The glebe house at Killeevan, County Monaghan: the church where its occupant would have taken services stands close by. The core of clerical residence is believed to date from c.1800and the handsome bow certainly suggests an early 19th century date. It was described by Samuel Lewis in 1837 as a ‘neat building’ but sadly that is no longer the case, despite the structure being listed for protection.
In his Topographical Dictionary of Ireland (1837), Samuel Lewis wrote that the ‘noble mansion’ at Newbridge, County Dublin was said to hold ‘several valuable paintings by the old masters, which were collected on the continent by the Rev M. Pilkington, author of the Dictionary of Painters, who was vicar of this parish; the drawing room contains several of the paintings described by him.’ The cleric mentioned here was Matthew Pilkington, born in King’s County (now Offaly) in 1701 and ordained a deacon in the Church of Ireland twenty-two years later. His was likely not a very profound vocation, but a position in the established church offered career advantages of which he intended to take advantage. Initially all went well. In 1725 he married the well-connected Laetitia van Lewen, as diminutive – but also as witty – as her husband, and the couple became friends with the likes of Jonathan Swift and Patrick Delany. Through the former Pilkington secured the position of Chaplain to the London Mayor of London and so moved to the other side of the Irish Sea. However in London he antagonized potential supporters and was imprisoned two years later. On returning to Dublin, he then became estranged from his wife and the couple was eventually and scandalously divorced in 1737: just over a decade later Laetitia Pilkington published her entertaining memoirs, from which her former husband emerges in a poor light. Ultimately he recovered his social position thanks to the patronage of Charles Cobbe, Archbishop of Dublin who offered Pilkington the living of Donabate and Portraine next to Cobbe’s newly completed seat at Newbridge. As mentioned by Lewis, it is believed that Pilkington travelled to mainland Europe to buy paintings for the house and that this in turn would have informed the work by which he is remembered: The Gentleman’s and Connoisseur’s Dictionary of Painters, the first such book published in English. It appeared in 1770, four years before the author’s death.
The greater part of Newbridge was built between 1747 and 1752 to the designs of Scottish-born architect James Gibbs, his only known work in Ireland. The following decade a large drawing room was added to the rear of the house. In 1755 Archbishop Cobbe’s son and heir Thomas married Lady Elizabeth Beresford, youngest daughter of the first Earl of Tyrone, and sister of the first Marquess of Waterford, and space was needed for the young couple and the art collection being assembled for the family by Matthew Pilkington. The architect on this occasion was a local man, George Semple who had already overseen the erection of Newbridge. Semple initially proposed adding a pair of wings to the south-facing façade but in the end the decision was taken to construct a single large drawing room/picture gallery to the rear of the house, taking the space previously occupied by a pair of small offices. As has been noted by Julius Bryant, to preserve homogeneity of style within the building Semple used Gibbs’ 1728 Book of Architecture as a source for the design of doorcases and chimney pieces, the former immediately apparent at the entrance to the room from the adjacent antechamber. Running some 45 feet in length, the space has a ceiling featuring ‘a sea of scrolling leaves and floral garlands encircled by dragons and birds fighting over baskets of fruit.’ This work is believed to have been undertaken by stuccodore Richard Williams, a pupil of Robert West: the Newbridge accounts for this period include seven payments to ‘Williams ye stucco man.’
A drawing of the Newbridge drawing room dated c.1840 and attributed to Frances Cobbe shows the room as it looked following a refurbishment of the space two decades earlier. In 1821 payments for furniture were made to Woods & Son, and to Mack, Williams & Gibton of Dublin, who were also paid for curtains in 1828. The carpet, by Beck & Co. of Bath was supplied in March 1823 for £64 and 18 shillings, while the crimson flock wallpaper and matching border came from the Dublin firm of Patrick Boylan. The present arrangement of paintings, the greater part of them collected during the previous century by Archbishop Cobbe and his son and daughter-in-law, dates from the same period. Towards the end of the 19th century, Frances Cobbe called the drawing room ‘the glory of the house. In it the happiest hours of my life were passed.’ She remembered the room as assembled by her parents. Some of the collection had been sold in Dublin in 1812, and in 1839 two key paintings, by Hobbema and Dughet, were sold to pay to fund the construction of some 80 estate workers’ cottages. In November of that year, then owner Charles Cobbe (father of Frances) wrote in his diary, ‘I have filled up the vacancies on my walls occasioned by the loss of the two pictures which have been sold, and I felt some satisfaction in thinking that my room (by the new arrangement) looks even more furnished than before.’ Such is still the case today. In 1985 Newbridge passed into the hands of the local authority, now Fingal County Council, which has been responsible for house and estate ever since. However, Alec Cobbe artist, designer and musical instrument collector, who grew up in the house continues to be devoted to the building. He has valiantly undertaken successive projects to preserve and conserve the interiors, not least the drawing room. As a result today, as noted by Bryant, this gorgeous space today ‘provides a rate opportunity to study an Irish collection in its historic context.’
The fine limestone doorcase of Lissanisky, County Tipperary where a recent contents sale was held. Its name derived from ‘Lios an Uisce’ (meaning Fort of the Water), the house is believed to date from the 1770s and is typical of gentry residences in this part of the country, being tall and narrow, of five bays and three storeys over raised basement: the breakfront centre bay rises to a shallow pediment. In the mid-19th century it was the residence of the Hon Otway Fortescue Graham-Toler, son of the second Earl of Norbury whose murder in 1839 was mentioned here recently (see In Limbo, April 23rd 2018). Whoever now acquires Lissanisky will need to undertake some restoration since, despite being listed, the building has undergone unsympathetic alterations, not least rampant insertion of uPVC windows.
From across the river Shannon, a view of the castle erected on the site of an earlier Viking settlement in Limerick city during the opening years of the 13th century. Built at the order of King John, its purpose was to protect this part of the country from incursions by Gaelic clans to the west. This part of Limerick, King’s Island, accordingly came to be known as ‘English Town.’ In the mid-18th century an infantry barracks was installed inside the castle, resulting in the demolition of its eastern side so that more accommodation could be constructed. In turn, during the last century the local corporation demolished the barracks and erected municipal housing inside the complex. In turn this was pulled down and the inevitable glass-box ‘interpretative centre’ installed in its place.
From The Irish Times, March 7th 1923: ‘Wilton Castle, the residence of Captain P.C. Alcock, about three miles from Enniscorthy, was burned by armed men on Monday night. Nothing remains of the beautiful building but smoke-begrimed, roofless walls, broken windows, and a heap of smouldering debris. The Castle was occupied by a caretaker – Mr. James Stynes – the owner, with his wife and family, having gone to England about a year ago. Shortly after 9 o’clock on Monday night the caretaker was at the Steward’s residence…when he was approached by armed men, who demanded the keys to the Castle. When he asked why they wanted the keys, one of the armed men said: “We have come to burn the place. We are sorry”. The raiders told the caretaker that he could remove his personal belongings from the part of the Castle that he occupied, but they would not allow him to remove the furniture. Fearing that the Castle might be burned, however, Captain Alcock had removed the most valuable portion of his furniture some weeks ago, but a good many rooms were left furnished. When the caretaker had removed his property he was ordered back to the Steward’s house. Soon the noise of breaking glass was heard. It appears that the armed men broke all the windows on the ground floor, and having sprinkled the floors with petrol, set them alight. They did not hurry over their work of destruction, and they did not leave the Castle until near 12 o’clock, when the building was enveloped in flames. About thirty men took part in the raid. After the raiders left, the caretaker and Steward, with what help they could procure, tried to extinguish the flames, but their effort was hopeless’.
As seen today Wilton Castle, County Wexford dates from the mid-1830s when designed by Daniel Robertson for Harry Alcock. His great-great-grandfather, William Alcock, whose family were said to have settled in County Down in the 12th century, had bought the estate on which the house stands in 1695. Prior to that the place, originally known as Clogh na Kayer (The Castle of the Sheep), had been owned first by the de Denes and then a branch of the Butlers before being briefly in the possession of the Thornhills who had come to Ireland with Oliver Cromwell’s army. William Alcock built a new residence for himself on the site of an old castle, and this was occupied by his descendants for several generations. A handsome classical doorcase of granite with segmental pediment above fluted pilasters survives on the façade of the former steward’s house at Wilton to indicate the appearance of the original Alcock house, dismissed by Martin Doyle in his 1868 book on the county as being ‘in the dull style of William and Mary.’ Although the youngest son of the family, Harry Alcock inherited this property as all his brothers died unmarried. Famously one of them, William Congreve Alcock was involved in the last duel fought in County Wexford: this took place during the election campaign of 1807 when he shot dead one of his political opponents, John Colclough. Alcock was subsequently tried for murder and although acquitted lost his reason and spent the final years of his life in an asylum.
Wilton Castle may incorporate portions of the earlier house: the large slate-covered block to the rear, facing south-west and on land that drops steeply to the river Boro, looks as though it might predate the front section. Robertson’s design, surely one of his very best, is rich in detail, not least the main entrance where a neo-Tudor doorcase with hooded moulding stands beneath a double-height oriel window. This is flanked by projecting three-storey towers that to the right being extended by a great square tower with two stone balconies, one above the other. The roofline is dominated by castellation carried on projecting corbels, above which rise the chimneystacks with octagonal shafts. To the south-east the building is considerably extended by a two-storey former service wing, almost as substantial as the main block. This part is dominated by a three-storey octagonal tower with a smaller turret above. Deliberately intended to evoke antiquity and encourage belief in the long lineage of the Alcock family, Wilton is surrounded by a pseudo-moat so that the forecourt must be reached via a bridge. In Houses of Wexford (published 2004) David Rowe and Eithne Scallan wrote that ‘this superb example of neo-Tudor architecture awaits some very rich man to restore it.’ However, just at that date the building’s owner, dairy farmer Sean Windsor whose grandfather had once been the Alcocks’ estate steward, pluckily embarked on a programme of conservation work at Wilton. Initially this involved clearing the site of vegetation and taking care of the stonework. More recently he re-roofed and fitted out the southern section of the castle and for the past three years has been renting this for weddings and short-term lets. An admirable initiative and one that other owners of historic ruins might like to consider emulating.
Opposite the main entrance to Dunsany Castle, County Meath stands this wayside cross, a rare surviving example of religious veneration once common across the country. Usually located independent of church buildings, these crosses offered Christians an opportunity to recall their faith as they went about the day. This one is believed to date from the late 16th or early 17th century. On a stepped rectangular podium, the limestone shaft is wrapped by a collar before the upper section carries a depiction of the crucifixion below a winged ox, the symbol of St Luke the Evangelist.
A temple in what was once part of the demesne at Santry Court, County Dublin. The main house here was built c.1703 for Henry, third Lord Barry of Santry, scion of the ancient Cork family, who laid out classical gardens around the building. The latter, of red brick with stone facings and with an entrance approached via a long flight of steps, was extended by the addition of wings on either side probably undertaken by the fourth and last Lord Barry of Santry. He is better remembered today for killing a manservant, Laughlin Murphy, while drunk in September 1738. Subsequently tried by his peers and found guilty of murder, he escaped execution thanks to a royal pardon granted in 1740 and moved to England where he died eleven years later. Having no direct male heirs (although his unfortunate widow lived on until 1816), his Santry estate passed to cousins, the Domvilles who remained in possession of the property until the last century. It subsequently came into ownership of the Irish state but suffered from neglect and was gutted by fire in 1947, the ruins regrettably being demolished in the late 1950s: a short film on youtube (https://www.youtube.com/watch?v=aw7Nb9tKcFI) shows a family visiting the shell of the house. While the greater part of the demesne is now covered in housing, a little over 70 acres of the old demesne still survives as a public park.