Category Archives: Cottage

Answers Sought



On the banks of the river Barrow, at the point where Counties Carlow and Laois shade into each other, stands this building, known as Clongrennan Lock (also Lanigan’s Lock). Not far away are what remains of Clongrennane Castle, a 15th century construction, with the now-ruined early 19th century residence of the Rochfort family close by. Was this building, with its little turreted towers at each corner, originally part of the same estate? There appears to be no information available about the site: all answers welcome.


Better Treatment



After the rather sad spectacle of the O’Callaghan Mausoleum shown here last week (see Shabby Treatment « The Irish Aesthete) here is another building associated with the same family: a former shooting lodge at Glengarra, County Tipperary. It was constructed for Cornelius O’Callaghan, first Viscount Lismore, who also commissioned the now-demolished Shanbally Castle, completed in 1819. Since the latter was designed by John Nash, it is often proposed that this architect was also responsible for the Tudoresque lodge, which presumably dates from around the same period: in 1837 Samuel Lewis noted that ‘his Lordship has lately erected a lodge, a structure of much beauty in the glen of the Galtees.’ In the late 1930s, the building was leased to the Irish Youth Hostel Association An Óige who used it as accommodation for visitors until 2012. It then sat empty for several years and suffered the inevitable vandalism but in 2015 a local group, the Burncourt Community Council, undertook to rescue the lodge and restore it as an amenity for the area. It now serves as location for a variety of activities.


Pretty as a Picture


The thatched lodge at Derrymore, County Armagh featured here some time ago (see The Most Elegant Summer Lodge « The Irish Aesthete). That building dates from the mid-1770s, making it at least 30 years older than another fanciful cottage orné, this one in County Tipperary. Popularly known as the Swiss Cottage, the later example was constructed c.1810 for Richard Butler, 10th Baron Caher (created Earl of Glengall 1816). Member of a branch of the Butler family which had been dominant in this part of the country for hundreds of years, his own forebears had been settled at Cahir Castle since the 14th century. They remained there until c.1770 when a new residence, Cahir House (now an hotel) was built. Richard Butler was never expected to inherit the title and associated estate. However, following the death in June 1788 of the 8th baron, a distant relative, without heirs – and then the death of Richard Butler’s own father a month later – at the age of just 12 he came into considerable wealth. At the time, he was living in poverty in France, but then returned to Ireland, where he was accommodated by the eccentric widow Arabella Jeffereyes of Blarney Castle. There was method behind Mrs Jeffereyes kindness: within a few years, she had arranged the marriage of her daughter Emilia (then aged just 16) to the wealthy Lord Caher. Soon afterwards the couple returned to live at Cahir House where, according to Dorothea Herbert, they threw ‘a most flaming Fête Champêtre’ during which the young Lady Caher ‘danced an Irish jig in her stockings to the music of an old piper. We had a superb supper in the three largest rooms, all crowded as full as they could hold and we did not get home till eight o’clock next morning and so slept all the next day.’ 





The tone set by the party they had thrown after their return to Cahir House, the Butlers appear to have led an exceedingly merry life, dividing their time between County Tipperary and London where, following the implementation of the Act of Union, Lord Caher served as an Irish representative peer in the Westminster House of Lords. It may have been there that he made the acquaintance of architect John Nash, who would be responsible for designing a number of buildings in Cahir, including St Paul’s church (Figures of Mystery « The Irish Aesthete) and the adjacent Erasmus Smith School (Well Schooled « The Irish Aesthete) as well as the sadly-demolished Shanbally Castle just a few miles away. Accordingly, the Swiss Cottage is attributed to Nash, not least because of its resemblance to similar picturesque buildings he designed during the same period at Blaise Hamlet on the outskirts of Bristol. The cottage was sketched in 1814, indicating its completion by that date, and two years later was mentioned in an account of local races: ‘the tout ensemble of the Cottage affording a display of rural decoration not easy to be equalled in this country for chasteness of character and richness of fancy.’ Perched above the river Suir and just two kilometres south of Cahir, the cottage was never intended to be a permanent residence, but rather somewhere to visit, perhaps for a meal, perhaps an overnight stay in good weather. Built to a T-plan and of two storeys over basement, the cottage has rustic timber verandas around most of its exterior and a thatched roof. French windows open onto the surrounding grounds and there are a number of balconies on the first floor: much of the exterior is covered in wooden lattice trellising. The overall effect is exceedingly charming. 





Three years after becoming an earl, Richard Butler died and was succeeded by his only son, also called Richard. Despite marrying an heiress, he would find expenditure exceeded income, particularly after 1839 when he embarked on the restoration of Cahir Castle, and the rebuilding of much of the town of Cahir. In the aftermath of the Great Famine, it transpired that Lord Glengall’s debts amounted to a prodigious £300,000, the situation not helped by a lawsuit over their inheritance between Lady Glengall and her sister. The earl was duly declared bankrupt in 1849 and everything offered for sale, although some of the estate was subsequently recovered by his elder daughter, Lady Margaret Charteris. Somehow, the Swiss Cottage survived, although by the mid-1980s it was in poor condition, sitting empty and a prey to vandals. Before the building became a complete ruin, the local community bought it in 1985 with the aid of a £10,000 grant from the Irish Georgian Society. Work then began on salvaging the Swiss Cottage and the greater part of the funds for this project came, via the IGS, from the American Port Royal Foundation and its President Mrs Christian Aall (the foundation had already donated money towards the cottage’s purchase). Restoration work took three years to complete, overseen by architect Austin Dunphy assisted by John Redmill, with much of the labour provided under a government youth training scheme. New tree trunk posts were put up to support the shingled roof that surrounds the cottage at first floor level, later internal partitions removed and new wiring and plumbing installed. The building was re-thatched, and early 19th century wallpapers, not least a set in the salon by Joseph Dufour of Paris depicting Les Rives du Bosphore, scrupulously restored by David Skinner. Irish couturier Sybil Connolly was given responsibility for overseeing the interior decoration and arranged for a set of grotto chairs to be made for the ground floor rooms. Work on the Swiss Cottage was completed in September 1989 and the building has since been open to the public under the management of the Office of Public Works. 

The Most Elegant Summer Lodge




In January 1799 Isaac Corry was appointed Irish Chancellor of the Exchequer, and five months later, in order to raise money for Britain’s war against France, he introduced a property tax, based on the number of windows in any building, which for obvious reasons made him deeply unpopular throughout the country. Born in Newry in 1753, Corry was the descendant of a Scotsman who had settled in Ireland in the first quarter of the previous century. The family flourished (Rockcorry, County Monaghan derives its name from one of them), not least thanks to their involvement in trade: Isaac Corry’s father was both a merchant and an MP for Newry, his son succeeding him in the latter position. Although called to the bar, Corry does not seem to have practised much as a lawyer, preferring political life although he had limited private means during a period when election campaigns could be expensive affairs and candidates therefore needed to be wealthy. In 1788 he became Clerk of the Irish Ordnance, and the following year a Commissioner of the Revenue before being made a Privy Counsellor in 1795. As the 18th century came to a close, Corry became an ardent supporter of the union with Britain, bringing him into conflict with Henry Grattan who, on one occasion, described him in the House of Commons as ‘a half-bred lawyer, a half-bred statesman, a mock patriot, a swaggering bully and finished coxcomb, a coward, a liar and a rascal.’ The two men subsequently fought a duel, one of a number in which Corry participated during his lifetime and on this occasion he was wounded. It has been claimed that the actual Act of Union was drafted in the drawing room of Corry’s country house, Derrymore, County Armagh. 




A substantial thatched cottage orné, Derrymore dates from c.1777. The architect is unknown, although it has been proposed that the landscape designer John Sutherland was responsible, since Sir Charles Coote wrote in 1804 that Sutherland had been responsible for laying out the surrounding demesne; Coote also described the house as ‘the most elegant summer lodge I have ever seen.’ Although of one storey over basement, Derrymore is more substantial than might initially appear to be the case, since it consists of an elongated U, two substantial wings projecting back from the central block, creating a slim courtyard between them. The main entrance is at the top of the courtyard, a fanlit doorcase leading to a hallway on either side of which are domed and curved vestibules that give access to the wings. Directly in front is the drawing room, a plain space notable for its exceptionally large bay window that runs almost the full height of the building flanked by quatrefoils under hood mouldings. The bay is composed of 82 panes of glass and there are further mullioned windows on each of the wings, which ought to have left Corry paying a very substantial tax bill following the introduction of his own legislation in 1799 – except that a clause in the bill allowed for any window, no matter how big, to be considered as just one provided each pane did not exceed 12 inches in width. Nevertheless, financial difficulties eventually obliged him to sell the property some years before his death in 1813. Derrymore then passed through several hands before being donated to the National Trust in 1952. Today the wings are occupied by tenants and the drawing room only intermittently open to visitors.



Good Honest Design


A worker’s cottage in the hamlet of Glenosheen, County Limerick. It dates from c.1840, around the time a new bog road was built through the area, then part of the Castle Oliver estate. The building’s simple but effective design sets it apart from many other such modest dwellings of the period: for example, the use of brick around the upper sections of the door and windows, in contrast to the limestone rubble with which it is otherwise constructed. Then there are the hooded mouldings above the windows, and the pedimented projection of the gently-arched doorway. This is one of a pair of cottages but unfortunately its neighboutr has had unsympathetic fenestration inserted, with the result that much of its charm is lost.

Abandoned



A terrace of seven cottages, built for workers on the Ballymascanlan estate, County Louth. buildingsofireland.com proposes a date of c.1820 for these, at a time when the property was owned, but perhaps not occupied, by Sir Frederick Foster. The main house, originally a late 18th century classical block, was given an extensive overhaul by an unknown architect in the 1840s, transforming it into a Tudor-Gothic mansion, so it may be that the cottages – with their towering diagonal brick chimneys and mullioned windows – were constructed at the same time. The whole terrace now stands sadly empty and falling into dereliction, its location on the edge of a busy road not helping to make the location attractive for prospective occupants.


Little Known

Does any reader know more about this little Tudorbethan house located on a prominent junction in Callan, County Kilkenny. It appears to date from the third quarter of the 19th century and is stoutly built of limestone ashlar with a charming arched window inserted into the upper floor of the pedimented centre breakfront. When recorded for http://www.buildingsofireland.ie in 2004 it was still inhabited but has since been allowed to fall into the present dilapidated condition. To the immediate rear stand the shells of an abandoned Celtic Tiger-era housing development: a planning application for the completion of work here is dated August 2018 but nothing appears to have happened. Meanwhile, this building is at risk, despite being included on the local authority’s current list of protected structures.


Alms and the Man


Until the start of the 18th century, the village of Castlebellingham, County Louth was known as Gernonstown, named after the Gernon (otherwise Garland) family, the first of whom, the Anglo-Norman knight Roger de Gernon is thought to have arrived here in the 12th century with Strongbow. As evidence of their presence in this part of the country, there is also a Gernonstown to the northwest of Slane, County Meath. However, in Louth the Gernons were ousted by later arrivals, the Bellinghams. The first of that family to come to Ireland was Henry Bellingham who appeared here in the mid-17th century and in the great reallocation of Irish land which then took place, he was received or bought some of it based around Gernonstown; his possession of what would be the future Castlebellingham estate was confirmed by Charles II following the restoration of the monarchy in 1660. When Henry Bellingham died in 1676, the estate was duly inherited by his son Thomas who in 1690 took the side of William III, becoming a colonel in his army and serving as a guide on the march south from Dundalk. In retaliation, the forces of James II burnt the colonel’s residence, probably an old Gernon tower house. A new house for the family was built around 1710 and it is about this time that the surrounding village acquired the new name of Castlebellingham. Today an hotel, the house was extensively remodelled and enlarged at the end of the 18th century and then given a fashionable Gothic makeover in the 1830s. 





Located to the east immediately outside the gates of Bellingham Castle, as seen today the core of the village dates from the 19th century when it was carefully laid out in picturesque style by the Bellingham family. Among the most delightful features is a group of former almshouses built immediately adjacent to the Church of Ireland church to accommodate the widows of estate workers. A plaque above the main entrance to this building declares that it was endowed by Sir William Bellingham. Created a baronet in 1796, Sir William died thirty years later in 1826, and the almshouses, endowed with £64 per annum, were erected as a result of a legacy in his will. Sir William had no sons of his own, so the estate and baronetcy were inherited by a nephew, Alan Bellingham, but he died exactly ten months after his uncle, therefore it was Sir Alan’s son, the third baronet (another Alan) who undertook to honour Sir William’s intentions. The design of the building is often attributed to architect William Vitruvius Morrison, not least because it bears similarities to a couple of other ornamental cottages for which he was responsible: Carpenham, County Down and Lough Bray, County Wicklow. Here, as with both of the others, the building has steeply-gabled roofs and an amplitude of detail, such as the decorative bargeboards, ornamental finials, diamond-patterned pointed windows and tall brick chimneys. A further three detached two-storey cottages were subsequently built on the other side of the lane. 





The Widows’ Almshouses were modest enough residences, with a single room on the ground floor and another two above. The interiors were altered since first built, but the essential structure remains unaltered, with just a tiny yard to the rear of each before meeting the church grounds. Five years ago, in April 2016, the entire block was offered for sale for the modest sum of €100,000, but with the proviso that the almshouses were in need of refurbishment. The property was duly sold and in September 2018 an application was made to, and granted by, the local authority for the four units to be upgraded and converted into two dwelling houses. Nothing appears to have happened since then and unfortunately the almshouses are in poor condition. One must hope that sooner rather than later something will be done to bring this important part of the area’s architectural heritage back to decent condition. 

Source of Salvage Sought


The decoration on a roof of a single-storey cottage close to the remains of Clongill Castle, County Meath. A pair of wonderfully carved limestone sphinxes flank what might be either an eagle or a phoenix. These figures look to have been salvaged from a grand entrance gate, but where was it, and what happened to the rest of the building? All suggestions welcome…

Bath Time


The recent death of the conscientiously eccentric 7th Marquess of Bath serves as a reminder that for a long time his family, the Thynnes, owned a large estate in County Monaghan, including the east side of Carrickmacross. Evidence of their former presence can be found in the town, such as here on what is now called St Joseph’s Terrace but was originally known as Weymouth Cottages (Viscount Weymouth being one of the Thynnes’ titles). Single storied, with dormer attics, they are made from the local limestone with curious, intermittent insertions of sandstone. Beneath the bargeboard and above each entrance is a small plaque featuring a marquess’s coronet and the letter B (for Bath) as well as the date 1870 to advise when the buildings were constructed.


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