In the Borough of Bess

Nov25

Believed to date from September 1908 this photograph, which has appeared on several sites of late, shows the indoor servants at Bessborough, County Kilkenny. The house lay at the centre of an estate owned by the Ponsonby family. The first of their number to settle in Ireland was yet another of those English soldier adventurers who came to this country in such abundance during the late 16th and 17th centuries. Originally from Cumberland, Colonel Sir John Ponsonby was a member of Oliver Cromwell’s army who found himself rewarded for military service here with a parcel of land. He subsequently acquired several more, the largest being an estate by the river Suir in the south of the county hitherto owned by the Anglo-Norman D’Altons after whom it was called Kildalton. Here he settled and having built himself a residence, he re-named the place Bessie-Borough, later Bessborough after his second wife Elizabeth Folliott.
Subsequent generations increased their landholdings in both Kilkenny and the neighbouring counties of Carlow and Kildare and by the mid-18th century were in possession of almost 30,000 acres. Furthermore, following the example of Sir John who had served as a local MP in the Irish Parliament and especially in the aftermath of the Williamite Wars (in which the Ponsonbys had been decisively opposed to the Roman Catholic James II) they became more engaged in politics. William Ponsonby, third son of Sir John, was created Baron Bessborough in 1721 and Viscount Duncannon two years later; in turn his son Brabazon Ponsonby became first Earl of Bessborough in 1739.

The main block of Bessborough as we see it today dates from c.1744 and was commissioned by the first Earl to mark his new status. Although it is known that Sir Edward Lovett Pearce wrote a memorial about the building’s setting some time before his death in 1733, the design is attributed to Francis Bindon, a gentleman architect from County Clare, also notable as a portraitist (he painted no less than four likenesses of his friend Dean Swift). Bindon was related by marriage to Pearce and collaborated with Richard Castle on several projects, so his credentials are admirable. Nevertheless, one must be honest and admit that Bessborough was never one of his best works, the handling of the central structure being somewhat heavy. Writing in The Beauties of Ireland (1825) John Norris Brewer pertinently observed ‘The mansion of Bessborough is a spacious structure of square proportions, composed of hewn stone, but the efforts of the architect were directed to amplitude, and convenience of internal arrangement, rather than to beauty of exterior aspect. The house extends in front 100 feet, and in depth about 80. Viewed as an architectural object, its prevailing characteristic is that of massy respectability.’
Likewise in an essay on Bindon published in the Irish Georgian Society Bulletin for spring 1967, the Knight of Glin, evidently struggling to find something good to say about Bessborough (he described the garden front as being ‘an uninspiring six-bay breakfront composition with a pair of Venetian windows clumsily adrift on the first floor’) commented ‘The redeeming architectural feature of the house is to be found in the fine handling of the shallow quadrants leading to the flanking pavilions…The facing sides of the pavilions have niches and surmounting lunettes.’ The photographs above show the front of the house before and after it was altered at the end of the 19th century when the double-staircase leading to the raised entrance was removed and the ground was lowered to permit access via a porte-cochere; this work was undertaken by architect Sir Thomas Manly Deane.

Others found Bessborough more appealing, certainly members of the Ponsonby family even though during the second half of the 18th century they were hardly ever there. The first time the third Earl of Bessborough, who had been raised in England, saw his inheritance was in the aftermath of his father’s death in March 1793. Four months later he wrote to his wife ‘I came here yesterday and am indeed very much pleased with the place…The mountains are beautiful over fine wood, and the verdure is the finest that can be seen…The house is large and very comfortable, but as you may suppose very old-fashioned. There are about 10 or 11 good bedchambers. You would make it very cheerful with cutting down the windows & I believe I should agree.’
His proposals were never carried out, not least because another fifteen years were to pass before Henrietta, Lady Bessborough – the beautiful sister of Georgiana, Duchess of Devonshire – came to see her husband’s Irish home, although she was equally delighted with it then, writing ‘I like this place extremely; with a very little expense it might be made magnificent, and it is beautiful…’ Likewise when staying in the house in September 1828 with the next generation of Ponsonbys, that indefatigable diarist and letter-writer Thomas Creevey advised his step-daughter Elizabeth Ord, ‘This is a charming place. I ought to say, as to its position and surrounding scenery – magnificent.’ Above are two photographs of the garden front of the rear. Note the two-storey extension to the left of the main block, which may date from the same time as the alterations to the front. However, as the second picture shows, at the very start of the last century, this development was improved by the addition of a balustrade stone terrace with double steps leading down to the garden.

We have relatively little information about the interiors of Bessborough, although they were, as both the largely absentee third countess and Thomas Creevey duly noted, certainly magnificent. The entrance hall – which became a sitting room after Deane’s alterations – featured a screen of four Ionic columns of solid Kilkenny marble each ten and a half feet tall. Sadleir and Dickinson’s 1915 Georgian Mansions in Ireland includes a couple of photographs of the saloon or drawing room, both shown above. One features a detail of the splendid rococo plasterwork with which the ceiling was decorated. The other shows the chimney piece, a design supposedly taken from William Kent although Sadleir and Dickinson propose the female herms in profile are portraits of the second earl’s two daughters, the Ladies Catherine and Charlotte Ponsonby who married the fifth Duke of St Albans and the fourth Earl Fitzwilliam respectively.
Even though the house was not much occupied during this period, it was well-maintained. When staying at Curraghmore, County Waterford in 1785 Lady Portarlington wrote, ‘Another day we went to Bessborough, which is a charming place, with very fine old timber and a very good house with some charming pictures, and it felt as warm and comfortable as if the family had left it the day before, and it has not been inhabited these forty years.’
There remains a great deal more to tell about Bessborough, its destruction, reconstruction and subsequent history, so rather in the manner of Country Life, today’s piece finishes with the words: To be concluded next week.
Meanwhile, below is a photograph of Bessborough with surrounding signatures of members of a house party there, taken from a visiting book kept by one of the Mulholland family (of Ballywalter, County Down) at the start of the last century.

La Porte Étroite

Nov23

The early 18th century entrance to Ballinlough Castle, County Westmeath, an exceptionally tall and narrow door with segmental pediment above, added one suspects to indicate the owners were aware of classical architecture. Incorporating an older structure, this section of the castle is of two storeys and of a seven-bays, the three advanced centre bays rising to an attic which features the family coat of arms (dated 1617 and presumably therefore taken from its predecessor). Like the door, the windows are taller than usual, that on the floor immediately above the door having a round top. A late 18th century extension to the immediate left of the photograph below will be discussed at a later date.

Things Are Looking Up

Nov20

Two of the ceilings in Townley Hall, County Louth, that of the drawing room (above) and the entrance hall (below). Dating from the late 1790s Townley has been discussed here before, not least its rotunda stairhall (see Là, tout n’est qu’ordre et beauté, June 10th) but amply repays further visits. The neo-classical masterpiece of Francis Johnston, the house owes as much to the couple responsible for its commissioning – Blayney Townley and Lady Florence Balfour – as to the architect. As these photographs show, the purity of decoration throughout is flawless.

Where there is Darkness, Light

Nov18

Passing through the village of Kilconnell, County Galway one sees an extensive range of ruins to the immediate west of the main street. Here in a field grazed by sheep who look blithely impervious to the architectural glories around them stand the remains of a former Franciscan friary.
There has been some discussion about the precise date of the building’s foundation, perhaps because it is proposed to be on the site of an earlier religious settlement established in the sixth century by St Conal, or Conall (of whom there seems to have been more than one). Hence the Irish placename Cil Chonaill, meaning Conall’s church. In any case, if monks did live here before the Franciscans arrived no evidence of their presence remains. It is most commonly suggested the friars established their house around 1414 at the request of and with assistance from William O’Kelly, Lord of Uí Maine – one of the oldest and largest kingdoms in Connacht that included much of this part of the country – who died in 1420.

Kilconnell Friary is more elaborate than most such Franciscan establishments. The original body of the church consisted, as was always the case with this religious order, of a single long nave continuing into a choir of similar proportions. A cloister to the immediate north of the church then ran east to a two-storey domestic range that held offices below and a dormitory above. Only the east and part of the south range of the cloister arcades survive but these are notable for the variety of stonemason’s marks carved into them.
Later in the 15th century, and rather unusually, a large square tower was erected at the central point and running the full width of the church; it still rises three storeys higher than the former roof line and can be sighted across the surrounding countryside. It has very handsome vaulting the piers beneath which sport a couple of delicate carvings of an angel and an owl. Around the same period a south aisle was joined to the nave by an arcade as well as a south transept accessible from both nave and choir, with a small chapel added to the immediate east in the 16th century. These adjuncts make Kilconnell larger and finer than the majority of its sister houses in Ireland.

What further distinguishes Kilconnell Friary from other such churches is its exceptionally impressive collection of niche tombs found lining the walls of both nave and choir. The former holds the most elaborate of all, located just inside the west entrance on the north wall. The upper section is dominated by an ogee canopy with flamboyant stone tracery and capped by a carved panel containing two figures widely believed to represent St Patrick and St Francis. The base of this monument is given over to a long slab featuring six further figures, each identified by name: St John the Evangelist, St Louis of Toulouse, the Virgin, St John the Baptist, St James Major and St Denis of Paris. There has been some speculation why two French saints should appear on this tomb, but perhaps the explanation lies with the family responsible for its erection; unfortunately it is unknown who that might have been.
Another similarly flamboyant gothic tomb, albeit without the carved figures, can be found on the north wall of the choir, this one associated with the O’Daly family and another on the opposite side is an O’Kelly tomb of marginally less splendour. The main windows are also particularly good, including those in the south aisle and transept but best of all, and probably latest, is that on the west wall.

Kilconnell Friary’s prominence, apparent in its size and decoration, remained long after other religious establishments were closed as part of the Dissolution of the Monasteries in the 1540s. Although occupied by English troops in 1596, twenty-one years later it was claimed that the buildings were intact and still in use, with a community of six friars. Their lands were granted by James I to the Norfolk-born judge Charles Calthorpe in 1616 and in 1667 Matthias Barnewall, 8th Baron Trimlestown, who on Oliver Cromwell’s orders had been transplanted to Connacht from his family estate in County Meath was interred inside the friary, as commemorated by an armorial tablet set into the wall of the former sacristy.
There were still friars on the site in 1709 and a few remained until 1766. Seemingly the last one, who had been acting as a parish priest, only left in 1801. Long before that date, however, the buildings had become ruinous: an engraving included in Francis Grose’s Antiquities of Ireland published in 1791 shows the church roofless, its walls already half-smothered in foliage (in fact the image suggests the structure was in poorer condition then than is the case today).
In his Tour of Connaught (1839) the Rev. Caesar Otway wrote ‘The shell of the abbey is as picturesque as can be, where there are neither hills, rock, lake nor river, and but a few distant trees to improve the scenery; perhaps its ivy-mantled tower and time-tinted roofless gables, with all their salient angles, producing the happiest effects of light and shadow, are better in keeping with the waste and desolation that preside over the place, destitute as it is of any modern improvement or decoration whatsoever.’ So it remains to this day, a monument to the glories of late-mediaeval Ireland still unadorned by modern improvements and still mostly frequented only by a flock of disinterested sheep.

Beauty Depends on Size as well as Symmetry*

Nov16

Springhill, County Derry, a rare example of a 17th century Ulster plantation house, unfortified although it was originally surrounded by a defensive bawn wall. Springhill was built c.1680 for William Conyngham following his marriage to Ann Upton that year when he was required to build for the bride ‘a convenient house of lime and stone, two stories high … with necessary office houses.’ The two single-storey wings were added around 1765 when the facade was also modified to its current seven-bay appearance. Springhill remained in the Conyngham (later Lenox-Conyngham) family until 1957 when it was given to the National Trust. The orderly and symmetrical entrance front contrasts with the building’s irregular rear (note how one wall is faced in slate) the style of which hints at the Conyngham’s Scottish origins.
*Aristotle

Colour Burst

Nov13

A blue and white Wedgwood jasper ware disc inserted into a marble chimneypiece on the first floor rear drawing room of 45 Merrion Square, Dublin now the offices of the Irish Architectural Archive. This hard stoneware pottery developed by Josiah Wedgwood in 1775 was soon used not for making cups or vases but to produce such items as plaques and discs which could be used in the decoration of rooms. So it is in two rooms at 45 Merrion Square where the plain white of the chimneypiece is relieved by bursts of vivid colour.

When Nature Imitates Art

Nov11

It is said that above his drawing board, the great French landscape architect André Le Nôtre hung a sign on which was written ‘To improve nature and reveal true beauty, at the lowest possible cost.’ Today we would consider the Le Nôtre style of gardening so to interfere with nature that its true beauty is impossible to discern and at very considerable cost: the jardin à la française, exemplified by those created by Le Nôtre for Louis XIV at Versailles, is a thing of wondrous artifice.
While the taste for such gardens reigned across Europe for at least a century, as always a reaction against them emerged, inspired at least in part by philosophical speculation on the character of man’s interaction with nature. Thus in 1757, Edmund Burke published his treatise on aesthetics, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful which sought to explain our emotional and aesthetic responses to natural phenomenon such as mountain ranges. As proposed by Burke and his followers the sublime induces extreme passion, most notably terror. This differs from the simultaneously powerful but gentler feelings induced by another aesthetic experience which was first analysed in the 18th century and would have a profound effect on taste in gardening: that of the picturesque.
As the word implies, the picturesque is associated with painting (it derives from the Italian term ‘pittoresco’ meaning ‘in the manner of a painter’). It was thus used by a key figure in the evolution of the concept William Gilpin who in his 1768 Essay on Prints defined picturesque as being ‘expressive of that peculiar kind of beauty, which is agreeable in a picture.’ Essentially the picturesque as proposed by Gilpin and others offers an aesthetic experience between the extremes of the sublime (which induces an emotion akin to terror) and the beautiful which relies on symmetry and a calm-inducing order. The inspiration for landscapes that might be classified as picturesque came from artists of the previous century, most notably Claude Lorrain and Gaspard Poussin. In Ireland one of the most perfect expressions of this kind of landscape design can be found at Kilfane, County Kilkenny where theories of the picturesque were put into practice with enchanting results.

The Cantwells were Lords of Kilfane until the 17th century when they were banished to Connaught. Then their lands passed into the hands of Colonel John Bushe who was granted Kilfane in 1670 and whose descendants remained there for the following century. In the late 1700s, a certain John Power came to live in the country at Ballynahinch and soon after married Harriet Bushe whose brother Henry Amias Bushe then lived at Kilfane. Eventually John Power took a lease in perpetuity on the property from his brother-in-law, and carried out many improvements on the estate, as we shall see.
John Power, known as Captain Power after he held that position in the local yeomanry during the 1798 Rebellion (he would be created a baronet in 1836) was the son of a County Tipperary landowner who had served with the British army in India where he had been aide-de-camp to Clive during the Battle of Plassey. It would appear at least one explanation for his move to County Kilkenny was because of his interest in hunting: he constructed kennels at Ballynahinch for his pack of hounds and in 1797 established the Kilkenny Hunt Club. It was said at the time that the land in this part of Ireland was so unenclosed that Captain could follow his hounds all the way to the bridge at Waterford without jumping a single fence. The first of its kind in Ireland, the Kilkenny Hunt Club would meet in the evenings in Kilkenny City at what had hitherto been called Rice’s Hotel (James Rice having been house steward to Captain Power) but soon became known as the Club House, as it is to this day
The Club House was also much frequented by participants and supporters of the amateur theatricals organised by members of local families, not least Captain Power’s brother Richard who was an ardent thespian. So ardent indeed that he was the driving force behind the founding in 1802 of a theatre in Kilkenny called The Athenaeum which thereafter hosted annual seasons of plays until 1819, in all of which Richard Power took a leading role.

It will be apparent from the above that the Powers were an exceptionally enterprising family, and this is further demonstrated by the creation at Kilfane of a romantic private garden embodying the picturesque ideals of the period. As is so often the case in Ireland, we do not know the precise date for the site’s creation or indeed who was responsible for its design (perhaps the Powers themselves, since the main house contained a famed library and they were likely to be familiar with the theories of Gilpin, along with those of other proponents of the picturesque such as Sir Uvedale Price and Richard Payne Knight). In any case, Kilfane possessed certain natural advantages: on the edge of the estate there existed an area of woodland where the land dropped away to reveal a rock face thirty feet high descending to an open vale dramatically strewn with boulders. Imbued with potential this spot was greatly enhanced by the Powers’ intervention, not least a waterfall which was fed by a mile-long canal specially created for the purpose.
At the base of the cliff, the water drops into a pool before winding its way across a wide grassy lawn and from thence flowing along a stream that tumbles hither and thither beneath a dense blanket of trees and that can be crossed by a number of mossy stone bridges. The effect is picturesque in the extreme, and was greatly enhanced within the natural amphitheatre at the base of the waterfall by the construction of a thatched cottage orné. The building was essential for the success of the enterprise, not just because it gave a focus to the scene, and a destination for visitors, but also because advocates of the picturesque argued that such landscapes needed a humanising focus in the same way as did the paintings which had inspired them. There had to be a central point to which the eye was drawn, in this instance a charming cottage which might be ‘discovered’ and explored.

A description of the waterfall and glen at Kilfane in their original state has come down to us in a letter written in 1819 by the botanist and antiquarian Louisa Beaufort to Sophy Edgeworth (whose father Richard Lovell Edgeworth had married Louisa’s sister as his fourth wife) in which she reported, ‘Wednesday Mr. B, Pa Ma and I in the inside jaunting car and Richard on horseback all went to Kilfayne, Mr. Power’s, a very pretty place…All the beginning of the walk very ugly, latter part very pretty by a stream …rushing over large beds of rocks, the beeches high and well planted and the ground blue with harebells the cottage is prettyish, somewhat of a has-been but stands in a tiny lawn near the stream and opposite to a cataract which rushes down the opposite rock…’
So it continued to look for some time thereafter, but later generations of the Power family lost interest in maintaining the site, or perhaps did not have the funds to do so. Gradually the whole place fell into decay, the cottage becoming a ruin, the grassy lawn and surrounding paths overgrown, the woodlands surrendered to laurel and rhododendron (with consequent loss of more delicate ground cover) and the waterfall dried up as the canal was breached and broken. Such might have remained the case to the present but for the discovery and rescue of this delightful spot by its present owners who more than twenty years ago embarked on a complete restoration of the place. Thanks to their admirable diligence the grounds today look much as they did when first created over two centuries ago.
Reverting to Le Nôtre’s maxim – ‘To improve nature and reveal true beauty, at the lowest possible cost’ – one can see how applicable are those words to the glen and waterfall at Kilfane. Here is a landscape every bit as artificial as any designed by the Frenchman. In this instance, however, thanks to theories on the picturesque artifice has been concealed and nature encouraged to imitate art rather than the other way around.

For more information on the Kilfane Glen and Waterfall, see: http://www.kilfane.com

Ways to Woo a Heart

Nov9

Separated by an outcrop of foliage, one carved stone fox serenades another with guitar. These figures can be found at the base of a pair of columns between two windows on the facade of the former Kildare Street Club, Dublin. Designed by Deane and Woodhead, this mid-19th century building had glorious high-Gothic interiors – not least a central staircase with first-floor arcaded gallery – which were ripped out in 1971 and replaced with a series of standardised office spaces. But at least the exterior remains unaltered, including the wealth of animals and birds such as this pair of would-be lovers.

The Gates to Nowhere

Nov6

A gateway arch looking rather desolate on the side of the road at Northbrook, Aughrim, County Galway. This was not its original location, since the arch came from an estate in neighbouring County Roscommon, possibly Mote Park. The house there, belonging to the Crofton family, was demolished in the 1960s, its contents sold two decades earlier. Little now remains except another entrance gate, a much more substantial Doric triumphal arch surmounted by a lion which dates from c.1800 and is sometimes attributed to James Gandon. If the gateway shown here did come from Mote, it presumably marked a secondary entrance into the demesne.

An Arthurian Legend

Nov4

In a diary entry dated 27th February 1853 Elizabeth Smith of Baltiboys, County Wicklow (known to her many posthumous admirers as the Highland Lady since she was of Scottish origin) wrote, ‘Mr Kavanagh has been burned to death, his fine old name and large fortune fall to that poor object, his brother, a poor cripple without either arms or legs only stumps. In this miserable condition he hunts! tied to his basket saddle, holding the reins between his mouth and shoulder, and he rides hard! He draws, writes, is really accomplished and intelligent. An old prophesy, it seems, foretold that the house of Borris would end with a cripple. Strange if true.’
An entire post could be written about Arthur MacMurrough Kavanagh, and indeed he has been the subject of more than one book. As Mrs Smith notes he was born without full limbs, both his arms and legs stopping well short of the flexible joint. Yet neither he nor his family allowed this impediment to hinder him: in his teens he set off with his eldest brother – who suffered from tuberculosis – on a journey through Russia, Persia and India (where he got a job as a dispatch rider) and although the older sibling died, Arthur survived and indeed returned to Ireland when his middle brother was killed in a fire in 1853 and he thus unexpectedly became heir to the family estate of Borris, County Carlow.
Once there, he led a full life: he hunted, he fished, he shot, he sailed, he sat as an M.P. in Westminster for many years. He also did much to improve his lands and the condition of his tenants, not least by bringing a railway line to Borris at his own expense. An amusing story indicates how little attention he paid to his physical handicap. Having caught a train to Abbeyleix to visit Lady de Vesci, he commented to his hostess, ‘It is quite extraordinary. I have not been here for over ten years and yet the station-master still remembered me.’

The MacMurrough Kavanaghs are an extremely old Irish family: in 1814 its then-head commissioned an illustrated book called ‘The pedigree of the ancient illustrious noble and princely house of Kavanagh in ancient times monarchs of Ireland and at the period of the invasion of Ireland by Henry the second, Kings of Leinster.’ This volume, which cost the considerable sum of £615 and two shillings, and took four years to complete, traced the family’s origins back to 1670 BC.
It is notable that while the book’s title referenced the arrival of the Normans in Ireland, it did not mention the part played by an ancestor in bringing about this occurrence. In the mid-12th century Diarmait mac Murchadha was King of Leinster until dispossessed of his title by the High King of Ireland for having abducted Derbforgaill, wife of Tiernan O’Rourke, King of Breifne. In order to regain his kingdom, mac Murchadha pledged an oath of allegiance to Henry II and received the support of Richard de Clare, Earl of Pembroke, better known as Strongbow who married mac Murchadha’s daughter Aoife. Thus the MacMurrough Kavanaghs’ forebear was responsible for first encouraging the original Norman invasion of Ireland. Subsequent members of the family were not always so willing to bow to overseas authority: in the late 14th/early 15th century Art Mac Murchadha Caomhánach proved a formidable King of Leinster who regained full authority and control of territory. Yet in November 1550 Cahir mac Art Kavanagh appeared before the Lord Lieutenant Sir Anthony St Leger in Dublin where he ‘submitted himself, and publicly renounced the title and dignity of Mac Morough, as borne by his ancestors.’

Borris has long been part of the MacMurrough Kavanaghs’ lands. It is believed that the core of the present house was built by Brian Kavanagh enclosing at least parts of a 15th century castle on the site. A date stone over the front entrance carries the inscription AD MDCCXXXI and thereby proposes that part of the building was completed by that year. It is likewise assumed that this house was classical in style, a reflection of what was happening elsewhere in the country as a result of changing architectural tastes and a more settled environment.
During this period the Kavanaghs made a series of advantageous marriages and by the end of the 18th century they owned some 30,000 acres spread over three counties: three successive generations married daughters of the well-connected and wealthy Butler family. In 1778 Thomas Kavanagh assumed responsibility at Borris for his sister-in-law Lady Eleanor Butler after she attempted to run away with Sarah Ponsonby. His efforts, however, proved futile and eventually the two women were allowed to move to Wales where as the Ladies of Llangollen they lived for over fifty years (for some more on this, see Of Wondrous Beauty Did the Vision Seem, May 13th).
During the uprising of 1798 Borris was subject to assault by the rebels and buildings were burnt but not, it would seem, the main house. Walter MacMurrough Kavanagh wrote to his brother-in-law that although a turf and coal house were set on fire and efforts made to bring ‘fire up to the front door under cover of a car on which were raised feather beds and mattresses’ yet these were unsuccessful.
It has sometimes been asserted that the reason why Borris was comprehensively remodelled in the second decade of the 19th century to the designs of those indefatigable architects the Morrisons père et fils, was because of damage inflicted in 1798 but an admirable new book* on the design and furnishing of the house pours doubt on this notion. Instead it would appear that Walter MacMurrough Kavanagh, who was also responsible for commissioning the illustrated volume tracing his pedigree, wished to give more tangible evidence of the family’s long history than did a classical house.

Superbly located on a raised site with views across to the Blackstairs Mountains Borris as we now see it displays signs of stylistic schizophrenia, not least in differences between the house’s exterior and interior. The former is cloaked in Tudoresque mannerisms with symmetrical battlements and finials, a central entrance portico with pointed arches and four corner turrets which until the middle of the last century were topped with octagonal lanterns. Each side of the window mouldings is finished with the head of a king or queen indicating the ancestry of the MacMurrough Kavanagh family. John Preston Neale included an engraving of the newly-completed Borris in his 1822 work Views of the seats of noblemen and gentlemen in England, Wales, Scotland and Ireland and then described the house as being ‘of the period of Henry the Eighth, of which period, though so many beautiful examples are extant in England, yet in this country, Borris may be considered as unique.’
When Samuel Lewis wrote of the house in 1837 he observed that Borris ‘exhibits the appearance of an English baronial residence of the 16th century, while every advantage of convenience and splendour is secured within.’ Those advantages apparently included the ornate classicism which reigns internally. This is especially so in the entrance hall which although a square was given a circular ceiling by the Morrisons who treated it as a rotunda with extremely ornate plasterwork incorporating garlands, masks, shells and wonderfully three-dimensional eagles, the whole coming to rest on a series of scagliola columns around the walls. Likewise one end of the dining room has a recess containing service doors this space created by another pair of Ionic scagliola columns. The treatment of the stairs and landing reverts somewhat to an earlier era, not least thanks to a large arched window, the upper portion of which is filled with stained glass featuring the family coat of arms.

Borris today is not as was designed by the Morrisons in the early 19th century. In the 1950s the service wing which connected the main building with the chapel was demolished, leaving the latter looking somewhat forlorn to one side. And the lanterns that topped the corner turrets were also removed. The greater part of the family land had gone, and with it much of the wealth. For a while the very future of the house looked perilous: for one of the very first Irish Georgian Society bulletins published in 1958 Lady Rosemary FitzGerald who had grown up in the place (her mother was a Kavanagh) wrote a piece called ‘A Valediction to Borris House’ in which she predicted ‘the house will soon be empty and roofless. The daws which possess the chimneys of every traditional Irish house will have the walls as well. This is inevitable. The house has been so rebuilt, altered, enlarged and generally muddled since the original keep was built in the ninth century that it is now impossible to maintain. It still needs the battalions of servants and unlimited cheap fuel that poured into the house until the First World War left so many big houses in reduced circumstances.’ Thankfully she was proven wrong and Borris still stands, a testimony to the staunchness of the MacMurrough Kavanaghs, the latest generation of which has this year assumed responsibility for the place. Borris may not be as big as was once the case, nor able to rely on the income of a large estate but there are now other ways of making a house pay for itself and all of these are being put to use.
And Mrs Smith’s citing of an old prophesy ‘that the house of Borris would end with a cripple’ also proved incorrect because Arthur MacMurrough Kavanagh married and had seven children. Below is a portrait of the redoubtable character that still hangs in Borris, like the house itself a testimony to the triumph of will over circumstances.
*Borris House, County Carlow and Elite Regency Patronage by Edmund Joyce (Four Courts Press)

For more information on Borris, see http://www.borrishouse.com

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