Archive of the Month
Illuminating St Brigid: Faith, Folklore, and Stained Glass
By Rachel Bennett, Assistant Archivist, RCB Library
St Brigid, one of Ireland’s three national saints, is among the most significant figures in the country’s religious and cultural heritage.
Her legacy is deeply intertwined with Ireland’s history, spirituality, and folklore. Within the Church of Ireland today, more than a dozen cathedrals and church buildings across the island are dedicated in her name. For the St Brigid’s Day celebrations in February, the RCB Library is featuring the stained–glass representations of St Brigid in four churches, examining the distinctive qualities of the windows, and the artists responsible for their creation.
St Patrick’s Church, Jordanstown, Co. Antrim.
St Patrick’s Church, Jordanstown, is a striking example of Hiberno–Romanesque architecture and is notably, the last church to be built before disestablishment. Its design was strongly influenced by early Celtic ecclesiastical architecture and was designed by architects Lanyon, Lynn and Lanyon.
The St Brigid window at St Patrick’s Church, Jordanstown, was designed by Clayton and Bell of London, recognised as one of the most prolific and influential British stained–glass studios of the late nineteenth century, and was installed in 1868. The window is composed of two distinct scenes that together reflect both the spiritual and charitable imagery traditionally associated with St Brigid. In the main panel, St Brigid is depicted standing in a monastic–style habit. She holds a crosier in her left hand, symbolising her ecclesiastical authority and leadership within the Church. In her right hand, she carries a lamp, representing the eternal fire kept at her monastery in Kildare, a symbol that is often closely associated with her story, linking to earlier traditions tied to Imbolc, an ancient Celtic festival marking the beginning of spring. The predella panel below illustrates a well–known tale of Brigid, giving away her vestments in an act of charity. These garments would have been traditionally associated with wealth, serving to highlight Brigid’s kindness and generosity. The round tower of Kildare and the oak tree are clearly visible in the background. Kildare, which derives its name from Cill Dara, meaning ‘the church of the oak’, is widely recognised as Brigid’s homeland.
St Bartholomew’s, Co. Dublin
St Bartholomew’s Church is located in the southside suburb of Ballsbridge, Co. Dublin and is known for its distinctive architecture and interior decoration. Designed by architect T.H. Wyatt the church was originally consecrated in 1867 and still remains
one of the most striking example of Episcopal High Church design in Victorian Ireland. Both in its architecture and interior decoration it is, in many ways, unique.
The St Brigid window located in St Bartholomew’s was designed in 1939 by the Irish stained–glass artist Catherine (Kitty) O’Brien, an important figure in the Irish Arts and Crafts movement. O’Brien, who originally studied at the Metropolitan School of Art was one of the first artists to be recruited to An Túr Gloine, a Dublin based stained–glass studio which opened in 1903.
Multiple stained– glass windows in St Bartholomew’s were designed by O’Brien who completed several commissions between the years of 1925 – 1940, including windows depicting St Patrick (1925), St George (1928) St Margaret (1938) and finally St Brigid (1939). Additionally, O’Brien also completed a large–scale memorial window in St Bartholomew’s depicting ‘The Supper of Emmaus’ (1941) commissioned in memory of Bishop Harry Vere White. The single–lancet window featuring St Brigid is located in the north porch and depicts Brigid holding a scroll of parchment, signifying her wisdom and education as she extends a lamp to those surrounding her, symbolising how Brigid shared her spiritual knowledge with those around her.
St Barrahane’s, Castletownshend, Co. Cork.
St Barrahane’s Church is located in Castletownshend, County Cork. The present church was designed by architect James Pain in the Gothic Revival style, a popular architectural movement of the period, and was consecrated in 1826. It was built to replace an earlier church constructed in 1761, the ruins of which remain on the site today.
St Brigid appears in the east chancel as part of a larger window designed by the celebrated Irish stained–glass artist Harry Clarke. Clarke, who is widely regarded as one of the most accomplished stained–glass artists of the early 20th century was renowned for his rich colour palettes and his expressive figures that are now synonymous with his work.
The window, which was installed in 1918, titled ‘Nativity’ depicts the Adoration of the Shepherds and the Magi. St Brigid is positioned above in the middle tracery window, in between St Fachtna, founder of the diocese of Ross, and St Barrahane, the church’s patron saint. The window was commissioned in memory of Thomas Somerville and Henrietta Townsend, prominent figures in the Castletownshend community and long–standing patrons of the Church. Although Brigid is not the central figure in this work, by including the three saints in the tracery windows, Clarke subtly links the biblical narrative back to Ireland.
St John’s Malone, Belfast, Co. Antrim.
St John’s Church is located in Malone, Belfast, County Antrim. The Victorian church was designed by architect William Batt in a classic Gothic style and was originally constructed between 1893–1895. The nave was added to the existing structure in 1905. Originally, the church was also designed to include a tower, however this was never built due to lack of funding.
At St John’s Malone in Belfast, St Brigid appears in the west porch window. The panel was designed by the celebrated Irish stained–glass artist Evie Hone, a leading figure of the Irish Arts and Crafts movement and another member of the renowned An Túr Gloine studio. Hone’s work is a much more modernist representation of St Brigid, especially when compared to more traditional Victorian examples, reducing figures and forms to essential shapes, as well as using strong outlines and bold colours. Hone’s depiction of St Brigid shows a calf kneeling at her feet to represent her links with rural communities and evoking connections to spring, fertility and new life. The scroll at her side signifies learning and guidance. These references used by Hone heavily draw on Celtic folklore, intertwining these stories with Brigid’s religious depiction.
In total, Hone designed three windows for St John’s Malone, including the striking rose window. In 2024, the RCB Library received a letter (MS1151), originally written by Hone in 1948 discussing the symbolism of the rose window in St John’s, providing a detailed description of the symbolism of the window depicting the Alpha and Omega and the six surrounding designs.
Each of these windows reveal how St Brigid has continued to inspire artists across generations, serving as a link between Ireland’s religious heritage and its rich folklore. From traditional Victorian panels to bold modernist interpretations, these windows convey stories of devotion, legend, and local identity. In celebrating St Brigid through stained glass, these churches honour her legacy and illuminate a history of faith, folklore, and artistic creativity in Ireland.
For more information about these Churches and their stained glass windows – please see the following sources:
https://stpatricksjordanstown.weebly.com/
https://www.stbartholomews.ie/
https://www.abbeystrewry.com/
http://www.malone.connor.anglican.org/
https://www.gloine.ie/
https://irishnewsarchive.com/
https://www.harryclarke.net/the-harry-clarke-tour