Category Archives: Interior Decoration

A Tale of Two Parts II



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.


A Master Plasterer


Drumcondra House, County Dublin was discussed here a month ago (see An Italian in Ireland, February 11th 2019). That property was built for the early 18th century lawyer and politician Marmaduke Coghill who had inherited land in the area from his father. Prior to having a new residence constructed, Coghill lived in an existing house close by called Belvedere (sometimes spelled Belvidere). The Civil Survey of 1654-56 notes ‘There is upon the premises a faire brick house, slated…’ That building was extensively altered in the following decade by another lawyer, Sir Robert Booth and it was after his death in 1681 that Marmaduke Coghill’s father moved there. Once Drumcondra House was built, Belvedere was let to Henry Singleton, who in 1740 became Chief Justice of the Court of Common Pleas and fourteen years later Master of the Rolls. Mrs Delany records that in 1750 he was making extensive alterations to Belvedere, including the addition of a large drawing room to the rear of the building. This room has a wonderful ceiling with elaborate plasterwork. The stuccodore responsible is unknown, but stylistically the ceiling bears similarities to those a few miles away in Glasnevin House (see Misjudging a Book by its Cover, December 22nd 2014) which is attributed to the St Peter’s Stuccodore. Might this be another example of his craftsmanship?

An Italian in Ireland


In May 1717 Robert, first Viscount Molesworth wrote from England to his wife Letitia with advice of a planned return to Ireland and the fact that ‘I will carry with me the best architect in Europe.’ The latter was a young Florentine, Alessandro Galilei (1691-1737) who had been brought to London in 1714 by Lord Molesworth’s eldest son John, for the previous three years British Envoy to Florence. It was presumably there that he met Galilei and when Molesworth was recalled to London, he invited the architect, then aged 23, to accompany him with the expectation of commissions from English clients. The Molesworths, père et fils, were key figures in a group of enthusiastic cultural patrons described by the viscount as the ‘new Junta for Architecture.’ Their mission: to reconfigure architectural design on these islands in the neo-classical style, or what one of them called ‘Grecian & best taste’. Although Galilei spent four years in England, with a six-month interlude in Ireland in 1718, and despite backing from the Molesworths and other members of their circle, he achieved almost no success: for example, he made designs for new churches then being commissioned in London but none of them was executed. Similarly, despite being recommended by Lord Molesworth to design St Werburgh’s in Dublin in 1715, he did not get the job: the viscount later wrote that those behind the commission were ‘uncapable of comprehending what an artist Galilei is’. The fact that he was a Roman Catholic is thought also not to have helped his cause. Understandably in August 1719 he returned to Florence, where he was created Engineer of Court Buildings and Fortresses by the Grand Duke of Tuscany. Despite further importuning from the Molesworths and others, he never returned to this part of the world. In 1730, the Florentine pope Clement XII invited him to Rome where his best-known work, the façade of San Giovanni in Laterano (1732) can still be seen: he died in the city five years after its completion.




Marmaduke Coghill was born in Dublin in 1673, eldest son of Sir John Coghill, Judge of the Prerogative Court and one of the Masters in Chancery. Marmaduke was something of an infant prodigy, entering Trinity College at the age of fourteen and graduating as a Bachelor of Law four years later. At 19 he was a member of the Irish House of Commons, sitting for the next 50 years first representing the Borough of Armagh and then Dublin University. In due course liken his father before him he served as a judge of the Prerogative Court and later became Chancellor of the Exchequer in Ireland. He was described by a contemporary as being ‘a zealous and active friend, and of an engaging and affable manner, but he was not blessed with good looks’ (another account called him ‘a fat apoplectic looking old gentleman with short legs and a shorter throat’).
Following his father’s death in 1699 Marmaduke Coghill inherited land on the outskirts of Dublin, in an area called Clonturk but now known as Drumcondra. Initially he lived there in an extant house which still stands, Belvedere (or Belvidere), of which more on another occasion. However, in the early 1720s he embarked on building a new residence not far away, Drumcondra House. Here he lived with his sister Mary, like him unmarried, until his death in 1738; five years later she built a church close to the house and inside erected a monument to her brother sculpted by Peter Scheemakers. Following her death, Drumcondra House passed to a niece, Hester Coghill who was married to Charles Moore, Earl of Charleville. The family subsequently rented out the property as a private residence until the early 1840s when acquired by a Vincentian priest who established a Missionary College on the site, All Hallows. A few years ago the property passed into the hands of Dublin City University to become part of that institution’s campus.




So what are the links between Drumcondra House and Alessandro Galilei? As mentioned, the latter had scant success gaining commissions while in either England or Ireland, but the one building with which he has always been associated is Castletown, County Kildare. While Galilei was in Ireland with the Molesworths, he seems to have met William Conolly, Speaker of the Irish House of Commons and the country’s richest man: it was for Conolly that the architect proposed the basic design of Castletown’s façade, although work on the building did not begin until 1722 (by which time Galilei had long since returned to Italy) and is thought to have been overseen by Edward Lovett Pearce. Marmaduke Coghill was a friend and political ally of Conolly, so there is no reason why he should not also have met Galilei and indeed likewise have asked him for advice and designs for his own new residence in Drumcondra. To the immediate east of the main house is the shell of a classical temple (see below), its pedimented stone façade featuring a central doorcase with segmental pediment flanked by windows with regular pediments on either side of which is a pilaster topped with Corinthian capital. The design for this building has long been attributed to Galilei, but why not also therefore the façade of the house which the temple faces? As can be seen by the photograph on the top of this page, it has many of the same features albeit on a larger scale, suggesting that whoever was responsible for one was also architect of the other. As Maurice Craig once wrote of the façade, ‘there is nothing much resembling it anywhere else in Ireland.’ Matters are complicated because the south face of Drumcondra House, altogether more severe and pure (a two-storey pedimented breakfront imposed on the central portion of an otherwise plain, three-storey, seven-bay block) was designed Coghill by Edward Lovett Pearce in 1726. And of course, that was precisely when Pearce was also working at Castletown for Coghill’s friend William Conolly. All of which suggests that Galilei achieved more in Ireland than is usually thought, and certainly more than he ever did in England. Meanwhile, as these other images will show, the interiors of Drumcondra House, currently undergoing a gradual programme of restoration and refurbishment, reveal some of the most intact early 18th century panelled rooms in the country. A building worthy of further study.

 

Angelic Beauty



A pair of angels executed in mosaic line a portion of wall in what was once the chancel of a chapel in St Patrick’s College, Drumcondra, Dublin. Established in 1875 as a Roman Catholic teacher training college, St Patrick’s was once the country’s largest such institution. Its chapel dates from the end of the 19th century when designed by the popular church architect George Ashlin. The lavish interior decoration dates from the early 1900s when a number of different companies worked on the site: the mosaics came from the Manchester-based company of Ludwig Oppenheimer Ltd. Like many other such buildings, this one underwent alterations following the Second Vatican Council, when a new chapel was designed for the college by Andy Devane. Many of the features of the old one were removed (its Stations of the Cross are now in a church in Tullamore, County Offaly) and the space was converted into a reading room. St Patrick’s College is now part of Dublin City University.



More on Dublin City University and its historic properties in due course…

Frieze It



Details of a frieze below the cornice in the drawing room of Newpark, County Sligo. The main part of the present house dates from the last quarter of the 18th century when it was built for the Duke family, which had originally settled in this part of the country in the early 1660s. Much of the decoration of the frieze is in typical late-rococo style, garlands of flowers and leaves scrolling across the surface, intermittently interrupted by urns. But references to the family occur, such as the shield featuring a chevron and three birds, and on another section a coronet from which rise three ostrich plumes. The coronet may be a pun on the Duke family name, but more likely represents the coat of arms of Lucinda Parke, wife of Robert Duke who was responsible for the construction of Newpark.

Sumptuosity


A detail of Harry Clarke’s Eve of St Agnes window, now in the Hugh Lane Gallery, Dublin. Inspired by Keats’ poem of the same name, the window was commissioned in 1923 by Harold Jacob (of the Jacob’s Biscuit family) for his father’s home on Ailesbury Road. Completed within a year, the window was duly installed and then moved to a couple of other properties before being acquired by the gallery forty years ago in 1978. The history of the window and the inspiration for its design (not least the influence of the Ballets Russes, and its sumptuous sets and costumes by the likes of Léon Bakst) in an essay by Jessica O’Donnell included in the just-published Harry Clarke and Artistic Visions of the New Irish State. The book seeks to contextualize the artist not just within Ireland but also the broader modernist movement by examining different aspects of his output: Angela Griffith, for example, writes on the two promotional booklets published by Jameson whiskey in the mid-1920s, for which Clarke provided illustrations, while Fiona Bateman looks at windows produced by the Clarke studios for Irish Catholic Missionaries in Africa (apparently many of these remain in churches in Kenya, Nigeria and other countries). Rightly dedicated to the memory of the late Dr Nicola Gordon Bowe (the first anniversary of whose death falls in a couple of weeks), the book further illuminates our knowledge of cultural life in Ireland during the first years of the independent state.


Harry Clarke and Artistic Visions of the New Irish State (ed. By Angela Griffith, Marguerite Helmers and Róisín Kennedy) is published by Irish Academic Press.

Read All About It


One of the most significant restoration projects in Ireland over recent years has involved not a grand country house or an important public building, but a modest retail premises in central Dublin. We retain so little material evidence of our commercial history that it is difficult to imagine the vibrant economic life of the country in former centuries. That is why the restoration of 3-4 Parliament Street deserves applause. The thoroughfare was opened up by the Wide Street Commissioners in 1762 in order to provide a suitably grand approach from Essex Bridge to Dublin Castle. Almost all the houses lining the street have undergone considerable change over the past 250-plus years but this building retains its original appearance both inside and out, having served for much of the intervening period as Read’s Cutlers.



The interior of Read’s has altered little since first being fitted out in the 1760s. The ground floor shop, where once swords, as well as knives and forks were once sold, still contains its original counters, display cases and fitted wall cabinets, while upstairs is laid out as a family residence. Some years ago, the building having lain empty and neglected, this was all at risk of being lost but thankfully Read’s latest owner Clem Kenny appreciated its value and engaged in a through and meticulous restoration, a private initiative for which he deserves universal applause and appreciation. Next Thursday, November 15th, Dublin Civic Trust – which has long engaged in similarly valiant enterprises – is offering a tour of Read’s for which tickets can be booked on eventbrite.ie Rather than spoil the surprise of what lies behind that modest façade, these pictures are intended simply to whet appetites. Anyone who has not yet had an opportunity to see inside Read’s is urged to do so (and thereby also assist the Dublin Civic Trust’s worthy work).

A Tour-de-Force




Robert Rochfort, first Earl of Belvedere is rightly notorious for having imprisoned his wife for over thirty years on the grounds of adultery with one of his brothers: she was only released after his death in 1774. At some date before then, the earl had embarked on building a new residence for himself in Dublin. Located on Great Denmark Street and looking down North Great Georges Street, the incomplete Belvedere House was inherited by the second earl who initially sought to dispose of the property, offering it for sale in 1777. However, either he was unable to find a buyer, or he decided to retain the house, work on which was finished in 1786. Since 1841 it has been owned by the Jesuit Order which runs a secondary school on the site. In plan and composition Belvedere House closely resembles 86 St Stephen’s Green, begun in 1765, the design of which is now attributed to Robert West who, in addition to being a fine stuccodore was also a part-time architect and property developer. When Belvedere House was offered for sale in 1777, interested parties were directed to West, thereby indicating that similarities between this building and 86 St Stephen’s Green were not accidental.




The attribution of Belvedere House’s design to Robert West is of significance because of the building’s remarkable interior decoration. The staircase hall and first-floor reception rooms contain some of Dublin’s most elaborate plasterwork, and divining who was responsible for this tour-de-force has been the subject of much analysis. In 1967 C.P. Curran’s Dublin Decorative Plasterwork of the 17th and 18th centuries noted in the collection of drawings left by stuccodore Michael Stapleton several items directly relating to the design of ceilings in Belvedere House. Accordingly, this work was assigned to Stapleton. However, the fact that West was responsible for designing the house complicates matters, and the consensus now appears to be that both he and Stapleton had a hand in the plasterwork. Conor Lucey (in The Stapleton Collection, 2007) suggests that Stapleton may have been apprenticed to, or trained with, West and the fact that he was named the sole executor of the latter’s will in 1790 indicates the two men were close. The source material for the stucco work is diverse, that in the stair hall deriving in part from a plate in Robert Adam’s Works in Architecture, but the first-floor rooms feature a wider range of inspiration, much of it from France and Italy. The main reception room at the front of the building has an oval in the centre of its ceiling, which seemingly held a scene of Venus wounded by Love taken from Francois Boucher’s painting of the same name. However, when the Jesuits assumed responsibility for the house, the saucy nature of the work led to its removal. The adjacent room’s ceiling contains a roundel showing Diana in a chariot drawn by two stags: this was allowed to remain. In recent years a full restoration of these rooms has been undertaken by RKD Architects, allowing us better to appreciate how they must have looked when first completed, a tribute to the remarkable craftsmanship that existed in 18th century Ireland.




Eminent Men


The light may be dim but the subject of this sculpture certainly wasn’t. Visitors to the Old Library in Trinity College Dublin tend to be so engaged with the architecture of the space that they don’t notice the plinths holding busts that line either side of the room. The all-male gathering features classical philosophers, distinguished figures associated with the college and also, rightly, a number of famous Irishmen. This is scientist Robert Boyle, discoverer of Boyle’s Law (which explains how pressure is inversely proportional to volume) as represented by the Flemish sculptor Peter Scheemakers. In 1743 he was commissioned by the college authorities to produce the first 14 busts in the library. Nearby can be seen Dean Swift by Louis-François Roubiliac which dates from c.1748/49 and is the finest item in the collection.

Well Oaked


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.