Tag Archives: Dublin

Of Napoleon’s Toothbrush and Other Matters


One of the oldest institutions in this country, the Royal College of Physicians of Ireland dates back to 1654, although its first royal charter was granted by Charles II in 1667. The man behind this initiative was John Stearne who, like many other characters during this period, was able to adapt to rapidly changing circumstances and thereby survive and even flourish. Born in County Meath in 1624, Stearne had attended Trinity College Dublin and became a scholar there, but left without taking a degree around the onset of the Confederate Wars in 1641, when he moved to England. There he spent time first in Cambridge and then Oxford, returning to Ireland a decade after he had left it and becoming a fellow of Trinity College Dublin. The university had been given a dilapidated building on nearby Dame Street by the city’s corporation but lacked funds to restore it: In 1654 Stearne persuaded college authorities to hand the property over to him, on the understanding that he would convert it ‘unto the sole and proper use of physicians’ where he would act as life president. It says much about his persuasive charm that Stearne’s proposal should have been accepted, that he then managed to secure donations for the building’s refurbishment before riding, seemingly without problems, over the transition from Commonwealth to Restoration, and then ensure that the organisation he had established should receive royal approbation. Two years after this was achieved, Stearne died just days before his 45 birthday (one wonders whether he was familiar with the maxim ‘physician heal thyself’). Happily, the college survived. Initially it was known as the Fraternity of Physicians of Trinity Hall, but after receiving a second royal charter from William III and Mary II in 1692 , it was renamed the King and Queen’s College of Physicians in Ireland, retaining this title until 1890 when the present title was formally adopted. Once the direct link with Trinity College was broken following the grant of a second charter, the physicians became homeless and this remained the case for more than the next century, meeting in the homes of successive Presidents. However, a hospital opened on Dublin’s Grand Canal Street funded by a substantial legacy the College of Physicians had received from Sir Patrick Dun following his death almost 100 years earlier in 1713. This hospital, named after Dun, included a meeting room and accommodation for the college’s library, but  in the new hospital. Nevertheless, the physicians still wanted their own substantial premises, and this finally became possible in 1860 when the Kildare Street Club, which had occupied a couple of houses on Kildare Street since the 1780s, offered to sell these buildings to the College.






Just four months after taking possession of its new home, the college suffered a setback when the Kildare Street buildings were almost entirely destroyed by fire. Fortunately, the property was insured and this meant that the physicians, instead of having to spend money adapting what had once been two private residences into a public institution could instead start afresh with a building designed for their specific purposes. Six architects were invited to submit proposals, the winner of the commission being William G Murray, whose practice was responsible for many banks, insurance companies, railway stations and so forth. While the facade of the college underwent some modifications when the original sandstone was replaced by Portland stone in 1964, inside remains much as it looked when first completed in 1864, Professor Christine Casey noting that today the building’s sequence of rooms ‘is among the best-preserved Victorian interiors in the city.’ A flight of steps in the vestibule leads to the top-lit, double-height stair hall with grand imperial staircase: this space introduces visitors to a long processional axis running like a spine through the centre of the building. At the top of the staircase and occupying the entire street frontage is the library, originally conceived as two spaces, a library and a museum, but now one room lit by five windows. Meanwhile, down off the central landing, a long colonnaded corridor leads to the first of two great meeting rooms, the Graves Hall. This was part of Murray’s original design, a double-height space lwith ribbed coved ceiling, the walls of which are lined with Corinthian pilasters between which hang a collection of portraits on the west wall and twin light windows on the east. At the north and south ends and flanking the chimneypieces are white marble statues on plinths: these represent four former presidents of the college, including Sir Dominic Corrigan who was responsible for negotiating the purchase of the site and the fund-raising required after the fire. Corrigan can also be given the credit for a further extension to the building, this time designed by McCurdy Mitchell in 1873.  This area at the rear of the old houses had previously been filled by the Kildare Street Club with a racquet court and other rooms. Another long barrell-vaulted and colonnade corridor now led to the second great hall, today named after Corrigan, its walls lined with a further collection of portraits. 






The RCPI is home to many extraordinary objects. The library, for example, contains over 20,000 books, pamphlets and journals, primarily but not exclusively focussed on medicine, including Sir Patrick Dun’s own library, bequeathed to the college in 1713. Likewise many of the portraits, busts and statues represent doctors and physicians, but not all of them. There are medical instruments dating back to the 18th century and later. Then there is the extraordinary Quin Tassie collection, consisting of 26 drawers of more than 1,700 miniature gem casts and moulds imitating antique models and believed to have been created in the 18th century by the internationally renowned Scottish gem engraver James Tassie working with his mentor and patron, Irish physician Henry Quin; it was donated by his family to the college in 1926. Finally, and perhaps most extraordinary of all the items held by the college, is Napoleon Bonaparte’s toothbrush. As is well known, when the former emperor was exiled to the island of St Helena, he was attended by an Irish doctor, Barry O’Meara. He had served as a surgeon with the British Army in Egypt and Sicily, before being court-martialled for acting as a second in a duel in Sicily. O’Meara then entered the Royal Navy as an assistant surgeon, ending up in St Helena where, according to Napoleon in Exile: or, A Voice from St. Helena, a best-selling memoir he published in 1822 a year after the emperor’s death, O’Meara was bequeathed various mementoes, including the aforementioned toothbrush with a silver gilt handle stamped with the letter ‘N’. Today, it can be viewed, along with much else, in the Royal College of Physicians. 


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Spot the Difference


A little detail likely missed by most of the car drivers and pedestrians hurrying past the Garda Station at the junction of Pearse and College Streets. The Scottish Baronial building dates from 1915 when constructed by Office of Public Works architects as a new central barracks for the Dublin Metropolitan Police. It has two entrances, one triple arched for rank-and-file constables, the other a single wide porch for Inspectors. The difference between the two is amusingly indicated by the carved stone figurative stops on either side of the doorways.


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A Ducal Birthplace


There has sometimes been confusion over the likely birthplace in Dublin of the Hon Arthur Wellesley, future Duke of Wellington, since the location was given as Antrim House. The property known by this name stood at the junction of north Merrion Square and Lower Mount Street, a vast residence erected for the Earl of Antrim, often considered the most impressive such property in the area after Leinster House: although vacated after just a couple of decades by the Antrims and later turned into an hotel, it survived until 1938 when demolished to make way for an expansion of the National Maternity Hospital. More importantly, the house was only built in 1775, six years after Wellesley’s birth. The confusion arises because the aforementioned earl had previously been responsible for the construction of a previous house not far away on Merrion Street, and this building had been leased by the Earl of Mornington, Arthur Wellesley’s father, in 1765, meaning it might still be thought of in some quarters as Antrim House.





Garret Wellesley – created first Earl of Mornington in 1760 – was born in 1735 in his family seat in County Meath, the now-ruinous Dangan, which has featured here before (see Once One of the Grandest Places in Meath « The Irish Aesthete). From an early age, he demonstrated both interest and aptitude in music, with a particular facility for the violin and for composition: when he was aged 13, his godmother, Mary Delany, wrote that he was ‘a most extraordinary boy. . . [with] more knowledge than I ever met with in one so young.’ Seemingly when he asked composers Francesco Geminiani and Thomas Roseingrave for lessons, they both said he already knew everything they could teach him. So passionate was he about music that on the day of his wedding in February 1759 he also conducted a charity performance of Handel’s oratorio Acis and Galatea for Mercer’s Hospital. After receiving an MA in 1757, along with two other amateur composers, Kane O’Hara and Francis Hutcheson, Wellesley founded an Academy of Music in Dublin. Combining concerts with charitable fundraising, this was the first musical institution in Britain and Ireland to admit women members, its patrons including the Countesses of Tyrone, Charleville and Mornington. Lady Freke, Miss Cavendish and Miss Nichols were listed as harpsichord players, and there were five aristocratic female vocal performers. In 1764 Trinity College Dublin conferred Lord Mornington with a Doctor of Music before being appointed Professor of Music there later that year. He held this post for the next decade and when he resigned, the professorship lapsed and was only revived in the following century. Lord Mornington’s compositions are almost all vocal, including a five-act opera, Caractacus, which was performed at The Theatre Royal, Smock Alley in Dublin in 1764. Seemingly only one completely instrumental work by him survives, a march he wrote for the installation of the Duke of Bedford as Chancellor of Dublin University in 1768. This then was the man who was responsible for Mornington House.




Now part of the Merrion Hotel, Mornington House was not the earl’s first Dublin residence: he had previously occupied a property on Grafton Street. But with the move east following the completion of Leinster House in … he decided to find a new home for himself and his family. Initially, he intended to acquire a plot 100 feet wide on Merrion Square itself, the proposed house being flanked by a carriage arch on either side. However, Lord FitzWilliam, who owned the land here, turned down this scheme, hence Mornington opted to move around the corner and take the lease on Lord Antrim’s recently completed Merrion Street house. As seen today, the building is of five bays and three storeys over basement, faced in brick like its neighbours and with a pedimented stone doorcase flanked by Doric columns; it is thought to have been designed by architect Christopher Myers (he had previously been the architect of Lord Mornington’s Grafton Street house). Again, as is so often the case with Dublin townhouses, the plain exterior conceals a rich interior decorative scheme, although the entrance hall is largely unornamented. On the other hand, two reception rooms to the right of this have elaborate plasterwork ceilings are heavily ornamented with scallop shells, floral festoons and acanthus scrolls, as well as flower baskets and birds. While much in the style of Robert West, Professor Christine Casey attributes all this to the Dublin stuccodore James Byrne, who was similarly responsible around the same period for the decoration of 12 Merrion Square, where his client was William Brownlow, MP for Lurgan, Co. Armagh, who was a friend of Mornington and, like him, a keen amateur musician (he was reputed to have played the harpsichord at the first performance of Handel’s Messiah in Fishamble Street, Dublin in 1742). In May 1766 Brownlow paid a gratuity of £7-13s-6d to Byrne as a ‘present for doing his work well’. Back on Merrion Street, the most interesting space is the stair hall, lit by a large round headed window on the return. In contrast to the somewhat mean joinery of the stairs and dado rail, the plasterwork is most engaging, the wall panels containing garlands and festoons of fruit and flowers, while above them is an exceptionally deep coved cornice with a double row of ovals composed of scrolling acanthus leaves with flowers at their intersections. This was the house in which the future Duke of Wellington spent at least part of his childhood.


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In No Way Averse to the Magnificence of Life 


Born in 1695, Robert Clayton followed the example of his father and became a Church of Ireland clergyman, rising to become Bishop first of Killala and Achonry, then Cork and Ross and finally of Clogher. His personal wealth allowed him to undertake a Grand Tour, which left a lasting impression not just on Clayton but also on his contemporaries. Following his appointment to Cork in 1735, the Earl of Orrery wrote, ‘We have a Bishop, who, as He has travel’d beyond the Alps, has brought home with him, to the amazement of our merchantile Fraternity, the Arts and Sciences that are the Ornament of Italy and the Admiration of the European World. He eats, drinks and sleeps in Taste. He has Pictures by Carlo, Morat, Music by Corelli, Castles in the Air by Vitruvius ; and on High-Days and Holidays We have the Honour of catching Cold at a Venetian door.’ Lord Orrery’s colourful account of the impression made by Clayton proposes a striking contrast with the episcopacy of his predecessor, Peter Browne, during which ‘We were as silent and melancholy as Captives, and We were Strangers to Mirth even by Analogy.’ Clayton seems to have appreciated not just Corelli but also Handel, since he facilitated the first performance of ‘The Messiah’ in St Fin Barre’s Cathedral in December 1744. He was a Fellow of both the Royal Society and the Society of Antiquaries of London, as well as supporting various cultural organisations in Ireland.




Robert Clayton’s wealth meant that when in 1728 he married Katherine Donnellan, a daughter of Lord Chief Baron Nehemiah Donnellan, he could afford to give his wife’s fortune to her sister Anne. The latter was a close friend of Mary Delany, which is one reason why we know so much about the Claytons and their social life. In June 1732, while still the widowed Mrs Pendarves, she spent some time in Killala, staying with the couple in the episcopal palace, known as the Castle, which she described as ‘old and indifferent enough.’ However, ‘the garden, which is laid out entirely for use, is pretty – a great many shady walks and full-grown forest trees.’ Furthermore, Bishop Clayton had added another field to the property, ‘and planted it in very good taste.’ While in Killala, Mrs Pendarves and Anne Donnellan created what may have been the first shell house in Ireland. This was installed inside a natural grotto at the top of a hill close to Killala, the shells coming from a large collection assembled by the bishop as well as those collected on the shores of County Mayo. In mid-August, there was a local fair, with races on the strand and then, to mark Mrs Clayton’s birthday, she and her guests ‘all attired in our best apparel,’ sat in front of the house to watch ‘dancing, singing, grinning, accompanied with an excellent bagpipe, the whole concluded with a ball, bonfire and illuminations.’ ‘Pray,’ she asked her sister, ‘does your Bishop promote such entertainments at Gloster as ours does at Killala?’ Fifteen years later and by now married to Dr Patrick Delany, she described another such birthday party, this time in Clogher, where musicians played for eight pairs of dances, a ‘sumptuous cold collation’ was served at 11pm, after which the fiddlers struck up again and the dancing continued until after two o’clock (the Delanys sensibly crept away to their own sleeping quarters after supper). Writing to her family in England in February 1746, Mrs Delany noted ‘On Monday we dine at the Bishop of Clogher’s. Mrs Clayton is to have a drum in the evening and we are invited to it. Their house is very proper for such an entertainment, and Mrs Clayton very fit for the undertaking. She loves the show and homage of a rout, has a very good address and is still as well inclined to all the gaieties of life as she was at five-and-twenty; the Bishop loves to please and indulge her, and is himself no way averse to the magnificence of life.’ 




The Claytons undoubtedly liked to live well and could afford to do so. On one of her early visits to Dublin, in September 1731 Mrs Pendarves stayed with the couple in their townhouse on St Stephen’s Green. Writing to her sister in England, the Claytons’ guest declared the building to be ‘magnifique’, the chief front of it looking like Devonshire House in London and the rooms filled with objects, busts and pictures which the bishop had brought back from a tour he had made of France and Italy after graduating from Trinity College Dublin. In a second letter, Mrs Pendarves provided her sibling with a meticulous description of the main reception rooms: ‘First there is a very good hall well filled with servants, then a room of eighteen foot square, wainscoated with oak, the panels all carved, and the doors and chimney finished with very fine high carving, the ceiling stucco, the window-curtains and chairs yellow Genoa damask, portraits and landscapes, very well done, round the room, marble tables between the windows, and looking glasses with gilt frames.’ Mrs Pendarves continues her account with information on the next room, which measured 28 by 22 feet, ‘and is as finely adorned as damask, pictures and busts can make it, besides the floor being entirely covered with the finest Persian carpet that ever was seen. The bedchamber is large and handsome, all furnished with the same damask.’ Despite its evident splendour, this was not the house, 80 St Stephen’s Green designed for Clayton by architect Richard Castle (and seen in these pictures), since work on that property only began five years later in 1736.  




The Claytons’ new Dublin townhouse was still a work in progress when visited in December 1736 by the aforementioned Earl of Orrery, who shortly afterwards wrote to Clayton. Lord Orrery was much impressed by what he had seen, even though, ‘as your Lordps Commands did not extend so far as to order me to break my Neck or my Limbs, I ventur’d no further than the Hall Door, from whence my Prospect was much confin’d, except when I look’d upwards to the Sky.’ Calling the house a palace, Orrery went on to say that its first floor Great Room would probably bring his cousin, the architect Earl of Burlington, over to Ireland from London. However, while he was confident that the bishop’s hearing and sight should be satisfied with the finished building, the same might not be the case for his sense of smell, owing to the proximity of the stables. Orrery therefore suggested these could be located further behind the house if a little more land were purchased, although he observed that as long as the stables had a beautiful cornice, ‘Signor Cassels [Castle] does not seem to care where it stands.’ From the exterior, it’s difficult to gain a sense of what the building looked like because, after being bought in 1858 by Benjamin Lee Guinness, it was joined to its immediate neighbour to the right and the two properties given a unified  seven-bay façade in Portland stone. However, inside the house, some of the original interiors survive on both the ground and first floors, not least the Saloon or ‘Great Room’ which spans the full three-bay width of the Clayton building and is notable for its coved and coffered ceiling, based on a Serlio plate of the Temple of Bacchus in Rome) which rises up to the attic. Behind this lies the Music Room, the ceiling of which conveniently indicates its function. Alas, the Claytons’ happy, sociable existence ended in tears, due to the prelate’s insistence on putting into print his somewhat unorthodox views on Christianity in a work called A Vindication of the Histories of the Old and New Testament. Espousing Arianism, he subsequently proposed in the Irish House of Lords that the Nicene and Athanasian creeds be removed from the prayer book. As a result, he was summoned for trial on a charge of heresy before an ecclesiastical commission. However, before the trial began, in February 1758 the bishop died of a fever in his Dublin residence. Horace Walpole, with his customary sharpness of tongue, claimed Clayton’s death was due to panic at the thought of having to defend his idiosyncratic religious beliefs. Presented by the second Earl of Iveagh to the Irish State, the building has since served as the headquarters of the Department of Foreign Affairs and Trade. Below, a portrait of Robert and Katherine Clayton painted in happier times (c.1740) by James Latham, now in the National Gallery of Ireland. 


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In the Gallery


‘Over the Supper Room is the Picture Gallery, of the same dimensions, containing many fine Paintings by the first masters, with other great Ornaments, chosen and displayed with great elegance; the Ceiling is arched, and highly enriched and painted, from designs by Mr WYATT. The most distinguished Pictures are, a Student drawing from a Bust by REMBRANDT; the Rape of Europa by CLAUDE LORRAINE; the Triumph of Amphitrite, by LUCCA GIORDANO; two capital pictures of Rubens and his two Wives, by VAN DYCK; Dogs killing a Stag; a fine Picture of Saint Catharine; a Landscape by Barratt; with many others. In a bow in the middle of one side, is a marble Statue, an Adonis, executed by PONCET; a fine bust of Niobe, and of Apollo, are placed on each side. In the Windows of the Bow, are some specimens of modern stained Glass, by Jervis.’
James Malton, c.1795





Today occupied by Dáil Éireann and Seanad Éireann (the two houses of Ireland’s parliament), Leinster House was originally commissioned in 1745 by James FitzGerald, 20th Earl of Kildare, and future first Duke of Leinster, as his Dublin townhouse, the largest and grandest such residence built in the city during the 18th century. Designed by Richard Castle, the house was intended to hold a picture gallery on the first floor, but this work was not undertaken before the architect’s death in 1751 and towards the end of that decade a second proposal for the room was produced by Isaac Ware. Based on a scheme published by Ware in Designs of Inigo Jones and others (1731), this was likewise unexecuted. The gallery remained an empty shell until 1775 when the second Duke of Leinster commissioned fresh designs from James Wyatt, and these are what can still be seen today. In that year, the duke married Emilia Olivia St George, only daughter and heiress of Usher St George, first Baron St George. The new duchess brought a substantial art collection with her, and the need to have a space in which these could be shown to best advantage gave a certain urgency to the matter. As executed, Wyatt’s proposals included inserting additional windows into the north side of an existing bow window (above which is a shallow half-dome) and dividing the shallow elliptical vault into three sections, all of which are decorated with elaborate neo-classical plasterwork. As described by Professor Christine Casey, the ceiling’s centre holds a chamfered octagon within a square and at each end a diaper within a square, each flanked by broad figurative lunette panels at the base of the coving and bracketed by husk garlands and garlands of leafy ovals. Between are ribs with attenuated tripods, urns and arabesque finials.’ The scheme’s coherence is illustrated by the inclusion of a pair of white marble chimneypieces with high-relief female figures on the uprights and putti marking the division between beaded spandrels enclosing urns and griffins, and then similar motifs being employed in pewter and gesso on the doors.





Following the Act of Union in 1800 and the death of the second duke four years later, Leinster House was scarcely used by the family and so in 1815 the third duke sold the property to the Dublin Society (later Royal Dublin Society). Many of the picture gallery’s contents were moved to the family’s country house, Carton House, County Kildare where alterations to accommodate the collection were made by Richard Morrison; many of the artworks were subsequently sold as the fortunes of the FitzGerald family declined in the last century. Meanwhile, the Dublin Society converted the room in which they were once displayed into a library, Francis Johnston inserting a gallery above the line of the window heads, although this was removed in the late 19th century. Following the establishment of the Irish Free State in 1922, the Dail was housed – temporarily, it was thought – in the RDS’s lecture theatre, a large hall which had been completed a quarter century earlier. In 1924, the society sold the entire property to the government for £68,000 and moved permanently to the site it still occupies in Ballsbridge. Leinster House’s former picture gallery was then adapted with virtually no structural alterations to accommodate the Seanad, which it has continued to do ever since.


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The Irish Sale of the Century



From the mid-1970s through to the early 1980s a series of country house contents auctions took place in Ireland, beginning with that held at Malahide Castle in May 1976. One of the last during that particular spate took place at Luttrellstown, County Dublin in September 1983. Luttrellstown has featured here before (see Luttrellstown Castle « The Irish Aesthete). The estate here dates back to c.1210 when it had been granted by King John to Sir Geoffrey de Luterel. Two centuries later the original castle was constructed and remained in the hands of the Luttrells until 1800 when sold to Luke White, who had made his fortune operating a lottery. White and his descendants were responsible for giving the house much of its external appearance as a frothy Gothick fancy, and they continued to occupy it until the early 1920s when it was once more put on the market. In November 1927 Aileen Guinness married the Hon Brinsley Plunket and as a wedding present her father Ernest Guinness presented the bride with  Luttrellstown Castle.





During the 14 years of their marriage, the Plunkets entertained extensively at Luttrellstown. However, following their divorce in 1940, the property’s chatelaine moved to the United States, only returning to this side of the Atlantic after the conclusion of the Second World War. Then, following her father’s death in March 1949, she embarked on a thorough restoration and transformation of the castle. In this enterprise, she was assisted by English architect and interior designer Felix Harbord, who also worked with Aileen Plunket’s sister, Maureen, Marchioness of Dufferin and Ava, at Clandeboye, County Down. At Luttrellstown, Harbord appears to have perfectly understood his client’s fondness for the dramatic and for unexpected juxtapositions. Hence the interiors were filled with treasures that had come from a diverse range of sources. The white marble chimneypiece in the ballroom, likely the work of Sir Henry Cheere, came from England, as did the painted ceiling by Thornhill installed in the staircase hall. The dining room was given Adamesque plasterwork and a ceiling by 18th century artist Jacob de Wit, and the Grisaille Room created to hold a series of nine panels by the Flemish painter Peter de Gree, originally made in 1788 for the Oriel Temple, County Louth. In this setting, Luttrellstown’s owner entertained frequently and lavishly. As late as 1966, when many other Irish houses had been forced to cut back on hospitality, Mark Bence-Jones could report, ‘Mrs Plunket entertains in the grand manner, giving large dinner parties, dances and balls; she invites people from all walks of life in Ireland together with many friends from abroad.’ He also noted that ‘what seems like an army of footmen, something very rare in Ireland, adds to the splendour.’





In 1983, Aileen Plunket, by then aged 79, decided to sell both Luttrellstown Castle and its contents: the latter were dispersed in a three-day auction held that September by Christie’s. Described by the late Desmond FitzGerald, Knight of Glin as the Irish Sale of the Century, the event attracted considerable publicity, and many overseas buyers,  eager to see what bargains might be found. In the event, there were no bargains as many lots went for much higher sums than their estimates. On the first day, for example, a pair of George II white painted side tables, expected to fetch £25-38,000, eventually went for £110,000. A pair of Italian gilt-bronze and crystal candelabra made £65,000, more than six times their estimate, while a mid-18th century giltwood stool fetched £28,000, more than nine times the estimate. A rare Russian tapestry carpet made for Tsar Nicholas I in 1835 went for £75,000 which was double its estimate: seemingly the underbidder on this lot was David Rockefeller. On the other hand, a suite of painted Louis XV furniture which may – or may not – have been made for the Château de Maintenon, failed to make the expected £170,000, selling for £134,000. On the second day of the auction, the focus was on paintings such as a set of four hunting scenes by Jacob van Strij (£69,120), The Mystic Marriage by Jan Brueghel II (£30,240)  and a portrait of Louise de Keroualle, Duchess of Portsmouth by Henri Gascars which fetched £27,000: Aileen Plunket had bought the picture eight years earlier at the Malahide Castle sale for £9,500. On the third day, books, porcelain, glass and so forth. With approximately one third of the buyers being Irish and the rest of the bidders coming from overseas, in total, the auction made a sum just shy of £3 million. Soon afterwards it was announced that the castle and 570 acre demesne had been sold for just over £3 million. Aileen Plunket then moved to England where she lived until her death in 1999. As for Luttrellstown Castle, it has since become a wedding and events venue (a certain well-known English former footballer and his wife were married there in 1999). 


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Taken to Court



After Monday’s exploration of Kilmainham Gaol, here is its immediate neighbour, the neo-classical ‘Sessions House’ designed by William Farrell and opened in 1820. Faced in granite, the main entrance is of two storeys and has a pedimented three-bay breakfront with arched windows on the first floor. Below, the rusticated ground floor has blind doors flanking the entrance, while on either side are single-bay outer bays with tripartite windows on the first-floor and blind equivalents below them. Inside the building, the rear section is given over to a double-height, galleried courtroom with Diocletian window above the judge’s bench. To the front is a similarly double-height entrance hall lit by the aforementioned three arched windows on the facade. 


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Lasciate Ogne Speranza, Voi Ch’intrate



One of the most visited sites in Dublin, Kilmainham Gaol is today primarily known for being the place where in May 1916 fourteen key figures in the Easter Rising were executed by firing squad. Yet this was only one incident in the building’s history, which goes back to the late 18th century when ideas of prison reform and the provision of better accommodation for convicted criminals led to the construction of the gaol in Kilmainham. It replaced an earlier prison a little further to the east in an area called Mount Brown: a parliamentary report on this premises in 1782 noted that not only was the building ‘extremely insecure, and in an unwholesome bad situation with narrow cells sunk underground, with no hospital’ but in addition, ‘Spirits and all sorts of liquors were constantly served to the prisoners who were in a continual state of intoxication.’ The ‘New Gaol’ as it was initially known, was intended to improve conditions for prisoners, with single cells and the opportunity of exercise in open yards. 





As opened in 1796, Kilmainham Gaol was designed by Sir John Trail, an engineer thought to have come to this country from Scotland and employed first by Dublin Corporation and then by the Grand Canal Company to work on the completion of this project and bring fresh water to the city. Although dismissed in 1777 after the standard of work on the project was found to be defective and the expenditure to have exceeded estimates (a not-unfamiliar tale in Ireland), Trail continued to flourish and, as engineer to the Revenue Commissioners, was responsible for designing twin octagonal lighthouses on Wicklow Head in 1781. The following year he was appointed high sheriff of Co Dublin and later knighted. In 1787, he was given the task of coming up with the design for a new gaol, which by the time of its completion almost a decade later, had cost the Grand Jury of County Dublin some £22,000. At the time, both the gaol and its surroundings looked very different from the way they do today. Built on a rise above the river Liffey known as Gallows Hill, it was then surrounded by open fields, the intention being that fresh air would be able to circulate through the prison. As first constructed, the building looked somewhat different from what can be seen today. Facing north, Trail’s facade was centred on a three-bay breakfront with long wings running back on either side to create a U-shaped prison. Each of the wings held cells while the main block was used by the gaolers. Enclosed behind high stone walls, a series of yards to the rear were used for exercise or various activities. The main entrance was at the front, incorporating vermiculated stone work and a number of writhing forms: what precisely they represent – snakes? dragons? a hydra? – and who was responsible for this carving remains unknown. Directly above it was an opening with a gallows and this was where public hangings took place: the last such event occurred in 1865. 





Within a matter of just a few decades, Kilmainham Gaol had proven to provide insufficient space for the numbers of prisoners being sent there and in 1840 a block of thirty cells was added to the west wing. However, the onset of the Great Famine led to a further rise in admissions (being in gaol which provided accommodation and food, no matter how inadequate either, was preferable to starving on the streets), and in 1857 an architectural competition was held for enlarging and remodelling the building. The eventual winner was John McCurdy, now best-remembered for having also designed the Shelbourne Hotel a few years later. At Kilmainham, McCurdy oversaw the demolition of the east wing and its replacement with a new three storey over basement, bow-ended block. Inspired by the 18th century social reformer Jeremy Bentham’s ideas for a Panopticon prison, the ninety-six cells here ran around a central glazed atrium, making it easier for warders to see what was going on while also offering a light and airy space within the prison. At the front of the building, two bow-fronted wings were added, thereby creating a courtyard: that to the east held the prison governor’s apartments, and that to the west the Stonebreakers’ Yard (which is where the 1916 executions took place). Ironically, towards the end of the 19th century, the number of criminals being jailed declined, and as a result, the official Prisons Board decided to close some gaols, including Kilmainham, which closed in 1911. Three years later, with the outbreak of the First World War, it found a new use as a military billet for new army recruits, and as a military detention centre. In the aftermath of the failed Easter Rising, as already mentioned, 14 key figures, half of whom had been signatories of the Proclamation of the Republic, were brought to Kilmainham Gaol and there executed. With the onset of the War of Independence, the buildings were once more used by the British government to house Republican prisoners and then, with the subsequent Civil War, it was likewise employed by the Free State authorities to imprison and sentence their Anti-Treaty opponents, several of whom were executed. In 1924, with the Civil War at an end, the gaol was emptied of prisoners, an official closing order being issued in 1929, after which it was left to moulder. By the 1950s, large sections of the site were in a ruinous condition but then a voluntary group, the Kilmainham Gaol Restoration Society, boldly took the initiative to rescue the building, with work beginning in 1960 and being sufficiently complete to open to the public in April 1966, marking the fiftieth anniversary of the Easter Rising. In 1986, the property was transferred to state care and has since been the responsibility of the Office of Public Works



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Often Overlooked



Often overlooked by visitors, this is the spectacular entrance hall of the National Museum of Ireland in Dublin. Designed by T.N. and T.M. Deane in 1885-90 and taking the form of a rotunda, it consists of a ground floor around which run a series of polished Ionic columns in different coloured Irish stone. The deep entablature, pierced by a sequence of oculi, supports a balustraded gallery above which pilasters with gilded capitals framing niches and, in one section, windows. And on top of this floats the dome. Meanwhile, the floor is covered in mosaic designed and laid by the Manchester firm of Ludwig Oppenheimer Ltd; the central section is taken up by the twelve signs of the Zodiac surrounding a stylised sun.



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How Dreadful is this Place



Like Drimnagh Castle, seen here on Monday, the nearby St Mary’s church would once have stood amidst woodland and fields several miles outside the city of Dublin, whereas today it is surrounded by suburban housing estates. Set inside a circular enclosure, this has been a religious site since at least the arrival of the Cambro-Normans, if not longer.  In 1193 the church was given by Prince John to form a prebend in the St Patrick’s collegiate church (later Cathedral) and afterwards vested in the Archbishop of Dublin. The English engraver Francis Jukes produced a view of the area in 1795 which shows the church’s tower which still survives, but the main body of the building was reconstructed in 1817 with a loan of £1,000 from the Board of First Fruits. A new Church of Ireland church was built close by in the last century, but this one continues to be used for services by a religious organisation called the Hope Centre. The entrance at the base of the tower has a fine cut limestone doorcase with broken pediment beneath which is a plaque with a quotation from the Book of Genesis ‘How Dreadful is this Place, none other is the House of God, and this is the Gate of Heaven.’ Above it is a solitary skull; seemingly there were also crossbones but these went missing in the 1990s.


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