The garden front of Palmerstown, County Kildare. The estate here was acquired in the middle of the 17th century by a branch of the Bourke family, later Earls of Mayo, who built a residence later described as ‘an old fashioned house, added to from time to time in an irregular manner, the rooms low and small but enriched with some good pictures, particularly a set of Sir Joshuas.’ In 1872 Richard Southwell Bourke, the sixth earl, was assassinated while serving as Viceroy of India. Subsequently a new house was erected for the family, the costs defrayed by public subscription: a plaque over the entrance notes that it was built ‘by his friends and countrymen.’ Designed by Thomas Henry Wyatt in what is generously described as a Queen-Anne style, the second Palmerstown only lasted half a century, being burnt during the Civil War in January 1923: the elderly seventh earl was a Free State Senator and therefore vulnerable to attack from Anti-Treaty forces. The building was subsequently reconstructed under the supervision of architect Richard Orpen but without its original third-storey Mansard roof. Having changed hands several times in the last century, it is now a wedding venue.
Mallow Castle, County Cork has featured here before (see Unrealised Potential, May 8th 2017) when the later house, and its neglect since being acquired by the local authority in 2010, was discussed. Today provides an opportunity to look at the older house on the same site. In fact that older building replaced an even earlier castle, originally built by the Anglo-Norman de Rupe (otherwise Roche) family. In 1282 the Roches exchanged their land here with the Desmond branch of the FitzGerald dynasty for property in Connacht, and a more substantial castle was constructed. The Desmonds remained here for the next 300 years but following the suppression of the second Desmond Rebellion in the early 1580s and the onset of the Munster Plantation, Mallow was granted by Elizabeth I to Sir Thomas Norreys whose descendants would remain there until 1984.
The Norreys – or Norris – family came from Berkshire, several brothers coming to Ireland to fight in the English army in the last quarter of the 16th century. The most successful of the siblings was Sir John Norreys, a personal friend of the queen (his grandfather, Sir Henry Norreys, had been executed alongside Elizabeth I’s mother Anne Boleyn on trumped-up charges of adultery with her). Sir John initially arrived in this country in 1574, spending time in Ulster before spending almost ten years in the Low Countries supporting Protestant opponents of Spanish rule. He was briefly in Ireland in 1584, when appointed President of Munster, but soon left to fight again on mainland Europe. Eventually he came here a third time in 1595, dying in Mallow two years later, supposedly in the arms of his younger brother Thomas. The latter had arrived in Ireland at the end of 1579 and stayed here for the next twenty years until his own death, again at Mallow. During this time, he was almost constantly at war with the native Irish. Nevertheless, during this time he embarked on building a new residence in Mallow where, in addition to the old castle, he had been granted some 6,000 acres.
As seen today, Mallow Castle incorporates part of the older castle but was designed to be a fortified manor house, similar to those erected during the same period at Donegal (see Oh! Solitary Fort that Standest Yonder, April 17th 2017) and Kanturk (see An Abandoned Project, December 7th 2015). Of four storeys with projecting bays at the centre of each long wall flanked by gables, the building has octagonal turrets at the corners of north- and south-west corners: the roofline was decorated with stepped battlements. Mullioned windows provided light to the interior, a stone wall dividing the house in half, other partitions being of wood. It was here that Sir Thomas Norreys died in 1599, the Mallow estate inherited by his only child Elizabeth who married another English soldier, Major-General Sir John Jephson. Their descendants continued to occupy the castle, which survived being siege and capture during the Confederate Wars of the 1640s. However, in 1689 the castle was burnt, seemingly on the instructions of James II, and rendered uninhabitable. The Jephsons then converted the former stable block into a house, before this was made over in the 1830s to the designs of Edward Blore. The old castle has remained as a picturesque ruin.
One of the most significant restoration projects in Ireland over recent years has involved not a grand country house or an important public building, but a modest retail premises in central Dublin. We retain so little material evidence of our commercial history that it is difficult to imagine the vibrant economic life of the country in former centuries. That is why the restoration of 3-4 Parliament Street deserves applause. The thoroughfare was opened up by the Wide Street Commissioners in 1762 in order to provide a suitably grand approach from Essex Bridge to Dublin Castle. Almost all the houses lining the street have undergone considerable change over the past 250-plus years but this building retains its original appearance both inside and out, having served for much of the intervening period as Read’s Cutlers.
The interior of Read’s has altered little since first being fitted out in the 1760s. The ground floor shop, where once swords, as well as knives and forks were once sold, still contains its original counters, display cases and fitted wall cabinets, while upstairs is laid out as a family residence. Some years ago, the building having lain empty and neglected, this was all at risk of being lost but thankfully Read’s latest owner Clem Kenny appreciated its value and engaged in a through and meticulous restoration, a private initiative for which he deserves universal applause and appreciation. Next Thursday, November 15th, Dublin Civic Trust – which has long engaged in similarly valiant enterprises – is offering a tour of Read’s for which tickets can be booked on eventbrite.ie Rather than spoil the surprise of what lies behind that modest façade, these pictures are intended simply to whet appetites. Anyone who has not yet had an opportunity to see inside Read’s is urged to do so (and thereby also assist the Dublin Civic Trust’s worthy work).
Last week, the Department of Culture, Heritage and the Gaeltacht issued a consultation document designed to inform a new national plan called Heritage Ireland 2030. This, it appears, will ‘recognise the vital role our heritage plays in our community, our economy and our society’ and, in addition, will prpvide ‘a coherent, comprehensive and inspiring framework of values, principles and strategic priorities which will guide and inform the heritage sector over the next decade.’ The strategy is to be built around three core themes: National Leadership and Heritage, Heritage Partnerships, and Communities and Heritage. An open invitation is extended by the department for submissions on the plan’s formation (although curiously no deadline is provided) and more information is available at: https://www.chg.gov.ie/heritage/heritageireland2030.
No doubt many people will have opinions on what ought to be prioritised in Heritage Ireland 2030, but here’s one suggestion. According to the consultation document, an objective of the plan will be the production of ‘An effective policy and regulatory framework and governance structure that supports an integrated approach to the protection, conservation and use of heritage.’ Just such a regulatory framework and governance structure already exists thanks to the 2000 Planning Act. As part of that legislation, owners or occupiers of protected structures are legally required to make sure a building for which they are responsible does not become endangered through neglect, decay, damage or harm. Heritage Ireland 2030 might insist that local authorities act according to the terms of the act, and thus ensure less of our built heritage, despite being listed for protection, is lost forever. Let’s act on existing strategies before embarking on new ones.*
*Interestingly, a conference called Democratising Conservation is being held at University College Dublin on Friday 16th November: publicity for the event announces that ‘a national system of architectural heritage protection has now been in place in Ireland for almost 20 years, providing a rigorous professional framework in which conservation decisions are framed.’ Not everyone will necessarily agree with this opinion.
Robert Rochfort, first Earl of Belvedere is rightly notorious for having imprisoned his wife for over thirty years on the grounds of adultery with one of his brothers: she was only released after his death in 1774. At some date before then, the earl had embarked on building a new residence for himself in Dublin. Located on Great Denmark Street and looking down North Great Georges Street, the incomplete Belvedere House was inherited by the second earl who initially sought to dispose of the property, offering it for sale in 1777. However, either he was unable to find a buyer, or he decided to retain the house, work on which was finished in 1786. Since 1841 it has been owned by the Jesuit Order which runs a secondary school on the site. In plan and composition Belvedere House closely resembles 86 St Stephen’s Green, begun in 1765, the design of which is now attributed to Robert West who, in addition to being a fine stuccodore was also a part-time architect and property developer. When Belvedere House was offered for sale in 1777, interested parties were directed to West, thereby indicating that similarities between this building and 86 St Stephen’s Green were not accidental.
The attribution of Belvedere House’s design to Robert West is of significance because of the building’s remarkable interior decoration. The staircase hall and first-floor reception rooms contain some of Dublin’s most elaborate plasterwork, and divining who was responsible for this tour-de-force has been the subject of much analysis. In 1967 C.P. Curran’s Dublin Decorative Plasterwork of the 17th and 18th centuries noted in the collection of drawings left by stuccodore Michael Stapleton several items directly relating to the design of ceilings in Belvedere House. Accordingly, this work was assigned to Stapleton. However, the fact that West was responsible for designing the house complicates matters, and the consensus now appears to be that both he and Stapleton had a hand in the plasterwork. Conor Lucey (in The Stapleton Collection, 2007) suggests that Stapleton may have been apprenticed to, or trained with, West and the fact that he was named the sole executor of the latter’s will in 1790 indicates the two men were close. The source material for the stucco work is diverse, that in the stair hall deriving in part from a plate in Robert Adam’s Works in Architecture, but the first-floor rooms feature a wider range of inspiration, much of it from France and Italy. The main reception room at the front of the building has an oval in the centre of its ceiling, which seemingly held a scene of Venus wounded by Love taken from Francois Boucher’s painting of the same name. However, when the Jesuits assumed responsibility for the house, the saucy nature of the work led to its removal. The adjacent room’s ceiling contains a roundel showing Diana in a chariot drawn by two stags: this was allowed to remain. In recent years a full restoration of these rooms has been undertaken by RKD Architects, allowing us better to appreciate how they must have looked when first completed, a tribute to the remarkable craftsmanship that existed in 18th century Ireland.
Lohort Castle, County Cork featured here over a year ago (see Surrendering to the Elements, June 19th 2017). Recently a follower of the site, James McErlain was in touch and kindly forwarded some aerial photographs of the site taken a few years ago. These are particularly interesting because they show the outline of an octagonal outer fortification around the perimeter of the castle and ancillary structures. This is not the same as the star-shaped Vaubanesque outerworks depicted in an 18th century engraving (these look to have been approximately where are now a belt of trees around the castle) but indicates a further sequence of defences, perhaps constructed during the Confederate Wars of the 1640s when the place was besieged.
The first floor rear room of 11 Parnell Square, Dublin. This was one of the first houses built on the square soon after leases were given in 1753, its original owner being Richard Steele. By 1770 it had come into the possession of John Butler, future 17th Earl of Ormonde, who enlarged the building by adding a further bay. In 1887 it became the premises of the National Club which, as the name indicates, was a nationalist organisation: ironically (or perhaps intentionally), the neighbouring house served as the Grand Orange Hall of Ireland. In 1901 11 Parnell Square became the headquarters of the recently-established Dublin County Council and it was then that the interior underwent extensive remodelling. This room became the council chamber and, no doubt in an effort to convey due gravitas to proceedings, the walls were lined with stained oak panelling, as Christine Casey has noted, in a peculiar mixture of Tudor and Celtic Revival styles. It was here that decisions were taken for many years on the development of the greater Dublin area, the consequences of which continue to be felt.