Tag Archives: Waterford

Two Houses, One Fate


After a recent discussion of the colourful Thomas Steele and the fate of his former home (see Honest Tom « The Irish Aesthete), it is now worth turning attention to a significant, but insufficiently recalled, figure in late 18th century Ireland, Dr Thomas Hussey. Born in 1746, owing to restrictions imposed by the era’s Penal legislation, Hussey was sent to study at the Irish College in Salamanca, after which he joined the Trappist order. However, his obvious intelligence led him to become well-known at the court in Madrid and in due course, now ordained a priest, he was appointed chaplain to the Spanish Embassy in London. There he became acquainted with many of the leading political and intellectual figures of the period, not least Edmund Burke who became a close friend. In 1779, his diplomatic skills led him to be sent by George III’s government on a secret diplomatic mission to Madrid in order to break the Franco-Spanish Alliance in the context of the American War of Independence. Although the effort was unsuccessful, Hussey’s reputation did not suffer any ill effects and he continued to be consulted by the English authorities. Meanwhile, in due course his intellectual abilities were also recognised in 1792 when he was elected a Fellow of the Royal Society. Subsequently, the government sent him on a further mission, attempting to placate disaffected Irish soldiers and militia in Ireland. However, when he heard what they had to say, Hussey adopted their cause, which was not what had been expected. He then played a role in establishing the Irish seminary at Maynooth and became its first president in 1795. Two years later he was appointed Bishop of Waterford and Lismore, holding that position until his death in 1803.




This is Prospect Lodge (above), the house in which Thomas Hussey lived during his years as Bishop of the diocese. On a prominent site in what would once have been open countryside overlooking the city, the building is believed to date from c.1780. Of five-bays and two-storeys, it has a two-bay two-storey section with half-dormer attic to south-east, and two-bay single-storey wing to south-east. Prospect Lodge is notable for being slate-hung on all elevations and, as part of Waterford’s historic architecture, is worthy of preservation even without its associations with Thomas Hussey. Yet at the present it is being left to fall into decay. 




Elsewhere in the south-east of Ireland, this house can be found in Carrick-on-Suir, County Waterford. Dating from c.1760, it is of four-bays and three-storeys over basement, the rear yard dropping down to the quays on the north side of the town. While the building lacks the historical associations of Prospect Lodge, it is similarly slate-hung and therefore represents an important part of Carrick-on-Suir’s heritage. Yet, also like Prospect Lodge, it sits empty and neglected, left to fall into dereliction instead of enhancing the streetscape while realising its potential as a home. Two houses, one fate: and there are thousands more such properties all over Ireland going the same way.  

The Younger Sibling



When writing of Waterford architect John Roberts here on Monday, notice was made that his death occurred in 1796 when, at the age of 84, he fell asleep in the city’s unfinished Roman Catholic cathedral – which he had designed – and caught a chill. Four years earlier, Waterford Corporation had been presented with a petition from members of that faith requesting that a plot of land be provided so that a suitable place of worship might be built, more than three and a half decades before all Penal legislation was reformed. The site given was that already occupied by a Catholic chapel, but the new cathedral occupied much more space than had its predecessor. As mentioned, Roberts was the architect responsible, as he had been 20 years before for the Church of Ireland’s new cathedral in the same city. The two buildings share certain characteristics, borrowed from James Gibbs, such as the great line of Corinthian columns running down the nave. Also like Christ Church, it has been subject to alterations (not least the addition of a new facade in the late 19th century) and no longer looks exactly as Roberts intended, but these two cathedrals are unique in having been designed by the same architect, the father of two siblings whose common characteristics cannot be denied.


The Finest 18th century Ecclesiastical Building in Ireland



‘The new church in this city is a very beautiful one, the body of it is in the same stile exactly as that of Belfast already described; the total length 170 feet, the breadth 58. The length of’the body of the church 92, the height 40, breadth between the pillars 26. The isle (which I do not remember at Belfast) is 58 by 45.
A room on one side the steeple space for the bishop’s court, 24 by 18; on the other side a room of the same size for the vestry, and 28 feet square left for a steeple when their funds will permit. The whole is light and beautiful, it was built by subscription and there is a fine organ bespoke at London.’
Description of Christ Church Cathedral, Waterford from Arthur Young’s A Tour in Ireland, 1776-1779.
There has been a Christian place of worship on the site of Christ Church Cathedral since the 11th century and famously in 1170 this was the venue for the marriage of Strongbow (Richard de Clare, second Earl of Pembroke) and Aoife, daughter of Dermot MacMurrough. In 1210, the original building was replaced by a new cathedral which survived until the 18th century when the city’s corporation expressed a desire to erect a modern structure. However, the bishop of the time, Richard Chevenix, was reluctant to allow the old cathedral’s destruction so, according to local legend, it was arranged that one morning, as he walked past the building, a quantity of rubble and dust would be dropped from the roof onto his path, thereby encouraging him to agree with the corporation’s proposal. The first plans for a new cathedral were drawn up in 1739 by William Halfpenny (to whom the design of the original hunting lodge at Castlecor, County Longford is also attributed, see: A Worthy Recipient « The Irish Aesthete) but these were not carried out. In 1773 Dublin architect Thornas Ivory was asked to report on the condition of the cathedral and recommended that it be rebuilt. Nevertheless, he did not get the commission, this going instead to a local man, John Roberts.





John Roberts was born in Waterford in either 1712 or 1714, son of architect and builder Thomas Roberts whose own father, also called Thomas and described as ‘a Welshman of property and beauty’ had settled in the city in 1680. It is believed that as a young man, John Roberts spent some time in London, although nothing is known of what he did there and to whom, if anyone, he was apprenticed. Returning to Waterford around 1744, he fell in love, and eloped, with Mary Susannagh Sautelle, daughter of a well-to-do Huguenot family who did not approve of the relationship; as a result, she was disinherited and the couple’s first couple of years were difficult (they were, on the other hand, very happy together and went on to have 22 children, of which eight survived to adulthood). In 1746 the aforementioned Bishop Richard Chenevix, who knew both the Roberts and Sautelle families, gave the young architect his first great opportunity, inviting him to complete the episcopal palace, originally designed by Richard Castle but left unfinished at the time of the latter’s death. Thereafter, other commissions followed, although not all of them can be confirmed. Among those outside Waterford city which have been attributed to Roberts are the great forecourt at Curraghmore (see Now Available « The Irish Aesthete) and Cappoquin (see Risen from the Ashes « The Irish Aesthete), both in County Waterford, as well as Tyrone House, County Galway (see A High House on High Ground « The Irish Aesthete) and Moore Hall, County Mayo (see When Moore is Less « The Irish Aesthete). Within and in the immediate vicinity of Waterford city, Roberts – who took a long lease on the old bishop’s palace beside the cathedral – designed several other buildings such as the Assembly Rooms and Playhouse (1783), a new Leper Hospital (1785, now an apartment complex), Newtown House (1786, now Newtown School) and a private residence for William Morris (1795, today the Chamber of Commerce). Famously, 20 years after designing Christ Church, in 1793 he was commissioned to design a second cathedral in Waterford: dedicated to the Most Holy Trinity, this was the  first Roman Catholic cathedral built in Ireland since the Reformation.  The commission also proved to be the death of Roberts. Accustomed to rising daily at 6am, one morning  he mistakenly got up at three and, going to inspect work at the cathedral, he found the place empty: sitting down, he fell asleep and as a result caught a serious chill that resulted in his demise in May 1796 at the age of 84. Popularly known as ‘Honest John Roberts’, it was later written that ‘to all in his employment he was especially kind and thoughtful, He was in the habit of paying half the wages to the wives on Saturday rnorn:ing, that they might purchase to advantage at the early market and he always gave to each the exact money and thus to some extent prevented a visit to the publichouse for change.’ He was also the founder of a remarkable dynasty, two of his sons being the artists Thomas Roberts and Thomas Sautelle Roberts, a grandson being Abraham Roberts, a general in the East India Company, and the latter’s son being Field Marshall Frederick Roberts, first Earl Roberts.





On January 17th 1774 the committee of Christ Church Cathedral met to consider the best method of either taking down and reconstructing or repairing the building. The members agreed that ‘the plain plan omitting the rustik work laid before the committee by Mr. John Roberts for re-building the cathedral appears to be the most eligible of any as yet produced to us. Estimate 23,704- 5s-6d. The old steeple to be taken down and the bells placed in the French church.’ (Evidently Roberts’ original design suggested a degree of rustication on the exterior of the cathedral, its exclusion being most likely on the grounds of cost). Work soon began and most of it was completed by 1779 at a cost of £5,397, somewhat higher than the original estimate, and even as late as 1783 subscriptions were still being raised for the steeple. Built using as much stone as was possible from its demolished  predecessor, the new Christ Church’s design is much indebted to the churches of James Gibbs which Roberts would have seen during his time in London as a young man. Here, for example, as in the case of St Martin-in-the-Fields, the limestone spire rises at the west end of the building, directly behind the portico, graduating from a square base in three stages up to the octagonal steeple; much of the detailing here is indebted to Gibbs’s spire for St Mary le Strand. Unlike the portico of St Martin-in-the-Fields with its six great Corinthian columns, that of Christ Church has just four of the Doric order, thereby making less of an impact than might otherwise be the case, but the side elevations and arrangement of windows clearly borrows from the London church. So too does the interior, even after being considerably re-ordered in the late 19th century. Entering through the west end portico, the visitor first steps into an open ante-chapel, separated from the main body of the cathedral by a screen supporting the organ; in this space, some funerary monuments salvaged from the old cathedral were installed (including a rather fine one to the brothers Nicholas and John FitzGerald by John van Nost). Beyond the screen, the nave, 80 feet long, is separated from the aisles by a splendid line of Corinthian columns supporting the barrel-vaulted ceiling.  The checkerboard floor of white marble and black limestone is original, as is the reredos at the east end with its pedestalled Corinthian columns and pilasters on either side of a centre panel with sunburst. The reredos was once topped by a line of urns, but these have since gone, along with other elements of Roberts’s scheme. We know how the interior once looked thanks to a print published in 1806. This shows that the nave was lined on either side by galleries resting on rusticated pedestals supporting the Corinthian columns; at ground level, there were the customary box pews. The ceiling decoration was somewhat different to that seen today, owing to a fire in October 1815, ‘occasioned by the neglect of some persons who were employed to attend a stove placed in the organ loft, for the purpose of airing it.’  Not only were the organ and surrounding woodwork destroyed but the ceiling so badly damaged that it had to be redecorated, but the result is unquestionably splendid. In 1889-91, the architect Thomas Drew carried out extensive alterations to the interior, including the galleries’ removal, new choir fittings, pulpit, lectern, the addition of architraves & mullions to windows, and the closing up of lower windows (the absence of galleries rendering these redundant).  In addition, the rusticated column pedestals were taken away and replaced with others of red Cork marble and carved Caen stone. So this is what we see today: a somewhat bastardised version of John Roberts’s design but still one beautiful enough to merit Mark Girouard’s 1992 description of Christ Church Cathedral as ‘the finest 18th century ecclesiastical building in Ireland.’ 


Episcopal Elegance

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Detail of a chimneypiece in the first floor drawing room of the former Bishop’s Palace in Waterford city. This building was designed c.1741 by Richard Castle and constructed on the site of a mediaeval Episcopal residence: it continued to serve this purpose until the last century and underwent various changes of use until restored in recent years and opened as a museum. Since the original chimneypieces were lost at some date, care has been taken to find appropriate replacements. This example, of Carrara white and Siena marble, came from the workshop of the Darley family in Dublin; its centre tablet feauring dolphin-handled ewers is similar to a design published by Sir William Chambers who, of course, was the architect responsible for Charlemont House and the Casino at Marino outside Dublin. Waterford Bishop’s Palace is currently hosting an exhibition on the local Roberts family, several members of which were notable artists and architects in the 18th century.