Kildare Railway Station, Station Road, Kildare, Co. Kildare

Co. Kildare |

Railway Stations

Kildare Railway Station, Station Road, Kildare, Co. Kildare

Approaching from the road, the building gives little away beyond a run of gables and rendered chimney stacks; it is only once you round to the platform side that the full effect declares itself, a long red-brick facade dressed in cut granite, its windows fitted with diamond-leaded lights that catch differently depending on the hour.

The contrast between the two faces is deliberate rather than accidental: a station designed to present a formal, almost domestic countenance to the town, while giving over its working side to the practical business of trains, brick, and glass.

The station opened in 1846, part of the mid-nineteenth-century push to extend the railway network across Ireland, a project that did more than move passengers; it tied remote parishes into the commercial orbit of towns like Kildare, feeding goods and people toward larger urban centres and ports in a way that older road networks never quite managed. It was designed by Sir John MacNeill, whose Tudor Revival treatment here can be set alongside his work at Monasterevin and Sallins, and unofficially Athy, all sharing a family resemblance in their steep gables and decorative restraint. The granite dressings throughout speak to a masonry tradition well established in the locality, cut and worked by hand, while the red brick used on the platform elevation marks a shift toward the newly mass-produced building materials that industrialisation was making cheap and available by the mid-1800s. The building's plan is fairly intricate for a country station, arranged around a two-bay central block flanked by a flat-roofed porch on one side and a gabled bay with a canted window on the other, the whole thing roofed in slate with clay ridge tiles and cast-iron guttering still doing its original job.

Much of the interior detail has survived intact, including a glazed timber screen partitioning the old ticket office, along with timber sash and casement windows throughout and panelled doors with a decorative fanlight marking the entrance from the platform side. The pointed-arch doorway on that elevation, finished with a chamfered granite surround and hood moulding, is worth pausing at before boarding; it is a small piece of Gothic vocabulary applied to a building whose real purpose was entirely modern, moving people and goods at a speed the town had never previously experienced.

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Pete F
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