Also in the grounds of St Anne’s, Dublin: the Clock Tower believed to date from 1850. Made of brick and rising four storeys, its ground floor served as the entrance to walled gardens. The clock, made by James Booth of Dublin, has one dial facing eastwards to where the house once stood. There is also a substantial bell inside the tower, inscribed with the name of Benjamin Lee Guinness and his family motto ‘Spes Mea in Deo’ (My Hope is in God).
The Pompeiian temple at St Anne’s, Clontarf, Dublin. This estate was developed by members of the Guinness family around a large house regrettably destroyed by fire in 1943. Its remains were demolished but much of the surrounding parkland was preserved and is open to the public. The temple is one of a number of structures on the site. Of unknown date, but likely to be mid-19th century, it has a broken pedimented façade facing south-east across an ornamental pond. Originally roofed it was used as a tea house from which could be seen splendid views in the distance of Howth and Bull Island.
‘In the autumn of 1868 the late Lord Lansdowne, accompanied by his uncle, the Hon. James Howard, paid a visit of ceremony to the various Irish estates to which he had recently succeeded. After inspecting his property in other parts of Ireland, he came in the month of October to Kerry, travelling via Cahirciveen and Killarney to Kenmare, and finally to Derreen…It was not long after this that Lord Lansdowne became engaged to Lady Maud Hamilton, youngest daughter of the Duke of Abercorn. He soon determined to make Derreen his summer residence, and came over in 1870 to superintend the necessary alterations. In the following year he spent several months with his wife in their new home. Thenceforward a visit to Derreen became an annual affair, looked forward to with eager anticipation by all concerned. But from 1883 to 1894 he was abroad, first in Canada and afterwards in India, as Viceroy, and he was only able to snatch a few weeks in Kerry in 1888 during his few months at home between the two appointments. During his absence in India the place was let to the late Duke of Leeds, for whom as a gardener, a keen fisherman, and a good shot, it held a strong appeal. Meanwhile the new line from Headford to Kenmare had been completed and the drive of forty miles over the mountains from Killarney was shortened to one of seventeen miles on the flat, while the train service had been improved; after 1895 more frequent visits thus became possible.’
‘Derreen had by this time greatly changed from what it was when [historian James Anthony] Froude spent his “Fortnight in Kerry.” The clearing and planting, which had been systematically carried on for twenty-five years, had borne fruit. The scrub of hollies and brambles with which the ground had been for the most part covered had given place to green lawns and winding paths through groves of bamboos, tree-ferns and shrubs of all kinds. The peat bank, from which McSweeny used to draw his household turf, had become a bog garden, and the existence of the numerous small inclosures which constituted the former farm was only betrayed here and there by traces of a bank or ditch amidst the sub-tropical vegetation. Indeed the principal gardening difficulty in Kerry is the rapidity and luxuriance of growth. Shrubs, which in England would take years to make a show, here under the influence of the Gulf Stream soon develop into trees, and many are to be sacrificed if the rest are to have room. When my father first came over, he put in about a hundred plants of hybrid “arboretum” rhododendrons. They grew to such a size that it became apparent they would exclude all light and air from the narrow paths. One by one, they have almost all had to go; of those remaining there are today one or two specimens quite fifty feet in height.’
‘The year 1903 was made memorable at Derreen by a visit from King Edward VII and Queen Alexandra. Their Majesties made in that summer a tour of Ireland, partly in the Royal Yacht and partly overland. The original intention had been that they should come to Derreen by water from County Clare, but weather conditions made this inadvisable, and the journey was eventually made by motor-car. They arrived on the afternoon of July 31. A Union Jack had been floated on the top of Knockatee and a triumphal arch was erected outside the Derryconnery Gate, where an address of welcome was presented by the assembled tenantry. On the lawn in front of the house the children of Lauragh school had been marshalled and they presented a bouquet to the Queen. Then there was a walk around the gardens where two commemorative bamboos were duly planted in the glade now called “the King’s Oozy”. After tea in the new dining room, which had been added to the house that year, the party went down to the pier, where Queen Alexandra was initiated into the mysteries of prawn fishing. The ground had been lavishly baited in advance and the fishing was such a success, that in spite of the obvious impatience of His Majesty, she could scarcely be persuaded to relinquish her net when the hour came for departure.’
It is now half a century since Castletown, County Kildare opened to the public. Constructed during the 1720s as one of our earliest and still greatest extant country houses, the building might have been lost had it not been for the plucky vision of the Hon Desmond Guinness in purchasing Castletown, and then the sterling work of the Irish Georgian Society in undertaking restoration work so that it could welcome visitors. Since 1994 Castletown has been in state ownership and the Office of Public Works, together with the Castletown Foundation, supports an ongoing programme of further improvements to house and contents.
One of the latest projects undertaken inside Castletown has been the conservation of the Red Drawing Room, part of an enfilade on the northside of the ground floor. The design of this space dates from the second half of the 1760s when much work was being undertaken in the house by Tom and Lady Louisa Conolly but the walls were hung in crimson hand-woven damask probably in the late 1860s/early 1870s. An early decision was made not to replace this much-weathered material but to preserve it in situ, carrying out necessary repairs while leaving evidence of age and wear-and-tear. This work is now complete and the room returned to inspection by visitors who will be able to admire a rehang of pictures and other additions to the decorative scheme, not least new curtains of damask woven to match that on the walls. An essay on the Red Drawing Room’s conservation by Christopher Moore is included in Volume XX of the Irish Georgian Society’s Irish Architectural and Decorative Studies journal which has just been published.
All that survives of the former Church of Ireland church in Rathconrath, County Westmeath. According to Samuel Lewis writing in 1837 the building had been erected eighteen years earlier ‘almost on the site of the ancient church’ at the cost of £738, the entire sum being provided by the Board of First Fruits. At that time the living was in the patronage of Brinsley Butler, fourth Earl of Lanesborough who had inherited large estates in this part of the country through his grandmother Jane Rochfort, a daughter of the first Earl of Belvedere, notorious for having locked up his wife for over thirty years after he suspected she was having an affair with his younger brother (who he sued for criminal conversation).
There are always a certain number of country houses on the market in Ireland and such occasions provide an opportunity to inspect properties not otherwise open to the public. At the moment, among the most interesting places for sale is Seafield, located some ten miles north of Dublin. Enjoying the benefits of excellent land and proximity to the capital, this area of the country underwent extensive development in the opening decades of the 18th century. Seafield was constructed during this period: although its precise date is unknown, some time around 1730 is usually proposed. The original owner was one Benedict Arthur, whose family had previously lived in what is now the suburb of Cabra. The Arthurs appear to have remained at Seafield at least for much of the 18th century, but by 1834 it formed part of the inheritance of Sophia Synge-Hutchinson Synge, daughter of the Rev. Sir Samuel Synge-Hutchinson. In that year she married a cousin, the Hon Coote Hely-Hutchinson and the property continued to be occupied by their descendants for the next century. During this period a large extension was added to the east side of the original house; it concludes in a four-storey Italianate tower. Seafield has been occupied by the vendors for more than twenty years.
Some discussion has taken place about who may have been the architect of Seafield. In design it is certainly indebted to Sir Edward Lovett Pearce (who died in 1733) but whether he had a direct hand in the work remains open to question. The exterior is like an Italian villa, particularly thanks to the two-storey granite pedimented Doric portico in antis approached by a flight of steps. Partly inside and partly outside the wall line, it dominates the south-facing facade of seven bays and three storeys over basement. The attic floor has three hip roofs which are echoed by the same number of gables to the rear of the building. The balustrading at the top of the building is presumably 19th century, like the plate glass that now fills all the windows but other elements like the rusticated surrounds on the ground floor windows and the quoins on the corners of the house are presumably original. According to Maurice Craig, ‘slight awkwardness in the handling’ of some features discourages an attribution to Pearce. ‘It is, even so, certain that Seafield is a building of the Pearce school, and even possible that the design was outlined by him and executed by someone else.’
Internally, the most striking feature of the house is its entrance hall which runs the full depth of the building and rises two storeys. This space looks much as it did when photographed by the first Irish Georgian Society for the fifth volume of its Records of Eighteenth Century Architecture and Decoration in Dublin, published in 1913. The walls are lined with superimposed fluted Ionic and Doric pilasters, and the spaces between them filled with grisaille classical figures somewhat in the style, although not from the hand, of Peter de Gree (who only came to Ireland in 1785, dying in Dublin just four years later). There are more such figures on the upper portion of the hall but also a number of gilt-framed canvases featuring polychromatic classical figures: it would appear these were a later addition to the decorative scheme. A gallery runs along this part of the space, providing access to the bedrooms in the eastern side of the building. The gallery is reached via a small staircase at the back of the hall: the greater part of the ground floor on this side of the house is occupied by the drawing room (shown in use as a dining room in the 1913 photograph). It has a richly decorated cornice and frieze and around the panelled walls runs a series of fluted Corinthian columns: here, as elsewhere, the original chimneypieces have long since been replaced. Across the hall are two more reception rooms, that to the rear (at present the dining room), also having panelled walls and fluted Corinthian pilasters. Another feature here is a pair of imaginary landscapes painted directly onto the panels over the doors, something of a rarity in Ireland. Not unlike Bellamont Forest in County Cavan (which can with more confidence be credited to Pearce) Seafield seems designed for use as an occasional villa rather than a full-time residence (there are, for example, only four bedrooms in the 18th century section of the house). It would have served as an ideal rural retreat from the bustle of Dublin life. So many similar historic houses in the greater Dublin area have been lost that its survival is remarkable. One hopes the new owners, whoever they might be, will appreciate the importance of this property.
For more information on Seafield, see http://www.sherryfitz.ie/residential/for-sale/83461
Over 250 years ago a small group of ambitious Irish artists came together in Dublin to establish a new society dedicated to promoting their work. Within a couple of years they had not only organised an annual exhibition but also constructed a domed octagonal chamber in which this could take place. Known as the City Assembly House, it is the oldest extant public art gallery within these islands and very likely in Europe. Restored over recent years by the Irish Georgian Society, from today the space features ‘Exhibiting Art in Georgian Ireland’, a recreation of how the room would have looked when used by the Society of Artists between 1765 and 1780. All the work featured is by exhibitors in those original shows and among the more familiar names are Francis Wheatley, Thomas Roberts, Jonathan Fisher, Hugh Douglas Hamilton, Robert Hunter and Samuel Dixon. Running until July 29th, the exhibition is a unique celebration of an earlier and still insufficiently appreciated era in Irish art. Admission is free.
For more information on Exhibiting Art in Georgian Ireland and the programme of complementary events associated with it, see: http://www.igs.ie/events