Tag Archives: Architectural History

Buried but Not Forgotten



A short distance to the west of the ruins of Aghadoe Cathedral, County Kerry stands the now-disused Church of Ireland church. Work on the building, designed by an unknown architect, began in 1837, the land on which it stands being given by Charles Winn-Allanson, second Lord Headley who during the previous decade had built a new residence nearby. Lord Headley’s somewhat eccentric and spendthrift successors to the title have featured here before (see From Kerry to Mecca « The Irish Aesthete) but he seems to have been a model landlord, his death in 1840 much lamented in the area. Surviving him by more than 20 years, his widow Anne did much to relieve the suffering of local tenants during the years of the Great Famine and after. The large Headley tomb behind the church appropriately carries the words ‘Buried But Not Forgotten.’ The church ceased to be used for services in 1989 and now stands looking rather desolate in the midst of the graveyard.


Pagan Inspiration


On 6th-7th January 1839 Ireland was struck by what subsequently became known as the Night of the Big Wind. Such was the ferocity of the hurricane-force gales that many buildings throughout the country suffered damage, one of these being the Presbyterian Church in Portaferry, County Down. Originally dating from 1694 but almost entirely rebuilt in 1751, in the aftermath of the storm this structure was left in such a poor state of repair that services could no longer be held there. Accordingly the decision was taken to demolish the older church and erect a new one of the same site. The architect given the task was Belfast-born John Millar, known to have spent time in the office of Thomas Hopper in London before returning to this country. Millar’s brother was a Presbyterian minister, which explains why, between 1829 and 1839, he had been given commissions to design a number of other Presbyterian churches in Ulster. His later life seems to have been blighted by misfortune. According to an entry in the online Dictionary of Irish Architects (www.dia.ie) , after being declared bankrupt in 1854 he went to Australia, then returned home before leaving again for Australia the following year: on this second voyage, his ship was wrecked off the coast. Moving to New Zealand, he was appointed engineer to the town board of Dunedin, dismissed from the post in 1864, reinstated and then dismissed again. That same year he also lost all his possessions when his house was burned down. He died in 1876, of ‘hepatic disease, dropsy and exhaustion’. The DIA describes him as ‘a man of extravagant claims, exuberant schemes and quixotic behaviour.’  




From the start, the Portico Church won plaudits. In 1842, barely a year after it had opened for services, the local Down Recorder enthused, ‘The style of architecture which Mr Millar has adopted is that which prevailed in Greece during the architectural age of Pericles; its dimensions are sufficiently large to produce an impression of grandeur and sublimity.’ More recently, in 1970 J.S Curl commented that the building ‘would not look out of place in Helsinki or Leningrad [St Petersburg]. Indeed, this marvellous Greek temple is one of the most distinguished Neoclassical buildings in Ulster, and is in the first rank of Neoclassical designs in the whole of the British Isles.’ Various alterations have been made to the building since first constructed, not all of them necessarily beneficial; for example, at some date in the early 20th century, probably owing a problem with damp, the exterior was painted. Also in the last century, coloured glass was introduced into the windows, thereby disrupting the purity of the interior’s light. Clearly the local congregation in the 1840s must have been substantial, given the scale of the church (its predecessor seemingly had 90 seats in the aisle and another 14 in a gallery). However, in more recent decades the number attending services declined sharply and in consequence the building began to suffer from neglect. Happily in 2015 responsibility for the church was taken on by a charity, ‘Portico Ards’, which then raised £1.6 million for its complete restoration (thanks to support from the Heritage Lottery Fund and over 30 other grant raiders). While it continues to serve its original purpose on Sunday mornings, holding services for members of the Presbyterian faith, today the building also functions as an arts and heritage centre, hosting a wide variety of cultural activities.
Built at a cost of £1,999 and formally opened by Rev. Henry Cooke in September 1841, Portaferry’s Portico Church, as it’s known, is a building of very distinctive and rather unexpected character. Many of Millar’s designs for other Presbyterian communities had been classical in style, but this is something else again. The primary source of inspiration was the Temple of Nemesis, built c.460-420 BC in Rhamnous, an ancient Greek city on the north-eastern coast of Attica. The church’s north-west and south-east pedimented facades are almost identical, the former providing the main entrance to the interior via steps that lead into a porch set between the Doric columns, derived from those of the Temple of Apollo at Delos.  Six monumental columns, tapered and showing entasis, rest on top of the ground floor and rise unfluted to the entablature which encircles the structure. Clearly not based on ancient models but meeting the requirements of the congregation, the building’s glazed enclosures accommodate a vestibule for the gallery at one end and an organ chamber at the other. The church’s base takes the form of a battered podium. On the south-east side, the two outermost columns rest on battered corners bases separate from the main support; the open portion thus created by these separate bases permits access to smaller doorways into the building. Also on this side and set between the two central columns is what appears to be a miniature temple: inside this accommodates a staircase allowing the minister taking services to ascend to the pulpit. 




From the start, the Portico Church won plaudits. In 1842, barely a year after it had opened for services, the local Down Recorder enthused, ‘The style of architecture which Mr Millar has adopted is that which prevailed in Greece during the architectural age of Pericles; its dimensions are sufficiently large to produce an impression of grandeur and sublimity.’ More recently, in 1970 J.S Curl commented that the building ‘would not look out of place in Helsinki or Leningrad [St Petersburg]. Indeed, this marvellous Greek temple is one of the most distinguished Neoclassical buildings in Ulster, and is in the first rank of Neoclassical designs in the whole of the British Isles.’ Various alterations have been made to the building since first constructed, not all of them necessarily beneficial; for example, at some date in the early 20th century, probably owing a problem with damp, the exterior was painted. Also in the last century, coloured glass was introduced into the windows, thereby disrupting the purity of the interior’s light and the first organ installed. Clearly the local congregation in the 1840s must have been substantial, given the scale of the church (its predecessor seemingly had 90 seats in the aisle and another 14 in a gallery). However, in more recent decades the number attending services declined sharply and in consequence the building began to suffer from neglect. Happily in 2015 responsibility for the church was taken on by a charity, ‘Portico Ards’, which then raised £1.6 million for its complete restoration (thanks to support from the Heritage Lottery Fund and over 30 other grant raiders). While it continues to serve its original purpose on Sunday mornings, holding services for members of the Presbyterian faith, today the building also functions as an arts and heritage centre, hosting a wide variety of cultural activities and thereby ensuring that it has a viable future.  

A Momentary Lull


Particularly at this time of year, it is hard to catch a picture of Ross Castle, County Kerry without the inclusion of milling crowds since every car, coach and jaunting cart in the area visits the place. Located on the shore of Lough Leane, the castle is a 15th century tower house and keep originally constructed for the the O’Donoghues Mór. It passed to the McCarthys in the 1580s and thence to Sir Valentine Browne, forebear of the Earls of Kenmare. Today it is under the care of the Office of Public Works.

What a Waste


The history of Knockanally, County Kildare is rather opaque, although it is known that the Coates family, the first of whom appears to have arrived in Ireland in the early 1700s, acquired the land on which it stands from the Aylmers who lived not far away at the now-derelict Donadea Castle (see Another Blot on the Landscape « The Irish Aesthete). Some kind of residence was built at Knockanally and in the mid-18th century this was occupied by one William Coates, known to have died in 1766 when the property was inherited by his eldest son, Matthew. When his grandson William Lancake Coates died in the following century, Knockanally was inherited by William Coristine Coates, the son of his cousin. His descendants appear to have continued living on the estate until it was taken over by the Irish Land Commission in 1942 and subsequently divided among various farmers. The immediate demesne and main house were then sold to a Captain Sheppard, who in turn sold it to the Maharani of Baroda. In 1959, ownership passed to the Rehabilitation Institute, which used the house as a convalescent home for the victims of polio.Further changes of ownership seem to have followed before Knockanally was bought in 1983 by Noel Lyons, who turned the land into an 18-hole golf course. 





As it appears today, Knockanally dates from c.1843 when commissioned by William Lancake Coates on a site east of the original house. The architect responsible was Dublin-born William Deane Butler, much of whose work involved designing institutional buildings such as court and market houses, although he did receive commissions for a number of country houses also. As noted by the late Jeremy Williams, Knockanally is almost a cube, ‘if its height is assessed on the three-storied central bay.’ Of two storeys over basement and faced with wonderfully crisp limestone ashlar, the building is entered via an Ionic portico flanked by Venetian windows with a third directly above it. On this level, windows within shallow recesses open onto balconies: these can also be found on each of the four-bay side elevations. Seemingly the interior featured a central, double-height and top-lit hall. Williams has noted that this is a reduced version of the hall in Dublin’s Broadstone station, designed by John Skipton Mulvany who, he suggests, may therefore have had a hand in Knockanally. As for the very substantial and elaborate gatelodge at the entrance to the former estate, J.A.K. Dean dates this to c.1870, too late to have been designed by either Butler (who died in 1857) but may have come from Mulvany as he lived until that date. 




In September 2010 it was reported that one of the country’s banks had appointed a receiver over Knockanally Golf Club, set in 125 acres; this move came a few days after creditors of Ferndale Leisure, the holding company behind the club, had met to appoint a liquidator; at the time, with an economic recession at this height, quite a number of Ireland’s golf clubs were going into receivership. Three years later, the club, the main house, gate lodge and a number of golf ‘lodges’ in the grounds, was sold to a Warwickshire-based company, St Francis Group for  €1.1 million: some years earlier, this portfolio had been valued at €3.5 to €4 million. Quite what has happened since then seems to be unclear. Refurbishment work was carried out on the house and other buildings on the site, but in September 2018 the local Leinster Leader reported that the golf club had again closed down and was to be offered for sale. Since then, both the house and gate lodge have remained closed and boarded up, with inevitable deterioration in the fabric of both buildings. A dreadful waste.

A Missed Opportunity




In her marvellous memoir Bricks and Flower, Katherine Everett described how, in August 1922 and at the age of 50, she had cycled from Limerick to Macroom, County Cork at the request of her distant cousin and godmother Olive, Lady Ardilaun to see what remained of the latter’s property, a castle in the centre of the town which had just been burned by anti-Treaty forces. Located above the river Sullane, the castle dates back to the 12th century and for several hundred years was occupied by the McCarthys before eventually passing into the ownership of the Hedges Eyre family before eventually being inherited by Lady Ardilaun. Two years after the fire, she sold the castle to a group of local businessmen; the main part of the building was demolished in the 1960s, with just the outer walls remaining, a series of mediocre school buildings erected within them. What survives suffers badly from neglect (as indeed does the river and the nine-arch bridge crossing which dates from c.1800) with the local county council failing to make the most of what has potential to be a popular visitor attraction. Instead, Macroom’s most significant piece of architectural heritage as been left to moulder: a missed opportunity.


Still in Use


Every year in the second half of August Ireland celebrates Heritage Week, with many events coordinated by the National Heritage Council. As this site has demonstrated since 2012, the country has a singularly rich architectural heritage, although too much of it remains insufficiently appreciated and cherished. One area of the past’s legacy that often receives too little are our religious buildings, not least the abundance of churches either constructed, restored or enlarged by the Church of Ireland in the late 18th/early 19th centuries. As has been discussed here before, many of these benefited from funds provided by the Board of First Fruits (for more on this body and its work, see Made Better By Their Presents II « The Irish Aesthete). However, declining attendance over the past 100 years means a large number of these churches are no longer in use, quite a lot of them derelict and roofless. But some remain in use and in excellent condition, a tribute to the faith of earlier generations and to the various craftsmen responsible for the buildings’ creation. To mark this year’s Heritage Week, here is one such building: Nun’s Cross Church, County Wicklow.





The predecessor of Nun’s Cross Church was the now-ruined medieval church of nearby Killiskey, the first mention of which is in a Papal document dating from 1179, by which time this part of the country formed part of the Diocese of Glendalough (later absorbed into the Diocese of Dublin). However, like so many other such buildings Killiskey church likely suffered badly during the upheavals of the 16th and 17th centuries, and their aftermath. Accordingly, in 1813 the Select Vestry of Wicklow Parish determined to build a new church on a fresh site, the land being provided by Charles and Frances Tottenham who lived nearby. As originally completed in 1817, Nun’s Cross was a standard barn-style church with a square tower at the west end; the north and south transepts, together with the chancel, were added in 1842. There has been some discussion about who might have been the architect responsible, not least because Francis Johnston received two substantial commissions from landowners in the immediate vicinity, the aforementioned Charles Tottenham for whom he enlarged Ballycurry, and Francis Synge (great-grandfather of John Millington Synge) for whom he transformed Glanmore, hitherto a classical house, into a battlemented castle. Johnston also designed a new Church of Ireland church in Arklow, some 15 miles to the south, which was consecrated in 1815, two years before Nun’s Cross. However, Patricia Butler in her excellent book marking the bicentenary of Nun’s Cross, also discusses that another Dublin-based architect, William Farrell, who had worked with Johnston until his dismissal in 1810, might have had a hand in the church’s design. One curious feature of the building’s interior are the male and female heads serving as corbels for the ceiling’s ribbed vaulting; these are not dissimilar to those found inside Johnston’s Chapel Royal in Dublin Castle, where work began in 1807. The carving there was undertaken by father and son Edward and John Smyth but Butler proposes that at Nun’s Cross the work was undertaken by a plasterer called Darcy who lived in nearby Ashford and who is known to have worked with Johnston on the Chapel Royal. 





As mentioned, the chancel and transepts were added in 1842 to the designs of Frederick Darley who for many years worked in the office of Francis Johnston; a Vestry Room and Coal Store were added to the building 40 years later. In 1904, to celebrate the safe return of his son from the Boer War, Charles George Tottenham paid the entire cost of covering the walls of the chancel in decorative blind arcading with red marble from County Cork and alabaster imported from Derbyshire; the scheme was designed by architect Richard Orpen (a brother of the artist William Orpen), founder and first secretary of the Arts and Crafts Society of Ireland. The oak pulpit, prayer desk and pulpit, all dating from 1905, were all carved by the Flemish sculptor Pieter De Wispelaere who also produced work for Maynooth College Chapel, County Kildare and Carlow Cathedral. Much of the nave continues to be lit by clear mullioned glass set into traceried windows. The glass in the church’s great East Window dates from 1902/3 when made by Kempe & Company of London and installed by the Crofton family in memory of one of their number, Major Henry Crofton, killed in South Africa in 1902. Two other windows on the south wall of the chancel date from 1882 and 1935, the earlier one attributed to London firm of Cox, Buckley & Co, the later made by An Túr Gloine in Dublin. The stained glass windows in the south and north transepts, installed in memory of various local families and all dating from the 1860s, were made by various firms. All the glass here was restored some 15 years ago. There are also a number of memorials to the deceased inside the church, not least those on the west wall of the south transept, almost entirely covered in plaques to members of the Tottenham family. Given how many Irish of Ireland churches stand empty and neglected, it is wonderful to see this building so well maintained and still in active use

Sacred to the Memory



The Templetown Mausoleum, located in a graveyard adjacent to Castle Upton, County Antrim, dates from 1789. Both the house and the mausoleum were designed by Robert Adam. Customarily the commission for this monument is attributed to Arthur Upton, Baron (and future Viscount) Templetown. However, a plaque above the entrance notes that it is ‘Sacred to the Memory of the Right Honourable Arthur Upton’, who was Lord Templetown’s uncle and who had died in 1763, so it may be that Adam’s client was Lord Templetown’s father (also brother of the deceased Arthur). In any case, the rectangular mausoleum has a facade taking the form of a triumphal arch with rusticated breakfront. On either side are niches holding classical urns (a third tops the building) and above these circular reliefs of Coade stone featuring classical figures in mourning. Inside, the mausoleum is entirely empty other than a series of plaques on two side walls commemorating various members of the Upton family. Castle Upton itself was remodelled in the 19th century with the loss of its original Adam interiors, so this mausoleum represents a rare surviving example of the architect’s work in Ireland. 


A Well Selected Site


‘The Cathedral of Aghadoe  or Achadh-dá-eó’ (the Field of the Two Yews) is situated three miles west of Killarney, on high ground, 405 feet above sea level, from which, perhaps, a better general idea of the magnificence of the lake and mountain scenery of the district can be got than from any other point of vantage in the neighbourhood. The ground slopes up the whole way from the north shore of the Lower Lake to the Cathedral, a distance of about a mile. No one who has visited any considerable number of ancient ecclesiastical buildings can fail to have been struck by the care which the monks took in selecting sites where feelings of religious devotion might be intensified by the contemplation of all that is beautiful in nature. Sometimes the church stands beside a brawling stream, amidst the sylvan scenery of some secluded glen; or it is found by the banks of the broad river flowing through the rich meadows of the plain; or, as at Aghadoe, the charm lies in the extent of the landscape to be seen from an elevation, with its ever-changing effects of light and shade and variations of colour. The ecclesiastical remains at Aghadoe consist of the ruins of the Cathedral and the stump of a round tower, besides which are the mouldering remains of an old castle on the grassy hill-side sloping down towards the Lake. A church was founded here at a very early period by St Finan, the Leper, who also founded the monastery of Innisfallen, and whose festival is held on March 16th. Aghadoe afterwards became the site of a bishopric which was in later times joined to that of Ardfert…’
From ‘Notes on the Antiquities in Co Kerry’ by J. Romilly Allen, Journal of the Royal Society of Antiquaries of Ireland, Volume II, Fifth Series, 1892





‘All the interest of this building is concentrated in the west door. It is of four orders. The external order is more or less destroyed; it is now composed of three different ornaments, parts of three arches which have been stuck in when the door was repaired and patched up. I have rubbings of one…it is an uncommon variety of the incised chevron. The height of this doorway above the present level of the ground is 5ft 3in; the width at the top is 2ft 7in, and 2 ft 9in at the bottom. The bases of the jambs are square, plain and slightly projecting. The shafts have the rope pattern with beads…There is a peculiar ornament running around one of the orders. I should say the height of the jambs is 5ft 8in, not 4ft, and that one-third of their length is hidden which spoils the proportions of the door as represented. It is built of sandstone which is said to have been brought from a distance, there being none like it to be found for many miles around…’
From Notes on Irish Architecture by Edwin, third Earl of Dunraven, edited by Margaret Stokes (London, 1877)





‘The Castle or Military Tower is situated outside the churchyard, a little way down the hill to the south. It is a circular Norman keep of the thirteenth century, 21 ft diameter inside, having walls about 6ft thick, rudely built of rounded, water-worn boulders. A staircase in the thickness of the wall leads to the first floor, and there are indications of a second floor above. The doorway is on the east side on a level with the ground. The tower stands within a square intrenchment, having projecting bastions of the south side.’
From ‘Report on the Forty-Sixth Annual General Meeting at Kerry, Ireland’. Archaeologica Cambrensis, The Journal of the Cambrian Archaeological Society, Volume IX, Fifth Series, 1892)

Rescued from Ruin


The extraordinary work of sibling stuccodores Paolo and Filippo Lafranchini, born in the Italian-speaking Swiss canton of Ticino but resident in Ireland for many years, has featured here before (see, among others, To the Muses « The Irish Aesthete and Exuberance « The Irish Aesthete). A relatively little known example of their skills can be found in Riverstown, a house to the immediate north-east of Cork city. The land on which the property stands came into the possession of the Browne family in the second half of the 17th century, but assumed much of its present appearance after 1733 when it became the residence of Dr Jemmet Browne, a Church of Ireland clergyman who would serve successively as Bishop of Killaloe, Dromore, Cork and Ross, Elphin and finally Archbishop of Tuam, which position he held at the time of his death in 1782. The earliest known reference to Riverstown is found in Charles Smith’s The Ancient And Present State of the County and City of Cork, published in 1750, where it is described as ‘a pleasant seat of the Lord Bishop of Cork. The house is beautified with several curious pieces of stucco, performed by the Francinis, brothers.’ We know, therefore, that the work executed in the saloon at Riverstown was carried out either before Browne became Bishop of Cork (1745) or very soon afterwards. And that he continued to carry out improvements on the building in the years after Smith’s book appeared, since a hopper is dated 1753. The exterior gives little idea of the rich decoration inside. The entrance front is modest, of two storeys and five bays, although what was the garden front is more substantial, running to seven bays and three storeys. The north end of the house the gable ends were replaced by a pair of full-height canted bays, that to the front climbing an additional storey, this last alteration believed to date from c.1830

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It tells us a great deal about this country’s cosmopolitan culture in the 18th century that a Church of Ireland clergyman – and one who rose to become an archbishop – should have decorated his private residence with pagan iconography. The saloon in Riverstown includes a series of eight panels across three walls, all of them including figures. The fourth wall has three windows and between these are a pair of mirror set in elaborate frames. The ceiling is also covered in stuccowork, centred on an oval frame derived from Nicolas Poussin’s Le Temps soustrait La  Vérité aux atteints de L’Envie et de la Discorde, painted in 1641 for Cardinal Richelieu and now in the Louvre. As for the figurative wall panels,for a long time thought as being random, the source for these was identified by Joseph McDonnell in 1991 as being taken directly from the Roman antiquarian Paolo Alessandro Maffei’s edition of Leonardo Agostini’s Gemme Antiche Figurate, published 1707-09. Beginning with the chimneypiece, the panel above it depicts the mythological Roman figure of Marcus Curtius on horseback, while next to it is one showing Aeneas carrying his father Anchises. The third panel shows Liberty, followed by Ceres and then Fides Publica, Fortuna and Cincinnatus. Finally, the panel at the far end of the room and facing the chimneypiece depicts Roma mounted in a chariot. That chimneypiece is not the original one (which is now in a first floor bedroom) but a replacement installed during restoration work in the 1960s). As already mentioned, between the three windows are two framed mirrors (still holding their original glass) surrounded by elaborate plasterwork incorporating flowers, foliage and female busts. The opposite wall is centred on a door, its frame with a finely carved broken pediment. To the north of the saloon are a pair of bow-ended drawing rooms, again much of their present decoration dating from the 1960s restoration of Riverstown. 






Riverstown remained in the possession of the Browne family until the middle of the last century but by the 1950s it stood empty and the threat of irreparable deterioration seemed so likely that moulds of the saloon were made by the Office of Public Works; these were installed in the Irish President’s residence Áras an Uachtaráin. Not long afterwards Riverstown and its surrounding land were bought by a Cork market gardener, John Dooley who in the mid-1960s collaborated with the Irish Georgian Society on restoring the building, thanks to donations from the public. By the end of 1965 Riverstown’s saloon had been restored to its former beauty, the initial work costing £717. The Dooleys were sufficiently inspired by this initiative to undertaken further work on the house and in the IGS’s January-March 1970 Bulletin, it was reported that one of the house’s two late 18th century drawing rooms ‘has been given a new dado, architraves, chimney-piece, overdoors and overmantel.’  Ten years after the society’s initial involvement, still more work had been achieved as a feature in the Cork Evening Echo noted, with the second drawing room walls covered in green silk and hung with 18th century pictures. Riverstown continues to be home to the Dooley family.

New Purpose Sought


Last November, the Connacht Tribune reported there had been no expressions of interest in acquiring Garbally Court, a large early 19th century house on the outskirts of Ballinasloe, County Galway, even though it was being offered for just €1. More than two years earlier, the building’s present owner – the Roman Catholic Diocese of Clonfert – had offered to transfer Garbally Court along with some of the surrounding grounds to the authority for that nominal sum of a single euro. However, a commissioned Consultants’ Report had suggested expenditure of some €4.2 million would be needed just to stabilise the house and bring it up to a reasonable standard. While elected representatives of the area were keen for the acquisition to go ahead, in the hope that Garbally Court could be turned into a tourist attraction, thereby bringing business into the area, the County Council Executive’s advice to the group which needed to approve such matters prior to a full council meeting was that upgrading costs were prohibitive, even before running costs and possible future uses were taken into account. In November, the council’s director of services was quoted as advising councillors that the building ‘is not in our ownership and nor are we willing to take possession but the door is always open for anyone to come in and renovate the property for whatever purpose. But so far, nobody has come next nor near us.’ 




Garbally Court was built for Richard Le Poer Trench, second Earl of Clancarty. The Trenches claim descent from Frederic de La Tranche, his name supposedly derived from the family’s origins in the town of La Tranche in Poitou. Monsieur de La Tranche is believed to have left France as a result of religious persecution and settled in Northumberland in 1574. One of his sons, James Trench, a clergyman, settled in Ireland, becoming rector of Clongell, County Meath. His only child, Anna, married her first cousin Frederick Trench; it appears that he was responsible for initially buying the land in East Galway that formed the basis of the Garbally estate. The couple’s son, another Frederick, continued to acquire more land, especially in the aftermath of the Williamite Wars. In the next generation. Richard Trench married an heiress, Frances Power, in 1732; she brought further wealth and property to the family. Their eldest son, William Trench sat in the Irish House of Commons like his father before him, before being created first Baron Kilconnel (1797), then Viscount Dunlo (1801) and finally Earl of Clancarty (1803). He and his wife Anne Gardiner had no less than 19 children, their eldest son Richard succeeding to the titles and estates on his father’s death in 1805. The second earl was a politician and diplomat of considerable ability. After sitting in the Irish House of Commons until the dissolution of the Irish Parliament in 1800, and then in the English House of Commons until he became a member of the peerage, after which he sat at Westminster as an Irish representative peer. Close friendship with Castlereagh meant that after the latter became foreign secretary in 1812, the earl was entrusted with a succession of crucial diplomatic missions, attending the Congress of Vienna with the rank of plenipotentiary. He served twice as Britain’s ambassador to the Netherlands, that country’s king making him Marquis of Heusden in 1818; following his retirement as ambassador, he was also created Viscount Clancarty in the English peerage in 1823. But thereafter, and following Castlereagh’s death, he largely withdrew from political life and turned his attention to life in County Galway, where work was well underway on building Garbally Court. 




As mentioned, the present Garbally Court dates from the early 19th century. Its predecessor on the site had been badly damaged by fire in 1798, but it would be more than 20 years before work on a new house began. In 1819 the second earl commissioned designs from English architect Thomas Cundy, best-known for acting as surveyor of the Grosvenor family’s London estates and being involved in the initial development of Belgravia in the years prior to his death in 1825. Garbally Court is Cundy’s only work in Ireland, although he did design a number of lodges in various architectural styles for Coolmore, County Cork (see Trans-Atlantic Links « The Irish Aesthete) none of which were actually built. The architect, like others at the time, produced work in whatever style best suited his client. Hawarden Castle in Wales, for example, is – as its name indicates – in the Gothic manner, but Garbally Court is austerely neoclassical. Square in plan, the house is of two storeys and eleven bays, the entrance front relieved by a single-storey Doric porte-cochère, while the rear elevation has a single storey, three-bay bow. Regular and segmental pediments alternate over the ground floor windows. Originally the house was constructed around a central open courtyard but this was later covered and made into a picture gallery. The earl’s descendants continued to own Garbally Court until 1921 when, along with the surrounding demesne, it was sold to the Roman Catholic Diocese of Clonfert for £6,750. The following year the diocesan boys’ school, St. Joseph’s College, moved to the site and constructed classrooms and other ancillary buildings close to the house. A boarding school was run here until 2008 when it closed down and since then a new school has also been built, hence the need to find fresh purpose – and a new owner – for Garbally Court. What both might look like remains to be seen.