An Evocation

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The stone doorcases of Tullamore, County Offaly, an evocation of the prosperity once enjoyed by this Midlands town. The first belongs to a house dating from c.1730 and is the centrepiece of a full-height bow with conical roof on the projecting bow. The second can be seen on a very substantial property, of five bays and three storeys over basement built in 1789. Like the door, the window surrounds are of tooled stone but these features would look still handsomer were the facade’s render to be restored.

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Lasciate ogne speranza, voi ch’intrate

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The façade of the former gaol in Tullamore, County Offaly, the only portion of this building to survive (all that lay behind was demolished in 1937-38). Designed by surveyor and canal engineer John Killaly, a plaque above the machiolated gatehouse reads: ‘The first stone of this prison was laid by Charles William Baron Tullamore on the 13th day of September in the year of our Lord 1826 under the 7th year of the reign of his most gracious majesty George the fourth.’ While the gaol is hard to miss, its entrance gates are likely often overlooked: note how the cast-iron piers are composed of bound bundles of staves from the centre of each rises an axe finial.

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In New Hands

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The 15th century de Burgo tower house which forms the core of Tulira Castle, County Galway. This was one of a number of country houses acquired by new owners during the course of 2015, significant others including Bellamont Forest, County Cavan and Capard, County Laois. But many others remain on the market, such as Milltown Park, County Offaly, Newhall, County Clare, Kilcooley, County Tipperary and Furness, County Kildare, all of which have been discussed here on earlier occasions. Let us hope the coming year is kind to them and all of Ireland’s architectural heritage.

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Take Three

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This week the Irish Aesthete celebrates its third birthday. When first posting in September 2012, I had no idea that the project would develop as it has since done, nor that it would attract such a loyal following (and certainly not that I would still be doing this now). A sincere thanks to everyone who has been reading these pages over the intervening period, and for your support and encouragement which – as any writer can confirm – make such a difference. Your own contributions and comments continue to be most welcome although a courteous tone is necessary if you wish for a response.
Over the past three years many posts have been gloomy or dispiriting in character, reflecting the problems faced by Ireland’s architectural heritage, and its want of sufficient support from public and private quarters alike. But given today’s occasion demands a more celebratory spirit, here is a trio of historic houses which have been featured before, all of them restored and brought back to vibrant life thanks to the imagination and passion of their respective owners.

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Rokeby Hall, County Louth which first featured here in February 2013 (Building on a Prelate’s Ambition) was built in the 1780s as a country retreat for then-Archbishop of Armagh Richard Robinson. As his architect Robinson chose Thomas Cooley who had already been responsible for many of the new buildings in Armagh, including the Archbishop’s Palace. Unfortunately Cooley died in 1784 and so his plans were handed over to the youthful Francis Johnston: born in Armagh, Johnston’s abilities had been noticed by Robinson who sent him as an apprentice to Cooley in 1778. The house’s severe limestone façade hides a more inviting interior, of three storeys over basement, since Rokeby contains a particularly generous attic concealed behind the parapet, centred on a circular room lit by glazed dome. A similar circular landing on the first floor provides access to the main bedrooms.
Descendants of the Robinson family remained in possession, although not necessarily in occupation, of Rokeby until the middle of the last century. Thereafter the property passed through a variety of hands often with unfortunate consequences. When the present owners bought the place in 1995, for example, the library had been stripped of its bookcases and divided in two with one half used as a kitchen. Over the past twenty years, a process of reclamation has taken place, driven by the correct balance of enthusiasm, commitment and ongoing research into the house’s history. Most recently the present owners have impeccably restored Rokeby’s mid-19th century conservatory.

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The County Cork farmhouse shown above was discussed here in May 2014 (A Dash of Panache). when I noted that far too many such buildings in Ireland are abandoned to the elements ‘for no apparent reason other than the fallacious notion that they have ceased to be fit for purpose.’ This is especially true of the country’s older domestic dwellings, ripe for adaptation to contemporary use but instead deserted in favour of something newer – something which will in turn no doubt suffer the same fate. Indeed, one has only to venture into the countryside to see bungalows considered the ne plus ultra of modernity a few decades ago now drifting into a ruinous condition. More regrettably the same fate befalls far too many of Ireland’s handsome old farmhouses which with just a modicum of inventiveness could be given fresh leases of life as an alternative to their more common fate: mouldering into dereliction.
That looked the only prospect for this property until it was taken on by the present owner and brought back to life after a half-century of being left unoccupied. A low-key and sympathetic approach was adopted to the rescue programme. The old kitchen, for example, retains its original tiled floor and as much of the old ochre wall colouring as could be preserved; new cupboards have been sympathetically painted to harmonise with what was already in situ. A slightly more elaborate approach was taken to the decoration of two reception rooms to the front of the house – the chimneypieces here are clearly not original – but they share the same comfortable, unassuming character found throughout the building, as does the large glazed space that now runs along the ground floor. Chairs, tables and other items of furniture have been picked up over a period of time and during the course of extensive travels, none of them for great price. Most of the artwork was acquired in the same way or came via friends. The result serves as a model of how to transform an apparently unsalvageable old farmhouse into a comfortable and smart private residence

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The double-height entrance hall of Gloster, County Offaly featured here last month (Spectacle as Drama) but the rest of this house merits equal attention. Gloster is believed to date from the third decade of the 18th century and to have been designed by Sir Edward Lovett Pearce, a cousin of then-owner Trevor Lloyd. The original two-storey building was of nine bays but two further bays were later added on either side making the facade exceptionally long. A series of terraces in front offer views to a lake and then mountains beyond, while another vista is closed by an arch flanked by obelisks. The sense of baroque theatre evident in Gloster’s siting continues indoors, and not just thanks to its spectacular entrance hall. To left and right run further rooms providing a wonderful enfilade rarely found in Ireland. These reflect changes in taste after the house was first constructed. The cornicing in the sitting room above, for example, is evidently from later in the 18th century as is the chimney piece but there is no sense of disharmony anywhere and diverse stylistic elements comfortably co-exist.
Gloster remained in the ownership of the Lloyds until 1958 when it was sold to the Salesian order of nuns who opened a convalescent home in the house and built a large school to the rear. When I first visited in the early 1980s the nuns were still in occupation but it was already evident that they were struggling to maintain the property. Indeed in 1990 they closed down operations and Gloster’s future looked uncertain, especially since it changed hands on a couple of occasions. Thankfully the present owners bought the place in 2001 and since then they have worked tirelessly and splendidly to turn around Gloster’s prospects. Inevitably, given the scale of the undertaking, this remains a work in progress. But already an enormous and admirable programme of restoration and refurbishment has been undertaken. Gloser demonstrates what can be done, even on limited means, provided the task is accompanied by sufficient courage and verve.

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My thanks again to all readers and followers of the Irish Aesthete for your ongoing support. Please encourage more people to become interested and engaged in Ireland’s architectural heritage. You can also discover me on Facebook (TheIrishAesthete), Twitter (@IrishAesthete), Pinterest (irishaesthete) and Instagram (The.Irish.Aesthete).

Spectacle as Drama

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It was through reading more than thirty years ago Sacheverell Sitwell’s perpetually engaging book Southern Baroque Art (first published in 1924) that I first discovered the work of the Bibienas. From the mid-17th century onwards, four generations of this Tuscan family worked throughout Europe as artists and architects, but above all as theatre designers. In some instances they were responsible for the design of buildings in which theatrical and musical performances were held. (The best-known being in Mantua, and now called the Teatro Bibiena: by Antonio Bibiena it dates from the 1760s.) But they are now better remembered for their work on the stage side of the proscenium arch.
The family’s origins in this field lay with Giovanni Maria Galli da Bibiena, born outside Florence in 1625. A painter who studied with, and then worked as assistant to, Francesco Albani, he was based in Bologna at the time of his early death aged forty. His daughter Maria Oriana who remained in that city also became a painter, specializing in portraits and history pictures. Meanwhile her two brothers led more peripatetic lives, with Francesco designing theatres as far afield as Verona and Vienna. The latter city proved particularly important for the Bibienas since it was here that Maria and Francesco’s sibling Ferdinando and then his son Giuseppe became the most celebrated stage designers of the age.

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Born in Bologna in 1656, Ferdinando Galli Bibiena spent some thirty years based in Piacenza working for the Duke of Parma. But in 1708 he travelled to Barcelona to organise the wedding festivities of the Habsburg Archduke Charles. When the latter became Charles VI, Holy Roman Emperor in 1711 Fredinando Galli Bibiena moved to Vienna where he designed elaborate theatre scenery and also oversaw court festivities. He returned to Bologna in 1716 but his second son Giuseppe remained in Vienna and in effect inherited his father’s position as the Emperor’s chief designer, remaining such until Charles VI’s death in 1740. Of the Emperor, Sitwell wrote ‘Music, like everything else, required a setting which would reflect honour on this Caesar, and so he retained in his service a whole race of Italians, to whom he entrusted the decorations of a theatre, a procession or a masque with the subsequent banquet. In this way a building which seemed to have the permanence of a Versailles could be put up in a few days, and by the next morning it had disappeared from the ground, as if by enchantment. The Bibiena family of Bologna were in command of the nocturnal army…It is as though the Italians, having matured their plans so far in earlier times, now that their imagination was unfettered and had the skill to play how it liked, found themselves without the money to realize their schemes, and so were forced to take opportunities abroad and produce in plaster and canvas that which they had planned in brick and marble.’

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The Bibienas were renowned for the ingenious use of perspective in their stage designs, the ability to suggest infinite horizons within a severely limited space. In his work Ferdinando was the first to replace a central, vertical, axis with a diagonal, thereby increasing the impression of distance. He and his son created fantastically grand architecture intended to be dismantled within days of its construction. An examination of Giuseppe’s extant designs indicates that he developed his father’s initiatives in this field to produce complex interiors in which colonnaded passages seem to run in every direction and seemingly without ever coming to a close. Vaulted ceilings tower over the figures beneath, while the walls are smothered with ornament including niches, brackets and curvilinear frames. Against this painted backdrop figures would act out complex emotional dramas, often to texts written by another Italian, Metastasio who in 1729 was appointed Court Poet in Vienna: in the mid-18th century there was scarcely an opera composer in Europe not dependent on a Metastasio libretto (as late as 1791 Mozart used one for La Clemenza di Tito). Surely his lofty language and noble sentiments influenced Bibiena’s designs, and vice versa? The most celebrated castrato of the age Carlo Broschi, known as Farinelli, made his debut at the age of fifteen singing music composed by his teacher Nicola Porpora set to a text by Metastasio. When Farinelli (of whom it was said, ‘One God, one Farinelli’) sang in Vienna in 1731 – once more to music by Porpora and words by Metastasio – the Emperor advised he should cease trying to astonish listeners with his vocal prowess and instead engage their emotions through the purity of his tone; ‘you are too lavish of the gifts with which nature has endowed you; if you wish to reach the heart, you must take a more plain and simple road.’ Perhaps Charles VI felt there was already enough virtuosity on stage thanks to the designs of Giuseppe Galli Bibiena.

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These notes on the Bibiena family are inspired by the room seen here today, the double height entrance hall at Gloster, County Offaly. The most perfect baroque interior in Ireland, it was almost certainly designed by Sir Edward Lovett Pearce in the early 1720s; he was a first cousin of the property’s then-owner Trevor Lloyd. Whether Pearce actually oversaw the execution of his work is more open to question as some of the detailing is not quite as refined as might otherwise have been the case. Even so, Gloster’s entrance hall is something of a coup de theatre, clearly intended to make an impact on anyone stepping into the space. The view from the front door is of walls heavily covered in plasterwork panelling, with a focus on the pedimented doorcase directly ahead; on either side of this are niches with fanlights above that match those of the facing doors. Obviously the hall’s height adds additional drama, and the feature is emphasised by a band of elaborate scrolling plasterwork positioned at what would be cornice level; the effect is to divide the vertical into two sections. Continuing up, the eye is next caught by a series of round-headed niches on either side wall which contain busts on plinths. These are matched on the entrance wall by three windows which ensure the hall is exceptionally bright: they are arched on the inside although rectangular on the exterior in order to match those on the rest of the thirteen-bay facade. Facing the windows are three arched balconies, part of a first floor gallery accessed via an inner hall that has flanking staircases to its rear. The gallery is a superlative piece of work. Entered through a screen of Doric columns and rising to a coffered, barrel-vaulted ceiling, it features a pair of monumental pedimented chimneypieces with glass in the upper sections so that one reflects the other. To one side of these run long corridors, barrel-vaulted like the landing, which lead to the main bedrooms and provide the ensemble with an additional sense of drama. Indeed it the combination of these passages and the balconies overlooking the entrance hall that particularly bring to mind the designs of Ferdinando and Giuseppe Bibiena. As a piece of design it evokes the grandeur and solemnity of Metastasio’s texts, combined with the virtuosity of Farinell’s singing in a fashion rarely seen in Ireland. It is easy to imagine baroque opera being played out in such a setting (what might the late Jean-Pierre Ponnelle have filmed in the house). These spaces have recently been redecorated by Gloster’s dedicated owners, who deserve accolades for all that they have already achieved here. The results are breathtakingly exciting and highlight the outstandingly theatrical quality of the architecture.

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More about the glories of Gloster on another occasion…

Taking the Cure

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A corner cabinet in Bedroom No.15 at Birr Castle, County Offaly. This is also known as the Conroy Room since it contains memorabilia associated with Sir John Conroy, quondam Comptroller to Queen Victoria’s mother, the Duchess of Kent: in the same year Victoria came to the throne, Conroy’s son Edward eloped with Lady Alicia Parsons, daughter of the second Earl of Rosse. On a table beneath the cabinet is a box holding a 19th century travelling pharmacy, including such supposed cures as Tincture of Rhubarb and Paregoric Elixir. The latter was an opiate first developed in the early 18th century as a cure for asthma.

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