The column terminating a vista in front of Furness, County Kildare (see A Gentle Evolution, May 26th last). Originally this column stood in the parkland of Dangan, County Meath, once the property of Richard Colley Wesley, first Baron Mornington (and grandfather of the first Duke of Wellington). When Mrs Delany visited Dangan in 1749 she wrote that in the grounds ‘there is a fir-grove dedicated to Vesta, in the midst of which is her statue; at some distance from it is a mound covered with evergreens, on which is placed a Temple with the statues of Apollo, Neptune, Proserpine, Diana, all have honours paid to them and Fame has been too good a friend to the mentor of all these improvements to be neglected; her Temple is near the house, at the end of the terrace near where The Four Seasons take their stand, very well represented by Flora, Ceres, Bacchus and an old gentleman with a hood on his head, warming his hands over a fire.’ All now gone unfortunately, but the column – topped by a copy of Giambologna’s Mercury – was rescued in the last century and set up in the grounds of Furness to mark the 21st birthday of a previous owner.
Recently photographed on a typical Irish summer morning (that is to say in sleeting rain: the Irish Aesthete is nothing if not intrepid) the walled garden at Glenarm Castle, County Antrim. Dating from the 18th century, it originally provided the main house with fruit and vegetables but in recent years has been converted into a series of pleasure grounds open to the public, the upper sections designed by Catherine FitzGerald, eldest daughter of the late Knight of Glin. Above is an obelisk of oak created by local craftsman Corin Giles: what distinguishes this piece is the use of wood for a rusticated base. Meanwhile below a pair of rills flanked by beech hedges run down to a cascade before concluding in a pool; far below can be seen an opening cut into the yew circle dating from the 1820s. How simple devices can achieve powerful effects…
This page from the Dublin Penny Journal of December 5th 1835 shows the casino at Marino, Dublin completed sixty years earlier to the designs of Sir William Chambers. As discussed here before (see Casino Royale, March 25th 2013) the casino was only one of a number of buildings erected in the grounds of the first Earl of Charlemont’s estate. Close to the casino, for example, stood a tall Gothic tower known as ‘Rosamund’s Bower’ and likely designed by Johann Heinrich Muntz, a Swiss-born painter and architect encouraged by Horace Walpole to move to England where he worked with Chambers. Unfortunately Lord Charlemont’s architectural ambitions exceeded his income, leaving his heirs somewhat impoverished and resulting in the park at Marino soon falling into decay: the Dublin Penny Journal notes that Rosamund’s Bower was already in ruins and strangers seldom visited the place any more.
Ultimately all except the casino was swept away, and at the moment that building plays host to a fascinating exhibition Paradise Lost: Lord Charlemont’s Garden at Marino which is demands to be seen (and is accompanied by a very smart and informative catalogue). Next Tuesday, June 10th the Office of Public Works and the Irish Georgian Society are holding a study day in the latter’s Dublin headquarters on South William Street exploring this long-vanished parkland and its legacy. For booking and more information, please see http://www.igs.ie/events.
Through dense planting, a glimpse of the lake at Mount Stewart, County Down. The gardens around the house, created from the mid-1920s onwards by Edith, seventh Marchioness of Londonderry, are justly famous but the attention they attract can mean the rest of the estate receives less attention. This part of the demesne dates from the first half of the 19th century, following the marriage of the third Marquess to the great heiress Frances Anne Vane-Tempest: her wealth allowed the creation of the lake to the north of the house on the site of a former gravel pit, and extensive planting around its borders.
Travellers in Ireland during the 18th and 19th centuries seem rarely to have visited Laois, or Queen’s County as it was known until 1922. The preference was to head either south or north or west, by-passing the midlands with the result that references to this part of the country are not so easy to find. One suspects this continues to be the case, a pity since land-locked Laois has much to offer, not least the Lutyens-designed gardens at Heywood.
The main outlines of the estate here were created by Michael Frederick Trench, son of the Rev. Frederick Trench; one of those visitors to Ireland who did explore the area, English antiquary Owen Brereton, in 1763 wrote of the cleric’s property, describing it as ‘a sweet Habitation’ with ’24 Acres Walld round 10 feet high.’ Both the habitation and the grounds were enlarged by his son who in 1773 built a new house which he named Heywood after his mother-in-law’s maiden name. A barrister and amateur architect, Trench is believed to have been responsible for the building’s design, perhaps in consultation with James Gandon: Thomas J Mulvany’s biography of the latter (published 1846) states that in 1785 Trench ‘anxiously superintended’ the erection of the Rotunda Assembly Rooms in Dublin, being a member of the building committee. He has also been credited with the design of the two pavilions which terminated the colonnades on either side of the lying-in hospital.
At Heywood, Trench embarked on large-scale improvements to the surrounding parkland beginning with a gothic entrance gate and featuring various other decorative features, most notably a striking ruin on the adjacent hill, composed from elements of the mediaeval Dominican friary at Aghaboe some twelve miles away. When Samuel Lewis published his Topographical Dictionary of Ireland in 1837, a year after Michael Frederick Trench’s death, he was able to call Heywood a ‘richly varied demesne ornamented with plantations and artificial sheets of water.’
When Michael Frederick Trench’s only son General Sir Frederick William Trench died in 1859, he left Heywood to the family of his sister Helena who in 1815 had married the euphoniously-named Sir Compton Pocklington Domvile. This couple’s granddaughter Mary Adelaide Domvile in turn became an heiress and in 1886 she married William Hutcheson Poë. There has always been some confusion about how to pronounce the family name, but William’s younger brother Edmund once explained, ‘I have been sat upon by women and held at arm’s length by men, but my name is pronounced p-o-a-y.’
Sons of a Queen’s County barrister, both men were educated at Dr Burney’s Academy in Gosport, near Portsmouth before joining the navy. Edmund rose to be promoted to Rear-Admiral in 1902, second in command of the Home Fleet the following year and Commander of the 1st Cruiser Squadron in 1904. A year later he was appointed Commander-in-Chief, East Indies Station, then Commander-in-Chief, Cape of Good Hope Station in 1907 and Commander-in-Chief, Mediterranean Fleet in 1910. Finally he became First and Principal Aide-de-Camp to George V in 1912, retiring two years afterwards.
William Hutcheson Poë meanwhile served in the Royal Marines and from 1884 was in Sudan, commanding a unit of the Camel Corps in the Relief of Khartoum in 1885 during which period he had a leg amputated. The following year he married Mary Adelaide Domvile and retired from service in 1888 when promoted to Lieutenant Colonel. The rest of his public life can be summarised as follows: in 1891 became High Sheriff for Queen’s County, and in 1893 for County Tyrone. He was a member of the Land Conference in 1904, was appointed a Governor of the National Gallery of Ireland in 1904 and created a baronet eight years later. In 1915 to 1916 he served in Egypt in the First World War, and from 1916 to 1919 with the Red Cross in France. From 1922 to 1925 he served as a Senator of the Irish Free State.
At Heywood Colonel Hutcheson Poë was responsible for substantial alterations to both house and grounds. With regard to the former, Sir Charles Coote in his Statistical Survey of Queen’s County (published 1801) having discussed Trench’s various enterprises on the estate says ‘The Mansion house has also been built after his own plan, and is of a curious, though not regular order of architecture, being a square building composed of four fronts, and, from the irregularity of the ground, on which it stands, presents at one front three stories, at another four, at the third five, and six at the fourth. The apartments are as commodious as could be wished for, and are considerably more extensive, than we should suppose from the outside view.’
In the 1890s this building was enlarged and almost engulfed by extensions to either side, designed by one of the period’s most indefatigable architects Sir Thomas Drew. Sadleir and Dickinson’s 1915 Georgian Mansions of Ireland describes the result as ‘a large building, embodying extensive recent additions, and has been in fact so completely re-edified that one room only retains its entire Georgian character. This is the large and well proportioned dining-room, a singularly handsome apartment, and one of the finest examples of the Adam style in this country…the walls are covered with plaster panels and festoons, which, like the ornament of the over-doors, are very delicately modelled. The mantel, purchased by the present owner in London, exhibits Adam decoration with wedgwood plaques, and there is a steel grate…A series of Minerva heads in the frieze conceal the electric light bulbs, this ingenious device obviating the introduction of unsightly electroliers. In the adjoining drawing-room, which also retains some Georgian features, are a number of valuable pictures, including the fine full-length of John Musters, of Colwick, in Nottinghamshire, by Sir Joshua Reynolds…’ A series of photographs taken by A.E. Henson in 1917 and published in Country Life two years later testify to Colonel Hutcheson Poë’s discerning taste as a collector of pictures and furniture, even if not of architecture.
Outside also Colonel Hutcheson Poë set about leaving his mark. The house at Heywood was built at the top of a south-west facing ridge from which the ground drops steeply to a lake out of which runs a stream in turn feeding two further lakes. As well as being a successful army man, Sir Frederick William Trench was a talented artist (just as his father was an amateur architect), and in 1818 he produced several drawings of the demesne from which lithographs were produced; these give an excellent idea of how the view swept away from the house across water and trees towards distant mountains, the very incarnation of the romantic landscape.
Nevertheless in 1906 Hutcheson Poë commissioned Edwin Lutyens to come up with a design for gardens in the vicinity of the house, occupying the area to the immediate south, east and west. As has already been explained, this part of the parkland is on a slope, and so the first and most important task was to build a massice retaining wall with buttressing to protect the house above from any risk of slippage. Thereafter the main features of the scheme begin with a pair of central terraces relatively uncluttered so as not to obscure views from the building; other than flagged walks and grass lawns, the most notable feature here is a pair of columns topped with stone balls and carrying carved milestones. Presumably Lutyens recycled these from elsewhere, as he did a series of Ionic columns which were once part of a Temple of the Winds erected by Michael Frederick Trench elsewhere in the grounds. The columns can now be seen in a pergola walk which Lutyens constructed to the west of the main terrace and where they support a line of oak beams. This walk, from which there is a sharp descent to the lake, is otherwise composed of rough-hewn stone, with an open prospect at its southern end and an apsidal niche at the northern: the latter once held a copy of the Capitoline Venus but now contains a more respectably clothed figure.
Colonel Hutcheson Poë was not an easy client and Lutyens’ letters indicate his time at Heywood was rather stressful. In February 1910, for example, he wrote to his wife, ‘Colonel Poë, you know, has a wooden leg and he sits on a chair and watches the men lay stones – stone by stone – and finds endless fault. I couldn’t stand it.’ Two years later he wrote again, ‘The gardens promise well, but he is so cross to his workmen, to me and to all under him, and his wife, who is very rich, is left alone and ignored almost. At least she goes her own way, ignores as much as she is ignored.’
On an earlier occasion Lutyens had announced that the colonel’s ‘cross period has damaged the garden as there is, I think, evidence in my work of my attitude or despondency towards him.’ There is in fact no evidence of the sort apparent, particularly not in the marvellous elliptical sunken garden which is Lutyens’ greatest legacy at Heywood. The approach to this was most likely intended to have been via a short sequence of yew enclosed spaces which lead to a curved flight of stone steps bringing the visitor right into the garden. Today however, the more customary point of access is from the main terrace, passing tall piers to a pleached lime walk. Here a low stone wall to the south offers open views of the countryside, the wall to the north being higher and carrying a series of cut stone niches: originally these contained lead busts but they are now filled with stone urns. At the end of this walk, wrought iron gates provide access to the sunken garden, its centre occupied by a large pond once fed by spouting bronze tortoises and holding a basin formerly topped by another piece of sculpture. At the easternmost point of the sunken garden is a slender, single-room pavilion, the rear wall of which contains four Ionic capitals set into the rough stone and said to have come from the 18th century Irish House of Commons designed by Sir Edward Lovett Pearce (for more about this discovery, see Jane Meredith’s article on the subject in the Irish Arts Review Yearbook 2001, Vol. 17).
Like so many other Irish country houses and estates, Heywood experienced mixed fortunes in the last century. After its owner’s death in 1934, the house stood empty and then the Land Commission moved in to divide up the property. In 1941 the house and surrounding 160 acres was acquired by members of the Salesian religious order who originally used the place as a novitiate. Unfortunately in 1950 the house was badly damaged by fire, after which a decision was taken to demolish it; a new building was erected on a site to the north-east adjacent to the former stable yard. This became a school run by the Salesians but since 1990 has been a community school. Three years later the Lutyens gardens were transferred to state ownership and they have since been the responsibility of the Office of Public Works.
Visiting Heywood today is a curious experience. On the one hand, it is wonderful that Lutyens’ work here has been preserved, on the other it is difficult properly to appreciate his vision without the presence of the house for which the gardens were intended to provide a setting: the context for which they were created has gone (see the plan below for a better understanding of this). And the 18th century parkland devised by Michael Frederick Trench is even harder to envisage since it has received very little attention, and some of it has been altogether lost. The defiant ugliness of the school buildings also plays its part in suppressing any impulse towards romanticism. Conversely, once properly inside the gardens equivocation slips away, and the genius of Lutyens takes over. It is, as I say, a curious experience but with the accompaniment of a little imagination by no means an unpleasant one.
With thanks to Máirtín D’Alton for his advice and information.
A solitary obelisk standing on raised ground in what was once the parkland of Dangan Castle, County Meath. Dangan was the seat of Richard Wesley, created first Baron Mornington in 1746. He spent a great deal of money improving his house and grounds, and Bishop Pococke in his 1752 Tour in Ireland described the former as being ‘situated on a most beautiful flat, with an Amphitheater of hills rising round it, one over another, in a most beautiful manner; at the lower end is a very large piece of water, at one corner of which is an Island, it is a regular fortification, there is a ship a sloop and boats on the water, and a yard for building; the hill beyond it, is improved into a beautiful wilderness: on a round hill near the house is a Temple, and the hills round are adorned with obelisks: Pillars and some buildings, altogether the most beautiful thing I ever saw.’ Mrs Delany also visited Dangan several times, being godmother to Mornington’s heir Garret, future first Earl of Mornington and, in turn, the father of Arthur Wellesley, future Duke of Wellington who likewise spent much of his childhood here. Yet before the end of the century the family had sold the estate, the house was accidentally destroyed by fire and in 1841 J. Stirling Coyne could write ‘The noble woods, too, which adorned the demesne, have shared in the general destruction; and all the giants of the sylvan scene have been prostrated by the ruthless axe.’ Today there remain few signs of Dangan’s former splendour other than this obelisk rising in the midst of a field, and another not far away, the latter restored of late with help from the Meath branch of An Taisce.
Built 1883-89 Newtownbarry, County Wexford is one of the last country houses designed by Belfast architect Sir Charles Lanyon, assisted by his pupil W.H. Lynn and his son John. Somewhat austere in style, the building’s character constrasts with that of the lush surrounding grounds. These are probably of earlier date and include a two-acre sunken garden which terminates at one end in this densely foliated rustic tunnel.
One of a pair of fluted stone urns flanking the entrance to Kinoith, home of Darina and Tim Allen. Deep overhanging eaves indicate this plain three-bay, two-storey house dates from the first quarter of the 19th century. For a long time it was owned by a Quaker family called Strangman, which explains the building’s want of adornment. Last week Nature provided her own embellishment thanks to the torrent of wisteria in full bloom.
The west front of Mount Stewart, County Down speckled in sunlight last weekend. This was the original entrance to the house designed c.1804 by English architect George Dance the younger. Some thirty years afterwards Mount Stewart was greatly enlarged by William Vitruvius Morrison and Dance’s work relegated to being a mere wing. The elaborate gardens are of a later date, created by Edith, seventh Marchioness of Londonderry between the two world wars (see In Circe’s Circle, November 28th). Now in the care of the National Trust they have recently benefitted from extensive replanting.
Writing to a friend in September 1795, the English Romantic poet Anna Seward, known during her lifetime as the Swan of Lichfield, reported ‘I must not conclude my letter without observing, that, on my second visit to the fairy palace [Llangollen Vale], a lovely Being cast around its apartments the soft lunar rays of her congenial beauty. — Mrs. Tighe, the wife of one of my friend’s nephews, an elegant and intelligent young woman, whom I should have observed more had his wife’s beauty been less. I used the word “lunar” as characteristic of that beauty, for it is not resplendent and sunny, like Mrs. Plummer’s, but, as it were, shaded, though exquisite. She is scarce two-and-twenty. Is it not too much that Aonian inspiration should be added to the cestus of Venus? She left an elegant and accurate sonnet, addressed to Lady E. Butler and her friend, on leaving their enchanting bowers.’
The ‘Mrs Tighe’ to whom Seward here refers was another poet, Mary Tighe, while ‘Lady E. Butler and her friend’ were the famous Ladies of Llangollen, and a house in Ireland, today a ruin, links them all together: Woodstock, County Kilkenny. Lady Elinor, who grew up in Kilkenny Castle, knew the place well since it was here in 1768 that she met her lifelong companion, Sarah Ponsonby. Lady Elinor was then aged 28, Miss Butler some fifteen years younger but they formed so close a bond that more than a decade later, braving the opprobrium of their respective families, and of society at large, they ran away together and set up home at Plas Newydd, near the Welsh town of Llangollen. Although living quietly and on a relatively modest income, they soon became famous and attracted visitors from throughout Britain and Ireland: Queen Charlotte wanted to see their house and persuaded George III to grant them a pension. Writers in particular were especially fascinated by the Ladies of Llangollen and among those who travelled to see them were Lord Byron, Wordsworth, Shelley, and Sir Walter Scott. Plus, of course, both Anna Seward and Mary Tighe.
Mary Tighe (née Blachford) was born in 1772, the daughter of a Church of Ireland clergyman who died when she was very young. Her mother Theodosia Tighe was an early supporter of John Wesley and Mary had a severely religious upbringing. At the age of twenty-one she married her first cousin Henry Tighe but it appears the union was not happy. In addition Mary soon began to manifest signs of the tuberculosis that would eventually kill her.
From an early age she had written both poetry and prose but only in 1805 was her long poem Psyche, or the Legend of Love privately printed in an edition of just fifty copies. Nevertheless, it brought her considerable fame: in the same year Thomas Moore wrote his own poem To Mrs Henry Tighe on Reading her Psyche which opens with the lines, ‘Tell me the witching tale again/For never has my heart or ear/Hung on so sweet, so pure a strain/So pure to feel, so sweet to hear.’
Psyche is a six-canto allegorical poem in Spenserian stanzas recounting the classical myth of the love between Cupid and Psyche, and the travails the couple must endure before they can achieve happiness. In sentiment it is of its own era and not of ours, but stylistically the work is highly accomplished and one can understand why it achieved such renown in the early 19th century. A year after the death of the poem’s lovely young author in 1810 a new edition of Psyche, along with some of her other verses, was published and this helped to cement Mary Tighe’s fame across Europe.
Mary Tighe spent the final months of her short life at Woodstock which belonged to her brother-in-law William Tighe. Wonderfully located on high ground above the village of Inistioge and the river Nore, the house dates from around 1745 and is believed to have been designed by the architect Francis Bindon for Sir William Fownes. Its north-east front of six bays and three storeys over part-raised basement is notable for having an elaborate central doorway comprising the door itself and two flanking windows immediately above which is a niche which originally contained a life-size statue, and an oculus over that again. So deep is the building that it has a small inner courtyard to light the central rooms.
Woodstock was inherited by Sir William Fownes’ grandson William Tighe and c. 1804 he was responsible for adding the flanking single-storey wings with pedimented breakfronts, the designer of these being local architect William Robertson. The interior was especially noted for its fine library and a couple of old photographs show ceilings with elaborate rococo plasterwork. The main hall contained a white marble figure representing Mary Tighe carved by the Tuscan Lorenzo Bartolini some five years after her death. This has gone but her mausoleum survives in the graveyard attached to the former Augustinian priory of St Columbkill is Inistioge. Inside the severe neo-classical limestone structure is another life size figure carved by the English sculptor John Flaxman and showing the recumbent poet with a small winged figure – Inspiration perhaps? – crouching beside her head.
Set on sloping ground, the gardens of Woodstock were originally laid out in the ‘natural’ style popularized by Capability Brown. However they were transformed in the middle of the 19th century by Lady Louisa Tighe, wife of another William Tighe; Lady Louisa was the daughter of the fourth Duke of Richmond and therefore the great-niece of the Lennox sisters who made such an impact on Ireland during the previous century (as anyone familiar with Stella Tillyard’s 1995 book Aristocrats will remember). Late in life, Lady Louisa who was born in 1803 recalled attending her mother the Duchess of Richmond’s legendary ball in Brussels, held three days before the Battle of Waterloo: ‘I well remember the Gordon Highlanders dancing reels at the ball. My mother thought it would interest foreigners to see them…some of the poor men who danced in our house died at Waterloo.’ (A piece of trivial information: four years after Waterloo, the Duke, by then Governor General of Canada, was bitten by a pet fox and subsequently died of rabies.)
Working with her then-head gardener Pierce Butler, Lady Louisa’s interventions at Woodstock were extensive, beginning with a series of three terraces to the immediate west of the walled garden. The middle of these three was aligned to the south with a large circular conservatory designed by the Dublin iron master Richard Turner. This work completed and Pierce Butler having died, Lady Louisa then embarked on another major project with her new head gardener Scotsman Charles McDonald: the creation of a winter garden to the immediate rear of the house. Consisting of four sunken panels each filled with elaborately planted parterres, its creation involved the removal of more than 200,000 cubic yards of soil and the building of massive granite embankments. Extant photographs indicate the style of these gardens to be of the kind now found only in municipal parks, with lines of bright bedding plants and even at Woodstock pathways of different coloured gravel. Less lurid elements elsewhere in the demesne included an arboretum, yew walk and rose garden, Monkey Puzzle and Noble Fir avenues, a grotto, rustic summer house and various other features.
Lady Louisa and William Tighe had no living children and although she remained in residence at Woodstock until her death in 1900 the estate passed to her husband’s nephew Frederick Tighe who in turn left it to his son Edward. Perhaps because Lady Louisa continued to live in the house, this branch of the family spent less time at Woodstock and once the War of Independence broke out the Tighes brought the house’s more valuable furniture and pictures to England. It proved a judicious move since the building was occupied first by members of the hated Black and Tans and then by the Free State Army. The latter left Woodstock on July 1st 1922 and the following day it was set alight, most probably by anti-Treaty forces. All the remaining contents, including the library and Bartolini’s statue of Mary Tighe, were destroyed in the blaze. It was, like so many similar occurrences of the period, an entirely gratuitous act of vandalism that did nothing other than rob Ireland of another part of her cultural heritage.
Woodstock has stood a ruin ever since, its external walls now needing support if they are not to fall down. In recent years Kilkenny County Council has undertaken extensive restoration of the gardens which are open to the public and much prized. The pity is that the once splendid house which was their centerpiece and source of meaning provided should remain a hollow shell. If only in memory of the poet Mary Tighe, Woodstock deserves better than its present condition.
*From the first Canto of Psyche.
A new biography of Mary Tighe by Miranda O’Connell has just been published by the Somerville Press.