Category Archives: Cork

The Bishop’s Legacy



After Monday’s tale of Riverstown, County Cork, here are the scant remains of another, slightly earlier property built by another member of the same family. In 1710 Dr Peter Browne, former Provost of Trinity College Dublin, was appointed Church of Ireland Bishop of the United Dioceses of Cork and Ross. Ten years later, he acquired some 118 acres of land to the immediate south-east of the city, with the intention of constructing there ‘a good, substantial and convenient dwelling house and a chapel thereunto adjoining together with suitable offices.’ Named Bishopstown and finished in 1726 at a cost of more than £2,000, he created this property and surrounding demesne to serve as “a fit and convenient residence for himself and his successors, the bishops of Cork and Ross”.  The adjacent chapel was consecrated in 1730. Alas, his successors failed to appreciate this legacy and already by 1792 the house at Bishopstown was described as being ‘in a state of decay and totally unfit for the residence of the bishop.’ In the early 1830s the place was leased to a farmer and then in 1878 the Ecclesiastical Commissioners sold the land and buildings. It passed through various hands before being bought by Cork Corporation about half a century ago. Many of the buildings were then in a better condition than is now the case (and some of them have been demolished over the intervening years). What remains is a former farmhouse incorporating an early 18th century limestone doorcase retrieved from the since-lost mansion, and the skeletal remains of the chapel (see below). In the immediate vicinity, jostling for attention with a children’s playground, are a pair of small, three-arched bridges and fragments of a circular battlemented shell house, thought perhaps to have been built during the episcopacy of Robert Clayton, the bishop here 1735-45. Bishopstown today is a heavily-developed suburb of Cork city.


Rescued from Ruin


The extraordinary work of sibling stuccodores Paolo and Filippo Lafranchini, born in the Italian-speaking Swiss canton of Ticino but resident in Ireland for many years, has featured here before (see, among others, To the Muses « The Irish Aesthete and Exuberance « The Irish Aesthete). A relatively little known example of their skills can be found in Riverstown, a house to the immediate north-east of Cork city. The land on which the property stands came into the possession of the Browne family in the second half of the 17th century, but assumed much of its present appearance after 1733 when it became the residence of Dr Jemmet Browne, a Church of Ireland clergyman who would serve successively as Bishop of Killaloe, Dromore, Cork and Ross, Elphin and finally Archbishop of Tuam, which position he held at the time of his death in 1782. The earliest known reference to Riverstown is found in Charles Smith’s The Ancient And Present State of the County and City of Cork, published in 1750, where it is described as ‘a pleasant seat of the Lord Bishop of Cork. The house is beautified with several curious pieces of stucco, performed by the Francinis, brothers.’ We know, therefore, that the work executed in the saloon at Riverstown was carried out either before Browne became Bishop of Cork (1745) or very soon afterwards. And that he continued to carry out improvements on the building in the years after Smith’s book appeared, since a hopper is dated 1753. The exterior gives little idea of the rich decoration inside. The entrance front is modest, of two storeys and five bays, although what was the garden front is more substantial, running to seven bays and three storeys. The north end of the house the gable ends were replaced by a pair of full-height canted bays, that to the front climbing an additional storey, this last alteration believed to date from c.1830

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It tells us a great deal about this country’s cosmopolitan culture in the 18th century that a Church of Ireland clergyman – and one who rose to become an archbishop – should have decorated his private residence with pagan iconography. The saloon in Riverstown includes a series of eight panels across three walls, all of them including figures. The fourth wall has three windows and between these are a pair of mirror set in elaborate frames. The ceiling is also covered in stuccowork, centred on an oval frame derived from Nicolas Poussin’s Le Temps soustrait La  Vérité aux atteints de L’Envie et de la Discorde, painted in 1641 for Cardinal Richelieu and now in the Louvre. As for the figurative wall panels,for a long time thought as being random, the source for these was identified by Joseph McDonnell in 1991 as being taken directly from the Roman antiquarian Paolo Alessandro Maffei’s edition of Leonardo Agostini’s Gemme Antiche Figurate, published 1707-09. Beginning with the chimneypiece, the panel above it depicts the mythological Roman figure of Marcus Curtius on horseback, while next to it is one showing Aeneas carrying his father Anchises. The third panel shows Liberty, followed by Ceres and then Fides Publica, Fortuna and Cincinnatus. Finally, the panel at the far end of the room and facing the chimneypiece depicts Roma mounted in a chariot. That chimneypiece is not the original one (which is now in a first floor bedroom) but a replacement installed during restoration work in the 1960s). As already mentioned, between the three windows are two framed mirrors (still holding their original glass) surrounded by elaborate plasterwork incorporating flowers, foliage and female busts. The opposite wall is centred on a door, its frame with a finely carved broken pediment. To the north of the saloon are a pair of bow-ended drawing rooms, again much of their present decoration dating from the 1960s restoration of Riverstown. 






Riverstown remained in the possession of the Browne family until the middle of the last century but by the 1950s it stood empty and the threat of irreparable deterioration seemed so likely that moulds of the saloon were made by the Office of Public Works; these were installed in the Irish President’s residence Áras an Uachtaráin. Not long afterwards Riverstown and its surrounding land were bought by a Cork market gardener, John Dooley who in the mid-1960s collaborated with the Irish Georgian Society on restoring the building, thanks to donations from the public. By the end of 1965 Riverstown’s saloon had been restored to its former beauty, the initial work costing £717. The Dooleys were sufficiently inspired by this initiative to undertaken further work on the house and in the IGS’s January-March 1970 Bulletin, it was reported that one of the house’s two late 18th century drawing rooms ‘has been given a new dado, architraves, chimney-piece, overdoors and overmantel.’  Ten years after the society’s initial involvement, still more work had been achieved as a feature in the Cork Evening Echo noted, with the second drawing room walls covered in green silk and hung with 18th century pictures. Riverstown continues to be home to the Dooley family.

Going into the Night



Tucked away in a corner of the graveyard at Ballynoe, County Cork: a mausoleum dedicated to members of the Nason family. It takes the form of a miniature temple, with arched entrance below pediment (containing a blind oculus) and flanked by two arched winows, the building constructed of rough hewn stone with ashlar employed for door and window surrounds. There were two branches of Nasons, living in different parts of the county, but in 1808 John Nason of Newtown (which lies close to Ballynoe) married Elizabeth Nason of Bettyville (a house east of Fermoy and since demolished), and this mausoleum appears to commemorate them and their descendants (one of whom, incidentally, was Kate Meyrick, née Nason, the notorious night club proprietress in 1920s London). A monument to Elizabeth Nason dominates the interior but a nearby plaque lists subsequent members of the family, the last of whom is given as being of Newtown Lodge in 1929. This house then passed out of Nason ownership and was recently offered for sale.


Piercing the Sky



Piercing the sky, a slender tower in the graveyard of Brooklodge, County Cork. A square base with octagonal belfrey above, this is all that remains of a church erected here in the mid-19th century, on the site of an older structure (described as being in ruins as early as 1615): the main body of the building was demolished in 1923. In one corner of the surrounding graveyard is a large rectangular mausoleum, now almost enveloped in vegetation, erected by the Browne family who lived not far away at Riverstown House.


An Unhappy Trinity



Currently for sale: this trio of former almshouses on the outskirts of Glanmire, County Cork. Each slightly different from the others, the buildings, designed by an unknown architect in neo-Gothic style with lattice glazing and triangular Oriel windows, are thought to date from the 1820s and built on the instruction of the Colthurst family, perhaps Sir Nicholas Colthurst who until his death in 1829 served as Member of Parliament for nearby Cork city. Sadly, all three have been left to fall into their present dilapidated state and are now in need of complete renovation. They are available for €140,000 each.


Tomb to the Unknown



The modest graveyard of Killathy, County Cork contains the remains of a late-medieval church but is dominated by the roofless shell of a large mausoleum, its pedimented facade of limestone ashlar featuring rusticated pilasters on either side of a wide arched opening, access to the interior barred by substantial metal gates (and a great deal of vegetation). The cement-rendered sides and rear of the building are completely plain and there is no indication anywhere for whom it might have been constructed, no crest, no name, nothing. Killathy lies mid-point between Castle Hyde, home to generations of the Hyde family, and Convamore, now a ruin but once residence of the Hares, Earls of Listowel: perhaps this mausoleum was erected for one of these families?


*A helpful reader has pointed out that the NIAH proposes the mausoleum was erected by the Jackson family. 

Hidden Histories



As seen today, Fermoy, County Cork owes its existence to John Anderson, an ambitious Scotsman who settled in Ireland as a merchant in the early 1780s. Before the end of the decade, he had established a national mail-coach service and Fermoy, with its bridge over the river Blackwater, became a stop on the route between Cork and Dublin. Then in 1791 he bought the town from the Boyle family and began to develop it with such success that in less than 20 years Fermoy’s population had grown from a few hundred to 4,300. One of the reasons for this is that in 1797 the British government decided to establish a major military base here, with Anderson providing the sites for two large barracks on the north side of the river. The first of these, the east, was constructed 1801-6, its western equivalent begun in 1809; the buildings, dominated by large central squares, accommodated thousands of troops and were designed by local architect Abraham Hargrave. Following the departure of British troops in 1922, the barracks were burnt and all the buildings demolished. Today only parts of the outer walls and the arched gateways survive: the grounds to the east are now used by the GAA and that to the west by the local rugby club.


In an Irish Country Garden




The garden front of Ballyvolane, County Cork. Dating back to 1728, the original house was constructed for Sir Richard Pyne, a former Lord Chief Justice of Ireland, of seven bays and three storeys. Almost 150 years later, in 1872 George Pyne, who had recently acquired the estate, commissioned local architect and antiquarian Richard Rolt Brash to remodel the building to give it the present Italianate appearance, as well as remove the top floor. The original gardens at Ballyvolane were laid out in the early 19th century, but much of what can be seen today is due to the work of the Green family who bought the place 70 years ago in 1953. Next Friday, June 30th I shall be giving a talk at Ballyvolane on Ireland’s country house gardens, with cocktails beforehand and dinner after. For more information about this event, please see: Robert O’Byrne aka The Irish Aesthete ‘Irish Country House Gardens’ Talk and Dinner (ballyvolanehouse.ie)



An Irregular Beauty




Caught in the rain, this is Ballyannan Castle, a semi-fortified house built c.1650 for St John Brodrick, an English soldier who had arrived in Ireland almost a decade earlier as a captain of foot. By deft political footwork, he survived the turmoils of the rest of the century, only dying in 1711 at the age of 84 and leaving behind several sons, one of whom became the first Viscount Midleton. While the Brodrick family survives, Ballyannan did not do so, abandoned by the mid-18th century and already ruinous in 1786. The house is notable for its circular corner towers above which rise exceptionally tall chimneys. Ballyannan was once surrounded by extensive and elaborate pleasure gardens, described in 1743 as containing ‘all the irregular beauties that charm the fancy and delight the senses,’ but little now remains in fields given over to agricultural use, other than a small brick summerhouse (alas, heavy rain discouraged a visit to this. Another time…)



In the Midle



Midleton College, County Cork was originally endowed in 1696 by Elizabeth Villiers, Countess of Orkney, former Maid of Honour to Mary Stuart (who had died two years earlier) and former mistress of the latter’s husband, William III. He had granted Lady Orkney large tracts of land in Ireland, and some of these were used to endow the institution, intended for the education of Protestant boys. The building itself appears to have been constructed some 20 years later, the first schoolmaster, the Rev. George Chinnery, being appointed in August 1717. As originally constructed, the building consisted of an H-plan block of two storeys over basement; writing in 1750, Charles Smith referred to a ‘handsome dome’ over the centre but this has long-since disappeared. On the ground floor, the centre of the property was occupied by a school room, lit by the large arched windows on either side of the main entrance approached by a broad flight of steps; the dormitory, lit by three oculi, was directly above, and the schoolmaster lived in one of the wings. The side elevations are of eight bays, the four central ones slightly advanced. The rear of the house shares many features with the facade. The architect is unknown, although the name of Benjamin Crawley, who was involved in the building of a couple of country houses in the south-east of Ireland during this period, has been mentioned. However, the interiors were thoroughly altered in the early 19th century and then later extensions added to the block, so only the exterior bearssome re semblance to the college’s appearance when first constructed.