Killyleagh Parish has one of the oldest churches still in use and Celtic designs have been incorporated into carvings in the church.

Killowen Church beside the Dibney river and near the Castle, is the original church in Killyleagh and dates back to medieval times.  The name Killowen means 'Church in the Hollow'.  By the time that James Hamilton (later to become Viscount Clandeboye) was awarded the land from Killyleagh to Bangor by King James I of England, and came to settle in Killyleagh Castle c1613, the church had fallen into disrepair.

A new church was built by James Hamilton and was consecrated on the 2^nd October 1640.  The church and surrounding graveyard occupy 1^1/2 acres on an elevated site overlooking the town and Strangford Lough. The original building would probably have been a T-shaped structure similar to Clogher Cathedral.  

By the early 1800s, the Church building had fallen into disrepair.  Vestry minutes from 1811 indicate a loan of £2000 being arranged with the Board of First Fruits, a Church of Ireland body set up around the restoration, to assist in the repair and building of churches and glebe houses. 

An inscription on the memorial of James Stevenson Blackwood, Baron of Dufferin and Clandeboye records - 'A zealous supporter of the Christian religion especially in this country, to which he left a memorial of his attachment by the restoration of this sacred edifice'.

A new spire was added around 1825 by Lady Dufferin. 

In early 1859 the Church was closed for 4 months whilst square pews were replaced with open seats.  An article in the Down Recorder reports 'that despite the extra seating, there was not adequate space for the congregation'.

The Shrigley mill owner John Martin was responsible for the installation of gas lighting in 1866.

The tower is home to a single bell which weighs 15 cwt and was cast by J Murphy of Dublin.  It was presented in 1875 by Catherine Ann Hamilton of Killyleagh Castle.

An article in the Down Recorder of 3^rd November 1877 reports on the enlargement of the Church with the addition of a side aisle and new chancel.  A new east window, designed by Meyer of Munich, was also installed at this time.  Other stained glass windows were also added along with a new Walker organ and choir stalls.  The roof was raised and a heating system installed.

The next major works to be carried out on the Church was in 1940, when a number of renovations and new gifts were presented at a Tercentenary Service.

The font is believed to come from the medieval church  at Killowen.  It is sculpted from red porphyry, a hard crystalline rock, deep red in colour and quarried in ancient Egypt.  Originally the font is thought to have been a 'stoup' for holding holy water, and of 11th or 12th Century Mediterranean origin.

The carving on the new Choir Stalls is worthy of note and incorporates peacocks, snakes and Celtic designs.  The early Christian teachers in Ireland built into the New Faith what was best of the old tradition and so the old pagan symbols are often used with Christian significance attached to them.  The peacocks carved on the prayer desks are emblems of immortality - the Ancient Irish believed that the peacock never died but flew away and went to Heaven without dying.  The strange interwoven pattern - so common to all Celtic designs and known as the "meander design" - is intended to represent the eternal mind of God.  The pattern never ends but winds in and out and starts again where it began.  The snake dying upon the cross-shaped sword is emblematic of 'Sin' slain by the power of the Cross.  Ireland, unused to the sight of snakes, believed they had beaks like birds.

On the Communion Table are 'The Tree of Life' and 'The True Vine' interwoven in the ancient Irish mode.  'Lilies of Purity' are to be seen and little 'Snowdrops of Hope' piercing the hard winter soil with the promise of New Life.  The Celtic Bosses are based on the famous sign of 'The Holy Trinity'.

* Words compiled by, and used with the kind permission of, Elsie Berner, Joyce McCormick and Noeleen Hughes. 

* Pictures of the drawings of the carvings by, and used with the kind permission of, Darren Leahy.