St. Mary's of the Visitation

This ambitious and robust large-scale mid nineteenth-century Catholic church retains its early form and architectural character. It is one of the more substantial examples of its type and date in County Donegal, and it dominates the streetscape along the approach into Killybegs from the north-east. The pointed-arch openings lend it a Gothic Revival character. The rigid symmetry to the front elevation is a typical feature of early post-Emancipation Catholic churches in Ireland. The plain and rather austere elevations are enlivened by the good quality cut stone surrounds and hoodmouldings to the openings. The loss of the original roof covering to the main body of the church and the cement rendered finish to the walls are unfortunate recent alterations that detract from the integrity and appeal of this church. The spacious and well-lit interior, now unfortunately reordered, is notable for the cut stone arcades of pointed-arched openings to the transepts/side chapels that have unusual projecting capitals and the good quality stained glass windows, particularly the three pictorial windows to the chancel. The centre window depicts St. Catherine of Siena, which is flanked to the north-west by a depiction of the Mother of God and to the south-east by a depiction of the patroness of Killybegs, St. Catherine of Alexandria. These windows were added c. 1875 and are the work of the notable company Mayer and Co of Munich, a prolific company whose work can be seen in many late nineteenth and early twentieth-century Catholic churches throughout Ireland. This church was built to designs by John Buonarotti Papworth (1775 – 1847), a prolific London-based architect and a founder member of the Royal Institute of British Architects, and a friend of the local landlord (see below), for the then parish priest, a Revd. William Drummond (died 1863). This church at Killybegs is Papworth’s only known major commission in Ireland. Its design was apparently modelled on ‘an ancient ruin in the neighbourhood’ (IAA - Catholic Directory 1846). It was designed between 1834 and 1839, but it was not constructed to Papworth’s original plans due to financial considerations, and the building as seen today is a pared-down version in terms of scale and ornamentation. This church was built on a site donated by the local (absentee) landlord, Alexander Murray of Cally Palace in Wigtownshire, Galloway, Scotland. Murray also engaged Papworth to design a new portico for Cally Palace around this time. Murray also contributed €100 towards the construction of the church, which is reputed to have cost over £7,500 to construct and was built entirely using local labour and tradesmen. Building work begun in early 1842 and it was opened on Christmas Day 1844. The formal dedication did not take place until construction was finally completed in 1854 (delays due to the affects of the Great Famine but mostly on account of the cost and money problems), which was preformed by the Most Revd. Dr Cullen, Archbishop of Dublin. A spire and apparently a separate chancel were intended to be constructed but were never realised for financial reasons. The fine sacristy attached to the north-west side of the chancel is a later addition, perhaps added c. 1890. Further works (unknown; perhaps the addition to the south-east side of chancel) were carried out on the church in 1935 to designs by Charles Vincent McLoughlin. The original (apparently) stucco ceiling was replaced in 1946, while the church bell was installed in 1951 and was donated by a Charlie Mc Intyre of New Row, Killybegs. The present church replaced an earlier Catholic church in Killybegs built in 1763, which was a cruciform structure that was located a short distance to the north of the present edifice (Ordnance Survey first edition six-inch map 1837). This fine church remains a local landmark and an important part of the architectural heritage of the Killybegs area. The sixteenth-century gravemarker of Niall Mór MacSweeney (moved here from another site) and the architectural fragments to the grounds add some archaeological interest to this site. The simple boundary wall and the fine gateways add to the setting and context, and complete this appealing composition.