Six years ago on September 24th 2012, the Irish Aesthete made its debut. What was the intent behind this initiative? Impossible to recall, although then as now a primary motivation was encouraging greater and more widespread engagement with Ireland’s architectural heritage, much of which remains at risk from either neglect or misuse. Over the past six years, some aspects of the site have changed, others remained the same. Very soon, the format of a thrice-weekly posting was established, with longer features each Monday and shorter ones every Wednesday and Saturday. The quality of photographs has certainly improved and, one hopes, will continue to do so (not least thanks to improvements in the calibre of mobile phone cameras). There has been a consistent effort to represent the entire island of Ireland, and to show the good, the bad and – with regrettable frequency – the ugly. What hasn’t altered throughout this period has been the attention of friends and followers, which is enormously appreciated: without regular support and feedback, it is unlikely the Irish Aesthete would have continued for so long. Therefore thank you to everyone who has shown interest in this site: you make it worthwhile. Happily today the Irish Aesthete is read across the world and has led to other opportunities for writing and speaking engagements, thereby helping to spread the gospel of our architectural history. A further outcome is that early next year the first book of Irish Aesthete photographs will be published, about which more in due course. Meanwhile, to mark today’s anniversary, here are six personal favourites taken over the years. You may have made other choices from the site: please feel free to share your own suggestions. Of the six shown above, two are properties in private hands, two are in public ownership, and two are ruins. All however are important elements in our common cultural heritage.
In Donizetti’s 1830 opera Anna Bolena, the unhappy queen tells her erstwhile admirer Henry Percy, future sixth Earl of Northumberland, ‘Ambiziosa, un serto io volli’ e un serto ebb’io di spine’ (Ambitious, I wanted a crown, and got a crown of thorns). She came from an ambitious family. Originally of East Anglian yeoman stock, the Boleyns gradually improved their economic and social circumstances during the 15th century: Anne’s great-grandfather Sir Geoffrey Boleyn had been a London merchant who prospered to such an extent that he was elected Lord Mayor of the city, received a knighthood and bought Hever Castle in Kent. His son William married Lady Margaret Butler, a daughter and co-heiress of the seventh Earl of Ormond: this is the origin of the Boleyns’ links with Ireland. Sir William and Lady Margaret’s eldest son Sir Thomas Boleyn further scaled the social ladder by marrying Lady Elizabeth Howard, a daughter of the second Duke of Norfolk. A skilled diplomat and courtier, Sir Thomas lay claim to the Butler title following the death without male heirs of his grandfather, the Earl of Ormond in 1515. This was disputed by an Irish claimant, Piers Butler but once Henry VIII became enamoured of Anne Boleyn, he persuaded Butler to renounce the Ormond title (he was created Earl of Ossory instead). Accordingly in 1529 Sir Thomas Boleyn became not just Earl of Ormond, but also Earl of Wiltshire, his claim to the latter also coming through familial ties with the Butler family. Meanwhile his only surviving son George received the courtesy title Viscount Rochford. Following the downfall and execution of both Anne and her brother in 1536, their ambitious father lost his position at court and retired to the country. The year before his death, the Ormond title was restored to Piers Butler: his grandson, Thomas Butler the tenth earl, was a cousin of Anne’s daughter Elizabeth I who is said to have called him her ‘black husband’ and certainly made him Lord Treasurer of Ireland.
In 1803, a limestone slab measuring eight by four feet is said to have been discovered close to Clonony Castle, County Offaly. This is recorded as bearing the following inscription: ‘Here under leys Elisabeth and Mary Bullyn, daughters of Thomas Bullyn, son of George Bullyn the son of George Bullyn Viscount Rochford son of Sir Thomas Bullyn Erle of Ormond and Willsheere.’ Understandably there has been much popular speculation about the stone and its words. George Boleyn, as mentioned, was Anne’s only brother: he was executed two days before her in May 1536 on a trumped-up charge of incest. George was as ambitious for advancement as the rest of his family: he had been introduced to the English court at the age of ten and not long afterwards became one of the king’s pageboys. From the mid-1520s onwards, as his sister’s star rose, he became a favourite of Henry VIII receiving a series of ever-more significant grants and offices from the crown. Around this time he married Jane Parker, daughter of the wealthy and well-connected tenth Lord Morley. Following her husband’s disgrace and death in 1536 she retired temporarily from court but then returned and served Henry VIII’s successive wives until February 1542 when, because of her links with Catherine Howard, she too was beheaded. Although they were married for more than a decade, there is no record of George and Jane Boleyn having had any children, either male or female, and no heirs for the couple are known. This is why the stone found at Clonony so curious: it claims his two great-granddaughters were buried there. But since he had no offspring, the matter is open to conjecture.
Clonony Castle is a tower house, probably built at the start of the 16th century by the MacCoghlan family who were hereditary chieftains in this part of the country. They remained in situ until the aftermath of the Nine Years War when dispossessed of much of their land. At the start of the 17th century Clonony had been acquired by an English official Roger Downton and in 1612 he sold it to Matthew de Renzi. The latter was a German-born cloth merchant who, having run up substantial debts in London, moved to Ireland in 1606. The funds to buy Clonony and 100 surrounding acres probably came from his first wife’s dowry. De Renzi is a fascinating character, not least because, a keen linguist who already spoke six languages, he learnt to write and speak both colloquial and classical Irish and composed an Irish grammar. The intention was to help him as he struggled to establish his presence in the Midlands, fiercely resisted by the MacCoghlans whose head, Sir John Óg MacCoghlan, told everyone in the locality to neither buy from nor sell to de Renzi (except at excessive rates), and to ignore the boundaries of his territory. Soon he faced such intimidation that he thought it best to spend the winter at the County Roscommon home of his second wife, a daughter of Sir Oliver St John, writing ‘I have thought good to spend the dark winter nights here in Connacht.’ Nevertheless, by the end of the following decade he had increased his landholding to over 1,000 acres, after which he sold Clonony, moved to Dublin, became a government official and was knighted in 1627, dying seven years later.
Clonony, de Renzi discovered, was not an especially comfortable residence, tall and narrow with very small windows so that little light penetrated the interior. In form it remains a typical tower house, some fifty feet high over three storeys, the greater part of each floor being given over to a single vaulted chamber. Clonony was restored as a private house in the 19th century when repairs were carried out on the bawn wall and, one suspects, larger windows inserted into the tower. The present owner has carried out further repairs and restoration, while retaining the essential character of the place. Incidentally, a 1533 proclamation of forbidding criticism of Henry VIII’s marriage to Anne Boleyn was repealed by the Irish government three years ago in July 2015.
Writing of agriculture and manufacturing in County Offaly in 1801, Sir Charles Coote noted that the linen industry then thrived, with several local landowners ‘who keep looms employed, but do not bleach. Mr Holmes of Prospect and Mr Armstrong of Belview are the most extensive manufacturers, and both have large greens, but they only bleach their own linen, their [sic] being bleach yards for public accommodation.’ Almost twenty years later Peter Besnard, Inspector-General for Trade and Manufacture of Linen and Hemp in Ireland, produced a report in which he commented on Offaly: ‘The Manufacturing and Bleaching branches of the Linen Business are carried on in this county as usual, particularly in the neighbourhood of Clara and Charlestown; in the latter place, a new Linen Hall has been built by Andrew Armstong Esq. of Belview, whose family have long been supporters and encouragers of the Linen Trade. Mr Armstrong has built this Hall at his own expense, and likewise gives a premium for the best Web sold in it; and I cannot avoid remarking, that wherever premiums have been established, and judiciously applied, they have been productive of much benefit.’
The Armstrong family appears to have settled in this part of the country in the 18th century, one John Armstrong (born 1748) marrying Jane Holmes, whose family lived nearby in a house called Prospect (still standing). He married a second time and had a son Andrew Armstrong, the man mentioned by both Sir Charles Coote and Peter Besnard as being active in the linen industry. A large range of now-derelict buildings on ground below Belview testify to the one-time importance of this business, in the 18th and early 19th centuries by far the most commercially viable in Ireland. From the early 1700s onwards Irish linen was imported duty free to England and to the American colonies, so that eventually this one product accounted for around fifty per cent of Ireland’s total exports. It is understandable that so many entrepreneurial spirits became involved in the business and, if they managed their concern sufficiently well, grew rich, as did the Armstrongs. As was so often the case, they gradually climbed the social scale, moving away from the commercial class to become landed gentry. John Herbert Armstrong, for example, who inherited Belview in the mid-19th century , joined the army and served as a major in the Royal Tyrone Fusiliers. He further cemented his gentry status by marrying Eliza Catherine Lowry whose family, related to the Earls of Belmore, lived at Pomeroy House, County Tyrone. Their son in turn married Emily Theodosia Blacker-Douglas whose family were large landowners (with over 8,000 acres in County Kerry) and lived in Elm Park, outside Armagh. However, after selling their estate in 1912 under the Irish Land Act, the Armstrongs left Belview, which was subsequently leased to a variety of tenants.
Located on the border of Counties Offaly and Westmeath, Belview is a substantial house, the front portion of which dates from the second half of the 18th century. To the rear is an older L-shaped building which looks to have been adapted into a service wing when the newer section was added. The latter featured the usual layout of the period, with a drawing room, dining room and morning room/office opening off a central entrance hall on the ground floor: traces of neo-classical plasterwork survive in some of these spaces. Outside the east-facing façade is of five bays, with a Venetian window on the first floor. Below a short flight of stone steps led to a tripartite limestone doorcase with engaged Doric columns and an open pediment. The house testifies to the Armstrongs’ wish to identify themselves with the local gentry, as well as to the wealth that could be accumulated through the linen trade. A folly built in the form of a monastic round tower by Andrew Armstrong in 1817 and now buried in the nearby woodland, likewise provides evidence of the family’s social ambitions. The house was abandoned some decades ago and is now a roofless ruin.
In 1837 Samuel Lewis described Cloghan, County Offaly as a ‘village and post-town’ containing 84 dwellings and 460 inhabitants. Evidently some of the latter enjoyed prosperity because the dwellings they occupied were substantial, not least one on Hill Street which has this handsome doorcase. The five-bay property is believed to date from around 1820, a time when the country experienced greater affluence than would be the case just a couple of decades later, and which led to something of a building boom. Another house on nearby Castle Street was constructed during the same period and features a similar, albeit slightly plainer, doorcase.
Dating from c.1800, this house in Banagher, County Offaly is described in http://www.buildingsofireland as being a striking feature of the streetscape ‘and one of the grandest structures within the town.’ The bowed breakfront with conical roof and the finely tooled stone doorcase is charming, as are the Wyatt windows on ground and first floor. In use as an hotel from the early 19th century onwards, two celebrated writers spent several years here: Anthony Trollope between 1841 and 1844 while working as a Post Office Surveyor’s Clerk (and writing his first published novel The McDermotts of Ballycloran) and James Pope-Hennessy in the early 1970s while writing biographies of both Trollope and Robert Louis Stevenson. Badly damaged in an arson attack in September 2012, damage to the building was not repaired which now looks in danger of being lost forever.
The house at Durrow Abbey, County Offaly has a long and frequently unhappy history. As its name implies, this was originally a religious settlement (for more on which, see On the Plain of Oaks, February 2nd 2015). However in the 16th century and following the dissolution of the monasteries, the lands on which it stood were leased to Nicholas Herbert at a rent of £10 per annum payable to the Crown and military service when required. Herbert was granted a second lease in 1574 on condition that he built two stone fortresses on the site within four years. The Herberts remained in residence here until the death without male heirs of Sir George Herbert, third baronet, in 1712. The estate was then inherited by Sir George’s sister Frances, married to a Major Patrick Fox: it was Mrs Fox who rebuilt the old adjacent church that remains today. The Foxes having no direct heirs, Durrow was then inherited by Philip Rawson Stepney and eventually by Herbert Rawson Stepney who, three years before his death in 1818 sold the estate to John Toler, first Lord Norbury. It would appear that during the time of the Stepneys that a new residence was built at Durrow: a surviving drawing made by architect William Murray in September 1829 shows the building – then called Durrow Park – to have been a plain classical structure of three storeys and seven bays, centred on a groundfloor doorcase with portico. Already at that date plans were being made for something more distinctive to be constructed on the site, but ultimately it was Norbury’s son who embarked on this enterprise. here…
Politician and lawyer, John Toler enjoyed a highly successful career at the bar despite being almost universally reviled for his ability to combine corruption with incompetence. He served as Chief Justice of the Irish Common Pleas for twenty-seven years (1800-1827) during which time he became known as the ‘Hanging Judge’ such was his propensity to prescribe the death sentence and only resigned at the age of 82 when offered an earldom and an annual pension of more than £3,000. Dying in 1831 he was succeeded by his son Hector John Graham-Toler, second Earl of Norbury who some years later decided to embark of a comprehensive redevelopment of the house: Samuel Lewis’ Topographical Dictionary of Ireland (1837) mentions that ‘his lordship is erecting a spacious mansion in the ancient style.’ Two years later, in January 1839, Lord Norbury was shot dead by an unknown assailant while out riding: no one was ever brought to court (despite a reward being offered of £5,000 and 100 acres) but it seems likely the person responsible was a tenant recently evicted from a holding on the estate.
The widowed Lady Norbury pressed on with her late husband’s plans to rebuild Durrow and work continued there until 1843 when a fire broke out. A contemporary account in The Nation recorded that ‘The new building which was not completed, joined the old one, which it was intended to adopt as a wing by facing it with stone; in this portion all the valuable furniture was stored and this part of the extensive building is totally destroyed.’ At some later date the new building was completed, and thereafter owned by successive generations of the Graham-Toler family until the 1940s.
Completed around 1860, Durrow Abbey House’s architect is unknown. Designed in the popular Jacobean Revival style, the building was originally of three storeys over a sunken basement with high gable-end windows, raised chimney stacks and corner turrets, the whole in cut limestone. Behind the main block runs a long service wing opening onto a sunken courtyard. At one stage, a large porte-cochere stood in front of the main entrance. This survived until May 1923 when the house was burnt during the Civil War. It was subsequently rebuilt three years later with the top storey and porte-cochere removed, and with simplified Arts and Crafts interiors designed by Dublin architect Ralph Henry Byrne. Following the sale of the property by the Graham-Tolers, Durrow was owned first by the Slazenger family (who later became owners of Powerscourt, County Wicklow) and then the Williams family (who owned the local whiskey distillery). Subsequent owners proposed to change use of the property from private residence to hotel and golf resort as part of a €170 million scheme that would also have included several hundred houses and apartments. This plan was comprehensively rejected by the planning authorities, not least because of the importance of the immediately adjacent medieval site. Durrow languished in uncertainty until 2003 when the Irish State paid in the region of €3.5 million to acquire the place and surrounding 80-odd acres.
In May 2007 a 99-year lease on the main house was agreed by Dick Roche, then-Minister for the Environment, Heritage and Local Government and a charitable organisation called Arts for Peace Foundation. Incorporated in August 2004, Arts for Peace ‘provides therapeutic peace education programmes for children affected by conflict.’ Paying an annual peppercorn rent of €10, the organisation used the house as a respite centre for groups of young people from diverse places around the world. Meanwhile the Office of Public Works carried out necessary work on the old church and moved a mid-ninth century High Cross moved indoors. All seemed well for the future of the entire site until five years ago when Arts for Peace stopped using the main house for its projects. In December 2016 The Times reported that a month before the charity and its founder Elizabeth Garrahy had filed a High Court action against the Office of Public Works and the Irish State seeking damages for alleged breach of contract. The charity alleged the OPW had committed to providing €500,000 and then €250,000 for repair work, but then failed to provide the funding. The OPW in turn accused the charity of failing to carry out necessary repairs and maintenance of the property according to the terms of its lease. It transpires this is why the building has not been occupied or used since 2013: for the past five years the OPQ and Arts for Peace have been at war. Although this matter ought to be of widespread interest (not least because of the potential financial implications for the Irish taxpayer), it seems the only public representative to express concern has been Carlow-Kilkenny TD John McGuinness. He has regularly raised the question of Durrow Abbey in Dáil Éireann, and elsewhere. The last time Deputy McGuinness did so was two months ago on February 15th at a meeting of the Select Committee on Finance, Public Expenditure and Reform (of which Mr McGuinness is chair) attended by Kevin Moran, current Minister of State for the Office of Public Works and Flood Relief. In the course of a discussion on the unresolved problems at Durrow Abbey, Mr McGuinness stated, ‘I firmly believe that with an effort, with both sides sitting down without being tied by legal process and without prejudice, they could reach a resolution, rather than spend unnecessary funds and scarce resources on a case when in my opinion the Arts for Peace Foundation has a good case. Going to court is a step beyond common sense in my opinion in this instance.’
The state, which is to say the Irish citizenry, has spent a considerable amount of money acquiring and restoring portions of the historic Durrow Abbey site and, as was announced at the end of last year, the state intends to spend more in the near future making the property more accessible to visitors. However at the same time a substantial group of buildings sits empty and neglected: tellingly, in May/June 2016, despite the ongoing dispute, the OPW undertook emergency remedial works to prevent water ingress to the house). This argument is surely capable of resolution, but the longer it takes to find agreement, the greater the cost. A speedy settlement is obviously advantageous. Until this happens the house at the centre of the estate and of the legal wrangle remains in a state of limbo. This is a situation that benefits no one.
One of the gates at the entrance of the Keep Gate standing in the grounds of Birr Castle, County Offaly incorporating the Parsons family coat of arms. With machicolations, slit and loop windows, and crenellated battlements, this two-storey miniature castle was designed by Mary, third Countess of Rosse in 1847-8 and constructed as a famine relief project. Well inside the grounds of the estate, the Keep Gate forms part of a star-shaped moat around the castle, the moat being designed by the Countess’s uncle Captain Richard Wharton Middleton.
The Keep Gate is one of many buildings to feature in a splendid new publication Flights of Fancy: Follies, Families and Demesnes in Offaly written by County Architect Rachel McKenna. After initial chapters investigating the nature of follies and other demesne architecture, McKenna goes on to consider in depth fifteen different estates in Offaly, some well-known – like Birr and Charleville – others less familiar such as Ballycumber, Prospect and Acres’ Hall. Running to 348 pages, the work is extensively and admirably illustrated with abundant colour photographs, maps and plans, drawings old and new and many other images to complement the text. Published by Offaly County Council, this is a model of the kind of book all local authorities should be producing: one hopes others will follow Offaly’s lead in demonstrating such pride in the region’s built heritage. Hard to fault and impossible to resist, not least because the volume’s price is a very affordable €30.
To the immediate north-west of the castle at Charleville Forest, County Offaly stands an equally substantial block that once served as stables for the property. Like the main house, this was designed by Francis Johnston in 1798 for Charles Bury, Lord Tullamore (later created Earl of Charleville) and is in the same solid Gothic style. Unfortunately whereas the greater part of the castle is still in use, the same is not true of the stable block which as a consequence is now in a poor state of repair.
If anyone ought to be familiar with the library at Birr Castle, County Offaly it is the building’s present chateleine, Alison Rosse. Located to the immediate right of the entrance hall, this rooom has been the victim of no less than two accidental fires, the first in 1832 and the second ninety years later. But on both occasions the library was restored and its shelves restocked so that today it looks as though the place never suffered any damage. Like all good domestic libraries, it serves a multitude of purposes: not just as a repository for books, but somewhere to take tea or repose, a space in which to seek sanctuary or hospitality. All this is evident in the watercolour seen above which shows the castle library well able to fulfill these functions, and many others besides. It appears in a new publication, Room for Books: Paintings of Irish Libraries featuring twenty-five such spaces as captured by Alison Rosse, accompanied by William Laffan’s text. Most of those included, a mixture of public and private libraries, still exist but one that has since been dispersed is that of the late Maurice Craig, shown below. When Maurice and Agnes Bernelle lived in Sandymount, Dublin he maintained this room on the first floor of their house. Following her death and his move to a smaller residence, he brought a great many of the books with him: I remember them being crammed into shelves and heaped on every available surface along which a resident cat (Maurice loved cats) would step with such care that no volume was ever displaced. Despite the seeming disorder, he was familiar with the place of every work in the collection and immediately able to lay his hand on whatever was needed for consultation. Bibliophiles love books not just for their physical beauty but also for their content. And such will be the case with the present publication, recommended as a last-minute gift (although book lovers will appreciate receiving a copy any time).
Room for Books: Paintings of Irish Libraries by Alison Rosse and William Laffan is published by the Irish Georgian Society, €10.00
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.