A fine five-bay townhouse on the Doneraile Road in Castletownroche, County Cork. Of two storeys over basement, this is the end of a terrace of such buildings on the street dating from c.1810 and distinguished by their handsome doorcases and wide roof eaves. Unfortunately in this instance the property’s condition suggests it may also soon be the end of the line here.
A few miles off the coast of north Dublin lies Lambay Island, extending to almost 600 acres and at its highest point rising some 416 feet. In 1904 the island was bought for £5,250 by Cecil Baring, later third Lord Revelstoke, a scion of the English banking family. As is well known, some years earlier Baring had created a stir in Anglo-American society by eloping with Maude Lorillard (whose father created Tuxedo Park in upstate New York) then wife of a business partner. Under these circumstances, it is understandable the couple welcomed a retreat on Lambay, although conditions when they first arrived there were primitive. The main accommodation consisted of a small stone blockhouse likely built in the fifteenth century to deter pirates but by the early 1900s occupied by lifestock. Bad storms in the year immediately previous had devastated the surrounding woodland, making the building even more inhospitable. Accordingly in 1905 the Barings commissioned the architect Edwin Lutyens to overhaul and extend the entire site. The original block is constructed from an indigenous blue-green porphyry flecked with feldspar crystals: this was retained for the newer sections but cut limestone used for window and door cases. Lutyens’ additions are wonderfully sensitive, respectful of what was already there, gracefully understated yet still able to make a powerful impression. The old building was extended and a new, larger wing added but set into rising ground so that it does not overwhelm: as though to maintain their separate origins, the two sections are linked internally only by a ground-level passage.
Lambay’s quay lies on the western side of the island, close to which are a line of cottages and another, larger residence known as the White House, as well as an open air tennis court and, further away, a small chapel. Access to the main house, Lambay Castle is reached after a short walk across a meadow. One then reaches a pair of oak gates set into a stone encircling rampart. There was always some kind of defensive wall here, but Lutyens raised its height to create a battlemented walkway around which one can perambulate. The ramparts also provide shelter against the elements, necessary in such an exposed site, and they have allowed trees and vegetation to flourish within the enclosure more successfully than would probably otherwise have been the case. Within the walls and to the left is a large altar-tomb, again designed by Lutyens and erected by Cecil Baring to the memory of his wife following her early death in 1922. The other side of this section of the enclosed garden is mostly a plantation of trees serving as a further protective belt against high winds. This means that behind the main house there can be spacious lawns and, to the south, a walled kitchen garden.
East of the old house Lutyens not only added additional accommodation but also a series of service and farm buildings. Lying immediately adjacent to the property, these might be intrusive but their impact has, once more, been softened by clever landscaping. Here the architect worked with his frequent collaborator, garden designer Gertrude Jekyll. Together they devised a series of compartmentalised spaces beginning with a courtyard, once more accessed via a pair of oak gates, that leads up to the front of the old building. A stone path runs through the lawn and is in turn bisected by a narrow water course with small pools at either end. To one side another gateway opens into a further courtyard with views of the extension unobtrusively tucked behind terraced beds and flights of stone steps. So it goes on, with one space gracefully giving way to the next, none especially large, all complementing what has gone before, and what will come after. The planting in each case is slightly different but the entirety conforms to an observation made by Lutyens at the time that, ‘a garden scheme should have a backbone, a central idea beautifully phrased. Every wall, path, stone and flower should have its relationship to the central idea.’ More than a century after its creation, Lambay Island retains the same beautiful phrase, as clear and as welcome as when first uttered.
The remains of the old church at Ballykelly, County Derry, a building which suffered from successive assaults – it is known to have been badly damaged in both the 1640s and the 1690s – but continued to be used for religious services until 1795 when a new church was built not far away. Internally its most significant remaining feature is the sandstone semicircular arch presumably added in 1719 when the church was extended by the addition of a chancel. More peculiarly in 1848 the south wall of the church was taken down to accommodate one end of a large neo-classical mausoleum dedicated to the Cather family, with its oversized anthemion acroteria at each corner. Unfortunately this monument’s poor condition suggests it could soon go the same way as the adjacent ruined church.
Increasing study of country houses, here and elsewhere, has led to better understanding of these properties’ decorative histories. Almost without exception the process has been one of consistent change as successive generations adapt buildings for their own specific needs and uses, and reflect differences in taste. There can be no absolutes, nor notions that a particular style of decoration is ‘right’, only a willingness to respond to the present while respecting the past. Above is a view of the dining room in Borris, County Carlow as it was until recently, and below a view of the same room as it is now. A new wall colour and a re-hang of pictures has brought forth another aspect of the space’s character.
The breezy call of incense-breathing morn,
The swallow twittering from the straw-built shed,
The cock’s shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.
Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke;
How jocund did they drive their team afield!
How bowed the woods beneath their sturdy stroke!
The boast of heraldry, the pomp of power,
And all that beauty, all that wealth e’er gave,
Awaits alike the inevitable hour.
The paths of glory lead but to the grave.
As mentioned in the last post, when the Musgraves gave up living in the old tower house and its additions at Tourin, County Waterford, they moved into a new residence on higher ground. Dating from the early 1840s the house’s rendered exterior, its design sometimes attributed to local architect Abraham Denny, is relieved by wonderfully crisp limestone used for window and door cases, quoins, pilasters, cornice and stringcourse . Here is the garden front, centred on a single storey bow.
Seen across a sea of buttercups, the tower house known as Tourin Castle, County Waterford. The building is believed to date from the mid-15th century and was long occupied by members of the Roche family who some 200 years later added a more modern residence at right angles to the older. This e-shaped house with gable-ends and tall chimneys was acquired by Sir Richard Musgrave in 1778 and his descendants continued to live there until c.1840 when they moved to a smart Italianate villa some distance away possibly designed by Waterford architect Abraham Denny. The tower house has remained empty since then.