The drawing room ceiling in Killruddery, County Wicklow. This part of the house was designed for the tenth Earl of Meath by Richard and William Vitruvius Morrison in the 1820s. Usually the names of craftsmen employed in such tasks remain unknown but specific information has been found about this ceiling. The principal plasterer was Henry Pobje of Dublin but he didn’t work alone. Fifty years ago in 1968 when Elizabeth, Countess of Meath was repainting the room, she discovered on top of one section of the cornice the name of Simon Gilligan, together with the date 24th April 1824, which was presumably when the plasterwork was completed.
An oak chimneypiece in the former Director’s Office of the National Library of Ireland, Dublin. It is one of ten designed for the building by architect Thomas Manly Deane in 1890 and carved by Carlo Cambi in Siena, much to the chagrin of Irish craftsmen who believed they should have been given this and similar commissions for the National Museum and National Gallery. The chimneypiece, and its companion on the opposite side of the library’s entrance hall in what was originally the Trustees’ Room, are judged to be the library’s two best, both featuring herms with flowing locks supporting an architrave scattered with birds and gryphons, the whole centred on a smiling putto.
Six years ago on September 24th 2012, the Irish Aesthete made its debut. What was the intent behind this initiative? Impossible to recall, although then as now a primary motivation was encouraging greater and more widespread engagement with Ireland’s architectural heritage, much of which remains at risk from either neglect or misuse. Over the past six years, some aspects of the site have changed, others remained the same. Very soon, the format of a thrice-weekly posting was established, with longer features each Monday and shorter ones every Wednesday and Saturday. The quality of photographs has certainly improved and, one hopes, will continue to do so (not least thanks to improvements in the calibre of mobile phone cameras). There has been a consistent effort to represent the entire island of Ireland, and to show the good, the bad and – with regrettable frequency – the ugly. What hasn’t altered throughout this period has been the attention of friends and followers, which is enormously appreciated: without regular support and feedback, it is unlikely the Irish Aesthete would have continued for so long. Therefore thank you to everyone who has shown interest in this site: you make it worthwhile. Happily today the Irish Aesthete is read across the world and has led to other opportunities for writing and speaking engagements, thereby helping to spread the gospel of our architectural history. A further outcome is that early next year the first book of Irish Aesthete photographs will be published, about which more in due course. Meanwhile, to mark today’s anniversary, here are six personal favourites taken over the years. You may have made other choices from the site: please feel free to share your own suggestions. Of the six shown above, two are properties in private hands, two are in public ownership, and two are ruins. All however are important elements in our common cultural heritage.
Dating from c.1800, this house in Banagher, County Offaly is described in www.buildingsofireland as being a striking feature of the streetscape ‘and one of the grandest structures within the town.’ The bowed breakfront with conical roof and the finely tooled stone doorcase is charming, as are the Wyatt windows on ground and first floor. In use as an hotel from the early 19th century onwards, two celebrated writers spent several years here: Anthony Trollope between 1841 and 1844 while working as a Post Office Surveyor’s Clerk (and writing his first published novel The McDermotts of Ballycloran) and James Pope-Hennessy in the early 1970s while writing biographies of both Trollope and Robert Louis Stevenson. Badly damaged in an arson attack in September 2012, damage to the building was not repaired which now looks in danger of being lost forever.
Limerick City’s oldest building still in continuous daily use, St Mary’s Cathedral this year celebrates its 850th anniversary. Standing on raised ground on King’s Island, the location had even earlier been used as a ‘Thingmote’ or meeting place by the Vikings who first established a settlement in Limerick. The cathedral was founded in 1168, reputedly on the site of a palace belonging to Donal Mór O’Brien, descendant of Brian Boru and last claimant to the title of King of Munster. Legend has it that the Romanesque west door was originally the entrance to O’Brien’s residence. His tomb – of which more anon – is in the Lady Chapel. Unusually the cathedral tower is located not in the centre of the building but above the west door: added in the 14th century, it rises 120 feet. The belfry holds a peal of eight bells, six presented in 1673 by William Yorke and cast by William Perdue who died before the job was complete and is buried in the graveyard. Especially during the 17th century when Limerick was besieged four times, the building experienced considerable upheaval. In 1651 Henry Ireton, General in the Parliamentary army then in Ireland, surrounded Limerick which held out for almost six months before surrendering (Ireton would die just weeks later). The victorious troops reputedly used the cathedral as stables for their horses (legend would have it the same behaviour occurred in almost every place through which they passed) and also removed the Pre-Reformation high altar. Some thirteen feet long and carved from a single block of limestone, the altar – the largest of its kind in Ireland and Britain – was only reinstated in the cathedral in the 1960s. Meanwhile during the Williamite Wars of 1689-91 Limerick was again besieged – twice. On the second occasion in 1691 as had happened exactly forty years earlier, the city resisted for several months before surrendering to William III’s general Godert de Ginkell, later first Earl of Athlone: he then concluded the Treaty of Limerick with Jacobite leader Patrick Sarsfield. However, during the course of the siege St Mary’s Cathedral had suffered so severely from bombardment that King William provided £1,000 towards the building’s repair. A number of cannonballs from the 1691 siege can be seen in the cathedral.
St Mary’s is so full of items of interest that much more space than available here would be required to detail them all. On this occasion just a couple will be discussed, the first of which is a 17th century funerary monument on the north side of the chancel. This commemorates Donogh O’Brien, fourth Earl of Thomond. The latter title had been created in 1543 when an earlier member of the family, Murrough O’Brien submitted to English authority and surrendered his position as the last King of Thomond. Raised in England at the court of Elizabeth I, Donogh O’Brien only settled in Ireland in 1582 following the death of his father. A member of the Established church and keen supporter of the government, he spent much of the next twenty years fighting his rebellious fellow countrymen on behalf of the crown. Ultimately Lord President of Munster, on his death in 1624 he was buried in St Mary’s Cathedral where construction of his tomb had already begun. A fascinating article by Dr Clodagh Tait published in the North Munster Antiquarian Journal in 2002 discusses this monument’s origins and history. In his will, drawn up some seven years prior to death, O’Brien mentions the tomb and requests that his heir Henry O’Brien finish the monument to his specifications. Dr Tait notes the similarities in design with the tomb of the earl’s friend Richard Boyle (the Great Earl of Cork) in St Mary’s Collegiate Church, Youghal, County Cork: both employed the sculptor Alexander Hills of Holborn. But that of O’Brien is less elaborate and uses cheaper materials than he first intended and, it seems, this is why he removed from the immediate area an earlier, and more sumptuous monument celebrating Cornelius O’Dea, Bishop of Limerick who had died in 1426. What survived of O’Dea’s tomb later disappeared as the poor of the city, believing it to have miraculous healing powers against the ‘bloody flux’ (what would now be called gastro-intestinal dysentery) gradually chipped away fragments until nothing was left. The O’Brien monument is often said to have been damaged by Ireton’s troops in 1651 but Dr Tait proposes that in fact it was subject to attack when the cathedral temporarily reverted to Catholic use in the 1640s: O’Brien’s vigorous espousal of Protestantism would have been well remembered, hence the particular damage to his recumbent figure (on the lower shelf) and that of his second wife Elizabeth FitzGerald. What we see today is the tomb as reconstructed by the seventh Earl of Thomond in 1678. It features three tiers of different coloured marble, surrounded and supported by columns of the Ionic, Corinthian and Composite orders, and decorated with O’Brien arms and trophies. Beneath and in front of all of this has been inserted the coffin lid of Donal Mór O’Brien’s tomb.
The other item in St Mary’s worth examining, and indeed for which the building is best known, are the stall misericords now lining the walls of the north transept. The misericord is a clever mediaeval device to get around the proscription against sitting during religious services: when the seat is raised, a small protruding ledge allows the participant to lean back at rest while still standing, arms settled on the sides of the stall. These devices were commonplace in the Middle Ages but the set in Limerick are the only extant Irish examples. Dating from 1480-1500 they were carved in oak taken from the woods at Cratloe, County Clare less than six miles away: the same wood was also used for the barrel-vaulted roof of the cathedral. Each of the surviving 23 misericords has a different carving on the seat underside. Some of these are of human beings or actual animals, others are of mythical beasts, such as a Wyvern (a two-legged dragon with a barbed tail) or a Griffin (its front half being that of an eagle while the rear was that of a lion). At some date, believed to have been in the 19th century, the misericords were removed from the main body of the cathedral and stored in the crypt before being brought up and placed in their present position. Over six hundred years old, they are a remarkable survival but, as already mentioned, only one of the many gems to be found in St Mary’s, an historic building that merits repeated visits.
It is now half a century since Castletown, County Kildare opened to the public. Constructed during the 1720s as one of our earliest and still greatest extant country houses, the building might have been lost had it not been for the plucky vision of the Hon Desmond Guinness in purchasing Castletown, and then the sterling work of the Irish Georgian Society in undertaking restoration work so that it could welcome visitors. Since 1994 Castletown has been in state ownership and the Office of Public Works, together with the Castletown Foundation, supports an ongoing programme of further improvements to house and contents.
One of the latest projects undertaken inside Castletown has been the conservation of the Red Drawing Room, part of an enfilade on the northside of the ground floor. The design of this space dates from the second half of the 1760s when much work was being undertaken in the house by Tom and Lady Louisa Conolly but the walls were hung in crimson hand-woven damask probably in the late 1860s/early 1870s. An early decision was made not to replace this much-weathered material but to preserve it in situ, carrying out necessary repairs while leaving evidence of age and wear-and-tear. This work is now complete and the room returned to inspection by visitors who will be able to admire a rehang of pictures and other additions to the decorative scheme, not least new curtains of damask woven to match that on the walls. An essay on the Red Drawing Room’s conservation by Christopher Moore is included in Volume XX of the Irish Georgian Society’s Irish Architectural and Decorative Studies journal which has just been published.
The glorious interiors of Glasnevin House, Dublin have been shown here before (see Misjudging a Book by its Cover, December 22nd 2014) with the focus o the building’s plasterwork. Since then the former entrance hall has been restored and now looks as splendid as the other ground floor rooms. Among the space’s outstanding features now properly revealed is a substantial chimneypiece. Dating from c.1760 it looks to be of stained pine and since the overdoors in other areas of the house are attributed to Dublin master carver John Kelly (in Irish Furniture, the Knight of Glin and James Peill, 2007), it seems reasonable to assume this work also came from his hand.
In his Topographical Dictionary of Ireland (1837), Samuel Lewis wrote that the ‘noble mansion’ at Newbridge, County Dublin was said to hold ‘several valuable paintings by the old masters, which were collected on the continent by the Rev M. Pilkington, author of the Dictionary of Painters, who was vicar of this parish; the drawing room contains several of the paintings described by him.’ The cleric mentioned here was Matthew Pilkington, born in King’s County (now Offaly) in 1701 and ordained a deacon in the Church of Ireland twenty-two years later. His was likely not a very profound vocation, but a position in the established church offered career advantages of which he intended to take advantage. Initially all went well. In 1725 he married the well-connected Laetitia van Lewen, as diminutive – but also as witty – as her husband, and the couple became friends with the likes of Jonathan Swift and Patrick Delany. Through the former Pilkington secured the position of Chaplain to the London Mayor of London and so moved to the other side of the Irish Sea. However in London he antagonized potential supporters and was imprisoned two years later. On returning to Dublin, he then became estranged from his wife and the couple was eventually and scandalously divorced in 1737: just over a decade later Laetitia Pilkington published her entertaining memoirs, from which her former husband emerges in a poor light. Ultimately he recovered his social position thanks to the patronage of Charles Cobbe, Archbishop of Dublin who offered Pilkington the living of Donabate and Portraine next to Cobbe’s newly completed seat at Newbridge. As mentioned by Lewis, it is believed that Pilkington travelled to mainland Europe to buy paintings for the house and that this in turn would have informed the work by which he is remembered: The Gentleman’s and Connoisseur’s Dictionary of Painters, the first such book published in English. It appeared in 1770, four years before the author’s death.
The greater part of Newbridge was built between 1747 and 1752 to the designs of Scottish-born architect James Gibbs, his only known work in Ireland. The following decade a large drawing room was added to the rear of the house. In 1755 Archbishop Cobbe’s son and heir Thomas married Lady Elizabeth Beresford, youngest daughter of the first Earl of Tyrone, and sister of the first Marquess of Waterford, and space was needed for the young couple and the art collection being assembled for the family by Matthew Pilkington. The architect on this occasion was a local man, George Semple who had already overseen the erection of Newbridge. Semple initially proposed adding a pair of wings to the south-facing façade but in the end the decision was taken to construct a single large drawing room/picture gallery to the rear of the house, taking the space previously occupied by a pair of small offices. As has been noted by Julius Bryant, to preserve homogeneity of style within the building Semple used Gibbs’ 1728 Book of Architecture as a source for the design of doorcases and chimney pieces, the former immediately apparent at the entrance to the room from the adjacent antechamber. Running some 45 feet in length, the space has a ceiling featuring ‘a sea of scrolling leaves and floral garlands encircled by dragons and birds fighting over baskets of fruit.’ This work is believed to have been undertaken by stuccodore Richard Williams, a pupil of Robert West: the Newbridge accounts for this period include seven payments to ‘Williams ye stucco man.’
A drawing of the Newbridge drawing room dated c.1840 and attributed to Frances Cobbe shows the room as it looked following a refurbishment of the space two decades earlier. In 1821 payments for furniture were made to Woods & Son, and to Mack, Williams & Gibton of Dublin, who were also paid for curtains in 1828. The carpet, by Beck & Co. of Bath was supplied in March 1823 for £64 and 18 shillings, while the crimson flock wallpaper and matching border came from the Dublin firm of Patrick Boylan. The present arrangement of paintings, the greater part of them collected during the previous century by Archbishop Cobbe and his son and daughter-in-law, dates from the same period. Towards the end of the 19th century, Frances Cobbe called the drawing room ‘the glory of the house. In it the happiest hours of my life were passed.’ She remembered the room as assembled by her parents. Some of the collection had been sold in Dublin in 1812, and in 1839 two key paintings, by Hobbema and Dughet, were sold to pay to fund the construction of some 80 estate workers’ cottages. In November of that year, then owner Charles Cobbe (father of Frances) wrote in his diary, ‘I have filled up the vacancies on my walls occasioned by the loss of the two pictures which have been sold, and I felt some satisfaction in thinking that my room (by the new arrangement) looks even more furnished than before.’ Such is still the case today. In 1985 Newbridge passed into the hands of the local authority, now Fingal County Council, which has been responsible for house and estate ever since. However, Alec Cobbe artist, designer and musical instrument collector, who grew up in the house continues to be devoted to the building. He has valiantly undertaken successive projects to preserve and conserve the interiors, not least the drawing room. As a result today, as noted by Bryant, this gorgeous space today ‘provides a rate opportunity to study an Irish collection in its historic context.’
Tiles on the entrance hall floor of Temple House, County Sligo. The original early 19th century house here was greatly enlarged and embellished c.1860 for Alexander Perceval who employed the firm of Johnstone & Jeanes. Based at 67 New Bond Street, London the company was better known for its furniture (of which many examples remain in the house) than as an architectural practice: this appears to be the only instance of its work in Ireland.