With Panoramic Views

Jan29

Set on top of a small rise, the elegant octagonal Belvedere at Dromoland, County Clare. This dates from the early 1740s and is believed to have been designed by self-trained architectural draughtsman John Aheron, a protégé of Dromoland’s then-owner Sir Edward O’Brien. Passionately interested in horses, Sir Edward apparently built the Belvedere so that he could watch racing across his land, and have views as far as Ennis, the county town. Entrance to the building is gained via a flight of steps to the door on the east side (there was another door on the south giving access to the half-sunk basement) and originally there would have been seven windows but now only three. The single room main floor was heated by a fireplace set in the north-west wall. One wonders whether the exterior clad in uncut stone would originally have been rendered, and indeed whether some of the openings were once as large as their brick arches suggest. Having fallen into disrepair, the Belvedere was repaired some years ago but now is both cut off from the rest of the estate, and unhappily marooned on a strip of land between a tributary road and a motorway.

It’s in the Details

Jan25

The earliest recorded iron bridge in Ireland and originally known as the Wellington Bridge in honour of the Irish-born victor of Waterloo, Dublin’s pedestrian Ha’penny Bridge opened a year after that battle, in 1816: its popular name comes from the toll originally charged to users traversing the Liffey. The structure was ordered from the foundry at Coalbrookdale, Shropshire and it is believed one of the company’s foremen John Windsor was responsible for its elegant, and much-photographed, design. One of the details which is often missed is the line of miniature urns atop the balustrade. Of late the structure has suffered from the global fashion for smothering it with ‘love’ padlocks, those engaged in the activity so blinded by ardour, one assumes, that they fail to appreciate the corrosive damage being done to the metal (not to mention the disfigurement of the bridge).

Flying High

Jan22

A crowning with laurel occurs in the central section of a painted ceiling in one of the first-floor rooms at Rathfarnham Castle, County Dublin. Measuring just eighteen by sixteen feet and formerly known as the breakfast or small dining room, this space has on stylistic grounds been attributed to James ‘Athenian’ Stuart; the proposal is supported by a comment made by Lady Shelburne in 1769 that some of the castle’s interiors were then being decorated ‘after Designs of Mr Stuart’s.’ For a long time it was also believed that the ceiling itself had been painted by Angelica Kauffmann who certainly came to Rathfarnham during her visit to Ireland during the winter of 1771-72, and while in the country painted a portrait of the building’s then-residents, the Earl and Countess of Ely, together with the latter’s two nieces (now in the collection of the National Gallery of Ireland). However, as Grainne Madden has observed, while quite delightful, the quality of workmanship here ‘is not as highly finished as one would expect from comparisons with authenticated works’ by Kauffman.

A Spectacular Fall from Grace

Jan20

Given the notoriety of its late 18th century resident, the fate of Mount Shannon, County Limerick seems inevitable. One of the country’s more striking ruins, the house formerly stood at the centre of a 900-acre demesne famous for its trees and gardens: in his 1822 Encyclopedia of Gardening the Scottish botanist and landscape designer John Claudius Loudon specifically cited Mount Shannon as an example of improvements in Ireland, and proposed these had been carried out under the direction of the first Earl of Clare, of whom more anon. Five years later Fitzgerald and McGregor in their study of the history and topography of Limerick city and county likewise refer to Mount Shannon: ‘the plantations are laid out with fine taste, and the gardens are extensive and well arranged.’ Aside from a handful of surviving specimen trees, no evidence of the demesne’s former glories now remains, and much of the land is given over to suburban housing, making it difficult to discern what the grounds must have looked like even a century ago. On the other hand it is still possible to gain a sense of the main house’s former appearance. In 1827 Fitzgerald and McGregor described it as being ‘one of the most superb mansions in the South of Ireland’ and although a hollow shell for over ninety years it clings onto a residue of grandeur.

The original Mount Shannon was built c.1750 by the euphoniously-named Silver Oliver whose family’s main estate was elsewhere in the county at Clonodfoy, later Castle Oliver. Oliver appears to have sold the property to a member of the White family but around 1765 it came into the possession of John Fitzgibbon, supposedly a descendant of the mediaeval White Knights, who had been raised a Roman Catholic but converted to Anglicanism so that he could become a lawyer (Penal Laws then barring this profession to everyone not a member of the established church). Highly successful, he amassed a considerable fortune
which when he died in 1780 was passed on to his son, also called John and later first Earl of Clare.
It would appear from various references that Lord Clare did much to improve and aggrandise Mount Shannon, not just its demesne but also the house. However the latter’s most striking feature was added by his eldest son the second earl in 1813. The immense Ionic portico with Doric pilasters behind was designed by Lewis Wyatt (a member of the prolific English family of architects and a nephew of James Wyatt), and occupies the three centre bays of the seven-bay north entrance front. Behind three round-headed doors gave access to the hall with the drawing room and other main reception rooms behind. The interiors, as a handful of 19th century photographs show, were chillingly neo-classical with scarcely any ornament. The same was true of the exterior which, as can be seen is constructed of brick with cut limestone dressings. The severity of the south, garden facade was relieved by a very large curved conservatory. To the immediate east of the two-storey over sunken basement house is a long, lower extension which would have been used for services and was originally concealed by a curved screen wall that joined the still-extant wall of the old walled garden.

Many stories are told of John ‘Black Jack’ Fitzgibbon, first Earl of Clare, some of them apocryphal, few of them kind. After studying at Trinity College, Dublin and Christchurch, Oxford he became a lawyer like his father before him. He was first elected to the Irish House of Commons in 1778 and five years later was appointed Attorney General. Appointed Lord Chancellor for Ireland in 1789, he was also received his first peerage, as Baron FitzGibbon, of Lower Connello; he was subsequently advanced to a Viscountcy in 1793 and finally received his earldom in 1795. Four years later he was granted an English peerage (entitling him to a seat in the House of Lords at Westminster), becoming Baron FitzGibbon, of Sidbury in the County of Devon.
Unquestionably brilliant, Fitzgibbon was also without doubt bigoted. It has often been noted that he was a hardline Protestant and a member of the Protestant Ascendancy who avidly promoted whatever measures he believed would best preserve that group’s political domination in Ireland. He supported harsh measures against members of the 1798 Rebellion and was openly hostile to Roman Catholicism despite or perhaps because of his father had originally been a member of this faith. When it came to the Act of Union in 1800, of which he was firmly in favour, there was widespread understanding that this would be accompanied by concessions made to Roman Catholics with the Penal Laws being ameliorated. FitzGibbon persuaded George III that any such liberalisation of the status quo would be a violation of the king’s Coronation Oath and thus ensured pro-Emancipation measures were not included in the Union legislation. In so doing he delayed Catholic Emancipation by three decades and encouraged the spread of sectarianism.
It is said that FitzGibbon once declared he would make the Irish as ‘tame as a dead cat.’ As a result, there are stories of dead cats being thrown into his coach, and of more of the same being flung into his grave when he died in January 1802 following a fall from his horse at Mount Shannon the previous month.

At the time of the Act of Union, Lord Clare arranged for a handsome pension by way of compensation for the loss of his office as Lord Chancellor which was then abolished; this was to be paid both to him and his immediate heir. Thus the second earl, who died in 1851, enjoyed a handsome income not just from his estates which ran to more than 13,000 acres in Counties Limerick and Tipperary but from the munificence of the British Treasury. A close friend of Lord Byron, with whom he was at school, the second earl later became Governor first of Bombay and later of Bengal; he enhanced Mount Shannon by both the addition of the portico and other improvements, but by adding treasures from India and paintings acquired on his travels around Europe.
Since he had no children, his property passed to a younger brother, who duly became third earl. He was to suffer a number of disadvantages, among them the absence of the pension enjoyed by his predecessors, a much depleted income in the aftermath of the Great Famine, and the death of his only son during the Charge of the Light Brigage at the Battle of Balaclava in October 1854: Limerick’s Wellesley Bridge used to feature a handsome statue to the youthful Viscount FitzGibbon until it was blown up by the IRA in 1930.
On the death of the third earl in 1864 the title became extinct. His estate was left to the two younger of his three daughters (the eldest, who had caused a scandal by abandoning her own spouse and children to run off with the elderly husband of a half-sister, appears to have been disinherited). While the middle sister took possession of the FitzGibbon silver and, it seems, the greater part of the liquidity attached to the estate, the youngest Lady Louisa FitzGibbon assumed responsibility for Mount Shannon.

Lady Louisa was as dogged by bad luck as her father. Her eldest son died at the age of twenty, followed by her first husband and then the Italian Marchese she married in expectation of his money turned out to be as penniless as herself. With the advent of the Land Wars rents ceased to be paid, portions of the estate had to be sold, what remained was mortgaged, and money borrowed at high interest rates. All to no avail: Lady Louisa’s creditors demanded satisfaction, following litigation a receiver was appointed, and in the course of a sale lasting several days during June 1888 Mount Shannon was stripped of its contents including a very valuable library. Here is a small quote from the fascinating catalogue compiled by Limerick auctioneer John Bernal: ‘The Family Paintings are Chef Douvres [sic], by the first artist of the period, when they were taken, some of the Paintings, see page 42, were placed in the house about 1790, and will afford the connoisseur and speculator a good chance of getting a valuable Old Master on good terms. There are also some replicas from the Dresden gallery.’ The first such melancholy event of its kind in Ireland, a prelude to many more to follow over the coming decades, the Mount Shannon excited huge interest, with special trains and catering arrangements being laid on. Lady Louisa FitzGibbon spent the remainder of her days in a Dominican convent on the Isle of Wight, an establishment founded by the Roman Catholic convert wife of her uncle, the second Lord Clare; this was something of an irony given the first earl’s virulent hatred of all Catholics.
Five years after the sale, Thomas Nevins, who had been born in Mayo but made a fortune in the United States as a tram and railway contractor, bought Mount Shannon where he died in 1902, just like the first earl following a bad fall from a horse. His widow only survived until 1907 after which the place passed through various hands before what remained of the estate was bought in 1915 by David O’Hannigan of County Cork for £1,000. He did not have long to enjoy Mount Shannon since it was burned down in June 1920 during the War of Independence, the light of the flames apparently seen in Limerick city.
The house remains a shell. To walk through it today is to have a sense what it must have been like visiting a site such as the Baths of Caracalla in the aftermath of Imperial Rome’s collapse, especially as this immense structure is now surrounded by others domestic buildings of infinitely smaller dimensions and aspirations. Even in its present broken-down state Mount Shannon continues dominate the area and to exude an air of greater distinction than any of its neighbours.

Urning its Place

Jan18

An stone urn sitting atop a double plinth closes a flight of terraces at Knockdrin, County Westmeath. In the early 19th century, the heavily-castellated Knockdrin replaced an earlier Georgian house known as High Park, and perhaps this piece of garden ornamentation is a survivor of the earlier property? Romantically entwined with ivy, it looks as though painted by Rex Whistler. (For more information about Knockdrin see Knock Knock, August 5th 2013).

All Aglow

Jan15

After Monday’s rather dispiriting report on the plight of Dublin’s last Georgian private residence Aldborough House (which generated the greatest traffic yet on this site: thank you to everyone who helped spread the word, if only officialdom would display as much concern), a property which has been taken into state care, with obvious benefits. At Castletown, County Kildare two views of the quadrant leading to the stable wing. Helped by the play of light on warm, ochre-hued render the building looks particularly Italianate here with the influence of Florentine architect Alessandro Galilei, who is deemed responsible for producing the house’s original design in the early 1720s, most apparent.

A Thundering Disgrace

Jan13

Many visitors arriving at Dublin airport are likely to take a route into the city centre that leads them along Amiens Street. This takes its name from Viscount Amiens, an honorary title of the Earls of Aldborough, the second of whom, Edward Augustus Stratford, built the last great free-standing town house of the 18th century around the corner on Portland Row. Travelling along this route visitors will notice the present dreadful condition of that building.
The earl’s long-lost country seat Belan, County Kildare has already been discussed here (Splendours and Follies, September 30th 2013) and now it looks as though Aldborough House could likewise be consigned to oblivion as a result of ongoing failure by state and civic authorities to intervene in its preservation.
Today marooned amidst neglect and decay (the organisation Irish Business against Litter last week declared this part of Dublin the dirtiest urban area in the State) Aldborough House is an extraordinary building, after Leinster House the biggest Georgian private residence in the capital and a testament to one man’s regrettably misplaced ambition. The earl, who already had a perfectly fine property next to Belvedere House on Great Denmark Street, was determined to construct a new one that would serve as testament to his wealth and social position, and also serve as centre-piece to a westerly extension of the city beyond that already achieved by the Gardiners. Portland Row is a continuation of the North Circular Road, running from the Phoenix Park to the docks, and it made sense to plan for development in this part of Dublin. Unfortunately Lord Aldborough failed to take into account the consequences of the 1800 Act of Union (for which he voted) which led to a precipitate decline in the city’s fortunes and left his great town house stranded.

We know a great deal about the construction of Aldborough House, thanks to research on the subject conducted by Aidan O’Boyle and carried in Volume IV of the Irish Georgian Society’s annual journal Irish Architectural and Decorative Studies. This text, like all others on the subject, is indebted to O’Boyle’s admirable work. It is clear from his analysis of extant material that the building of Aldborough House was fraught from the beginning, not least because the earl’s aspirations were greater than his budget. Although pailings were erected and foundations dug around the start of July 1793, there were many stops and starts as unpaid workmen left the site and replacements had to be found. O’Boyle quotes several piteous letters from various architects, plasterers, painters and other skilled craftsmen who became enmeshed in the project and then found they had to plead for monies owed. It did not help that Lord Aldborough during this period was in the throes of sundry legal battles, one of which led to his temporary imprisonment.
Yet somehow the work went on and the house rose ever higher. In style, Aldborough House was something of an anachronism, a last gasp of Palladianism with its tall central block flanked by quadrants that led to pavilions, one containing a chapel the other a private theatre, thereby satisfying the earl’s spiritual and cultural needs. At least in its early stages the architect responsible appears to have been Richard Johnston, older brother of the better-known (and better) Francis Johnson. After his departure several other hands were involved but most likely it was Lord Aldborough himself who had the greatest input into the plans: a extant drawing from his hand of the theatre wing confirms just how decisive was his influence on the project.

Facing north, the main block of Aldborough House is tall and narrow, three storeys over sunken basement and seven bays wide with the three centre bays advanced and pedimented, the whole clad in granite. The pediment contains an elaborately carved Stratford coat of arms in coade stone while the rusticated ground floor features a Doric portico bearing the motto Otium cum Dignitate (Leisure with Dignity). The most striking feature is the line of exaggeratedly elongated windows on the piano nobile; these emphasise the building’s height and thereby distort is overall proportions. An eaves parapet, since removed, was surmounted by alternating eagles and urns on all four sides. A plinth in the centre of the forecourt carried a copy of the Apollo Belvedere.
The side and rear elevations are all faced in a now-mellowed brick, originally rendered to resemble ashlar and with large central bows on the east and south sides. At some point the chapel wing to the west was demolished but that originally containing the easterly theatre survives, terminating in a bow facing the street; its interior is gone. The exterior of the two wings both had blind round-headed arches with sunken panels below and lion and sphinx figures along the parapets.
The interior of the main house begins with an entrance hall which in turn leads to an immense top-lit stair hall, with wrought-iron balusters set into the cantilevered Portland stone steps, the effect likened by the late Maurice Craig to that of ‘a well-shaft, mine or one of Mr Howard’s penitentiaries.’ On the ground floor a sequence of rooms lead off on all sides, library, dining room, small dining room and so forth, with a circular music room to the rear from which a double-perron staircase led to the garden. Some, but not much of these rooms’ decoration survived until recently such as friezes above the Adamesque doorways; after the horrendous neglect of recent years does any of this still remain? It is believed that Pietro Bossi, who tendered for the stuccowork in the house, provided the main chimneypieces but these were removed at the end of the 19th century. The first floor featured another sequence of rooms still loftier than those below and primarily intended for entertaining as they included a ballroom above the library on the east side of the building. A much quoted description by the newly-arrived vicereine Lady Hardwicke in 1801 gives an account of the staircase’s astonishing sequence of paintings which mostly seem to have been given over to apotheosising the earl and his wife. Again, these have all long vanished.

Costing over £40,000 Aldborough House was largely completed by 1798 but its owner did not enjoy the comfort of his new residence for long since he died in January 1801. Without a direct heir and in dispute with his brothers, he left the property to his widow who subsequently remarried but was likewise dead eighteen months after her first husband. There followed more than a decade of litigation before Lord Aldborough’s nephew Colonel John Wingfield was confirmed in possession of the house; he promptly sold its entire contents. The building was then let to the splendidly named Professor Gregor von Feinaigle, a former Cistercian monk and mnemonist, who opened a school there. Six years later von Feinaigle died and by 1843 the house had become an army barracks. In 1850 the garden statuary was all sold and in the 1940s the garden itself was lost, used by Dublin Corporation for social housing so that today Aldborough House has effectively no grounds.
As for the house itself, coming into public ownership it served as a depot for the Department of Posts and Telegraphs during the last century. During this time and especially in later decades the property was compromised by various ill-considered alterations such as the vertical divisions of rooms to create office space and the effective gutting of the former theatre. Nevertheless, the house remained in use and in reasonable condition. In 1999 the state telecommunications company Telecom Eireann was privatised as Eircom and that organisation offered Aldborough House for sale. The Irish Music Rights Organisation (IMRO) considered it for a new headquarters but then opted not to go ahead with the scheme and in 2005 the building was sold for €4.5 million to a company called Aldborough Developments, part of a network of businesses connected with would-be tycoon Philip Marley whose Ely Property Group has been much in the news of late, none of it for particularly positive reasons. Thereafter matters of ownership grow increasingly complex with only one irrefutable fact: for the past nine years this important part of the national built heritage has been allowed to fall ever further into a decline which, as the photographs above (taken in 2010) and below (taken last week) demonstrate, now risks becoming irreversible.

Last May, RTE television carried a report warning that Aldborough House was now Dublin’s most endangered historic building; this information was provided by An Taisce which for several years has been at the forefront of efforts to ensure the property is saved. In 2006 Aldborough Developments secured approval from the city council for the conversion of the house into a forty-bedroom ‘Day Hospital Medical Care Facility.’ The scheme never went ahead, the property crash occurred and Aldborough House started slithering into decay. Some years ago the council served enforcement proceedings against the owners to carry out repairs to the roof; this did not take place and inevitably the lead was all stolen from the valleys and parapet gulleys leading to terrible water damage. In December 2011 the council, having received a grant from central government of €80,000 and provided an additional €20,000 carried out emergency repairs to the roof. According to the city architect’s office, this work went ‘some way towards weatherproofing this vulnerable building until such time as the building’s owners are in a position to implement further urgent and necessary repairs in line with their statutory obligations.’
Those obligations have yet to be met: last spring, following an arson attack that could have been fatal but was caught in time, further enforcement proceedings were served on the owners to have the house’s windows, doors and other openings secured to prevent access. The city council’s Planning and Development Department’s Executive Manager Jim Keoghan commented at the time, ‘We would be concerned that there would be long-time damage done to the property in question’ as though this was a future possibility rather than something which had already occurred.
The RTE report explained that 75% of Aldborough Developments is owned by a company which is in liquidation, and this in turn is wholly owned by another company that the Bank of Ireland has placed in receivership. Astonishingly, the house remains outside the receivership process, allowing both the receiver and the bank to disclaim all responsibility for its upkeep, even though the latter has a charge on Aldborough House. No doubt legally this is the case, but where is the Bank of Ireland’s sense of corporate responsibility? Where its concern for the welfare of this country? Where its engagement with the society in which it operates? Likewise why is it that Dublin City Council, which could issue a Compulsory Purchase Order, has failed to do so? And why is it that the state, which has a department devoted to heritage, has ignored the shameful deterioration of an important historic building? Are those responsible in all three bodies suffering from collective blindness that they do not see what is happening to a property under their watch, and for the fate of which they will be held culpable? Or are they simply indifferent to what is taking place?
Last September when a farmer lost his High Court challenge over the compulsory purchase of his land, the presiding judge Justice John Hedigan declared that ‘the national interest must outweigh the interests of the individual.’ It is in the national interest that Aldborough House be saved and that all those who can act should do so now. Dear visitors: welcome to Ireland where we talk a lot of guff about history and heritage but – as you cannot fail to observe on your drive into central Dublin – where we have no qualms about allowing the remains of our past fall into dereliction.

Aside from Aidan O’Boyle’s essay in Volume IV of the Irish Georgian Society’s Irish Architectural and Decorative Studies, you can see more images of Aldborough House, and its present sorry state, on the archiseek forum: http://www.archiseek.com/forum/viewtopic.php?f=15&t=7878&sid=7637199907bad5a71623348e7c96d9a0&start=25
For the news report that appeared on RTE television in May 2013 see: http://www.rte.ie/news/player/2013/0509/3530477-dublin-georgian-house-is-capitals-most-endangered-historic-building/

Mellowed by Time

Jan8

An arched niche on one of the quadrants of Powerscourt House, Dublin. Dating from 1771-74 and designed by stone-cutter Robert Mack, the building’s front is entirely faced in granite from the 3rd Viscount Powerscourt’s Wicklow estate. Since 1981 Powerscourt House has been a shopping centre and while the interior is currently a mess of signage, at least the exterior remains relatively clear, allowing us to enjoy what Christine Casey has described as an example of ‘last-gasp Palladianism.’

Sturdy as an Oak

Jan6

In recent months this site has featured more than a few derelict historic properties, and is likely to do so again in the months ahead. Today however the focus is on a house which might easily have been lost altogether but instead has been admirably and impeccably restored. Ballinderry Park, County Galway was built during the first half of the 18th century, perhaps some date in the 1740s. For much of the Middle Ages the lands on which it stood belonged to the Franciscan friars of nearby Kilconnell (see Where There is Darkness, Light, November 18th 2013) but in the late 16th/early 17th century they passed into the hands of English-born judge Sir Charles Calthorpe who in 1584 was made Attorney-General for Ireland. Sometime after his death in 1616, they came into the possession of the Church of Ireland Diocese of Clonfert which thereafter remained the landlord until the third quarter of the 19th century.

Ballinderry was leased by the Church of Ireland to the Stanford family, one of whom was a revenue collector in the area in the 1680s. The Stanfords, who are recorded as living not far away in Aughrim Castle in 1837, in turn sub-let the Ballinderry estate to the Wards of Ballymacward. The latter were long-settled in the area, having served as hereditary poets to the O Kellys, Lords of Uí Maine, since ancient times the dominant family in this part of the country. In 1786 the tenant was Lewis Ward whose sister Sabina that year married Andrew Comyn, tenant of a small property at Ryefield, County Roscommon. Ultimately their son Nicholas inherited the tenancy and after the Church of Ireland was disestablished in 1871 he purchased the freehold of Ballinderry on 547 acres. His son, another Andrew Comyn, married Mary O’Connell, grand-daughter of Daniel O’Connell. In the 1911 Census he is listed as aged 79 and living in the house with his three sons along with two male and three female servants. The Comyns remained at Ballinderry until 1947. Following the family’s departure the Irish Land Commission subdivided the land with the house, yards and a few immediate acres being bought by Mr. Callanan, a local man.

Ballinderry Park’s current owners George and Susie Gossip write so eloquently that it is best to rely on their own description of the building: ‘The house dates from the first half of the eighteenth century and is largely unaltered, with the exception of a two-storied return at the rear. Two stone-built stable ranges, one mid 19th century and the other considerably earlier, form an enclosed courtyard behind the house, with a pair of tall gates at either end.
Ballinderry is a comparatively small building; seven bays wide and of two stories over a basement. The steeply pitched roof has end gables and hides a third storey, lit by small windows high in the gables. Unusually, the roof over the full-height central bow is taken right up to the level of the main ridge, rather than being returned at a lower level. This gives the house the appearance of having a central tower, rather like a small French château. Apart from the heavy cornice at the eaves and the fine pedimented door case, the façade is free from decoration.
The blank monotony of the end elevations is relieved by the massive stacks, while the rear has been considerably altered, probably on several occasions. In front, the basement is below ground, with its windows opening onto a sunken area like a Dublin town house, but it is several feet above the level of the yard at the rear.
As befits a house of this size the interior is plain, with good shouldered architraves, panelled doors and shutters of heavy 1750s joinery. The staircase, while slightly lighter in style, is the finest internal feature and appears to be original. Were it not for this one would be tempted to suggest that the house could even be earlier, perhaps dating from the 1730s, and this may even be the case. Ballinderry’s chief interest lies in the main façade and in the arrangement and details of the staircase and principal rooms – solid rural grandeur in a miniature scale.’

When the Gossips bought Ballinderry in 2001, ‘it was in a sorry state, used as a store for country furniture, old farm carts, and an amazing variety of agricultural implements and artifacts. While the roof looked intact from the front, the three large Victorian dormer windows at the rear had collapsed, causing considerable damage, both to roof and to the internal fabric. In addition, vandals had smashed the windows and looted the chimneypieces (which in any case were Victorian replacements).’
The first task was to strip the roof so that its main timbers could be repaired and made good while surviving slates were either saved or replaced. The house is constructed of fieldstone covered in lime render which had become defective and had to be removed. This revealed stone lintels, which showed the original positions of the drawing room and dining room windows since reinstated by local masons. As for the windows these were restored to what the Gossips believed to be their original appearance with unequal sashes on the ground floor using heavy early-Georgian glazing bars in the main house and thin Regency glazing bars in the wing, all specially made for the house.
Internally, although the floors were extremely decayed it was possible to save most of the joists; the boards have now been replaced with wide pine boards sawn from old reclaimed beams. The decorative woodwork had been badly attacked by woodworm but all principal doors and most of the shutters were salvaged, together with enough architrave for it to be copied. The skirting had deteriorated beyond repair and the chair-rail had been removed many years ago, so these also had to be replaced.
Apart from shutters and doors, nothing remained of the original decoration in either the drawing or dining rooms. Both were given new ceilings and the walls paneled in the early 18th century style. The drawing room now contains an early Kilkenny marble chimneypiece from a house in County Waterford, the dining room has an early 18th century slate chimneypiece. Similar extensive work took place in the staircase hall and the first floor bedrooms.

Thanks to the ministrations of the Gossips, one suspects that Ballinderry today looks better than at any time in its history. The house has a particularly evocative atmosphere, extremely comfortable and aesthetically satisfying. None of the rooms is especially large but there is everywhere a sense of generous space. In part this is due to the ample staircase, its treads wide and deep, and leading to a first floor landing lit from front and rear and of such generous dimensions that it might serve as another sitting room.
Just as importantly, Ballinderry serves as an example of what can be done to save a house that looks on the verge of being lost forever. Of course it takes imagination and patience to bring back a building like this from the brink of ruination but as the accompanying photographs indicate the result more than justifies the effort. Many abandoned houses in Ireland could still be restored provided prospective owners approach the task with the same determination and flair as did the Gossips. The name Ballinderry derives from the Irish Baile an Daoire meaning town, or town-land, of the oak trees. Today the house is once more as sturdy as an oak and ought to survive for as long.

Ballinderry Park welcomes guests. For more information about the house, including further details of its restoration, see: http://ballinderrypark.com

Wyatt Thing

Jan4

A detail of the plaster frieze running around the walls of the staircase hall at Ardbraccan, County Meath. We know that in 1773 James Wyatt produced drawings for the centre block of the house. These were commissioned by Henry Maxwell, Bishop of Meath whose brother Barry Maxwell, Earl of Farnham would likewise employ Wyatt to design a new house for him in County Cavan a few years later. In the event, the architect’s plans for Ardbraccan were modified to incorporate elements from schemes by both Thomas Cooley and Daniel Beaufort, the latter a gifted amateur who was also Rector of nearby Navan. However, the staircase hall’s plasterwork is distinctly Wyatt’esque and so it is surely not too fanciful to imagine that at least this part of his proposal was executed without intervention from other hands.

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