Not a miniature Greek temple, but a mausoleum erected in 1860 to the Corry family. It stands in the same cemetery as the remains of Movilla Priory church, County Down seen here last Wednesday. Originally from Scotland, the Corrys moved to Ulster in the early 17th century and settled on the Ards Peninsula. In the first half of the 19th century, Robert Corry became extremely wealthy through involvement in quarrying and timber. It was he who commissioned this mausoleum, believed to have been designed by his second son John, a keen amateur architect (he was also responsible for the design of the Italianate Elmwood Presbyterian church in Belfast). John Corry was clearly well-informed, since the building conforms to strict Greek revival rules, the little temple featuring an open base plinth around which runs a peristyle of Doric columns supporting a pedimented entablature.
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.
Inside the ruined church of Kilcredan, County Cork can be found what was evidently once a fine tomb, its remains protected from the elements by a corrugated tin roof. This marks the final resting place of Robert Tynte, a Somerset-born soldier who came to Ireland in the late 16th century and settled in Youghal, where a late-mediaeval tower house is still called Tynte’s Castle. In 1612 he married Elizabeth Spenser, widow of the poet Edmund Spenser who is said to have begun work on the epic The Faerie Queen while staying in Youghal with his friend Sir Walter Raleigh. Tynte died in 1663 and the tomb has since been much mutilated, both his head and those of the mourning figures who kneel on either side (presumably his wife and daughter) are missing – together with their hands and the commemorative plaque formerly beneath the family coat of arms. Similar butchery has taken place on another memorial tomb high on the facing wall, this one commemorating Edward Harris, a Devon-born lawyer who became Chief Justice of Munster and was buried here, together with his wife Elizabeth, following his death in 1636.
A pyramid by the banks not of the Nile but the river Slaney, this is the Aldborough Mausoleum in Baltinglass, County Wicklow. The Earls of Aldborough have been discussed here before, both in relation to Belan, County Kildare (see Splendours and Follies, September 30th 2013) and Aldborough House, Dublin (see A Thundering Disgrace, January 13th 2014 and A Thundering Disgrace No More?, February 27th 2017). The family’s architectural ambitions are reflected in this tomb, which dates from 1832 and was built to the immediate south of the chancel of the former Cistercian abbey church in Baltinglass, a curious juxtaposition of two different styles. The monastery had been suppressed in 1536 but the chancel here was later converted into a parochial church for the Church of Ireland, remaining in use for this purpose until 1883. The Aldborough Mausoleum is similar to but smaller than the Howard Mausoleum elsewhere in County Wicklow (see A Fitting Memorial, January 10th 2018). Both take the form of a pyramid on a square base and both are constructed from local granite. A door on the north side of the Baltinglass monument gave access to the interior, now stripped of any contents (the pyramids of Egypt not being the only ones subject to grave robbers…)
The funerary monument of John Evans-Freke, sixth Baron Carbery, located inside the cathedral church of St Fachtna, Rosscarbery, Co. Cork . The monument is in two parts, one being this life-size marble statue of the deceased dressed in doublet and hose. Carved by Belgian sculptor Guillaume Geefs, the figure is complemented by a wall monument featuring an angel ready with his trumpet to summon the peer (whose coat of arms can also be seen) at Last Judgement. Below a long encomium assures readers that Lord Carbery’s ‘active usefulness and pious liberality are attested by this church which was built through his exertions.’ The church in question is that at Rathbarry, formerly part of the Castlefreke estate. Now a ruin, it closed in 1927, at which date the monument was moved to its present site.
Inside Christ Church, Ballymartle, County Cork dates from 1866 when it replaced an earlier building, the ruins of which can be seen close by. Several funerary monuments were moved from the latter, including this touching memorial to William Meade erected by his parents, Sir John Meade and his wife the Hon Elizabeth Butler, a daughter of the second Viscount Ikerrin: their grandson, also called John, would be created first Earl of Clanwilliam in 1776. But William had long since departed this world since, as the inscription notes, having been born in 1689 he died in 1702, less than a fortnight before what would have been his thirteenth birthday.
The Grace Mausoleum erected by O.D.J. Grace in 1868 within the grounds of the former Dominican priory at Tulsk, County Roscommon. According to a family memoir published in 1823 the Graces could trace their ancestry back to the Anglo-Norman knight Raymond FitzGerald ‘le Gros’, brother-in-law of Strongbow. Whether true or not, by the start of the 16th century the Graces were settled in County Kilkenny. Another branch later moved to County Laois where they had constructed a not-dissimilar mausoleum at Arles (see In Good Grace, February 1st 2017) and owned a property named Gracefield. Meanwhile in the 1740s one Oliver Grace married the Roscommon heiress Mary Dowell and accordingly moved to this part of the country where he built a large Palladian house called Mantua, its design attributed to Richard Castle. Mantua is no more and nor are the Graces any longer living in Roscommon, so this somewhat neglected structure serves as a record of the family’s presence in the area.