And their Posterity



Although the church that once stood here has long since gone, the little graveyard at Clonabreany, County Meath contains a number of charming old funerary monuments, not least that seen above. A notice at the site (together with a number of references to the graveyard found online) proposes that this altar tomb commemorates the parents of St Oliver Plunkett (mentioned here last week, see Lighting up the Night « The Irish Aesthete). However, the monument carries an inscription in Latin noting that it was erected to commemorate Oliver Plunkett, who died in 1581 and his wife Elizabeth Dillon (died 1595). Since St Oliver Plunkett was only born in 1625, the likelihood of this couple being his parents seems remote. Meanwhile, close by is another handsome monument, this time dating from 1779; it commemorates brothers Edward and Patrick Kearney, their parents ‘and their posterity.’


Lighting up the Night



The sad end of the main house at Loughcrew, County Meath is well-known. The building was said to be the subject of a curse: ‘Three times will Loughcrew be consumed by fire. Crows will fly in and out of the windows. Grass will grow on its doorstep.’ And so it came to pass. The house, designed in severe neo-classical style by architect Charles Robert Cockerell in the early 1820s, did indeed suffer three fires, the last occurring in 1964 and leading to the demolition of its remains a few years later, so that now the Naper family, resident on the estate since the 1650s, live in the former yard buildings. Today just parts of the facade’s great Greek Ionic portico show where it once stood, but elsewhere on the surrounding land, more active restoration has taken place. 





A short distance to the west of the remains of the old house at Loughcrew stands a late-medieval church associated with St Oliver Plunkett who was born here in 1629. The church has a large, three-storey residential tower at the west end, as was often the case with such buildings erected during the late 14th and 15th centuries when much of the country was disturbed by feuding between different families and not even religious buildings were safe from attack. Entrance to the church was via a door at the west end and the interior appears always to have been relatively simple, with a single chapel opening on the south side, the upper portion of the window here being divided in two by a central spandrel featuring the Naper coat of arms. Unlike many such sites, the church continued to be used for services throughout the 17th and 18th centuries. Despite being renovated and re-roofed in 1818, it was abandoned 25 years later when a new place of worship was built elsewhere. 





Immediately adjacent to the old church lies the Loughcrew estate’s walled garden, parts of which are believed to date back to the arrival of the Naper family here in the mid-17th century; there is, for example, a classical arched gateway dated 1673. Over the past couple of decades, much of the garden, which had fallen into neglect has been restored and a number of the earlier features – such as a canal and a formal parterre, been re-instated. Some features of an earlier settlement on the site have also been uncovered. Meanwhile, later aspects of a fashionable country house garden, like the 19th century taste for deep herbaceous borders, can once more be found. Loughcrew and its gardens are a work in progress, but already much has been achieved and the future promises even more. 



Over the coming weeks, every evening Loughcrew gardens are hosting a musical Lightscape open to the public. Further details, and information on ticket purchase, can be found at https://loughcrew.com/loughcrew-lightscape 

Christ’s Curse and Mine



‘The Church of St. Nicholas. This massive and interesting building is situated in the demesne of Dunsany, a short distance north-east of the castle. It is probably on the site of the church which existed so early as 1302-1306, and seems to have been rebuilt about the middle of the 15th century by Nicholas Plunkett, first Baron of Dunsany and Killeen. In his will, dated on the feast of St Peter ad Vincula, 1461, although desiring to be “Y beret in ye chaunsell of Killeene before our Lady,” he heaped valuables on “St Nichols Church of Dunsany” – arras and scarlet hangings, crosiers and chalices of silver and gold, the latter being then in course of preparation by a goldsmith of Trim; missals, graduals, hymnals and psalters; a chaplet of pearls for the statue of the Blessed Virgin; copes of gold and red satin; chasubles; 100 shillings off the mill of Alomny (Athlumney); and money off Thomastown; and to find priests to pray for his soul and the souls of his wives Anne Fitzgerald and Elizabeth Preston; “and which of my children that breaketh my will, I leave him Christ’s curse and mine”.’





‘The building is 129 ft. long; the chancel, 21 ft. 3 in. wide and about 51 ft. long; the nave, 21 ft. 5 in. wide and about 55 ft. 6 in. long, the gable being “off the square”; the gable between is 5 ft. 7 in. thick, and the arch about 10 ft. wide. The chancel has a very rich east window inserted by the late Dowager Lady Dunsany to decorate the building, the older window having been destroyed long before, except the ancient sill, still apparent on the outside, and an elegant carving of an ivy spray. There are three windows to the south, and one to the north; the tracery and shafts have nearly disappeared, having been of fine yellow sandstone, like most of the details. The south wall has also a handsome sedile of three cinquefoil arches, the heads crocketed, and a heavy hood moulding, ending in a leaf to the left and a face to the right…North of the chancel is a residence three stories high, the lowest used as a vault by the Lords of Dunsany; fourteen steps lead to the second floor, which has a “squint” looking into the chancel; ten more steps lead to the upper storey. A passage and steps lead over the east gable to its roof. The tower-like S.E. buttress is of unusual dimensions. The nave has two doors (evidently rebuilt in recent times), one at each side. An ambry; a large perpendicular window and a recess occur in each wall. The north recess is two stories high; the upper reached by a staircase in the north pier of the chancel arch, which is round and rudely built, with clumsy projecting jambs, perhaps intended to support a rood beam or loft. The west gable has a large window; its tracery is gone, and its shafts are modern. It is flanked on the north by a lofty battlemented tower with curiously-corbelled roof and large double windows. It has entrances from the nave and from the north and west battlements. Another lofty tower at the south-west angle has a barrel stair of some sixty six steps.’





‘The altar-tomb has been horribly broken since Archdall’s day, and it was with difficulty the fragments of the sides could be found and pieced together…The effigies represent – to the right, a knight in full armour and conical helmet, a long sword on his left thigh, and his hands raised and clasped in prayer, his feet on a dog; to the left rests his wife in peaked head-dress, with traces of rich carving on it, a full-sleeved, long-pleated gown to the feet, which rest on a cushion carved with two birds and a cat’s head. The east slab had three niches, the left now broken away, the central one has a long-robed figure, and the right one a Bishop in pontificals. The west slab is now in the sedile; it has three floriated niches, with the flagellation of our Lord in the centre, and angels with censers on each side. The sides had similar niches, with shields between; the north side is in fragments in the nave, and has the arms of Plunkett (a bend and castle); Flemyng (checquy), 3 (probably Castlemartin), three castles; 4 Plunkett and FitzGerald. The south slab lies against the east gable and has shields of- 1, Plunkett; 2, FitzGerald (a saltire); 3, the heart pierced by two swords; 4, the instruments of the Passion.’



From an account of St Nicholas’ church, Dunsany, County Meath written by Thomas J Westropp and published in The Journal of the Royal Society of Antiquaries of Ireland, Fifth Series, Vol. 4, No. 3 (September 1894). Since that time, the altar tomb he describes above has been reconstructed and moved to a small space on the north side of the nave.

Reopening



Partying putti in the gardens of Headfort, County Meath: they have evidently heard the news that the building is to reopen its doors as a school next month. Its design attributed to George Semple (a Dublin-based builder and self-taught architect), the house dates from the mid-1760s when constructed for the first Earl of Bective. In the following decade, the latter commissioned Robert Adam to  produce decorative schemes for a suite of rooms in the newly completed Headfort. Adam, who never visited this country, duly came up with designs for the entrance and staircase halls, as well for as a series of three adjacent spaces on the garden front culminating in a double-height saloon that was known as the ‘Eating Parlor.’ Even if not all his proposals were fully implemented, the interiors are of immense importance as the only extant examples of Adam’s work in Ireland. In 1949 the property was opened as a school which remained in operation until last March, when the institution’s then-board took the decision to close down. However, since then a group of supporters, many of them past-pupils, have come together to raise funds and re-open the establishment, thereby ensuring the future of this very important house.


Contrasting Styles II


Two country houses, both in County Meath and both now hotels. Today, Dunboyne Castle which dates from the mid-1760s and in its present form was designed by Drogheda architect George Darley for the widowed Sarah Hamilton. Although only 15 or so years later than Bellinter (see the previous post), Dunboyne Castle’s interiors are quite different, rococo having usurped baroque as the preferred style of decoration. The plasterwork of the ground floor saloon’s ceiling is reminiscent of work from the same period at Dowth Hall which was also designed by Darley (see https://theirishaesthete.com/2012/12/24/netterville-netterville-where-have-you-been) and which has been attributed to Robert West.

Contrasting Styles I


Two country houses, both in County Meath and both now hotels. Today, Bellinter which dates from c.1750 and was designed by Richard Castle for brewer and M.P. John Preston, whose son would become first (and last) Baron Tara. Since Castle died in 1751, he is unlikely to have overseen the work, which is vigorous but somewhat unsophisticated in execution, as demonstrated by the ceiling of the ground floor saloon. Its exuberant baroque plasterwork looks indebted to the Lafranchini brothers but probably executed by lesser hands.

A Celtic Tiger Souvenir


In 2005 two doctors bought a former orthopedic hospital in the small County Westmeath village of Coole, with the intention of turning it into a substantial medical facility, borrowing substantial sums of money from Ulster Bank to do so. As sometimes happens, the two partners disagreed over the development of the site, as plans came to include provision not only of a medical centre and ancillary facilities, but also a number of residential units (the entire country was then entering peak-Celtic Tiger era when housing schemes were ubiquitous). One of the pair accordingly exited the scheme, and the other remained involved. Then, as so often happened, in the aftermath of the economic crash, the entire project foundered and in 2012 the property went into receivership. Two years later the original Ulster Bank loan was transferred to a large investment company called Promontoria (Aran) Limited (a subsidiary of the American private equity firm Cerberus Capital Management). In 2017 Promontoria sought to recover some of its money by offering the place for sale. A medical centre still operates from the site.





The core of what became St Joseph’s Orthopaedic hospital dates from 1897 and was developed by Teresa Dease whose family lived close by in a house called Turbotstown (see https://theirishaesthete.com/tag/turbotstown/). The Deases were resolutely Roman Catholic, never wavering from the faith of their forebears even during the years of Penal legislation, yet managing to hold onto their ancestral lands. It was here, on a site adjacent to the church built by her grandfather, that Teresa Dease established what was initially intended to be a school to train young girls for a life in domestic service by teaching them such skills as housekeeping, cookery, needlework and laundry work. However, after a number of years, she closed the school and in 1916 passed responsibility for the building to an order of nuns, the Daughters of Charity of St. Vincent de Paul, who ran the place as an orthopaedic hospital for boys. It continued in operation until 1981, and thereafter the buildings sat empty and deteriorating until acquired in 2005 by the aforementioned pair of doctors. In the aftermath of its closure, and the revelation of widespread abuse in institutions run by religious orders, a great deal of disturbing information emerged about practices in St Joseph’s Hospital although here – as elsewhere – the relevant documentation disappeared, making it difficult for those who deservedly sought recognition and compensation for what they experienced to pursue their claims.





As mentioned, a medical centre operates on part of the site formerly occupied by St Joseph’s Hospital, from a range constructed for this purpose. But the ambition of the intended development is visible in other buildings left incomplete, roads leading nowhere, and in particular the condition of the original property erected in 1897 and, it appears, used as the nuns’ residence. Old photographs show this was formerly linked to other parts of the hospital, in particular a chapel in Hiberno-Romanesque style built in the mid-1930s. This still stands but many of the other extensions were taken down, seemingly at the onset of the redevelopment. The interior of the convent building was completely gutted, with only the old staircase surviving in a partially mangled state. And then the enterprise stalled, and the place was abandoned. And so it has remained ever since; a reminder more than a decade later of how not all Celtic Tiger ambitions were realized.

Awaiting Development



In the centre of Navan, County Meath and on the banks of the river Blackwater, the unsalubrious remains of a mid-19th century mill that once helped bring prosperity to the town. The building dates back to 1851 when erected by William Morgan to provide flour for his bakery elsewhere in Navan. It continued to serve this purpose until early in the last century when converted into a sawmill, remaining in operation until 1999 when the enterprise closed down. Since then the property has stood empty, being seriously damaged by arsonists in July 2007. Two years ago the local authority turned down the planning application from a local developer to demolish the mill, and erect on the five-acre site a 186-bedroom nursing home and 40 apartments.


Not Plain but Somewhat Bald


The main house at Loughcrew, County Meath – or at least its re-erected portico – was shown here last week  (see https://theirishaesthete.com/2020/06/17/loughcrew) . The Naper family estate was once ringed with a number of lodges, one of which also featured on this site some time ago (see https://theirishaesthete.com/2016/09/05/cursed). Formerly in a poor state of repair, that building is now undergoing restoration and should yet be occupied once again. Not far away stands another lodge, alas in a poor state of repair, and while not plain it is now rather bald. Perhaps someone might like to undertaken a similar rescue of what, even in its present state, remains a very handsome and sturdy little building?