Tag Archives: Heritage at Risk

A Reminder



In the little village of Newmarket, County Kilkenny stands this rather substantial building, of nine bays and one storey with half-attic. Designed in a loosely Tudoresque style with arched limestone ashlar recesses at ground level, the centre of the facade is occupied by a single-bay breakfront featuring a large carriage arch, now blocked, above which a framed plaque is carved with the date 1839. Now seemingly disused, it was presumably constructed an agricultural outbuilding for the Castle Morres estate which lay immediately to the south. While Castle Morres itself is gone (unroofed in the 1930s and demolished in 1978), this survives as a reminder of a now-vanished estate.


Not Very Gay




In the mid-1780s, Ralph Smyth purchased the Gaybrook estate in County Westmeath from one John Gay (reputedly related to the earlier John Gay, whose 1728 ballad drama The Beggar’s Opera, produced by John Rich, was famously said to have made ‘Rich gay and Gay rich’). Advised by amateur architect, the Rev Daniel Beaufort, Smyth embarked on building a new residence for himself on the property, but the gates and lodges are of a later date, constructed by his younger son Robert who inherited the place in 1827. At the eastern end of the estate, the front elevation of this one, with a canted central bay, suggests the house was only on one level. However, examination of the rear indicates it was actually two storeys high. Dean, in his gazeteer of Leinster lodges, speaks of the octagonal entrance hall having ‘a delicately vaulted plaster ceiling’ but alas, no evidence of this now survives, in consequence of the lodge being long neglected. The house itself, having survived until the early 1970s, was subsequently demolished.



Not Long for This World



Unlikely to last much longer: a ruined tower house in County Tipperary known as Knigh Castle. The north-west portion of this four-storey building survives best, but much of the other walls has tumbled down, exposing the interior with its barrel-vaulted roof on the first floor. Despite occupying a prominent position on high ground beside a crossroads, little is known of Knigh Castle, and soon it threatens to become no more than a memory.


A Death on Main Street



Portarlington, County Laois has featured here on a couple of previous occasions (see A Boarded Up Boarding School « The Irish Aesthete and On the Market « The Irish Aesthete). In both instances, astonishment was expressed that so many historic buildings in what could be a jewel of a town – and a magnet for tourism in Ireland’s Midlands – were being left to fall into ruin. In Andrew Tierney’s 2019 guide to Central Leinster, Portarlington is politely described as ‘once elegant’, thereby only gently suggesting the place’s chronic decay and shabbiness. As mentioned previously, the town takes its name from Sir Henry Bennett, Baron Arlington, who was granted land here in 1667 by Charles II and created a settlement on his property. However, it was only at the end of the 17th century, after Portarlington had passed into the hands of Henri de Massue, second Marquis de Ruvigny (subsequently Baron Portarlington and Earl of Galway) that the town really began to prosper. The marquis was a Huguenot and, like many other members of his faith, had fled France after the Revocation of the Edict of Nantes in 1685. Spending much time in this country, he encouraged his co-religious to move to Portarlington, which soon became an important centre, not just for trade, but also for education; a considerable number of schools were established in houses around the town. However, the schools have long-since gone, and so too has all evidence of the town’s prosperity. 





Today’s pictures show the former Rectory on Portarlington’s Main Street. Although a considerable part of the town’s population in the 18th century was Huguenot, the Church of Ireland also had a presence here, as evidenced by this building, constructed around 1780, although somewhat altered a century later. Of five bays and two storeys over basement, its significance is indicated by the fact that the house has been slightly set back from the road, the door approached by a flight of stone steps. At some date, either late 19th or early 20th century, a small pavilion or kios, was erected in front of and linked to the southern part of the building. In due course, the rectory was used as offices while the kiosk served as a local branch of Allied Irish Bank, until it was closed down in October 2012. Since then, it would seem that the entire site has sat empty and left to fall into its present state of appalling dereliction; part of the rear of the old rectory has collapsed, its condition not helped by the demolition of the adjacent building to the immediate north. Last year, the former rectory was placed on the derelict sites list and this may have been responsible for the owners,  a County Monaghan-based development company, to apply for conversion of the property into a series of flats, with the additional construction of a three-storey block to the rear. On the other hand, the same company was previously granted permission for almost the same conversion in June 2019, and since then things have only grown worse. A death of Main Street: this is a sad state of affairs, but one now typical of Irish cities and towns in the 21st century. 


In Urgent Need of Treatment

In February 2021, The Anglo-Celt carried an article stating that the owners of the former St Felim’s Hospital were concerned about the safety of vandals who had broken into the property and caused damage there. Built in 1841-42, St Felim’s was one of the first workhouses constructed in Ireland by George Wilkinson, and the largest such institution in Ulster, its Tudor-Gothic design typical of the architect. Following the establishment of the Irish Free State, the property was designated as Cavan County Hospital, renamed St Felim’s in 1954. It ceased to operate as a hospital in 2003 and then sat empty and deteriorating for the next 16 years, until put up for auction by the HSE in 2019. In November of that year, the present owners, Pepino Place, a company owned by Paul Elliott from Cavan-based firm Elliott Properties Ltd Construction, bought the buildings on an 11.32 acre site: it had been listed on the market for a sum in excess of €200,000. Since then, aside from assault by the aforementioned vandals, not a lot appears to have happened here and the old hospital, despite being listed for protection, has fallen into further disrepair; yet another instance of our architectural heritage being at critical risk of disappearing forever. 

Still Standing



The towering remains of Belgooly Mill, County Cork. A smaller operation was built here in the early 1820s by one Thomas Jennings and served as a starch mill and vinegar distillery. In 1832, a flour miller called Peter Downing constructed g a new six-storey boulting mill, capable of producing 15,000 bags of flour annually, at a cost of £7,000: this is what can be seen here. In 1872, the recently-established South of Ireland and County Cork Distillery Company took a lease on the premises and converted them into a whiskey distillery, but just a decade later this business went into liquidation. The distillery’s copper fittings were all stripped out and the mill left empty, although parts of it were used by the local residents for various community purposes. But during the first decades of the last century, the buildings gradually declined and in 1941 they were stripped of all saleable materials – slates, flooring, beams and the like – and left a shell. The Irish Army was then invited to demolish the six-storey grain store using explosives, but despite several attempts to do so, it remained standing, as it still does today.


In the Summer Time


Summerhill, County Meath has featured here before (see My Name is Ozymandias « The Irish Aesthete)  and is well-known as one of Ireland’s great lost country houses. But its namesake in County Mayo is probably less familiar to readers, although its striking remains are hard to miss when travelling through that part of the island. This second Summerhill was built and occupied by a branch of the Palmer family, which has also featured here (see Lackin’ a Roof « The Irish Aesthete). According to Burke’s Landed Gentry of 1846, ‘This family, long settled in Co Mayo, derives from a common ancestor with the Palmers of Palmerstown and Rush House, and is presumed to have been originally from Kent.’ By the second half of the 18th century, the Palmers owned a number of estates in north Mayo, Summerhill being one of them. 





Summerhill may have been built by Thomas Palmer, who died in 1757, or perhaps by his son, also called Thomas (as were successive generations of this branch of the family), meaning it was likely constructed around the mid-18th century. In 1798 the property was let to one John Bourke who, in August, following the landing nearby of a French force under General Humbert, organised to have the house secured. This proved a wise precaution as a number of other such properties in the area, including Castlereagh, seat of Arthur Knox, and Castle Lacken, owned by Sir John Palmer, were attacked and pillaged by a mob. Bourke’s home found itself under siege by the same band until a French officer based in Killala, Col Armand Charost, despatched a number of his troops, as was later reported, ‘to Summerhill to appease the mob, and another party of men to Castlereagh to save what remained of the provisions and liquors. The appearance of the emissaries ended the siege at Mr. Bourke’s house; but the Castlereagh party, which consisted entirely of natives, could think of no better expedient for preserving the spirits from the thirsty bandits that coveted them than by concealing as much as they could in their own stomachs. The consequence was that they returned to Killala uproariously drunk. As for Castle Lacken, it was completely gutted, and the occupant and his large family were driven out to seek shelter as best they could find it.’ Within a few years of these events, the Palmers were back in residence at Summerhill, and recorded as living there by Samuel Lewis in 1837 and also by Burke in his 1846 guide to landed gentry. However, in the second half of the 19th century, the property was sold to the McCormack family, who remained there until c.1929 when what remained of the estate, running to some 296 acres, was broken up by the Land Commission and the house subsequently abandoned. 





In his 1978 Guide to Irish Country Houses, Mark Bence-Jones noted certain stylistic similarities between Summerhill and Summergrove, County Laois (see A Gem « The Irish Aesthete). Both houses are of five bays and two storeys over raised basement, with the central pedimented breakfront single bay featuring a doorcase reached by a flight of steps and flanked by sidelights below a first-floor Venetian window. Summerhill’s facade has an oculus within the pediment, whereas Summergrove has a Diocletian window, but certainly the two buildings share many features. However, whereas the latter still stands and is in good condition, the latter is now a roofless shell: photographs from just a few decades ago show the majority of slates still in place, but the house is now open to the elements. When Bence-Jones visited, the interiors were still reasonably intact: he included a photograph of ceiling stuccowork, describing it as ‘in a simple and somewhat primitive rococo, complete with the odd rather amateurishly-moulded  bird.’ All now gone, as can be seen, and inside the house nothing left but bits of timber and plaster.  

Sic Transit Gloria Mundi




The scant remains of Lixnaw Court, County Kerry. From the mid-13th to the late 18th century, this was a seat of the FitzMaurices, Barons Kerry. In 1723 the 21st Baron, Thomas FitzMaurice, was created first Earl of Kerry: 30 years earlier, he had married Anne Petty, only daughter of Sir William Petty. The earl was a proud and arrogant man: according to his grandson, the first Earl of Shelburne, he ‘did not want the manners of the country nor the habits of his family to make him a tyrant. He was so by nature. He was the most severe character which can be imagined, obstinate and inflexible…His children did not love him, but dreaded him; his servants the same.’ This provincial plutocrat transformed Lixnaw where, wrote his younger son John FitzMaurice, he spent ‘great sums building and furnishing a very large mansion-house’ along with making many other improvements in the gardens and demesne. However, all his work had started to fall into decay even before the end of the century thanks to the disinterest and extravagance of the third Earl of Kerry. Following the latter’s death in 1818, what remained of the estate was inherited by a cousin, Henry Petty-FitzMaurice, third Marquess of Lansdowne, whose Kerry base was in the south of the county. In consequence, the once splendid house and gardens at Lixnaw were left to moulder, as can be seen in Cornelius Varley’s painting of 1842. Today, a few outer walls survive and, in the surrounding countryside, evidence of the first earl’s great landscaping enterprises, not least a long canal which would once have been a feature of the formal Baroque garden.



Neglecting History


The background to the appearance of workhouses around Ireland in the 19th century has been discussed here before (see Silent Witness « The Irish Aesthete). In total, 163 such institutions were constructed, one of them on a six-acre site to the immediate south of Tipperary town. Overseen by a Board of Guardians, in November 1839 a Poor Law Union had been established in this part of the country and the workhouse soon followed; built of limestone in a loosely Tudorbethan manner and at a cost of £6,240 plus a further £1,110 for fixtures and fittings, it received the first occupants in July 1841. As was the case with all other such properties, this one was designed by the Poor Laws Commissioners’ architect George Wilkinson and intended to provide places for 700 persons. Inevitably, with the advent of the Great Famine in 1845, that figure was greatly exceeded; by the end of the famine period, there were four times as many occupants, this severe overcrowding leading to many deaths from diseases such as typhus. A graveyard was opened in August 1847 to provide burial sites for those who had died in the workhouse. Subsequently additions were made to the site, with a long, two-storey wing running behind the austere three-storey entrance/admissions block, the former concluding in a chapel, constructed in 1871. 





By the start of the present century, much of the former workhouse in Tipperary had fallen into  disrepair, although part of it had been converted into commercial premises (and this remains the case today). In 2000, the Tipperary hostel project, a community-based project, embarked on the transformation of the building into self-catering accommodation for tourists. The project successfully secured support and finance from a number of agencies, most notably FÁS, a state-funded training agency intended to encourage employment. Upon completion, the facility was expected to operate primarily as a local community-based hostel under community and voluntary management. The income generated from this enterprise was expected to finance further educational and training work in the fields of traditional trades and crafts, not least by hosting residential workshops. However, while the project was supposed to be completed in four or five years, in 2010 it transpired that while almost €4 million had been provided in state funding, the job remained unfinished and further finance had been suspended. Three years later, in December 2013, the Irish Independent reported that a police investigation had been launched into ‘how a derelict pre-famine workhouse, which was to be refurbished into a modern hostel in a Fas-run project, remains rundown despite almost €5m of public funds being spent on the project’, with only room on the site completed. Furthermore, ‘several of the 23 workers who were supposed to be working on the site of the former workhouse ended up working in 62 other locations, including local GAA and tennis clubs as well as community halls and other local amenities. Twenty private dwellings were also renovated.’ Work on the project had already been halted and was not resumed.





Following this debacle, responsibility for the Tipperary workhouse passed to the local authority, which appears to have done nothing to ensure the building’s future or to secure it against incursion: in March 2018 the site suffered a bad arson attack which left large sections of the roof exposed to the elements, but no repairs were undertaken, leading to further deterioration. Meanwhile, most of the windows were broken and also left unrepaired. Then in February 2019 it emerged that the county council was attempting to sell the workhouse, although it seems there were no offers made for the place, or at least none sufficiently satisfactory for the place to change hands. Instead, it was left to fall into the present condition. This is how the workhouse now looks, abandoned and neglected, with little evidence that just over 20 years ago the plan was that it would become an important tourist asset for Tipperary, bringing visitors to the area, providing employment for residents, improving the local economy. Instead, it has become another broken-down building, an eyesore instead of an asset. This isn’t an unusual story in Ireland. Indeed, there’s hardly a town around the country that doesn’t have a substantial property, too often owned by either a national or local authority, or a state body, which has enormous potential but has been allowed to fall into a ruinous condition. Once again, this is how we choose to treat our architectural heritage. 

New Ruins


‘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)…’





‘…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. 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…’





‘…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.’


Extracts from Pleasure of Ruins by Rose Macaulay (1953). Photographs show Ballymorris, County Laois, a house believed to date from c.1760 and which appears to have been occupied until some 15 years ago but has since fallen into its present sad condition.