[Extract from the Mid Down list by C E B Brett, published by the Ulster Architectural Heritage Society in 1974.]
The List covers Ballynahinch, Dromara, Dromore, Drumaness, Hillsborough, Saintfield and The Spa.
The grandest 18th century church in the county; indeed, one of
the best 18th century churches in Ireland. The earlier 17th century
church on the same site had become derelict by about 1750; it
was entirely reconstructed and enlarged - though partly on the
same foundations by Wills Hill, Earl of Hillsborough, later 1st
Marquis of Downshire, between 1760 and 1774; he had hoped that
his church would be accorded cathedral status, in which hope he
was disappointed, but as a building it better deserves the honour
than the cathedral churches of either Dromore or Downpatrick.
The name of the architect has, unhappily, been lost. A statement
taken from Andrew Jamieson, one of the painters and glaziers who
had worked on the church, made in 1819, says: "Architect
[blank] of London, (does not know the name) who made and sent
over all the Plans and Drawings, and also a Model." Three
candidates for the attribution have been suggested; Dr. Alistair
Rowan has proposed Sanderson Miller, to whom Lord Barrington seems
to have introduced Hill in 1763, and says the church is "a
remarkable example of 18th century Gothic, and many of the details,
such as the crockets at the intersection of the vaults or the
machicolations of the towers are typical of Miller's designs".
The late Sir Albert Richardson proposed his namesake George Richardson,
to whom was attributed a rather similar church at Stapleford,
Leicestershire; but Colvin has thrown cold water on the attribution
to George Richardson of the latter. Another possibility is Francis
Hiorne of Warwick, a specialist in the Gothick style, who certainly
designed St. Anne's church in Belfast for Lord Donegall at almost
exactly the same date.
Whoever the designing architect was - and Jamieson's lapse of
memory is maddening - his plans clearly under went much modification
at the hands of the Surveyor, Charles Gardner, who, though only
20, with his brother John "had the entire direction in building
the Church and made many alterations in the drawings and plans";
as also at the hands of the Marquis himself and his agent, Samuel
Smith. The Marquis took a surprisingly detailed interest in the
work; in June 1772 he wrote to Smith "I languish to have
this church finished... Is it not time to fix upon the Shape height
etc of the Pinnacles of the great tower? I request that you will
keep men constantly at the polishing of the Spire, that not any
roughness may remain. The lead at the top of the Spire Windows
to be secured against Wind..."
The names of all the craftsmen, with their parts in the work,
are recorded by Jamieson; the stone-cutting, and especially the
spire, were the work of James McBlain and his son David.
The church comprises an octagonal porch below the principal tower,
whose front wall incorporates armorial plaques with the dates
1636 and 1774; a long and tall nave with ribbed and vaulted ceiling;
transepts leading to pinnacled transeptal towers; chancel; and
sanctuary.
It is very fully described in the Archaeological Survey of Co.
Down, so detailed description will be omitted here.
Internally, the church has been very little altered, apart from
some work carried out, quite sensitively, by Sir Thomas Drew in
1898. It is particularly notable for the high quality of its woodwork:
high plain oak pews, very fine tall octagonal pulpit with sounding-board,
and bishop's throne. The stalls in the chancel are very prettily
ornamented with pointed knops. The gallery has a handsome double
bow, and is carried on clustered oak columns; it contains the
Snetzler organ of 1773. A small organ of 1795 by England stands
in the chancel.
The church is blessedly free from ornate glass; all but the top
section of the east window is of very pleasant simple diaper-pattern
tinted glass in warm colours. Rather surprisingly, this appears
to be all (or almost all) original: one of the lower panes in
the east window was found, on restoration, to be inscribed "To
the order of the Earl of Hillsborough, April 1772". It was
made in London and brought over by a glazier called Matthew May.
The top section of the east window contains a group of overfed
cherubs, puffing and flapping amidst cotton-wool clouds, and wearing
their wings like mufflers; Mr.H.W.Clokey writes "The glass
in the tracery opes of the Chancel window - stained and monochrome
painted whites, with the exception of the pot-metal colours used
in the wings of the Cherubs - is no doubt the work of Francis
Egington of Birmingham from drawings (or adaptations) by Sir Joshua
Reynolds; ...though itself of little aesthetic value... it is
pleasing in its setting, and the only glass of its type known
to me in Ireland".
The church contains several memorials of merit or interest, including:
There is also an unsigned bust of the First Marquis in a niche in the porch. The very musical peal of eight bells dates from 1772. The light fittings, which are uncommonly appropriate, were designed by Sir Albert Richardson and installed in 1956.
The church underwent major restoration between 1951 and 1956,
under the supervision of Sir Albert Richardson as honorary architect.
It is now in excellent 8tructural and decorative order. On one
matter of taste, however, one may take leave to differ from Sir
Albert: the main tower, and the upper sections of the transeptal
towers, have been very aggressively repointed, with cement rather
than lime, and in an unhappily protruding style, in contrast to
the appearance of the rest of the stonework. The resulting patchwork
appearance is a pity; it is as though parts only of a Georgian
sideboard had had their patina removed; and it will be a good
many years until the church again weathers into a unity, The repointing
of the transeptal towers had been carried out at an earlier date
under another architect, and it is fair to admit that Sir Albert
was thereby faced with an awkward problem. However, it is much
to be hoped that Ulster masons and architects will abandon the
unhappy practice, only quite lately introduced, of allowing repointing
to spread a reticule of cement all over the face of the older
material.
The church is magnificently sited on the hillside above the main
street, close to, and just below, the Fort. It is approached by
a broad grass avenue flanked by very tall mature lime trees, interspersed
with rhododendrons. It will perhaps soon be time to consider interplanting
young trees, for the avenue has now reached its prime. In the
church grounds there is a curious pinnacled gate way of soft stone,
the keystone carved to represent a mitre'd head, which seems much
earlier than the present church - possibly a survivor of the church
of 1636; it leads now to the churchyard, but formerly provided
an access route through gardens from their houses for the organist
and the agent. There is also, close to the church, a memorial
to the composer Hamilton Harty, carved by the late Rosamund Praeger.
It takes the form of a square stele, culminating in a shallow
bird-bath, with eight figures of musicians at the corners; they
include harper, bagpiper, and a remarkable figure preparing to
clash its cymbals at the sounding of the last trump.
Church Screen, Sexton's House, and Parish Room:
This screen is of exceptional merit and interest - at each end
is a long low pavilion, with three little Gothick spirelets; both
were originally school-houses, one for infants and girls, the
other for boys; the former is now the Sexton's house, the latter
the parish room; this has unhappily lost its central pinnacle.
Between them, divided by railings and splendid gates, are four
square piers, with round shafts at the angles, each surmounted
by four ball-shaped finials. It is good news that a restoration
scheme for the screen and pavilions is to be undertaken as soon
as the finances of the church permit.
The siting of the red-brick public lavatories at the northern
end of the screen is quite exceptionally unfortunate, and equally
unnecessary; there is no good reason why the lavatories should
not have been built, close by, on a site in the concealed car
park. Perhaps this could still be done?
Refs: A.S p. 327; IGS bulletin, 1964, VII, 1, pp. 9, 28; Barry,
passim; BNL 14/18 Sept. 1787; 1898 IB p.100; 'Account of Persons
employed', 1819, and copy Letterbook, Feb. 1771 - June 1772, both
in custody of Canon Barry; Warwick Co. Record Office, Ms. 1253
L 774.
[Note: This most romantic of Ulster parish churches has suffered
from several recent intrusions: the avenue of trees has been severely
cut back, and this makes the erection of a nearby sheltered housing
scheme all the more glaringly obvious].
The Society also publishes a brochure on Hillsborough Castle.
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