Carrickfergus castle was built by John de Courcy in 1177 as his headquarters, after he conquered eastern Ulster in 1177 and ruled as a petty king until 1204, when he was ousted by another Norman adventurer, Hugh de Lacy. Initially de Courcy built the inner ward, a small bailey at the end of the promontory with a high polygonal curtain wall and east gate. It had several buildings, including the great hall. From its strategic position on a rocky promontory, originally almost surrounded by sea, the castle commanded Carrickfergus Bay, and the land approaches into the walled town that developed beneath its shadows.
The castle appears first in the official English records in 1210 when King John laid siege to it and took control of what was then Ulster's premier strategic garrison. Following its capture, constables were appointed to command the castle and the surrounding area. In 1217 the new constable, De Serlane, was assigned one hundred pounds to build a new curtain wall. The middle-ward curtain wall was later reduced to ground level in the eighteenth century, save along the seaward side, where it survives with a postern gate and the east tower, notable for a fine array of cross-bow loops at basement level.
A chamber on the first floor of the east tower is believed to have been the castle's chapel on account of its fine Romanesque-style double window surround, though the original chapel must have been in the inner ward.
After the collapse of the Earldom of Ulster in 1333, the castle remained the Crown's principal residential and administrative centre in the north of Ireland. During the early stages of the Nine Years War (1595–1603), when English influence in the north became tenuous, crown forces were supplied and maintained through the town's port. And in 1597, the surrounding country was the scene for the Battle of Carrickfergus.
During the sixteenth and seventeenth centuries improvements were made to accommodate artillery, including externally splayed gunports and embrasures for cannon, though these improvements did not prevent the castle from being attacked and captured on many occasions during this time. Marshal Schomberg besieged and took the castle in the week-long Siege of Carrickfergus in 1689.
In 1760, after fierce fighting in the town, it was surrendered to French invaders under the command of Francois Thurot. They looted the castle and town and then left, only to be caught by the Royal Navy.
In 1778, a small but significant event in the American War of Independence began at Carrickfergus, when John Paul Jones, in the face of reluctance by his crew to approach too close to the Castle, lured a Royal Navy vessel from its moorings into the North Channel, and won an hour-long battle. In 1797 the Castle, which had on various occasions been used to house prisoners of war, became a prison and it was heavily defended during the Napoleonic Wars; six guns on the east battery remain of the twenty-two that were used in 1811.
For a century it remained a magazine and armoury. During the First World War it was used as a garrison and ordnance store and during the Second World War as an air raid shelter.
It was garrisoned continuously for about 750 years until 1928, when its ownership was transferred from the British Army to the new Government of Northern Ireland for preservation as an ancient monument. Many of its post-Norman and Victorian additions were then removed to restore the castle's original Norman appearance. It remains open to the public. The banqueting hall has been fully restored and there are many exhibits to show what life was like in medieval times. It was built and re-built three times, and still stands today.
On the day of his wedding, 29 April 2011, Prince William of Wales was created Duke of Cambridge, Earl of Strathearn, and Baron Carrickfergus. The latter title of peerage, along with the geographical barony itself, had been extinct since Victorian times. The title is now only ceremonial with no official connection to the castle.References:
From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.
The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.
At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.
The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.
The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.
Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).
The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.
At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».
The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.