The Irish countryside: so littered with the remnants of once-fine houses. Now their walls, if these still stand, are smothered in ivy, their interiors providing a shelter for species of trees and shrubs formerly permitted only in the garden, and a habitat for wildlife which would never have been allowed indoors. Here runs a tumbling line of estate wall, there the suggestion of a former gate lodge, across the fields can be seen the remains of a stableyard, closer to hand lifestock grazes in what was clearly once a landscaped demesne. Until recently, and aided by fictional accounts such as Elizabeth Bowen’s The Last September, a widespread belief persisted that the majority of these properties were burnt during the upheavals of the 1920s. We now know this was not the case, that while a number of significant country houses were destroyed in the course of the War of Independence and subsequent Civil War, many more survived. Their ruin came later, when the Land Commission had taken away the surrounding acreage necessary to sustain their upkeep, when rates grew too high, and the cost of employing sufficient workers too great. Unable to afford maintenance, owners departed their houses, sold up the contents, watched a new owner to remove chimneypieces and other fittings, saw the roof taken off and accepted the inevitable: yet another ruin to add to Ireland’s already substantial number. Such was the fate of Dromdihy, County Cork.
Dromdihy, sometimes called Dromdiah, stands on raised ground with superlative views for many miles north-eastwards as far as the Irish Sea close to Youghal. The original owner was one Roger Green Davis who acted as land agent for Sir Arthur de Capell-Brooke, an absentee landlord. Despite his surname, de Capell-Brooke’s family was actually of Irish origin. The first of their number had probably come to the country with the Normans when they were called de la Chappelle, Des Chapelles or De Capella. This was later hibernicised to Sheapallh and then converted in English to Supple. There were many Supples in East Cork but the majority of them lost their lands during the 17th century. One branch however, through familial association with the Boyles, Earls of Cork and by converting to the Anglican church, retained an estate based around the town of Killeagh. In the mid-18th century Richard Supple married Mary Brooke,of daughter of Arthur Brooke, of Great Oakley, Northamptonshire. In 1797 their son, Richard Brooke Supple inherited the English estate from his great-uncle Wheeler Brooke in obedience to whose wishes he assumed the surname Brooke, at the same time adding the orignal surname of his own family: six years later he was created a baronet. His heir Sir Arthur de Capell-Brooke was an explorer who travelled through Scandinavia and published several books about what he had seen. When not engaged in these activities, he lived in Northamptonshire, hence the need for an agent to look after his Irish estate.
One wonders how much attention Sir Arthur paid to his property in Ireland since Roger Green Davis, who had inherited the position of agent from his own father William, was able to build up a landholding of more than 2,250 acres in County Cork, albeit some of it rented from the de Capell-Brooke estate. Thus the need to build a residence befitting his status, which Dromdihy was intended to proclaim. Completed in 1833 according to Samuel Lewis, the architect responsible for the house’s design is unknown: in some accounts it is attributed to Roger Green Davis. If so, he must have been a man of austere taste since Dromdihy demonstrates a predilection for the most distilled form of neo-classicism. The central block, of five bays and two storeys over basement, is rendered with cut limestone employed for parapets and cornices, quoins and window surrounds, varying treatment of the window’s architraves relieving what might otherwise be a monotonous facade. On either side of this are single-storey wings, that to the left (now entirely submerged in overgrowth) having Doric columns flanking a window and concluding in a bow. At the other end of the building, the wing served as entrance to the house, approached via a flight of steps and accessed through a pedimented portico with four fluted Doric columns, all in crisp limestone. The design is so pared back, so devoid of extraneous ornament, so uncompromisingly faithful to the ideology of Greek Revivalism it might have come from the hand of a Schinkel or von Klenze.
A description of Dromdihy in the 1860s noted that it ‘consists of a centre and two wings, ornamented with Doric columns and with a portico at the eastern end, by the hall is entered, and off which are hot, cold, vapour and shower baths. The first floor comprises five sitting-rooms; on the second floor are four best bedrooms, with dressing-rooms and water-closet…’ Evidently Green Davis spared no expense on the property: it is said that the stone was cut by craftsmen brought from Italy for the purpose. But if the design was admirable, its execution left something to be desired since seemingly from the start Dromdihy suffered from damp, the roof leaking and the interior manifesting both dry and wet rot. Roger Green Davis’ son John, a barrister, sold the place to William Stopford Hunt, an Assistant Land Commissioner and well-known cricketer. At the start of the last century, he had let the place to Lieutenant-General Sir Lawrence Parsons (a cousin of the Earls of Rosse) whose daughter Nora Robertson would later write the memoir Crowned Harp. However Stopford Hunt retained ownership of the estate until he sold up in 1923 at which time the house and surrounding ninety acres were purchased by the O’Mahony family. They ran a manufacturing and timber business on the estate but by 1944 the house was deemed uninhabitable and its roof removed. Dromdihy has been in steady decline ever since, an empty shell high on the rise visible to anyone travelling south from Youghal.