A detail of the carved oak chimneypiece in the entrance hall of Salterbridge, County Waterford. Although the core of the present house was built around the middle of the 18th century, it was subject to several alterations and aggrandisements thereafter. Some of these are sufficiently documented but the date of other interventions remains unclear. In the case of the entrance hall carving, even though the craftsman responsible for the work is nameless we can be sure when he undertook this task since the panelling to the left of the chimneypiece carries the year 1884.
Early Irish saints seem to have been a turbulent lot. Not for the majority of them lives of quiet contemplation (although they may have claimed a desire for such); instead they were caught up in political feuds and rivalries, sometimes even initiating disputes. The history of Saint Mo Chutu mac Fínaill, otherwise known as Carthach or Carthach the Younger, is typical. Born in County Kerry around the year 555 initially he became a monk under the guidance of St. Carthage the Elder. However in 580 he opted for the life of a hermit and built a cell at Kiltallagh where, despite the wish for solitude, he soon began to attract admirers. This in turn inspired the jealousy of two neighbouring bishops, so he moved to forced him to Bangor, County Down where he spent a year before returning to Kerry and founding a couple of churches. After visiting several other parts of the country, he founded a monastery at Rahan, County Offaly and composed a rule for his monks, an Irish metrical poem of 580 lines, divided into nine separate sections. Unfortunately he then found himself involved in one of the greatest religious controversies of the time: the date on which Easter should fall (the Roman and Celtic churches disagreed on the subject). This led to Mo Chutu’s expulsion from the monastery he had founded, so he and many of his followers moved instead to County Waterford where he established a new monastery at Lios-Mor, today called Lismore.
The origins of the present Cathedral in Lismore bearing St Carthage’s name are unclear, but appear to date from the 12th century and owe their origin to Murtagh O’Brien, King of Munster. Likely of cruciform shape, some remains of the building survive, incorporated into the present edifice such as the Chancel Arch and perhaps portions of the transepts, including the windows. Like so many other religious structures, it suffered abuse in the 16th and 17th centuries, being almost entirely destroyed by Edmund FitzGibbon, the White Knight in the second half of the 1590s when he was serving as Sheriff of County Cork. Within the cathedral, at west the end of the nave, is a surviving tomb of the Magrath family, dated 1557 and elaborately carved-top, front, back, and sides: it is a rare survivor from FitzGibbon’s assault. The building was subsequently restored for Protestant worship and partly reconstructed by Richard Boyle, first Earl of Cork, who by this time was in possession of Lismore Castle which he made his principle residence. In 1633 he wrote ‘God bless my good intentions and endeavours in this work. This day, I resolved with the assistance of my good God, to re-edify the ancient Cathedral Church of Lismore, which was demolished by Edward Fitzgibbon [sic] called the White Knight, and other traitors in the late rebellion of Mownster. The chancel of the church I did at my own expense, and put a new roof covered with slate, and now have given orders to have the ruins of the body and aisle cleared and to have the same new-built and re-edified as fair or fairer than it ever was before.’
The upheavals of the 1640s put an end to further work being undertaken on the cathedral but after Charles II’s Restoration in 1660, once more the building benefitted from attention, this time under the architectural supervision of Sir William Robinson who from c.1670 onwards served as Surveyor General of Ireland. When Richard Pococke visited Lismore in 1752, he noted, ‘The Castle and Cathedral are on a hanging ground, some of which is covered with wood over the Blackwater: From the Castle and the Warren behind the Cathedral is a fine view of the river both ways, of the meadows on each side, of the wood on the hanging ground and of the Cascade from the Salmon Weir…the Quire part of the Cathedral is very old, built with sort of Pilasters at the corners, and long narrow windows on each side and at the end. It was founded by St. Carthage als. Mocoddy who was driven by King Blathmac out of the Abbey of Batheny in the County of Westmeath. He first founded an Abbey of Canons Regular of St. Augustine, where the Castle now is: He also founded a School or University here, which was afterwards governed by St. Cataldus, who in process of time became Bishop of Tarentum.This cathedral was repaired by Munchus King of Munster in 1130. The body of the church is a modern building, probably of the time of King Charles 2d. The Chapter house is a good room, there are remains of the staircase in it, and signs of a room above in which they might keep the Archives of the Church. In the church are remains of the tomb of a Magrath in 1557 probably a relation of Bishop McGrath.’
Certain residues of the 18th century can still be found inside St Carthage’s cathedral, such as the classical carved oak screen separating nave from chancel which dates from the 1730s and a slightly later oak pulpit on the southern side of the nave. However Nicholas Carlisle’s Topographical Dictionary of Ireland (published 1810) commented that Lismore’s cathedral, ‘being in indifferent repair, is about to undergo a thorough renovation.’ Clearly the earlier improvements undertaken had proven insufficient, because over the next few decades the building was largely reconstructed. In 1833 the Dublin Penny Journal informed readers that the cathedral in Lismore ‘being in a state of complete dilapidation, was a few years since, taken down and rebuilt from the foundation, under the supervision of Mr Morrison.’ This was Richard Morrison, although a local architect called James Dwyer is believed to have overseen the actual work. This involved the restoration of the nave and transepts and the complete rebuilding of the chancel: the latter in its current form is therefore a Morrison structure with its splendid vaulted roof and arched windows. The east window above the altar contains painted glass executed by Dublin artist George McAlister at some point before his death in June 1812 (he left a commission for Tuam Cathedral’s windows incomplete).
In 1827 the Chapter of St Carthage’s Cathedral agreed ‘That a plan for the erection of a new tower and spire, and repairs of the isle [sic] made by Messrs Payne, to be completed for the sum of £3,500 which has been commenced under the direction of the Dean of Lismore, is unanimously and highly approved by us.’ The Messrs Payne referred to were brothers George and James Pain who had come to Ireland some time around 1811/1812 to supervise the building of Lough Cutra, County Galway (for more on this house, see: Domat Omnia Virtus, January 27th 2014). At Lismore cathedral they were responsible for adding a square tower with corner pinnacles to the west end of the building. Above this climbs a slim octagonal spire supported by flying buttresses. The Pains also worked on the interior of the nave, bringing its appearance into line with that of Morrison’s chancel by adding a fan-vaulted ceiling and giving the windows arches. They also added the gothic memorial to Dean John Scott which simultaneously serves as a doorway at the west end of the nave. No wonder that by the time Thackeray visited Lismore he could write ‘The church with the handsome spire that looks so graceful among the trees, is a cathedral church and one of the neatest kept and prettiest edifices I have seen in Ireland.’ Such remains the case some 170 years later. St Carthage’s, with its further additions such as a Burne-Jones window in the south transept and the Cotton Library off the north transept (see Sapientia in Libris Exsistit, October 15th 2012) remains neatly kept and elegant, and indubitably well worth a visit.
The entrance hall at Camphire, County Waterford. Dating from the 1840s and attributed to Sir Charles Lanyon the present house was built on the site of an earlier dwelling and beside a castle, parts of which still remain. A pair of Ionic columns separates the entrance from the staircase hall, the first floor of which features a four-sided gallery providing access to the main bedrooms, the whole being lit by a dome at the top of the building.
Perched on a promontory high above the Blackwater river Dromana, County Waterford has been home to successive generations of the same family for the past 800 years. Originally built for the FitzGerald family, the property frequently passed through the female line without ever changing hands. From the late 1700s until demolition in the 1960s a large house abutted that seen above which in its present form dates from the first decades of the 18th century and features a cut-limestone Gibbsian doorway. The history of Dromana, its owners and their shifting fortunes will be explored on site from tomorrow until Sunday during which the Irish Aesthete will be among the speakers; for more information, see http://www.dromana800.com.
Below is a coat of arms of the Villiers family which has long been associated with the place. The motto Fidei Coticula Crux translates as The Cross is the Touchstone of Faith.
From the Dublin Penny Journal, December 13th 1834:
‘Sir, Permit me through the medium of the Dublin Penny Journal an opportunity of giving the public a brief description of the situation and scenery of Ballysaggartmore, the much improved residence of Arthur Keiley, Esq, situate one mile west of Lismore, on the north side of the river Blackwater. The porter’s lodge at the entrance to the avenue is composed of cut mountain granite or free stone, of a whitish colour, variegated with a brownish strata, which gives the whole a rich and pleasing appearance; it consists of a double rectangular building, in the castellated style, flanked by a round tower at either end, through which is a passage and carriage-way of twelve feet in the centre, over which is a perpendicular pointed arch, enriched with crockets and terminated with a finial; the buildings at either side of the gateway, although similar, form a variety in themselves; and the situation is so disposed as not to be seen until very near the approach; the gate is composed of wrought and cast iron; and is, I will venture to assert, the most perfect gothic structure formed principally of wrought iron, in the kingdom. It was executed by a native mechanic, and cost about one hundred and fifty pounds. Passing onward through the avenue, the road, which is perfectly level, leads through a beautifully romantic wood, neatly planted with all varieties of fir, and other forest timber; and is naturally enriched by a limpid mountain stream, which, after passing over some very considerable rocks, and gliding over the glen, falls immediately into the Blackwater; over this stream, which in winter is often very rapid, stands the bridge of which the prefixed engraving is a correct representation, consisting of three gothic arches, surmounted with richly embrazured battlements. A group of towers, embracing almost every shape and style of Gothic architecture, is erected at either end of the bridge; and the roadway leads under two very pretty obtuse Gothic arches. The greatest novelty in the whole is a round tower, erected on one of the arches. The stone used in the building has an agreeable reddish tint, and is all vermiculated, or, in other words, is a rusticated structure, which gives it somewhat the appearance of antiquity; this and the gate-house, was designed and built under the instruction of Mr John Smyth. Almost adjoining the bridge is a pretty tunnel, through which a road is conducted from the town to the upper grounds; and the avenue, which leads onward to the house, has nothing more to boast of than a continuation of neatly disposed wood and shrubbery.’
At some date in the late 18th or early 19th century land running to some 8,500 acres around Ballysaggartmore, County Waterford was bought from George Holmes Jackson of Glenmore by John Kiely (also sometimes spelled Keily or, in the Dublin Penny Journal, Keiley). On his death in 1808, this property passed to a younger son, Arthur. The best part of the Kiely estates went to Arthur’s elder brother , also called John Kiely, who inherited Strancally, further down the Blackwater river. There he commissioned the building of a new castle from the brothers George and James Pain. John Kiely junior had apparently visited Lough Cutra, County Galway (see Domat Omnia Virtus, January 27th 2014) built a few years earlier by the Pains and accordingly ordered something similar for himself, even though advised that owing to the nature of Strancally’s site it would be necessary ‘to move a mountain in order to make the ground high enough.’ Seemingly it took forty men two years to achieve this enterprise. Arthur Kiely meanwhile, on returning from the Napoleonic Wars in which he had fought, built himself a house in the grounds of Ballysaggartmore. Old photographs indicate this property looked not unlike a great many others of the period, being of two storeys with a bow at one end and a three-storey belvedere over the entrance. According to a later occupant, the building’s principal fault was a lack of internal corridors, meaning it was necessary to pass from one room to the next in order to move about the house. Nevertheless, one has the impression that Arthur Kiely was a man of social aspirations since in 1843 he changed his surname to Kiely-Ussher. (The Usshers were a long-established family in the area to whom the Kielys were related through their mother). This may have been at the instigation of his wife Elizabeth Martin of Ross House, County Galway (a great-aunt of the author Violet Martin). It has always been proposed that the elaborate building programme upon which Arthur Kiely embarked in the 1830s was driven by his wife’s ambition to outstrip her in-laws at Strancally. Of course she might also have been inspired by Lismore Castle where extensive work had already been initiated by the sixth ‘Bachelor’ Duke of Devonshire.
It would seem that the Kielys’ ambitious building works of the early 1830s stretched their financial resources. Thus although there were plans to rebuild the main house in an equally lavish fashion, this did not come to pass. Once the new lodges and castellated bridge were finished, a programme of ‘improvement’ began on the estate, mostly involving the clearance of existing tenants and their modest cottages. And then came the following decade’s years of famine during which remaining tenants were unable to pay rents and found themselves treated harshly by their landlord. Arthur Kiely did not suspend reduce or suspend rent, as had others in his position around the country, but used non-payment as a justification for eviction and the demolition of any dwelling. In May 1847 a reporter from the Cork Examiner arrived in the area to see how people were faring. ‘Arriving at Ballysaggartmore,’ he wrote, ‘an awful sight was before my eyes, I found twelve to fourteen houses levelled to the ground. The walls of a few were still standing but the roofs were taken off, the windows broken in, and the doors removed. Groups of famished women and crying children still hovered round the place of their birth, endeavouring to find shelter from the piercing cold of the mountain blast, cowering near the ruins or seeking refuge beneath the chimneys. The cow, the house, the wearing apparel, the furniture, and even in extreme cases the bed clothes were pawned to support existence. As I have been informed the whole tenantry, amounting with their families to over 700 persons, on the Ballysaggartmore estate, are proscribed.’ By contrast, John Kiely at Strancally Castle was described in the same newspaper as displaying liberality to the local poor ‘commensurate with his extensive property. He has, at present and for the last season, employed the people, is busily and solely engaged in diffusing comfort and plenty among them…’ Understandably, Arthur Kiely’s behaviour at Ballysaggartmore inflamed opinion in the district and soon afterwards an attempt was made to shoot him as he entered the estate through the gates of that smart new lodge: the would-be assasin failed in his mission and fled on foot. A group of local gentry then offered a reward of £100 to anyone who could provide information leading to the arrest of the parties responsible. Seven men were tried, found guilty and deported to Tasmania. If the Kielys were already unpopular in the area, this incident only made them even more so. While circumstances for the country gradually began to improve, the same was not the case for this particular household.
In the aftermath of the famine, the Kielys’ fortunes never recovered, not least because there were no tenants left to provide them with an income. By 1854 Ballysaggartmore was being offered for sale through the Encumbered Estates Court but failed to find a new owner: one suspects the place’s unhappy history deterred potential purchasers. Finally in 1861 it was put on the market again and the main house and surrounding land were bought by William Morton Woodroofe: Arthur Kiely-Ussher died, not much mourned, the following year. The Woodroofes remained at Ballysaggartmore until the early years of the last century when the property was sold to the Hon Claud Anson, a younger son of the second Earl of Lichfield. Hitherto a rancher in Texas, in 1901 the Hon Claud married Lady Clodagh de la Poer Beresford, daughter of the fifth Marquess of Waterford and it is most likely for this reason that the couple chose to settle in her native county. However, they were not to enjoy the place for long because in 1922 Ballysaggartmore House was destroyed by fire. In any case by then the Ansons’ funds had likewise run out, according to Patrick Cockburn (a godson of their daughter) owing to ‘Claud’s overenthusiastic investment in Russian bonds prior to the Revolution.’ The house stood empty and derelict until pulled down some decades later. The front lodges, however, remained occupied, seemingly until the 1970s, after which they too were abandoned and allowed to fall into ruin. Now Ballysaggartmore is a public park, with walkways through the woodlands, and all that remains of the Kielys’ architectural and social pretensions are the buildings celebrated in December 1834 by the Dublin Penny Journal. Today they serve as a monument to misplaced ambition.
Looking through a wrought-iron gate towards one of the ruined twin gothic lodges of Ballysaggartmore, County Waterford. Now deep in woodland, the estate was developed in the 1830s by Arthur Kiely-Ussher, supposedly spurred on by his wife who wished to surpass the efforts of her brother-in-law at Strancally Castle in the same county. However, the Kiely-Usshers’ ambitions exceeded their revenues and in 1853 Ballysaggartmore was offered for sale by the Encumbered Estates Court. The main house was burnt out in 1922 and now only ancillary buildings such as these gutted lodges remain to testify to the folly of the Kiely-Usshers.
More on Ballysaggartmore soon.
When Charles Este became Bishop of Waterford in 1740, he found his official residence in the city in ‘so ruinous a condition that part of it has fallen down … and what is left is so small and dangerous to live in..’ He therefore had to hire another house but wrote to his immediate superior, Archbishop Bolton of Cashel, requesting permission to build a new episcopal palace. The architect responsible for this building was German-born Richard Castle, but Bishop Este dying in 1745 and Castle six years later the work was finished by local man John Roberts (who would go on to design Waterford’s new Anglican and Roman Catholic cathedrals). The palace is notable for its two facades being quite different on character. That on the garden side (above) is of eight bays with an elaborate pedimented breakfront treatment on the first floor. Meanwhile, the side facing the cathedral is simpler, with a Gibbsian doorway set into a rendered ground floor and the seven-bay first-floor being centred on a single pedimented window. These differences may be explained by the change of both client and architect (and fashion) before the building was completed. The Bishop’s Palace, having been beautifully restored, is today a museum focussing on Waterford’s 18th century history.