The Bretzel on Lennox Street has survived the many social changes in ‘Little Jerusalem’ (Photograph: Patrick Comerford, 2025)
Patrick Comerford
During my short visit to Dublin last week, I was staying in Rathmines, and spent some time both days wandering around ‘Little Jerusalem’, looking for houses that had once been home to the Comerford, Levitas and Kernoff families.
These included houses in Lennox Street, one of the many narrow streets in this area between the South Circular Road and the Grand Canal, between Clanbrassil Street and Portobello.
Over the decades, the residents of Lennox Street included the brothers Jack and Patrick Comerford, who lived at No 46; the playwright and twice Lord Mayor of Dublin John McCann, who was born at No 6 Lennox Street in 1905; the Republican revolutionary Harry Boland, who lived at No 26; and the sculptor John Hughes, who once lived at No 28.
When Maurice Elliman arrived in Dublin in 1900, he first lodged with the Smullian family at No 38 Lennox Street and soon married Leah Smullian. He was the founder of the De Luxe, Metropole and Corinthian cinemas, and became the proprietor of the Savoy cinemas and of the Gaiety Theatre, the Theatre Royal and the Queen’s Theatre. He also founded the Walworth Road synagogue, now the Irish Jewish Museum.
Two long established Jewish institutions on Lennox Street have been the small synagogue or hebra at No 32, founded in 1876 or soon after, and the Bretzel Bakery at 1a Lennox Street.
The Lennox Street synagogue closed its doors in the 1974 (Photograph: Patrick Comerford, 2025)
The Lennox Street shul finally closed its doors over half a century ago in 1974, and moved to Stratford College on Zion Road, Rathgar, where it continued to worship until 1981. However, the Bretzel has survived the many social changes in the area, including the exodus of the Jewish community from Little Jerusalem to Rathfarnham, Terenure and Churchtown in the second half of the 20th century, and the gentrification of the area in the earlier part of this century.
The Bretzel is a three-storey, 19th century building, and it is one of Dublin’s oldest surviving artisan bakeries. The business traces its beginnings back a century and a half when it was started by Moses Grinspon, a refugee Jewish baker from the Russian empire, who lived on Kingsland Parade.
It became Elliman’s Bakery in 1900, and the earliest deeds say the first brick oven was placed there that year.
Solomon and Malka Clein ran the bakery from the 1920s, when his family moved from Cork to Dublin. When Weinrock’s closed in the late 1920s, Cleins was the only kosher bakery left in the Jewish community in Dublin.
The business was then run by their son-in-law, Syd Barnett, until 1936, when he sold it to Barney Stein. Harry Clein, who married Barney Stein’s widow Ida (née Herman), became associated with the bakery in 1948. The staff included Fred Keane, the head baker, and his assistant, Christy Hackett, neither of whom was Jewish.
The menu on the large mirror in the Bretzel on Lennox Street (Photograph: Patrick Comerford, 2025)
For some years, Sidney Benson and his brother George ran the bakery as Bensons. They had moved from Liverpool to Dublin after World War II, and when Sidney retired to Liverpool, Christy Hackett took charge.
The bakery became a meeting place on Sunday mornings for nurses and doctors coming off night duty in the Adelaide Hospital in the 1950s and 1960s.
Christy Hackett rented the business from Ida Clein in 1964 and changed the name to the Bretzel, from a Transylvanian bread stick in Romania, was chosen to emphasise the shop’s East European links. From 1964, this was the only kosher supplier of supervised bread and cake in Dublin, and the main product was the Jewish challah or plaited bread.
Christy Hackett’s son, Morgan Hackett, joined the business in 1970. Christy died in 1989, and when Ida Clein died in 1996, Morgan Hackett bought the Bretzel. But both the Jewish community and the Bretzel suffered a setback a year later when the new Chief Rabbi, Dr Gavin Broder, decreed that cakes supplied by the Bretzel could no longer be certified kosher. Morgan Hackett often explained that if he made a profit one week, then he could run it for another seven days.
Five loaves of bread at the Bretzel … William Despard has turned the bakery’s fortunes around (Photograph: Patrick Comerford, 2025)
William Despard, an engineer from Limerick, and his business partner Cormac Keenan bought the business ‘lock, stock and barrel’ from Morgan Hackett in 2000. The bakery had about ten staff, including four skilled bakers. William Despard was young and enthusiastic about putting it back on the map and he turned the bakery’s fortunes around.
The Bretzel also took over Arbutus Breads in Cork after Declan and Patsy Ryan retired. |nother expansion involved buying Rossa Crowe’s Le Levain bakery. Bretzel also built a third bakery, in Kilcullen, Co Kildare, although Covid forced them shut the Kildare factory for over a year. They have since developed a bakery school in Kilcullen bakery, teaching French and international baking techniques.
The Bretzel is now an award-winning bakery, with its main bakery in a state-of-the-art facility in Harold’s Cross, supplying individuals and companies throughout Dublin, including making all the bread for Dollard & Co.
On a busy night, the Bretzel bakes 10 to 12 metric tons of bread, ranging over different sizes: that translates to the equivalent of about 20,000 boules a night. Bretzel’s best breads include its pain de maison, Le Levain sourdough and Boulin, a 2kg loaf. The San Francisco sourdough won Bretzel’s first Blas na hÉireann gold medal. Its pain de maison boule won the Supreme Champion award in 2020.
A chalk sketch of the Bretzelon the café walls … it remains a busy and popular café (Photograph: Patrick Comerford, 2025)
The Bretzel on the corner of Lennox Street and Richmond Row and just off Richmond Road, between Kelly’s Corner and Portobello Road, is a busy and popular café and remains the flagship of the business.
Naturally, I stopped in the Bretzel for late morning coffee while I was walking around Portobello and ‘Little Jerusalem’ area last week. The tiny, forged iron doors of the double-decker brick ‘Scotch’ oven that was the cornerstone of the business for over 110 years, are inset in the shop’s walls today.
The Bretzel Bakery continues to make kosher bread, including traditional challah, onsite and under supervision. However, only specified items are currently approved as kosher under the Kashrut Commission of Ireland, and customers are advised to check the list in store for kosher items.
Today, Deli 613 on Upper Rathmines Road is the only kosher deli in Ireland. It takes its name from the 613 mitzvot, or commandments that are a traditional, foundational concept in Judaism. They consist of 248 positive commands, or commands to perform actions, and 365 negative commands, or commands to abstain from actions, totaling 613 precepts. Deli 613 is under the joint supervision of the KCI. It has sandwiches and salads, a grocery section and a coffee bar, and I had a late lunch there one afternoon last week.
Shabbat Shalom, שבת שלום
A late morning coffee in the Bretzel on Lennox Street (Photograph: Patrick Comerford, 2025)
Showing posts with label Rathmines. Show all posts
Showing posts with label Rathmines. Show all posts
22 August 2025
20 August 2025
Street art and murals in
‘Little Jerusalem’ and
Daniel O’Connell’s lost
fading heart in Portobello
Sir David Attenborough is celebrated in street art on the corner of Longwood Avenue and the South Circular Road in ‘Little Jerusalem’ in Dublin (Photograph: Patrick Comerford, 2025)
Patrick Comerford
Portobello has become an attractive area to live in. It has interesting shops and independent restaurants, it is just around the corner from Camden Street with its food shops and bookshops, and it is 15 minutes from Grafton Street and Saint Stephen’s Green.
I was strolling through Portobello while I was staying in Rathmines last week, searching for family homes associated with the Levitas, Kernoff and Comerford families in the narrow streets of ‘Little Jerusalem’, squeezed between Clanbrassil Street and Richmond Street, between the South Circular Road and the Grand Canal.
A large, colourful mural on Longwood Avenue honouring the life and work of David Attenborough has survived all the legal and official attempts to have it removed. It was painted on a large gable wall on a house on South Circular Road, close to Leonard’s Corner by the Dublin artist collective Subset painted and was unveiled on 8 May 2018 to mark the 93rd birthday of the naturalist and broadcaster.
The mural features a greyscale portrait that captures the personality of the BBC documentary maker and climate activist. Around his face is a burst of beautiful colour and animal life, from butterflies to a hot pink parrot. He has his signature khaki jacket and hat, standing next to a group of animals, including a penguin, a lion, and an elephant.
The mural is vibrantly coloured and features a stylised depiction of the natural world. Residents supposedly gave the artists the go ahead but the mural was controversial from the start as it was painted without planning permission. Dublin City Council ordered its removal in November 2019, and a spokeswoman said the council was seeking ‘the permanent removal of the unauthorised painted mural’ where the piece is based, and that no further murals or art should be painted on the wall.
The decision was met with widespread public opposition. A petition to save the mural attracted over 10,000 signatures. When the prosecution of Subset for this and two other prominent street murals came before Dublin District Court, the case adjourned. Eventually, in June 2022, the council dropped the case.
The David Attenborough Mural is now a popular tourist attraction in Portobello and a reminder of the city’s vibrant street art scene and its appreciation for the natural world.
Street art on Kingsland Park Avenue, between the South Circular Road abd Lennox Street in Little Jerusalem (Photographs: Patrick Comerford, 2025)
The mural was the second piece by Subset to fall foul of the council’s planning department within the space of a few weeks. A case involving the group’s ‘Horseboy’ mural in Smithfield was referred to An Bord Pleanála after the council ruled that it needed planning permission to remain on a property on Church Street.
Other artworks by Subset that were the subject of enforcement orders by Dublin City Council, including the Stormzy mural in late 2017.
The area around Richmond Street, close to Portobello Bridge, was once a colourful area for street art on a much larger scale. But many of the buildings are now being demolished and some of the better graffiti is fading, soon to be lost the latest property developments.
The fading mural of Daniel O’Connell behind fencing on Richmond Street … his heart has faded from view too (Photograph: Patrick Comerford, 2025)
One fading work, now behind hoarding and fencing, is an image of Daniel O’Connell (1775-1847). His heart was once visible in vivid red. It was a reminder that when O’Connell died in Genoa on a pilgrimage to Rome in May 1847, his body was brought back to Dublin and buried in Glasnevin Cemetery, but his heart was removed, embalmed and entrusted to the Irish College in Rome.
O’Connell’s heart has faded away in Richmond Street, but it has also gone from sight in Rome. It was believed to be in an urn, before being placed behind a marble plaque in the wall of the church. But when the Irish College was moving from the Church of Saint Agatha in 1927, the heart and urn were missing. The whereabouts of O’Connell’s heart remains unknown, and all that remains in the Church of St Agata del Got today is a plaster cast of his heart by the Irish artist Claire Halpin that is now on exhibition.
There seems to be some poetic message in the fact that this piece of street art is about to be lost as this month has marked the 250th of the birth of Daniel O’Connell on 6 August 1775.
Among his many political roles and achievements, he was also Lord Mayor of Dublin in 1841-1842. I wonder what he would make of the City Council’s efforts to control the place and subject of street art in Dublin?
A mural on the side of the former Bollywood Bar on the corner of Richmond Street and Richmond Place, Portobello (Photograph: Patrick Comerford, 2025)
A mural on the side of a Chinese restaurant in Rathmines on the corner of Lower Rathmines and Richmond Hill (Photograph: Patrick Comerford, 2025)
Patrick Comerford
Portobello has become an attractive area to live in. It has interesting shops and independent restaurants, it is just around the corner from Camden Street with its food shops and bookshops, and it is 15 minutes from Grafton Street and Saint Stephen’s Green.
I was strolling through Portobello while I was staying in Rathmines last week, searching for family homes associated with the Levitas, Kernoff and Comerford families in the narrow streets of ‘Little Jerusalem’, squeezed between Clanbrassil Street and Richmond Street, between the South Circular Road and the Grand Canal.
A large, colourful mural on Longwood Avenue honouring the life and work of David Attenborough has survived all the legal and official attempts to have it removed. It was painted on a large gable wall on a house on South Circular Road, close to Leonard’s Corner by the Dublin artist collective Subset painted and was unveiled on 8 May 2018 to mark the 93rd birthday of the naturalist and broadcaster.
The mural features a greyscale portrait that captures the personality of the BBC documentary maker and climate activist. Around his face is a burst of beautiful colour and animal life, from butterflies to a hot pink parrot. He has his signature khaki jacket and hat, standing next to a group of animals, including a penguin, a lion, and an elephant.
The mural is vibrantly coloured and features a stylised depiction of the natural world. Residents supposedly gave the artists the go ahead but the mural was controversial from the start as it was painted without planning permission. Dublin City Council ordered its removal in November 2019, and a spokeswoman said the council was seeking ‘the permanent removal of the unauthorised painted mural’ where the piece is based, and that no further murals or art should be painted on the wall.
The decision was met with widespread public opposition. A petition to save the mural attracted over 10,000 signatures. When the prosecution of Subset for this and two other prominent street murals came before Dublin District Court, the case adjourned. Eventually, in June 2022, the council dropped the case.
The David Attenborough Mural is now a popular tourist attraction in Portobello and a reminder of the city’s vibrant street art scene and its appreciation for the natural world.
Street art on Kingsland Park Avenue, between the South Circular Road abd Lennox Street in Little Jerusalem (Photographs: Patrick Comerford, 2025)
The mural was the second piece by Subset to fall foul of the council’s planning department within the space of a few weeks. A case involving the group’s ‘Horseboy’ mural in Smithfield was referred to An Bord Pleanála after the council ruled that it needed planning permission to remain on a property on Church Street.
Other artworks by Subset that were the subject of enforcement orders by Dublin City Council, including the Stormzy mural in late 2017.
The area around Richmond Street, close to Portobello Bridge, was once a colourful area for street art on a much larger scale. But many of the buildings are now being demolished and some of the better graffiti is fading, soon to be lost the latest property developments.
The fading mural of Daniel O’Connell behind fencing on Richmond Street … his heart has faded from view too (Photograph: Patrick Comerford, 2025)
One fading work, now behind hoarding and fencing, is an image of Daniel O’Connell (1775-1847). His heart was once visible in vivid red. It was a reminder that when O’Connell died in Genoa on a pilgrimage to Rome in May 1847, his body was brought back to Dublin and buried in Glasnevin Cemetery, but his heart was removed, embalmed and entrusted to the Irish College in Rome.
O’Connell’s heart has faded away in Richmond Street, but it has also gone from sight in Rome. It was believed to be in an urn, before being placed behind a marble plaque in the wall of the church. But when the Irish College was moving from the Church of Saint Agatha in 1927, the heart and urn were missing. The whereabouts of O’Connell’s heart remains unknown, and all that remains in the Church of St Agata del Got today is a plaster cast of his heart by the Irish artist Claire Halpin that is now on exhibition.
There seems to be some poetic message in the fact that this piece of street art is about to be lost as this month has marked the 250th of the birth of Daniel O’Connell on 6 August 1775.
Among his many political roles and achievements, he was also Lord Mayor of Dublin in 1841-1842. I wonder what he would make of the City Council’s efforts to control the place and subject of street art in Dublin?
A mural on the side of the former Bollywood Bar on the corner of Richmond Street and Richmond Place, Portobello (Photograph: Patrick Comerford, 2025)
A mural on the side of a Chinese restaurant in Rathmines on the corner of Lower Rathmines and Richmond Hill (Photograph: Patrick Comerford, 2025)
19 August 2025
The former Kodak building
in Rathmines remains
an outstanding example of
Art Deco architecture in Dublin
The Kodak Building has been a landmark building on the corner of Lower Rathmines Road and Blackberry Lane for almost a century (Photograph: Patrick Comerford, 2025)
Patrick Comerford
When I was staying in Rathmines last week during a very brief family visit to Dublin, I took another look at some interesting late 19th and early 20th century buildings in Rathmines, including the former YMCA building on Rathmines Road, Kensington Lodge around the corner from it on Grove Park, the former Belfast Bank on a prominent corner with Rathgar Road, and the former Kodak building, a listed Art Deco building.
For almost a century, the Kodak Building or Kodak House has been a landmark building on the corner of Lower Rathmines Road and Blackberry Lane and when it was built its design marked an important ‘modern’ moment in Irish architecture. It was designed by the architects Donnelly, Moore and Keatinge in 1930 and built in 1932 and was originally the factory and warehouse for Kodak Ireland.
Art Deco emerged as a design aesthetic in France in the early 20th century and was widely popularised in the 1920s and 1930s. It informed the design of many iconic 20th century iconic buildings, including the Empire State Building in New York.
Many examples of art deco architecture Dublin have been lost, including the Theatre Royal. But others have survived, including the Kodak Building and two other significant Art Deco buildings in Rathmines: the Stella Cinema, designed by Higginbotham and Stafford in 1923; and the Post Office on Upper Rathmines Road, designed by William Henry Howard Cooke (1881-1977), built in 1932-1934, and opened in 1935.
The founder of Kodak, George Eastman, ran ‘an image-conscious company’ and wanted the company’s building in Dublin to disguise the ‘raw factory’ within. Kodak hired Donnelly Moore and Keatinge, a partnership formed by Robert Donnelly, James Moore and William Sedgwick Keatinge in 1925. The new building was built by McLaughlin & Harvey.
One critical commentator said the building looks like ‘a stray project from Miami Beach that found itself cast adrift in Dublin’. On the other hand, when the Twentieth Century Society named the Kodak Building as its ‘building of the month’ in August 2019, it said that ‘the building itself, despite having its once-cream render painted white, still stands out against Dublin’s traditional red brick streets’.
Donnelly Moore and Keatinge designed a building that is made of concrete and supported by a steel structural grid, with horizontal steel windows that were embedded in the concrete walls, and with ‘a squat but imposing tower with vertical slit windows as its central feature’. It was said to ‘conjur[e up] a sense of defensive space as well as abiding by the symmetrical classical language of pediment, pilaster and entablature.’
Some of the machine-age ornamentation of Kodak House remains intact, including the vertical lines on the tower, the zig-zags facing the street, the strong lines leading to the parapet and the ziggurat-type finial. Other art deco touches include the vertical lines on the tower, the stacked antenna-like rectangles, the small areas of fluting around the parapet and the pilasters or projecting columns, and the minimal ornament.
On each street façade, the tower recedes behind the screen, symmetrical with multi-pane windows set deep between the thick, plain pilasters. The zigzag textures and plain bands framing the windows add further texture, and the windows are an indication of its past as a factory.
The partnership of Donnelly Moore and Keatinge lasted until 1937, when the three architects went their separate ways, forming their own practices. One of the original architects, William Sedgewick Keatinge (1887-1964), made alterations modifications to the building in 1949-1951.
The building remained the Kodak headquarters in Ireland for 50 years before they moved to Dun Laoghaire in 1982. Kodak sold the building to Quirke Lynch Ltd that continued the photographic processing business for almost two more decades.
Quirke Lynch decided to concentrate their photographic processing operation to the ground floor only in 1997 and major renovations were undertaken to restore the upper floor and the roof of the building.
Paul Keogh Architects carried out a complete refurbishment of the building in 1999. While the exterior is faithful to the original design, there have been some interventions in the interior, such as a new roof with a curved northlight that allowed a mezzanine level to be added inside. The renovation was recognised with an RIAI award and a Glen Dimplex Design award in 2002.
Kodak House now houses an advertising agency and other businesses. It is an outstanding example of Art Deco architecture in Dublin and is a List 2 building in the Dublin City development plan. Despite having its once-cream render painted white, it still stands out against Dublin’s traditional red brick streets. It remains one of the brightest, most unusual 20th century buildings in Dublin.
Art Deco did not have a huge impact in Ireland, although the style had its moments, and the Carlton and Savoy cinemas on O’Connell Street and the Tivoli Cinema in Francis Street used Art Deco.
Other buildings in the Art Deco style in Dublin include the Department of Business, Enterprise and Innovation at 23 Kildare Street, designed by James Rupert Boyd Barrett; the Gas Building on D’Olier Street, now home to School of Nursing and Midwifery of Trinity College Dublin; the DIT building on Cathal Brugha Street; the former Deluxe Cinema on Camden Street; and the bathing shelters along the Bull Wall in Dollymount, designed by Herbert Simms.
Art Deco housing designs included: Chancery House, a housing development near the Four Courts designed by Herbert Simms; the houses built in 1938 on Wasdale Park, between Terenure and Rathgar; and an Art Deco house on the Templeogue Road once known as Konstanz and built in 1939 for Stephen Carroll Held – it is known in Templeogue and Terenure as the ‘German house’ because Hermann Gortz, a Nazi spy, used it as a safe house during World War II.
But more about these Art Deco houses and buildings, hopefully, after another visit to Dublin.
Kodak House remains an outstanding example of Art Deco architecture in Dublin Photograph: Patrick Comerford, 2025)
Patrick Comerford
When I was staying in Rathmines last week during a very brief family visit to Dublin, I took another look at some interesting late 19th and early 20th century buildings in Rathmines, including the former YMCA building on Rathmines Road, Kensington Lodge around the corner from it on Grove Park, the former Belfast Bank on a prominent corner with Rathgar Road, and the former Kodak building, a listed Art Deco building.
For almost a century, the Kodak Building or Kodak House has been a landmark building on the corner of Lower Rathmines Road and Blackberry Lane and when it was built its design marked an important ‘modern’ moment in Irish architecture. It was designed by the architects Donnelly, Moore and Keatinge in 1930 and built in 1932 and was originally the factory and warehouse for Kodak Ireland.
Art Deco emerged as a design aesthetic in France in the early 20th century and was widely popularised in the 1920s and 1930s. It informed the design of many iconic 20th century iconic buildings, including the Empire State Building in New York.
Many examples of art deco architecture Dublin have been lost, including the Theatre Royal. But others have survived, including the Kodak Building and two other significant Art Deco buildings in Rathmines: the Stella Cinema, designed by Higginbotham and Stafford in 1923; and the Post Office on Upper Rathmines Road, designed by William Henry Howard Cooke (1881-1977), built in 1932-1934, and opened in 1935.
The founder of Kodak, George Eastman, ran ‘an image-conscious company’ and wanted the company’s building in Dublin to disguise the ‘raw factory’ within. Kodak hired Donnelly Moore and Keatinge, a partnership formed by Robert Donnelly, James Moore and William Sedgwick Keatinge in 1925. The new building was built by McLaughlin & Harvey.
One critical commentator said the building looks like ‘a stray project from Miami Beach that found itself cast adrift in Dublin’. On the other hand, when the Twentieth Century Society named the Kodak Building as its ‘building of the month’ in August 2019, it said that ‘the building itself, despite having its once-cream render painted white, still stands out against Dublin’s traditional red brick streets’.
Donnelly Moore and Keatinge designed a building that is made of concrete and supported by a steel structural grid, with horizontal steel windows that were embedded in the concrete walls, and with ‘a squat but imposing tower with vertical slit windows as its central feature’. It was said to ‘conjur[e up] a sense of defensive space as well as abiding by the symmetrical classical language of pediment, pilaster and entablature.’
Some of the machine-age ornamentation of Kodak House remains intact, including the vertical lines on the tower, the zig-zags facing the street, the strong lines leading to the parapet and the ziggurat-type finial. Other art deco touches include the vertical lines on the tower, the stacked antenna-like rectangles, the small areas of fluting around the parapet and the pilasters or projecting columns, and the minimal ornament.
On each street façade, the tower recedes behind the screen, symmetrical with multi-pane windows set deep between the thick, plain pilasters. The zigzag textures and plain bands framing the windows add further texture, and the windows are an indication of its past as a factory.
The partnership of Donnelly Moore and Keatinge lasted until 1937, when the three architects went their separate ways, forming their own practices. One of the original architects, William Sedgewick Keatinge (1887-1964), made alterations modifications to the building in 1949-1951.
The building remained the Kodak headquarters in Ireland for 50 years before they moved to Dun Laoghaire in 1982. Kodak sold the building to Quirke Lynch Ltd that continued the photographic processing business for almost two more decades.
Quirke Lynch decided to concentrate their photographic processing operation to the ground floor only in 1997 and major renovations were undertaken to restore the upper floor and the roof of the building.
Paul Keogh Architects carried out a complete refurbishment of the building in 1999. While the exterior is faithful to the original design, there have been some interventions in the interior, such as a new roof with a curved northlight that allowed a mezzanine level to be added inside. The renovation was recognised with an RIAI award and a Glen Dimplex Design award in 2002.
Kodak House now houses an advertising agency and other businesses. It is an outstanding example of Art Deco architecture in Dublin and is a List 2 building in the Dublin City development plan. Despite having its once-cream render painted white, it still stands out against Dublin’s traditional red brick streets. It remains one of the brightest, most unusual 20th century buildings in Dublin.
Art Deco did not have a huge impact in Ireland, although the style had its moments, and the Carlton and Savoy cinemas on O’Connell Street and the Tivoli Cinema in Francis Street used Art Deco.
Other buildings in the Art Deco style in Dublin include the Department of Business, Enterprise and Innovation at 23 Kildare Street, designed by James Rupert Boyd Barrett; the Gas Building on D’Olier Street, now home to School of Nursing and Midwifery of Trinity College Dublin; the DIT building on Cathal Brugha Street; the former Deluxe Cinema on Camden Street; and the bathing shelters along the Bull Wall in Dollymount, designed by Herbert Simms.
Art Deco housing designs included: Chancery House, a housing development near the Four Courts designed by Herbert Simms; the houses built in 1938 on Wasdale Park, between Terenure and Rathgar; and an Art Deco house on the Templeogue Road once known as Konstanz and built in 1939 for Stephen Carroll Held – it is known in Templeogue and Terenure as the ‘German house’ because Hermann Gortz, a Nazi spy, used it as a safe house during World War II.
But more about these Art Deco houses and buildings, hopefully, after another visit to Dublin.
Kodak House remains an outstanding example of Art Deco architecture in Dublin Photograph: Patrick Comerford, 2025)
18 August 2025
The former Belfast Bank
in Rathmines has moved
from a ‘Quid’ in the Psalms
to making the best dough
The former Belfast Bank, now Reggie’s Pizzeria on Rathmines Road Lower, was designed by Vincent Craig (Photograph: Patrick Comerford, 2025)
Patrick Comerford
The former Belfast Bank at 221-223 Rathmines Road Lower is now Reggie’s Pizzeria and is one of the interesting buildings in Rathmines that I looked at last week, along with the former YMCA building on Lower Rathmines Road, close to Portobello Road, nearby Kensington Lodge on Grove Park, and the former Kodak building.
The former Belfast Bank in Rathmines is a small building in a Scottish Baronial style, with a sharp corner and a corner turret. Despite its size, it is very noticeable for the narrow façade that creates an optical illusion, for its individual features, and because of its prominent location on a busy corner where Rathmines Road Lower meets Rathgar Road and Rathmines Road Upper.
The side street is Wynnefield Road, and many people also know the building because of its location beside Slattery’s public house.
The narrow façade at the junction of Rathmines Road, Wynnefield Road and Rathgar Road creates an optical illusion (Photograph: Patrick Comerford, 2025)
The Belfast Bank was formed in 1827 by a merger of two private banks, Batt’s, also known as the Belfast Bank, and Tennant’s, also known as the Commercial Bank. The bank moved in 1846 to the former Assembly Buildings at the corner of North Street, Bridge Street, Waring Street and Donegall Street. Within decades, the bank was trading in branches throughout the northern half of Ireland.
The Belfast Bank had a New York branch by the 1860s, but it did not establish a branch in Dublin until 1892, when temporary premises were acquired in Dame Street. A purpose-built branch at 21-22 College Green was designed by William Henry Lynn and was built in 1893-1894.
The Belfast Bank in Rathmines was the second branch in Dublin, and a third branch in Dublin at 86 Talbot Street was designed by Frederick George Hicks and built in 1900. The branch building in Rathmines was designed by the Belfast architect Vincent Craig (1869-1925), whose work included clubhouses for yacht and golf clubs, Presbyterian churches, hospitals, banks for the Belfast Bank and the Ulster Bank, and masonic halls.
Craig was born at Craigavon, Strandtown, Belfast, in 1869, one of seven sons of James Craig, a wealthy whiskey distiller, and a younger brother of James Craig (1871-1940), later Lord Craigavon and first Prime Minister of Northern Ireland.
Vincent Criag was educated at Bath College and received his architectural training in the office of William Henry Lynn from 1885 to 1889. He then spent a year travelling in Europe before setting up in practice in Belfast in 1891.
He was a member of the Royal Institute of the Architects in Ireland, and was elected a fellow (FRIAI) in 29 May 1906. He was also a fellow of the Royal Institute of British Architects (FRIBA, 1900). His pupils and assistants included John Charles Lepper, Arthur Norman McClinton and Jackson Graham Smyth. He exhibited drawings of three of his designs in the Irish International Exhibition in Dublin in 1907.
Craig was a keen yachtsman and motorist, and also a generous benefactor of hospitals. He represented Court Ward on Belfast City Council in 1903-1906, and he was president of the Belfast Art Society in 1903.
He worked from 5 Lombard Street, Belfast, and 22 Donegall Place, and lived at Eldon Green, Helen’s Bay, Co Down, which he designed for himself. He moved to England in 1910, retired from his architectural practice soon after, and lived in retirement at High Close, Wokingham, Berkshire.
The former bank is in a Scottish baronial style, with a sharp corner and a corner turret (Photograph: Patrick Comerford, 2025)
Craig’s bank in Rathmines was built between 1899 and 1900 for the Belfast Bank. Tenders were invited in September 1899 and the building was ‘nearly complete’ by mid-July 1900.
The site was once part of the Chains. A fading photograph in Slattery’s beside the former bank tells how the Chains were one of the worst slums in late Victorian Rathmines. According to Weston St John Joyce in The Neighbourhood of Dublin (1912), the Chains were a number of dilapidated shanties enclosed by chains hung from stone pillars. They had become ‘an unsightly and insanitary slum’ until they were cleared to make the site for a new bank.
The corner is marked by a tower, topped by a finial and cut into at the base to make the entrance. The curve to the castellation is picked up on the apex of the gable, and the little peaks on the slope look even more like cake decoration when you follow the line down into the fussy scrolled base.
The terracotta plaque with the coat of arms of Belfast and the motto ‘Pro tanto quid retribuamus’ (Photograph: Patrick Comerford, 2025)
On the Wynnefield Road elevation, a terracotta plaque set into the wall displays the coat of arms of Belfast with the motto Pro tanto quid retribuamus (‘What return shall we make for so much?’). It is a paraphrase of Psalm 116: 12 in the Vulgate translation, which reads ‘Quid retribuam Domino pro omnibus quae retribuit mihi?’
My childish sense of humour could not resist being amused by a Latin motto on a bank building that includes the word Quid.
On this façade, the chimney’s descent stops nearly in line with the top of the door, and it is an additional tension, a feat of brinksmanship with the visual weight as well as a clear marker of the asymmetry of the two façades. The break happens within the entrance, too, with the columns holding nothing and the pointed brackets above hanging like stalactites.
Sitting on the string course are two stone figures that look like lions bearing shields with the initials BB for Belfast Bank. The doors have panels and panes of stained glass.
Two stone figures that look like lions bear holdshields with the initials BB for Belfast Bank (Photograph: Patrick Comerford, 2025)
In the aftermath of the 1916 Rising, the Belfast Bank merged with the London City & Midland Bank in 1917, the first entry into the Irish market by an English bank. After partition, the Belfast Bank decided to operate only in what became Northern Ireland. Following secret negotiations, the business in what had become the Irish Free State was transferred to the Royal Bank of Ireland in 1923, along with 20 branches and their staff.
The bank in Rathmines was more recently the premises of the Trustee Savings Bank/TSB Bank, and then the offices of a recruitment agency. It is now Reggie’s Pizzeria, which was opened in December 2024 by Reggie White, his wife Amy and their daughter Florence, who live nearby.
He has been described by the The Irish Times as ‘Ireland’s pizzaiolo-in-chief.’ He has trained Ballymaloe, and had stints at Del Popolo and Flour+Water in San Francisco. He returned to Dublin, co-founded Pi on George’s Street, and then made his name consulting for some of Ireland’s best-known pizza spots, including Little Forest, Bambino and Otto. With ten of his friends, including James Lowe, quietly backing 20 per cent, he opened Reggie’s in Rathmines shortly before last Christmas.
Once again, my childish sense of humour could not resist being amused by the thought that a former bank that exalted the word Quid is now making some of the best dough in Dublin.
As for the Belfast Bank, its businesses in Northern Ireland eventually merged with the Northern Bank, which began trading in 1824. Both were acquired by the Midland Bank, the integration was completed in 1970, and Northern Bank continued to trade throughout the whole of Ireland. The Midland Bank eventually sold the Northern Bank to the National Australia Bank, which later transferred ownership to Danske Bank.
Many of the former Belfast Bank buildings in Northern Ireland have been sold on to other businesses. But the name of ‘Belfast Bank’ continues to adorn a few of the old buildings, including those in Portrush, Rathfriland and Warrenpoint, as well as the former bank building on that narrow corner on Lower Rathmines Road.
For the former National Bank and Bank of Ireland branch at Lower Rathmines Road, see here
Inside Reggie's Pizzeria in the former Belfast Bank on Rathmines Road Lower (Photograph © Bryan O’Brien, The Irish Times, 2025)
Patrick Comerford
The former Belfast Bank at 221-223 Rathmines Road Lower is now Reggie’s Pizzeria and is one of the interesting buildings in Rathmines that I looked at last week, along with the former YMCA building on Lower Rathmines Road, close to Portobello Road, nearby Kensington Lodge on Grove Park, and the former Kodak building.
The former Belfast Bank in Rathmines is a small building in a Scottish Baronial style, with a sharp corner and a corner turret. Despite its size, it is very noticeable for the narrow façade that creates an optical illusion, for its individual features, and because of its prominent location on a busy corner where Rathmines Road Lower meets Rathgar Road and Rathmines Road Upper.
The side street is Wynnefield Road, and many people also know the building because of its location beside Slattery’s public house.
The narrow façade at the junction of Rathmines Road, Wynnefield Road and Rathgar Road creates an optical illusion (Photograph: Patrick Comerford, 2025)
The Belfast Bank was formed in 1827 by a merger of two private banks, Batt’s, also known as the Belfast Bank, and Tennant’s, also known as the Commercial Bank. The bank moved in 1846 to the former Assembly Buildings at the corner of North Street, Bridge Street, Waring Street and Donegall Street. Within decades, the bank was trading in branches throughout the northern half of Ireland.
The Belfast Bank had a New York branch by the 1860s, but it did not establish a branch in Dublin until 1892, when temporary premises were acquired in Dame Street. A purpose-built branch at 21-22 College Green was designed by William Henry Lynn and was built in 1893-1894.
The Belfast Bank in Rathmines was the second branch in Dublin, and a third branch in Dublin at 86 Talbot Street was designed by Frederick George Hicks and built in 1900. The branch building in Rathmines was designed by the Belfast architect Vincent Craig (1869-1925), whose work included clubhouses for yacht and golf clubs, Presbyterian churches, hospitals, banks for the Belfast Bank and the Ulster Bank, and masonic halls.
Craig was born at Craigavon, Strandtown, Belfast, in 1869, one of seven sons of James Craig, a wealthy whiskey distiller, and a younger brother of James Craig (1871-1940), later Lord Craigavon and first Prime Minister of Northern Ireland.
Vincent Criag was educated at Bath College and received his architectural training in the office of William Henry Lynn from 1885 to 1889. He then spent a year travelling in Europe before setting up in practice in Belfast in 1891.
He was a member of the Royal Institute of the Architects in Ireland, and was elected a fellow (FRIAI) in 29 May 1906. He was also a fellow of the Royal Institute of British Architects (FRIBA, 1900). His pupils and assistants included John Charles Lepper, Arthur Norman McClinton and Jackson Graham Smyth. He exhibited drawings of three of his designs in the Irish International Exhibition in Dublin in 1907.
Craig was a keen yachtsman and motorist, and also a generous benefactor of hospitals. He represented Court Ward on Belfast City Council in 1903-1906, and he was president of the Belfast Art Society in 1903.
He worked from 5 Lombard Street, Belfast, and 22 Donegall Place, and lived at Eldon Green, Helen’s Bay, Co Down, which he designed for himself. He moved to England in 1910, retired from his architectural practice soon after, and lived in retirement at High Close, Wokingham, Berkshire.
The former bank is in a Scottish baronial style, with a sharp corner and a corner turret (Photograph: Patrick Comerford, 2025)
Craig’s bank in Rathmines was built between 1899 and 1900 for the Belfast Bank. Tenders were invited in September 1899 and the building was ‘nearly complete’ by mid-July 1900.
The site was once part of the Chains. A fading photograph in Slattery’s beside the former bank tells how the Chains were one of the worst slums in late Victorian Rathmines. According to Weston St John Joyce in The Neighbourhood of Dublin (1912), the Chains were a number of dilapidated shanties enclosed by chains hung from stone pillars. They had become ‘an unsightly and insanitary slum’ until they were cleared to make the site for a new bank.
The corner is marked by a tower, topped by a finial and cut into at the base to make the entrance. The curve to the castellation is picked up on the apex of the gable, and the little peaks on the slope look even more like cake decoration when you follow the line down into the fussy scrolled base.
The terracotta plaque with the coat of arms of Belfast and the motto ‘Pro tanto quid retribuamus’ (Photograph: Patrick Comerford, 2025)
On the Wynnefield Road elevation, a terracotta plaque set into the wall displays the coat of arms of Belfast with the motto Pro tanto quid retribuamus (‘What return shall we make for so much?’). It is a paraphrase of Psalm 116: 12 in the Vulgate translation, which reads ‘Quid retribuam Domino pro omnibus quae retribuit mihi?’
My childish sense of humour could not resist being amused by a Latin motto on a bank building that includes the word Quid.
On this façade, the chimney’s descent stops nearly in line with the top of the door, and it is an additional tension, a feat of brinksmanship with the visual weight as well as a clear marker of the asymmetry of the two façades. The break happens within the entrance, too, with the columns holding nothing and the pointed brackets above hanging like stalactites.
Sitting on the string course are two stone figures that look like lions bearing shields with the initials BB for Belfast Bank. The doors have panels and panes of stained glass.
Two stone figures that look like lions bear holdshields with the initials BB for Belfast Bank (Photograph: Patrick Comerford, 2025)
In the aftermath of the 1916 Rising, the Belfast Bank merged with the London City & Midland Bank in 1917, the first entry into the Irish market by an English bank. After partition, the Belfast Bank decided to operate only in what became Northern Ireland. Following secret negotiations, the business in what had become the Irish Free State was transferred to the Royal Bank of Ireland in 1923, along with 20 branches and their staff.
The bank in Rathmines was more recently the premises of the Trustee Savings Bank/TSB Bank, and then the offices of a recruitment agency. It is now Reggie’s Pizzeria, which was opened in December 2024 by Reggie White, his wife Amy and their daughter Florence, who live nearby.
He has been described by the The Irish Times as ‘Ireland’s pizzaiolo-in-chief.’ He has trained Ballymaloe, and had stints at Del Popolo and Flour+Water in San Francisco. He returned to Dublin, co-founded Pi on George’s Street, and then made his name consulting for some of Ireland’s best-known pizza spots, including Little Forest, Bambino and Otto. With ten of his friends, including James Lowe, quietly backing 20 per cent, he opened Reggie’s in Rathmines shortly before last Christmas.
Once again, my childish sense of humour could not resist being amused by the thought that a former bank that exalted the word Quid is now making some of the best dough in Dublin.
As for the Belfast Bank, its businesses in Northern Ireland eventually merged with the Northern Bank, which began trading in 1824. Both were acquired by the Midland Bank, the integration was completed in 1970, and Northern Bank continued to trade throughout the whole of Ireland. The Midland Bank eventually sold the Northern Bank to the National Australia Bank, which later transferred ownership to Danske Bank.
Many of the former Belfast Bank buildings in Northern Ireland have been sold on to other businesses. But the name of ‘Belfast Bank’ continues to adorn a few of the old buildings, including those in Portrush, Rathfriland and Warrenpoint, as well as the former bank building on that narrow corner on Lower Rathmines Road.
For the former National Bank and Bank of Ireland branch at Lower Rathmines Road, see here
Inside Reggie's Pizzeria in the former Belfast Bank on Rathmines Road Lower (Photograph © Bryan O’Brien, The Irish Times, 2025)
16 August 2025
Kensington Lodge on Grove Park,
Rathmines, and the introduction
of terracotta to Irish architecture
Kensington Lodge on Grove Park, Rathmines, with its highly decorative façade, seen from the street (Photograph: Patrick Comerford, 2025)
Patrick Comerford
Kensington Lodge on Grove Park in Rathmines is a beautiful example of Queen Anne style architecture in the late Victorian period, and one of the fine examples of the use of terracotta in architecture in Dublin at the turn of the 19th and 20th centuries.
Unlike many of the other terracotta buildings from that period, such as the former Harding Home on Lord Edward Street and D’Olier Chambers on D’Olier Street, Kensington Lodge was built as a private family home.
It stands at 107 Grove Park, almost at the corner of Lower Rathmines Road and facing the south side of the former YMCA building, built 30 years later, close to Portobello Bridge on the Grand Canal.
Kensington Lodge was built in 1882 and designed by the architect William Isaac Chambers (1847-1924) as his own home. It is particularly remarkable for its early use of terracotta mouldings in Dublin, and for many of the idiosyncratic details and embellishments that were designed by Chambers for his own entertainment.
Chambers built his house on the Grove Park estate at a time when it was being developed into building sites, and his design showcases a period of architectural innovation and experimentation in Dublin. He had a penchant for architectural flamboyance, and is best known for his mosque in Woking, built in what was described as a ‘Persian-Saracenic Revival’ style.
Kensington Lodge is remarkable for its early use of terracotta mouldings in Dublin (Photograph: Patrick Comerford, 2025)
William Chambers was born in Swaffham Prior, Cambridgeshire, in 1847. He trained as an architect in Darlington and Sunderland, and at early stage in his career he worked with John Ross of Darlington.
He had moved to Dublin by the end of 1879 and in 1882 he initiated and offered prizes in the competitions held by the Irish Builder for a design for a gate lodge and for a design for a shop front. During this period he was engaged in various projects in Dundalk, where he had an office in the Market House.
He designed houses and shops in Dundalk and Blackrock, Co Louth, and his other works include a glebe house and a groom’s cottage at Monasterevan, Co Kildare, where he used brick supplied by Messrs Thompson of Kingscourt, Co Cavan.
He had offices at 44 Westland Row (1880) and 4-5 Westmoreland Street (1881-1884) in Dublin. He lived at 2 Brighton Vale, Monkstown (1880), Auburn Villa, Rathgar (1880) and 3 Leinster Road, Rathmines (1881-1882), before designing and building Kensington Lodge on Grove Park, where he lived from 1883 to 1885.
The details include two baroque female herms, each wearing a diadem and a rosette, panels with heraldic details and a a wheel window (Photograph: Patrick Comerford, 2025)
Chambers designed Kensington Lodge as his own home, so it is something of an ambitious showcase for his work. As he designed Kensington Lodge for himself, it offers reliable insights into his personal tastes.
Susan Keating, who has studied architectural terracotta in Ireland, notes how his terracotta details dominate the house and that he impressed the trade with the crispness and colour of his material and his designs.
Chambers was influenced by the then-fashionable Queen Anne style and his house was built over three storeys with highly decorative interior and exterior flourishes from the heavy swag over the front door and the baroque female herms on either side of the main upstairs window to the elaborate stucco work in the gracious living room.
The terracotta for the house was modelled to Chambers’ own designs, and manufactured by Wilcock and Co (Burmantofts) in Leeds.
A heavy, fruit-laden swag above the front door of Kensington Lodge (Photograph: Patrick Comerford, 2025)
The remarkable details include two baroque female herms, each wearing a diadem and with a rosette set in the middle of her bust that has the illusion of being quite ample as her torso disappears into a bracket below. Two panels seem to be set with heraldic detail in the centre and a foliate pattern in the background.
A heavy, fruit-laden swag above the front door is accompanied by recessed, vertical foliate panels that flank the ground floor windows. Running above the string-course is a horizontal panel of dogtooth pattern, set into the wall surface. These features are flanked by a minor reiteration of the foliate panels.
Other original features include several elaborate coloured glass windows. Crowning the whole, the shaped gable is pierced by a wheel window at attic level, contributing to the lively character of the house.
Susan Keating notices how some changes can be noticed by comparing the building with the architect’s published elevation of 1882. In the drawing, the gable features an idiosyncratic swan’s neck pediment, flanked by heavy scrolls enriched with garlands. This ornate feature was, however, simplified in execution.
The carved stone elements on the wall outside, including angels with a heraldic plaque, however, have not survived so well.
The carved stone elements on the wall outside have not survived so well (Photograph: Patrick Comerford, 2025)
Chambers continued to live in Ireland for only a few short years after it was built, and he seems to have left Ireland around 1885. He has the distinction of designing the first mosque in Britain.
The Shah Jahan Mosque on Oriental Road, Woking, was built in 1889, and is now one of Woking’s great architectural treasures. Chambers designed the mosque in what has been described as a ‘Persian-Saracenic Revival’ style, with a dome, minarets, and a courtyard. It is described by the Pevsner Architectural Guides as ‘extraordinarily dignified.’
A prominent early member of the mosque in Woking was the Irish peer Rowland George Allanson Allanson-Winn (1855-1935), 5th Baron Headley, who was an early convert to Islam.
Chambers was living in Albany Courtyard, Piccadilly, London, by 1891. In the decade that followed, he married and was widowed, and in 1900 he had offices in in Savoy House, London.
Kensington Lodge is a private family home once again (Photograph: Finnegan Menton)
Kensington Lodge has changed hands many times in recent decades, and at one stage the house was divided into flats. It is now a private residence. At hall level there are two rooms, one grand living room to the front, with high ceilings, a period fireplace and elaborate cornice work, and a smaller room at the back. Upstairs there are three bedrooms, two doubles and a single, and a family shower room.
The attic has a wood panelled ceiling and is reached by a spiral staircase. In the basement, three rooms were put together to create a large eat-in kitchen. Off this is a family room, with custom-made doors to the garden at the side of the house.
The house is decorated in a restrained period style, including William Morris wallpaper and dark paintwork.
Across the street, Kensington Lodge has given its name to the former chapel of the YMCA building, which has been renamed Kensington Hall, and became the home of the Leeson Park School of Music.
Much of the original crispness of Kensington Lodge has been lost through atmospheric erosion, over time. But it remains a remarkable building and its exterior and its charm mean it remains a striking architectural feature in Rathmines.
The Shah Jahan Mosque in Woking, designed by William Chambers, is the first purpose-built mosque on these islands (Photograph: Patrick Comerford)
Additional reading:
Susan Keating, ‘Dublin’s terracotta buildings in the later nineteenth century’, Irish architectural and decorative studies Vol 4, 2001, pp 142-169.
Patrick Comerford
Kensington Lodge on Grove Park in Rathmines is a beautiful example of Queen Anne style architecture in the late Victorian period, and one of the fine examples of the use of terracotta in architecture in Dublin at the turn of the 19th and 20th centuries.
Unlike many of the other terracotta buildings from that period, such as the former Harding Home on Lord Edward Street and D’Olier Chambers on D’Olier Street, Kensington Lodge was built as a private family home.
It stands at 107 Grove Park, almost at the corner of Lower Rathmines Road and facing the south side of the former YMCA building, built 30 years later, close to Portobello Bridge on the Grand Canal.
Kensington Lodge was built in 1882 and designed by the architect William Isaac Chambers (1847-1924) as his own home. It is particularly remarkable for its early use of terracotta mouldings in Dublin, and for many of the idiosyncratic details and embellishments that were designed by Chambers for his own entertainment.
Chambers built his house on the Grove Park estate at a time when it was being developed into building sites, and his design showcases a period of architectural innovation and experimentation in Dublin. He had a penchant for architectural flamboyance, and is best known for his mosque in Woking, built in what was described as a ‘Persian-Saracenic Revival’ style.
Kensington Lodge is remarkable for its early use of terracotta mouldings in Dublin (Photograph: Patrick Comerford, 2025)
William Chambers was born in Swaffham Prior, Cambridgeshire, in 1847. He trained as an architect in Darlington and Sunderland, and at early stage in his career he worked with John Ross of Darlington.
He had moved to Dublin by the end of 1879 and in 1882 he initiated and offered prizes in the competitions held by the Irish Builder for a design for a gate lodge and for a design for a shop front. During this period he was engaged in various projects in Dundalk, where he had an office in the Market House.
He designed houses and shops in Dundalk and Blackrock, Co Louth, and his other works include a glebe house and a groom’s cottage at Monasterevan, Co Kildare, where he used brick supplied by Messrs Thompson of Kingscourt, Co Cavan.
He had offices at 44 Westland Row (1880) and 4-5 Westmoreland Street (1881-1884) in Dublin. He lived at 2 Brighton Vale, Monkstown (1880), Auburn Villa, Rathgar (1880) and 3 Leinster Road, Rathmines (1881-1882), before designing and building Kensington Lodge on Grove Park, where he lived from 1883 to 1885.
The details include two baroque female herms, each wearing a diadem and a rosette, panels with heraldic details and a a wheel window (Photograph: Patrick Comerford, 2025)
Chambers designed Kensington Lodge as his own home, so it is something of an ambitious showcase for his work. As he designed Kensington Lodge for himself, it offers reliable insights into his personal tastes.
Susan Keating, who has studied architectural terracotta in Ireland, notes how his terracotta details dominate the house and that he impressed the trade with the crispness and colour of his material and his designs.
Chambers was influenced by the then-fashionable Queen Anne style and his house was built over three storeys with highly decorative interior and exterior flourishes from the heavy swag over the front door and the baroque female herms on either side of the main upstairs window to the elaborate stucco work in the gracious living room.
The terracotta for the house was modelled to Chambers’ own designs, and manufactured by Wilcock and Co (Burmantofts) in Leeds.
A heavy, fruit-laden swag above the front door of Kensington Lodge (Photograph: Patrick Comerford, 2025)
The remarkable details include two baroque female herms, each wearing a diadem and with a rosette set in the middle of her bust that has the illusion of being quite ample as her torso disappears into a bracket below. Two panels seem to be set with heraldic detail in the centre and a foliate pattern in the background.
A heavy, fruit-laden swag above the front door is accompanied by recessed, vertical foliate panels that flank the ground floor windows. Running above the string-course is a horizontal panel of dogtooth pattern, set into the wall surface. These features are flanked by a minor reiteration of the foliate panels.
Other original features include several elaborate coloured glass windows. Crowning the whole, the shaped gable is pierced by a wheel window at attic level, contributing to the lively character of the house.
Susan Keating notices how some changes can be noticed by comparing the building with the architect’s published elevation of 1882. In the drawing, the gable features an idiosyncratic swan’s neck pediment, flanked by heavy scrolls enriched with garlands. This ornate feature was, however, simplified in execution.
The carved stone elements on the wall outside, including angels with a heraldic plaque, however, have not survived so well.
The carved stone elements on the wall outside have not survived so well (Photograph: Patrick Comerford, 2025)
Chambers continued to live in Ireland for only a few short years after it was built, and he seems to have left Ireland around 1885. He has the distinction of designing the first mosque in Britain.
The Shah Jahan Mosque on Oriental Road, Woking, was built in 1889, and is now one of Woking’s great architectural treasures. Chambers designed the mosque in what has been described as a ‘Persian-Saracenic Revival’ style, with a dome, minarets, and a courtyard. It is described by the Pevsner Architectural Guides as ‘extraordinarily dignified.’
A prominent early member of the mosque in Woking was the Irish peer Rowland George Allanson Allanson-Winn (1855-1935), 5th Baron Headley, who was an early convert to Islam.
Chambers was living in Albany Courtyard, Piccadilly, London, by 1891. In the decade that followed, he married and was widowed, and in 1900 he had offices in in Savoy House, London.
Kensington Lodge is a private family home once again (Photograph: Finnegan Menton)
Kensington Lodge has changed hands many times in recent decades, and at one stage the house was divided into flats. It is now a private residence. At hall level there are two rooms, one grand living room to the front, with high ceilings, a period fireplace and elaborate cornice work, and a smaller room at the back. Upstairs there are three bedrooms, two doubles and a single, and a family shower room.
The attic has a wood panelled ceiling and is reached by a spiral staircase. In the basement, three rooms were put together to create a large eat-in kitchen. Off this is a family room, with custom-made doors to the garden at the side of the house.
The house is decorated in a restrained period style, including William Morris wallpaper and dark paintwork.
Across the street, Kensington Lodge has given its name to the former chapel of the YMCA building, which has been renamed Kensington Hall, and became the home of the Leeson Park School of Music.
Much of the original crispness of Kensington Lodge has been lost through atmospheric erosion, over time. But it remains a remarkable building and its exterior and its charm mean it remains a striking architectural feature in Rathmines.
The Shah Jahan Mosque in Woking, designed by William Chambers, is the first purpose-built mosque on these islands (Photograph: Patrick Comerford)
Additional reading:
Susan Keating, ‘Dublin’s terracotta buildings in the later nineteenth century’, Irish architectural and decorative studies Vol 4, 2001, pp 142-169.
14 August 2025
The former YMCA is
a landmark 100-year-old
redbrick building on
Lower Rathmines Road
The former YMCA building on Lower Rathmines Road awas designed by the Dublin architect George Palmer Beater (Photograph: Patrick Comerford, 2025)
Patrick Comerford
When I was staying in Rathmines this week during a very brief family visit to Dublin, I took another look at some interesting late 19th and early 20th century buildings on Rathmines Road, including the former YMCA building, Kensington Lodge around the corner from it on Grove Park, the former Belfast Bank on a prominent corner with Rathgar Road, and the former Kodak building, one of two listed Art Deco buildings in Dublin.
The former YMCA building on the corner of Lower Rathmines Road and Grove Park was designed by the Dublin architect George Palmer Beater and was built in red brick 1911 by J & P Good. It is a landmark redbrick building near Portobello building, with some terracotta features and interesting lettering on the façade.
The main entrance is now permanently locked, and the whole building is shabby in appearance, but it is still possible to appreciate its early 20th century elegance. The lettering above the porch reads: ‘Rathmines YMCA Erected 1911’.
Higher up the façade, the lettering reads: ‘Except the Lord build the house, they labour in vain that build it. Psalm cxxvii. 1’ It is a quotation from Psalm 127: 1 that reflects not only that this was built for the Young Men’s Christian Association, but that also reflects the evangelical faith of the architect.
The YMCA building is closed and the porched is gated and locked (Photograph: Patrick Comerford, 2025)
George Palmer Beater (1850-1928), an important church architect at the turn of the 19th and 20th centuries. I am familiar with Beater’s work because I worked in one of his buildings for many years. He was born in Dublin on 16 June 1850, the son of Orlando L Beater (1817-1908) and Abigail née Palmer (1824-1891). His father was chairman of Arnott’s and the family lived at Glenarm, Terenure Road East.
Beater was educated in Dublin and articled to the architect Alfred Gresham Jones (1824-1915), who also designed many churches, including Grosvenor Road Baptist Church and Athlone Methodist Church.
Beater designed the Fetherstonhaugh Convalescent Home for the Adelaide Hospital at Braemor Park in 1894. This former convalescent home is now the main redbrick building of the Church of Ireland Theological Institute, with the chapel, lecture and seminar rooms, offices and the rooms of the academic staff. I was on the staff of CITI for 15 years, four years part-time (2002-2006) and 11 years full-time (2006-2017), with a room upstairs in Beater’s original building, looking out onto the lawn and facing the morning sunrise.
Beater’s other works include: a new entrance porch for the former Nelson Monument (Nelson’s Pillar) on O’Connell Street, Baptist churches on Harcourt Street and North Circular Road, Dublin, Cork Baptist Church, the former Baptist Church in Limerick, the Slievemore Hotel, Dugort, Achill Island, Co Mayo, for the trustees of the Achill Mission Estate, the Dublin Medical Mission on Chancery Place, the Presbyterian church hall in Rathgar, the façade of Merrion Hall (now the Davenport Hotel), first built by Alfred Gresham Jones in 1863, and Northumberland Hall (now Dun Laoghaire Evangelical Church) for the Plymouth Brethren, Woolworth in Henry Street, the Northern Bank in Bray, Co Wicklow, and the YMCA in Rathmines.
The former YMCA building was built in red brick 1911 by J & P Good (Photograph: Patrick Comerford, 2025)
Beater also designed much of the work on Arnott’s premises in Henry Street, Dublin, many of the premises rebuilt on Sackville Street (O’Connell Street), Dublin, after the 1916 Rising, and some of the houses on Grosvenor Road, Rathmines.
He was the architect of the Elvery’s Building on O’Connell Street, and many extensions to both the Adelaide Hospital and Stewart’s Hospital.
In recent years, there has been much interest in his work on the Mill Street Schools and Mission Buildings complex at 10 Mill Street, Dublin 8. When this early 18th century, five-bay building was acquired by the Irish Church Missions in 1891, Beater was commissioned to remodel it as part of the Mill Street Schools and Mission Buildings. His work included building a buttressed porch in place of the door-case and reconstructing the top floor with a conventional hipped roof centring on a corbelled gable. The building has been carefully restored in recent years and is now in use as offices.
The quotation from Psalm 127: 1 reflects work of the YMCA and the evangelical faith of the architect George Palmer Beater (Photograph: Patrick Comerford, 2025)
Beater worked from offices at 3 Molesworth Street (1873), Liverpool & London Chambers, Foster Place (1874), 17 Sackville Street Lower (1874-1882, 1886-1915), 57 Dawson Street (1883-1886), and 10 Leinster Street (1916-1926).
He was married twice. He married Isabel Stokes, daughter of William James Stokes, of Dublin, in 1880, and they were the parents of one son, Leslie Orlando Beater. Isabel died on 28 January 1882 and was buried in Mount Jerome Cemetery.
Beater married his second wife, Constance Perry, in 1896. She was the daughter of R Middleton Perry, JP, of 73 Leinster Road, Rathmines. Her sister, Annette Marion Perry, was secretary of the Zenana Bible and Medical Mission. George and Constance were the parents of two daughters and one son, George Perry Beater who died in infancy.
He was a member of the Architectural Association of Ireland (1899-1908), a member (1878) and a fellow (1919) of the Royal Institute of Architects of Ireland (FRIAI), and a member of the Royal Society of Antiquaries of Ireland (1898).
He was a member of Rathmines and Rathgar Town Council, supported many charities in Dublin and was a governor of the Royal Hospital, Dublin, the Old Men’s Home on Leeson Park, and the Protestant Orphanage in Harold’s Cross.
Beater lived at 1 Rostrevor Terrace, Rathgar (1873-1879); St Helen’s, Highfield Road, Rathgar (1881-1882); Glenarm, Terenure Road, Rathgar (1883-1896); and Minore, St Kevin’s Park, Rathmines (1897-1928).
He died at 9 Brighton Road, Rathgar, the home of his brother, Dr Orlando Beater, on 8 February 1928, and was buried in Mount Jerome Cemetery with his first wife. His obituary in the Irish Builder described him as ‘a kindly, courteous gentleman, liked and respected by all who knew him.’
When his widow Constance Beater died on 23 March 1945 at 9 Rathdown Park, Terenure, she was buried at Friends’ Burial Ground, Temple Hill, Blackrock.
His brother, Dr Orlando Palmer Beater of Terenure Road, Rathgar, was a solicitor and a qualified but non-practising medical doctor and surgeon. For many years, Dr Orlando Beater was a member of the board of Arnott’s and a director of the publishers and printers Cherry and Smalldridge, as well as a governor of the Royal Hospital for Incurables, Stewart’s Hospital and the Northbrook Home.
The side of the building on Grove Park may once have been a chapel as part of the YMCA facilities, and has been renamed Kensington Hall (Photograph: Patrick Comerford, 2025)
The YMCA shut up shop in Rathmines many years ago, but Beater’s building near Portobello Road remains a landmark on the corner of Lower Rathmines Road and Grove Park.
The side of the building facing onto Grove Park may once have been a chapel as part of the YMCA facilities. It was renamed Kensington Hall in recent years when the Leeson Park School of Music moved in, and it uses its big yellow door as part of its promotional images.
Kensington Lodge takes its name from Kensington Lodge, on the opposite side of Grove Park, quite a fantastically ornate brickwork and terracotta Queen Anne style house designed by William Isaac Chambers for himself in 1882.
But more about Kensington Lodge in the days to come, hopefully.
The Church of Ireland Theological College … designed by George Palmer Beater as the Fetherstonhaugh Home for the Adelaide Hospital (Photograph: Patrick Comerford)
Patrick Comerford
When I was staying in Rathmines this week during a very brief family visit to Dublin, I took another look at some interesting late 19th and early 20th century buildings on Rathmines Road, including the former YMCA building, Kensington Lodge around the corner from it on Grove Park, the former Belfast Bank on a prominent corner with Rathgar Road, and the former Kodak building, one of two listed Art Deco buildings in Dublin.
The former YMCA building on the corner of Lower Rathmines Road and Grove Park was designed by the Dublin architect George Palmer Beater and was built in red brick 1911 by J & P Good. It is a landmark redbrick building near Portobello building, with some terracotta features and interesting lettering on the façade.
The main entrance is now permanently locked, and the whole building is shabby in appearance, but it is still possible to appreciate its early 20th century elegance. The lettering above the porch reads: ‘Rathmines YMCA Erected 1911’.
Higher up the façade, the lettering reads: ‘Except the Lord build the house, they labour in vain that build it. Psalm cxxvii. 1’ It is a quotation from Psalm 127: 1 that reflects not only that this was built for the Young Men’s Christian Association, but that also reflects the evangelical faith of the architect.
The YMCA building is closed and the porched is gated and locked (Photograph: Patrick Comerford, 2025)
George Palmer Beater (1850-1928), an important church architect at the turn of the 19th and 20th centuries. I am familiar with Beater’s work because I worked in one of his buildings for many years. He was born in Dublin on 16 June 1850, the son of Orlando L Beater (1817-1908) and Abigail née Palmer (1824-1891). His father was chairman of Arnott’s and the family lived at Glenarm, Terenure Road East.
Beater was educated in Dublin and articled to the architect Alfred Gresham Jones (1824-1915), who also designed many churches, including Grosvenor Road Baptist Church and Athlone Methodist Church.
Beater designed the Fetherstonhaugh Convalescent Home for the Adelaide Hospital at Braemor Park in 1894. This former convalescent home is now the main redbrick building of the Church of Ireland Theological Institute, with the chapel, lecture and seminar rooms, offices and the rooms of the academic staff. I was on the staff of CITI for 15 years, four years part-time (2002-2006) and 11 years full-time (2006-2017), with a room upstairs in Beater’s original building, looking out onto the lawn and facing the morning sunrise.
Beater’s other works include: a new entrance porch for the former Nelson Monument (Nelson’s Pillar) on O’Connell Street, Baptist churches on Harcourt Street and North Circular Road, Dublin, Cork Baptist Church, the former Baptist Church in Limerick, the Slievemore Hotel, Dugort, Achill Island, Co Mayo, for the trustees of the Achill Mission Estate, the Dublin Medical Mission on Chancery Place, the Presbyterian church hall in Rathgar, the façade of Merrion Hall (now the Davenport Hotel), first built by Alfred Gresham Jones in 1863, and Northumberland Hall (now Dun Laoghaire Evangelical Church) for the Plymouth Brethren, Woolworth in Henry Street, the Northern Bank in Bray, Co Wicklow, and the YMCA in Rathmines.
The former YMCA building was built in red brick 1911 by J & P Good (Photograph: Patrick Comerford, 2025)
Beater also designed much of the work on Arnott’s premises in Henry Street, Dublin, many of the premises rebuilt on Sackville Street (O’Connell Street), Dublin, after the 1916 Rising, and some of the houses on Grosvenor Road, Rathmines.
He was the architect of the Elvery’s Building on O’Connell Street, and many extensions to both the Adelaide Hospital and Stewart’s Hospital.
In recent years, there has been much interest in his work on the Mill Street Schools and Mission Buildings complex at 10 Mill Street, Dublin 8. When this early 18th century, five-bay building was acquired by the Irish Church Missions in 1891, Beater was commissioned to remodel it as part of the Mill Street Schools and Mission Buildings. His work included building a buttressed porch in place of the door-case and reconstructing the top floor with a conventional hipped roof centring on a corbelled gable. The building has been carefully restored in recent years and is now in use as offices.
The quotation from Psalm 127: 1 reflects work of the YMCA and the evangelical faith of the architect George Palmer Beater (Photograph: Patrick Comerford, 2025)
Beater worked from offices at 3 Molesworth Street (1873), Liverpool & London Chambers, Foster Place (1874), 17 Sackville Street Lower (1874-1882, 1886-1915), 57 Dawson Street (1883-1886), and 10 Leinster Street (1916-1926).
He was married twice. He married Isabel Stokes, daughter of William James Stokes, of Dublin, in 1880, and they were the parents of one son, Leslie Orlando Beater. Isabel died on 28 January 1882 and was buried in Mount Jerome Cemetery.
Beater married his second wife, Constance Perry, in 1896. She was the daughter of R Middleton Perry, JP, of 73 Leinster Road, Rathmines. Her sister, Annette Marion Perry, was secretary of the Zenana Bible and Medical Mission. George and Constance were the parents of two daughters and one son, George Perry Beater who died in infancy.
He was a member of the Architectural Association of Ireland (1899-1908), a member (1878) and a fellow (1919) of the Royal Institute of Architects of Ireland (FRIAI), and a member of the Royal Society of Antiquaries of Ireland (1898).
He was a member of Rathmines and Rathgar Town Council, supported many charities in Dublin and was a governor of the Royal Hospital, Dublin, the Old Men’s Home on Leeson Park, and the Protestant Orphanage in Harold’s Cross.
Beater lived at 1 Rostrevor Terrace, Rathgar (1873-1879); St Helen’s, Highfield Road, Rathgar (1881-1882); Glenarm, Terenure Road, Rathgar (1883-1896); and Minore, St Kevin’s Park, Rathmines (1897-1928).
He died at 9 Brighton Road, Rathgar, the home of his brother, Dr Orlando Beater, on 8 February 1928, and was buried in Mount Jerome Cemetery with his first wife. His obituary in the Irish Builder described him as ‘a kindly, courteous gentleman, liked and respected by all who knew him.’
When his widow Constance Beater died on 23 March 1945 at 9 Rathdown Park, Terenure, she was buried at Friends’ Burial Ground, Temple Hill, Blackrock.
His brother, Dr Orlando Palmer Beater of Terenure Road, Rathgar, was a solicitor and a qualified but non-practising medical doctor and surgeon. For many years, Dr Orlando Beater was a member of the board of Arnott’s and a director of the publishers and printers Cherry and Smalldridge, as well as a governor of the Royal Hospital for Incurables, Stewart’s Hospital and the Northbrook Home.
The side of the building on Grove Park may once have been a chapel as part of the YMCA facilities, and has been renamed Kensington Hall (Photograph: Patrick Comerford, 2025)
The YMCA shut up shop in Rathmines many years ago, but Beater’s building near Portobello Road remains a landmark on the corner of Lower Rathmines Road and Grove Park.
The side of the building facing onto Grove Park may once have been a chapel as part of the YMCA facilities. It was renamed Kensington Hall in recent years when the Leeson Park School of Music moved in, and it uses its big yellow door as part of its promotional images.
Kensington Lodge takes its name from Kensington Lodge, on the opposite side of Grove Park, quite a fantastically ornate brickwork and terracotta Queen Anne style house designed by William Isaac Chambers for himself in 1882.
But more about Kensington Lodge in the days to come, hopefully.
The Church of Ireland Theological College … designed by George Palmer Beater as the Fetherstonhaugh Home for the Adelaide Hospital (Photograph: Patrick Comerford)
24 July 2025
Daily prayer in Ordinary Time 2025:
76, Thursday 24 July 2025
Looking with eyes and listening with ears … street art in Rathmines, Dublin (Photograph: Patrick Comerford, 2024)
Patrick Comerford
We are continuing in Ordinary Time in the Church and this week began with the Fifth Sunday after Trinity (Trinity V, 20 July 2025).
Before today begins, I am taking some quiet time this morning to give thanks, for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
‘Seeing they do not perceive, and hearing they do not listen, nor do they understand’ (Matthew 13: 8) … street art in Iraklion (Photograph: Patrick Comerford, 2025)
Matthew 13: 10-17 (NRSVA):
10 Then the disciples came and asked him, ‘Why do you speak to them in parables?’ 11 He answered, ‘To you it has been given to know the secrets of the kingdom of heaven, but to them it has not been given. 12 For to those who have, more will be given, and they will have an abundance; but from those who have nothing, even what they have will be taken away. 13 The reason I speak to them in parables is that “seeing they do not perceive, and hearing they do not listen, nor do they understand.” 14 With them indeed is fulfilled the prophecy of Isaiah that says:
“You will indeed listen, but never understand,
and you will indeed look, but never perceive.
15 For this people’s heart has grown dull,
and their ears are hard of hearing,
and they have shut their eyes;
so that they might not look with their eyes,
and listen with their ears,
and understand with their heart and turn –
and I would heal them.”
16 But blessed are your eyes, for they see, and your ears, for they hear. 17 Truly I tell you, many prophets and righteous people longed to see what you see, but did not see it, and to hear what you hear, but did not hear it.’
‘They … listen with their ears, and understand with their heart and turn’ (Matthew 13: 15) … ‘Reflections of Bedford’, a sculpture by Rick Kirby on Silver Street (Photograph: Patrick Comerford, 2024)
This morning’s reflection:
In the Gospel reading at the Eucharist yesterday (Matthew 13: 1-9), the quotation from Jesus began and ended with the word ‘Listen.’ In this morning’s reading, he speaks about those who seeing but do not perceive, who hearing but do not listen or understand.
Today’s reading continues from the Parables of the Kingdom and forms an interlude between the parable of the sower and its interpretation. Jesus is asked by the disciples why he speaks to the people in parables.
There seems to be an implication that Jesus is speaking clearly to his disciples, who are insiders, but in riddles to the people because they are outsiders. But this also seem to contradict the purpose of speaking in parables, which is to use helpful and familiar images to lead people to a better understanding of a deeper message. Indeed, the parable of the sower is a good example.
Perhaps once again we are dealing with the difference between ‘insiders’ and ‘outsiders’. The ‘insiders’ are those who give Jesus a ready hearing. Naturally, they are more open to hearing about the ‘mysteries’ of the Kingdom and to assimilating what they hear. The ‘outsiders’, on the other hand, are precisely so because they have closed minds and are not ready to listen.
Speaking of the ‘insiders’, Jesus says: ‘For to those who have, more will be given, and they will have an abundance, but from those who have nothing, even what they have will be taken away’ (verse 12). Those who have opened themselves to the Word of God will find themselves evermore enriched.
But le those who have not even begun to accept the Word will end up in an even worse predicament than the one they are in now, for they look but do not see, they listen but do not hear or understand (verse 13).
This happens, not because the parables are difficult, but because the hearers are not prepared to listen.
Jesus then quotes from the Prophet Isaiah (9: 13), who might better understood as speaking in an audibly sarcastic tone:
“You will indeed listen, but never understand,
and you will indeed look, but never perceive.
15 For this people’s heart has grown dull,
and their ears are hard of hearing,
and they have shut their eyes;
so that they might not look with their eyes,
and listen with their ears,
and understand with their heart and turn –
and I would heal them.”
I find it disturbing when I realise someone is talking at me rather than to ne, and certainly not talking with me. In a similar way it is disturbing to realise someone hears me, but is not actually listening to me.
At one stage during tense trade union negotiations many years ago, the employer’s representative responded to my presentation, saying: ‘I hear what you are saying.’
I retorted: ‘Yes, but does it just go in one ear and out the other?’
I asked for an adjournment, and from the union side we said we would return to the talks when he indicated he would not only listen to us, but engage with us and comit his side to meaningful discussions. We waited outside for 10 or 15 minutes, and felt we truly were outsiders. We were about to leave the building when we were called back inside. He had heard, and he had listened, and instead of talking to and and at us, he began to talk with us. Confidence was restored, and we soon reached a settlement.
If we are prepared to see and to listen acitvely and to be fully engaged, both actions can make radical changes in our lives, in our attitudes, in our values and priorities, in our relationships. But too many people remain effectively blind and deaf.
‘Lord God, we pray for the House of the Epiphany, bless its mission in training clergy and laity’ (USPG Prayer Diary, 24 July 2025) … the House of the Epiphany, Kuching (Photograph: Patrick Comerford, 2024)
Today’s Prayers (Thursday 24 July 2025):
The theme this week (20 to 26 July) in Pray with the World Church, the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘Diversity in Sarawak’ (pp 20-21). I introduced this theme on Sunday with reflections from Sarawak and the Diocese of Kuching.
The USPG prayer diary today (Thursday 24 July 2025) invites us to pray:
Lord God, we pray for the House of the Epiphany, bless its mission in training clergy and laity. We pray too for diocesan schools, including Saint Thomas’s and Saint Mary’s in Kuching.
The Collect:
Almighty and everlasting God,
by whose Spirit the whole body of the Church
is governed and sanctified:
hear our prayer which we offer for all your faithful people,
that in their vocation and ministry
they may serve you in holiness and truth
to the glory of your name;
through our Lord and Saviour Jesus Christ,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Grant, O Lord, we beseech you,
that the course of this world may be so peaceably ordered
by your governance,
that your Church may joyfully serve you in all godly quietness;
through Jesus Christ our Lord.
Additional Collect:
Almighty God,
send down upon your Church
the riches of your Spirit,
and kindle in all who minister the gospel
your countless gifts of grace;
through Jesus Christ our Lord.
Collect on the Eve of James:
Merciful God,
whose holy apostle Saint James,
leaving his father and all that he had,
was obedient to the calling of your Son Jesus Christ
and followed him even to death:
help us, forsaking the false attractions of the world,
to be ready at all times to answer your call without delay;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Yesterday’s reflection
Continued tomorrow
‘Lord God, we pray for … diocesan schools, including Saint Thomas’s and Saint Mary’s in Kuching’ (USPG Prayer Diary, 24 July 2025) … Saint Mary’s School, Kuching (Photograph: Patrick Comerford, 2024)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
We are continuing in Ordinary Time in the Church and this week began with the Fifth Sunday after Trinity (Trinity V, 20 July 2025).
Before today begins, I am taking some quiet time this morning to give thanks, for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a reflection on the Gospel reading;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
‘Seeing they do not perceive, and hearing they do not listen, nor do they understand’ (Matthew 13: 8) … street art in Iraklion (Photograph: Patrick Comerford, 2025)
Matthew 13: 10-17 (NRSVA):
10 Then the disciples came and asked him, ‘Why do you speak to them in parables?’ 11 He answered, ‘To you it has been given to know the secrets of the kingdom of heaven, but to them it has not been given. 12 For to those who have, more will be given, and they will have an abundance; but from those who have nothing, even what they have will be taken away. 13 The reason I speak to them in parables is that “seeing they do not perceive, and hearing they do not listen, nor do they understand.” 14 With them indeed is fulfilled the prophecy of Isaiah that says:
“You will indeed listen, but never understand,
and you will indeed look, but never perceive.
15 For this people’s heart has grown dull,
and their ears are hard of hearing,
and they have shut their eyes;
so that they might not look with their eyes,
and listen with their ears,
and understand with their heart and turn –
and I would heal them.”
16 But blessed are your eyes, for they see, and your ears, for they hear. 17 Truly I tell you, many prophets and righteous people longed to see what you see, but did not see it, and to hear what you hear, but did not hear it.’
‘They … listen with their ears, and understand with their heart and turn’ (Matthew 13: 15) … ‘Reflections of Bedford’, a sculpture by Rick Kirby on Silver Street (Photograph: Patrick Comerford, 2024)
This morning’s reflection:
In the Gospel reading at the Eucharist yesterday (Matthew 13: 1-9), the quotation from Jesus began and ended with the word ‘Listen.’ In this morning’s reading, he speaks about those who seeing but do not perceive, who hearing but do not listen or understand.
Today’s reading continues from the Parables of the Kingdom and forms an interlude between the parable of the sower and its interpretation. Jesus is asked by the disciples why he speaks to the people in parables.
There seems to be an implication that Jesus is speaking clearly to his disciples, who are insiders, but in riddles to the people because they are outsiders. But this also seem to contradict the purpose of speaking in parables, which is to use helpful and familiar images to lead people to a better understanding of a deeper message. Indeed, the parable of the sower is a good example.
Perhaps once again we are dealing with the difference between ‘insiders’ and ‘outsiders’. The ‘insiders’ are those who give Jesus a ready hearing. Naturally, they are more open to hearing about the ‘mysteries’ of the Kingdom and to assimilating what they hear. The ‘outsiders’, on the other hand, are precisely so because they have closed minds and are not ready to listen.
Speaking of the ‘insiders’, Jesus says: ‘For to those who have, more will be given, and they will have an abundance, but from those who have nothing, even what they have will be taken away’ (verse 12). Those who have opened themselves to the Word of God will find themselves evermore enriched.
But le those who have not even begun to accept the Word will end up in an even worse predicament than the one they are in now, for they look but do not see, they listen but do not hear or understand (verse 13).
This happens, not because the parables are difficult, but because the hearers are not prepared to listen.
Jesus then quotes from the Prophet Isaiah (9: 13), who might better understood as speaking in an audibly sarcastic tone:
“You will indeed listen, but never understand,
and you will indeed look, but never perceive.
15 For this people’s heart has grown dull,
and their ears are hard of hearing,
and they have shut their eyes;
so that they might not look with their eyes,
and listen with their ears,
and understand with their heart and turn –
and I would heal them.”
I find it disturbing when I realise someone is talking at me rather than to ne, and certainly not talking with me. In a similar way it is disturbing to realise someone hears me, but is not actually listening to me.
At one stage during tense trade union negotiations many years ago, the employer’s representative responded to my presentation, saying: ‘I hear what you are saying.’
I retorted: ‘Yes, but does it just go in one ear and out the other?’
I asked for an adjournment, and from the union side we said we would return to the talks when he indicated he would not only listen to us, but engage with us and comit his side to meaningful discussions. We waited outside for 10 or 15 minutes, and felt we truly were outsiders. We were about to leave the building when we were called back inside. He had heard, and he had listened, and instead of talking to and and at us, he began to talk with us. Confidence was restored, and we soon reached a settlement.
If we are prepared to see and to listen acitvely and to be fully engaged, both actions can make radical changes in our lives, in our attitudes, in our values and priorities, in our relationships. But too many people remain effectively blind and deaf.
‘Lord God, we pray for the House of the Epiphany, bless its mission in training clergy and laity’ (USPG Prayer Diary, 24 July 2025) … the House of the Epiphany, Kuching (Photograph: Patrick Comerford, 2024)
Today’s Prayers (Thursday 24 July 2025):
The theme this week (20 to 26 July) in Pray with the World Church, the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘Diversity in Sarawak’ (pp 20-21). I introduced this theme on Sunday with reflections from Sarawak and the Diocese of Kuching.
The USPG prayer diary today (Thursday 24 July 2025) invites us to pray:
Lord God, we pray for the House of the Epiphany, bless its mission in training clergy and laity. We pray too for diocesan schools, including Saint Thomas’s and Saint Mary’s in Kuching.
The Collect:
Almighty and everlasting God,
by whose Spirit the whole body of the Church
is governed and sanctified:
hear our prayer which we offer for all your faithful people,
that in their vocation and ministry
they may serve you in holiness and truth
to the glory of your name;
through our Lord and Saviour Jesus Christ,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Grant, O Lord, we beseech you,
that the course of this world may be so peaceably ordered
by your governance,
that your Church may joyfully serve you in all godly quietness;
through Jesus Christ our Lord.
Additional Collect:
Almighty God,
send down upon your Church
the riches of your Spirit,
and kindle in all who minister the gospel
your countless gifts of grace;
through Jesus Christ our Lord.
Collect on the Eve of James:
Merciful God,
whose holy apostle Saint James,
leaving his father and all that he had,
was obedient to the calling of your Son Jesus Christ
and followed him even to death:
help us, forsaking the false attractions of the world,
to be ready at all times to answer your call without delay;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Yesterday’s reflection
Continued tomorrow
‘Lord God, we pray for … diocesan schools, including Saint Thomas’s and Saint Mary’s in Kuching’ (USPG Prayer Diary, 24 July 2025) … Saint Mary’s School, Kuching (Photograph: Patrick Comerford, 2024)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
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27 January 2025
Daily prayer in Christmas 2024-2025:
34, Monday 27 January 2025
‘But no one can enter a strong man’s house and plunder his property (Mark 3: 27) … Kilkenny Castle at night (Photograph: Patrick Comerford)
Patrick Comerford
This is the last week in the 40-day season of Christmas, which continues until Candlemas or the Feast of the Presentation next Sunday (2 February 2025). This week began with the Third Sunday of Epiphany (Epiphany III, 26 January 2025), and today is International Holocaust Remembrance Day (27 January 2025).
Before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
‘If a kingdom is divided against itself, that kingdom cannot stand’ (Mark 3: 24) … confusing road signs in Tsesmes near Rethymnon in Crete (Photograph: Patrick Comerford)
Mark 3: 22-30 (NRSVA):
22 And the scribes who came down from Jerusalem said, ‘He has Beelzebul, and by the ruler of the demons he casts out demons.’ 23 And he called them to him, and spoke to them in parables, ‘How can Satan cast out Satan? 24 If a kingdom is divided against itself, that kingdom cannot stand. 25 And if a house is divided against itself, that house will not be able to stand. 26 And if Satan has risen up against himself and is divided, he cannot stand, but his end has come. 27 But no one can enter a strong man’s house and plunder his property without first tying up the strong man; then indeed the house can be plundered.
28 ‘Truly I tell you, people will be forgiven for their sins and whatever blasphemies they utter; 29 but whoever blasphemes against the Holy Spirit can never have forgiveness, but is guilty of an eternal sin’ – 30 for they had said, ‘He has an unclean spirit.’
‘Time present and time past / Are both perhaps present in time future / And time future contained in time past’ (TS Eliot) … the clock on Rathmines Town Hall depicted in street art on Mountpleasant Avenue (Photograph: Patrick Comerford, 2024)
Today’s Reflection:
TS Eliot’s play Murder in the Cathedral is based on the events leading up to the murder of Thomas Becket, Archbishop of Canterbury, on 29 December 1170.
Becket was murdered at the behest of King Henry II, and the play focuses on Becket’s internal struggles. As he reflects on the martyrdom he faces, his tempters arrive, like Job’s comforters, and they question the archbishop about his plight, echoing in many ways Christ’s temptations in the wilderness.
The first tempter offers Becket the prospect of physical safety. The second tempter offers him power, riches and fame in serving the king so that he can disarm the powerful and help the poor. The third tempter suggests the archbishop should form an alliance with the barons and seize a chance to resist the king.
Finally, the fourth tempter urges Thomas to look to the glory of martyrdom.
Becket responds to all his tempters and specifically addresses the immoral suggestions of the fourth tempter at the end of the first act:
Now is my way clear, now is the meaning plain:
Temptation shall not come in this kind again.
The last temptation is the greatest treason:
To do the right deed for the wrong reason.
Saint Mark’s Gospel is very sparse in its account of the story of Christ’s temptations in the wilderness – just two verses (see Mark 1: 12-13). In the much fuller accounts given by Saint Matthew (Matthew 4: 1-11) and Saint Luke (Luke 4: 1-13), Christ is tempted to do the right things for the wrong reason.
What would be wrong with Christ turning stones into bread (see Matthew 4: 3; Luke 4: 3-4) to feed the hungry?
What would be wrong with Christ showing miraculous powers (see Matthew 4: 3; Luke 4: 9) to point to the majesty of God (see Matthew 4: 4; Luke 4: 10-11)?
What would be wrong with Christ taking command of the kingdoms of this world (see Matthew 4: 9; Luke 4: 5-7) to usher in justice, mercy and peace?
Let us not deceive ourselves, these are real temptations. For those who are morally driven there is always a real temptation to do the right thing but to do it for the wrong reason.
In today’s Gospel reading (Mark 3: 22-30) and in tomorrow’s reading (Mark 3.31-35), Christ is challenged in two fundamental ways: he is challenged about whether his work is the work of God or the work of the Devil (Mark 3: 22); and he is challenged to think about what his family thinks about what he is doing (Mark 3: 32).
In recent years, Ireland benefitted from economic growth and social and legislative changes that made it a modern European nation, like its neighbours. But ambition turned to greed, and greed then turned to economic collapse. The Irish economy and Irish society seemed to have given in to the temptation to do what appeared to be the right thing for the wrong reason.
Too often when I am offered the opportunity to do the right thing, to make a difference in the lives of others and in this world, I ask: ‘What’s in this for me?’
When I am asked to speak up for those who are marginalised or oppressed, this should be good enough reason in itself. But then I wonder how others are going to react – react not to the marginalised or oppressed, but to me.
How often have I seen what is the right thing to do, but have found an excuse that I pretend is not of my own making?
How often do I think of doing the right thing only if it is going to please my family members or please my neighbours?
How often do I use the Bible to justify not extending civil rights to others?
How often do I use obscure Bible texts to prop up my own prejudices, forgetting that any text in the Bible, however clear or obscure it may be, depends, in Christ’s own words, on the two greatest commandments, to love God and to love one another.
We can convince ourselves that we are doing the right thing when we are doing it for the wrong reason. A wrong decision taken once, thinking it is doing the right thing, but for the wrong reason, is not just an action in the present moment. It forms habits and it shapes who we are, within time and eternity.
Today is International Holocaust Memorial Day. The Revd Martin Niemöller (1892-1984), a prominent German Lutheran pastor and an outspoken opponent of Hitler, spent the last seven years of Nazi rule in concentration camps. He once said:
First they came for the socialists, and I did not speak out –
Because I was not a socialist.
Then they came for the trade unionists, and I did not speak out –
Because I was not a trade unionist.
Then they came for the Jews, and I did not speak out –
Because I was not a Jew.
Then they came for me – and there was no one left to speak for me.
What we do today or refuse to do today, even if we think it is the right thing to do but we do it for the wrong reasons, reflects how we have formed ourselves habitually in the past, is an image of our inner being in the present, and has consequences for the future we wish to shape.
As TS Eliot writes:
Time present and time past
Are both perhaps present in time future
And time future contained in time past (‘Burnt Norton’).
How is the Church to recover its voice and speak up for the oppressed and the marginalised, not because it is fashionable or politically correct today, but because it is the right thing to do today and for the future?
Surely all our actions must depend on those two great commandments – to love God and to love one another.
Martin Niemöller’s cell in Sachsenhausen (Photograph: Patrick Comerford)
Today’s Prayers (Monday 27 January 2025, International Holocaust Remembrance Day):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘A Reflection on 2 Timothy’. This theme was introduced yesterday with a Programme Update by the Revd Canon Dr Nicky Chater, Chair of Gypsy, Roma and Traveller Friendly Churches and Chaplain for these communities in the Diocese of Durham.
The USPG Prayer Diary today (Monday 27 January 2025, International Holocaust Remembrance Day) invites us to pray:
Forgive us when we give space to fear, negativity, and hatred of others, simply because they are different from us. Through our prayers and actions, help us to stand together with people and communities who are suffering, so that light may banish all darkness, love will prevail over hate and good will triumph over evil.
The Collect:
Almighty God,
whose Son revealed in signs and miracles
the wonder of your saving presence:
renew your people with your heavenly grace,
and in all our weakness
sustain us by your mighty power;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Almighty Father,
whose Son our Saviour Jesus Christ is the light of the world:
may your people,
illumined by your word and sacraments,
shine with the radiance of his glory,
that he may be known, worshipped, and obeyed
to the ends of the earth;
for he is alive and reigns, now and for ever.
Additional Collect:
God of all mercy,
your Son proclaimed good news to the poor,
release to the captives,
and freedom to the oppressed:
anoint us with your Holy Spirit
and set all your people free
to praise you in Christ our Lord.
Yesterday’s Reflection
Continued Tomorrow
Today is International Holocaust Remembrance Day … a fading rose on the fence at Auschwitz-Birkenau; behind is one of the concentration camp watchtowers and a train wagon (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
This is the last week in the 40-day season of Christmas, which continues until Candlemas or the Feast of the Presentation next Sunday (2 February 2025). This week began with the Third Sunday of Epiphany (Epiphany III, 26 January 2025), and today is International Holocaust Remembrance Day (27 January 2025).
Before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:
1, today’s Gospel reading;
2, a short reflection;
3, a prayer from the USPG prayer diary;
4, the Collects and Post-Communion prayer of the day.
‘If a kingdom is divided against itself, that kingdom cannot stand’ (Mark 3: 24) … confusing road signs in Tsesmes near Rethymnon in Crete (Photograph: Patrick Comerford)
Mark 3: 22-30 (NRSVA):
22 And the scribes who came down from Jerusalem said, ‘He has Beelzebul, and by the ruler of the demons he casts out demons.’ 23 And he called them to him, and spoke to them in parables, ‘How can Satan cast out Satan? 24 If a kingdom is divided against itself, that kingdom cannot stand. 25 And if a house is divided against itself, that house will not be able to stand. 26 And if Satan has risen up against himself and is divided, he cannot stand, but his end has come. 27 But no one can enter a strong man’s house and plunder his property without first tying up the strong man; then indeed the house can be plundered.
28 ‘Truly I tell you, people will be forgiven for their sins and whatever blasphemies they utter; 29 but whoever blasphemes against the Holy Spirit can never have forgiveness, but is guilty of an eternal sin’ – 30 for they had said, ‘He has an unclean spirit.’
‘Time present and time past / Are both perhaps present in time future / And time future contained in time past’ (TS Eliot) … the clock on Rathmines Town Hall depicted in street art on Mountpleasant Avenue (Photograph: Patrick Comerford, 2024)
Today’s Reflection:
TS Eliot’s play Murder in the Cathedral is based on the events leading up to the murder of Thomas Becket, Archbishop of Canterbury, on 29 December 1170.
Becket was murdered at the behest of King Henry II, and the play focuses on Becket’s internal struggles. As he reflects on the martyrdom he faces, his tempters arrive, like Job’s comforters, and they question the archbishop about his plight, echoing in many ways Christ’s temptations in the wilderness.
The first tempter offers Becket the prospect of physical safety. The second tempter offers him power, riches and fame in serving the king so that he can disarm the powerful and help the poor. The third tempter suggests the archbishop should form an alliance with the barons and seize a chance to resist the king.
Finally, the fourth tempter urges Thomas to look to the glory of martyrdom.
Becket responds to all his tempters and specifically addresses the immoral suggestions of the fourth tempter at the end of the first act:
Now is my way clear, now is the meaning plain:
Temptation shall not come in this kind again.
The last temptation is the greatest treason:
To do the right deed for the wrong reason.
Saint Mark’s Gospel is very sparse in its account of the story of Christ’s temptations in the wilderness – just two verses (see Mark 1: 12-13). In the much fuller accounts given by Saint Matthew (Matthew 4: 1-11) and Saint Luke (Luke 4: 1-13), Christ is tempted to do the right things for the wrong reason.
What would be wrong with Christ turning stones into bread (see Matthew 4: 3; Luke 4: 3-4) to feed the hungry?
What would be wrong with Christ showing miraculous powers (see Matthew 4: 3; Luke 4: 9) to point to the majesty of God (see Matthew 4: 4; Luke 4: 10-11)?
What would be wrong with Christ taking command of the kingdoms of this world (see Matthew 4: 9; Luke 4: 5-7) to usher in justice, mercy and peace?
Let us not deceive ourselves, these are real temptations. For those who are morally driven there is always a real temptation to do the right thing but to do it for the wrong reason.
In today’s Gospel reading (Mark 3: 22-30) and in tomorrow’s reading (Mark 3.31-35), Christ is challenged in two fundamental ways: he is challenged about whether his work is the work of God or the work of the Devil (Mark 3: 22); and he is challenged to think about what his family thinks about what he is doing (Mark 3: 32).
In recent years, Ireland benefitted from economic growth and social and legislative changes that made it a modern European nation, like its neighbours. But ambition turned to greed, and greed then turned to economic collapse. The Irish economy and Irish society seemed to have given in to the temptation to do what appeared to be the right thing for the wrong reason.
Too often when I am offered the opportunity to do the right thing, to make a difference in the lives of others and in this world, I ask: ‘What’s in this for me?’
When I am asked to speak up for those who are marginalised or oppressed, this should be good enough reason in itself. But then I wonder how others are going to react – react not to the marginalised or oppressed, but to me.
How often have I seen what is the right thing to do, but have found an excuse that I pretend is not of my own making?
How often do I think of doing the right thing only if it is going to please my family members or please my neighbours?
How often do I use the Bible to justify not extending civil rights to others?
How often do I use obscure Bible texts to prop up my own prejudices, forgetting that any text in the Bible, however clear or obscure it may be, depends, in Christ’s own words, on the two greatest commandments, to love God and to love one another.
We can convince ourselves that we are doing the right thing when we are doing it for the wrong reason. A wrong decision taken once, thinking it is doing the right thing, but for the wrong reason, is not just an action in the present moment. It forms habits and it shapes who we are, within time and eternity.
Today is International Holocaust Memorial Day. The Revd Martin Niemöller (1892-1984), a prominent German Lutheran pastor and an outspoken opponent of Hitler, spent the last seven years of Nazi rule in concentration camps. He once said:
First they came for the socialists, and I did not speak out –
Because I was not a socialist.
Then they came for the trade unionists, and I did not speak out –
Because I was not a trade unionist.
Then they came for the Jews, and I did not speak out –
Because I was not a Jew.
Then they came for me – and there was no one left to speak for me.
What we do today or refuse to do today, even if we think it is the right thing to do but we do it for the wrong reasons, reflects how we have formed ourselves habitually in the past, is an image of our inner being in the present, and has consequences for the future we wish to shape.
As TS Eliot writes:
Time present and time past
Are both perhaps present in time future
And time future contained in time past (‘Burnt Norton’).
How is the Church to recover its voice and speak up for the oppressed and the marginalised, not because it is fashionable or politically correct today, but because it is the right thing to do today and for the future?
Surely all our actions must depend on those two great commandments – to love God and to love one another.
Martin Niemöller’s cell in Sachsenhausen (Photograph: Patrick Comerford)
Today’s Prayers (Monday 27 January 2025, International Holocaust Remembrance Day):
The theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘A Reflection on 2 Timothy’. This theme was introduced yesterday with a Programme Update by the Revd Canon Dr Nicky Chater, Chair of Gypsy, Roma and Traveller Friendly Churches and Chaplain for these communities in the Diocese of Durham.
The USPG Prayer Diary today (Monday 27 January 2025, International Holocaust Remembrance Day) invites us to pray:
Forgive us when we give space to fear, negativity, and hatred of others, simply because they are different from us. Through our prayers and actions, help us to stand together with people and communities who are suffering, so that light may banish all darkness, love will prevail over hate and good will triumph over evil.
The Collect:
Almighty God,
whose Son revealed in signs and miracles
the wonder of your saving presence:
renew your people with your heavenly grace,
and in all our weakness
sustain us by your mighty power;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
The Post-Communion Prayer:
Almighty Father,
whose Son our Saviour Jesus Christ is the light of the world:
may your people,
illumined by your word and sacraments,
shine with the radiance of his glory,
that he may be known, worshipped, and obeyed
to the ends of the earth;
for he is alive and reigns, now and for ever.
Additional Collect:
God of all mercy,
your Son proclaimed good news to the poor,
release to the captives,
and freedom to the oppressed:
anoint us with your Holy Spirit
and set all your people free
to praise you in Christ our Lord.
Yesterday’s Reflection
Continued Tomorrow
Today is International Holocaust Remembrance Day … a fading rose on the fence at Auschwitz-Birkenau; behind is one of the concentration camp watchtowers and a train wagon (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
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