Leading to Ruin



The main entrance to Oaklands, County Tipperary, a house built in the late 18th century. Centred on fine rusticated limestone gateposts, the walls curve outward to a pair of lodges. That on the right retains what is likely to have been the original form of both, single storey with a pedimented façade featuring windows on either side of a doorcase slightly recessed inside an arch. At some date the lodge on the left was enlarged, and given a hodge-podge of decorative details including Doric pilasters and Tudoresque mouldings above the windows. All now derelict, like the house to which these gates once gave access.



More on Oaklands next Monday.

Distinctly Diminutive


The south lodge at Berkeley Forest, County Wexford. Dating from c.1800 it is in Georgian Gothic form and once featured a doorcase (now blocked up) between the two lancet windows with granite surrounds. The other side of the house, which just has two windows, gives an idea of this building’s diminutive proportions.

Faith of our Fathers


‘St Patrick’s, Ardragh, County Monaghan – This church, or rather part of a church, has just been consecrated and has been built by Mr. E.P. Shirley from Messrs. Slater and Carpenter’s designs. It is a simple oblong building, with an apsidal sanctuary opening out of it by an arch at the east end. The whole is to form the chancel of a much larger church, but for the present it will be used for the parishioners. It is four bays in length, and has lancets moulded on the inside. The chancel arch is built up in the west wall, and encloses a traceried rose-window, with a temporary door and porch under. The roof is of timber, with arched principals. The sanctuary is apsidal, with a moulded lancet in each side. The roof is of solid stone, arched on the inside and weathered on the outside.’ (The Builder, 9th January 1869).




St Patrick’s, Ardragh was built on the initiative of Evelyn Philip Shirley, owner of the Lough Fea estate some six miles to the south-west of the church. It has been proposed that the building was, at least in part, intended as a mortuary chapel for the family, since a vault was placed beneath the sanctuary but this was more likely due to the fact that the ground outside drops steeply at this point. Just as significantly, neither the building’s first patron, nor any of his descendants, have been buried in the church, making the argument for the building being their mortuary chapel even less likely. On the other hand, it does appear that the initial plan was for a much larger church, of which the present one would have served only as chancel and choir, but the reality of attendance numbers at Church of Ireland services probably put paid to that idea. In any case, a foundation stone was laid here in November 1865 and work on the site began the following May, the church being consecrated in October 1868. Designed by London architect William Slater (who specialised in such religious buildings), it is situated amid a grove of beech trees on a rise, so that the church can be seen from some distance. The exterior takes the form of a four-bay gabled hall with a bellcote above the western gable front and a polygonal apse at the east end with an ashlar roof, which, as has been often noted, looks like a miniature baptistery. The four drop arched lancets of the nave are framed between off-set buttresses which continue around the chancel. While locally-quaried limestone was used for the main body of the building, a pinkish sandstone was employed for decorative features such as the window surrounds (linked by bands in the same material) and quoins on the buttresses and little entrance porch. In addition to the bellcote, the roofline also carries a slender round chimneystack in the north-west corner.



The interior of St Patrick’s reflects the simplicity of its exterior, although a key feature has since been lost. As originally decorated, the walls of the apse were lined in blue and red alabaster mined from a quarry on the Shirley estate and worked by the Dublin firm of Sibthorpe & Son; this has since been removed owing to incursion of damp. Alabaster from the same quarry can still be seen in the shafts of the columns of the chancel arch. These terminate in carved capitals of stone from Lough Fea, also used for the surrounds of the windows and western door. The windows throughout the church were made by the London firm of Clayton & Bell, those on the north and south sides simply decorated with shamrocks, roses and acorns, those in the chancel showing Christ as the Good Shepherd, the True Vine and the Light of the World, while the small rose window at the west end contains scenes from the life of St Patrick. The chancel floor carries Minton tiles showing the various Shirley coats of arms. Architect William Slater was also responsible for designing the furnishings, not least the reading desk of blue alabaster, its front carved into multiple panels containing shamrocks. Note too the octagonal baptismal font of Caen stone with more alabaster for inlays and Connemara marble for the shafts. St Patrick’s remains beautifully maintained to the present time, and still in use for services.




Text here…

 

On the Ball II


Today surrounded by architecturally inconsequential housing estates, this is Ballsgrove, built on raised ground overlooking Drogheda, County Louth. It was built as a country villa by George Ball, member of a family which had been prominent merchants and citizens of the town since the 14th century, although they also owned an estate called Ballygall near Glasnevin, Dublin. This was sold by George Ball in 1725, the proceeds seemingly being used to pay for the construction of Ballsgrove. Facing west, the house is of five bays and two storeys over raised basement. At some date in the 19th century the rear was given single-storey canted bays. These have castellations, as does the the little octagonal pavilion built on the south-east corner seen below.

On the Ball I


Now marooned on a bend in the riverside Ring Road of Drogheda, County Louth, this was formerly the entrance to the Ballsgrove estate. Dating from 1804 and taking the form of a triumphal arch, the limestone carriage arch is flanked by narrow pedestrian gates separated from above oval niches above by a Greek key impost course. In the tympanum of the pediment is the Ball family coat of arms. George Ball was responsible for erecting this entrance but it was his grandfather, also called George Ball, who built Ballsgrove, sometimes also called The Grove (altho’ a plaque in the wall here calls it The Ball). The latter was also responsible for laying out fine terraced gardens, which were sometimes open to the public. In 1752 Mrs Delany visited the site and reported in a letter, ‘You wind up a very steep hill (which otherwise would be insurmountable) planted with trees – some in walks, others in groves, so that part of it looks like a thick wood – on the top is a long level walk with old trees on each side of it, and at the end a pretty, clean house and spruce garden full of flowers, which belongs to Mr Ball, who is so obliging to the town as to permit that fine walk to be a public one, and it is the Mall of Drogheda. The view from it is surprisingly beautiful. At the foot of this fine hill winds the River Boyne.’ All a far cry from present circumstances here.

The Wily Foxes





The Fox family of County Longford were of ancient origin, their name being Ó Sionnaigh before it was anglicized. In the 11th century Tadhg O Catharnaigh (Kearney) was Chief of Teffia in Co. Meath and as a result of his wiliness came to be known as ‘An Sionnach’ – The Fox. His descendants kept the title, and eventually gained control of the Barony of Kilcoursey, County Offaly, the head of the family continuing to be known as The Fox. Among these descendants was one Patrick Fox, who appears to have been based in Dublin in the late 16th century when he worked closely with English government forces and as a result managed to secure lands in what is now County Longford which had hitherto belonged to the O’Farrells. On his death in 1618 he passed the estate to his eldest son Nathaniel, then aged 30, who built a house there, seemingly incorporating parts of the old O’Farrell castle of Rathreagh. This residence was called Foxhall.
Close to the house at Foxhall, Sir Nathaniel Fox erected a small church, now roofless and in poor condition, the south wall of which is dominated by his tomb (he died in 1634). This wonderful monument takes the form of a limestone altar tomb on which can be seen the reclining figure of Sir Nathaniel, garbed as a knight in full armour lying on his side: the head, right hand and left leg of the effigy are long gone, so that just the truncated torso and thigh remain. An orb and skull can be seen at his feet while what remains of his right arm rests on a tasselled cushion. On either side of the effigy are paired Ionic pilasters supporting an arch on which rest sphinxes. Winged putti can be seen within the arch above which is an entablature with obelisks and elaborate scrollwork. A panel above Sir Nathaniel contains the Fox coat of arms, and below two shields is a Latin inscription which translates as follows: ‘Here lies Nathaniel Fox, of Rathreagh, founder of this church, eldest son and heir of Patrick Fox of Moyvore in Co. Westmeath, who had as wife, Elizabeth, daughter of Walter Hussey of Moyhussey Knight. By whom he had 8 sons and 5 daughters, of whom 8 sons and 3 daughters survived. Patrick, son of the aforesaid Nath., sole heir, had as wife, Barbara, daughter of Lord Patrick Plunkett, Baron of Dunsany. The same Nath. and Elizabeth, lived for 25 years as man and wife, and he died at Rathreagh,2nd of Feb. A.D. 1634, aged 46.’ The entrance to the church at the west end is through a fine cut-limestone classical doorcase with a plaque noting that the building was enlarged and restored in 1772. Presumably this work was undertaken by Francis Fox of Foxhall who in 1759 married Mary Edgeworth of Edgeworthstown, linking the two families. This connection was further strengthened in 1824 when their grandson, Major Barry Fox married Mary Edgeworth’s great-niece Sophia, half-sister of writer Maris Edgeworth.





Writing of Foxhall in July 1797, Maria Edgeworth noted that ‘The house is partly an old castle, and the place quite out of order, run to ruin during [Mr Fox’s] two year absence with his regiment of Militia, besides it rained the whole time we were there and the prospect is bounded by black bogs.’ The Mr Fox to whom she here refers was the aforementioned Francis Fox, Colonel of the Longford Militia. One must presume that the condition of the house improved as three years later Maria Edgeworth again wrote to one of her siblings, ‘We – that is my father, Mrs E, Charlotte and Maria are just returned from Foxhall where we have been dining and making merry with excellent raisin wine and walking and seeing the monument and statue recumbent of that valiant knight Sir Nat Fox who has a one foot upon a globe and the other upon a skull.’ Her host Francis Fox had in 1787 married Lady Anne Maxwell, daughter of the first Earl of Farnham. This may be of relevance when one looks at the photograph of Foxhall (the last below), as there are strong similarities between the house and Farnham, the latter remodelled and enlarged from 1802 onwards for the second Lord Farnham (Lady Anne’s brother) to the designs of Francis Johnston (this is even allowing for major alterations made to Farnham in 1961). Both buildings are were of three-storeys and with a three-bay breakfront, the respective owner’s coat of arms being featured in the pediment above. Farnham was certainly larger, suggesting that Francis Fox having found his house, in Maria Edgeworth’s words, ‘run to ruin’ decided to undertake a major refurbishment and to emulate his brother-in-law’s residence. We shall likely never know because the house no longer stands. The last of the male Foxes to live here, Richard Maxwell Fox, died in 1885 and having no living sons the estate was inherited by his eldest daughter Adeline. It would appear neither she nor her two sisters married, and that they preferred to live in England. The greater part of the Fox land having already been sold, the house and demesne went the same way in the 1920s, and the former was eventually demolished by the Land Commission in 1946. The yard buildings, which stood directly behind the house, still survive to give some idea of what the place must once have been like.





Please note: In Ireland, as in so much of the world, a great many buildings are closed to the public at present. On the other hand, locations that are in decay or ruin, and open to the elements are often accessible. As a result, this site is likely to feature many such properties over the coming weeks. The Irish Aesthete apologises, but promises to keep the tone as upbeat and cheerful as possible. 

On a Ridge



What remains of the old church in Dromore (from the Irish for a high ridge), County Tyrone. Perched above the village, the ruins may incorporate a medieval place of worship, which was reportedly burnt in 1641 during the Confederate Wars. The church was then rebuilt in 1694 and remained in use until the early 1840s when a new one was erected on another site. The surviving outer walls are surrounded by old gravestones.


I Invoke Today All These Powers

‘I invoke today all these powers
Against every hostile merciless power
Which may assail my body and my soul,
Against the incantations of false prophets,
Against the black laws of paganism,
Against the false laws of heresy,
Against the deceits of idolatry,
Against the spells of witches, and smiths, and wizards,
Against every knowledge that binds the soul of man…’

Lines taken from the ancient Irish prayer known as St Patrick’s Breastplate. This statue in St Patrick’s Cathedral, Dublin is thought to represent Ireland’s national patron.
The Irish Aesthete sends best wishes to all friends and followers on St Patrick’s Day. Stay safe, stay well.

Saviour Sought



Fruit Hill, Co Wexford recently featured here (see https://theirishaesthete.com/2020/03/07/a-labour-of-love), a sensitively restored house believed to date from the second quarter of the 18th century and notable for being U-shaped with two wings projecting behind the one-room-deep residence with only a narrow passage between them. A similar house stands, just about, in neighbouring County Carlow and is called Mount Pleasant. Mark Bence-Jones’ Guide to Irish Country Houses includes four properties of the same name, but this is none of them. Indeed, little documentation exists about the Carlow house and some of it is erroneous.





Mount Pleasant was built and occupied by the Garrett family. The first of them, James Garrett was the son of a Captain John Garrett, one of five brothers who came to Ireland in the 17th century around the time of the Cromwellian Wars and, like many others, was rewarded for his efforts with a grant of land in County Laois. James Garrett on the other hand settled in Carlow around 1700 when in his mid-20s. He may have been responsible for building a house called Janeville, or it could have been his son whose tomb in the local church refers to ‘the charitable Thomas Garrett of Janeville deceased, Aug.31st, 1759, aged 48 years.’ The same church also contains a monument to another Garrett, the inscription of which runs as follows: ‘Here lie deposited in humble hope of a joyful resurrection the mortal remains of James Garrett, late of Mountpleasant, Esq. – Vain would prove an attempt at panegyric; since no eulogy could do justice to his merits. Reader, wouldst thou be had in everlasting remembrance? Endeavour to emulate his virtues. He departed this life July the 17th, 1818. Aged 72 years.’ Because James Garrett might have been the son of Thomas Garrett, it has often been assumed that the latter’s house, Janeville, was renamed Mount Pleasant by the former, and that they lived in the same property. In fact, this is not the case as Janeville and Mount Pleasant – which is seen in today’s pictures – are different houses, albeit in the same part of the county.





Some four miles apart, Janeville and Mount Pleasant were both once Garrett houses and dated from the early years of the 18th century, but while the first of these is still intact, the second, as can be seen, has fallen into ruin. Stylistically they share similarities, both having five bay facades centred on a granite doorcase with sidelights. Both are also of three storeys, although only two are visible from the front of Janeville which as a delightful Venetian window on the first floor above the entrance. The attic windows can be seen on the double-gabled side elevations. Mount Pleasant, on the other hand, features attic windows on its façade, with a tiny Diocletian window in the centre. And the rear of the building is like that of Fruit Hill, County Wexford, with wings creating a U-shaped house. At Mount Pleasant, the centre of the back evidently had a Gothic arched window, now blocked and the entire west wing was, at some unknown date, allowed to fall into dereliction, the owners only occupying the eastern side of the building. It was sold a couple of years ago, but no work has been done on the property and so the decline continues. However, as Fruit Hill shows, no house is ever beyond redemption; perhaps this one may yet find a saviour.


Charm and Merit



The market house in the centre of Dunlavin, County Wicklow The building dates from 1743 when constructed for local landlord Robert Tynte who was keen to improve the economic prospects of the town. Entirely of granite, the market house is cruciform in shape, the base rising up to a cylindrical tower topped with fluted dome; each of the four corners is occupied by Doric colonnades. Originally the arches around the building were open, but these have since been filled in and today it serves as a library. The market house’s design was attributed by the Knight of Glin to Richard Castle, but Maurice Craig begged to differ, declaring ‘it seems to me for all its charm and merit too clumsy to be the work of an academically accomplished designer.’