The light of evening snakes its way through successive doors in the lower yard at Ardbraccan, County Meath. And so 2018 comes to a close. But soon dawn will break and a new year make its debut. The Irish Aesthete wishes all friends and followers the very best fortune for 2019.
Conna Castle, County Cork, few owners of which appear to have enjoyed happy lives. Situated on a limestone outcrop above the river Bride, work on this tower house began in 1554 and seemingly took ten years to complete for the FitzGeralds, a branch of the Earls of Desmond. Hoping to inherit the title, they did not participate in either of the Desmond Rebellions and following the death of the fifteenth earl in 1583 petitioned Elizabeth I to be recognised as his successor. Unfortunately, they were descended from a marriage between the fourteenth earl and his own grandniece, judged to be outside the acceptable boundaries of consanguinity, thus making offspring from the union illegitimate. James FitzThomas FitzGerald, who had hoped to become the sixteenth earl, on his return to Ireland from London was mockingly known as the the Sugán or ‘Straw’ Earl. In 1598 he joined in the rising initiated by Hugh O’Neill but was defeated and went into hiding, eventually being betrayed to the English forces by a cousin Edmund FitzGibbon, the White Knight: taken to London, FitzGerald died in the Tower of London apparently having become insane. The lands around Conna then passed through a number of hands before becoming part of the territory owned by Richard Boyle, first Earl of Cork. In 1645 during the Confederate Wars it was captured by the third Earl of Castlehaven: five years later the English forces made an unsuccessful attempt to take the castle back. However damage occurred a few years later owing to a fire which also claimed the lives of the steward’s three daughters. Conna has been in state ownership since 1915.
The garden front of Clonalis, County Roscommon. Ancestral seat of the O’Conor Don (one of Ireland’s most ancient families, descended from the country’s last High Kings), the present house replaced an earlier one elsewhere on the estate. As seen today, Clonalis was designed in 1878 by Frederick Pepys Cockerell, one of his few Irish commissions. It was one of the very first houses in Ireland constructed using concrete, with a cement render finish to the exterior and in a manner that is customarily judged to have blended elements of the Queen Anne style with Italianate classicism. The entrance front (below) is dominated by a three storey tower that projects forward to create a porch for the door on the ground floor. Clonalis is significant for being one of the rare Irish houses still to remain in the hands of the original family
More from Clonalis early in the new year…
From A Statistical Survey of the County of Sligo by James McParlan (1802): ‘Ballynafad Castle – near the town of that name, was not built by the McDonoghs, as Mr Grose erroneously states. It was built by Captain John St. Barbe, according to an inscription on Mr St. Barbe’s tomb, who died in A.D.1628.’
A pyramid by the banks not of the Nile but the river Slaney, this is the Aldborough Mausoleum in Baltinglass, County Wicklow. The Earls of Aldborough have been discussed here before, both in relation to Belan, County Kildare (see Splendours and Follies, September 30th 2013) and Aldborough House, Dublin (see A Thundering Disgrace, January 13th 2014 and A Thundering Disgrace No More?, February 27th 2017). The family’s architectural ambitions are reflected in this tomb, which dates from 1832 and was built to the immediate south of the chancel of the former Cistercian abbey church in Baltinglass, a curious juxtaposition of two different styles. The monastery had been suppressed in 1536 but the chancel here was later converted into a parochial church for the Church of Ireland, remaining in use for this purpose until 1883. The Aldborough Mausoleum is similar to but smaller than the Howard Mausoleum elsewhere in County Wicklow (see A Fitting Memorial, January 10th 2018). Both take the form of a pyramid on a square base and both are constructed from local granite. A door on the north side of the Baltinglass monument gave access to the interior, now stripped of any contents (the pyramids of Egypt not being the only ones subject to grave robbers…)
‘Pre-eminent among the Augustinian houses stands the Abbey of Clare. It was one of a group of monasteries founded by the able but unscrupulous Donald More O’Brien, the last King of Munster. To it in vivid dread of a future retribution for his bloodshedding, cruelties, and perjuries he granted many a fair quarter of land. The fortunate preservation of his foundation charter enables us to some extent to create an estates map of the abbey lands “from the ford of the two weirs” at Clare Castle, “even out to the Leap of Cuchullin” in the edge of the Atlantic…We only possess this charter in a copy made in 1461 for Thady, Bishop of Killaloe. The only other documents of Donald More are not foundation charters, but mere grants of land to Holycross Abbey and Limerick Cathedral, so they are not capable of comparison. Donald More appears in them as “Donaldus Rex Limericensis,” and “D. dí grá Limicensis,” and we find the “appurtenances,” “fields, woods, pastures, meadows, waters, &c.,” and “for the welfare of my soul and the souls of my parents” in the undoubted charters. It is true that the king’s epithet “magnus” is suspicious, but the coincidence of the presence of the bishops of Kilfenora and Limerick, whose rights were touched at Caheraderry, Iniscatha and Kilkerrily, and of the chiefs MacMahon and O’Conor, in whose territories certain lands were granted, favours the genuineness of the document. We may also note the inclusion of Killone and Inchicronan, the sites of the other Augustinian houses among the possessions of the abbey of “Forgy.” We next hear of the abbey in 1226. Pope Honorius III wrote from the Lateran to his son “T,” abbot of the monastery of SS. Peter and Paul, “de Forgio,” directing the judges to proceed against Robert Travers, who had “unjustly and by simony been made Bishop of Killaloe” by the influence of his uncle Geoffrey de Marisco, the justiciary, and the connivance of Donchad Cairbreach O’Brien, chief of Thomond, in 1217. The abbot took much trouble in the matter, and even went to Rome to inform the Pope as to the facts of the case, for which labour his expenses are directed to be paid by the bishopric…’
‘In the Papal taxation of 1302-1306, the abbey “De Forgio” was assessed at two marks, and the temporalities of its abbot at three marks. No other record occurs for a century and a half. About the end of that century, to judge from the ruins, the long church of Donald More was divided into nave and chancel by the erection of a plain and somewhat ungraceful belfry tower resting on two pointed arches of much better design than the rest of the structure. On June 18th, 1461, Thady, Bishop of Killaloe, seems to have been called upon to examine and exemplify the ancient charter. At the present time it is impossible to discover the reason for the event, and the evidently contemporaneous repairs of the southern wing of the domicile. It occurred while Teige Acomhad O’Brien was prince of Thomond, but the annals of his not very eventful reign do not help us. We might at most conjecture that the prince may have undertaken some works on the abbey to ward off disease or unpopularity, for MacFirbis, in recording his death, says “ the multitudes envious eyes and hearts shortened his days.” “Know all”—writes the prelate—“by these letters and the ancient charter of Donellusmore Ibrien, King of Limerick, founder and patron of the religious and venerable house of canons regular ‘de Forgio’ ”—what are the possessions of the abbey and its rights and alms. The full copy of the older charter is given, compared, attested, and sealed by Eugene O’Heogenayn, the notary, in the monastery of Clare, July 18th, 1461, the third year of the bishop’s consecration. It is witnessed by Donat Macrath, vicar of Killoffin; John Connagan, cleric, and Donald MacGorman…’
‘The convent was formally dissolved by Henry VIII., and granted with other lands and religious houses, to Donogh, Baron of Ibracken, in 1543. The grantee was pledged to forsake the name “Obrene,” to use the English manners, dress, and language, to keep no kerne or gallow-glasses, obey the king’s laws and answer his writs, to attend the Deputy and succour no traitors. In 1573 and again on October 2nd, 1578, it was re-granted to Conor, Earl of Thomond. It was held by Sir Donnell O’Brien and his son Teige in 1584, and confirmed to other Earls of Thomond—to Donough on January 19th, 1620, and to Henry on September 1st, 1661. It was occupied by a certain Robert Taylor about 1635. Its monastic history had not, however, closed. Nicholas O’Nelan, Abbot of Clare, is given in the list of monks living in the diocese of Killaloe in 1613, seventy years after the dissolution. Teige O’Griffa, a priest, officiated at Dromcliff, Killone, and Clare Abbey in 1622. The Rev. Dr. De Burgho, Vicar-General of Killaloe, was its Abbot, 1647-1650, and two years later Roger Ormsby and Hugh Carighy, priests of Clare, were hanged without a trial by the Puritans. They were, however, possibly parish priests, and not monks. In 1681 Thomas Dyneley’s sketch of the abbey shows it as unroofed except the south-west room with its high chimney. A small chapel, its gables boldly capped with large crosses, adjoined the east end of the abbey church, and was evidently in use. Dyneley tells us that the building “was also thought to have been founded by the sayd Duke (Lionel of Clarence, 1361), for the love he bore and in memory of a priory of that name in Suffolk, where his first wife was buried.” Dyneley probably heard this unfounded legend from some English settler, who tried to account for the name, oblivious of the plank causeway across the muddy creek which, perhaps, for centuries before Duke Lionel’s time, had given the neighbouring village its name, Claremore, or Clar atha da Choradh…’
A detail of Harry Clarke’s Eve of St Agnes window, now in the Hugh Lane Gallery, Dublin. Inspired by Keats’ poem of the same name, the window was commissioned in 1923 by Harold Jacob (of the Jacob’s Biscuit family) for his father’s home on Ailesbury Road. Completed within a year, the window was duly installed and then moved to a couple of other properties before being acquired by the gallery forty years ago in 1978. The history of the window and the inspiration for its design (not least the influence of the Ballets Russes, and its sumptuous sets and costumes by the likes of Léon Bakst) in an essay by Jessica O’Donnell included in the just-published Harry Clarke and Artistic Visions of the New Irish State. The book seeks to contextualize the artist not just within Ireland but also the broader modernist movement by examining different aspects of his output: Angela Griffith, for example, writes on the two promotional booklets published by Jameson whiskey in the mid-1920s, for which Clarke provided illustrations, while Fiona Bateman looks at windows produced by the Clarke studios for Irish Catholic Missionaries in Africa (apparently many of these remain in churches in Kenya, Nigeria and other countries). Rightly dedicated to the memory of the late Dr Nicola Gordon Bowe (the first anniversary of whose death falls in a couple of weeks), the book further illuminates our knowledge of cultural life in Ireland during the first years of the independent state.
The Lion Gate at Mote Park, County Roscommon. This was once one of the entrances to an estate owned by the Crofton family who settled here in the second half of the 16th century; in 1798 they became Barons Crofton of Mot . In the 1620s their forebear George Crofton built Mote Castle, but it was replaced by a new house at some date between 1777-87. This property was in turn rebuilt after being gutted by fire in 1865 but only survived another century: the last of the Croftons left Mote in the 1940s after which the contents were auctioned: the house itself was demolished in the 1960s. In February 2015 its former portico, rescued at the time of the demolition, was sold at auction for €12,000.
According to a history of Mote Park compiled in 1897 by Captain the Hon Francis Crofton, the Lion Gate was erected in 1787 and its design has sometimes been attributed to James Gandon, although this is disputed. Whatever the case, it takes the form of a Doric triumphal arch with screen walls linking it to what were once a pair of identical lodges (but are now used for housing livestock). A plinth on top of the arch features a Coade Stone lion, one foot resting on a ball. Over time this had become much weathered (not helped by bees nesting inside the animal) and when taken down a few years ago three of its feet fell off. Following restoration work at the Coade workshop in Wiltshire, the lion was reinstated in September 2016 and now once more surveys what is left of the Mote parkland: this restoration was funded by a number of sources, predominantly American supporters of the Irish Georgian Society.
Baron Trimlestown is one of the oldest titles in Ireland, created in 1461 for Sir Robert Barnewall. The family were of Norman origin, their name originally de Berneval (from the small seaside town of Berneval-le-Grand, where Oscar Wilde stayed following his release from Reading Gaol in June 1897). Having first moved to England, following the Battle of Hastings in 1066, they followed Richard de Clare to Ireland, the first to do so, Sir Michael de Berneval, landing in Cork in 1172. Rising to power in the Pale, they were responsible for building Drimnagh Castle, now in a suburb of Dublin, and then gradually acquired substantial land holdings in County Meath. Here in Trimblestown, a few miles west of the town of Trim, they erected a mighty castle, probably in the 15th century and perhaps around the time that the title of baron was granted to Sir Robert Barnewall.
The core of Trimblestown Castle is late mediaeval, rising three storeys and with a massive square tower in the south-west corner. The main block is some 114 feet long and 40 feet wide, internally dominated by a two-storey vaulted great hall that faces towards the river Trimlestown: the exterior of this side is marked by massive corner buttresses. On the south-east side of the tower there is (or perhaps was) a shield bearing the arms of the Barnewall and Nugent families – the two had intermarried – but whether it remains in place is impossible to tell due to vegetation covering much of the walls. Considerable alterations to the building were undertaken in the 18th and 19th centuries, when a large addition was made on the northern section of the site. It is likely that at this time towers similar to those on the river front were demolished and a modern house built, the most notable feature of this being a large bow-front with views to the east. Similarities with the work undertaken during the same period at Louth Castle (see Saintly Connections, August 28th 2017) have led to suggestions that Richard Johnston might have been the architect responsible in both instances. This may have happened around 1797 when the 14th Lord Trimlestown, then aged 70, married a woman less than a third of his age: the suggestion is that she got a new house in return for an old husband. Soon afterwards, her husband also inherited Turvey, County Dublin from a distant cousin and in due course the family moved there, leaving Trimblestown Castle to slip into decay.
For much of the 18th century, although the Barnewalls held onto the greater part of their lands, they were unable to use the title Baron Trimlestown. Their problems had begun in the 1640s when Matthias, eighth Lord Trimlestown, had supported the royalist cause, deprived of his estates by Cromwell and banished to County Galway. Following the restoration of the monarchy in 1660, he regained the greater part of his original property, but remained true to the Roman Catholic faith, as did his son Robert who sat in James II’s parliament in 1689. The next couple of heirs, because of their support for the Jacobite cause and their loyalty to Catholicism, were not allowed to use the old title. They lived in France and it was only in 1746 that Robert Barnewall (who claimed the title of twelfth Lord Trimlestown) returned to Ireland and took up residence in the old castle. It is likely to have been during his lifetime (he died in 1779) that the building was first modernised. As an ardent supporter of the Catholic cause, it must have been a blow to him when his heir Thomas conformed to the Established Church (thereby reversing the government attainder and allowing him to be acknowledged after his father’s death as the 13th Lord Trimlestown). Thereafter one generation succeeded another, although more than once the title had to go to a cousin as there was no direct heir. However while there is still a Lord Trimlestown – the 21st – he has no known heirs. It seems likely that after more than 550 years one of Ireland’s oldest peerages will go the same way as the castle from which its name was derived, and fall out of use.