The south entrance to Ballyanne, County Wexford, a house built c.1790 for Henry Houghton. It was demolished in 1943 but this wide gatescreen indicates what has been lost. Six rusticated pillars are linked by iron railings and gateposts, while at either end is a matching porters’ lodge, of which now only the front elevations survive, their central windows (now blocked up) flanked by arched niches. Ballyanne’s entrance rightly figures in J.A.K. Dean’s newly published gazetteer The Gate Lodges of Leinster, a remarkable piece of research that appears over twenty years after the same author’s similar work devoted to Ulster’s lodges. This one runs to 416 pages and contains entries for no less than 4,285 buildings: even two centuries ago the profusion of gate lodges in Ireland was noted by visitors (some properties having six or more entrances, each of which had to be manned). Opening with a history of the gate lodge in this part of the country, the text then proceeds county by county, each entry following in alphabetical order with a full historical and architectural account, and a statement of current condition (where still standing).
Dean’s meticulously researched text is complemented by a profusion of illustrations including photographs and architectural drawings, and makes for an engrossing read. On the other hand, the book inspires a certain sense of melancholy, since so many of these miniature treasures have either been demolished (the fate, Dean estimates, of half of all built since the mid-18th century) or left to fall into decay. Their diminutive size can make them unattractive for modern permanent accommodation although, as the Irish Landmark Trust (and its English equivalent) has shown, they can be converted to serve as successful holiday lets. Furthermore, they have often been overlooked by architectural historians whose attention was focussed on what lay at the end of the avenue. But if their interiors were often relatively functional, much care was expended on their exterior appearance, since the lodge served as a statement of the estate owner’s status, and the first point of contact for visitors to the area.
This is a wonderful labour of love, and deserves to be applauded (and rewarded with abundant sales over the coming weeks). The only drawback is that it leaves one hankering for the companion volumes to Connacht and Munster…
‘From Artramont, I proceeded to the castle of Carrick, by Edmond, the seat of Mr. Bell, Mount Anna, that of Colonel Hudson, and Sanders’-court, the once respectable residence of the late Earl of Arran. When I arrived within view of the splendid arch and lodges, which, on an elevated position above the public road, form a grand outpost to this concern, and through which, though never carried into effect, an approach was meditated by the late Earl, my mind became unexpectedly introduced into a train of reflection on the ruinous consequences to this country, of that absentee system, which since our union with England has become so much the fashion. This splendid portal, with the degraded state of the mansion-house and offices, (now wholly deserted by the proprietor and his family,) and which form a striking contrast to each other, were well calculated to impress this subject upon the mind…I felt my heart impelled by a sentiment of sympathy; a feeling not likely to be obliterated, by the neglected and ruinous aspect of Sanders’-court, no longer the seat of nobility, nor of that munificence and national hospitality of which it was so eminently remarkable.’ From A. Atkinson’s The Irish Tourist (1815).
Saunderscourt, County Wexford derives its name from Colonel Robert Saunders who came to Ireland with Oliver Cromwell and was apppointed Governor of Kinsale, County Cork. However, he is said to have quarreled with Cromwell and having supported the restoration of Charles II was allowed to keep his grant of 3,700 acres in Wexford. In 1730 the Colonel’s great-granddaughter Jane Saunders, an only child, married Arthur Gore, later first Earl of Arran and thus Saunderscourt passed into the ownership of this family. It was the couple’s son, the second Earl of Arran whose decease (in 1809) was lamented by Atkinson since his heir abandoned the place which soon fell into ruin, as described above. Interest in the estate revived following the succession of the fourth earl in 1837, after which work was undertaken on the demesne by noted landscape gardener James Fraser. However, eventually Saunderscourt was sold c.1860 to an Arthur Giles who undertook restoration work on the main house. Believed to date from the second half of the 18th century, this was a two-storey, seven-bay property described following its refurbishment as being ‘a fine courtly building of considerable extent that displays its rich and handsome façade consisting of a centre and characteristic wings to the south-west.’ Saunderscourt changed hands again before the end of the 19th century and the main house was soon after demolished so that no trace of it remains today.
What survives at Saunderscourt is the ‘splendid arch’ and adjacent lodges that so moved Atkinson to eloquent reflection in 1815. Tucked down a quiet country road, this building appears to have been constructed during the time of the second Earl of Arran and, as is mentioned, was intended to be the start of a new approach to the house but this never happened. Thus it would seem always to have stood in glorious isolation, a monument to unrealised ambition. Attributed recently to Waterford architect John Roberts (who certainly worked in the area on a number of properties), the entrance, as can be seen, consists of a towering triumphal arch with the same treatment to both front and rear: engaged Tuscan columns support a triangular pediment, while a semicircular arch with moulded architrave is supported on Tuscan piers. This all executed in limestone although the greater part of the structure is of brick. The same material is also used for the single-storey quadrants and lodges. The former, which each have a pair of round-headed niches, are interesting because – like the arch itself – they are identical on either side. The effect is to create concave spaces which acted as yards for the lodges, with their Gibbsian door- and windowcases in limestone. The whole effect is tremendously grand, although somewhat incongruous in its present setting, shared with a series of cow sheds. The Saunderscourt arch has of late benefitted from attention paid to its welfare by the Irish Landmark Trust but that organisation’s limited resources have meant work has not progressed beyond stabilization and certain key repairs, particularly to roofs and drainage. Provided the necessary funds are forthcoming, no doubt further remediation will be undertaken and the property fully restored so that it can begin generating an income (and thereby better secure its future).
A miniature castle built as a lodge beside one of the gates providing access to the Annes Grove estate in County Cork. The building was designed by Benjamin Woodward in 1853 and contains just a handful of rooms inside the walls, one of which carries the coat of arms of Richard Grove Annesley who gave Woodward the commission. Having fallen into disrepair, the lodge was restored some twenty years ago and can now be rented for short stays through the services of the Irish Landmark Trust.
In 1824 the former courtesan Harriette Wilson advised a number of her ex-lovers that in return for a consideration of £200 she would omit their names from the memoirs she was then writing. The Duke of Wellington is famously said to have retorted ‘Publish and be damnned.’ He duly appeared in the book, as did another Irishman, James Lennox Naper. By the time the work appeared Naper was a respectably married man living on his estate in County Meath. However, the tale recounted by Wilson concerned his life more than a decade earlier, when he was a young Member of Parliament living in London and conducting a liaison with the author’s friend and sister-courtesan Julia Johnstone. The latter was at least fourteen years older than her lover (Harriette Wilson thought he looked more like her son) and she did not find him especially attractive. Nevertheless, she was urged by Wilson to respond to his ardours, not least for the sake of Johnstone’s many children: ‘”Napier [sic] is your man”,’ Wilson told her. ‘”Since you could be unchaste to gratify your own passions, I am sure it cannot be wrong to secure the comfort and protection of six beautiful children.” “But Napier’s vanity makes me sick,” retorted Julia, impatiently. “The possession of my person would not satisfy him. He wants me to declare and prove that I love him; and the thing is physically impossible”.’ Eventually she overcame her reluctance, but the match was never very happy. On one occasion Wilson discussed the matter with her sister Fanny, ‘”Oh, he is horridly stingy,” answered Fanny, “and Julia is obliged to affect coldness and refuse him the slightest favour till he brings her money; otherwise she would get nothing out of him. Yet he seems to be passionately fond of her, and writes sonnets to her beauty, styling her, at forty, although the mother of nine children, ‘his beautiful maid’.”‘ The affair only ended with Johnstone’s death in 1815.
In 1593 the Dorset-born judge Robert Napier was knighted and sent to Ireland as Chief Baron of the Irish Exchequer. He appears to have been singularly inept at his job, forever complaining about this country’s climate and seeking a better position on the other side of the Irish Sea. In 1600 he travelled to England and thereafter refused to return to Ireland. Accordingly he was suspended from office in 1601 and replaced the following year. Nonetheless, during the short period he held office, Sir Robert managed to found the family’s fortunes here, and in the third quarter of the 17th century his grandson James Naper further improved it by marrying Dorothy Petty, sister of Sir William Petty whose own descendants would eventually become Marquesses of Lansdowne. A series of strategic marriages meant that the Napers eventually came to own some 180,000 acres of land, with their main seat being at Loughcrew, County Meath. This was the estate inherited by Charles Lennox Naper who, despite being so stingy to poor Julia Johnstone, was believed to enjoy an annual income of more than £20,000. A considerable amount of it was ultimately spent on Loughcrew, where around the time Naper’s name featured in Harriette Wilson’s memoirs, he commissioned a substantial new residence designed by Charles Cockerel.
Naper’s splendid house is no more: over the course of less than 100 years Loughcrew suffered three fires and was not rebuilt after the last of these. Only part of the building’s portico was re-erected in recent years, while adjacent outbuildings were converted to provide accommodation. The greater part of the estate has likewise gone, and little remains to demonstrate the former wealth of this family. Yet here and there in the surrounding landscape are remnants indicating how extensive was the demesne and how ambitious once its owners’ notions. Today’s pictures show the Rustic Lodge, one of at least six formerly marking approaches to the house, each of them different in design from the others. As its name indicates, this lodge is resolutely pastoral in concept, and might almost have been conceived as a nest in which Naper could conduct subsequent romances. Believed to date from c.1840 the two-storey building’s ground floor features a blind arcade resting on rusticated stone piers, with openings for door and mullioned casement windows. The upper level is of yellow brick, with a patterned roof of slates and tiles, the two chimney stacks being again in rusticated stone. What remains of the interior suggests a similar character, the chimneypieces once more in rusticated stone and the entrance hall’s coved wooden ceiling almost alpine in spirit. The prettiest feature is a spiral staircase tucked into a corner of the former sitting room whence it sinuously climbs to the first floor before concluding in a final coquettish swirl of iron balusters. Now in poor condition, with the surrounding woodland encroaching ever nearer and the climate Sir Robert Napier so disliked having an impact on the fabric, one worries this lodge, like much else at Loughcrew, might be lost forever. It is said the main house on the estate suffered from a curse: ‘Three times will Loughcrew be consumed by fire. Crows will fly in and out of the windows. Grass will grow on its doorstep.’ All being well, the Rustic Lodge will escape this fate and enjoy a happier future.
The remains of the principal gate lodge at Castleboro, County Wexford. The main house (burnt in 1923) had been built around 1840 for the first Lord Carew to the designs of Daniel Robertson of Kilkenny. The single-storey lodge, marking the entrance of a new approach to the house through its parkland, dates from some twenty years later and features a tetrastyle Roman Doric portico. Sad to see this crisp granite building slip into what appears to be irreversible decay.
The gate lodge at Ballindoolin, County Kildare. Curiously there does not appear to be any information available on who might have been the architect for this or indeed the main house at the end of the drive. The latter was built around 1822 for the Bor family so presumably the lodge dates from that period since the two buildings display the same neo-classical style (somewhat disturbed here by lattice windows set in the beautifully crisp limestone frames). Note behind the Tuscan columns how the recessed porch has two doors facing each other on the diagonal to left and right. The lodge suggests the hand of Francis Johnston at his most rigorous.