Outstanding in its Field


The tower house at Donore, County Meath. This is believed to date from the early 15th century after Henry VI had offered to grant £10 to anyone prepared to build a defensive tower to protect the Pale. Donore conforms to type, measuring 24 by 20 and a half feet at its base and rising some 39 feet over three storeys. An interesting feature is that the corners are all rounded and one has a small projecting round tower. An illustration from 1785 shows the building with a pitched thatched roof but over a century earlier, in 1650, it had been the scene of a bloody denouement after the English commander Sir John Reynolds captured Donore and killed over forty members of the McGeoghegan family.

Due East


The east window of the old church in Dromiskin, County Louth. This was the site of a monastery founded in the late 5th/early 6th century by Lughaidh, son of the first Christian King of Munster and a disciple of St Patrick. In the mid-7th century it came under the authority of St Ronan who died of the plague in 664: in 801 his relics were placed in a richly decorated shrine. But inevitably the monastery’s wealth made it vulnerable to attack, and during the 10th and 11th centuries Dromiskin was plundered by both Irish and Viking forces. Eventually the monastery was abandoned and fell into ruin, although the church continued to be used for services (this window is 15th century) until replaced by another in the early 19th century (now also no longer in use). Looking west through the window, one can see the stump of a 9th century Round Tower (the cap on it was added in 1879).

A Ruined House


‘Those who lived here are gone
Or dead or desolate with grief;





Of all their life here
Nothing remains
Except their trampled, dirty clothes





Among the dusty bricks,
Their marriage bed, dusty and bent,
Thrown down aside as useless;
And a broken toy left by their child…’


A Ruined House by Richard Aldington
Photographs of Lakeview House, County Cork.

 

On the Tiles


Tiles on the entrance hall floor of Temple House, County Sligo. The original early 19th century house here was greatly enlarged and embellished c.1860 for Alexander Perceval who employed the firm of Johnstone & Jeanes. Based at 67 New Bond Street, London the company was better known for its furniture (of which many examples remain in the house) than as an architectural practice: this appears to be the only instance of its work in Ireland.

Resurrection


Dromdiah, County Cork featured here almost three years ago (see The Age of Austerity, September 7th 2015). Dating from the early 1830s, the house adheres so severely to the Greek Revival style that it might have been designed by the likes of Schinkel or von Klenze. That seems to have been its downfall, since the building was prone to damp – and a high, exposed position also left it exposed to winds. Ultimately Dromdiah was unroofed around 1944 and permitted to fall into ruin. However, the property has recently been sold and there are ambitious plans to restore it as a private residence. Already large amounts of clearance on the site have taken place, as can be seen in these pictures showing an oeil-de-boeuf window – previously impossible to see in the undergrowth – set into the basement wall of the south wing.

Putting on a Good Front


Looking north across the Boyne almost mid-point between Slane and Navan, one sees the impressive remains of Dunmoe Castle, County Meath. Sitting high on a bluff above the river, the building presents a high, near blank face (there are a few window openings towards the top) flanked by circular towers. From this position, it is easy to imagine the rest of the building being equally substantial. But the notion quickly proves erroneous. Despite putting on a good front, Dunmoe is the Potemkin village of Irish castles: nothing lies behind its fine façade.





It is believed the original castle at Dunmoe was built in the 12th century by the Anglo-Norman knight Hugh de Lacy. However, by the mid-15th century when the present building is thought to have been constructed the land on which it stands had passed into the hands of another family of Norman origin, the d’Arcys. Much intermarried with other local families like the Plunkets, Nugents and St Lawrences, their main residence was elsewhere in the county at Platten but by the 16th century Dunmoe belonged to the descendants of a younger d’Arcy son. Inevitably they were caught up in the troubles of the Confederate Wars, Dunmoe being taken by the Irish forces in 1641 and later fired at across the Boyne by the passing Cromwellian Army. Following the restoration of Charles II, in 1663 Thomas d’Arcy was declared ‘an innocent Papist.’ It was he who is said to have entertained James II at Dunmoe on the night before the Battle of the Boyne, and the victorious William III on the night after. This is supposed to have inspired the couplet, ‘Who will be king, I do not know/But I’ll be d’Arcy of Dunmoe.’





The d’Arcys remained at Dunmoe for much of the 18th century, converting what had been a fortress into a more comfortable house. The last of them to occupy appears to have been Judge d’Arcy (his first name deriving from the surname of his mother, Elizabeth Judge). Dying young in 1766, he left an infant heiress Elizabeth who would later marry Major Gorges Irvine of Castle Irvine, County Fermanagh (for the unhappy fate of this house, see A White Elephant, October 3rd 2016): thereafter that family were called the d’Arcy-Irvines. As for Dunmoe, it survived until the end of the century before being largely destroyed by fire during the 1798 rebellion (presumably around the time of the Battle of Tara Hill on May 26th of that year). It has since fallen into the present ruinous state so that only one of the four outer walls remains, and only two of the equivalent number of corner towers. To the immediate west inside a low walled enclosure are likewise the remains of an old church and graveyard containing what had been the d’Arcy mausoleum.

Riding High


The extraordinary ‘Triumphal Chariot’ created for Daniel O’Connell in 1844. At the start of that year, he and a number of other men had been found guilty of conspiracy against the government and sentenced to twelve months’ imprisonment. This verdict was overturned by the House of Lords at the beginning of September and O’Connell duly released from Richmond House of Correction (now Griffith College, the original building was designed by Francis Johnston in 1813). In a subsequent, carefully choreographed event he was brought from that place to his residence in Merrion Square in this chariot which measures almost ten feet high and near 15 feet long. Inspired by chariots used in processions in ancient Rome, the vehicle was drawn by six grey horses and accommodated not just the hero of the hour but also a costumed ‘ancient harper.’ Three years later the empty vehicle would lead the funeral cortege to Glasnevin Cemetery following O’Connell’s death. Now restored and in an outbuilding at Derrynane, County Kerry the chariot’s decoration includes a number of painted panels including this one showing Hibernia complete with harp, Irish Wolfhound and, in the distance, a ruined monastery and round tower.

A Fall from Grace


A detail of the ceiling in the former St Paul’s Church, Cork. The building dates from 1723 when on instructions of the corporation a new parish was created in this part of the city. Fitted out with now-lost gallery and box pews, the interior still boasts this ceiling. According to the Journal of Cork Historical And Archaeological Society (Vol. XLVIII, No. 167, 1943) the stuccowork is was believed to have been ‘the work of Italian prisoners taken during the Napoleonic Wars.’ The church remained in use for services until 1949/50 and thereafter served for some time as a factory. More recently, it has been turned into retail premises.

Acquired Antiquity

Writing of the fashion for Gothic and Tudor-Revival architecture among early 19th century Irish landowners, in 1982 Maurice Craig quoted Victorian political theorist and historian William Lecky who declared that the power and property of Ireland had been conferred by successive British monarchs ‘upon an English colony, composed of three sets of English adventurers who poured into this country at the termination of three successive rebellions.’ While considering Lecky’s remarks ‘a gross overstatement’ nevertheless, Craig believed that in the aftermath of the 1800 Union ‘the landed class were haunted by these words and did not want to believe them. By castellating their houses, or adding castellated wings to them, or in extremes replacing them by sham castles, they sought – at the sub-conscious level no doubt – to convince themselves and others that they had been there a long time and that their houses, like so many in England, reflected the vicissitudes of centuries. As it happens, the romantic fashion for irregularity was just now hitting European architecture (having affected gardening a couple of generations earlier, so that, once again, if only for a moment, Ireland was bang up to date.’ Such was the case with Narrow Water Castle, County Down designed in the early 1830s by Newry architect Thomas J Duff for local landowner Roger Hall.



Myles Campbell’s 2014 doctoral thesis Building British Identity: British Architects and the Tudor-Revival Country House in Ulster, 1825-50 does not discuss Narrow Water Castle, since the house’s architect was Irish. Nevertheless, many of the points he makes are relevant to Narrow Water in particular his consideration of the reasons why the Tudor-Revival style, incorporating elements of earlier Gothic, should have proved so popular in this country. Dr Campbell has discovered that at least 127 country houses in the same style were built in Ireland in the 19th century, the vast majority of them prior to 1845 and the onset of the Great Famine (which understandably put an end to almost all country house construction). Fifty, or 39 per cent of the houses either built or remodeled in the Tudor-Revival style were in Ulster (the lowest number, just ten, were in Connacht, but this generally had fewer country houses and they were more widely dispersed about the province). Campbell proposes that ‘The group of Ulster patrons concerned were characterized by a common loyalty to the Union between Ireland and Britain, a deep commitment to their Anglican faith and an unstinting preference for British goods and services.’ Combine the desire to demonstrate loyalty to Britain with the need to emphasise (cf. Craig) longevity of residence, and one understands why Tudor-Revival became so popular. After all, there were no original Tudor buildings in this style extant in Ireland, and so versions of it had to be imported. And they were very much versions, or interpretations: in Ballantyne and Law’s Tudoresque: In Pursuit of the Ideal Home (2011) the authors note that Tudor-Revival architecture was not very specific in its detailing and could be ‘vague about the distinction between the Middle Ages and the Tudor era.’ Furthermore, as Campbell comments, given the hybrid character of the original, ‘it is unsurprising that Tudor-Revival architecture possessed a similarly imprecise stylistic pedigree and reflected the influence of both modest and grand examples. Many features of early Tudor houses such as emphatically horizontal elevations, small casement windows, crenellated parapets and Perpendicular tracery, were revisited. Their great mullioned glass windows, projecting bays and rather chaste ashlar walls served as a source of inspiration for the architects of the Tudor Revival. These architects were not reluctant to add gables, Tudor arches, turrets and label mouldings to these basic elements in the pursuit of authenticity.’





Narrow Water Castle was built to replace an earlier residence called Mount Hall which dated from the early 18th century and, judging from a surviving stableblock, was classical in manner. Like many other landed families, the Halls were of settler stock, the first member arriving in Ireland in 1603. Roger Hall’s precise reasons for commissioning a new house in the Tudor-Revival manner are unknown; by the time work began, he was in his forties and had been married for twenty years. The explanation is likely to be that given above, a desire to emphasise the family’s antiquity (through such details as incorporating heraldic crests into the main staircase window). There was also another factor at play in choosing this style over others, and that was comfort. 18th century houses, while grand, could be cold and austere with little consideration given to the occupants’ well-being. Improved building techniques and better insulation were available by the onset of the 19th century. A purist approach to Gothic, as would develop later thanks to the influence of architects like Pugin, could also lead to somewhat austere interiors. The Tudor style, on the other hand, not only implied antiquity but also offered the opportunity for domesticity: rooms could be cosy. Ballantyne and Law observe that Tudor-Revival country houses were ‘comfortable, and could be composed freely, so as to allow the convenient arrangement of rooms.’ The more formal aspects of the classical house were dispensed with in preference for a relaxed approach to layout, although the enfilade of public rooms remained. Campbell explains, ‘This suite usually contained a minimum of three formal rooms; drawing room, dining room, library or saloon, and represented the primary focus of formal social activity in the house. It was customary for the entrance front to face east and this front was almost invariably asymmetrical. There were usually service quarters to the north and, in many cases, a private family wing to the west…The emphasis here was on comfort rather than ostentation. This convenient plan, in addition to a recognizably indigenous stylistic vocabulary, transformed the country house into “a temple not of taste but of the domestic virtues.’ And because Tudor-Revival was not bound by strict rules, other stylistic features could be incorporated: hence in Narrow Water Castle, the walls of one room are covered with Chinese paper.


King John’s Legacy


The much-repaired castle in Dungarvan, County Waterford. Situated at the mouth of the river Colligan, the castle, prior to the construction of the town’s quays, stood on the water’s edge. It is supposed to have been built by Prince (later King) John during his first visit to this country in 1185. The castle has a polygonal shell keep with a series of corner towers and in the 19th century was used as a barracks for members of the Royal Irish Constabulary. Some months after they had left the premises, it was burnt out by anti-Treaty forces. Subsequently restored, it was used by the local police until 1987 but now contains a visitors’ centre.