Contrasting Styles II


Two country houses, both in County Meath and both now hotels. Today, Dunboyne Castle which dates from the mid-1760s and in its present form was designed by Drogheda architect George Darley for the widowed Sarah Hamilton. Although only 15 or so years later than Bellinter (see the previous post), Dunboyne Castle’s interiors are quite different, rococo having usurped baroque as the preferred style of decoration. The plasterwork of the ground floor saloon’s ceiling is reminiscent of work from the same period at Dowth Hall which was also designed by Darley (see https://theirishaesthete.com/2012/12/24/netterville-netterville-where-have-you-been) and which has been attributed to Robert West.

Contrasting Styles I


Two country houses, both in County Meath and both now hotels. Today, Bellinter which dates from c.1750 and was designed by Richard Castle for brewer and M.P. John Preston, whose son would become first (and last) Baron Tara. Since Castle died in 1751, he is unlikely to have overseen the work, which is vigorous but somewhat unsophisticated in execution, as demonstrated by the ceiling of the ground floor saloon. Its exuberant baroque plasterwork looks indebted to the Lafranchini brothers but probably executed by lesser hands.

Awaiting Development



In the centre of Navan, County Meath and on the banks of the river Blackwater, the unsalubrious remains of a mid-19th century mill that once helped bring prosperity to the town. The building dates back to 1851 when erected by William Morgan to provide flour for his bakery elsewhere in Navan. It continued to serve this purpose until early in the last century when converted into a sawmill, remaining in operation until 1999 when the enterprise closed down. Since then the property has stood empty, being seriously damaged by arsonists in July 2007. Two years ago the local authority turned down the planning application from a local developer to demolish the mill, and erect on the five-acre site a 186-bedroom nursing home and 40 apartments.


Not Plain but Somewhat Bald


The main house at Loughcrew, County Meath – or at least its re-erected portico – was shown here last week  (see https://theirishaesthete.com/2020/06/17/loughcrew) . The Naper family estate was once ringed with a number of lodges, one of which also featured on this site some time ago (see https://theirishaesthete.com/2016/09/05/cursed). Formerly in a poor state of repair, that building is now undergoing restoration and should yet be occupied once again. Not far away stands another lodge, alas in a poor state of repair, and while not plain it is now rather bald. Perhaps someone might like to undertaken a similar rescue of what, even in its present state, remains a very handsome and sturdy little building?

Destined to be Lost


As has been mentioned on this site more than once, Ireland is a country replete with ruins; indeed, scarcely a week or month seems to pass without additions to their number. It is perhaps the sheer quantity of decay and dereliction that has made us, if not indifferent then certainly unsurprised to the fact that so many buildings across the country are in various stages of decline. Nevertheless, it is still possible to be startled by an example of neglect, such as that found in Liscarton, County Meath, where a range of structures are seemingly of interest today only to the livestock grazing on the adjacent land.






It appears there was a church at Liscarton at least by the beginning of the 14th century, since in 1305 there is a reference to the building in the ecclesiastical taxation register of Pope Nicholas IV. Seemingly dedicated to St Nicholas, the church may then have been reconstructed in the following century but little is heard of it until 1622 when James Ussher, created Bishop of Meath the previous year, described it as being in reasonable repair. A further report some 60 years later confirms that it was still standing and evidently in the 18th century alterations were undertaken, since large, round-headed windows were then inserted on both the north and south sides. When it fell out of use and into disrepair is unclear, but this was evidently the case by the time Sir William Wilde came to write The Beauties of the Boyne, and its tributary, the Blackwater (1849) in which he notes ‘the church is remarkable for the extreme beauty of its eastern and western windows,  each of which consists of one great light, divided by a shaft branching off on a level with the spring of the arch into two members, which join the arch-head about the centre of the curve. An exquisite variety of tracery, in the decorated style of gothic architecture, fills the head of both windows, and the mouldings are deep and well executed.  Upon the exterior face may be observed well carved human heads projecting from the dripstone.’ The carved heads, of a king, a queen and a bishop, can still be seen decorating the hood of the western window, but its equivalent at the east end is threatened by ivy and other vegetation, and the entire site risks falling ever-further into ruin.




A short distance to the east of the church stand what remains of a pair of adjacent towers; just 40-odd feet apart, at one time they were linked by a great hall. Believed to date from the 15th century, the property is recorded in 1633 as having been held by Sir William Talbot (owner of what is now the Carton estate in County Kildare) and, in the following decade by his elder son Robert: Sir William’s youngest son Richard Talbot, was one of the most ardent supporters of James II, who created him Lord Deputy of Ireland and Duke of Tyrconnell. In the second half of the 17th century, the lands and castle of Liscarton passed into the possession of the Cadogan family: it is supposed to have been the birthplace of General William Cadogan, first Earl Cadogan, second only to the Duke of Marlborough during the War of the Spanish Succession. The Cadogans appear to have remained at Liscarton until at least the middle of the 18th century (Richard Pococke refers to it being in their hands in 1752) but at some date thereafter it was occupied by the Gerrard family, whose main estate was not far away at Gibbstown, of which more in the coming weeks. In 1841 the Gerrards gave a lease for the lands of Liscarton, including a ‘dwelling house, corn mill, kilns, water courses and stores’ to three brothers, James, Michael and Thomas Cullen. Incidentally, another of the siblings was Paul Cullen, Archbishop of Armagh and the first Irish cardinal, a key figure in the country during the mid-19th century. It is known that he spent time at Liscarton Castle, since its address appears on a number of his letters. By this time the larger of the two towers, rising three storeys, had fallen into picturesque ruin but the smaller, two-storey building and adjacent hall remained sound and, as can be seen in an old postcard, were attractively thatched. A large collection of yard buildings and stables were built, probably in the 18th century, behind the larger tower and some of these remain in various states of repair. However, like so many other old buildings, the castle site was abandoned in the last century and left to decay. It seems extraordinary that there should be so little interest in or concern for a site connected with successive aspects of Irish history, whether the Duke of Tyrconnell or Cardinal Cullen. But seemingly not. This looks like another part of the country’s collective heritage – and memory – destined to be lost forever.

Very Plain, Too Bald


The limestone portico of Loughcrew, County Meath re-erected, at least in part. This singularly unlucky house was thrice burnt within a century and twice re-constructed. But after the third fire the building was demolished and Greek Ionic portico lay in pieces on the surrounding ground until partially reassembled a few years ago. Loughcrew was a neo-classical house designed by Charles Robert Cockerell in the early 1820s for the Naper family. It was always an exceptionally severe looking building, and as has been noted, recalled a courthouse rather than a residence. Even its architect judged the finished work ‘very plain, too bald’, whereas what remains of the portico is wonderfully evocative and might almost serve as a symbol for all the other ruined country houses in Ireland.

Well Weathered


A church at Cannistown, County Meath is thought to have been founded by St Finian of Clonard in the sixth century. However, the present structure, dedicated to St Bridget, was erected some 600 years later, probably by the Nangle family, granted land in this part of the country by the Anglo-Norman knight Hugh de Lacy. Much of it was rebuilt in the 15th/16th centuries but thereafter it quickly fell into a poor condition: in 1612 George Montgomery, then-Bishop of Meath, wrote of Cannistown church ‘the chancel was repaired, but the church in ruins.’ So it has remained ever since.



The building’s most notable feature is its substantial chancel arch, which has decorative carvings at its base (above the pilasters on either side). Both well-worn and somewhat damaged, that on the north depicts three dogs attacking another animal, while the one to the south show three men and is thought to represent the Taking of Christ. There are also carved corbel stones above the, which would originally have supported the roof.

Spring


Nothing is so beautiful as Spring –
When weeds, in wheels, shoot long and lovely and lush;
Thrush’s eggs look little low heavens, and thrush
Through the echoing timber does so rinse and wring
The ear, it strikes like lightnings to hear him sing;





The glassy peartree leaves and blooms, they brush
The descending blue; that blue is all in a rush
With richness; the racing lambs too have fair their fling.





What is all this juice and all this joy?
A strain of the earth’s sweet being in the beginning
In Eden garden. – Have, get, before it cloy,
Before it cloud, Christ, lord, and sour with sinning,
Innocent mind and Mayday in girl and boy,
Most, O maid’s child, thy choice and worthy the winning.

Spring by Gerard Manley Hopkins 
Photographed at Coolcarrigan, County Kildare 

A Lost Daughter


After last week’s post about a late 17th century stone cross at Robertstown, County Meath: in the adjacent graveyard stands – just about – this tombstone, featuring an image of the crucified Christ  below which are the heads of two winged angels. The tomb was erected by local man Patrick Hand to commemorate his daughter Eleanor who had died in August 1836 at the age of 24.

The Persistence of Faith


The Cruise, or Cruice, family has been mentioned here before, specifically with regard to the remains of Rathmore Church, County Meath (see https://theirishaesthete.com/2012/11/19/music-sent-up-to-god). They were the descendants of an Anglo-Norman soldier with the name de Cruys who came to Ireland in the 12th century and settled in this part of the country, gaining control of land that stretched from what is now North County Dublin and well into Meath. More than 15 miles north of Rathmore can be found the ruins of another church in a place called Cruicetown, thereby showing its direct link with the family. Now standing at the highest point in a field, and surrounded by a low, subcircular stone wall, Cruicetown church is believed to date from the late 12th or early 13th century, and to have once served a settlement in this area, begun when the Normans constructed a motte and bailey. At the start of the 14th century, when all Irish churches were being valued for the Papacy in order to assess the proportion of their revenue that should be given as tax, that at Cruicetown as valued as £2, 15 shillings and eight pence. The church continued to be used for services until the mid-16th century, but probably fell into disuse soon afterwards and was already in a ruinous state by 1622 when visited by James Ussher, then Church of Ireland Bishop of Meath.





The Cruises remained in this part of the country until the upheavals of the 17th century. They also, like many old Anglo-Norman families, remained loyal to the Roman Catholic church, the consequence being that eventually they came into conflict with the English authorities. There appears to be some confusion about what became of the Cruises of Cruicetown in the aftermath of the wars of the 1640s (in which they had supported the defeatedCatholic side). Many reports declare that Christopher Cruise was forced to forfeit his property at Cruicetown and then transplanted to Connacht, only some time later his son Lawrence being able to regain possession of the land here. On the other hand, a very substantial report on the site produced by Dr James Galloway in 2005 states that ‘the Cruise family appear to have retained their position as lords of Cruicetown in the post-1640 period’ and that in 1686 ‘the manor was granted by royal patent to Laurence Cruise.’ Certainly, they owned land here for another century, until in 1789 Joseph Cruise sold his interest in Cruicetown to one Arthur Ahmuty, a retired colonel formerly in the service of the East India Company and now living in London. With this transaction, the Cruice family’s major interest in Cruicetown came to an end.





Cruicetown church contains two notable features, the first being a remarkable chest tomb inside a niche on the south wall of the chancel. Dedicated to the memory of Water and Elizabeth Cruise, it features recumbent figures of the two deceased, above their heads appearing that of God flanked by trumpet-blowing angels. The figures rest on a base with four pilasters carved with foliage, rosettes and hearts while the end of the chest features symbols of mortality. On the wall above is a dedicatory plaque containing heraldic motifs of the Cruise and Dalton families, and the information that the tomb had been erected in 1688 ‘AND IN THE 4TH YEARE OF THE REIGNE OF THE MOST ILLVSTRIOVS PRINCE OVR GRACIOVS KING JAMES THE SECOND’
The tomb was erected by the couple’s son, Patrick Cruise and he was also responsible for a sandstone cross that stands outside the church and to the south of the building; an inscription on one side of the monument reads ‘Pray for the souls of Patrick Cruise and Catherine Dalton, his wife, daughter to William Dalton 1688’. It is clearly inspired by much earlier Irish High Crosses and yet considerably more primitive in design. One face features the crucified Christ with a winged head above, while the other side carries a depiction of the Virgin with a rather substantial Child occupying her lap. It would appear that even when this pair of additions were made to Cruicetown church, the site had already been abandoned for services and now only served as a burial place. The persistence of an ancient religious faith in Ireland during this period is remarkable to observe.