Tag Archives: Historic Interiors

All Ornament should Consist of Enrichment


In October 1962 Pope John XXIII opened the Second Vatican Council, summoned in order to initiate aggiornamento (or modernisation) within the Roman Catholic Church. One of the council’s decisions concerned the manner in which religious services were held. During mass, for example, the clergy were to use the local vernacular instead of Latin and the celebrant was to face members of the congregation, rather than have his back to them, the overall intention being to encourage greater engagement by laity with what was taking place. In Ireland, many bishops and priests saw these changes as an opportunity to ‘re-order’ their own churches, mainly by stripping out the old features to leave bare interiors. These acts of philistine desecration were supposedly undertaken in order to comply with new liturgical procedures instigated in the aftermath of the Second Vatican Council, although strangely enough the same brutal approach was not undertaken in other countries, where churches were allowed to retain their historical interiors. One of the worst examples of this iconoclastic treatment occurred in 1973 in St Mary’s Cathedral, Killarney Cathedral, where the then-bishop, Eamonn Casey, tore out almost all the building’s decorative features, leaving just bare stone walls. (see An Act of Desecration « The Irish Aesthete) Killarney Cathedral had originally been designed by Augustua Welby Pugin, as was St Aidan’s Cathedral in Enniscorthy, County Wexford.





Augustus Welby Pugin was born in London in 1812, the son of a French father and an English mother. In 1834 he converted to Roman Catholicism, a reflection not just of his religious faith but also of his passionate interest in the mediaeval Gothic style. While Gothic architecture had come back into fashion in certain quarters during the previous century, it was very much in a bastardised form: Pugin’s lifelong crusade was to encourage a revival of Gothic in its original form, uninfluenced by later architectural movements. While most famous for his work on the Houses of Parliament in London, inevitably much of his work involved building churches, some of them in this country. Pugin’s most important patron was John Talbot, 16th Earl of Shrewsbury, for whom he worked at Alton Towers in Staffordshire. Lord Shrewsbury, an ardent Roman Catholic, numbered among his other titles that of Earl of Waterford, and his father-in-law, William Talbot, lived at Castle Talbot, County Wexford, meaning he had many connections in Ireland; these proved advantageous to Pugin, many of whose commissions in this country were for churches in the Wexford area, not least St Aidan’s, Enniscorthy. Unlike a number of architects who received commissions here during the 18th century, Pugin did not design from afar but visited Ireland on several occasions, although he never stayed very long: among other things, he found the link between Roman Catholicism and national identity difficult to appreciate, since such an association did not exist in England. But he was impressed by the fervour of Irish believers, and the preparedness of even those who had least to contribute to the construction of new churches in the post-Penal Law era. St Aidan’s was one of those churches. It replaced an older and smaller thatched building and, located on a site high above the river Slaney and overlooking the town (including the Church of Ireland place of worship) was intended to celebrate the Catholicism triumphant. Construction began in 1843 and three years later the first mass was said in the completed chancel and transepts; in 1849 the nave was finished, allowing the older cathedral to be demolished. Aged only 40, Pugin died in 1852 and never saw the work completed, having come into conflict with the local bishop who, he wrote ‘has blocked up the choir, stuck the altars under the tower!! and the whole building is in the most painful state of filth; the sacrarium is full of rubbish, and it could hardly have been worse if it had fallen into the hands of the Hottentots.’





St Aidan’s was left incomplete for some years after Pugin’s death but eventually another architect, J.J. McCarthy finished the work, presumably in 1860 when the cathedral was officially dedicated. Built of granite blocks (including some which came from an old Franciscan friary), the building was modelled on the ruins of Tintern Abbey in Wales: St Aidan’s is a three-quarter size version of the church there, and is similarly long and narrow, not least owing to the nature of the site in Enniscorthy, with the land dropping steeply to the river on one side. The cramped site also dictated that St Aidan’s runs north-south, rather than the customary east-west, its chancel is one bay shorter than that at Tintern, and there are no chapels on the transept. The other significant difference is that the mediaeval abbey’s tower had long since collapsed, so Pugin had to imagine what it might have looked like when he designed St Aidan’s.The tower was built in 1850 and then a spire added in 1871-72, but the weight of the latter was too great and, lest it bring the whole thing down, both tower and spire were dismantled and rebuilt. Problems with damp meant there was a programme of restoration over the years 1936-45 and it was only in 1946, 100 years after the first service had been held on the site and with the final clearance of all debt, that St Aidan’s was solemnly consecrated as a cathedral in . Then came the aftermath of the Second Vatican Council which in 1970 led to a ‘re-ordering’ of St Aidan’s, with many of the interior furnishings removed and the walls covered in white paint. Fortunately, in 1994 a programme of necessary repairs led to the building’s interior being brought back as close as possible to how it was originally imagined by Pugin. The old reredos, nine Caen-stone panels showing scenes of sacrifice from the Old Testament, was reinstated, as was the tabernacle and its spired canopy, along with the elaborately carved oak pulpit and bishop’s throne. As much of the original patterned tile floor as possible was put back and on the walls, the former stencilled decoration was recreated, using paint scrapings and earlier photographs. In his book The True Principles of Pointed or Christian Architecture (1841), Pugin stated that ‘all ornament should consist of enrichment of the essential construction of the building.’ Today that is thankfully true of St Aidan’s, Enniscorthy. 

A Survivor and a Loss


Some weeks ago, the sad present state of a Penal-era Roman Catholic chapel in County Cavan was featured here (see A Sorrowful Sight « The Irish Aesthete). Here is another such building, thankfully this one in much better condition. St James’s in Grange, County Louth dates from 1762, meaning that this year marks its 260th anniversary. It is likely that when first erected, the chapel consisted simply of one long hall running north to south, with separate entrances for men and women at either end, and an altar in the middle of the east wall, as at Holy Trinity in Kildoagh At the start of the 19th century, extensions were made to west and east, the former running back to create a third arm and convert the building into the typical T-plan form, while a belfry tower was built at the centre of the eastern side incorporating a sacristy. It has been proposed that the original chapel was designed by a local architect and builder called Thaddeus Gallagher whose son James emigrated to the United States where he changed his surname to Gallier and enjoyed a successful architectural career in New Orleans; in his autobiography of 1864 he claimed to have re-roofed the chapel at Grange around 1818, which is likely when the other alterations were made.





The interior of the chapel still retains much of its original character. At the end of each arm are panelled timber galleries, although that in the western, later section has taller panels with a slightly different frieze below (compare the first and last pictures above). Each gallery is supported by elaborate plaster brackets at either end, and a pair of columns with Ionic capitals that reflect the building’s location by incorporating scallop shells suspended from strings of beads. The interior is lit by tall, round-headed windows with their Georgian glazing and there are charming fanlights over the two porch doors. At some date in the post-Vatican II era, the sacristy behind the altar was opened to create a new sanctuary space. The present arrangement there, with the end wall featuring an aedicule and Ionic columns, appears to incorporate at least elements of the former design.





Just a few miles away from Grange stands another old Catholic chapel, but this one is poor repair. It is located in a townland called Lordship, its title derived from the pre-Reformation period when this part of the country was owned by the Lord Abbot of Mellifont. The chapel forms one element of what seems to have been a group of buildings, including a national school and another property (today in use as a creche). Some time ago the old national school was converted into a local credit union: Irish readers may remember it was here that Detective Garda Adrian Donohoe was fatally shot during an armed robbery almost exactly nine years ago. There is little information available about this disused chapel, but apparently it was on the site of a place of Catholic worship during the penal era. Today it stands abandoned and derelict.

A Light Hand



Home since 1870 to the Royal Irish Academy of Music, No.36 Westland Row, Dublin was originally  built by Nicholas Tench in 1771 and nine years later leased to Sir Samuel Bradstreet, lawyer and politician: it is thought that the house’s decorative scheme dates from around this time. The neoclassical plasterwork in the main reception rooms is very fine and has been tentatively attributed by Conor Lucey to stuccodore Michael Stapleton, drawing on designs made by Thomas Penrose, architect and Inspector of Civil Buildings for the Board of Works: Penrose also acted as agent for the English architect James Wyatt who had many clients in Ireland. These photographs show some of the plasterwork in a ground floor room adjacent to the entrance hall, and include a series of grisaille medallions with classical figures painted by an unknown hand.


Prize Winning



This weekend, it is announced that the latest recipient of the Historic Houses of Ireland/O’Flynn Group Heritage Prize is Clonalis, County Roscommon. Today home to the 27th generation of the O’Conor family since their forebear was the last High King of Ireland in the 12th century, the present house at Clonalis dates from the late 1870s but occupies a site associated with the O’Conors for hundreds of years, and is filled with historic material linking them with significant events in this country. The library, for example, contains over 7,000 volumes and is one of the finest such collections in Ireland.
The Historic Houses of Ireland/O’Flynn Group Heritage Prize is an initiative devised by the Irish Aesthete to acknowledge the importance of our privately-owned heritage properties and to recognise the invaluable work by their owners. For this reason, the prize is being presented in association with Historic Houses of Ireland, a charity established in 2008 to promote the immediate and long-term future of the country’s privately owned historic properties. All HHI members are owners of such buildings and they understand better than anyone the sector’s particular problems, especially over the past year. Worth €5,000 and adjudicated by a small group of assessors, the prize is generously sponsored by the O’Flynn Group has already shown itself keenly aware of the importance of providing a viable future for historic buildings, as can be seen in the company’s own redevelopment of the early 19th century former barracks site in Ballincollig, County Cork. The Irish Aesthete congratulates Clonalis and its owners on being very worthy recipients of the prize. 


Greater than Buckingham Palace


In the second volume of his magisterial life of W.B. Yeats, Roy Foster records a visit made by the poet to Markree Castle, County Sligo in late summer 1929. The house was then owned by Bryan Cooper, sometime poet and playwright, and for the previous six years a T.D. in Dáil Éireann. According to Foster, the visit was not altogether a success. Peter Cooper, one of his host’s sons, remembered it as ‘a great nuisance…he was deposited by his long-suffering wife, with instructions not to let him go out in the wet grass in his slippers, and she then disappeared off to Galway with the children.’ Bryan Cooper’s daughter Ursula was, it appears, equally not impressed when Yeats read her a poem he had just written. On the other hand, Bryan Cooper’s wife Lillian was delighted to hear from the poet that he had ‘realised the ambition of my life…as we have always looked on the Coopers and Markree Castle as greater than the Royal Family and Buckingham Palace.’ 





The first of the Coopers to live in Ireland is said to have been an English soldier who married the famous Máire Rua O’Brien after her second husband Conor O’Brien of Leamaneh Castle, County Clare was killed in 1651. Eight years later, Charles II granted Cooper land in County Sligo which had previously belonged to the McDonagh clan; it was based around a fort guarding a pass on the river Unsin, and this remains the site of Markree Castle. At some point in the 18th century, a classical house was constructed here, of three storeys with a five-bay entrance front (with three-bay breakfront) and the garden side with a single bay on either side of a curved bow. However, in 1802 Joshua Cooper commissioned Francis Johnston to transform the building into a castle. At that time Markree was also greatly enlarged, what had been the main facade extended to more than twice its original length and centred on a curved and battlemented tower; this now become – as it remains – the garden front. The entrance was now moved to an adjacent side, to which Johnston added a porch, while elsewhere an office wing was constructed, joined to the rest by a canted link. Further changes were made by Joshua Cooper’s nephew and heir, Edward Joshua Cooper, a keen astronomer who built an observatory in the demesne. Inside the castle, London architect Joseph Gwilt transformed the office wing into a private gothic chapel. Gwilt was also responsible for redecorating the interiors of the rooms overlooking the garden, in what Mark Bence-Jones described as ‘an ornate Louis Quatorze style; with much gilding and well-fed putti in high relief supporting cartouches and trailing swags of flowers and fruits.’ (These spaces are now used as dining rooms). In the mid-1860s, the next generation to live here, Colonel Edward Henry Cooper, initiated further changes, this time employing James Maitland Wardrop who gave the exterior its present heavily fortified appearance. The entrance was moved once more with the construction of a vast porte – cochère (with billiard room directly above). Inside, a baronial stone staircase leads up to the reception rooms and here a second Imperial staircase in oak, lit by a great arched window filled with heraldic stained glass with portraits of members of the Cooper family and monarchs, leads to a top-lit gallery off which open the main bedrooms. Francis Johnston’s former entrance was turned into a long gallery divided by pairs of marble Ionic columns.





The history of Markree Castle for much of the last century was one of seemingly irreversible decline, personified by the fact that in 1988 it was used for the filming of a television series based on J.G. Farrell’s novel Troubles, and that same year its staircase hall featured on the cover of Vanishing Country Houses of Ireland. Until the last quarter of the 19th century, the castle had stood at the centre of an estate running to more than 42,000 acres, but most of this was sold by Bryan Cooper under the new land acts after he inherited the property from his grandfather in 1902. He then spent much of his time in Dublin, especially in later years so that Markree became only occupied during the summer months. When Bryan Cooper died in 1930, his eldest son Edward Francis Patrick Cooper was left the place; he and his family lived there until 1952 when it became impossible for them to maintain such a large house. As a result, many of the original contents were auctioned, and the Coopers moved into the old service wing, leaving the rest of the building empty. In the early 1980s, Markree was passed to the next generation but the eldest son, Edward, did not wish to live in the house, and eventually it was taken over by his younger brother Charles who had trained in hotel management and therefore decided to turn the castle, by now in very bad condition, into an hotel. He and his wife Mary embarked on a programme of restoration and ran the business until 2014 when, wishing to retire, they put Markree Castle on the market. The following year it was bought by the Corscadden family who already owned a number of other hotels located in historic properties and, after further refurbishment, the castle has been open to guests ever since.

Charmingly Quirky


In The Beauties of Ireland (1826), James Norris Brewer explains the name of Busherstown, County Offaly as follows: ‘Busherstown, the seat of the Minchin family, was originally called Bouchardstown, and formerly belonged to the de Mariscos. Bouchard de Marisco, from whom the name of this place is derived, left a daughter and heir, who married O’Carroll, of Clonlisk and Couloge…’ The accuracy of this tale might be open to question, since it seems hard to find any de Marisco with the first name Bouchard. There certainly were members of the family prominent in this part of the country, not least Geoffrey de Marisco, an ally of King John who in the first half of the 13th century was Justiciar of Ireland on several occasions: through his wife, Eva de Bermingham, he came to hold large swathes of land in this part of the country. 





Whatever the origins of its name, Busherstown appears to have originated as a tower house perhaps in the 16th century when it was held by the O’Carrolls: the space now serving as a dining room in the centre of the western side of the building was probably the tower house. For their part in the Confederate Wars of the 1640s, the O’Carrolls forfeited the property and in 1669 it was granted by the English government to Charles Minchin, a soldier who had risen to the rank of Colonel in the Parliamentary army. Shortly before his death in 1681, Colonel Minchin bought a second property not far away, Ballinakill Castle, County Tipperary which had also begun as a tower house, this time built by the Butlers. The Minchins sold Ballinakill in 1760 and it is now a ruin, but they remained at Busherstown until 1973. 





As mentioned, Busherstown appears to have originated as a tower house and at some date in the 18th century, perhaps following a fire in 1764, a new residence was added to the south end of the older building. This plain, three-bay, two-storey extension is clearly visible, the centre breakfront presumably once serving as an entrance; the room behind is much smaller than those on either side, indicating it was a hallway giving access to reception rooms. In the early 19th century, when the property was owned by George Minchin, further alterations to the property were made, not least the addition of a castellated entrance front, which was now moved to the west side. This features a round tower with hood mouldings at one end, and a bow-ended square tower at the other, the latter containing a porch through which one enters the building. Internally, little effort was made to continue the facade’s pseudo-Gothic decoration. What had probably been a dining room in the 18th century house was turned into a large hall, with the room behind it (formerly the entrance hall) becoming an ante chamber for the drawing room beyond. Behind this space is a curious wedge, thinner at the west than the east end, into which was inserted a staircase leading to bedrooms upstairs; a further extension beyond to the west leads gives access to a splendid stableyard. The quirky, provincial character of Busherstown means the house possesses an exceptional charm, helped by the mature and well-planted parkland in which it sits. After being sold by Richard Minchin in 1973, the property was owned by the Rudd family until they in turn disposed of Busherstown in 2011 after which it sat empty for some years until being bought more recently by the present owner who is gradually, and sympathetically, restoring the house.

Worth Emulating


Eighteen years ago this week, the contents of Lissadell, County Sligo were sold at auction by Christie’s. The house was once family home to Constance Gore-Booth (otherwise known as Countess Markievicz), a key participants in the Easter Rising, the first woman to be elected to the Westminster Parliament (although she declined to take her seat there), and subsequently the first woman in the world to hold a cabinet position, an intimate of W.B. Yeats and many other notable figures in Ireland’s cultural revolution at the start of the last century. Understandably, therefore, news that both the building and its contents were to be sold met with widespread dismay, and hopes were expressed that the state might intervene to save this part of the national heritage. However, as so often before and since, no such intervention occurred and the sale took place. Thankfully, the new owners of the Lissadell estate succeeded in buying back at least some of the items offered at auction, and they remain in the house, but much was lost, unlikely ever to return. 







Lissadell is a large and somewhat austere building, designed by the architect Francis Goodwin in 1831 for Sir Robert Gore-Booth, whose family had lived in the area since the early 17th century. There had been an earlier residence closer to the Atlantic shoreline, but this was demolished when the new house was built. Lissadell’s pared-back Greek-Revival style reflects not just its owner’s taste, but also his budget: he may well have preferred something more opulent but lacked the necessary funds. When Goodwin published Domestic Architecture (1833-4) he featured Lissadell and noted that the house ‘has been erected for less than the estimate, by a considerable sum.’ In a footnote to the text, he observed how, ‘in altering the original designs, with a view of reducing the expense to a comparatively moderate sum, considering the extent and accommodation of the building, the author has been much indebted to the judicious hints of Sir R. G. Booth himself.’ In other words, the client told his architect to cut back on costs. Of two storeys over basement, Lissadell’s exterior is constructed in crisp Ballysadare limestone, with each side of the house different, although both those facing east and west have projecting bays at either end. What might be described as the garden front has a three-bay full-height bow, topped with a parapet that rises above those on either side, while the entrance front is notable for a towering three bay projection that serves as a porte-cochère. The interior of the building is decorated in what might be described as an early example of minimalism, beginning with the double-height entrance hall with Doric columns on the ground floor and Ionic columns above, accessed via an Imperial staircase in Kilkenny marble. A similarly substantial, apse-ended and top-lit gallery likewise exudes a sense of severe grandiosity,  with Doric pilasters on one side and Ionic columns on the other. Sir Robert’s desire to save money where possible led him to introduce what was then something of a technological innovation: gas lighting. A local report from the 1830s recorded that this saved the house’s owner £60 or £70 annually. Seven of these lacquered brass gasoliers made for Lissadell were almost lost when the 2003 sale took place, but thanks to legal action taken by An Taisce (which argued the items were furniture and fittings integral to the building) they remain in situ, together with the gallery’s George III chamber organ which was also originally due to be auctioned. 







One of the key losses from Lissadell at the time of the November 2003 sale was the collection of furniture specifically commissioned by Sir Robert for his new residence. Dating from the 1830s, these pieces were representative of taste in Ireland at the time and were believed to have been made by the successful Dublin firm of Williams & Gibton. Until the auction, Lissadell was the only house in Ireland to retain its original furniture by this company, so their dispersal was much to be regretted. Their importance can be gauged by the fact that most of the lots exceeded their estimates: a rosewood writing table, for example, which was expected to make €8,000-€10,000, fetched €19,000. In the dining room, a set of 17 mahogany chairs (€12,000-€18,000) fetched €22,000 and the dining table itself (€30,000-€50,000) went for €65,000. Bidding against other potential purchasers, Lissadell’s new owners managed to buy some pieces, such as a pair of handsome mahogany Grecian-style bookcases clearly inspired by the work of Thomas Hope and, again in the dining room, a sturdy mahogany sideboard. But many of the contents, first installed some 170 years earlier, now left for good and not just the Williams & Gibton furniture. There were, for example, a number of fine 17th century Italian baroque paintings, many in spectacular gilt frames, which had been acquired for the rooms by Sir Robert Gore-Booth. And then there were all the miscellaneous objects that build up in any house over generations, from sets of copper jelly moulds to discarded furnishings such as old curtains. These, as much as the more valuable pieces, are what tell the history of a building, and when they are gone, part of that history disappears forever. Thankfully, since acquiring Lissadell, the present owners have undertaken a huge amount of work, not only to restore the house but also to reinstate its distinctive character. They have done so using their own financial resources, and despite setbacks that might have deterred anyone else. In 2008, for example, Sligo County Council embarked on a court case over public rights of way across the estate, a case which the local authority ultimately lost but only after spending millions of euro from the public purse. There is, of course, more to be done but Lissadell today is a model of private enterprise in the field of Ireland’s cultural heritage, one that one must hope some of the country’s more wealthy citizens might care to emulate. 

Visiting the Shrine



Readers from outside Ireland may not be familiar with Patrick Pearse, one of the key figures in the Easter Rising of 1916, the aftermath of which led to the War of Independence. Born in Dublin in 1879, from an early age Pearse was an ardent advocate for Irish freedom, and arising from this he became what might be described as a cultural nationalist, believing that the Irish language, its preservation and promulgation, were an integral part of ensuring this country’s identity. Although he qualified as a barrister, he soon found a more natural outlet for his beliefs in education, recognising – as had the Jesuit order before him – that the best way to spread his ideas was in the classroom. He also thought the existing education system, imported from England, extremely damaging for the development of the young, calling it ‘the murder machine.’ So, in 1908 he bought an 18th century property called Cullenswood House for £370. Located in the Dublin suburb of Ranelagh, Pearse wrote of the property, ‘It is a pleasant thing to be houses in one of the noble old Georgian mansions of Dublin, with an old garden full of fruit-trees under out windows and a hedgerow of old elms, sycamores and beeches as the distant boundary of our playing field.’ Here he now opened a bi-lingual secondary school for boys, St Enda’s (Scoil Éanna) which, despite his lack of business and managerial acumen, flourished. So much so that after two years, he decided the time had come to move to larger premises and to this end in 1910 he bought another Georgian building further removed from the city and surrounded by more land. This was the Hermitage in Rathfarnham. 





The Hermitage dates from the last quarter of the 18th century when it was built as a country retreat by Dublin dentist Edward Hudson. Dr Hudson has featured here before, since he was also responsible for developing the core of what is now Glenville Park, County Cork (see A Life’s Work in Ireland « The Irish Aesthete). Evidently, although his profession was then in its infancy, dentistry paid well because this particular practitioner had a house in the centre of Dublin as well. In April 1786 he bought from Thomas Conolly of Castletown, County Kildare a piece of land in Rathfarnham hitherto known as the Fields of Odin. Dr Hudson’s romantically-tinged antiquarian interests, fashionable at the time, are reflected in a number of follies he erected in the landscaped grounds of the house, including a rusticated Druid’s Cave and a Gothic watchtower. There is, however, nothing romantic about the house itself, which was designed – by an unknown architect – in the severest neo-classical style and all encased in crisp granite. Of three storeys over basement, the facade is dominated by four giant tetrastyle Doric columns supporting a portico, and approached by a flight of steps. There is absolutely no extraneous detailing permitted, everything is kept to a minimum. Inside the house, none of the main block’s reception rooms is especially large, and once again the decoration is austere with little surface ornament anywhere other than a pair of plaster pilasters topped by urns in what was formerly the study. The varying style of chimneypieces throughout the house reflect the fact that it changed hands on a number of occasions in the 19th century. There are larger spaces to the rear of the building, including a dormitory which appears to have been added soon after the Hermitage was acquired by Pearse and may have been designed by part-time architect Joseph Holloway. A corridor to one side of this room, via a flight of steps, to the biggest space in the house, used while it was a school as a study hall. When this was constructed is unclear: a single-storey extension to one side of the house, it looks as though originally serving as a ballroom, but surprisingly – given the significance of the property in Irish history – information on the architectural  evolution of the Hermitage appears relatively scant. 





As previously mentioned, in 1910 Pearse moved to the Hermitage, now renamed, like its predecessor, St Enda’s. Here he lived with members of his family, not least his younger brother William, a rather under-appreciated sculptor. Unfortunately, the new St Enda’s did not emulate the success of the earlier school, being too far from the city centre for many day pupils, while not enough boys were registered as boarders. In addition, Pearse decided to turn Cullenswood House, his previous premises, into an equivalent girls’ school, called St Ita’s; this only lasted a couple of years before closing in 1912. As a result of its founder’s idealism outstripping his practical skills, St Enda’s thereafter constantly teetered on the brink of financial disaster. It did not help that during this period, Pearse became increasingly involved with the Irish Republican Brotherhood, leaving him less time with managing the school. Somehow, it continued until the Easter Rising – in which a large number of former pupils participated – after which, and following the execution of both Patrick and William Pearse, St Enda’s closed. However, later that year it reopened back in Cullenswood House and then, thanks to financial support particularly from the United States, returned to Rathfarnham in 1919, with the building subsequently bought on behalf of the Pearse brothers’ mother, Margaret. After her death in 1932, the school continued to operate for another three years but then closed for good, although Mrs Pearse’s daughter, also called Margaret, remained living on the site until her death in 1968 when the building and grounds were bequeathed to the state. Open to the public, today St Enda’s is a shrine to the memory of Patrick Pearse.


Generational Changes



In the late 19th century, and following the flotation of their brewing business on the London Stock Exchange, the Guinness family became enormously wealthy, allowing them to build, or enlarge, private residences for themselves around the outskirts of Dublin. One of these was Farmleigh, acquired by Edward Guinness (later first Earl of Iveagh) which incorporates an earlier building but was given much of its present appearance in the early 1880s by the ubiquitous James Franklin Fuller (although the ballroom and conservatory were both added later and designed by other architects). Farmleigh very much reflects the neo-Georgian luxe taste of the period and contrasts sharply with another house formerly owned by the family, Glenmaroon. This was bought at the start of the last century by one of Lord Iveagh’s sons, Ernest Guinness, who, although there was already a large building on the site, effectively doubled this in size by commissioning another, the two linked by a bridge across the public road that divided them. Glenmaroon, very much in the Home Counties arts and crafts manner (supposedly to please Ernest Guinness’s English-born wife), contrasts strikingly with the former parental home not far away and reflects changes in decorative taste between one generation and the next.
I shall be discussing both of these properties, and several others, in an online talk given for the Royal Oak Foundation next Tuesday, November 9th. Entitled A Stylish Brew: Great Irish Houses of the Guinness Family, more information about this event can be found at Fall 2021 Online Lectures & Tours – Great Irish Houses of the Guinness Family – The Royal Oak Foundation (royal-oak.org)


Barefoot but Battling


Eighteen years ago, Lissan, County Tyrone featured in a BBC television series called Restoration, in which historic properties were pitted against each other, with one of them receiving a large grant towards ensuring its survival: think of it as a kind of genteel gladiatorial fight. Alas, Lissan was not the winner, but the publicity generated by the house’s appearance helped bring the building – and its somewhat perilous condition – to attention. Until the death of its last occupant, Hazel Radclyffe Dolling, in 2006, the property had been owned by the same family for almost 400 years. Her forebear, Thomas Staples, had moved from outside Bristol to this country in the early part of the 17th century and in 1622 married an heiress called Charity Jones, and six years later he was created a baronet, this hereditary title being inherited by successive generations until the death of the 17th baronet in 2013 when it became extinct. Along the way, there were some eccentric holders, the best-known being Sir Robert Ponsonby Staples who in the late 19th and early 20th century gained a reputation as a fine painter, first exhibiting in the Royal Academy in 1875. As a young man, he was part of the Marlborough House set that gathered around the future Edward VII, then Prince of Wales, but was also associated with London’s influential Grosvenor Gallery, established by a cousin, Sir Coutts Lindsay. Among Sir Robert’s more idiosyncratic traits was his disinclination to wear shoes, believing that these blocked out natural electricity from the earth that was essential for good health. As a result, he became known as the barefoot baronet.





Presumably with the help of his heiress wife’s money, Thomas Staples was able to build the core of what is today’s house at Lissan, although there was already an even older building on the site and much of what we see now dates from later in the century, thanks to the fourth baronet. During the Confederate Wars of the 1640s, Lisan was taken by the O’Quinns, with Lady Staples and her children being held captive first at Moneymore Castle and then at Castlecaulfield where they were kept for two years before being released. The second and third baronets died without children, so eventually it was Sir Thomas’s youngest son Robert who inherited Lissan and became fourth baronet: as though to make up for his elder siblings’ lack of offspring, he and his wife, Mary Vesey, another heiress, had ten children. As mentioned, he was responsible for further embellishing the property so that in 1703 Thomas Ashe could describe it as an ‘extraordinary good stone house; the rooms are very noble, lofty and large.’ At some point in the 18th century the architect Davis Ducart may have been involved in reworking the building (a bridge in the grounds is attributed to him) but subsequent generations of the family left a more decisive mark on the place, not least Sir Nathaniel Staples, tenth baronet who in the 1880s added a rather distended porte-cochère to the entrance front (its outermost section contained a small waiting room for coachmen) and also the bulbous clock tower onto the western side of the house. Seemingly the clock, dating from 1820 and previously gracing the market house in Magherafelt, had been destined for a church until it was instead bought by Sir Nathaniel and installed at Lissan. In 1865 Sir Nathaniel had inherited the house and land from his uncle the ninth baronet, but not the rest of the family property (including the largest house in Dublin’s Merrion Square, now home to the Irish Architectural Archive), thereby leaving the family in somewhat straitened circumstances. Problems grew worse following the tenth baronet’s death in 1899, his heir, Sir John Staples being pronounced insane and spending his life in a number of asylums. Responsibility for the estate passed to the second son, James Head Staples who, to make ends meet, took in boarders while his wife taught cookery and lace-making to women in the area. Responsibility in turn passed to the next brother, the aforementioned barefoot baronet who likewise struggled to keep the place going. 





The entrance hall in Lissan, County Tyrone is dominated by a vast oak staircase ascending the full height of the building. Dating from the 1880s, this is one of the alterations made to the house by Sir Nathaniel Staples, who, having ejected his wife, was living there with a mistress, Mary Potter, daughter of his land agent. Forced to act after rooms directly above the original entrance hall had collapsed, Sir Nathaniel recycled some of the previous staircase’s timber, notably for the balustrades, wood for the rest coming from the estate’s grounds. Once described as having the character ‘of a vast adventure playground’, the result is distinctly odd. Presumably designed by Sir Nathaniel (would any architect wish to claim credit for it?) the staircase takes no account of the space in which it sits, cutting across windows, jutting out in a variety of directions, and sometimes leading to dead ends. It certainly leaves an indelible impression on visitors. 





At some date after 1820 Sir Thomas Staples, ninth baronet, added a single storey ballroom to the east side of Lissan, County Tyrone, its full-length windows offering views to the gardens below; a conservatory, since gone, was erected to the immediate front of the room. A successful lawyer married to an heiress, Sir Thomas could afford to spend money on this extension, which was provided with a sprung floor and an early form of central heating. The walls were covered with Chinese paper which may originally have been purchased for Kilkenny Castle by Sir Thomas’s sister Grace who was married to the Marquess of Ormonde. Only portions of the paper survive, and as can be seen, these have been ‘improved’ with additions by later owners. Having fallen into a dangerous state of disrepair, the house was rescued by a charitable organisation, the Friends of Lissan House Trust, which has already undertaken trojan work ensuring the restoration and survival of this important property. Although much remains to be done, since 2012 the house has been open to the public and acts as a venue for a wide variety of events.