St Mary’s Cathedral in Killarney, County Kerry was originally designed by Augustus Welby Pugin in 1840, its form a homage both to Ardfert Cathedral, elsewhere in the same county and Salisbury Cathedral. Work paused during the years of the Great Famine, but the building was finished in 1855 under the supervision of James Joseph McCarthy. The cathedral’s superlative mid-19th century Gothic interior survived intact until 1973, when then-Bishop Eamonn Casey commissioned what was called a ‘re-ordering.’ This involved throwing out almost all the decorative features and gutting the space back to bare stone walls. Such an act of desecration, which occurred in other Roman Catholic churches throughout Ireland, was supposedly undertaken in order to comply with new liturgical procedure, but oddly enough the same brutal approach was not undertaken in other countries, where churches were allowed to retain their historical interiors. It deserves to be exposed for what it was: the philistinism of a vainglorious prelate.
Until recently, Doneraile Court, County Cork had an unhappy recent past and what threatened to be an equally unhappy future. One of the earliest non-fortified houses in Ireland, the core of the present building was constructed in the 1720s to the design of Isaac Rothery for Arthur St Leger, first Viscount Doneraile. His great-grandfather Sir Anthony St Leger, who came from Kent, had been sent to Ireland in 1537 by Henry VIII and in 1540 was appointed Lord Deputy of Ireland. The family gradually acquired land in this country, and in 1636 Sir William St. L:eger, Knight, Lord President of Munster bought what is now Doneraile from its previous owners the Synans for ‘the sum of Three hundred pounds sterling current money of and in England in hand payed to us.’ Until Doneraile Court was built, they lived in an old castle on the opposite side of the river Awbeg. The house has a seven-bay, three-storey facade of cut stone with curved end bows added at a later date in the 18th century. Further additions were made in the following century, including a three-bay porch to the front and a vast dining room of 1869 (demolished during restoration work just over a century later). The interior contains an early 18th century panelled room and an oval late-18th century staircase hall with Adamesque plasterwork on its ceiling.
The last Lord Doneraile to live in the house was the seventh Viscount who had been born and lived in New Zealand before inheriting the title and estate in 1941. He and his wife had no children and following his death in 1957 she remained alone in Doneraile Court. Then in 1968 a 47-year old Californian truck driver called Richard St John St Leger arrived in Ireland with his family and claimed to be the Doneraile heir. An application was lodged with the British House of Lords for his claim to be recognised. While this process was underway and despite objections from the estate’s Trustees, the family moved into the house, initially living with the widowed Lady Doneraile although she later settled in a cottage on the estate. Around the same time the Trustees had reached agreement with the Land Commission for the purchase of Doneraile Court and its lands for £56,800. Richard St Leger meanwhile began refurbishment work on the house with the intention of opening it to the public. The Irish Georgian Society offered support and sent a large number of volunteers to help prior to an opening ceremony planned for July 1969 when the American Ambassador to Ireland would officially open the house. However, just a matter of days beforehand, the Trustees gained an injunction in the High Court against the public opening of Doneraile Court on the grounds that the house’s floors were unsafe. They then proceeded to sell its entire contents to a consortium of antique dealers. Soon afterwards the Land Commission completed the purchase of the estate. His claim to the title never proven, Richard St Leger moved out of the house and later returned to the United States.
The Doneraile estate now passed into State ownership as part of the Office of Public Works’ Department of Forestry and Fisheries. But while care was lavished on the parkland in preparation of being opened to the public, the same was not true for the house which rapidly started to show evidence of neglect and deterioration. Windows were broken by vandals, plasterwork in the hall began to fall off the walls and the 19th century conservatory collapsed. In May 1976 it was announced that Doneraile Court was to be leased to the Irish Georgian Society rent-free on condition that the organisation undertook to restore the building. Gradually the house’s dereliction was brought under control. By the end of 1978 the Irish Georgian Society had spent £25,000 on structural repairs and that figure would climb steadily higher; in 1983 the organization estimated it had spent some £40,000 on the house. The amount would have been much higher but for the fact that much of the work had been undertaken by volunteers. In June 1984 the park at Doneraile was opened to the public but a lot more still needed to be accomplished before the house could follow the demesne’s lead and admit visitors. In 1990 a tearoom began operating in the house’s old kitchen, and in April 1992 the ground floor of Doneraile Court opened with a variety of exhibitions on show, including photographs of restoration work from the very start. Two years later, with the greater part of the restoration work completed at a cost of £500,000, the Irish Georgian Society was at last able to hand the house back to the Office of Public Works. For the next 25 years, the building remained closed and shuttered. Finally, last month it re-opened to the public and for once the wait has been worthwhile. As today’s pictures show, Doneraile Court now looks better than it has for more than half a century, the ground floor rooms impeccably refurbished and decorated. Here is a triumphant demonstration that an historic building, no matter how long neglected, can be brought back to peak condition. What has occurred here can, with sufficient ambition and imagination, also happen elsewhere. Congratulations are merited to all involved in this enterprise, which is ongoing as there are plans to open the first floor in due course. Doneraile Court’s unhappy past has been expunged, and the house can now look forward to an optimistic future.
Next Sunday at 3pm I shall be giving a talk at Doneraile Court on a number of houses elsewhere in County Cork which have not enjoyed its good fortune. For further information, please see: http://doneraileestate.ie/event/robert-obyrne-the-irish-aesthete-in-county-cork/
After last Monday’s piece on the newer portion of Glenmaroon, County Dublin, it is worth drawing attention to one other feature of the house. Some seven years after acquiring and extending the property, in 1911 Ernest Guinness further added to it by building one of the first private swimming pools in Ireland. Designed, like the adjoining house, by Laurence Aloysius McDonnell (together with his partner in the firm, ALexander Reid), the addition which had a smoking room above, cost £5,000. The pool still survives with its original tiled interior, the curved end of windows above the deep end evocative of a bridge on one of the ocean-going yachts on which Guinness so loved to sail.
Glenmaroon, to the immediate west of Dublin’s Phoenix Park, was discussed here a couple of months ago (see https://theirishaesthete.com/2019/05/27/glenmaroon). Or at least, part of Glenmaroon was discussed since this is a property in two parts, separated by a public road, and linked by a bridge across the latter. Around 1903 Ernest Guinness bought the original house, built some forty years before by retailer Gilbert Burns. The building’s new owner was the second son of Edward Guinness, created first Earl of Iveagh in 1919. Born in 1876, Ernest Guinness attended Eton and Trinity College, Cambridge, leaving university with a degree in engineering. While his two brothers participated in the Boer War, he was sent to Dublin where he trained as a brewer before becoming assistant managing director at Guinness’s in 1902 and vice-chairman in 1913. His professional life was spent at the brewery in St James’s Gate where he always wore around his waist an enormous bunch of keys to the company’s safes. According to his great-nephew, the Hon Desmond Guinness, Ernest ‘was the only one of the family in his generation who really knew the brewery well. He understood and cared about every valve and every pipe, much more so than any of his brothers.’ Ernest Guinness loved machinery. One of the first men of his generation to acquire a motor car, he was later one of the oldest to be issued a British pilot’s licence and came to own four aeroplanes, the only person in Ireland to do so. When the autogyro, a precursor of the helicopter, was manufactured in 1923, he bought one and kept it in his garage. In his fifties he bought a three-engine biplane flying boat to carry family and friends between England and the west of Ireland. There was widespread press coverage of the first occasion on which he made the trip, in September 1928, since it was broken by an overnight stay in Kingston (now Dún Laoghaire) Harbour. Two years earlier at the Vickers’ Supermarine Aviation Works Ernest had supervised the construction of a three-engined monoplane with a wing span of 92 feet. Described as ‘an air yacht’ in addition to the cockpits, this had accommodation for six passengers including a saloon and several cabins equipped with electric lighting and a ventilation system. He was also a passionate sailor, owning a number of superlative vessels, the best known being the Fântome II on which he travelled around the world with his family in 1923-24. Even with boats, his interest was most often of a mechanical bent. On one occasion he ordered a yacht from the firm of Camper and Nicholsons but then requested that the vessel be cut in half to insert a 12-foot section in the middle with a diesel engine. When it was pointed out that this procedure would be more expensive than the simple purchase of an intact new boat, he retorted, ‘Never mind the money. That is how I want it done.’
In 1903 Ernest Guinness married Cloe (Marie Clothilde) Russell, only daughter of Sir Charles Russell, 4th Bt. Her mother was the granddaughter of the fourth Duke of Richmond, making Cloe a direct descendant of Charles II and his French mistress Louise de Kérouaille. The couple had three daughters, Aileen Sibell (b.1904), Maureen Constance (1907) and Oonagh (1910) who would later be known collectively as the Golden Guinness Girls. The had a large house in central London at 17 Grosvenor Place (now occupied by the Irish Embassy) and also a house outside the capital, Holmbury in Surrey (chosen for its proximity to an airfield) in which a system of concealed loudspeakers piped music into every room. But owing to his involvement with the family brewery, Ernest was perceived as being domiciled in Ireland, which explains his purchase of Glenmaroon, from where he daily walked to his office in the Guinness brewery. Initially he lived in the house built for Gilbert Burns, but following his marriage he decided to build a new residence, on the other side of the road. The architect chosen for this task was Dubliner Laurence Aloysius McDonnell. Born around 1858, McDonnell trained with John Joseph O’Callaghan, a devotee of the Gothic revival, before spending time in the offices of Thomas Newenham Deane and John Franklin Fuller and then setting up his own practice in 1886. One of his earliest and most advantageous commissions came from Lady Aberdeen, wife of the former (and future) Lord Lieutenant of Ireland. She and her committee chose McDonnell to design an ‘Irish Industrial Village’ for the Chicago World Fair in 1892. Among his other better-known works are Ballynahinch Castle, County Galway and the Iveagh Play Centre building on Dublin’s Bull Alley Street, the second of these in partnership with Alexander Reid. Glenmaroon was earlier than either of these buildings and seems to have been built in the style of an English Home Counties mansion to please Mrs Guinness, homesick for her own country.
Ernest Guinness’s granddaughter Neelia Plunket later described Glenmaroon as ‘A fascinating but hideous house. Fascinating, because each time we go there, there is some new electrical device or mechanical gadget that makes an organ play, panels in the wall open or something unusual happens.’ This is a reference to one of her grandfather’s odder installations: in one of the main reception rooms stood a coal scuttle with a small button which, when pushed, caused an automatic pipe organ to rise up and begin playing Cherry Ripe, a popular song of the period. As mentioned, in order to link the two buildings, he also organised to have a bridge built above the public road, so that members of the family could cross without having to step outdoors (the present bridge is a later replacement). Seemingly his three daughters watched the drama of the Easter Rising unfold while looking down to Dublin from this bridge. Stylistically, McDonnell’s building is quite different from the earlier house, the loosely neo-Tudor exterior being clad in ashlar limestone on the ground floor, and then brick and wood above. Passing under the porte cochère, internally the most striking room is the entrance hall, panelled in oak and plaster with an elaborate chimneypiece at either end and, facing the doorway, a double-storey oak flying staircase, lit by a vast window filled with art nouveau glass. The main reception rooms off this area are less striking and decorated in an Adam-revival style. Glenmaroon remained in the possession of the Guinness family until Ernest’s death in 1949, after which the entire property passed to the Irish state as part-payment of death duties. The entire complex was later acquired by a religious order, the Daughters of Charity and adapted as a centre for the care of people with intellectual disability. Four years ago, it was placed on the market and since then some essential conservation work has been undertaken on the building. Its long-term future remains to be seen.
The little church at Clonagam, County Waterford sits on high ground almost directly north of Curraghmore, with superlative views from the graveyard down to the house and gardens. The present building dates from 1741 when on the instructions of Marcus Beresford, Earl of Tyrone and his heiress wife Catherine de la Poer it replaced an older building on the site. Although there were subsequent alterations, essentially this is still the same structure, taking the form of a simple Roman barn, the rendered entrance front relieved only by a cut-stone Gibbsian doorcase and diagonal stepped buttresses on either corner topped with crocketed pinnacles. Round-headed windows on either side and on the east front were probably of clear glass originally but now contain some stained glass panels. Otherwise there is nothing to distinguish the church from many others throughout the country. The real interest lies inside, where generations of the de la Poer Beresford family are remembered.
Two of Clonagam church’s most prominent monuments are located at the east end of the building, that on the north wall carrying the following inscription: To the Memory of Marcus Beresford, Earl, and Viscount of Tyrone, Baron Beresford, and Baronet who departed this life on the 4th of April 1763 in the 69th year of his Age, and of Catherine, Baroness Le Poer in Fee, his Countess, Daughter and Heiress to James Power, Earl of Tyrone, Viscount Decies, and Baron Le Poer, who dyed in the 68th year of her Age on the 16th of July 1769 this Monument is Erected by their Son, George de la Poer Beresford, Marquis of Waterford, in Testimony of his Duty, Gratitude and Affection. In front of a polished limestone pyramid, the white marble monument features portrait busts of the couple, similar to those seen in Imperial Roman tombs, their deaths mourned by a pair of disconsolate putti. Unfortunately the sculptor responsible for the work is not known, unlike the monument on the opposite wall which recalls Florence Grosvenor Rowley, who in August 1872 married John Henry de la Poer Beresford, fifth Marquess of Waterford: the following April she died in childbirth. Set into the wall of the church and dramatically lit by a concealed window, the sculpture shows both the deceased marchioness as though asleep and cradling her baby, who also did not survive. This work was created by the Viennese-born Vienna-born Joseph Edgar Boehm, who had settled in London in the early 1860s, exhibiting at the Royal Academy (where he was elected a member in 1782) and becoming the favourite sculptor of Queen Victoria who awarded him a knighthood. Boehm was also responsible for the St Hubert stag that sits atop the façade of the main house at Curraghmore.
The body of the church at Clonagam is dominated by two lifesize recumbent figures, that on the north side representing Henry de la Poer Beresford, third Marquess of Waterford who was killed in a hunting accident in March 1859. In polished granite, it shows the deceased clad in his robes as a Knight of the Order of St Patrick. Since the third marquess and his wife Louisa had no children, the title and Curraghmore estate were inherited by his brother, John de la Poer Beresford. Before becoming the fourth Marquess, he had served as a Church of Ireland clergyman and so the white marble monument shows him in clerical robes; he died just six years after his elder brother. Several other members of the family also became clergymen, and one of them is similarly commemorated in the church: the Most Rev. John George de la Poer Beresford, a younger son of the first marquess. He briefly served as Archbishop of Dublin before becoming Archbishop of Armagh in 1822, holding the position for the next forty years. In Armagh, he was responsible for undertaking the restoration of the ancient cathedral of St Patrick, then in a perilous state of disrepair. There he was buried, but the monument on the south wall of Clonagam church was erected in his memory by the wives of the third and fourth marquesses. Incidentally, he was succeeded as Archbishop of Armagh by a cousin, Marcus Gervais Beresford. Finally, one other curious sculpture deserves attention. This is a semi-recumbent male figure looking to date from the late 17th century, his right hand resting on a knee (from which a stocking has untidily slipped) his left supporting his head as he leans backwards. His present position is on a shelf inside the church’s marble baroque chimney piece, but this appears not to be the original setting. Elsewhere in the building a number of wall plaques were repositioned after the Church of Ireland church in Carrick-on-Suir, their original home, closed its doors in the early 1980s. Presumably this figure was moved here at the same time and tucked inside the chimney piece. Who he represents is unclear but one of the plaques commemorates John Power, second Earl of Tyrone who died in 1693 at the age of 29: might he be the reclining figure? Whatever the answer, like the others inside the church – and indeed in the graveyard outside – he awaits the Day of Judgement.
Rathangan, County Kildare was once a prosperous market town and according to Samuel Lewis in the early 1830s, some 2911 people lived in the area (in the 2016 census, that figure was 2,611). Evidence of its former affluence can be seen in the many handsome houses dating from the late 18th and early 19th centuries that line Main Street and Bridge Street. However, as is the case with so many towns around the country, while Rathangan’s outskirts are now ringed with new housing estates, much of the old centre has been allowed to fall into decay. One of the most visible victims of this neglect is the town’s largest and most prominent house, Rathangan Lodge.
The central block of Rathangan Lodge probably dates from c.1800 and is of five bays and three storeys over basement, the whole centred on doorcase with wide fanlight and sidelights. The sides of the building were hung with slates for additional insulation. It has been proposed that the house was originally built as a hunting lodge for the Duke of Leinster (who at the time owned much of the land around here) but more likely the first owner was a successful merchant. At some subsequent date, perhaps around 1840. seven-bay, two-storey wings were added on either side, each of them having a central entrance. The building appears to have been occupied, or at least used, until relatively recently but has now been permitted to fall into serious decay. It is of course listed for protection in the current Kildare County Development Plan, but none seems to be forthcoming. The neighbouring house, of slightly later date, has clinging to its gates a planning application from 2005, but no work looks to have been untaken here and the building is likewise now in near-derelict condition.
The name Athclare derives from the Irish Áth Cláir, meaning Ford on level land, and here in County Louth stands a mid-16th century tower house originally built for the Barnewell family, who were then prominent landowners in this part of the country. The building is of four storeys and, as was usual for such structures, has just an arched entrance on the ground floor, the sole point of access. A stone spiral staircase in the south-east corner leads to the upper levels, with a large hall on the first floor. Here can be found an enormous limestone chimneypiece, the border of which is decorated with fantastical animals amid trailing floral garlands.
Athclare Castle subsequently passed into the possession of the Taafe family who may have added the substantial wing to the east of the original building. The house was then acquired by London merchant Erasmus Smith who supplied provisions to Oliver Cromwell’s army and used the funds received to buy various parcels of land until eventually he owned over 46,000 acres. On his death, he left a trust arising from ‘the great and ardent desire which he hath that the children inhabiting upon any part of his lands in Ireland should be brought up in the fear of God and good literature and to speak the English tongue.’ The Erasmus Smith Trust went on to establish five grammar schools in Dublin, Tipperary, Ennis, Galway and Drogheda.
From the exterior, the Church of the Ascension in Timolegue, County Cork looks a typically modest product of the early 19th century. The original place of worship here is first mentioned in 1291, and in the Middle Ages much of the land in this part of the country was under the control of the Barrys, subsequently Earls of Barrymore. The notoriously spendthrift habits of the final holders of this title obliged them to sell their property, which then passed into the possession of the Tonsons, the first of whom had been granted land in Ireland in the mid-17th century. They too were eventually ennobled as Baron Riversdale, and it was the second holder of that title who in 1811, with assistance from the Board of First Fruits, commissioned a new church in Timoleague as the old one had become dangerously dilapidated. The third and last Lord Riversdale died in 1861, by which time the Travers family, who lived beside the church in Timoleague House, were involved with the building. No doubt the interior was still relatively plain, because around this date some controversy arose when, as part of additions to the church – including a new chancel and vestry – a large stained glass window designed by the firm of William Warrington was installed above the altar. Opposed to graven images, the then-Bishop of Cork, Cloyne and Ross, William FitzGerald refused to consecrate the chancel unless the window was first covered with a cloth. One suspects he would not have cared for work subsequently undertaken inside the church.
In 1894 Robert Augustus Travers commissioned the decoration of the church’s chancel in memory of his wife Alice. What makes this work exceptional is that it is all in mosaic, supposedly thanks to Italian craftsmen who first laid out each section on the lawns of Timoleague House. The latter building was burnt in December 1920 during the War of Independence, and material relating to the chancel decoration was probably then lost. As a result, today the designer is unknown, but the late Jeremy Williams proposed William Henry Hill of Cork who had earlier served as Diocesan Architect for Cork, Cloyne and Ross, and therefore would have been well-known in Church of Ireland circles. Whoever was responsible displayed tremendous flair. The walls are mostly covered in abstract and floral patterns, with the Greek letters for Alpha and Omega set in oval frames on either side of the East window and elsewhere the Paschal Lamb. Meanwhile the ceiling is likewise decorated, this time a set of eight painted panels each featuring an angel carrying an appropriate text of mourning. In most churches, this might have been deemed sufficient, but more was to follow in due course.
Following the death of Robert Augustus Travers in 1904, the Timoleague estate was inherited by his elder son, another Robert. He decided to continue the decoration of the Church of the Ascension, initially in memory of his father. However, in August 1915 his son Spenser, a Lieutenant in the Royal Munster Fusiliers, was killed at Gallipoli, and so he too is commemorated in a mosaic frieze running beneath stained glass windows on the south wall. Much of the rest of the space is filled with further geometric shapes, along with stylised plants and flowers. As has been widely noted, only on the west wall does the design falter. Here above the entrance door a large panel depicts the Ascension of Christ, eleven Apostles gathered below him and a view of Jerusalem and its Temple shown behind. Both in colour and form, the result is somewhat insipid, a contrast with the boldness found everywhere else in the building. However, all the work might not have been realised, had it not been for assistance from an Indian Maharajah.
Born in 1876, Sir Madho Rao Scindia was ten when, on the death of his father, he became fifth Maharajah of Gwalior. As an adult, one of his closest friends was a man born in the Timoleague area, Aylmer Martin Crofts. The latter studied at what is now University College Cork and became a doctor before joining the British army where he saw service in Afghanistan and Egypt, finally settling in India. For the last twenty years of his professional life, Surgeon-General Crofts acted as chief medical officer for the state of Gwalior, hence his links with the Maharajah. Crofts died in 1915, and it was in memory of his ‘faithful and devoted’ friend that Madho Rao Scindia paid for the remaining decoration of the Church of the Ascension in Timoleague. Work here only finished in 1925, the year in which the Maharajah himself died. A section of the mosaic on the north wall of the nave provides testimony of his support, and the reason he gave it. His involvement helps to explain why much of the semi-abstract floral designs found in the main body of the church is reminiscent of Mughal art. As Jeremy Williams rightly noted, the building is a monument to ‘a living friendship that is being recorded in an extraordinary blend of the European and the Islamic – a hidden masterpiece of the Arts and Crafts Movement in Ireland.’ It is one which ‘transcended the sectarian divide between Irish Catholic and Protestant, The Indian Muslim and Hindu, personal friendship breaking up distinctions of caste and colour.’
Set into the estate walls of Castle Durrow, County Laois, the little church of St Fintan’s dates from the late 18th century when built either by, or with the support of, William Flower, third Viscount Ashbrook. Internally the building is plain, but distinguished by the presence of this organ which was originally installed in the chapel at Trinity College Dublin in 1797. The manufacturer was Samuel Green, ‘Organ builder to their Majesties Isleworth Middx 1797’, the instrument commissioned at a cost of five hundred guineas by George III who then donated it to the college. Forty years later William Telford made a new organ for Trinity College, this one being brought to Durrow in 1842 and placed inside St Fintan’s by the fourth Lord Ashbrook: he had to add a transept to the south side of the building to accommodate the instrument. Today the only Green organ in Ireland, it sits inside a case which looks to date from the installation in Durrow: pipes at either end rest on piers that feature angels carrying the Flower family crest.
Jonathan Swift, Dean of St Patrick’s Cathedral, Dublin and author of sundry celebrated works including Gulliver’s Travels and A Modest Proposal, is associated with Fortgranite, a County Wicklow house, the contents of which are being sold tomorrow. The Swift family’s rise in fortune originated with an earlier cleric, the Rev Thomas Swift who in 1566 became vicar of St Andrew’s church in Canterbury, Kent and subsequently married the heiress daughter of the Bishop of Bath and Wells, Thomas Godwin. The latter was recalled in the first name of the Rev Thomas’ eldest great-grandson, Godwin Swift, a lawyer who after 1660 served as Attorney General to the Viceroy the Duke of Ormonde, and was duly rewarded for his service with an estate in County Kilkenny, Swifte’s Heath. One of Godwin Swift’s younger brothers, Jonathan, also moved to Ireland but died within a year, aged only 27. He left a pregnant wife who seven months later gave birth to a son, also called Jonathan, the future dean. He benefitted from the support of his uncle Godwin (who incidentally had fifteen sons and four daughters by four wives), and then from the latter’s son Willoughby (Jonathan Swift’s cousin) who paid for his education and secured employment as secretary with Sir William Temple. His later clerical and literary careers are well known. What has any of this to do with Rockgranite? In 1711, Godwin Swift’s grandson Thomas Swift married Frances Dennis, heiress of a timber merchant from Kinsale, County Cork: the couple had two sons, the Rev. Meade Swift-Dennis and John Swift-Dennis. In 1782, these two men were joint beneficiaries of the substantial estate left by their late uncle, James Dennis, former Chief Baron of the Exchequer and first (and last) Lord Tracton. The only condition was that they adopt the arms and name of Dennis. They duly did so, the Rev. Meade Dennis subsequently acquiring the Fortgranite estate which was left to his son Thomas Stratford Dennis. As the latter’s middle name indicates, he was related to the Stratford family, his grandmother being a daughter of the first Earl of Aldborough, a name that has been discussed here more than once (see in particular Splendours and Follies, September 30th 2013, A Thundering Disgrace, January 13th 2014 and A Thundering Disgrace No More?, February 27th 2017).
Fortgranite is a house originally dating from c.1730, although sections of the basement suggest that there might already have been a tower house on the site, a not-unusual circumstance. The house was built for one George Pendred, whose family may have been Cornish in origin. He married an heiress Cordelia Saunders, daughter of lawyer and politician Morley Saunders, who c.1716 built a splendid house in County Wicklow, Saunders Grove (burnt 1923). As elsewhere in this take, the son of George and Cordelia Pendred changed his surname to Saunders in order to benefit from a family legacy, and was called Morley Pendred Saunders. His daughter Delia married the Rev. Meade Swift (later Dennis) and in turn their eldest son Thomas Stratford Dennis married his cousin Katherine Saunders. Thus two generations of one family benefitted from marrying two generations of another. In turn Fortgranite appears to have gone through two remodellings in the 19th century, the first c.1810-15 following the marriage of Thomas Dennis to Katherine Saunders, the second undertaken by the couple’s eldest son Meade Dennis in the early 1870s, the last occasion when such enterprises were made before the onset of the Land Wars and consequent decline of Big House estates in the following decade. As a result of these two refurbishments, Fortgranite shows little evidence of its earlier manifestations, displaying the gravitas typical of a high-Victorian country house. Still, until recently the interior was filled with evidence of former eras, and of the diverse families who had both inherited the place and, through marriage and other connections, bequeathed items to it. All either now gone, or about to do so following tomorrow’s contents sale. With them are dispersed the collective links to Patrick Swift, to the Earls of Aldborough, to timber merchants of Cork and Anglican clergy of Westmeath, to an entire history of Ireland’s gentry. All scattered, never to be brought together again.
For further information on tomorrow’s sale at Fortgranite, County Wicklow, see https://fonsiemealy.ie