Eccentric Even in Death

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Driving along a road between Delvin and Mullingar, County Westmeath, one sees a spire rising above a clump of trees in the middle of a field. This is part of the now-disused Church of St John the Baptist built in 1798 with the aid of a loan from the Board of First Fruits. The surrounding graveyard has, like the church at its centre, mostly fallen into dereliction which is regrettable given that one tomb is associated with the famous eccentric Adolphus Cooke, who once tried a red setter for wandering from his estate, and treated a turkey-cock with particular favour as he believed it contained the soul of a forebear. A follower of the theory of reincarnation, Cooke had a large marble vault built and furnished to hold his remains, with instructions that a fire in the chamber be kept permanently lit. However on his death in 1876 the local rector refused to bury him in the vault and instead he was interred in a mausoleum constructed four decades earlier in the grounds of St John the Baptist. Also containing the remains of his father, this monument is unusual in being shaped like a beehive, with a low moat running around it. The Cooke mausoleum could do with a little reincarnation right now, as otherwise it risks succumbing to perpetual ruin.

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A Note on New Ruins

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‘New ruins have not yet acquired the weathered patina of age, the true rust of the barons’ wars, not yet put on their ivy, nor equipped themselves with the appropriate bestiary of lizards, bats, screech-owls, serpents, speckled toads and little foxes which, as has been so frequently observed by ruin-explorers, hold high revel in the precincts of old ruins (such revelling, though noted with pleasure, is seldom described in detail; possibly the jackal waltzes with the toad, the lizard with the fox, while the screech owl supplies the music and they all glory and drink deep among the tumbled capitals)…’

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‘But new ruins are for a time stark and bare, vegetationless and creatureless; blackened and torn, they smell of fire and mortality. It will not be for long. Very soon trees will be thrusting through the empty window sockets, the rose-bay and fennel blossoming within the broken walls, the brambles tangling outside them. Very soon the ruin will be enjungled, engulfed, and the appropriate creatures will revel. Even ruins in city streets will, if they are let alone, come, soon or late, to the same fate. Month by month it grows harder to trace the streets around them; here, we see, is the lane of tangled briars that was a street of warehouses; there, in those jungled caverns, stood the large tailor’s shop; where those grassy paths cross, a board swings, bearing the name of a tavern…’

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‘We stumble among stone foundations and fragments of cellar walls, among the ghosts of the exiled merchants and publicans who there carried on their gainful trades. Shells of churches gape emptily; over broken altars the small yellow dandelions make their pattern. All this will presently be; but at first there is only the ruin; a mass of torn, charred prayer books strew the stone floor; the statues, tumbled from their niches, have broken in pieces; rafters and rubble pile knee-deep…’

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‘But often the ruin has put on, in its catastrophic tipsy chaos, a bizarre new charm. What was last week a drab little house has become a steep flight of stairs winding up in the open between gaily-coloured walls, tiled lavatories, interiors bright and intimate like a Dutch picture or a stage set; the stairway climbs up and up, undaunted, to the roofless summit where it meets the sky. The house has put on melodrama; people stop to stare; here is a domestic scene wide open for all to enjoy. To-morrow or to-night, the gazers feel, their own dwelling may be even as this. Last night the house was scenic; flames leaping to the sky; to-day it is squalid and morne, but out of its dereliction it flaunts the flags of what is left…’

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‘”Ruinenlust” has come full circle: we have had our fill. Ruin pleasure must be at one remove, softened by art, by Piranesi, Salvator Rosa, Poussin, Ckude, Monsti Desiderio, Pannini, Guardi, Robert, James Pryde, John Piper, the ruin-poets, or centuries of time. Ruin must be a fantasy, veiled by the mind’s dark imaginings: in the objects that we see before us, we get to agree with St Thomas Aquinas, that quae enim diminuta sunt, hoc ipso turpia sunt and to feel that, in beauty, wholeness is all.’

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The above texts come from the concluding chapter (‘A Note on New Ruins’) of Rose Macaulay’s wonderful 1953 book Pleasure of Ruins. The photographs above show the interiors of a set of now-abandoned farmyard buildings in County Westmeath.

Market Day

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The former Market House in Killucan, County Westmeath. Dating from the late 1830s it was seemingly built by local stonemason Thomas Keegan. An architect called Patrick Keegan, listed as living in Dublin in the early 1820s, designed a gothick game larder for Knockdrin Castle which is not far from Killucan: might the two men have been members of the same family? In any case, the old Market House is today a sorry sight, despite occupying the most prominent position in the centre of this town and being sturdily constructed of dressed limestone on the ground floor with the remnants of a clock at the top of the pedimented breakfront centre bay. How to ensure the future of a place like Killucan: begin by restoring its historic core and bringing new purpose to old buildings.

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Form and Functionality

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In the stable yard of Ballinlough Castle, County Westmeath, a two-storey worker’s house at the west gable end of the south range. Built c.1775, it possesses an advanced pedimented breakfront with ashlar detailing and round-headed niche to the centre of the ground floor flanked to either side by a square-headed window openings with a single square-headed opening to the centre of first floor.

The Light Gleams an Instant

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Rays of light from an octagonal lantern are thrown onto a wall on the first floor landing of Turbotstown, County Westmeath light: in the centre is a circular gallery which in turn permits light to reach the ground floor inner hall. An ingenious piece of design as beautiful as it is practical and rightly attributed to Francis Johnston.

TLC Needed

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The entrance to Knockdrin, County Westmeath. Like the main house, this was designed for Sir Richard Levinge around 1810 by Richard Morrison. The high-romantic and intentionally asymmetrical style of arched gateway flanked by dummy turret on one side and taller octagonal tower on the other serve as a prelude to what lies at the end of the drive: a full-blown castle.
For more on Knockdrin, see Knock Knock, August 5th 2013.

A Rose by Any Other Name

 

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The ceiling rose in the dining room of Turbotstown, County Westmeath. There is some debate over who was responsible for the design of this early 19th century neo-classical house, with Francis Johnston the most likely candidate since in purity of style it bears similarities with Townley Hall, County Louth with which he was involved (see Là, tout n’est qu’ordre et beauté, June 10th 2013). Here, as at Townley, the plasterwork remains wonderfully crisp and sharp.

After the Sale

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A view of the entrance hall at Ballynagall, County Westmeath. The house dates from c.1808 when it was built at an estimated cost of £30,000 for James Gibbons to a design by Francis Johnston. This photograph was taken in 1961, a year before the contents of the house were sold: within two decades the building itself had been stripped of its fittings and left to fall into ruin. The photograph below shows the same entrance hall today. I shall be discussing the plight of Ballynagall, and several other houses which have seen their contents sold, at a conference on Art in the Country House being held at Dublin Castle next Thursday, April 23rd. For more information on this event, see: http://www.igs.ie/events/detail/art-in-the-country-house

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Almost a Remembrance

 

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The gatelodge at Ballynegall, County Westmeath. Designed by Francis Johnston in 1808 the building provided a perfect introduction to the estate, its features emulating in miniature those of the main house. Tragically some twenty years after its exceptional contents were sold at auction, the house was stripped and gutted in the early 1980s, and is now a roofless shell. The lodge on the other hand remains, a sad remembrance of what once stood but has been lost at the end of the drive.

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Fore and After

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The Irish saint Féichín is believed to have been born around 585 in County Sligo, descended from a line of chieftains. However he chose a more ascetic existence than his forebears and having studied under another saint, Náth Í of Achonry, he went on to found a succession of churches, including that which eventually became Ballysadare Abbey, County Sligo and Termon Féichín, County Louth. His most famous establishment was at Fore, County Westmeath. Here he built a church on a hill, its western doorway distinguished by a six-foot long, two and a half ton limestone lintel inscribed with a Greek cross. This stone is said to have been too heavy for workmen to lift into place but Féichín was single-handedly able to perform the task after engaging in prayer. The lintel-stone raised by the saint’s prayers is one of the seven Wonders of Fore, of which more anon. It is also said that Féichín attracted many followers so that the community at Fore eventually numbered some 300 monks and 2,000 students. According to the 17th century Annals of the Four Masters Féichín was one of a number of holy men who died after catching a plague raging in Ireland in the year 664.

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A particular feature of the site at Fore is the presence of two rag trees. For readers unfamiliar with this phenomenon, rag trees are likely to be a remnant of some pre-Christian practice. They are often found next to a holy well and are Whitethorns. Pilgrims come to pray at the well and, having dipped a strip of cloth into the water, will tie it to the tree, the idea being that as the rag rots away, so the wish – be it relief from a medical condition or an improvement in personal circumstances – will come to pass. The rag trees at Fore are Ash. The first of them is beside a well known as Tobernacogany (from the Irish meaning ‘Well of the Kitchen’ and thus perhaps in some way associated with the adjacent former monastery) and the original tree had three branches growing over the water. The custom in this instance was for visitors to drive a coin edgeways into the bark and hope their prayers would be answered. It appears that ultimately the plant suffered from metal poisoning and died, but one branch survived and this is now loaded with rags and bits of cloth. Two of the other Wonders of Fore were associated with this spot: it was claimed wood from the tree would not burn, and water from the well – traditionally drunk as a cure for head- and toothache – would not boil. The second rag tree is closer to the ruins of the abbey. Known as Doaghfeighin it stands within a box-like structure built of large stone (the name means Féichín’s vat or bath). The well is now dry but was believed to have marked the spot where the saint, in an act of mortification to the flesh, would kneel in prayer. Delicate children were dipped into the well while prayers were said to Féichín. Though the water has gone, the habit of attaching rags to the tree remains.

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Three of Fore’s seven ancient wonders have already been mentioned. Of the four remaining, the first is called The Monastery Built upon the Bog, and refers to the medieval abbey which was located in a boggy valley created by water flowing from Lough Lene. Much of this land has since been drained so it is no longer possible to appreciate how the building must once have appeared. The second wonder was the Mill without a Stream. There used to be a mill here, even though no water ran through the site. Instead it was powered by a number of springs and wells that bubble up in the vicinity: the ancient legend was that Féichín, after founding his establishment, caused the water to appear by striking the ground with his staff. The mill continued to operate until the last quarter of the 19th century. The third wonder was the Water that Flows Uphill, an optical illusion occurring when the water supposedly summoned by Féichín turns back on itself and therefore appears to climb upward. Finally mention must be made of the remaining wonder, the Anchorite in a Stone. This refers to a 15th century tower once occupied by hermits but subsequently transformed into a mausoleum for the Earls of Westmeath. The last hermit to live here was the 17th century Patrick Beglin who having entered his cell never left, relying on food and water brought to him by locals. Beglin died after taking a tumble on the premises and so fulfilled his vow never to leave the cell alive.

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The foundation established by Féichín was attacked and burnt no less than a dozen times between 771 and 1169, and the site underwent regular rebuilding. The monastic remains seen in the valley today are a Norman creation, established at the end of the 12th century by Hugh de Lacy who had seized this part of the country. He chose the site for a community of Benedictine monks associated with the Abbey of St Taurin in Evreux: thus it now became the Abbey of SS. Taurin and Féichín, endowed by Hugh de Lacy’s son Walter and completed around 1220. With its strong fortified towers, the monastery looks as much like a castle as a religious establishment. This is owing to the struggles between France and England during the Hundred Years War when Fore’s links with Evreux left it deemed ‘alien property’ and vulnerable to attack. Such remained the case even after the monastery broke its overseas ties, the native Irish now becoming the enemy. As a result, in the fifteenth century gates and walls were constructed around the town that had sprung up beside the abbey, and successive priors added two bulky battlemented towers to the complex. But they were to no avail in the following century when all monasteries were dissolved and their occupants scattered. The lands of Fore were granted to Sir Christopher Nugent, sixth Baron Delvin whose descendants would later turn the old anchorite’s cell into a mausoleum. Fore fell into ruin, until a programme of restoration begun in the early part of the last century.

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