Further to Monday’s post about Drumcondra House, Dublin, here are portraits of the two men discussed. Above is the funerary monument to Marmaduke Coghill erected in the adjacent church by the deceased’s sister Mary. It was carved by (and bears the signature of) the Flemish sculptor Peter Scheemakers who was based in London: this work seems to have been his most important Irish commission, aside from a series of fourteen busts which can be seen in the Long Room of the Old Library, Trinity College Dublin. Clearly proud of her sibling, Mary Coghill made sure his extensive list of achievements and virtues were recorded on the substantial base below the central figure. Meanwhile in the entrance hall of Castletown, County Kildare can be seen this portrait of the Florentine architect Alessandro Galilei, responsible for the initial design of the house, and perhaps of Drumcondra House too. Painted by Giuseppe Berti in 1735, it shows Galilei seated before an open window through which can be seen the façade of San Giovanni in Laterano which he had designed three years earlier: plans for it can also be seen below his left hand.
In May 1717 Robert, first Viscount Molesworth wrote from England to his wife Letitia with advice of a planned return to Ireland and the fact that ‘I will carry with me the best architect in Europe.’ The latter was a young Florentine, Alessandro Galilei (1691-1737) who had been brought to London in 1714 by Lord Molesworth’s eldest son John, for the previous three years British Envoy to Florence. It was presumably there that he met Galilei and when Molesworth was recalled to London, he invited the architect, then aged 23, to accompany him with the expectation of commissions from English clients. The Molesworths, père et fils, were key figures in a group of enthusiastic cultural patrons described by the viscount as the ‘new Junta for Architecture.’ Their mission: to reconfigure architectural design on these islands in the neo-classical style, or what one of them called ‘Grecian & best taste’. Although Galilei spent four years in England, with a six-month interlude in Ireland in 1718, and despite backing from the Molesworths and other members of their circle, he achieved almost no success: for example, he made designs for new churches then being commissioned in London but none of them was executed. Similarly, despite being recommended by Lord Molesworth to design St Werburgh’s in Dublin in 1715, he did not get the job: the viscount later wrote that those behind the commission were ‘uncapable of comprehending what an artist Galilei is’. The fact that he was a Roman Catholic is thought also not to have helped his cause. Understandably in August 1719 he returned to Florence, where he was created Engineer of Court Buildings and Fortresses by the Grand Duke of Tuscany. Despite further importuning from the Molesworths and others, he never returned to this part of the world. In 1730, the Florentine pope Clement XII invited him to Rome where his best-known work, the façade of San Giovanni in Laterano (1732) can still be seen: he died in the city five years after its completion.
Marmaduke Coghill was born in Dublin in 1673, eldest son of Sir John Coghill, Judge of the Prerogative Court and one of the Masters in Chancery. Marmaduke was something of an infant prodigy, entering Trinity College at the age of fourteen and graduating as a Bachelor of Law four years later. At 19 he was a member of the Irish House of Commons, sitting for the next 50 years first representing the Borough of Armagh and then Dublin University. In due course liken his father before him he served as a judge of the Prerogative Court and later became Chancellor of the Exchequer in Ireland. He was described by a contemporary as being ‘a zealous and active friend, and of an engaging and affable manner, but he was not blessed with good looks’ (another account called him ‘a fat apoplectic looking old gentleman with short legs and a shorter throat’).
Following his father’s death in 1699 Marmaduke Coghill inherited land on the outskirts of Dublin, in an area called Clonturk but now known as Drumcondra. Initially he lived there in an extant house which still stands, Belvedere (or Belvidere), of which more on another occasion. However, in the early 1720s he embarked on building a new residence not far away, Drumcondra House. Here he lived with his sister Mary, like him unmarried, until his death in 1738; five years later she built a church close to the house and inside erected a monument to her brother sculpted by Peter Scheemakers. Following her death, Drumcondra House passed to a niece, Hester Coghill who was married to Charles Moore, Earl of Charleville. The family subsequently rented out the property as a private residence until the early 1840s when acquired by a Vincentian priest who established a Missionary College on the site, All Hallows. A few years ago the property passed into the hands of Dublin City University to become part of that institution’s campus.
So what are the links between Drumcondra House and Alessandro Galilei? As mentioned, the latter had scant success gaining commissions while in either England or Ireland, but the one building with which he has always been associated is Castletown, County Kildare. While Galilei was in Ireland with the Molesworths, he seems to have met William Conolly, Speaker of the Irish House of Commons and the country’s richest man: it was for Conolly that the architect proposed the basic design of Castletown’s façade, although work on the building did not begin until 1722 (by which time Galilei had long since returned to Italy) and is thought to have been overseen by Edward Lovett Pearce. Marmaduke Coghill was a friend and political ally of Conolly, so there is no reason why he should not also have met Galilei and indeed likewise have asked him for advice and designs for his own new residence in Drumcondra. To the immediate east of the main house is the shell of a classical temple (see below), its pedimented stone façade featuring a central doorcase with segmental pediment flanked by windows with regular pediments on either side of which is a pilaster topped with Corinthian capital. The design for this building has long been attributed to Galilei, but why not also therefore the façade of the house which the temple faces? As can be seen by the photograph on the top of this page, it has many of the same features albeit on a larger scale, suggesting that whoever was responsible for one was also architect of the other. As Maurice Craig once wrote of the façade, ‘there is nothing much resembling it anywhere else in Ireland.’ Matters are complicated because the south face of Drumcondra House, altogether more severe and pure (a two-storey pedimented breakfront imposed on the central portion of an otherwise plain, three-storey, seven-bay block) was designed Coghill by Edward Lovett Pearce in 1726. And of course, that was precisely when Pearce was also working at Castletown for Coghill’s friend William Conolly. All of which suggests that Galilei achieved more in Ireland than is usually thought, and certainly more than he ever did in England. Meanwhile, as these other images will show, the interiors of Drumcondra House, currently undergoing a gradual programme of restoration and refurbishment, reveal some of the most intact early 18th century panelled rooms in the country. A building worthy of further study.
The first building seen by visitors to Carton, County Kildare is a boathouse on the north side of the Rye Water. Said to have been constructed in expectation of a visit by Queen Victoria in the mid-19th century, the boathouse makes an excellent first impression, provided not inspected too closely. Look at the other side of the building: here are slates already fallen off the roof, and others on the verge of doing so, allowing rainwater to damage the fabric. Unless necessary repairs are carried out by the hotel owners, the first building seen by visitors to Carton could yet be a ruin.
Set back from Main Street and perhaps the most significant building in Manorhamilton, County Leitrim, this is the former Market House. It dates from 1834 when the design was commissioned by Nathaniel Clements, second Earl of Leitrim from Dublin architect William Farrell. The latter is best known for the many churches he designed across Ulster. The building features crisp sandstone with rusticated groundfloor and a pediment in the tympanum of which are the Clements coat of arms and motto Patriis virtutibus (By Hereditary Virtues).
O’er ruined fences the grape-vines shield
The woods come back to the mowing field;
The orchard tree has grown one copse
Of new wood and old where the woodpecker chops;
The footpath down to the well is healed.
The whippoorwill is coming to shout
And hush and cluck and flutter about:
I hear him begin far enough away
Full many a time to say his say
Before he arrives to say it out.
They are tireless folk, but slow and sad—
Though two, close-keeping, are lass and lad,—
With none among them that ever sings,
And yet, in view of how many things,
As sweet companions as might be had.
Ghost House by Robert Frost.
Crossdrum Lower, County Meath – one of the houses featured in The Irish Aesthete: Ruins of Ireland (Cico Books), now available to order from your favourite local bookshop or online from Amazon…
A pair of angels executed in mosaic line a portion of wall in what was once the chancel of a chapel in St Patrick’s College, Drumcondra, Dublin. Established in 1875 as a Roman Catholic teacher training college, St Patrick’s was once the country’s largest such institution. Its chapel dates from the end of the 19th century when designed by the popular church architect George Ashlin. The lavish interior decoration dates from the early 1900s when a number of different companies worked on the site: the mosaics came from the Manchester-based company of Ludwig Oppenheimer Ltd. Like many other such buildings, this one underwent alterations following the Second Vatican Council, when a new chapel was designed for the college by Andy Devane. Many of the features of the old one were removed (its Stations of the Cross are now in a church in Tullamore, County Offaly) and the space was converted into a reading room. St Patrick’s College is now part of Dublin City University.
Details of a frieze below the cornice in the drawing room of Newpark, County Sligo. The main part of the present house dates from the last quarter of the 18th century when it was built for the Duke family, which had originally settled in this part of the country in the early 1660s. Much of the decoration of the frieze is in typical late-rococo style, garlands of flowers and leaves scrolling across the surface, intermittently interrupted by urns. But references to the family occur, such as the shield featuring a chevron and three birds, and on another section a coronet from which rise three ostrich plumes. The coronet may be a pun on the Duke family name, but more likely represents the coat of arms of Lucinda Parke, wife of Robert Duke who was responsible for the construction of Newpark.
Lough Ree has been mentioned here on a couple of occasions (see With Advantageous Views, September 19th 2018 and Well Lodged, October 15th 2018). The second-largest lake over the course of the river Shannon (and the third-largest lake in Ireland) Lough Ree is some 28 kilometres long and borders on three counties: Westmeath, Longford and Roscommon. Across its length can be found many islands of differing sizes: until the 1950s many of these were inhabited by farmers: the last man to live on a Lough Ree island only died in February 2018. Lough Ree appears on the map derived from Ptolomy’s second century Geographia where it is called Rheba, indicating awareness of its existence beyond the shores of Ireland. Most likely Rheda is a corruption of Rí, the Irish word for King, whence derives Lough Ree. However, while this might be designated the Lake of Kings, for a long time it was better known for the monastic settlements that were once widespread on the islands here.
Inchcleraun derives its name from Clothru, according to ancient legend the sister of Queen Mebh of Connacht: the latter is said to have retired to the island where while bathing she was killed, seemingly by her nephew (the story is exceedingly complicated). A monastery was founded here around the year 530 by St Diarmaid: a little church, the oldest on the site, is known as Templedermot. By the eighth century Inchcleraun was home to a number of religious settlements, but over the course of the next 500-odd years these were subject to repeated attack and plunder. Today there are the remains of some seven churches, the largest of which is called Templemurry: according to old lore, any woman entering this building would die within a year.
Running to just over 132 acres, Inchmore is the largest of the islands on Lough Ree and lies inside the borders of County Westmeath. The first religious settlement here is said to have been made in the fifth century by one St Liberius. However, in the second half of the 12th century, a priory of the Canons Regular of St Augustin was established here: it is the remains of this establishment – perhaps with later embellishments – which can be found on the island today. Like all such houses, the Augustinian priory was closed down in the 16th century, in 1567 Inchmore being granted by the crown authorities to Christopher Nugent, Baron Delvin.
Like Inchcleraun, Saints Island lies inside the boundaries of County Longford but is not strictly an island since a narrow causeway connects it to the mainland. A monastery was established here in the mid-sixth century by St Ciarán who would later go on to found a more famous house at Clonmacnoise. In 1089 Saints Island was attacked and plundered by Murkertach O’Brien and a large number of Danes. However around 1244 Sir Henry Dillon caused the settlement of Augustinian canons in a Priory of All Saints to be settled on the site of St Ciarán’s earlier foundation. As with all other such establishments, it was closed down in the 16th century but the main part of the church with its fine east window, clearly subject to alterations 100-odd years earlier, survives as do a few portions of the priory buildings.
As already mentioned, June 1921 was a particularly bad month for country house burnings in north-west County Cork. One of those then lost was Rye Court, seat of the Tonson Rye family: the Ryes were originally living in Cork city (where one of their number was mayor in 1667 and 1668) but had moved to Ryecourt before the end of the 17th century. There they built a fine house and, at some date in the second half of the 18th century changed their name to Tonson Rye as a result of marriage into another family. Ryecourt looked south over a fine parkland, many trees of which still survive but the building was gutted by fire in 1921 and subsequently demolished (a small house was built inside the adjacent walled garden). Immediately behind the old house stood a courtyard with offices to east and west, and with gates and railings closing its north side: all these survive, albeit in poor condition, as can be seen here.
During Ireland’s War of Independence, more country houses were burnt in County Cork than in any other part of the country. June 1921 saw a particularly extensive outbreak of arson attacks on such properties in the north-west of the county, one such house being Warren’s Grove. As its name indicates, this belonged to the Warren family whose main residence a few miles away bore the equally imaginative name of Warren’s Court. More is known about the history of the latter than of Warren’s Grove, which seems to date from the early 19th century. In 1837 Samuel Lewis listed the property as belonging to John Borlase Warren, a younger brother of Sir Augustus Warren, third baronet. Following Sir Augustus’ death in 1863 without a direct heir, Warren’s Court – and the baronetcy – was inherited by the now-Sir John Borlase and, following his own death less than eight months later, his eldest son, another Sir Augustus. Accordingly Warren’s Grove became a secondary residence for the family. It was burnt by the IRA in mid-June 1921, along with Warren’s Court (and another Warren property in the same part of the world, Crookstown House). Warren’s Court was subsequently demolished, but the shell of Warren’s Grove still stands, the outbuildings in a courtyard to the rear of the house having been converted of late into holiday accommodation.