina and the Twlfth Lock (Photograph: Patrick Comerford, 2015)

Earlier in the afternoon, two of us were heading out for a late coffee at the Boathouse in Farmleigh in the Phoenix Park, when we took an unexpected route across the bridges over the Royal Canal and the railway line at Castleknock and spotted the barges and boathouses moored the Twelfth Lock.

Castleknock Marina looked appealing, with the swans and signets expecting to be fed by passers-by. The barges and boathouses looked pretty in the afternoon summer sunshine.

But the reality is that some of the barges moored at the marina are home to people who have been squeezed out of the housing market in Dublin by Ireland’s own brand of austerity. Let no-one in Greece imagine that the Irish economy is a model for Greek economic hopes and aspirations.

Beside the marina, the Twelfth Lock hotel and bar describes itself as a pioneering example of European café and hotel culture in Ireland, inspired by the hotels, cafés and bars of Paris and Amsterdam, in a cosmopolitan space in the unique environment at Castleknock Marina on the banks of the Royal Canal.

This hotel won the “Best New Hotel In Ireland” at the AM:PM National Hospitality Awards in 2004 and the “Best Presented Hotel and Surrounds” for two years in a row in 2004 and 2005 at the Fingal County Council Cleaner Communities Awards.

On the other bank of the canal stand apartment blocks that had once been the Blanchardstown Mills.

Swans under the bridge over the Royal Canal at Castleknock this afternoon (Photograph: Patrick Comerford, 2015)

We walked between the railway line and the canal, and found ourselves crossing the M50 motorway and the Wonderful O of the junction, with the Royal Canal crossing in the middle. Until today, I had only passed under the canal at this junction.

Work on the Royal Canal began in 1790 and took 27 years before finally reaching the River Shannon in 1817, at a total cost of £1,421,954. From Castleknock, the canal continues on through Maynooth, Kilcock, Enfield, Mullingar and Ballymahon, with a spur to Longford. The total length of the main navigation is 145 km and there are 46 locks along the length of the canal.

The Royal Canal Way is a 144 km long-distance trail that follows the towpath of the canal from Ashtown in Dublin to Cloondara, Co Longford. It is said to take three days to complete the walk. It is designated as a National Waymarked Trail by the National Trails Office of the Irish Sports Council and is managed by Waterways Ireland.

We eventually got to Farmleigh where we had double espressos at the Boathouse. It was a healthy afternoon, full of healthy exercise and pleasant surprises.

Coffee time at the Boathouse Café at Farmeoigh (Photographs: Patrick Comerford, 2015)

27 June 2014

Swans on the lake at Farmeligh and
opera by the mill pond in Dundrum

Opera by the Mill Pond ... Donizetti’s ‘L’Elisir d’Amore’ in Dundrum Town Centre (Photograph: Patrick Comerford, 2014)

Patrick Comerford

It was quite by accident that I came across today’s “Opera by the Mill Pond” at Dundrum Town Centre this evening [27 June 2014].

At the end of a busy working day, it was surprising how many shoppers, commuters and workers took an air to sit out in the open and enjoy the abridge presentation of Donizetti’s L’Elisir d’Amore (The Elixir of Love).

This is a melodramma giocoso in two acts by the Italian composer Gaetano Donizetti (1797-1848), with an Italian libretto by Felice Romani. It had its premiere in Milan in 1832, and has since become one of the most frequently performed of Donizetti’s operas. It is best known for the plaintive aria Una furtiva lagrima (A furtive tear) – sung by Nemorino in Act II, Scene 2 – one of the most famous and often-recited arias in all of opera.

Other noted arias include: Quanto è bella, quanto è cara (How beautiful she is), sung by Nemorino in Act I, Scene 1; Come Paride vezzoso (Just as the charming Paris), by Sergeant Belcore in Act I, Scene 1; Della crudele Isotta (Of the cruel Iseult), by Adina in Act I, Scene 1; Udite, udite, o rustici (Listen, listen, o peasants), by Dr Dulcamara in Act I, Scene 2; and Prendi, per me sei libero (Take it, I have freed you), sung Adina in Act II, Scene 2.

The main characters in L’elisir d’amore are: Adina, a beautiful, a young, rich land-owning woman (soprano, Sandra Oman); Nemorino, a poor peasant farmer who falls in love with Adina (tenor, whose name was not on the programme); Sergeant Belcore, an over-confident and brash soldier (baritone, Simon Morgan); Dr Dulcamara, a travelling quack (basso buffo, Stephen Fennelly); and Giannetta, a village girl (soprano) – although Giannetta was absent from this evening’s performance.

David Wray was the musical director, and Eoin Cannon was in charge of stage direction.

This comic opera, which is part of the programme for this year’s Dundrum Arts and Cultural Festival, which ends on Sunday [29 June 2014].

The two-act opera is set in a small Italian village in the early 19th century, and opens with Nemorino and the other farm workers listening to Adina telling the story of Tristan and Isolde, and their love potion. Nemorino knows that it is impossible to be in love with such a beautiful and smart woman. The self-important Sergeant Belcore arrives with his regiment and is smitten by Adina’s beauty. He gives her a flower and proposes to her in front of everyone, asking her to marry him at once.

The travelling quack salesman, Dr Dulcamara, who claims encyclopaedic knowledge, arrives in the town, peddling his bottles of potions. Nemorino remembers the story of Tristan and Isolde, and innocently asks Dulcamara if he has anything like Iseult’s love potion. Dulcamara claims he has the Elixir of Love – the potion that gives this opera its name. He says it will work within 24 hours, and sells Nemorino a bottle at a price matching all that Nemorino has in his pockets. Unknown to Nemorino, the bottle only contains cheap wine. Nemorino drinks the bottle and in his drunken state grows in confidence.

Emboldened by the “elixir,” he meets Adina. She teases him mercilessly, but not so much that in the audience we cannot catch a hint that the attraction might be mutual, despite her plans to marry the pompous sergeant in six days’ time. Nemorino still believes that he can win Adina’s love tomorrow because of the elixir, and so acts indifferently towards her.

An upset Adina is upset not only tries to hide her feelings, but ups the stakes by agreeing to marry Belcore immediately after the sergeant receives orders to join his regiment the next morning. However, Adina and Belcore notice Nemorino’s reaction to this news – the Sergeant resents this reaction, while Adina is filled with despair. Nemorino panics and cries out for Dr Dulcamara to come to his aid.

Act 2 opens with Adina’s wedding reception in full swing outdoors. Dr Dulcamara sings a song with Adina to entertain the guests. When the notary arrives to officiate, Adina is sad that Nemorino has not turned up. As everyone goes in to sign the wedding contract, Dulcamara stays outside, helping himself to food and drink.

When Nemorino arrives and sees the notary, he believes he has lost Adina. Frantically, he begs Dulcamara for more of his elixir, but this time wants a potion that works immediately. However, the desperate Nemorino is penniless and the doctor refuses, making his way inside. Belcore emerges on his own, wondering aloud why Adina has suddenly put off the signing their wedding contract. He asks Nemorino why he is feeling down. Nemorino says he has no money, and Belcore suggests that if he joins the army he can pay him immediately.

When Nemorino signs up, he gets cash on the spot from Belcore. Nemorino now thinks he can buy more of the elixir of love from Dulcamara, while Belcore thinks he is about to send his rival off to war. After drinking the second bottle of wine, the village girls begin to swarm around him. They have heard the news – which Nemorino has not yet heard – that his rich uncle has died, leaving him with a large inheritance.

Poor Nemorino is the worse for the weather having spent the cash he received from Belcore on more wine, deluded into believing that it is the “Elixir of Love.” In his drunken state, he thinks he is the object of the affections of the village women, not because of his inheritance but because of this second bottle of elixir.

When Adina sees Nemorino in such a jolly mood, she asks Dulcamara what has happened. The quack-doctor is not aware that Nemorino has fallen in love with Adina, and so he tells her the story of how the poor man is smitten, has spent his last penny on the elixir, and has signed his life away, joining the army to get more money, so desperate is he to win the love of some unnamed cruel woman.

At last, Nemorino’s sincerity dawns on Adina and regrets teasing him. She realises she has fallen in love with him, and is taken by the sincerity of his love. For his part, Dulcamara thinks her behaviour is some sort of condition that needs to be cured with one of his potions.

Nemorino appears alone and recalls a solitary a tear he saw in Adina’s eye when he was ignoring her earlier – the tear that gives the title to the plaintive aria he now sings, Una furtiva lagrima (A furtive tear). This received the greatest applause from this evening’s open-air audience in Dundrum – and, of course, he is now convinced that Adina loves him.

Adina returns and asks why he has signed up for the army and is leaving. Nemorino tells her he wants a better life. Adina tells him he is loved, and that she has bought out his military contract. She offers him the redeemed contract, telling him he is free and that if he stays in town he will no longer be sad.

Nemorino takes the contract but as Adina turns to leave Nemorino thinks she is abandoning him and says that if he is not loved, if the elixir has not worked, if the doctor has fooled him, he might as well go anyway and die a soldier. Adina stops him and confesses that she loves him. Nemorino is ecstatic. When Adina begs him to forgive her for teasing him, they kiss and embrace.

Belcore returns to find the two in an embrace. Adina explains her love for Nemorino to a disdainful sergeant, who tells her there are plenty of other women in the world. Seeing his opportunity, Dr Dulcamara offers to provide the elixir for the sergeant’s next conquest. Everyone agrees the elixir has worked and they bid a fond farewell to the doctor.

Donizetti’s ‘Una furtiva lagrima’ from ‘L’elisir d’amore’ is immediately recognisable (Photograph: Patrick Comerford, 2014)

Alongside Bellini and Rossini, Donizetti (1797-1848) is one of the leading composers of bel canto opera. His most famous opera is Lucia di Lammermoor (1835), yet his most immediately recognisable work is this evening’s aria Una furtiva lagrima from L’elisir d’amore (1832).

Seven years ago in 2007, while staying near Venice, I visited his grave in the Basilica of Santa Maria Maggiore in Bergamo, and I was moved by the sad life this composer lived, despite the great love stories in his operas.

When L’elisir d’amore was first staged in 1832, it was deemed one of the masterpieces of the comic opera. After the success of Lucrezia Borgia (1833) boosted his reputation, Donizetti followed both Rossini and Bellini to Paris. But he soon returned to Naples to produce his masterpiece, Lucia di Lammermoor, based on Sir Walter Scott’s novel, The Bride of Lammermoor. This became his most famous opera, and one of the high points of the bel canto tradition, alongside Bellini’s Norma.

In 1838, Donizetti returned to Paris after the Italian censor objected to the production of Poliuto on the grounds that such a sacred subject was inappropriate for the stage. In Paris, he wrote La fille du regiment, which became another success.

More fame came with Don Pasquale in 1843. But by then Donizetti was showing signs of syphilis and what we now know as bipolar disorder. After being institutionalised in 1845, he was sent to Paris, where he was taken care of by his friends, including Verdi. But, after several years of insanity, his friends eventually sent him home to Bergamo, where he died in 1848.

To add to this tragic tale, Donizetti and his wife Virginia Vasselli had three children, but none of them survived and she died tragically from cholera. Donizetti’s body was later moved to the Basilica of Santa Maria Maggiore in Bergamo, where he was buried close to his former teacher, Father Johann Simon Mayr.

The restored Victorian glasshouse at Farmeligh (Photograph: Patrick Comerford, 2014)

Earlier in the afternoon, two of us visited Farmleigh, the state guest house beside the Phoenix Park, just in time for the last guided tour of the former palatial residence of the Earls of Iveagh and their branch of the Guinness family.

The house retains much of its original interior decoration including portraits by Sir William Orpen and Sir Joshua Reynolds, and stucco ceilings decorated by the Stapleton brothers.

As part of the guided tour of the house we also saw the current exhibition, Seán O’Casey: A Rebel Playwright with a Cause, exploring the themes of rebellion and conflict that permeate Seán O’Casey’s life and work, from his involvement in the 1913 Lockout and Strike, the Dublin Trilogy, his politically-charged masterpiece, his conflicts with the Abbey Theatre, and controversies involving the Roman Catholic Church.

The exhibits are drawn from the Benjamin Iveagh Library at Farmleigh and include O’Casey’s printed works and correspondence from the papers of the former the Abbey Theatre director, Lennox Robinson.

Estonian jewellery from the exhibition ‘Rethinking The Everyday’ in Farmleigh Gallery ... the exhibition continues until 20 July (Photograph: Patrick Comerford, 2014)

Before the guided tour of the house, we paid a brief visit to ‘Rethinking The Everyday,’ an exhibition of Estonian contemporary jewellery and textiles in Farmleigh Gallery.

Later we had coffee (two double espressos) in the Boathouse, a delightful and welcoming café by the lake in the grounds of Farmleigh. I had promised myself a return after my first visit after last Christmas.

Although the coffee machines had been washed and the place was about to close for the day, they welcomed us in, and still made fresh coffee for us.

As they continued to clean up inside and unobtrusively, we sat on the deck outside, where we were joined by a friendly swan and a half dozen hungry ducks.

As we drove back through the Phoenix Park, a young deer jumped across our path. Our hearts were beating even before Donizetti invited us to taste the ‘Elixir of Love’ in Dundrum.

The Boathouse is a friendly and welcoming café beside the lake in the grounds of Farmeligh (Photograph: Patrick Comerford, 2014)

28 July 2013

From lunch on Ormond Quay to
the Duke of Ormond’s deer park

Flowers in the Kitchen Garden in Ashtown Castle this afternoon (Photograph: Patrick Comerford, 2013)

Patrick Comerford

The rain came down in torrents at lunchtime today [28 July 2013] as two of us strolled from Christchurch Cathedral to the Italian Quarter for lunch in Wallace’s Taverna.

For the first time in many months we sat indoors there as people huddled outside under the awnings and the rain showed no signs of abating.

This traditional Italian restaurant and pizzeria opened in 2005 as La Taverna di Bacco, the flagship restaurant of the Italian Quarter on the corner of Ormond Quay.

Rain hits the paving stones in the Italian Quarter at lunchtime (Photograph: Patrick Comerford, 2013)

As the rain continued in patchy showers, we realised this was not an afternoon for a walk on a beach. Instead, we drove out to the Phoenix Park, intending to visit Farmleigh House.

Despite the rain, cricket was being played at the Civil Service Cricket Club, and the grass was being prepared at the Phoenix Cricket Club, which was formed in 1830, making it the oldest cricket club in Ireland one of the oldest in the world.

When we got to the Phoenix Monument, Chesterfield Avenue was closed off, and we ended up visiting the Visitor Centre and Ashtown Castle instead.

A busy bee at work in the walled kitchen garden at Ashtown Castle (Photograph: Patrick Comerford, 2013

We first strolled around the 2½-acre Victorian kitchen walled garden, with its array of flowers, fruit, vegetables and small trees. We are all concerned about the future of bees, and one of the delights of the walled garden was seeing the number of bees hovering around the flowers and plants.

Ashtown Castle ... neglected by successive Papal Nuncios, but now restored for the people of Ireland (Photograph: Patrick Comerford, 2013)

We then stopped to look at Ashtown Castle, which had been hidden for centuries within the walls of a much larger and more recent building that was used as the official residence of the Papal Nuncio until 1978.

When the Papal Nuncios abandoned the house, it was full of dry rot and in such a state of neglect and disrepair that it was deemed to be structurally irreparable. But as the house was being demolished, Ashtown Castle was uncovered.

The castle may date back to the 1430s, when it was built as a tower house. The dimensions conform to a government policy of the time that offered £10 to those who built a castle of this style for their own safety. Ashtown Castle was later incorporated into Ashtown Lodge, when it was rebuilt as the official residence of the Under Secretary of Ireland from 1782.

From Ashtown Castle, we walked across to the courtyard that houses the Phoenix Park Visitor Centre, which provides an historical interpretation of the Phoenix Park from the year 3500 BC to the present day.

The Phoenix Park extends to 707 hectares (1,752 acres) and is one of the largest enclosed recreational spaces within any European capital city. It is larger than all the city parks in London put together and twice the size of Central Park in New York.

The Phoenix Park was established just over 350 years ago in 1662 on behalf of King Charles II by the Viceroy of Ireland, James Butler, Duke of Ormond, who also gave his name to Ormond Quay, where we had lunch a few hours earlier. Ormond originally planned the Phoenix Park as a Royal Deer Park, using the former demesne of Kilmainham Priory, which stretched across both sides of the River Liffey.

In the 1660s, the Duke of Ormond introduced a herd of Fallow Deer that has lived in the park ever since. In 1668, Marcus Trevor, Viscount Dungannon, was appointed Park Ranger, and with two other keepers, he was responsible for the deer, managing the park’s enclosures and the new plantations.

Ormond also founded the Royal Hospital in Kilmainham in 1680. The foundation of the Royal Hospital reduced the Phoenix Park to its present size and location on the north side of the river. The park was then enclosed within a stone wall, which adjusted and delineated the size and the boundaries of the park.

The traditional maze at Ashtown Castle (Photograph: Patrick Comerford, 2013)

The other attractions beside Ashtown Castle and Visitor Centre include a café, a traditional maze, woodland walks, a picnic area and a children’s playground.

Almost one-third of the Phoenix Park is covered with trees, and the park is a sanctuary for many mammals and birds, with a wide range of wildlife habitats.

Nearby is the official residence of the President, Áras an Uachtaráin, which dates from 1750, and is the former Vice-Regal Lodge. Ratra House was the retirement home of Ireland’s first President, Dr Douglas Hyde. It was built in 1876, and Winston Churchill, lived there from the ages of two to six when it was known as the Little Lodge. In his autobiography, My Early Life: 1874-1904, Churchill said his “first coherent memory” was formed in the Phoenix Park when his father was Secretary to the Lord Lieutenant, Churchill’s grandfather, the Duke of Marlborough.

When we left the Visitor Centre it was still raining, and we never got to visit Farmleigh House. Instead we drove on Castleknock, where I wanted to photograph the parish church to illustrate a paper I am writing on Josiah Hort, an 18th century bishop.

By the time I got home, it was time for a change of clothes.