Category Archives: Kilkenny

Having No Equal in the Three Kingdoms


Visiting Kilkenny Castle in 1699, English bookseller John Dunton enthused over the building’s gallery, writing that ‘for length, variety of gilded chairs, and the curious pictures that adorn it, has no equal in the three kingdoms, and perhaps not in Europe; so that this castle may properly be called the Elisium of Ireland.’ Were Dunton somehow to return to Kilkenny today, he would likely find the place unrecognisable, but would still judge the castle gallery as having no equal, certainly not in this country. 





The origins of Kilkenny Castle date back to the late-12th century when a defensive structure was erected on a site high above an important fording point on the river Nore. Likely of wood, it was replaced by a stone building around 1260, a square-shaped castle with a tower at each corner, three of which remain. Passing through various hands, it was seized by the English crown and sold to the Butlers in 1391: hitherto the family’s main base had been at Gowran, some ten miles to the east. Thereafter, Kilkenny became the centre of Butler operations, although the castle went through several periods of neglect. In the second half of the 16th century, for example, Thomas Butler, 10th Earl of Ormond, preferred to concentrate his energies on enhancing another Butler property in Carrick-on-Suir (see All that is Fantastically Eccentric in Architecture « The Irish Aesthete). However, his great-nephew James Butler, first Duke of Ormond and the latter’s wife Elizabeth Preston, lavished attention on Kilkenny Castle, creating the building so admired by Dunton at the end of the 17th century. 




An ardent royalist, James Butler went into exile in France with Charles II. Following the latter’s restoration in 1660, Butler was created Duke of Ormond, recovered his Irish estates and became the country’s Lord Lieutenant. While he and his wife spent much time in Dublin, they also turned their attention to the ancestral castle in Kilkenny where, inspired by what they had seen during their time in mainland Europe, they transformed the building and its grounds in the style of a French château. The garden was laid out in the fashionable Baroque manner, with serried lines of trees, statuary and fountains, and a classical banqueting house. Inside, an inventory made for the couple’s heir, the second duke, reveals that the castle held sets of tapestries, Turkey rugs and looking glasses, Dutch and Indian furniture and a huge collection of more than 500 paintings, the largest in the country with work by Dutch, French, Italian and English artists. Some of these items survive to the present day: six 17th century Dutch tapestries, part of a larger series telling the story of Decius Mus, a Roman Consul, can be seen in one of the rooms, while elsewhere several painted wooden panels carved with ribands and pomegranates are on display. While many visitors to the castle were awed by this display, not everyone felt the same way. In November 1709 Dr Thomas Molyneux arrived in the town and went to look at the building. While acknowledging that it was handsomely situated above the Nore, Molyneux declared that inside ‘there is not one handsome or noble apartment. The Rooms are Darke and the stairs mighty ugly.’ He was also critical of recent alterations to the main structure, thinking the handsome classical entrance from the Parade, along with a new range of buildings all ‘mighty ugly, crooked, and very expensive.’ 





Kilkenny Castle, as seen today, is primarily a 19th century construct. For much of the previous century, it had, once more, been little used and allowed to fall into a poor condition: by 1747, it was described as being like that of ‘a weather-beaten ship in a storm after a long voyage with all her cargo thrown overboard.’ Around 1770, the south wall of the old castle, which had already been badly damaged during the Confederate Wars of the early 1650s, was demolished, thereby breaking the previously enclosed courtyard and opening views to the parkland. Internally, other radical changes took place. The present Picture Gallery, 150 feet long and the finest surviving example of its kind in Ireland, was commissioned in 1826 by James Butler, first Marquess of Ormonde from local architect William Robertson, with further changes made in the 1860s by the firm of Deane and Woodward. Elsewhere, a suite of reception rooms on the first floor continues to reflect their mid-19th century decoration, with walls covered in French silk poplin originally made by Prelle of Lyons, on which are hanging paintings many of which are part of the original Butler family collection. The decoration here is based on photographs showing how the rooms looked in the 1890s. The Butler Marquesses of Ormonde remained in ownership, if not in occupation, of Kilkenny Castle until 1967 when the seventh and last holder of the title sold it for a nominal sum; many of the contents had already been dispersed at auction some 30 years earlier. Today the castle and grounds are owned by the Irish State and managed by the Office of Public Works which has gradually been restoring more of the interior which can be viewed by visitors. 


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Disrobed



Tucked away in an eastern corner of a garden behind the former bishop’s palace in Kilkenny is this charming little pavilion. Its construction is attributed to the writer and antiquarian Richard Pococke who lived in the main house 1756-65 while serving as Bishop of Ossory (although some sources attribute it to Charles Este, who held the same office 1735-40, and then went on to commission a new episcopal palace in Waterford). Inside the single room pavilion is a chimneypiece flanked by arched plaster recesses, the walls on either side panelled in wood. A door on the south side formerly opened into a Doric colonnade which in turn led to a door in the north transept of St Canice’s Cathedral, thereby allowing the prelate to move from one building to the other without stepping outdoors: in the early 19th century, architectural purists decried the colonnade as being out of keeping with the medieval site and it was removed. As for the pavilion, it has long been called the Robing Room, suggesting this was where the bishop donned the appropriate garments before taking a service in the cathedral. More likely it was simply intended to be a summerhouse and indeed this was how the building was described by a later Bishop of Ossory, William Newcome who in 17775 wrote that it was ‘of a very good size with a fireplace, fit for drinking tea or a glass of wine.’ The Robing Room underwent restoration some 20 years ago when the palace, vacated by the Church of Ireland, was being prepared for its current occupant, the Irish Heritage Council.  


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All Aflutter



Herewith the dovecote in the grounds of Woodstock, County Kilkenny. According to http://www.buildingsofireland.ie, the building dates c.1750, but it does not appear to be on the earliest Ordnance Survey map produced in the second quarter of the 19th century, so it may be later. In any case, the dovecote has a rubble stone exterior and is circular in plan with a conical slate roof on top of which sits a miniature version of the building through which pigeons had access to the interior: the latter, with brick-lined walls and ceiling, contains 293 nesting boxes, an indication of how many of these birds would have been eaten during the winter period.



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Larkin’ about




What survives of the little parish church of Ballylarkin, County Kilkenny, its name derived from the Irish Baile Uí Lorcáin meaning Town of Ó Lorcáins (they being the family who initially controlled this part of the country). The building is believed to date from the 13th century but inside on the south wall is a later piscina and a triple sedilia probably inserted in the 14th century. 




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Salvaged



Dating from c.1796-1801, St Mary’s Church in Johnstown, County Kilkenny is typical of the form such buildings took at the period, aided by support from the Board of First Fruits. Of three bays with windows on the south side but none on the north and the entrance through a tower at the west end, it conforms to type except for two features, one being the aforementioned door and the other being the window at the east end. Both of these are late-medieval and believed to have come from another church a few miles away at Fertagh. This had been the site of an Augustinian priory and, after the Reformation, served as a parish church for the Church of Ireland. When that building’s roof collapsed in 1780, it was abandoned and then the present church built in Johnstown. Below are a couple of early memorials found on the east wall, one of them to John Hely of nearby Foulkscourt, who had been responsible for developing the village in the 1770s.



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Beyond Balief


The histories of some Irish buildings are easier to trace than others. The origins and owners of Balief Castle, County Kilkenny prove particularly elusive. It is commonly stated that the castle, actually another late-medieval tower house, was constructed by a member of the Shortall family. The Shortalls were of Norman origin, and settled in this part of the country in the late 13th century: a townland is still called Shortallstown. The Shortalls allied themselves with another, more powerful, dynasty, the Graces, Barons of Courtstown, and this helped to assure the possession of their lands. Both the Graces and the Shortalls remained loyal to the Roman Catholic faith and to the Stuart cause. In 1689, the then Baron of Courtstown raised and equipped a regiment of foot at his own expense to support James II during the Williamite Wars, and Thomas Shortall joined this force. When the baron died the following year, his son Robert Grace succeeded as head of the regiment but he was badly wounded at the Battle of Aughrim in July 1691 and died the following year. Nevertheless, the regiment continued to operate, with Captain Thomas Shortall commanding a company of 100 men at the second Siege of Limerick. Following the treaty concluded there in October 1691, Shortall like many others left Ireland and joined the French army. He is said to have continued to serve until the age of 88, and to have died in 1762 at the age of 104.




What happened to Balief Castle in the aftermath of the Williamite Wars is something of a mystery, but it appears to have passed into the hands of the St George family, which owned large estates in County Kilkenny. In Atkinson’s The Irish Tourist (1816) Balief Castle is described as being ‘the seat of Mr St. George’, presumably Robert St George whose father Sir Richard St George lived not far away at the since-demolished house of Woodsgift. However, it would seem there was another, more modern residence here, again no longer standing, since the earliest Ordnance Survey map shows ‘Balief House’ on or adjacent to the same site of the castle. Hercules Langrishe St George is later listed as owning the property, and being a local Justice of the Peace before Balief became occupied in the 1860s by Denis W Kavanagh, another gentleman whose family owned land in the area. Thereafter it is hard to find any more information about the place. 




Most Irish tower houses are either square or rectangular. Circular examples are relatively rare, although one has featured here in the past, Moorstown Castle, County Tipperary (see In the Round « The Irish Aesthete). Thought to date from the 16th century, Balief Castle is another member of this small group. The building castle rises approximately 35 feet and has an interior diameter of the castle of 15 feet, eight inches with walls some eight feet, four inches thick. As is customary, it has a single entrance, a pointed arch door on the west side. Immediately inside, is the staircase, with an ascent to the top by 50 stone steps, the majority of which are eight inches thick (the final nine being six and a half inches thick), but all floors and other internal divisions have long been lost, leaving one space that climbs to a still intact domed roof. Today Balief Castle stands in the middle of a field, little noticed and little known. 


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Langrishe Go Down


The Langrishe family were originally from Hampshire, where they lived for several centuries until one of their number, Lieutenant Hercules Langrishe, arrived in Ireland c.1650. His father was the first of the family to be given that distinctive first name (his sibling was called Lucullus). The younger Hercules had one son, John, who married no less than five times, his second wife being Alice Blayney, daughter of Henry Blayney, second Baron Blayney. She had previously been married to one Thomas Sandford, who held a long lease on lands at Knocktopher, County Kilkenny; following her own death, the lease was inherited by John Langrishe and finally in 1757 his only child (from a third marriage) Robert Langrishe completed the outright purchase of the fee simple of this property. His son, another Hercules, created a baronet in 1777, served as MP for Knocktopher for almost 40 years until the Irish Parliament was abolished in consequence of the Act of Union in 1800. A keen advocate of Irish legislative independence, he was also a supporter of Roman Catholic Relief: in 1792 Edmund Burke published his renowned Letter to Sir Hercules Langrishe arguing the necessity for all remaining civil restrictions on Catholics to be removed. Following Sir Hercules Langrishe’s death in 1811, the baronetcy and Knocktopher estate were inherited by his eldest son Robert.




The name Knocktopher derives from the Irish ‘Cnoc an Tóchair’, meaning the Hill of the Causeway. Seemingly, it first appears in surviving records from the late-13th century Ormond Deeds, associated with the Butlers. That family was critical in the development of the area, although a Norman motte and castle were already developed here by one Griffin FitzWilliam in the closing decades of the 12th century (a telling indication of public attitudes to the country’s heritage is the fact that the motte, along with some masonry, survived until 1973 when the site was completely levelled). In 1312 the Butlers took possession of Knocktopher, thereafter making it one of their principal residences; in consequence, an urban settlement grew up around the castle and eventually in 1365 Edward III gave permission for a weekly market to be held there. In the previous decade, James Butler, second Earl of Ormonde had founded a religious house in Knocktopher for Carmelite friars. They remained there until the Dissolution of the Monasteries and in 1542 their property was granted by the English government first to Sir Patrick Barnewall, Solicitor General for Ireland, and then passed to Sir Nicholas White, Master of the Rolls and Privy Councillor. His family retained Knocktopher until 1677 when it was bought by Sandsfords and, as mentioned above, through marriage it then passed into the possession of the Langrishes who remained there until 1981.




As seen today, Knocktopher Abbey primarily dates from 1866 when commissioned by Sir James Langrishe to replace an older property on the site which seemingly had been largely destroyed by fire some years earlier. The architect responsible was John McCurdy, today best-known for his remodelling of Dublin’s Shelbourne Hotel. McCurdy’s output was eclectic: he also worked on the Museum Building in Trinity College Dublin and the Masonic Female Orphan School (now an hotel) in Ballsbridge, Dublin, as well as designing a number of private houses in diverse styles. At Knocktopher, evidently keen to emphasise the antiquity of the site, he opted for a loosely Gothic, asymmetrical manner, with suggestions of a French chateau, most notably in the three-storey entrance tower with Oriel window and steeply pitched roof. The building is faced in limestone ashlar, with granite used for door and lancet window dressings, the latter in bi- or tripartite arrangements. Further bipartite dormer windows are set into the roofline. What sets the house apart is that on the western side it incorporates parts of the medieval Carmelite priory, not least a great square tower of rough-hewn limestone and with window openings which may have been made by subsequent lay owners. Certainly a tall paired chimney stack suggests late 16th or early 17th century interventions and may hint at the appearance of the building lost to fire in the 19th century. But this must remain speculation, not least because access to the house’s interior was not possible. After being sold by the Langrishe family, Knocktopher Abbey was developed as a time share scheme. Today the service yard has been turned into a series of short-term self-catering units. A fascinating place that deserves closer study. 

Evolving Over Time



At the start of the 18th century, Peter Aylward, who came from Aylwardstown at the southern boundaries of County Kilkenny, married Elizabeth Butler. Her father, Sir Richard Butler, owned property at Paulstown further north in the county and the young couple settled here in an old tower house which they then modernised and extended. The new range had a recessed centre with projecting bays on either side, one of which was the original tower house.  This building appears to have survived unchanged for a century until some date in the 1820s/30s when a further single bay extension was added and the whole exterior crenellated, so that the house was thereafter called Shankill Castle; this work has been attributed to local architect William Robertson. In 1861, a conservatory designed by Sir Joseph Paxton and opening off the drawing room was added, but then taken down 100 years later. What does survive is another conservatory on stilts at the back of the building, accessed from a return on the main staircase. Shankill Castle remained home to Peter Aylward’s descendants until 1991 when it was sold; the property has since been owned by historian Geoffrey Cope and his artist wife Elizabeth.


Unhappy Statistics


For many visitors to Ireland, spending time in a local pub – sampling whatever is on offer, engaging in conversation with local residents, perhaps listening to live musicians – is a memorable experience. As indeed it is, and long has been, for the same local residents. However, in many instances, that experience is no longer available. Figures released last year show that an average 152 pubs have closed annually since 2019 and that the number of such licensed premises has declined by 22.5 per cent since 2005. A survey published in August 2022 showed that counties suffering the highest percentage reduction in the number of pubs since 2005 were Laois (30.6%), Offaly (29.9%), Limerick (29.1%), Roscommon (28.3%) and Cork (28.5%). County Meath suffered the least reduction, with just three pubs closing their doors during this period. But the trend is nationwide, as can be testified by anyone who travels around Ireland; wherever you go, there are shuttered premises falling into dereliction, another aspect of Ireland’s heritage slowly disappearing. 




It is easy, too easy, to wax sentimental over the Irish pub and its supposed charms. Certainly some of them are places of great character, well-designed, well-maintained, well-run and a pleasure to visit. A number of them, especially those in the larger cities and towns, are repositories of 19th century craftsmanship, marvels of mahogany, brass and glass. These are the premises that deservedly feature in advertisements and tourist promotions. But there are plenty of other pubs in Ireland devoid of any aesthetic merit, with worn linoleum on the floor, tatty plastic seating and facilities that might most politely be described as grubby. However, whether objects of beauty or not, they all serve the same purpose: providing a venue where people can assemble and enjoy each other’s company. Remove such places, especially in non-urban areas, and you remove the opportunity for those people to meet, thereby increasing the likelihood of isolation. Last June, the European Commission’s Joint Research Centre published a report proposing that Ireland has the highest levels of loneliness in Europe. 




Many explanations have been given for the decline in pubs around Ireland, not least the imposition of stricter legislation around driving and alcohol consumption. While the merits of these measures cannot be questioned, they have coincided with a liberalisation of licensing laws, so that it is now possible to buy alcohol in a much greater number of premises (including petrol stations). The onset of Covid-19 and the obligation of residents to remain in their own properties also encouraged greater consumption of alcohol at home rather than in a public setting, and this is thought to have led to a widespread change in drinking habits. Increased operating costs, not least those of lighting and heating, have also made the business increasingly unviable for many pub owners, particularly those outside large centres of population. Running a business of this kind has grown steadily less attractive or feasible. And so the closures are likely to continue and more premises left to fall into ruin. As if Ireland didn’t already have sufficient derelict buildings.

Marooned



Located on the outskirts of Piltown, County Kilkenny, this early 19th century octagonal neo-gothic tower was erected by the third Earl of Bessborough as a monument to his second son Frederick Cavendish Ponsonby who was presumed to have been killed in battle during the Napoleonic Wars. The story is told that work began c.1810 when the young man was reported dead while participating in the Peninsula Campaign. However, it seems more likely that the tower was constructed in 1815 after Ponsonby was gravely injured at the Battle of Waterloo. Among his injuries on that occasion, he was knocked off his horse and wounded in both arms, then stabbed in the back while lying on the ground, ridden over by members of the Prussian cavalry and beaten up by other soldiers looking for plunder. Somehow, he survived all this and was brought to Brussels where months of recuperation followed. Ponsonby later went on to become a Major-General and Governor of Malta. As for this building, it was left incomplete until the middle of the last century when another storey was added so that it could be used as a water tower. Today it stands marooned in the middle of a traffic roundabout.