Installation Programme – Pilgrim Portal

6. Remembering and Reconciling

Acts of remembrance here have historically recognised soldiers who fell during conflict. However, today the Cathedral has expanded remembrance to include all those impacted by war.

Tree of Remembrance

In the centre of the transept is the Tree of Remembrance. Installed in 2014, it was the first new war memorial added to the Cathedral in over 50 years, marking the centenary of the First World War. Using the paper leaves found in this area, visitors are invited to write messages of remembrance for those impacted by conflict around the world. In 2018, 36,000 of these leaves, each representing an Irish life lost in the war, were hung from the Cathedral’s nave in an exhibition called ‘Fallen’.

Looking Forward

Remembrance continues to be an important part of the living history and tradition of the Cathedral. Whether hosting formal memorial services or in private prayers, this space is a locus for solemn reflection on the loss and impact of war, not just for combatants, but also for civilians. The flags and memorials surrounding us mark military service in the past; they are also reminders of the importance of the pursuit of peace and reconciliation, both in the past and into the present day.

‘They shall not grow old, as we that are left grow old:

Age shall not weary them, nor the years condemn.

At the going down of the sun and in the morning

We will remember them.’

— ‘For the Fallen’ by Robert Laurence Binyon

5. Remembrance Sunday

The massive loss of life during the First World War shifted the nature of remembrance. Various commemorations for the war dead were organised in many communities and denominations in the years following the war. Within the Church of Ireland, churches across the island held memorial services on 11th November 1919, the first anniversary of Armistice Day. This tradition, now known as Remembrance Sunday, continues to be held annually on the second Sunday in November.

From Contested to Accepted

Despite the sentiment behind them, remembrance services were controversial in Ireland in the early 20th century. Deadly clashes with the British Army during the 1916 Easter Rising and the Irish War of Independence remained strong in public memory. For many decades, remembrance services were viewed with hostility, seen as distinctly British and incompatible with the Irish independence movement.

Over time, appreciation for Ireland’s role in both the First and Second World Wars grew. In 1991 Mary Robinson became the first non-Anglican President of Ireland to attend the Remembrance Sunday service in the Cathedral. The practice has continued since, and today the service attracts representatives of all faiths and backgrounds.

‘I remember a time when we would have stones thrown at us as we walked into Remembrance Sunday Service.’ — Victor Griffin, Former Dean of Saint Patrick’s

Poppies

The poppy, the bright red flower seen in this area, is worn as a symbol of remembrance in many countries. It was popularised following the First World War by John McCrae’s poem ‘In Flanders Fields’. Due to its association with the British Army, the poppy has historically been a controversial symbol in Ireland. Poppy snatching, the act of stealing a poppy from a person’s lapel, is said to have occurred in Dublin following the Irish War of Independence, prompting some wearers to hide razor blades under their poppy to protect it.

In recent years the Shamrock Poppy has been popularised as an alternative symbol of Irish soldiers fallen in the First World War. Today the poppy appeal continues to be organised by the Royal British Legion. Proceeds from the appeal go towards supporting veterans and their families. On Remembrance Sunday, both a poppy wreath and a laurel wreath are laid in the North Transept.

‘In Flanders fields the poppies blow

Between the crosses, row on row,

That mark our place; and in the sky

The larks, still bravely singing, fly

Scarce heard amid the guns below.’

— ‘In Flanders Fields’ by John McCrae

4. The North Transept

At Saint Patrick’s Cathedral the commemoration of various conflicts dates as far back as the 17th century, when soldiers from the Williamite Wars were buried in the chancel and choir aisles. The North Transept was once a separate parish church before renovations in the mid-1800s opened it to the rest of the Cathedral. Over the following two centuries, this area became a central space for remembrance, featuring monuments, regimental colours, and memorial windows.

Regimental Flags

One of the most striking features here is the Irish regimental flags hanging above. From the 18th century onwards these flags, or colours, became representative of specific regiments, often acting as rallying points for soldiers on the battlefield. It is a British military tradition that when a regiment is disbanded, their colours are laid up in a cathedral or church and left to fade naturally over time. This is reflective of the saying, ‘Old soldiers never die, they simply fade away.’

Memorial Windows

Many of the stained glass windows in this transept are memorials to military campaigns and soldiers. These are often dedicated by military or veteran groups or family members of deceased soldiers.

The French Window

On the west wall of the transept is a poignant memorial window for three family members who served during the First World War. Commissioned in 1917, it remembers brothers Charles French, Claude French, and Bernard Johns, who all died in action. The shield beneath the central figure’s feet is made from a glass shard from a damaged church in Ypres, brought back by one of the brothers while on leave. The window was created by the studio of Joshua Clarke, father of Harry Clarke.

The Crimea Window

Behind the spiral staircase on the east side of the transept is the earliest stained glass window in the Cathedral. Dating from 1856, it is dedicated to the 18th Royal Irish Regiment, which fought in the Crimean War (1853–56). The central image depicts the 1854 siege on the Russian naval base at Sevastopol.

3. International Military Campaigns

The Irish soldiers enlisted in British military regiments were sent across the world. At one point Dublin was the second largest city in the British Empire, and Irish regiments were active in various imperial campaigns throughout the 19th century. In the 20th century thousands of Irish soldiers fought in both the First and Second World Wars. Irish regiments have also served in Northern Ireland, Iraq, and Afghanistan in the modern era.

A Contested Legacy

In recent years the actions of British regiments during imperial campaigns have come under more intense scrutiny. The Opium Wars (1839–42 and 1856–60), for example, saw the British Army, including Irish servicemen, use military force to maintain a controversial opium trade in China. The defeat of Chinese forces began a period of political and economic hardship known in China as the ‘Century of Humiliation’. The Anglo-Burmese Wars (1824–26, 1852–53, and 1885) were another imperial campaign which included the storming of the Shwedagon Pagoda, one of the most sacred sites in Buddhism.

The involvement of Irish soldiers in both of these conflicts is remembered by two significant monuments on the north wall. As reminders of Irish participation in colonial violence these memorials are sensitive artifacts of their time, and can be difficult to understand today. In the present context, they remain an important reminder of the cost of historic campaigns on indigenous and civilian populations.

The First World War

In 1914 growing tensions between neighbouring countries in Europe resulted in the outbreak of war. While this was not unprecedented, the expanding reach of European imperialism, coupled with a complex system of alliances, resulted in a regional conflict becoming a global one. Advancements in military technology such as machine guns and chemical weapons contributed to the deaths of approximately 15–22 million soldiers and civilians over the four-year-long conflict. On 11th November 1918 guns fell silent across Europe as the war came to a close. Until then the conflict was the worst seen in world history, only being surpassed 20 years later by the Second World War.

An estimated 200,000 Irish men joined the British Army to fight, despite no conscription being enforced on the island. These soldiers fought in some of the bloodiest theatres of war including the Somme, Gallipoli, and Passchendaele. An estimated 36,000 Irish soldiers lost their lives in the conflict.

2. Ireland and the British Army

Since the Anglo-Norman conquest in the 12th century various groups have raised rebellions against British control in Ireland and were subsequently quelled by military forces. As a result, Ireland’s relationship with the British Army has been complex. Whilst many Irish people have served in various regiments, British military control has also had a lasting impact on Irish nationalism, identity, and conflicts.

Penal Laws

The first Irish regiments in the British Army started to be formed in the late 17th century. However, for much of these early years, Roman Catholics were barred from joining. In 1695 a series of Penal Laws were passed, aimed at imposing restrictions on Ireland’s Roman Catholic population. As a result, they were prohibited from joining the army, or even from owning weapons.

Sectarian Divides

In 1778 the Papist Act repealed a number of Penal Laws. Subsequently many Irish Catholics joined the British army. These soldiers represented a range of political beliefs and motivations for enlistment. Many saw military service as a way to provide for their families. Others joined because of patriotic sentiment (for both Ireland and Britain) or even a desire for purpose or companionship. Even with this, sectarian divides still lingered. Historically, officers remained almost exclusively Anglo- or Scots-Irish Protestant, while Roman Catholics primarily occupied the lower ranks.

Present Day Regiments

In total, over a dozen British Army regiments were raised in Ireland from 1684 onwards. After the establishment of the Irish Free State in 1922 many of these were disbanded. However, today the Royal Irish Regiment and the Irish Guards remain active, both of which have members from Northern Ireland and the Republic of Ireland, as well as Irish residents in the UK.

1. Introduction

Here in the North Transept you will find a number of curious objects — old worn flags, a tree, monuments depicting battles and soldiers, and red poppy wreaths. These items, while carrying their own significance and meaning, are all acts of remembrance.

These monuments represent a long history of military campaigns in which Irish regiments participated. While many commemorate the First World War, some remember conflicts which have a controversial or contested history. These are memorialised here as a part of the tapestry of remembrance built up over the history of the Cathedral.

In recent years attention has been drawn to issues of racism, ethnic inequality, and historic injustices. Issues of colonial expansion, treatment of local and indigenous peoples, and inequalities that imperialism imposed have raised questions about appropriate acts of remembrance and symbols.

This exhibition marks one of the first steps in the Cathedral’s attempt to understand its contested history. At the heart of the process is the Anglican Communion’s Fourth Mark of Mission: ‘To transform unjust structures in society, to challenge violence of every kind, and pursue peace and reconciliation.’

By contextualising these monuments and objects, we come to understand better the complicated history of remembrance they represent. Moreover, remembrance continues to be a significant part of the living tradition of Saint Patrick’s Cathedral. Thus, beyond commemorating the past, we also reflect on how to act on this legacy in the present.

These monuments represent a long history of military campaigns in which Irish regiments participated. While many commemorate the First World War, some remember conflicts which have a controversial or contested history. These are memorialised here as a part of the tapestry of remembrance built up over the history of the Cathedral.

Jesus

Hope

Jesus brought hope and happiness to all the people who visited him in the manger. They knew he was a precious gift from God to show his love for the whole world. Christmas is a special time to celebrate Jesus’s birth and spread hope and love to others around us.

The Wise Men

Generosity

When Jesus was born, a new bright star appeared in the sky. Far away, some wise men saw the star and knew it meant that a very important person had been born. They wanted to meet him and give to him the most special gifts they could. So they followed the star on a long journey all the way to Bethlehem. When they arrived at the stable, they gave Jesus presents fit for a king – gold, frankincense, and myrrh.

The Angel

Joy

In the fields nearby, some shepherds were taking care of their sheep. Suddenly, an angel appeared in a flash of light and said, “I’ve come with great news. A very special baby was born in Bethlehem. He is the son of God, come to save all the world.” The angel’s words filled the shepherds with joy. Right away, they went to the stable to find Jesus and celebrate his birth.

The Animals

Humility

When Mary and Joseph arrived in Bethlehem, the town was very busy. Mary needed to find a safe place because she was about to have her baby, but every bed in every inn was full. The only place they could find to stay was a stable where the animals were kept. That night, Mary gave birth to Jesus. She laid him in a humble manger while the animals looked on in wonder. Although it wasn’t the most comfortable bed, it was warm and safe.

Joseph

Trust

Mary’s husband Joseph was a carpenter. When she told him about the news, at first Joseph was worried. But he loved and trusted both Mary and God and helped prepare for baby Jesus’s arrival. Soon after, the couple was called back to Joseph’s hometown of Bethlehem. The journey was long and difficult because Mary was pregnant. But Joseph took good care of her the whole way.

Mary

Bravery

Once, there was a young woman named Mary who lived in a town called Nazareth. One day, God sent an angel to give Mary an important message: “God is very pleased with you, and he’s decided to bless you with a baby boy. He will be called Jesus, and he will be God’s own son.” Mary was surprised and afraid about this news. But she was also very faithful, and it helped her to be brave. She accepted the responsibility to be the mother of God’s son.

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Swift’s Epitaph

Here lies the body of Jonathan Swift, Doctor of Divinity and Dean of this Cathedral,

Where savage indignation can no longer lacerate his heart;

Go traveller and imitate if you can, this dedicated and earnest champion of liberty

He died on the 19^th October 1745, aged 78

The Cathedral Tower

There have been many different versions of towers on this site. Saint Patrick’s originally had a small spire which was located above the crossing of the Cathedral. This may have housed a bell which could be rung during services.

This spire was destroyed during a storm in the 14th Century. Archbishop Minot replaced the spire with a tower, constructed immediately adjacent to the Cathedral. This new tower was also destroyed and subsequently rebuilt.

The current tower, which still bears the name of Archbishop Minot, has stood for over soo years. Today, a team of volunteer bellringers continue the 80o-year-old tradition of ringing bells to coincide with services in the Cathedral.

The tower has 13 bells of varying sizes and these are rung throughout the week. The entrance to the tower is to the right of here.

Guy Vickery Pinfield

To the left of this panel, close to the ground, is a small plaque to Guy Vickery Pinfield. He was killed during the Easter Rising in 1916. This was an armed rebellion against British rule in Ireland. A lieutenant in the British Army, Pinfield was in Ireland during this rebellion.

He became involved in the fighting when his unit was attacked by the rebels near Dublin Castle. Pinfield became one of the very first casualties, from either side, during this week of fighting.

In the aftermath, infield’s fellow officers erected this plaque in his honour. Although the rebellion was unsuccessful, it became the start of a much bigger movement towards Irish independence.

Statues of Saint Patrick

This statue was discovered when workers cleared rubbish away from a ruined part of the Cathedral in 1833. It appears to represent an archbishop of the late 13th Century wearing the pallium, a fine woollen vestment that symbolises his position as an Archbishop. The left hand may have once held a crozier; the restored right hand is raised in blessing.

While the body was made in the 13th Century, the head was certainly made much later.

One clue to its date is the style of the mitre, which was used in the 17th Century. Records from before the Reformation refer to a statue of Saint Patrick in the Cathedral. However, there is no way to tell if this is the one.

Robert Sutton

Dean of St Patrick’s Cathedral

DIED 1528

The brass plaque on the left of the Fyche plaque memorialises Robert Sutton, Dean from 1527-28. Someone may have tried to erase the representation of the Holy Trinity at the top right corner of this brass memorial during the early part of the Reformation, when holy images were considered idolatrous. The same person may have inscribed R.S., the Dean’s initials, to distract from the disfigurement. The abbreviated Latin of the scroll translates as: ‘In thee, O Lord, have I trusted: let me not be confounded”.

Geoffrey Fyche

Dean of St Patrick’s Cathedral

DIED 1537

This brass plaque to the left of the arched doorway shows Dean Geoffrey Fyche wrapped in a fur stole, called a tippet. Canons often wore tippets in cold weather. The abbreviated Latin inscription on the scroll translates as: “Be merciful to me, O Holy King, Lord Jesus Christ”.

Subdeacon Figure

The carved figure reclining in the arch across the aisle was made in the early 14th Century. It is thought to represent an unknown subdeacon of the Cathedral. During services, subdeacons read the Epistle and prepared the vessels for Eucharist.

Remembered in Saint Patrick’s

Religious and political power struggles swept across Ireland during the 16th and 17th centuries. Monuments such as the Jones Monument beside you, and the Boyle Monument behind you, were added to the Cathedral at this time. They were not simply memorials to the individuals represented, but instead acted as symbols of the wealth, power and status of the family within society.

THOMAS JONES

(1550-1615) Lord Chancellor of Ireland

Thomas Jones was a powerful man, a former dean of this Cathedral and also Lord Chancellor of Ireland.This monument was commissioned by his son, Roger Jones, 1st Viscount Ranelagh. Thomas is seen at prayer in the upper level of the monument, while Roger is surrounded by his family on the lower level, highlighting the continuation of the family’s power and status in society.

TURLOUGH CAROLAN

(1670-1738) composer, harper and poet Carolan, the last of the great Irish bards, has a much more modest memorial here in the Cathedral. Blind from a young age, he spent his life travelling the country composing music and verse for those willing to offer him patronage. This memorial was added after his death by one such patron.

Saint Patrick’s Well

According to local legend, Saint Patrick used a well on this site, approximately 1500 years ago, to baptise converts. This early Christian grave slab was discovered in 1901 covering the remains of an ancient well which may be the same one which Saint Patrick used.

The stone was found near the entrance to what is today Saint Patrick’s Park beside the Cathedral. Six slabs such as these were found in total in 1901 while the park was under construction. These slabs are over a thousand years old and were probably used as burial markers on the site of a church which stood here before the construction of this Cathedral.

Artist’s impression of Saint Patrick baptising converts.

The Boyle Family Monument

Dedicated to Lady Catherine Fenton, wife of Richard Boyle, 1st Earl of Cork, this monument acts as something of a public relations exercise for the ‘Great Earl’. He was the second son of a second son and came to Ireland to make his fortune. This monument (along with the four others he commissioned during his lifetime) shows his rise through the ranks of society.

This monument acts as a family tree with Richard and Catherine shown in the centre. Above them are Catherine’s parents and grandfather, Robert Weston, a former dean of Saint Patrick’s and Lord Chancellor of Ireland. Below and around them are some of their 17 children. The most famous of whom is Robert Boyle, often referred to as the ‘father of modern chemistry’. He is shown here, on the bottom level, as a small boy.

This is the largest and most controversial monument in the Cathedral. Many objected to its original location behind the high altar. It has been moved several rimes, and was even boxed up and removed entirely for a time. If you compare this drawing from 1818 with today’s monument, you will see the damage this has caused. For instance. several figures are now missing hands and noses.

Remembered in Stone

This aisle features some of the finest sculpture of the 19th century and each one memorialises an important figure from Irish history.

JAMES WHITESIDE

(1804-1876) Lord Chief Justice of Ireland

One of the great orators of his century, the Right Honourable James Whiteside is best known as a defender of Daniel O’Connell, who fought for Catholic Emancipation. Whiteside also defended William Smith O’Brien and other leaders of the Young Ireland Rebellion of 1848. He served as Lord Chief Justice of Ireland from 1866-1876.

GEORGE GRENVILLE NUGENT TEMPLE

(1753-1813) Marquis of Buckingham

Temple was the first Grand Master of the Knights of Saint Patrick, an order of chivalry founded by King George Ill in 1783. This intricate statue was executed by Edward Smyth and shows Buckingham wearing the robes of the Order.

CAPTAIN JOHN MCNEILL BOYD

(1812-1861) Sailor

This statue was erected by the citizens of the city to honour the memory of Captain Boyd who died while attempting to save a ship which was caught in a storm in Dun Laoghaire harbour. According to popular legend, Boyd’s Newfoundland dog refused to leave his graveside and was eventually laid to rest alongside him.

The Graves of Swift and Stella

Jonathan Swift’s closest friend, Esther Johnson, better known as Stella, died aged 46, on 28 January 1728. On the night of her funeral, Swift was so overcome with grief that he could not bring himself to attend her funeral. He even moved out of his usual bedroom to avoid seeing the lights of her funeral through the Cathedral’s windows.

Swift himself died on 19 October 1745 aged 78, having outlived many of his contemporaries. This was possibly because of his obsession with personal hygiene and exercise. In pleasant weather, he walked or went riding. When bad weather kept him inside, Swift raced up and down the three flights of stairs in the Deanery.

Paying their last respects, the people of Dublin filed past Swift’s open coffin in the Deanery. After one mourner cut off a lock of his hair, the public viewings ended. The clergy then held a private funeral in the Cathedral.

Today, Swift and Stella are buried alongside each other in accordance with Swift’s wishes. In 1731, Swift reflected upon his own death, writing, ‘His Time was come, he ran his Race; We hope he’s in a better Place.’

In 2017 Dr Chris Rynn (University of Dundee), created a facial approximation of Swift and Stella. This project was led by forensic anthropologist Dr René Gapert and used the casts of Swift and Stella’s skulls.

Jonathan Swift was a prolific and sometimes controversial writer. He recognised that Irish society was extremely unequal and that his best tool in achieving change was his quill.

His words were designed to provoke change and his use of satire, sarcasm and wit attempted to shock the establishment into action. In his most famous work, Gulliver’s Travels, he satirised society, targeting a number of themes from contemporary politics and experimental science to human nature.

In his essay A Modest Proposal (1720), Swift mocked indifference to the plight of the Irish poor. He satirically suggested that by encouraging people to cook and eat a quarter of Irish children under two years of age, the government could solve the problems of starvation and poverty.

Cathedral circa 1790: A Malton Print from the 18th Century showing the western face of the Cathedral as Swift would have known it. The local area was extremely poor in Swift’s time. This was in sharp contrast to the opulent surrounds of the Cathedral and Deanery (Dean’s house).

St Patrick’s Hospital, Dublin: Swift left provision in his will for the establishment of St Patrick’s Hospital, Ireland’s first hospital dedicated to those with mental ill-health, which still exists today.

‘It is a melancholy object to those, who walk through this great town, or travel in the country, when they see the streets, the roads and cabin doors crowded with beggars of the female sex, followed by three, four, or six children, all in rags, and importuning every passenger for an alms.’

A Modest Proposal, Jonathan Swift

A Political Commentator

Jonathan Swift’s interests included English political affairs and he wrote many pamphlets on behalf of the Tory government. Swift ultimately chose to enter the priesthood instead of politics, but his forthright political views negatively affected his chances of career progression.

Swift hoped to be rewarded for his work championing the Tory government with a prestigious appointment in one of England’s great cathedrals. However, when the Tories fell out of favour, Queen Anne appointed him Dean of Saint Patrick’s Cathedral instead. Swift was bitterly disappointed by this, as he saw it as virtual banishment, believing his native city to be something of a backwater.

Once in Ireland, however, he continued to put his political skills to use. In 1724, using a series of letters written under the pseudonym M.B. Drapier, he successfully forced the English government to abandon plans to introduce new, privately minted, coinage to Ireland. He was later awarded the Freedom of the City of Dublin in 1729

Jonathan Swift: Portrait of Jonathan Swift by Francis Bindon (1690-1765), which hangs in the Deanery, showing the Cathedral in the background.

‘…by the laws of God, of Nature, of Nations and of your Country, you are and ought to be as free as your brethren in England…’

Jonathan Swift (writing as M.B. Drapier)

Irish Presidents and the Cathedral

The Cathedral enjoys a close relationship with the office of the Irish President. The President regularly attends services in the Cathedral, particularly on Remembrance Sunday, laying a wreath to those affected by conflict. The Cathedral has also hosted the funerals of two of Ireland’s presidents, Douglas Hyde and Erskine Childers.

Douglas Hyde was the first President of Ireland (1938-1945). At the time of his death in 1949, Roman Catholics were forbidden to attend services in non-Catholic churches, by a threat of excommunication from Rome. As a result, most of the Irish government ministers were unable to attend his funeral as it was held in a Church of Ireland cathedral. Instead, they remained in cars outside the building, before following the coffin to its final resting place.

Erskine Childers held the office of president from 1973 until his death, less than a year later. By the time that his funeral was held in the Cathedral, the ban preventing Roman Catholics from attending services in non-Catholic churches had been lifted.

President Douglas Hyde entering the Cathedral after his inauguration as president. He was a leading figure in the Gaelic Revival and a strong advocate for the Irish language. His memorial is the only one in the Cathedral to use the lrish language.

Dean Jonathan Swift

Jonathan Swift is best known as the author of the book Gulliver’s Travels but few know of his close relationship to the Cathedral.

Swift was an Anglican priest and Dean of the Cathedral from 1713 until his death in 1745. The pulpit he preached from is still preserved in the Cathedral today.

Jonathan Swift was born in 1667 at Hoey’s Court close to the Cathedral.

In his early years he attended Kilkenny College and then, aged 15, Trinity College Dublin. In 1694 Swift decided to enter the priesthood and his first parish was in Kilroot in County Antrim.

Swift reached the pinnacle of his career as Dean of Saint Patrick’s in 1713.

During his time as dean, he made the Cathedral the only Anglican church in Dublin at that time to celebrate the Eucharist every Sunday. He preached every fifth Sunday and his sermons often lasted for hours.

Sleeping Parishioners

An urban legend suggests that the Cathedral’s pulpit originally had wheels so Swift could be pushed around through the aisles to wake up sleeping parishioners. Image by William Hogarth (1597-1764) The Sleeping Congregation, 1736

Jonathan Swift

Portrait of Jonathon Swift (1667-1745) by Francis Bindon (c1690-1765), early 1740s. Swift died in 1745, aged 78, well above average life expectancy for the period.

A preacher cannot look around from the pulpit without observing, that … Of all misbehaviour, none is comparable to that of those who come here to sleep; opium is not so stultifying to many persons as an afternoon sermon.

A Sermon Upon Sleeping in Church, Jonathan Swift

An Evolving Church

Despite the changesbrought about by the Reformation, the population of Ireland was still predominately Roman Catholic by the 1860s. However, under British rule, the Church of Ireland remained the official state church. Recognising this imbalance, the British Parliament passed the Irish Church Act in 1869, ending this situation.

The Church of Ireland as we know it today is a democratic church, with the Archbishop of Armagh at its head. It is governed by its own members. Saint Patrick’s Cathedral is the National Cathedral of this Church. Following the partition of Ireland in the 1920s, the Church of Ireland maintained its all-island status. This makes the Cathedral unique in its position of being a national cathedral representing two jurisdictions, the Republic of Ireland and Northern Ireland.

Today’s cathedral is a lively and busy place. Thanks to the growth in tourism in the 1970s, we now welcome visitors from all over the world through our doors every day. Activities and events in the Cathedral create a vibrant atmosphere throughout the year and raise much needed funds.

Thanks to your generosity the restoration and maintenance of this historic place of worship continues to be possible.

Showcasing the Cathedral

The Cathedral hosts a wide variety of events and concerts throughout the year showcasing the life and history of the building.

Restoration

Repointing of the Minot Tower in 2007. The maintenance and restoration of the Cathedral is an ongoing process and there is always more work to be done.

Thank You!

Your visit brings life to the building and supports the preservation of this ancient cathedral for future generations.

The Guinness Restoration

Throughout the centuries episodes of flooding, bad weather and political unrest have taken their toll on Saint Patrick’s Cathedral.

Much of today’s Cathedral is the result of a major restoration between 1860-65. This was funded by the Guinness family, best known for their famous Irish stout.

By the 19th century the Cathedral was on the verge of collapse following years of neglect. In 1845 Dean Henry Pakenham attempted to raise funds to restore the Cathedral. However. his attempts coincided with one of Ireland’s greatest tragedies, the Famine, which made fundraising impossible.

Finally, in 1860 a solution presented itself. At his own expense, Sir Benjamin Lee Guinness restored the Cathedral. Under his direction, the walls were strengthened, new stained glass windows were added and some internal partitions were removed, a style which Guinness felt was more in keeping with worship at the time.

The Cathedral circa 1840

A lath and plaster ceiling was added to chis space during the Guinness Restoration. The entire west end of the cathedral was given a new facade during these works and a new west window was installed. Ornate tiles were added in the 1880s.

Sir Benjamin Lee Guinness

Sir Benjamin Lee Guinness had a keen amateur interest in architecture and funded the restoration of the Cathedral himself on the condition he had full control of the architectural decisions made during the project.

The Cathedral of Saint Patrick…within and without… is in a lamentable state of decay. It stands here an anomaly, a discrepancy, unreverenced, unsympathized with, unhonoured, disavowed and disliked.

Charles Dickens (Observations upon visiting the Cathedral in 1853, prior to its restoration)

Stained Glass Memorials

Many of the windows in the Cathedral today were installed during the Guinness Restoration between 1860-65. There is a variety of artistic styles on display throughout the Cathedral, with many windows memorialising individuals who were associated with Saint Patrick’s Cathedral.

The Iveagh Window in the north transept memorialises Edward Cecil Guinness. He contributed enormous v to the development of the local area; building social housing and creating Saint Patrick’s Park. The central figure – ‘Charity’ – distributes fruit from the tree above to the people in the world below. This is the newest window in the Cathedral, dating from 1937. In the Lady Chapel, you will find a window dedicated to Annie Lee Plunkett. Edward Guinness’s sister, who was known for her charitable works.

Elsewhere in the Cathedral you will see windows remembering soldiers, poets, musicians, kings and wars.

Annie Lee Plunkett (nee Guinness)

This window is dedicated to Annie Lee Plunkett. Given her family connections, the scripture quote used here – I was thirsty and ye gave me drink – seems rather appropriate.

The Iveagh Window

This window is dedicated to Edward Cecil Guinness, Lord Iveagh. The central figure ‘Charity’ is a reference to his charity work. The beauty of the building, together with its life and mission, illustrate a simple Christian belief: that God lives in us and is made known to us through the things of creation.

Stories in Stained Glass

Stained glass in medieval cathedrals served two functions: to beautify the building and to provide a teaching tool for those learning about Christianity. Very little medieval glass survives in Ireland. However, the south transept window above you, and the magnificent west window near the entrance, use medieval styles.

The south transept window is divided into themes from Christ’s life; the fall (on the left), the promises (on the right) and the redemption (in the centre). Unusually, the story is read from bottom to top, rather than from left to right as in a book. The centre panel is read last.

The west window depicts 39 different episodes from the life of Saint Patrick and is read in the same way. Both windows were designed by the William Wailes Company from Newcastle-on-Tyne and were installed in the Cathedral in the 1860s.

A Learning Tool

Stained glass windows acted as a learning tool for parishioners who were illiterate. Stories from the Bible or the lives of saints could be laid out in picture form.

Adam and Eve

A detail from the south transept window depicting the story of Adam and Eve. This piece can be seen in the bottom left corner of the window.

One thing have I desired that I may dwell in the house of the Lord all the days of my life, to behold the fair beauty of the Lord, and to visit his temple.

Psalm 27:4.

The Discovery Space

Learning has played a key role in the life of the Cathedral for centuries. Historically this area acted as the Chapter House, a place where clergy could meet and share ideas. The tradition of learning continues today in the ‘Discovery Space, where visitors can explore more about the life and history of the Cathedral.

The first school in Ireland was established on this site as well as the first public library, Marsh’s Library. The Cathedral and its environs continue to be a vibrant centre of learning to this day. The ‘Discovery Space’ was created in 2015, in partnership with Fáilte Ireland. It is an area in which visitors can interact with and learn more about the life and history of the Cathedral.

Today the Cathedral’s education department welcomes thousands of school children every year. They use this space for workshops and hands-on activities

Learn More! Visitors of all ages are encouraged to engage with the Cathedral’s life and history through the activities available in this space.

The pursuit of learning is a central part of the Cathedral’s mission: building an understanding of the world breeds acceptance and tolerance of all humanity, bringing us closer to God.

Lives Remembered

The South Transept is home to commemorative monuments dedicated to people associated with the Cathedral in the 18th century.

Arthur Smyth: 1706–1771

The large monument in the centre of the south transept is dedicated to Archbishop Smyth. It was created by the artist John van Nost the Younger. Made of Sienna and white marble it was commissioned by the archbishop’s brothers.

Richard Whately: 1787 – 1863

Archbishop Whatley was a celebrated academic. He founded the Department of Economics at Trinity College Dublin. During Whatley’s 32 years as archbishop he tried to reform the Church of Ireland and attempted to establish partnerships with the Roman Catholic Church. Whatley was also known as an eccentric who taught his dog how to climb trees!

Narcissus Marsh: 1638–1713

Archbishop Marsh is best known as the founder of Marsh’s Library, the first public library in Ireland. It was built beside the Cathedral in 1707 and is one of the few buildings from the 18th century which is still used for its original purpose. It is open daily to visitors.

Alexander McGee: 1693–1722

Dean Jonathan Swift erected this memorial to his servant, Alexander McGee, known affectionately as ‘Saunders’ who died in 1722 aged 29. Swift praises McGee for his ‘discretion, fidelity and diligence’.

The Pulpit and Lectern

The Pulpit and Lectern are located at the crossing of the Cathedral at a point which can be seen and heard by all present. The pulpit (to the left) is where a sermon is preached, and the lectern (to the right) is where the Word of God, as recorded in the Bible, is read.

Each Sunday a preacher delivers a sermon to the congregation based on the Bible readings of the day. The sermon explores moral, theological or other important issues. It prompts those present to consider whether they can apply worthy changes to their own lives.

Symbolism and meaning are hidden around the Cathedral. The location of the pulpit on the north side of the building symbolises the spread of the gospel through the northern parts of the world. The lectern is shaped as a great brass eagle carrying a Bible, to symbolise the Word of God being carried all over the earth.

The pulpit you see here today was added to the Cathedral in 1865 and is dedicated to Dean Henry Pakenham, who oversaw extensive restoration works to the Cathedral.

The Choir is a common feature of medieval cathedrals. It is where the clergy, and in some cathedrals monks, gathered to sing the daily services. Today the front rows are used by the young choristers. The second rows are used by the vicars choral and gentlemen of the choir. The back rows are used by the Cathedral’s Chapter, who are the governing body of clergy for the Cathedral. The Chapter members are drawn from across the island of Ireland.

The embroidered frontals covering the high altar were designed by Sir Ninian Comper and the Royal Irish School of Needlework in the late 19th century.

They are changed throughout the year to reflect the church seasons.

WHITE

White is used for Christmas, Epiphany and Easter.

PURPLE

Purple is used for Lent and Advent.

RED

Red is used for Pentecost and the feasts of saints and martyrs.

GREEN

Green is used for ordinary days, symbolising the growth of the church.

A Verger’s Job

A vergers job is to ensure that the Cathedral is ready for services. This role includes a wide variety of duties ranging from roof inspections to preparing for a celebration of the Eucharist.

Girl Choristers

Although historically a male role, girl choristers are now welcome in Saint Patrick’s Cathedral and can often be heard singing Evensong in the Cathedral.

A Space for Reflection

The Lady Chapel was built in 1270 and dedicated to the Blessed Virgin Mary. A lady chapel is a common feature in medieval cathedrals.

In recent years the walls and windows were restored, transforming the Lady Chapel into a warm, welcoming space. We invite visitors to use it as a place for worship and quiet reflection.

This chapel is often referred to as the ‘French Chapel’. From 1666 to 1816

French Protestant refugees, known as Huguenots, used this space for worship, having fled religious persecution in France. Memorials to some Huguenots can be seen on the surrounding walls including Dr Élie Bouhéreau, the first librarian of nearby Marsh’s Library.

In 2012 the Lady Chapel was closed for year to allow restoration work to take place. This project was funded by the proceeds from ticket entry to the Cathedral and other types of fundraising. The Lady Chapel is used for services throughout the week.

Over the years much of the former glory of the Lady Chapel had been lost. Conservation work carried out in 2012 exposed its original facade and gives us a glimpse of its original colours.

Worship in the Lady Chapel

Visitors are encouraged to spend some time in quiet refection in the Lady Chapel. All the money raised through donations to our candle stands goes towards supporting community activities and charities within the wider community.

We invite you to use this chapel for prayer and reflection.

War and Change

During the 17th Century, the Cathedral served as a civic building, a Roman Catholic cathedral, and an Anglican cathedral. Oliver Cromwell is even said to have stabled his horses here during his military campaign in Ireland in the 1650s. Decades of political and religious unrest left the Cathedral in great need of repair.

The Cathedral was restored to its religious function by 1660. However, the kingdom was once again thrown into turmoil on the accession of the Catholic King James I in 1685. The Protestant William of Orange challenged James’s claim to the throne. Much of their war was fought on Irish soil, culminating in the Battle of the Boyne, where James was defeated in 1690. British monarchs have remained Protestant ever since.

Returning to Dublin, King William III attended a service in Saint Patrick’s, solidifying the Cathedral’s position as Protestant. Today, it is the National Cathedral of the Church of Ireland, a member church of the Anglican Communion. It traces its roots back to the early Christian church in Ireland, retaining elements of both Catholic and Protestant teachings.

Burial Markers

Hanging just above the altar space in the choir, this cannon ball marks the spot where Adam Lotus (grandson of Dean Adam Lotus 1564-67) was buried following the Siege of Limerick in 1601. It is said to be the cannon ball that killed him

Funeral of the Duke of Schomberg

The Duke of Schomberg was commander-in-chief of King William’s army in Ireland. Killed during the Battle of the Boyne in 1690, William instructed that his body be brought to Dublin and, following a grand funeral, he was buried in the Cathedral.

In Ireland we have enough religion to make us hate but not enough to make us love.

Thoughts on Various Subjects from Miscellanies (Jonathan Swift)

The Reformation and the Cathedral

The 16th Century saw religious reform sweep across Europe as people began to question the teachings of the Catholic Church. Henry VIII was King of England and Lord of Ireland at this time. When Pope Clement VII refused to grant an annulment of Henry’s marriage to Catherine of Aragon, Henry broke from Rome and declared himself head of the English Church.

Initial reform in the English (and Irish) church was motivated by political and financial concerns. Henry was succeeded by his young son, Edward VI, and his reign saw much more extensive reforms. Archbishop Thomas Cranmer published the first edition of The Book of Common Prayer in 1549. This was the first time that the words of the liturgy had been published in English.

These events resulted in a turbulent period for the Cathedral. The political and religious framework it worked within constantly changed depending on which of Henry’s descendants sat on the throne in London. The official denomination of the Cathedral changed depending on who sat on the throne at any given time.

Cathedral circa 1500

Artist impression of what the Cathedral looked like in about 1500, prior to Henry VIII’s break from Rome. A busy warren of streets can be seen in the foreground, which is where St Patrick’s Park is today. Image from ‘Dublin, the Story of a City’ courtesy of Stephen Conlin and The O’Brien Press.

The Most Illustrious Order of the Knights of Saint Patrick

The Knights of Saint Patrick were an order of chivalry founded in 1783 by King George III. The choir space of Saint Patrick’s Cathedral served as their chapel. New members were initiated into the Order here until 1869, when these ceremonies were moved to Dublin Castle. The Order mirrors the Order of the Garter in England and the Order of the Thistle in Scotland.

Today, banners and hatchments (plaques) connected to the Order are on display in the choir of the Cathedral. These flags and symbols represent the family coats of arms of the last knights to be installed into the Order in the Cathedral, in the 186os. The large wooden screen on display here lists the names of knights of the Order.

The installation of new members into the Order was always a grand occasion, bur none more so than the installation of the Prince of Wales (later Edward VII) in 1869. This was the last installation to take place in the Cathedral before the ceremony was moved to Saint Patrick’s Hall in Dublin Castle.

The Organ

There has been an organ in the Cathedral since at least 1471, but much like the building itself, the instrument has changed and evolved over the centuries. The present organ, made by Willis’s of Liverpool, was added in 1902. It was built into a specially constructed chamber on the north side of the Cathedral. It has over four thousand pipes, varying in length from eight inches (0.1 m) to thirty-two feet (9.7 m).

There have been several different organs in the Cathedral over the centuries. The most visually impressive of which dates from 1697 when the organ was built into a dividing screen, separating the choir space from the nave. This was removed during restoration work in the 1860s (known as the Guinness Restoration), but it is believed that elements of this organ were incorporated into the current instrument.

The console (keyboard) on display here dates from 1901; it was replaced in 1963 during restoration of the organ.

The Old Organ: Illustration showing the ornate choir screen which divided the choir from the nave until the 1860s, which was also home to the Cathedral’s impressive organ.

Musical performances: The Cathedral’s organ accompanies the choir during services but it is also used for a regular programme of organ recitals throughout the year, which help to showcase this magnificent instrument.

The Cathedral’s function is to offer prayer and praise to God through worship and music.

Musical Prayer

Saint Patrick’s Cathedral has a long musical tradition dating back through its entire history. Each day in the Cathedral begins and ends with music and prayer. This takes the form of Matins in the morning and Evensong in the evening. Both services are sung by the Cathedral choir who are often accompanied by the organ.

Throughout the history of the Cathedral, music has played a vital role in its daily life. The Cathedral Choir School is the oldest school in Ireland, and it is the only surviving choir school in the country. The children attending the school range from eight to twelve years of age.

Their voices are joined by our professional gentlemen singers. These daily sung services ensure that the musical heritage of the Cathedral continues to thrive.

The Cathedral choir has been involved in many famous performances, most notably the first ever performance of Handel’s Messiah. This was performed in April 1742 by the joint choirs of Saint Patrick’s and Christ Church Cathedrals.

Young Voices: In addition to their vocal training, the choristers are also given instrumental training throughout their time in the Choir School.

Through music we learn something of God’s creative power, so it is appropriate to offer music to God performed to the best of human ability.

How do we remember conflict?

This part of the Cathedral, the north transept, is home to a variety of material relating to military history. It serves as a place of remembrance.

Flags in this area commemorate Irish involvement in the British Army; the Tree of Remembrance in the centre encourages visitors to leave messages for those affected by conflict.

Traditionally, military flags are allowed to decay slowly over time in memory of the soldiers who fought under them. This echoes the expression that old soldiers never die, they simply fade away. The flags which hang in this area are from the 19th and 20th centuries. They represent Irish regiments in the British Army that are now disbanded.

The Tree of Remembrance

In 2014, the centenary of the outbreak of the First World War, a new monument, the Tree of Remembrance, was added for all those who have been affected by conflict. This is in contrast to the existing monuments which only remembered men of high status or rank The Tree of Remembrance is a stark reminder of the brutality of war.

Visitors from all over the world would have left messages on the Tree of Remembrance highlighting the universal nature of conflict.

We invite you to write a leaf for a person or group of people who have been affected by conflict.

Building a Medieval Cathedral

The Cathedral you are in today was built around 800 years ago at a time of great change in Ireland. A new wave of settlers, called the Anglo-Normans, established themselves as the new ruling elite. They were excellent stonemasons and developed Saint Patrick’s church into an impressive Gothic-style cathedral. Construction began in 1220 and the Cathedral was consecrated on Saint Patrick’s Day in 1254.

The building works were overseen by Archbishop Luke. Tragically, he never saw the fruits of his labour as he had become blind before construction was completed. In about 1270, the Lady Chapel was added as an extension to the medieval building.

Built with a mixture of local limestone and stone imported from Bristol, the basic fabric of the building remains much the same today. The interior, however, has been greatly altered with each generation of worshippers making an impact on the building.

Construction: Artists depiction of the construction of the Cathedral in the 13th century, taken from the illustrations created in 1865 to mark the reopening of the Cathedral following extensive restoration works. Image courtesy of the Guinness Archive.

Dublin circa 1275: Saint Patricks Cathedral was built outside the defensive stone walls of the city. Our close neighbour, Christ Church Cathedral, can be seen within the walls. The fortified structure to the left is Dublin Castle, the administrative heart of the city. Image from ‘Dublin, The Story of a City’, courtesy of Stephen Conlin and The O Brien Press.

Your visit continues a story of pilgrimage to this site which has occurred for over 800 years.

The Life of a Medieval Cathedral

The church played a vital role in medieval life. As the largest building in Ireland, the Cathedral was built to inspire awe and wonder in all who saw it. Unlike the open plan Cathedral we see today, the building made use of a variety of smaller spaces thanks to internal divisions. This allowed for a more practical use of the space. These divisions remained in place until the 1860s.

The south arm (or transept) of the Cathedral was the Chapter House.

This was the administrative centre of the Cathedral and a place of learning. The north arm was a completely separate parish church, known as the Church of Saint Nicholas Without. The choir space of the Cathedral extended further into the nave and was divided from the rest of the building by a choir screen.

The wooden medieval chest on display here was used to protect vestments (robes), silver, and important documents from loss, theft or being eaten by rodents. It is decorated with carvings of mythological creatures, a stallion and a goat.

A Cathedral Canon: An artist’s impression of a medieval canon (priest) at Saint Patrick’s Cathedral. A canon is a member of a cathedral’s chapter (governing body), who are responsible for the administration of a cathedral. He is wearing a purple maniple on his left arm, indicating that he is on his way to Mass. Image from ‘Dublin. The Story of a City’ courtesy of Stephen Conlin and The O’Brien Press.

The Cathedral’s Gothic architecture is designed to draw your eyes and thoughts upward to God.

The Door of Reconciliation

The phrase to ‘chance your arm’ is often used when describing someone taking a risk. Yet many people do not know the role this medieval door played in its origin.

In 1492 two feuding families, the Butlers of Ormonde and the Fitzgeralds of Kildare, were engaged in battle. Sensing an impending defeat, the Butlers fled the battlefield and took sanctuary in the Cathedral’s Chapter House.

The Fitzgeralds followed in pursuit, but instead of fighting proposed a truce. Calling to the Butlers through the Chapter House door, Gerald Fitzgerald, head of the family, guaranteed them safe passage from Dublin. However, the Butlers refused this offer, believing it to be a trap.

To prove his sincerity, Gerald Fitzgerald ordered a hole be cut in the door. He thrust his arm through it, offering it in peace. Convinced, the Butlers shook his hand. Today, the story lives on in the famous expression, to chance your arm.

To chance your arm: Illustration of the moment peace was made between the Fitzgeralds and Butlers taken from the book presented to Benjamin Lee Guinness in 1865, on the occasion of the reopening of the Cathedral following extensive restoration works. Image courtesy of the Guinness Archive.

Who was Saint Patrick?

Saint Patrick originally came to Ireland as a slave. He became deeply religious during his captivity and managed to escape and return home. Having trained as a priest he decided to return to Ireland and spread Christianity among the pagan Irish. His story is retold in the beautiful west window of the Cathedral, beginning in the lower left corner.

Most of what we know about Saint Patrick’s life comes from his own written words in ancient documents called the Confessio and Epistola. He was born in Roman Britain and at the age of 16 was captured by Irish raiders travelling along the west coast of Britain. He did not see his family for six years.

It was during his enslavement that he found God, praying for strength and hope everyday. Once freed, he became a missionary devoting his life to bringing Christianity to the pagan population of Ireland.

Stories in Glass

Close up of the west window, which tells the life of Saint Patrick in 39 episodes. Here Patrick is shown being captured from his home by Irish raiders who brought him to Ireland for the first time.

Baptised by Saint Patrick

Romanticised depiction of Irish pagans in procession towards a holy well to be baptised by Saint Patrick. This image comes from a book commemorating the reopening of the Cathedral in 1865 following a large scale restoration project. Image courtesy of the Guinness Archive.

‘It is right to spread abroad the name of God faithfully and without fear, so that even after my death I may leave something of value to the many thousands … whom I baptised in the Lord.’

Saint Patrick’s In Insula

There has probably been a church on this site since the 11th century. The earliest church was called Saint Patrick’s in insula. Grave slabs on display here relate to this time period. In 1191 the newly arrived Anglo-Normans elevated its status to that of a collegiate church, which is a church dedicated to worship and teaching.

A poem written in around 1121 refers to a church dedicated to Saint Patrick in this area. A later reference from 1179 describes it further as ‘Saint Patrick’s in insula’, which means ‘on an island’. This refers to the piece of land around which the River Puddle flowed, creating the island. Very little is known about what this early church would have looked like. Early Christian Celtic grave slabs on display in the Cathedral date from the 11th or 12th century. They provide physical evidence of worship on this site before the Cathedral was built.

In 1191 the first Anglo-Norman archbishop of Dublin decided to make Saint Patrick’s a collegiate church for the purposes of training new priests. In the early 13th century the church was elevated to that of a cathedral and work soon began on a new building.

Dublin circa 1000AD: Artist’s impression of the city of Dublin shortly before 1000AD. Saint Patrick’s in insula can be seen in the foreground on a small piece of land in the middle of two branches of the River Poddle. Image courtesy of Stephen Conlin and Professor Howard Clarke.

Welcome to Saint Patrick’s Cathedral

We hope that you have an enjoyable and enriching experience during your visit. This is the National Cathedral of the Church of Ireland; it has been a place of worship for over 800 years. You can learn more about our life and history in a number of ways.

Ways to Explore: Guided Tour: there are regular guided tours with our staff and volunteers. Please see below for the next tour time.

Self Guided: Information leaflets are available in many languages. Use the numbers on the panels around the Cathedral to help orientate yourself.

Begin Exploring On display in this area are a number of objects relating to Saint Patrick.

This Early Christian grave slab was discovered in 1901 beside the Cathedral. It is approximately a thousand years old and originally covered the remains of a well. Some believe this well may have been used by Saint Patrick himself to baptise local people into Christianity.

West Window: The West Window depicts the life of Saint Patrick in 39 episodes.

Saint Patrick, by Melanie Le Brocquy: Very little is known about what Saint Patrick looked like. Most depictions show him as an old man wearing ornate bishops’ robes. This statue, by artist Melanie Le Brocquy, is a more realistic depiction of the saint as a young, energetic missionary in simple clothing.