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Architecture Country Houses Hotels

The Eccles Family + Bel-Air Hotel Ashford Wicklow + Ecclesville Fintona Tyrone

The Writing on the Wall

Is Ashford the Los Angeles of Ireland? No. But it does have its very own Bel-Air. Mansion, not zip code. Originally called Cronroe, Bel-Air in County Wicklow not surprisingly got its name from an early 20th century American owner, clearly feeling homesick. The original name lives on in nearby Cronroe Lane. Right from the get go, it’s had a back yard for dilettantish partying. In the 18th century, fairs were held on the real estate. Tents erected, punch and whiskey sold, and a good time had by all. A forerunner of Glastonbury or Electric Picnic. These days, the party is more likely to be indoors.

Missing from Mark Bence-Jones’ Irish country house guide, here’s the architectural summation. The current house harks back to 1890. Period. Typical of the twilight moments of the 19th century, extreme Victoriana is clearly on the wane allowing the early plainer trappings of Edwardiana to emerge. Red brick has given way to grey render. Detailing is concentrated on the entrance: a gabled campanile rising past the hipped roofs forms a pyramidal silhouette. The timber panelled double front door below a large plain fanlight is framed by floral capped columns. Segmental arched two pane sash windows are either single, in couples or threesomes. Some are set in canted or boxy days. Stepping inside, the timber staircase takes off with great gusto. Not quite Lissan House in County Tyrone; nevertheless a flight of fancy.

It all really got going in 1716 when Sir John Eccles, the Collector of the Port of Dublin, arrived. He was descended from the Scottish Barony of Eccles. Settling down, his son Hugh built the original house in 1750. An Eccles generation or two later, Cronroe was sold to Julius Casement in 1862. After it was burned down in the 1880s, Julius built the present house. A rather better known relative was his cousin Sir Roger Casement. Roger spent many summer vacations at Cronroe. Outbuildings and stables with light Gothick touches appear to predate the house.

In 1934 its American owner Nicholas Burns took over. Despite selling the house to the Murphy family just three years later, the name stuck. Tim and Bridie Murphy converted Bel-Air into a hotel and riding school with the help of their three daughters Ena, Ita and Fidelma. In 1980 Fidelma and her husband Bill Freeman took over. A third generation of siblings Aileen, Margaret, Noni and William now run the show. It’s perfect for a house party; no carriages required. Disco in the drawing room. Speakeasy in the library. Encapsulation of feeling in the bedroom.

William Murphy explains, “This is a home rather than just a hotel. It’s full of history too. There are ghosts – but they’re all good! The painting over the hall fireplace is of Lady Casement. She appears to be watching everything going on around her. My mother was redecorating a bedroom and uncovered Roger Casement’s signature under the wallpaper. She had his signature certified – it’s protected now in a glass display on the wall. The poet Seamus Heaney was a regular at Bel-Air and spent time writing here. We’ve a 200 acre farm and 50 horses.”

It’s still very much a country house so Bel-Air although it stopped operating as a hotel in 2019. Not even a modern extension. The same can’t be said for an Eccles manor north of the Black Pig’s Dyke. Ecclesville in Fintona, County Tyrone, was the seat of another branch of the Barony. Two refined early Georgian main elevations were placed at right angles to each other like Castle Grove in County Donegal: a six bay slightly asymmetric entrance front and a five bay symmetric garden front. Breakfronts, dentil corniced setbacks and ground floor windows set in blind segmental arches gave rhythm and subtle character. The interior was equally fine, especially the plasterwork in the interlinked drawing room and music room.

The last owner of Ecclesville was the rather jolly cross dressing multi barrelled man about town Raymond Saville Connolly de Montmorency Lecky-Browne-Lecky. His chauffeur driven two toned green Austin 16 was often spotted around Fintona and nearby Omagh. Clad in his trademark mauve suits, a penchant for performing convinced him to convert a barn into a theatre. He died in 1961 aged 80, leaving his estate to the nation. Three centuries of heirlooms were auctioned by Ross’s Auctioneers of Belfast raising £23,500. No buyer was found for the house and after a stint as a nursing home, it was demolished in 1978. Traces of Ecclesville still remain. The name lives on in the Ecclesville Equestrian Centre built on the estate. Its entrance piers and sweep of railings are mostly intact. A salvaged stone Eccles family arms dated 1703 which was placed over the front door of the house is on an outbuilding.

At the top of Church Street in Fintona, rising out of the overgrown cemetery of the medieval ruins of the old Church of Ireland church is a statue of a female clinging to a cross. On its plinth are the words: “In memory of my beloved husband John Stuart Eccles of Ecclesville County Tyrone who died 24 April 1886 aged 38 years. Eldest son of the late Charles Eccles Esq who died 4 November 1869. Also of my two infant boys. This monument is erected by his sorrowing widow. ‘Suffer little children to come onto me and forbid them not; for such is the Kingdom of God.’” The widow is buried beneath the statue: “This tablet has been placed here by Rose and Dosie Eccles in memory of their beloved mother Frances Caroline Eccles who died 12 February 1887.” A stone dog guards her final resting place. Down the hill of Church Street, an old photograph of Ecclesville stands on the mantlepiece of Jack’s coffee shop. Bel-Air and Ecclesville: two houses, an overlapping family history, sashes and Casements, two fates.

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Architecture Art Country Houses

Mount Congreve House + Garden Kilmeaden Waterford + Ambrose Congreve

What a Fad

We visited Mount Congreve on a very sunny spring day in 2014 while staying nearby at Gaultier Lodge in Woodstown, County Waterford. The exterior of the house and the gardens were pristine, glistening in fact, but the interior was closed. Not any more. While the priceless collection of art and antiques is now history, the main rooms opened as a visitor centre in 2022. A café is now in the stables. Even more excitingly, visitors don’t have to go home: there is overnight accommodation in forest eco cabins and four gatelodges called Acorn, Damson, Oak and Rowan. Revisit overdue!

First it was Farmleigh, then Lissadell, next it was Mount Congreve. Historic Irish houses lived in by the original families with intact interiors and gardens that could have been saved in their entirety for the nation. The Guinnesses’ former Dublin home Farmleigh was eventually purchased by the Government after its contents had been sold. Lissadell in County Sligo, once the home of Countess Markievicz who helped establish the Republic of Ireland, was sold on the open market and its contents auctioned despite the Gore-Booth family offering it to the State. At Mount Congreve, it is the gardens that have been saved. The last owner, Ambrose Congreve, struck a deal with the former Taoiseach Charlie Haughey that in return for tax exemption during his lifetime, the gardens would be left to the people of Ireland. The house is still there, stripped naked of its phenomenal collection of furniture and art, still surrounded by one of the finest gardens in the country, if not the world.

It took just one day in London in May 2012 and two days in London in July 2012 for Christie’s and Mealy’s to auction the entire contents. At the time, George Mealy explained, “There are lacquered screens and vases from Imperial China, rare books, Georgian silver, vintage wines, chandeliers and gilt mirrors and enough antique furniture to fill a palace. Everything is on offer. It’s a complete clearance of the entire estate. He did his art shopping in London. He got most of it through London because he had spotters for items that he might be interested in. Mr Congreve loved collecting. He loved nice things and he had unbelievable taste.” Chinoiserie takes on Versailles.

Andrew Waters, Head of Private Collections at Christie’s, writes in the auction catalogue, “Mount Congreve stands in a splendid position above the River Suir, not far from the city of Waterford in the southeast corner of Ireland. The name is internationally known today for the astonishing gardens among the greatest in the world … Much less well known than the garden, indeed largely unknown, is the magnificent collection of decorative arts in the house that was formed concurrently with the garden. The neoclassical house was built circa 1760 for the Congreve family by the leading architect John Roberts. From the mid 1960s the house was restored with the addition of a deep bow with a baroque doorcase on the entrance front. This created some magnificent additional spaces in the house for the growing collection. Among them was the Chinese wallpapered drawing room, the elegant setting for much of the superb French furniture in both sales.

“The furniture collection was begun in 1942 and was still being added to in the early 21st century. Although a taste for French furniture was to be a constant theme during the formation of the collection, full advantage was taken of the dispersal sales after 1945 of English furniture from great country houses,” continues Andrew. Robert Adam pieces from Croome Court in Worcestershire are some of the highlights.

Jim Hayes, former Industrial Development Agency Director, records a visit to Mount Congreve in his autobiography The Road from Harbour Hill, “We were received on arrival by Geraldine Critchley, the social secretary and long term assistant of Ambrose Congreve. The ornate hall was decked with a number of gloves, walking canes and a variety of riding accessories. We were escorted into a large drawing room, the walls of which were covered in 18th century, hand-painted, Chinese wallpaper. Three large Alsatian dogs lay asleep in the corner of the room. A liveried servant then appeared with a silver tray and teapot and antique bone china cups and saucers. This young man, of Indian origin, was one of the last few remaining liveried servants of Ireland’s great houses.” Sheila Bagliani, doyenne of Gaultier Lodge, recalls, “Gus, Ambrose’s Alsatian, had full run of the house.”

Ambrose was in London rather aptly for the Chelsea Flower Show when he died in 2011, aged 104. He had no children so eight generations of his family’s enhancement of Waterford came to a close. Geraldine Critchley, who was actually his partner, survives him. The son of Major John Congreve and Lady Irène Congreve, daughter of the 8th Earl of Bessborough, Ambrose inherited Mount Congreve in 1968 and restored and redecorated and revived it to within a square centimetre of its being. The good life took off, on a whole new level. Ambrose divided his time between Mount Congreve and his townhouse in Belgravia. He employed a succession of fine chefs de cuisine including Albert Roux who went on to co found Le Gavroche restaurant.

Now for some stats of the 45 hectares estate: 28 hectares of woodland; 1.6 hectares of walled gardens; 26 kilometres of paths; 3,000 rhododendrons; 1,500 plants; 600 camelias; 600 conifers; 300 magnolias; 250 climbers. All piled high on the south bank of the River Suir. The manicured gardens end abruptly next to open fields, like a beautiful face half made up. Sheila Bagliani remembers, “Piped music in the grounds kept the 25 gardeners entertained while working. Ambrose also employed The Queen Mother’s former chauffeur.” Lot Number 492 at the auction in Mount Congreve was his 1969 shell grey Rolls Royce Phantom V1, price guide €12,000 to €18,000. It sold for €55,000. At his 100th birthday lunch, Ambrose Congreve declared, “To be happy for an hour, have a glass of wine. To be happy for a day, read a book. To be happy for a week, take a wife. To be happy forever, make a garden.” His garden lives on in perpetuity, making plenty of people happy.

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Architects Architecture Art Country Houses Design People

Elizabeth Cope + Shankill Castle Paulstown Kilkenny

Period Drama

Easter 2014. There are whistlestop tours and there’s a 30 minute stopover before racing to Terminal 2 Dublin Airport before the departure gates close on the last flight out to London Gatwick. Just half an hour to check out a centuries old castle complete with famous gates, a gatelodge, even more famous stables, cottages, a walled garden, an orchard, church ruins and a graveyard. Oh, and did we mention squeeze in a coffee in the kitchen with the owners (an artist and an historian), their film director son and dogs? Welcome to Shankill Castle, a 45 minute drive from the airport. That is, if the heel is very firmly to the steel up the M9.

The house (it’s really a castellated house rather than fort) is full of surprises. A playful 1820s Gothic exterior courtesy of local architect William Robertson gives way to a wintry panelled entrance hall. “The 17th century chimneypiece without a mantelpiece is of an unusual design,” points out Elizabeth Cope, the bold and brilliant artist in permanent residence. “There’s a similar chimneypiece in The National Trust house Dyrham Park just outside Bristol. This one’s of Kilkenny marble. Did you now Kilkenny marble is actually polished limestone? Look at how tall and slim the Queen Anne doorcases are. They’re so elegant.” The hall, like all the rooms, is a wonderfully eclectic mix of period details, antiques and of course Elizabeth’s vibrant paintings, bursting with life – and in some cases, death. In the middle of the hall is a traditional drum rent table with several dummy drawers for security and symmetry.

Beyond the entrance hall lies the dining room with its great boxy bay overlooking the geometrically shaped lake at the back of the house. Dozens of wine glasses are laid out on the dining table. “It’s our son Reuben’s 30th birthday on Friday. The theme is The Great Gatsby. You must come! I love throwing parties. I love throwing parties. I always think no one will come and then at the last minute everyone turns up. This house is made for parties. There’ll be dancing through the night.” The drawing room is a gloriously summery space with wide windows opening onto the driveway and side garden reflected in four metre tall mirrors. Faded Edwardian wallpaper is the perfect backdrop to several of Elizabeth’s life size nudes. They’re as colourful and vivacious as the artist herself. “I’d love to paint you!” she exclaims.

Through the former billiard room and ante room, now an interconnecting study and art store, to the bow ended staircase hall. “Look at the walls,” directs Elizabeth. “They were lined with Sienna marble in 1894.” We descend the precariously angled stairs to the basement. “Keep to the left!” Along a veritable rabbit warren of domestic quarters: boot room, gun room, lamp room, scullery, wineless wine cellar – “We’ve drunk all the wine and need to quickly restock!” – past a row of numbered servants’ bells we eventually arrive in the kitchen, once the servants’ hall. “Different rooms have been used as a kitchen down the years,” explains Elizabeth. “Owners tended to move the kitchen in tandem with wherever they used as a dining room.” Flagstone floors are gently worn by the passage of time. Coffee is served.

The tour continues outside. “The nine sided sundial next to the lake is 36 minutes behind London time. My husband Geoffrey says more like 36 years behind London!” Elizabeth sighs wistfully, “London is the only place. We’ve sold our house in Kennington but I still exhibit in London. I recently had a show at Chris Dyson’s gallery in Spitalfields. Tracey Emin came. She wanted to buy the sofa in the gallery. I should’ve partied more in London when I was younger. What a waste!” she laughs. The Copes bought Shankill Castle in 1991. “It was if the house was destined to be our home. We know the previous owners, the Toler-Aylwards. In fact they’re our daughter Phoebe’s godparents. Phoebe lives in Scotland – she’s an artist too.”

Time is pressing; we’ve broke into a run. Elizabeth cuts quite a dash. “Come quick and see the stables. They’re by Daniel Robertson as are the gates.” She strikes a pose. Even though Elizabeth has a studio in a stone outbuilding which would be the envy of any artist, she relates, “I paint everywhere: in the garden, on the bus, you name it. I paint through the chaos of everyday life. If I was to wait for a quiet moment I’d never paint. I believe painting should be like dancing. The real work of art is not so much the canvas when the paint is dry. Rather, it’s the physical rhythm of the process of painting it.”

Beautifully restored estate cottages and the east wing of the castle are available to let. “The things you do to keep a place like this going,” she says as we leap through the ruins of the church to the side of the front lawn. “Shan-kill” is derived from the Irish for old church. “We throw a ScareFest every Halloween when I dress up and lie in a coffin to spook visitors. What people don’t know is it’s my real coffin. I was ill a couple of years ago so I thought I better get fitted out for one just in case.” A full calendar at the castle includes the Midsummer Fair, Murder Mystery, Drawing Marathon, Wand and Quill Making Workshop, artist residencies and a new music festival Light Colour Sound. But now, it’s time for us to go – to drive by the haha and the trees planted in the 1820s to frame the view of Blackrock Mountain, leaving behind Shankill Castle, truly a world of its own.

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Architecture Country Houses People

Altamont House + Gardens Tullow Carlow

The Other Side of Eden

Imagine 16 hectares of gardens teeming with character lying between an empty country house and a lake on a 40 hectare estate. Welcome to paradise. The gardens are open all year round save Christmas Day for free. It’s November 2014 and there”s nobody around. The journey to Altamont Gardens past country houses, the smart Ballykealy Manor (hotel) and the very smart Sherwood Park House (takes guests), is a reminder that County Carlow is as horse and hound, or at least horse and lurcher, as a centrefold in The Field. Ireland for the Anglo Irish.

Annabel Davis-Goff one of them, writer in her novel The Dower House, “I was thinking of people. You import a fairly large number of English people into Ireland. The strongest, richest men and the prettiest women tend to get first choice of who they’ll marry. From the strongest, richest, prettiest pool they look for other desirable characteristics: a good seat on a horse, wit, nerves of steel about unpaid bills, the ability to hold large quantities of alcohol, a way with words, good enough circulation to live in large, cold houses, and the ability to eat awful food. Pretty soon you’ve got the Anglo Irish. They’re not exactly not English, but they’re different.”

Altamont House boasts a cosmopolitan doorcase with a half umbrella fanlight worthy of St Stephen’s Green in Britain’s former Second City, Dublin. The joy of the entrance front lies in its eccentric gothic trappings on an otherwise straitlaced 18th century Georgian building. The first case of eclectic postmodernism in Ireland? Curious stepped gables with curiouser traceried blind windows rise from the eaves on either side of the canted entrance bay. The two wings to the right of the main block are topped by more stepped gables. Oddest of all the frippery is another stepped gable to the left cut into to make way for a balustraded balcony. This leftfield naïveté suggests an enthusiastic owner got a bit carried away following a visit to church or read an Augustus Welby Pugin tract and thought, hey why not? I’ll give gothic a go! Let’s hope the Office of Public Works gets some dosh to do it up. Clothed in Wisteria sinensis, the house is a little frayed round the edges at present.

Green, green, oh so very green fields rolling in front of the house past a pair of 150 year old weeping ash trees (Fraxinus excelsior) give no clue as to the natural, botanical, cultural and horticultural wonders that lie behind: the Arboretum, Bluebell Wood, Bog Garden, Ice Age Glen, River Slaney Walk and Temple of the Four Winds, much of them inverted in reflections in the lake. The landscape was first developed by Dawson Borrer, son of William Borrer of West Sussex, an early 19th century naturalist, botanist, culture vulture and horticulturalist. This Anglo Irish landlord employed 100 men for three years during the 1840s famine to create pleasure grounds adjacent to an existing walled garden and the late 18th beech avenue called Nuns’ Walk. A wet meadow was dug out to form the lake. But the present form of the gardens is largely due to its last private owner Corona North who died in 1999. She introduced seas of azalea and scores of rhododendron specimens like augustinii and cinnabarinum. Ever so aptly, Corona was named after her parents’ favourite hybrid rhododendron.

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Architects Architecture Country Houses Design Developers People

Ven House + Garden Milborne Port Somerset

Zen and Now

Reflecting on his tenure, the designer Jasper Conran describes it as “a spine chillingly real Baroque country house with a massive double height hallway and, in the front, an enfilade of rooms”. He’d bought Ven House in 2007 for £8 million from the decorators Thomas Kyle and Jerome Murray. Jasper sold the house eight years later, making a £2 million profit, to architect Mike Fisher and businessman Charles Lord Allen of Kensington. It has continually been placed in safe hands for several decades now. The 1990s maximalism has given way to classic interiors with contemporary Diarmuid Kelley portraits in place of ancestral paintings. Every en suite bathroom has been fitted out by Drummonds.

It’s as if Buckingham House (the brick nucleus of said Palace) has been transplanted into the rolling Somerset countryside. The postcard pretty town of Sherborne is a 15 minute Rolls Royce drive away. Despite its magnificence, Ven House was likely designed by the relatively low profile West Country based architect Nathaniel Ireson in the early 1700s. The educated household name of Decimus Burton was responsible for internal alterations and the glorious orangery linked to the main block by a glazed gallery.

The tranquil gardens are as fine as the house and form a series of interconnected yet standalone works of horticultural art. Over afternoon tea in the stables, Mike mentions that he has commissioned the garden designer Iain MacDonald to refashion the west courtyard. He enjoys showing people round the property: “Houses like Ven need to be used and should be part of the community. Ven has been an important part of village life for three centuries and we want to maintain that.”

Ven House – inside, outside and all around – has entered its golden era.

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Architects Architecture Art Country Houses Design Developers Hotels Luxury People Restaurants Town Houses

The Wilder Townhouse Hotel Dublin + Gráinne Weber

Incomplete Madness

Arriving at the west facing hotel on a sunny March evening is simply glorious. Doughnuts on demand in the new light filled conservatory and adjoining terrace. In contrast to the stuccoed pairs of Regency villas on the other side of Harcourt Terrace, The Wilder Townhouse is red brick Victorian. It’s a slightly wonky L shape in plan. Designed by architect James Hargrave Bridgford, the building has a long and complicated history. A Church of Ireland notice summarises its unusual genesis:

The Asylum for Aged Governesses and Other Unmarried Ladies, first opened AD 1838. The only one in Ireland. Proposed new house, Harcourt Terrace, Dublin. In a former circular we gave an elevation of the proposed house, having four storeys, which was objected to as having rooms at such a distance from the entrance hall, that the ascent of the staircase to the upper rooms would be very trying for old and infirm people. We have, accordingly, modified our plan, which will be much more convenient in every way, and we have secured a plot of ground which gives us ample space for all sanitary and commodious arrangements, but the cost will be considerably more than for the original plan. We obtained four estimates from competent builders, and the lowest was £2,800 for the whole building; having, however only £1,600 in hand, and being determined to avoid debt, we have decided to build only the first block shown in the above drawing, with the portion of the wing included within the lines AB and CD. After this is done, we shall wait on the Lord for the means of completing the structure, which, when finished, will be all that can be desired. Subscriptions are earnestly solicited and will be thankfully received by the Trustees, or any Member of the Committee, whose names and addresses are given. Cheques and post office money orders to be made payable to Miss Eliza Meredyth.”

And a quote from Blackrock, County Dublin, based architect Gráinne Weber explaining its latest reincarnation: “Following on from work on Frankie Whelehan’s sister property, the Montenotte Hotel in Cork City, we were asked to take a look at a former residential institutional building on Harcourt Terrace and Adelaide Road in Dublin. A Victorian Protected Structure, it had planning permission for apartments but our client wished to develop it as a hotel. We achieved planning permission for a 42 bedroom guesthouse from An Bord Pleanála as architects for the project and proceeded to substantially upgrade the building’s shell and core: from there went on to create an interior which was modern yet sensitive to the building’s heritage.”

Hôtel Les Bains in Paris and Ham Yard Hotel in London provided two sources of inspiration for the interior design. House of Hackney wallpapers, Matthew Williamson fabrics and contemporary paintings reinvigorate the period interiors. The original inhabitants could only dream of today’s rainforest showers in marble bathrooms and Maison Margiela toiletries. Rooms are of course named after governesses who resided here: for example, the Miss Wade Suite was named after Charlotte Wade whose name appears in the 1911 Census. The Lady Jane Room is named in honour of Jane Harrison, Jane Jeffers and Jane Mercer who also all appeared in the 1911 Census. It’s also an acronym of the owner’s wife and daughters’ names: Josephine, Aoife, Niamh and Eimear. Records reveal 19 governesses were evicted down the years for being quarrelsome.

Gráinne’s client Frankie Whelehan expands the story, “What I was trying to achieve was something a bit different: a bespoke guesthouse with limited food and beverage, catering for a niche market that is under represented in Dublin. The name Wilder is a little bit of playacting because we are focusing on the international market coming to Dublin and Oscar Wilde is synonymous with the city. It’s all about experience. A notice in the deeds calls it ‘a home for bewildered women’ so we had that it mind too when naming the hotel.” The reception helpfully supplies a factsheet on governesses:

· They were employed to teach and train children in private middle and upper class households. The majority were Protestant; in the 1861 Census, 74 percent of Irish governesses were Protestant.

· In contrast to nannies, governesses concentrated on teaching children rather than catering for their physical needs.

· From the 1840s to 1860s, governesses accounted for 10 percent of the total teaching force.

· The profession began to decline at the end of the 19th century when schools became more common.

· The Governess Association of Ireland was established in 1869 on 3 Lower Leeson Street. It provided a two year course and an examination in Trinity College. Once completed, a certificate of proficiency helped to push for better wages.

· The average salary was £40 to £60 per annum but certified governesses could earn up to £80 a year.

· Governesses often didn’t have pensions and could end up homeless or in workhouses.

· The Asylum for Aged Governesses and Other Unmarried Ladies served a great need.

Last used as artists’ studios, the planning permission for hotel use granted by Dublin City Council was subject to a third party appeal in 2017 by neighbours on Harcourt Terrace. Inspector Jane Dennehy found in favour of the applicant: “The proposed development would not be seriously injurious to the integrity, character and visual amenities and setting the existing building, a Protected Structure, would not be seriously injurious to the architectural character, visual amenities and residential amenities of the residential Conservation Area and would be acceptable in terms of traffic and public safety and convenience, and would be in accordance with the proper planning and sustainable development of the area.” The Wilder Townhouse finally opened in 2018.

The February 2024 edition of Business Plus magazine reports: “In the 11 month period to November 2023, Dublin achieved the highest hotel occupancy rate, 83 percent, out of 35 European markets. Dublin also ranked seventh highest in terms of Revenue Per Available Room. Dublin has circa 25,860 hotel bedrooms. By comparison, the Stockholm hotel bedroom stock is about 39,000 while Amsterdam has a total stock of around 42,000. Dublin has fewer bedrooms than both comparably sized cities, despite having the fastest growing economy in Europe.” The Wilder Townhouse provides 42 of the very best bedrooms Dublin has to offer.

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Architecture Art Country Houses Design Luxury People Restaurants

Tullymurry House Newry Down + Slemish Market Supper Club

Mount Charles All Over Again

We’re getting ready to join you on this beautiful life adventure. “County Down in the holidays and Surrey in the term – it was an excellent contrast,” raved Clive Staples Lewis in 1955. We couldn’t agree more and technically we do reside in Surrey albeit the hectarage swallowed up by southwest London. Tullymurry House is only five kilometres on the Belfast side of Newry but feels a world away from everywhere and everything and everyone. There are uninterrupted views across drumlins to the irregular polygon of the snow capped Mourne Mountains.

Tullymurry, blurring the line between a grand farmhouse and a modest country house, is run by the Irish Landmark Trust, founded in 1992. The Trust’s mission is to save, share and sustain. Hearth Revolving Fund restored the house in 2012 before handing it over for use as a holiday home. The Autumn 1989 Heritage Newsletter of the Ulster Architectural Heritage Society states, “Hearth has completed 55 houses and flats for rental over the last 10 years …” Tullymurry most likely originated as a single storey Scottish Planters’ house. An extension by the Weir family of circa 1700 is now the kitchen and downstairs bedroom. The L shaped two storey block with its sureness of style was then added in the late 18th century. In 1828 a farmer John Marshall bought the house and remodelled it further 12 years later. A folder beside a vase of fresh (custard yellow and raspberry red) roses on the entrance hall table details the restoration:

“Work started on the house from the top downwards; the roof tiles were taken off and replaced but fortunately the roof timbers were found to be in excellent condition and original to the house. The sash windows were taken out, repaired and painted before being put back in place. The house was riddled with woodworm so large areas of floorboards had to be replaced as necessary. The house was rewired and replumbed with the important addition of central heating and extra bathrooms. A small area of kitchen units was added with plenty of modern appliances and a utility room just across the passage for any extra equipment.”

“As much of the existing decoration as possible was retained including the wood effect graining on many of the doors, shutters and skirting. Where wallpaper had to be replaced and painting carried out, traditional ranges from Farrow and Ball were used. Much of the furniture and pictures are 19th century and were in the house before restoration began. They were removed before work began and replaced when work was complete as close as possible to their original locations. The house is now ready to face the next 200 years and has been given a new lease of life as a holiday home.” Original items include hall chairs, an organ, a piano, a family Bible, portraits and a watercolour of nearby Narrow Water Castle by Tom Irwin.Like the Sunday school chorus, Tullymurry is “deep and wide”. The ivy cloaked south facing façade and east front are both symmetrically five bay. A very complete (custard yellow) doorcase formed of pilasters rising to brackets supporting a sprocketed hood frame the (raspberry red) door and oblong overlight with its geometric glazing. Over the façade the roof is gable ended to the west and  hipped roof to the east. Single storey older parts of the house are hidden behind these two principal fronts. The dual aspect first floor principal bedrooms each take up two bays of the façade. Coved ceilings push into the roof slopes. Floor height windows add charm to all four upstairs bedrooms.

It’s a long five kilometres from Newry: almost everyone gets lost along the dark country lanes. A Friday night feast from Dong Fang Asian Fusion is eventually spread out on the long kitchen trestle table. The Aga will rest tonight. A Saturday morning walk under low hung grey skies parallel lined with cloud and mist is County Down tranquillity at its best. The lawns on either side of the avenue are speckled with snowdrops. Grey turns to blue as the sound of agricultural machinery gearing up is a reminder this is still a working farm. The burnt red ribbed metal barrel vaulted barn may be aesthetically pleasing but it’s also functional.

Sun streams in through the open door down the entrance hall passing from the glory of the day into the dim hinterland of the back hall on this late February weekend. The Victorian wallpapered drawing room, a polite space full of bygones, is turned into a cinema for the afternoon. And then in a flash it’s Saturday evening. Pre dinner cocktails are served in the drawing room while guests are serenaded by local harpist Sharon Carroll playing Sì Beag Sì Mòr and other sweet melodies. French 75s: squeezed lemon juice and gin mixed with a little sugar and shaken on ice. Pour into Champagne glasses and top up with Champagne. Sidecars: shake equal parts of Cognac Hennessy, Cointreau and lemon juice with a little sugar. Pour into cocktail glasses and place orange peel on top. A tip is to peel the lemons and oranges into the glasses so that zest and spray go over the drinks and glass rims. So that’s two of our five a day!

Chef Rob Curley of Slemish Market Supper Club arrives with the first of the evening’s dishes (service à la Russe not à la Française of course). He explains, “Wee Bites are our style of tapas. You have vol au vents filled with wild mushrooms, parsley and garlic with egg yolk jam inside them. And then you have lovage and cucumber gazpacho. You also have smoked salmon, crème fraîche with elderberry capers pickled pumpkin and fish pancakes flavoured with dolce seaweed.” Lovage is a green plant used in soups and also for medicinal purposes. Gazpacho is a tomato and red pepper based Spanish soup served cold. So more of our five a day!

The curtains and shutters in the blue painted dining room are pulled back: there are no neighbours. Rob’s dinner courses reflect Slemish Supper Club’s commitment that, “The land, sea, rivers and lakes are really important to our gastronomy. Every ingredient is chosen to honour and pay tribute to the important local resources of our cuisine.” The starter is beetroot tortilla, goat’s cheese, beetroot, liquorice, winter leaves. The main is king scallops, Rathlin Island sea lettuce, cucumber pearls, elderberry capers, potato noisette, buttermilk whey sauce. Pudding is spiced orange cake, milk ice cream, liquorice gel. Haute monde, haute couture, haute cuisine.

Just as Rob and his team wave goodbye to a thrilled dinner party, who pulls up but American chanteuse Kara Kalua with all the pyrotechnical melisma of a diva. The highly versatile drawing room is now a disco and soon everyone is singing for their supper like a scene from Saltburn, murdering Sophie Ellis Bexter’s hit Murder on the Dancefloor. It’s an eclectic late night for boon companions, older and wilder, ending in the relaxing spa carved out of the former stables with their merry assortment of lattice, casement and sash windows. “All reality is iconoclastic,” as Clive Staples Lewis used to say.

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Architects Architecture Art Country Houses Design Developers Luxury People Town Houses

Adornes Estate + Jerusalem Chapel Bruges

Filled With All God’s Virtues

Far from the windswept and crowded Grote Markt (“far” being relative as this is petite Bruges: a 20 minute walk), on the edge of the medieval city is an estate in miniature, a little bit of peaceful Palestine, a secluded retreat where rich and poor lived, worked and worshipped cheek by jowl. Local historian Véronique Lambert waxes lyrical, “The domain is not just a museum. It is a remarkable cocktail of ancient structures, precious objects, fascinating stories and modern creations, all served with a strong dash of family tradition.” Welcome to the Adornes Estate.

Following a four year restoration which included removing 19th century accretions, Count Maximilien and Countess Véronique de Limburg Stirum, the 17th generation of the founding family, opened the estate to the public. While their grand house remains private, the adjoining Almshouses Museum, Jerusalem Chapel and Scottish Lounge can all be visited. Why Scottish? A whistlestop history will explain the tartan connection.

The Countess sets out, “It is equally remarkable that the Adornes history has continued unbroken over six centuries, surviving storms and setbacks, the secularism of the French Revolution, the fury of two World Wars and the inevitable periods of disinterest. In scarcely three generations, the Adornes were able to create such a strong familial and patrimonial identity that the following generations could rely on a heritage sufficiently full of responsibility and resources to allow them to ensure the continued preservation of the most important parts of what they had inherited. That being said, the Adornes history is much more than a story of bricks and mortar. It is also a story about people of flesh and blood.”

In the 14th century, Opicino Adornes came from Geneo to settle in Bruges to capitalise on the commercial and financial potential of this leading European centre. His descendants fitted into Bruges like hands in lace gloves. Travel writer Jan Adornes raved in 1471, “Bruges is the most refined city in the world. It is with good reason that people say it is filled with all God’s virtues and must be regarded as one of the most beautiful trading cities ever seen. The city is part of the sweet province of Flanders. Even though the soil is largely infertile, the sea and the foreign merchants make it one of the richest of cities in all respects, after Ghent, which is the first city and capital of Flanders. Because of its location and its beauty, it would be difficult to find a city that can compare to Bruges, the place that is our home.” The Adornes would be merchants, diplomats, pilgrims and  patrons of the arts.

International businessman Anselm Adornes negotiated a trade deal between Bruges and James III of Scotland. He travelled widely, visiting Jaffa and the Church of the Holy Sepulchre in Jerusalem. Véronique Lambert explains, “News of Anselm’s return was soon on everyone’s lips. His prestige in Bruges had been high before his departure, but his successful pilgrimage boosted it to new heights. The names Adornes and Jerusalem were now mentioned in the same breath. Inspired by his journey, Anselm drew up plans to demolish his father’s Jerusalem Chapel and replace it with a new house of prayer that was an exact copy of the Church of the Holy Sepulchre in Jerusalem itself – a fitting shrine for the Holy Relics.” The result is one of the most melodramatic features of the crowded skyline of Bruges: cupola capped octagonal turrets guard a stone pillared gallery which props up a timber octagonal box rising to a smaller box supporting a copper globe with a cross on top for good measure. Six almshouses for 12 poor women (one room each of the two floors), the new chapel and house rebuilding were completed by Anselm’s death in 1483.

Dr Roderick O’Donnell, Fellow of the Society of Antiquaries, states, “Bruges, the heart of Catholic Flanders, a vital redoubt of the Counter Reformation and for the preservation of English Catholicism during the years of persecution 1559 to 1791, that is, between the accession of Queen Elizabeth I and the Second Catholic Relief Act.” A chaplain performed a daily Mass for the Adornes family and the poor women. A priest still celebrates Mass every Saturday morning. In contrast to the Church of the Holy Sepulchre in Jerusalem with its chaos and cacophony, the Jerusalem Chapel in Bruges is a haven of tranquillity, a place of refuge, a sanctuary of solitude. Gregorio Allegri’s 1638 Miserere Mei Deus, that hauntingly beautiful nine voice setting of Psalm 51, penetrates the intense atmosphere. High C reverberates round the rooms. This really is a place of flesh and blood. A wooden Latin cross flanked by two Tau crosses on a white sandstone Calvary rises between the lower and upper levels.

Véronique Lambert again, “The instruments of the Passion are sculpted: the column, the purse with Judas’ 30 pieces of silver, the lantern, the rod, the whip, the lance of Longinus, two ladders, the ruined tower, the hammer, the tongs, the nails, the rope, the stick with the sponge, the bucket filled with vinegar, Christ’s garments and the dice use to cast lots for them. Together with the skulls and the bones they visualise in a poignant manner the suffering of Christ. At the top, there is an angel wearing a crown of thorns.”

The tomb of Anselm Adornes and his wife Margareta van der Banck forms the centrepiece of the lower level. A lion representing bravery lies at his feet; a dog for faithfulness at hers. The upper level rises for many metres through the octagonal tower and is capped by wooden cross rib vaulting. Under the upper level is a crypt with a low opening revealing the recumbent figure of Christ. Adios to the Adornes Estate.

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Architecture Country Houses People

The Darlings + Crevenagh House Omagh Tyrone

The Demise of a Demesne

Patrick McAleer writes in Townland Names of County Tyrone and their Meanings (1936) that Crevenagh aptly means “a branchy place”. Like most Irish townlands, the name had gone through several variations – Cravana, Cravanagh, Cravena, Cravnagh, Creevanagh, Creevenagh – before landing on Crevenagh. At the heart of the townland is the ever disintegrating Crevenagh House and its ever diminishing estate. The property first appears as Creevenagh House on the second edition Ordnance Survey Map of 1854. A gatelodge, summerhouse, outbuildings and formal garden are also shown on the map.

According to Billy Finn who wrote an essay The Auchinlecks of Ulster for the County Donegal Historical Society Annual of 2011, “The name Auchinleck was derived from the Gaelic Ach-ea-leac which means ‘field of the flat or flag stones’. The first recorded Auchinleck was Richard Auchinleck, who was a witness at a Sheriff’s in Lanark in 1263. Nicholas Auchinleck was uncle and ally of William Wallace (Braveheart) in the ambush at Beg in 1297.” The Auchinlecks would come to Ulster in the early 16th century.

David Eccles Auchinleck (1797 to 1849) was the youngest son of Reverend Alexander Auchinleck and Jane Eccles of Rossory, County Fermanagh. In the early 19th century he bought land at Crevenagh from Lord Belmore of Castle Coole, County Fermanagh, to build a home. He would later buy more land from Lord Belmore and build Edenderry Church of Ireland church three kilometres southeast of Crevenagh House. The church is a simple stone barn structure with a lower apse projection at one gable end and a chimney sized belltower over the other gable end. The online Dictionary of Irish Architects by the Irish Architectural Archive records that a builder William Mullin (or Mullen) designed and built the rectory next to the church in or after 1873. The rectory is a substantial two storey rendered dwelling. Is he also responsible for the church? There are Auchinleck, Darling and Moriarty family memorials next to each other in the sloping graveyard. Other surnames on gravestones include Atwell, Holland, Shelbourne and Somerville.

In 1837 David’s eldest son Thomas was born. He married Jane Loxdale of Liverpool. Thomas, who served in the Devonshire Regiment, died in 1893, leaving Jane a widow at Crevenagh House for the next 28 years. Their son Dan married Charlotte Madaleine Scott of Dungannon (who would become known as Aunt Mado). Dan was killed in action at Ypres in 1914 while serving with the Royal Inniskilling Fusiliers. His widow stayed with her mother-in-law until she died in 1921 and then on her own until her death in 1948. Colonel Ralph Darling and his wife Moira Moriarty of Edenderry inherited Crevenagh House from his Aunt Mado. Their son Gerald Ralph Auchinleck Darling (known as Bunny) and his wife Susan Hobbs of Perth, Australia, inherited the house 10 years later.

Sue Darling along with David Harrow wrote a history of Edenderry Parish in 2001. They summarise, “In 1656, John Corry purchased the manor of Castle Coole from Henry and Gartrid St Leger. His great granddaughter, Sarah Corry, in 1733 married Galbraith Corry, son of Robert Lowry, and about the year 1764 assumed the name Corry in addition to that of Lowry. From this union are descended the Earls of Belmore and most, if not all, the townlands of the parish passed to the Belmore family.” Including Crevenagh. A memorial in Edenderry Church of Ireland church to Bunny’s cousin, Field Marshal Sir Claude Auchinleck (1884 to 1981), states, “The plaque, the design of which is identical to the memorial in St Paul’s Cathedral, was erected beside others to members of the Auchinleck family, most of whom were killed in action.” Sir Claude (known as The Auk) was a frequent visitor to Crevenagh House.

Billy Finn explains, “Of course, Field Marshal Sir Claude John Eyre ‘The Auk’ Auchinleck, Commander-in-Chief of the British Army, Middle East and India, was to lead the British forces in the North African desert against Rommel in 1941 to 1942, while his brother Armar Leslie Auchinleck was killed at the Somme in 1916 serving with the Cameroonians attached to the Machine Gun Corps. Sir Claude lived most of his life in far off places like India, spending his final years in Marrakesh, Morrocco, but he never forgot his roots, declaring he ‘was proud of being an Ulsterman’.” He continues, “Whether it was at war or peace, the Auchinlecks of Ulster were ‘always on the alert’ and, even though there is little evidence nowadays of Auchinlecks in the north of Ireland, with the majority of descendants emigrating abroad, they remain one of the most intriguing of all the Ulster Scots families.”

In his introduction to The Military Papers of Field Marshall Sir Claude Auchinleck (2021), Timothy Bowman records, “Sir Claude Auchinleck himself, when relinquishing the colonelcy of the Royal Inniskilling Fusiliers, which he held between 1941 and 1947, identified his Irish origins by stating, ‘My forefathers lived in Enniskillen and Fermanagh for very many years and this makes me all the prouder to have belonged to the regiment.’ In fact Auchinleck’s father had equally firm roots in Counties Tyrone and Wexford and his mother’s family came from Galway. Auchinleck’s ‘Irishness’ can be questioned by the fact that The Irish Times, which had been the newspaper of the Anglo Irish establishment, though it had moved far away from these origins by 1981, did not carry a full length obituary of him and the recently published Dictionary of Irish Biography does not devote an entry to him. Professor Thomas Fraser overstates the contrary interpretation by noting that, ‘Two things stand out from Auchinleck’s background and early life: his sense of identity as an Ulsterman and his commitment to India.’ However, it is clear that Auchinleck spent most of his school holidays at Crevenagh House, near Omagh, County Tyrone, and visiting the house in August 1946 his private secretary, Shahid Hamid, remembered Auchinleck saying, ‘This is where I belong and that is why I am glad to be back here again to see you all.’”

The early 19th century main block of Crevenagh House was built in front of a smaller, lower, earlier house as often happened in Irish architectural aggrandisements. The grey of cement render walls and natural slate roofs contrasts with the red paint of the window frames and doors. The rear wing as it became (housing the kitchen and store) was extended in the late 19th century to include the addition of a plate glass chamfered bay window. The only completely symmetrical elevation is the three bay façade facing the rise and curl of the avenue. All five main windows are tripartite. The window of the polygonal porch (a later addition?) is bipartite. Entrance doors on either side of the porch lead into an entrance hall behind which lies a double return staircase positioned on the axis. There is fine Grecian plasterwork with matching overdoors throughout. It is a complete neoclassical villa plan as the chronicler of northwest Ulster, Professor Alistair Rowan, points out. The windows of the three bay side elevations are symmetrically positioned except for a shorter wall space next to the rear wing. The ground floor middle window on each elevation is bipartite but blind on one half as the window crosses an internal partition wall.

A short distance from the house is the farmyard enclosed on two opposite sides by a high wall and on the other two sides by two storey stables and workshops. The walls are roughcast lime rendered and the roofs corrugated iron and slate giving a vernacular appearance typical of rural Ulster. A walled garden leads off the courtyard through an arch. The walls of the square gatelodge with its pointy roof are also painted white. Dixie Dean writes in The Gatelodges of Ulster Gazetteer, 1994, “Circa 1845. In pristine condition a single storey stuccoed lodge below a hipped roof with big crude paired brackets to the eaves. Its sheeted front door and sash windows of the three bay front gathered under an all embracing label moulding. Built for Daniel Auchinleck …” To the rear of the house is a three bay single storey building with a stone front and other elevations roughcast, similar in size to the gatelodge. Is this the summerhouse identified on the 1854 Ordnance Survey map? Attached to its front elevation is a forecourt enclosed by two metre high cast iron railings.

Bunny and Sue Darling gave their last joint interview at Crevenagh House in 1991. They covered several broad subjects before honing in on their house. Bunny did much of the talking with his wife interjecting at times. “The Famine was an accident waiting to happen. It’s very hard to imagine eight million people living in Ireland. There are four million people now and out of that four million we have one and a half up here and they have two and a half in the south. Of their two and a half four fifths live in Dubin. There used to be twice as many people.”

“It’s very difficult to know where they all lived except when you go out on the mountain – you used to go out grouse hunting when I was young, no grouse nowadays – you can actually see where the farms went higher and higher up the mountain, and little gardens were very carefully walled off. People emigrated and died around the Famine time but it was almost certain to happen because there was too much dependence on one crop. And when that failed three years running things were bound to go wrong.”

“Things weren’t bound to go as dreadfully wrong as they did because when you read one terribly good book called The Great Hunger written in 1962 by Cecil Woodham-Smith they were actually exporting grain from down in the south while they were importing maize here. Of course nobody would eat maize – Kellogg’s Cornflakes and corn on the cob hadn’t been invented. People were just handed maize to make flour but it wasn’t in the nature of Irish people to eat that sort of stuff even if they were starving. That made it worse – it must have been simply horrible. The effects of the Famine depended on what the landlords were like. Some of them weren’t even in Ireland and it was left to an agent to look after things. In the end it depended on what sort of people they were and how much land they had.” Sue added, “The Auchinlecks had 5,000 acres.”

“Then the Land Acts came along to try and provide land for peasants because unfortunately by the Brehon law which is the Irish law you divided and divided and divided land. So out of the little plot of land, say half an acre, the two sons then had to have a quarter of an acre each and you go on until people were trying to farm a postage stamp. You couldn’t do it. To try and correct the Brehon law they had the Land Acts and took the land away from the landowners and paid them some sort of recompenses for the land. This took away the rental income, the land, and then the land was divided among the tenants so they got more land and they didn’t have to pay rent anymore.” Sue commented, “The landlords were paid handsomely actually. They were pleased with it at the time. The money got spent, mainly on horseracing and gambling!”

Bunny then started reminiscing about his youth. “I was born in the rectory at Cappagh about nine miles from Crevenagh in 1921. When I was a boy I used to be very impressed with my important relations living here. I stole fruit out of their garden with some trepidation that my own relations would catch me doing so because it’s quite hard to get into the big walled garden. In those days they had two gardeners. It was a wonderful garden like a showpiece with a beautiful border running up the middle. There’s two and a half acres of it and they had every kind of tree. Each flowerbed had little hedges round it. All that’s gone because you couldn’t keep that up nowadays.”

“My father was a colonel; I and my brother didn’t get on terribly well with my father. Almost to spite him we both joined the navy when the war started. I volunteered from school and I joined up as a boy seaman at 18 in 1940 and served in the navy through to 1947 so my adolescence disappeared chasing Germans and Japanese. I had a wonderful cook’s tour of the world because we always went east and my job was to be a sailor and also an air pilot. I flew spitfires from aircraft carriers so it was all very exciting – whenever you weren’t terrified!”

“You don’t believe that anything can happen to you in those circumstances. When I was still 18 I flew an aeroplane into a hillside and broke everything: both my arms and both my legs and my pubis and my pelvis and my hip was dislocated and fractured. So the doctor came and put his hand on my shoulder and said, ‘You needn’t think about flying again. You’re not going to walk again.’ I didn’t believe that and I was actually flying three months later. Of course it came back on me when I was 65 and had the usual hip operation. You don’t believe you’re going to get hit or that you won’t recover. Coupled with that when you’re that young you have a death wish that you wouldn’t mind dying cos it would be quite pleasant to die before you’ve done any harm. It’s a sort of very curious attitude to have, especially if you’re flying.”

“When the war ended I had no money at all because there was no backup from my father. My father was pretty badly off – he had by then moved into Crevenagh House and he hadn’t got money to go with it. I went to Oxford University where I had three scholarships waiting for me and read law. The scholarships were in Classics – Greek and Latin – but I changed to law mainly because I thought being a barrister was the only thing that couldn’t be nationalised. The Labour Government were just getting in for the first time.”

“Then the next stage in being a barrister is very uncomfortable because you don’t earn anything straightaway. You do nowadays, more than then, but then you didn’t earn anything for years. The only thing I had in the way of means was a scholarship which was £4 a week and so I lived on £4 a week in London and I can tell you that’s very difficult. I did a little bit of jobbing gardening and got the free rent of a potting shed at the bottom of a garden in Lancaster Gate, Paddington. It was a tiny little potting shed: you had a little table, a bed, a chest of drawers and a bookshelf and with a one bar electric cooker I used to cook and live there. Nowadays you wouldn’t be able to live on £80 a week. That would be the equivalent of £4 a week I think. However I got through the stage of what is called pupillage or apprenticeship to be a barrister. By a sheer fluke I was offered a chance of specialising in shipping law – ship collisions and salvage. I ended up as leader of the Admiralty Bar in England which is the top place in the world for shipping law. That why I couldn’t do it in Belfast.”

The conversation moved onto the origins of the Auchinleck family in Ulster. “The Auchinlecks came here in 1625 I think, the first record of them being in Cleenish which is now Ballinaleck. The first Auchinleck that came over was Rector of Cleenish. They came from Scotland; of course it’s a Scottish name. They go on from there mostly in Fermanagh working for the Belmore family. They bought the land for this house from the Belmores actually and curiously the Belmores were thinking of this site rather than Castle Coole for their major house. And it wasn’t quite as ridiculous as it sounds because this is up on a hill here and the river curves round below us – a lovely site looking across to mountains. You can’t see the river now because of the railway embankment and then the flood bank land was vested for playing fields.”

“It was a lovely site and it was a mile out of the town. Omagh has now grown round us so we’re a little island of green among housing estates like Thornlea which all ring our boundaries. Everyone around us presumably are millionaires while we remain very poor except we’ve got nice green land round the house. The Auchinlecks having started in 1625 in Ireland wouldn’t really count as Irish I suppose but it’s very hard to become Irish if you start Scottish. I can say while I’ve got a beautiful English accent I’m half a Kerryman cos the Moriartys came from Dingle.”

“The house is a military house because this is an Auchinleck house. It’s not a Darling house. And the reason I’m here is because my grandfather was a very poor curate and he used to make money by special coaching for children and looking after them in the summer holidays. So he came here to do that for the Auchinlecks and married one of the two daughters of the house. Well, the son of the house was Dan Auchinleck and he went off to World War I and got killed pretty well at the beginning in 1914. So that left his widow here from 1914 until 1948 and no male heir so when she died in 1948 my father inherited because he was the only male heir through his mother and that’s how the name changed from Auchinleck to Darling. It’s essentially a military house because nearly all the Auchinlecks were soldiers, the most famous one being Field Marshal Auchinleck who was a field marshal in World War II.”

And then the house was talked about in detail. “I think the marriage to the sugar heiress made it possible to build this house and then they were a family of some note. It was built in about 1810 or 1815 or thereabouts. It was built onto an existing farmhouse. Pictures we’ve got of it show it was just bare ground round the farmhouse where all the trees are now. So it all started from that. The trees are now over 100 years old. I’m beginning to wonder how long they will go on living. All those wonderful beeches all round the house.”

“There have been very few changes to the house. There was a bit built on really for guest rooms and odd things including a bathroom. The only bathroom in the house despite all its grandeur was in the annex bit where Mrs Bell lives now. We have a tenant there now because we don’t need all that room. That used to be the only bathroom – it was downstairs and it wasn’t in the main house! Apart from that there haven’t been any real changes in the house. We had to buy a new roof the other day. Fortunately I was in my full earning period as a QC so were able to afford it with a little help from the Listed Building people. The Listed Building people are rather tiresome because you think you’re going to get a lot of money out of them. Then they come and say what they want and so you end up finding the whole thing is much more expensive than you thought. So the money you get out of them really goes on doing the extras they insist on.”

“The house is unchanged from those days and architecturally one of the three main features is a thing called Wyatt windows. The windows are very very broad centrally and on each side of the main window is a little window and that is an architectural trick to make the house not look too tall. Because it is in fact quite tall – you can see that from the ceiling heights. It has the advantage that it make the house look very attractive outside. It has the disadvantage that there are an awful lot of windowpanes to leak draughts through.”

“And then the other quite exceptional feature is the mahogany doors and that was a quirk of fate. They came from Demerara with an heiress who was associated with the sugar business in Demerara. And then the third feature is a marble floor in the hall depicting the Seven Ages of Man right through from a puking infant to a decrepit old man like myself! We keep it covered with carpet. Those are really the three features of the house; otherwise it’s more or less a standard Georgian house. It is a good one – it has very thick walls; it’s very well constructed.”

“In the library there is about three feet underneath and right in the centre of the house there’s a very nice cellar you can get down to and in the cellar there is a well so that in those days there were thinking of defended farmhouses. That was to be the last defence – you got your water right down in the centre of the house. All the fireplaces are marble originals. The library has a good one. The grate is not the original grate – it’s a Devon grate for burning turf. You would’ve had a more ornamental one with vases but this has been converted to burn turf. We now burn logs as we’ve plenty of firewood. We harvest them in October to last us through the year. It’s cold and damp if you don’t live in the house. If you do live in it it’s fairly easy to keep it warm. You just have to remember not to leave the doors open on damp days or even on a cold day. The cold will come pouring in and run right through you.”

“There was a tennis court outside the library window. It was always pointing the wrong direction for the sun. It’s very hard to keep a grass court in Omagh. Tennis was governed by the weather, not like hunting which was governed by the breeding season, because only humans play tennis and they breed all the time and they don’t have a set season for it! When I was a boy I think there were 18 grass courts in the Omagh Tennis Club and the ladies of Omagh had a rota as to who would provide the tennis tea once a week. This was a great kudos, a great social occasion, and each lady in turn tried to have bigger and better cakes! You wouldn’t dare go there without your long white flannels – no shorts. Your decent shirt with buttoning arms and some kind of blazer or dark coat. And then you must not go with your shirt open. You had to have a little silk scarf which you made into a tie and tied it over so that it filled in your shirt. Well if you didn’t go like that people would say, ‘What’s wrong with that boy there; he doesn’t seem to know how to dress? We won’t ask him again.’ Things were like that in those days.”

“I had a kinsman who was a well known peer from round here, very eccentric in many ways. There were trains in Omagh; we all travelled by train up to Belfast and the Liverpool boat and so on. He used to turn up in a rather ramshackle but very grand for those days Austin and his attendant would get out with a large wicker hamper and that was taken into his first class carriage. But his next brother used to go into the second class carriage with a small package of sandwiches. Well, this same man was at one of those tennis teas where everyone else was behaving extremely well and somebody asked, ‘Would you like some cake, my lord?’ He said, ‘Yes certainly, would love it, I’ll have that big sticky one.’ So someone handed him the plate and instead of having the slice had the whole cake! He was a huge man. His descendants are extremely nice people and don’t eat complete cakes. They’re still around.”

Societal changes were discussed too. “That kind of lifestyle was really finished in World War I and staggered on in a fairly broken back way until World War II and then I think if you look in England or anywhere round Ireland it really all came to an end. If you want to live in this house you have to do it yourself. You buy as many machines as you can and hope they will do the work which people used to do. When I was a boy if you wanted to get a cook or a housemaid you only had to go to Donegal and you would have queues of people wanting to do the work. Nowadays you could put advertisements in the Con for domestic work and everybody would say not for me! That’s not specially Omagh; that’s just a big change in society. A whole generation of men were killed in World War I. It was a very foolish war and an awful lot of people were killed which took the heart out of the families who were in these houses and that applied to Ireland as well.”

“In spite of being neutral, Irish on both sides made an enormous contribution to the World War II and an even bigger one to World War I. In the hall that’s a Zulu shield from the Anglo Zulu War. They were all decimated defending and spreading the Empire and that’s really why there are no Auchinlecks left now.” Sue confirmed, “Everyone in this family was either in the army or the church. They spent their lives and made no money.”

Social mixing came up as a topic. Sue explained, “Generally speaking the class of people who lived in these houses integrated greatly. We’ve lovely stories: we’d Maggie Duncan from Drumnakilly who spent her whole life in this house and she told stories of how Mrs Auchinleck who was a great fisherwomen would occasionally get the gillie and the kitchen would be cleared and the gillie was very good on the squeezy – the accordion – and they would dance. Mrs Auchinleck was a widow here for years but young officers would come out and they would take a turn and they’d all have a dance in the kitchen. I think they integrated in a very nice way but there was a complete society in a house like this. It would have had an enormous amount of retainers and there were a lot of houses like this. Also, there was no transport – you had to make your fun where you were.”

Back to Bunny. “There was a room out the back called the servants’ hall and it had a great big table and at each end would have been the housekeeper and the butler and they were the head and foot of the table and then all the other people who worked in the house would be lined up on each side of the big table. They would’ve done very well on the class of food they got and they had their own rules. The same kind of thing as in that film Upstairs Downstairs – that was happening here as well except it wasn’t downstairs, it was on the same level.”

Sue again. “This Maggie who we were very fond of – well, my husband’s aunt and uncle were in charge of Springhill for The National Trust and they invited us over in spring when the house wasn’t open to have afternoon tea with them. I took Maggie and her friend Mrs Tracey who lived up in the top of the town. It was the most memorable tea party because Mr Butler showed them all round the house. We went into the different rooms and they would look at the fireplaces in Springhill and they would say, ‘My goodness, that would have been a good hour’s work at seven o’clock in the morning, cleaning that fire and getting it all ready for the next day!’”

Bunny once more. “Dear Mrs Tracey was a very keen Roman Catholic. She lived on that very steep hill that goes up from John Street to the Church of Ireland church. A little cabin. It must have been incredibly difficult to live there: very noisy, very hard to keep it clean or anything. I think it’s either tumbled or there’s some sort of café there now. Maggie was a very staunch Protestant; I think she would’ve been a Paisleyite probably. Come Christmas day we always had Mrs Tracey. We had to collect Mrs Tracey to share Christmas dinner with Maggie and they got on like a house on fire. Mrs Tracey had a mischievous sense of humour; great great fun. It depends on the family too. Some families were nice and integrated as my wife was saying and treated the people who worked for them well. Other families, usually because they weren’t quite sure of themselves, were pretty nasty.”

Country house pastimes were another topic. “Entertainment was various forms of shooting and fishing which according to how well off you were you could find. My favourite place for fishing was Loughmacrory Lough and I used to bicycle out the whole way to Loughmacrory and spend a day fishing there and then bicycle back. In those days you found your own fun because you were prepared to bicycle 12 miles. You didn’t wait till you could own a car or for your parents to drive you out there.”

“There were dances in Omagh usually with orange squash and with very severe controls on behaviour. If you were caught kissing somebody you would probably be kicked out. Of course there was the County Cinema and the Star Ballroom Cinema next door to our bakery, The Model Bakery. The back regions of the Tech are where the Star used to be. The Star had slightly more risqué films. A risqué film was a film that showed somebody’s knee more or less. The County was very reliable and posh. You used to take an expensive seat in the gallery for one shilling and one penny I think it was in old money. But if you were really bust you could all go in a gang and take a ninepenny seat down below. It was actually a very nice cinema run by Mr Donaghy. Once a year the circus used to come; it used to be a great annual event. You might possibly go up to Belfast for the pantomime in the Grand Opera House once a year.”

“I myself having two grandparents who were clergymen, entertainment at the rectories was entirely composed of Biblical quizzes, Biblical boardgames, Biblical this, that and the other. The result was I learnt my Bible terribly well but it wouldn’t sound very exciting to a child nowadays although the boardgames were the same old boardgames only about Biblical characters.”

“Of course there was the hunt, the Seskinore Harriers, which was going strong and with luck you could get some sort of pony and go out with the Seskinore Harriers. They had a point to point once a year at Strabane – a very ramshackle affair really. I remember once we were going to one jump and there were two old ladies wearing black shawls as they did in those days. There was a manner of dressing where people dressed in black dresses and wore black shawls. And two of these ladies were walking across from one jump to another and one of them said to the other, ‘Come on over here Maud and by the grace of God we’ll see a corpse!’ And that was the sort of thing you might see – someone breaking their neck at any moment but that was more important really than the result of the horse race!”

Finally, the ongoing connection to Omagh came up for discussion. “I used to come back to Omagh whenever I could. I only retired from the bar a year ago. My father died in 1958 so from then onwards we’ve been managing this place from a distance bar holidays. We were very lucky to have two women working for us who lived here and the pensioner Robbie Stockdale lived in the gatelodge. We put Crevenagh House on the market because we hadn’t got very much money and we were only offered the probate amount of £7,000 for the whole lot which was ridiculously low.” Sue recalled, “I’ve spent six months of the year here every year for a long time. It’s a very different outlook. I found it a total culture shock between living in London and living in Omagh. I found it very easy to get on with people in Omagh. The English are very law abiding. The law can fit in with your life here. I’m Australian. I love going back to Australia too and they come over here and visit. We’re almost professional guides with all our visitors!”

Two years after this interview took place, Bunny Darling was appointed High Sheriff of County Tyrone. Another role he had enjoyed was as Admiralty Judge to the Cinque Ports when the Queen Mother became Lord Warden in 1979. Her Majesty’s residence attached to this role was Walmer Castle in Kent. Bunny died in 1996 and seven years later, Sue put Crevenagh House on the market for the first time in its history and moved to England to live near their children Patrick and Fiona. The house and what remained of the estate were bought by a local businessman. As for the destiny of the lots? Lot 1a Crevenagh House is still structurally intact with the ground floor windows boarded up. Its grounds including the walled garden are overgrown. The gatelodge (excluded from the sale) is burnt out soon to disappear forever. The summerhouse is derelict but not beyond repair. Lot 1b Stable Block is burnt out but the shell could still be restored. Lot 2 Hill Field has been developed for housing. Lot 3 Orchard Field is under development for housing. The Omagh throughpass runs through Lot 4 The Holm and the remainder of this land is now a car park and playing fields.

Savills’ and Pollock’s auction catalogue states the following. Lot 1a Crevenagh House (12.56 acres): “A tree lined avenue leads from the public highway to the house which faces south and west over its own grounds. The Georgian house, built circa 1820 for the Auchinlecks, is a fine example of a period residence, set in rolling lawns and woodland. The house has remained in the same family ownership since it was built. There is a self contained and separately accessed staff or guest accommodation to the rear of the house. To the south of the stable block there is a south facing walled garden of approximately two acres surrounded by a brick wall, stone faced on the exterior. The southern boundary is formed by a pond.”

Lot 1(b) Stable Block (0.25 acres): “The stables are located within the grounds of Crevenagh House and provide an opportunity to purchase and develop attractive stable buildings and a yard for residential purposes. Planning permission was granted on 26 October 1999 for conversion into three residential units.” Lot 2 Hill Field (9.84 acres): “An area of south sloping pasture land divided into two fields. The fields are zoned for housing within Omagh development limits: Omagh Area Plan, 1987 to 2002. A planning application has not been submitted and prospective purchasers should rely on their own inquiries of the Planning Authority.” Lot 3 Orchard Field (8.92 acres): “This area of approximately nine acres lies to the east of Crevenagh House and is bordered by woodland. The south facing lands are not presently allocated for development but there may be longer term potential.” Lot 4 The Holm (9.73 acres): “This field, with access from Crevenagh Road under the old railway bridge, is bordered by the Drumragh River. The lands are presently used for agricultural and recreational purposes. Parts of this Lot will be affected by the new road throughpass but a portion of the remainder may have some development potential, subject to planning approval.”

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St Macartan’s Cathedral + Bishop’s Palace Clogher Tyrone

Whatever It Takes

Clogher may be a “tiny inconsequential place” according to Alastair Rowan (Buildings of Northwest Ulster, 1979) but it still manages to pack in a cathedral; bishop’s palace; Georgian village buildings; and a modernist ecclesiastical masterpiece. All on Main Street.

Alastair introduces St Macartan’s Church of Ireland Cathedral: “The church that stands today was built by Bishop John Stearne in 1744, apparently to the design of the architect builder James Martin. The church looks 18th century: cruciform, with pedimented gables to the transepts and chancel. The broad west front, wider than the nave, also has a pedimental gable but is topped by a solid, square belfry tower with a balustrade and obelisk finials. All the windows are round headed except the east Venetian window: Tuscan outside, Scamozzian Ionic within.”

“The Convent of the Sisters of St Louis is immediately east of the cathedral,” he comments. Quite the ecumenical neighbours at the top of the hill, top of the town, these days. “Formerly Clogher Park and before that the Protestant Bishop’s Palace. A plain ashlar block, built into the hillside, so that the entrance front is three storeys and the garden side four. Seven bay front with three bay pediment and single storey Doric porch. Six bay garden front with a high arcaded terrace across the ground floor flaked by recessed two storey wings with canted bay windows. The house overlooks a miniature park. Mrs Delany describes it in 1748 as ‘pretty with a fine large sloping green walk from the steps to a large basin on water, on which sail most gracefully fair beautiful swans. Beyond the basin of water rises a very steep hill covered with fir in the side of which Mrs Clayton is going to make a grotto. The rest of the garden is irregularly planted.’ The landscape still bears traces of Bishop Clayton’s planting, but the house is a more recent one, begun in the late 18th century by Bishop Lord John Beresford and completed by Bishop Tottenham in 1823. Square entrance hall with drawing room and dining room en suite across the garden front. Mahogany doors in fine late neoclassical architraves. There is a small Doric gatelodge.”

Among the miniature drumlins of the grassy graveyard rest stone tombstones, many of them dating from the 18th century. One tombstone, heavily carved front and back, has the inscription: “Here lyeth the body of John McGirr who departed this life January the 19th 1770 aged 23 years.”

Courthouse Clogher is managed by local couple Len and Joyce Keys. He explains, “This is not a commercial venture – the objectives are not financial. I had a career in banking but felt God very clearly guiding me to leave secular employment and undertake theological training. Through a complex web of circumstances which only God could control, by the time my course was completed, God had provided this courthouse building for Hope 4 U. This is our shared vision so as the renovation work on the building was nearing completion, Joyce left her employement as secretary of a local school. After 200 years as a ’seat of justice’, Courthouse Clogher opened as a place to share God’s peace, mercy and grace. Hope 4 U is focused on serving the whole community of the Clogher Valley.” Various community services are offered at Courthouse Clogher while on Thursdays and Fridays the courtroom is a café. The judge’s bench and the mezzanine over the door have been retained.

A sign in the entrance hall of the former Courthouse sets out: “Court Service of Northern Ireland records indicate that this building was constructed circa 1806. As a public building it had a wide diversity of usage; for example, the Board of Guardians who oversaw the operation of Clogher Union Workhouse met in this building on 27 May 1841. By 1910, Petty Sessions sat on the second Tuesday of each month at 12 noon. The Ulster Towns Directory of that year records Mr James Cull as the Clerk of Petty Sessions, Mr Arthur McCusker as Summons Server and Mr John Trimble as Courtkeeper. It was used as a courthouse throughout the 20th century, and in the latter 1990s it benefitted from a major renovation and refurbishment programme. Despite this investment, on 7 November 20023 Rosie Winterton MP announced that following a strategic review it had been decided that Clogher Courthouse should close at the end of 2002 and court business would transfer to the new Dungannon Courthouse. After the closure, the building lay derelict until it was purchased by Hope 4 U Foundation in March 2013.”

Next door to the Courthouse, Clogher Valley Rural Centre, 47 Main Street, is currently for sale for £139,950. This impressive gable ended five bay two storey over raised basement building looks like it may originally have been a stately village house. A piano nobile tripartite window and Gibbsian doorcase add grandeur to the rendered façade. In the 19th century it was an establishment called the Commercial Hotel with an off licence run by James Sheridan in the raised basement. Converted into offices, the only remaining internal period features are a white marble chimneypiece and a black cast iron chimneypiece in the main former reception rooms.

Opposite No.47 are two more public buildings. The former market house was converted into Clogher Orange and Black Hall in 1957. The two storey rendered with hipped roof T shaped block is a pleasing if severe Georgian design. The one and a half storey Cathedral Hall of 1872 carries on the neoclassical tradition established a century earlier in the village. Its symmetrical façade is an elegant composition with a gabled central projection. Both buildings are rendered with quoined corners. The Orange and Black Hall is vacant; The Cathedral Hall is well maintained.

Breaking away from the neoclassical mould of neighbouring public buildings, St Patrick’s Catholic Church was designed in a radically modernist style by Liam McCormick. The single storey building is set back from the road edge and like most of Main Street has panoramic views across the rolling countryside. Paul Larmour writes in Architects of Ulster 1920s to 1970s (2022), “St Patrick’s Church at Clogher, County Tyrone (1979), which was laid out on a circular plan with battered walls and a shallow conical roof surmounted by a thin spire, giving an almost space age profile.”

A few kilometres outside Clogher heading towards Belfast is the grandest house at any roundabout in Ireland. Ballygawley Roundabout is, as its name suggests, a functional road intersection but is much improved by the vision of architectural beauty that is Lisbeg House. Unusually, Alistair Rowan doesn’t mention it. Despite being set in a 26 hectare estate, the house sits on a gentle rise clearly visible by passing traffic. It has that Clandeboye (County Down) thing going on of having two principal fronts at right angles to one another. The two storey three bay northwest façade is balanced by a three bay southwest garden front. Round headed arched windows and a hipped roof set on deep modillion brackets lends the house a lightly Italianate look. Its most surprising aspect is the long rectangular five bay return which is about as big as the main L shaped block and also roughcast. The only stylistic deference of the return is the absence of the modillion brackets that so define the main block roof. A handsome stone farmyard extends to the rear of the return. The landed gentry family of Vesey Stewart, of part Huguenot descent, built two country houses near Ballygawley: Martray House (circa 1821) and Lisbeg House (1856).

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Sammy Leslie + Castle Leslie Glaslough Monaghan

The Rear View 

In 2006 Ulster Architect was Ireland’s leading design magazine – by a country kilometre. Publisher Editor Anne Davey Orr blazed the trail much to the chagrin of Perspective journal which was set up in competition by some local architects to no fanfare: the bitterati. Ulster Architect far outlived Prince Charles’ blink and you’ll have missed it publication Perspectives in Architecture. Success is a dish best served cold. The articles in Ulster Architect – by Sir Charles Brett, Leo McKinstry and too many other literati to mention – have stood the test of time. It’s hard to believe that our interview with the glorious Sammy Leslie for the September edition of Ulster Architect is now nearly two decades old. Happy 18th!

Sir John Betjeman, Sir Winston Churchill, Marianne Faithfull, Sir Paul McCartney and William Butler Yeats have all been. The great and the good, the glitterati in other words. In recent years thanks to Sammy Leslie and her uncle the 4th Baronet, Sir John (forever known as Sir Jack), Castle Leslie has flung open its heavy doors to the hoi polloi (albeit the well heeled variety) too, rebuilding its rep as a byword for sybaritic hospitality. Visitors from Northern Ireland could be forgiven for experiencing déjà vu – it’s the doppelgänger of Belfast Castle. Both were designed in the 1870s by the same architects: William Lynn and Sir Charles Lanyon.

Together these two architects captured the spirit of the age. William Lynn produced a majestic baronial pile with chamfered bay windows perfectly angled for simultaneous views of the garden and lake. Sir Charles Lanyon crammed the house full of Italian Renaissance interiors and designed a matching loggia to boot. Fully signed up members of the MTV Cribs generation will find it hard not to go into unexpected sensory overload at this veritable treasure trove of historic delights. Castle Leslie is all about faded charm; it’s the antithesis of footballer’s pad bling. But still, the place is an explosion of rarity, of dazzling individuality. Sir Jack’s brother Desmond Leslie wrote in 1950, “The trees are enormous, 120 feet being average for conifers; the woods tangled and impenetrable; gigantic Arthur Rackham roots straddle quivering bog, and in the dark lake huge old fish lie or else bask in the amber ponds where branches sweep down to kiss the water.”

We caught up with Sammy in the cookery school in one of the castle’s wings. “Although I’m the fifth of six children, I always wanted to run the estate, even if I didn’t know how. After working abroad, I returned in 1991. The estate was at its lowest point ever. My father Desmond was thinking of selling up to a Japanese consortium. There was no income … crippling insurance to pay … The Troubles were in full swing. People forget how near we are to the border here.”

Nevertheless Sammy took it on. “I sold Dad’s car for five grand and got a five grand grant from the County Enterprise Board to start the ‘leaky tearooms’ in the conservatory. They were great as long as it didn’t rain! And I sold some green oak that went to Windsor Castle for their restoration. Sealing the roof was the first priority. Five years later we started to take people to stay and bit by bit we got the rest of the house done. So we finished the castle in 2006 after – what? – nearly 15 years of slow restoration.” The Castle Leslie and Caledon Regeneration Partnership part funded by the European Union provided finance of €1.2 million. Bravo! The house and estate were saved from the jaws of imminent destruction.

The Leslies are renowned for their sense of fun. An introductory letter sent to guests mentions Sir Jack (an octogenarian) will lead tours on Sunday mornings but only if he recovers in time from clubbing. In the gents (or “Lords” as it’s grandly labelled) off the entrance hall beyond a boot room, individual urinals on either side of a fireplace are labelled “large”, “medium”, “tiny” and “liar”. Take your pick. A plethora of placards between taxidermy proclaim such witticisms as “On this site in 1897 nothing happened” and “Please go slowly round the bend”.

Bathrooms are a bit of a Leslie obsession ever since thrones and thunderboxes were first introduced upstairs. “The sanitaryware in the new bathrooms off the long gallery is by Thomas Crapper. Who else?” she smiles. “We’ve even got a double loo in the ladies so that you can carry on conversations uninterrupted!” Exposed stone walls above tongue and groove panelling elevate these spaces above mere public conveniences. In the 1890s the 1st Sir John Leslie painted murals of his family straight onto the walls of the roof lantern lit long gallery, which runs parallel with the loggia, and framed them to look like hanging portraits.

Always one to carry on a family tradition with a sense of pun, this time visual tricks, Sammy has created a thumping big doll’s house containing an en suite bathroom within a bedroom which was once a nursery, complete with painted façade. It wouldn’t look out of place on the set of Irvine Walsh’s play Babylon Heights.

A sense of history prevails within these walls, from the mildly amusing to the most definitely macabre. The blood drenched shroud which received the head of James, 3rd Earl of Derwentwater, the last English earl to be beheaded for being a Catholic, is mounted on the staircase wall. “It’s a prized possession of Uncle Jack’s,” Sammy confides. Unsurprisingly, the castle is riddled with ghosts.

Our conversation moves on to her latest enterprise: the Castle Leslie Village. “An 1850s map records a village on the site,” she says. “Tenant strips belonging to old mud houses used to stretch down to the lake. Our development is designed as a natural extension to the present village of Glaslough.” In contrast to the ornate articulation of its country houses, Ulster’s vernacular vocabulary is one of restraint. Dublin architect John Cully produced initial drawings; Belfast practice Consarc provided further designs and project managed the scheme. Consarc architect Dawson Stelfox has adhered to classical proportions rather than applied decoration to achieve harmony. Unpretentiousness is the key. At Castle Leslie Village there are no superfluous posts or pillars or piers or peers or pediments or porticos or porte cochères. Self builders of Ulster take note!

That said, enough variety has been introduced into the detail of the terraces to banish monotony. Organic growth is suggested through the use of Georgian 12 pane, Victorian four pane and Edwardian two pane windows. There are more sashes than a 12th of July Orange Day parade. Rectangular, elliptical and semicircular fanlights are over the doorways, some sporting spider’s web glazing bars, others Piscean patterns. “We’ve used proper limestone and salvaged brick,” notes Sammy. “And timber window frames and slate.”

We question Sammy how she would respond to accusations of pastiche. “They’re original designs, not copies,” she retorts. “For example although they’re village houses, the bay window idea comes from the castle. The development is all about integration with the existing village. It’s contextual. These houses are like fine wine. They’ll get better with age.” It’s hard to disagree. “There’s a fine line between copying and adapting but we’ve gone for the latter.”

Later we spoke to Dawson Stelfox. “Pastiche is copying without understanding. We’re keeping alive tradition, not window dressing. For example we paid careful attention to solid-to-void ratios. Good quality traditional architecture is not time linked. We’re simply preserving a way of building. McGurran Construction did a good job. I think Castle Leslie Village is quite similar to our work at Strangford.” The houses are clustered around two highly legible and permeable spaces: a square and a green. Dwelling sizes range from 80 to 230 square metres. “We offered the first two phases to locals at the best price possible and they were all snapped up,” says Sammy. “This has resulted in a readymade sense of community because everyone knows each other already. A few of the houses are available for holiday letting.”

“We’re concentrating on construction first,” she explains. “The Hunting Lodge being restored by Dawson will have 25 bedrooms, a spa and 60 stables. It’ll be great craic! Between the various development sites we must be employing at least 120 builders at the moment. Estate management is next on the agenda. Food production and so on.” Just when we think we’ve heard about all of the building taking place at Castle Leslie, Sammy mentions the old stables. “They date from 1780 and have never been touched. Two sides of the courtyard are missing. We’re going to rebuild them. The old stables will then house 12 holiday cottages.”

We ask her if she ever feels daunted by the mammoth scale of the task. “I do have my wobbly days but our family motto is ‘Grip Fast’! I think that when you grow up in a place like this you always have a sense of scale so working on a big scale is normal. I mean it’s 400 hectares, there’s seven kilometres of estate wall, six gatelodges – all different, and 7,300 square metres of historic buildings.” Sammy continues, “The back wall from the cookery school entrance to the end of the billiard room is a quarter of a kilometre.”

“A place like this evolves,” Sammy ruminates. “There’s no point in thinking about the good ol’ days of the past. The castle was cold and damp, y’know, and crumbling. And it’s just – it’s a joy to see it all coming back to life. The whole reason we’re here is to protect and preserve the castle and because the house was built to entertain, that’s what we’re doing. We’re just entertaining on a grand scale. People are coming and having huge amounts of fun here. Castle Leslie hasn’t changed as much as the outside world. Ha!” This year there’s plenty to celebrate including the completion of Castle Leslie Village, the Leslie family’s 1,000th anniversary, Sammy’s 40th birthday, and Sir Jack’s 90th coinciding with the publication of his memoirs.

That was six years ago. This summer we returned to Castle Leslie. Our seventh visit, we first visited the house umpteen years ago. Back then Sammy served us delicious sweetcorn sandwiches and French onion soup in the leaky tearooms, looking over the gardens of knee high grass. The shadows were heightening and lengthening ‘cross the estate. Her late father Desmond showed a nun and us round the fragile rooms lost in a time warp. Ireland’s Calke Abbey without The National Trust saviour. He would later write to us on 11 May 1993, waxing lyrical to transform an acknowledgement letter into a piece of allegorical and existential prose.

On another occasion, Sammy’s younger sister, the vivacious blonde screenwriter Camilla Leslie, came striding up the driveway, returning home from London to get ready for her wedding the following week. “People have been buying me pints all day! Nothing’s ready! I’ve to get the cake organised, my dress, at least we’ve got the church!” she exclaimed to us, pointing to the estate church.

This time round we stay in Wee Joey Farm Hand’s Cottage in Castle Leslie Village and enjoy a lively Friday night dinner in Snaffles restaurant on the first floor of the Hunting Lodge. We’re all “tastefully atwitter over glissades and pirouettes” to take a quote from Armistead Maupin’s More Tales of the City (1984), applying it to a rural setting. The following day, afternoon tea is served, this time in the drawing room. Meanwhile, Sir Jack is taking a disco nap in the new spa to prepare for his regular Saturday night clubbing in nearby Carrickmacross.

That was four years ago. Visit number eight and counting. More to celebrate as Sammy, still living in the West Wing, turns 50. Sir Jack would have turned 100 on 6 December 2016 but sadly died just weeks before our visit. This time, we’re here for afternoon tea in the rebuilt conservatory or ‘sunny tearooms’ as they turn out to be today. The assault of a rare Irish heatwave, 26 degrees centigrade for days on end, won’t interrupt tradition. A turf fire is still lit in the drawing room. “Apologies for the mismatching crockery as so many of our plates have been smashed during lively dinner debates” warned a sign on our first visit. The crockery all matches now but the food is of the same high standard: cucumber and cream cheese brioches; oak cured Irish smoked salmon pitta; fruit scones with Castle Leslie preserves and clotted cream; crumpets and custard pies; rounded off with Earl Grey macaroons, Victoria sponge cake and lemon meringues.

Miraculously, Castle Leslie still has no modern extensions. It hasn’t been ‘Carton’d’ (in conservation-speak that means more extensions than an Essex girl in a hairdressers). Instead, the hotel has grown organically, stretching further and further into Lynn and Lanyon’s building. An upstairs corridor lined with servants’ bells – Sir J Leslie’s Dressing Room, Lady Leslie’s Dressing Room, Dining Room, Office – leads to a cinema carved out of old attics. Castle Leslie has had its ups and downs but Sammy Leslie is determined to ‘Grip Fast’! And in response to Ms Leslie’s late father’s letter to us, we will come again when there is nothing better to do on a nice weekend.

That nice weekend has come or at least a nice Friday evening. We’re here for a celebration dinner. January 2024 is especially cold – minus two degrees centigrade but the turf fires at Castle Leslie are, as ever, roaring. Dinner is in Conor’s Bar on the ground floor of the Hunting Lodge below Snaffles.

It’s 3pm in New York, 5am in Tokyo and 8pm in Glaslough according to clocks high up on the stone wall of the courtyard entrance hall. A poem by the comedian Billy Connolly, The Welly Boot Boy, hangs in the boot room. A cartoon series on The Gentle Art of Making Guinness hangs in the gents. And so to dinner: garlic tiger prawns (toasted sourdough, Estate Walled Garden chimichurri sauce) followed by sweet potato and mozzarella gnocchi (asparagus, peas, spinach and crushed basil) keep up the very high standard of gourmet cooking with local produce.

We’re dressed to the nines, accessorised by Mary Martin London, for our ninth visit to the castle. Sammy, looking as fresh as she did 18 years ago, also dining in Conor’s, greets us like a long lost friend. We congratulate her on saving one of Ireland’s most important historic houses and estates. “There’s still more to do!” she beams. “We need to restore the seven kilometre Famine Wall next and several gatelodges too. There’s always work to be done!”

Sammy explains that overnight guests staying in the castle bedrooms have breakfast in the dining room but later meals in the day are down in the Hunting Lodge as that’s where the main kitchen is now. The paradox of continuity and progress at Castle Leslie. Time stands still for no woman. The leaky tearooms may no longer leak but the ghosts are still all around, some new ones in their midst, silent misty figures just out of clear vision, partying in the shadows. To take another quote by Armistead Maupin, “Too much of a good thing is wonderful.”

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Glaslough + Castle Leslie Village Monaghan

The Blurring of the Lines

Little wonder we feel so comfortable in Castle Leslie, so at home, so welcomed. The Blakleys were landlords in nearby Clones (listed in the 1876 Landowners of Ireland, County Monaghan) before heading up to the bright lights of Belfast at the turn of the 20th century. Glaslough means “calm or green lake”. The historic village is cute without being twee. The Coach House and Olde Bar is owned by the Wright family who are also the local undertakers – you don’t get more Irish than that.

Earlier this century Sammy Leslie of Castle LeslieGlaslough is something of an estate village – did the seemingly impossible and extended the village in a complementary fashion. Organic, tasteful, contextual, understated, mildly playful. Importantly, where other places fail, it doesn’t try too hard stylistically. The only porticos you’ll find are up at the castle itself. We remember the new village layout being held up as an exemplar for contemporary residential development by Dublin planners. Desmond FitzGerald, the last Knight of Glin, was so impressed by Castle Leslie Village that he appointed the Development Planning Partnership, a planning practice based in Dublin, to carry out feasibility studies (although never executed) for a similar development on his estate of Glin Castle in County Limerick.

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Hilton Park Scotshouse Monaghan + William Hague

Powers Hilton

Elsewhere erroneously attributed to the better known architect Francis Johnson, the core of the current house was most likely designed by James Jones of Dundalk. The rebuilding followed a fire of 1803 which destroyed much of an earlier house. A letter from James to Colonel Madden dated 24 July 1838 refers to various works to be undertaken at Hilton Park. The stables and dovecote, the latter a romantic folly, are probably by the same architect. He was also the likely designer of the ‘ride’ which adjoins the rear of the house. The ride is a distinctive cast iron colonnade erected at the rear of the house to allow the family to observe horses being broken in away from the inclement County Monaghan weather.

In 1874 County Cavan born architect William Hague was paid 100 guineas by the Maddens to redesign the house. It was a surprising commission from an Orangeman to a Catholic ecclesiastical architect. One of his many churches is St Aidan’s in nearby Butlersbridge. Drawings by William Hague line the walls of the vaulted breakfast room. “He provided my ancestor with a ‘pick and mix’,” says current owner Johnny Madden, “including ceiling designs for the main rooms.”

While the campanile, bay window and dome weren’t executed, the Ionic porte cochère, parapet decorations and lower level rustication were added. Triangular pediments (without aedicules) float over the piano nobile. The most dramatic change was the excavation of the basement to form a three storey house. Montalto (County Down) and Tullylagan Manor (County Tyrone) are two Northern Irish houses which have been similarly treated, most likely for aesthetic purposes. Johnny Madden believes many of the alterations at Hilton Park were for security reasons:

“You can’t ram the reception rooms when they’re on the first floor. The porte cochère also acts as a barrier. The central rooms on the front elevation all have metal shutters. And the front door is lined with metal. Hague went on to design the west wing of Crom Castle.” Life is more relaxed these days. A sliding sash and handily placed steps provide an exit from the kitchen into the garden. William Hague was clearly versatile. His executed design for Crom Castle (County Fermanagh) is neo Elizabethan. Hilton Park is Italianate. Many of his churches were French gothic. “The house isn’t particularly Irish looking,” reckons Johnny.

Hilton Park as it now stands is a a large three storey stone block commanding views over 240 hectares of land. The entrance front is divided into four sections: a five bay breakfront framing the three bay porte cochère; three bays on either side of the breakfront; and a single bay wing to the right. “The house isn’t as large as it first seems,” says Johnny’s wife Lucy. “It’s long and narrow.” This is apparent on the approach from the driveway which reveals the building is just three bays deep in some parts. Hilton Park looks much larger when viewed from the five bay garden front which is elongated by an ancillary wing.

The entrance door opens into a relatively small gothick hall enlivened by polychromatic encaustic floor tiles, coral walls and ribbed vaults. Most of the ground floor rooms have vaulted ceilings, a reminder they were once in the basement. The estate office and morning room are accessed off the hall. Arched double doors lead into the staircase hall which is panelled on the ground floor. The gothick theme continues in the first floor barrel vaulted dining room on the garden front. An enfilade of Italianate reception rooms is positioned across the entrance front. Stained glass windows add drama to the staircase hall; plate glass windows add light to the reception rooms.

The upper section of the staircase is lit by a tall arched Georgian window. Two blind windows in the corner guest bedroom provide balance to the entrance front. All the guest bedrooms are grouped around an upper landing and corridor to the rear of the house. The corridor ceiling slopes under the slant of the pitched roof. The section of the house closest to the driveway is used as the family wing. This article was first published in November 2012 when Hilton Park accepted paying guests for dinner, bed and breakfast. The new generation of Maddens have relaunched the house and estate as a weddings and events venue.

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Glenveagh Castle + Derryveagh Mountains + Lough Beagh Donegal

Wild Geese

“To me how veritably a palace of enchantment” cries Edward Poe’s character William Wilson in The Fall of the House of Usher. Parts of Glenveagh Castle’s history are as dark as this horror (owner ‘Black Jack’ Adair’s land agent was murdered in 1861; a later owner Arthur Potter would disappear without a trace) but it enjoyed an Indian summer in the mid 20th century as a palace of enchantment. It is a castle in name only. Scots Irish landowner John ‘Black Jack’ Adair built it as a hunting lodge. Architect John Townsend Trench (Black Jack’s cousin) was instructed to use the Royals’ Balmoral Castle in Aberdeenshire as inspiration. The castellated house is much less chunky that its Scottish forerunner: the architect handles its massing well, no doubt in part due to the incremental building programme. The central house, started in 1867, was gradually extended with a variety of towers, completing in 1901.

Cast iron hoppers, corbelled bartizans, crenellated parapets, crow stepped gables, granite machicolations – the architect plundered the Scottish Baronial textbook to great effect. Perhaps he also read Oscar Wilde’s 1882 essay The House Beautiful, “The use of the natural hues of stone is one of the real signs of proper architecture.” The 16,000 hectare estate passed out of Adair ownership in 1929 when it was bought by the ill fated Harvard Professor Arthur Potter and his wife Lucy who together restored and redecorated the castle. Perhaps they read Oscar’s essay too for the décor follows his rule, “A designer must imagine in colour, must think in colour, must see in colour.”

Glenveagh Castle is too compact to fall under Annabel Davis-Goff’s category “impossible large houses” in her 1989 book about gentry in Ireland, Walled Gardens. But it does fit in with her description, “Even in the grander houses in Ireland there was rarely a bedroom with its own bathroom.” The house really came into its own when Henry McIlhenny bought it in 1937. The Bachelor Corridor is lined with appropriately single bedrooms while being light on en suites. The world (and only occasionally their partner) came to stay. Samuel Barber, best known for composing Adagio for Strings, was a frequent guest.

The American composer and pianist was also a gifted diarist, recording in 1952, “There are two towers in the castle, six drawing rooms, with fires always burning; so I confiscated one at once and messed it up PDQ with orchestration, paper, and pencils, et al, announcing that I would see no one until lunchtime; and I worked very well every day and almost finished two numbers of the ballet; lots of fun working at it. There was really no one to see for almost a week.” He continues, “Joy of joys, peat fires are burning in every room … they call it turf … and burning it has an ineffable perfume, at least for me.” He notes, “We left Glenveagh after a week of candlight and peat and Gaelic twilight.”

Another guest was the highly amusing Rafaelle Duchess of Leinster. Writing in her 1973 entertaining autobiography So Brief a Dream, “I fell head over heels with this enchanting castle. Glenveagh is a divine place to stay. You couldn’t have a more charming host. His sense of things beautiful and comfortable make you want to stay forever. There was only one snag, the undercurrent that so often flows when the guests are more fashionable than friendly, and the host is elsewhere. Every night after dinner when we gathered in the lovely red room warmed by the sweet scented peat fire, you would be wise to see to it that you were the last to leave when it came to say goodnight.” Typically, there is something of a sting in the tail of her tale. Although that pales in comparison to the description of her disastrous wedding in Knightsbridge, London, “He and I walked up the aisle of Holy Trinity Brompton on a December morning in 1932 to the altar of doom ‘for better for worse’ … mainly for worse!”

Henry McIlhenny added more than just colour to the castle: he invested in Victorian paintings by Edwin Landseer, inserted marble chimneypieces salvaged from nearby Ards House in Creeslough, and created a series of extraordinary gardens (enlisting the expertise of leading landscapers Philippe Julian, Lanning Roper and Jim Russell) climbing up the purple headed Derryveagh Mountains and falling down to the eastern shore of Lough Beagh. Mock fortifications enclose a pool raised above the lapping water’s edge. The American tycoon donated the castle and estate to the Irish Government in 1983. Three years later he died just as Glenveagh National Park was opening to the public. Visiting this remote house set in a wilderness on a scorching hot summer day, it’s impossible not to be “married to amazement” to borrow Mary Oliver’s phrase from her 2004 poem Wild Geese.

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Von Essen Hotels + Cliveden House Hotel Berkshire

The Conservative Party

At one time they owned some of the best hotels in Britain. The portfolio of the two Andrews – Messrs Davis and Onraet embraced 30 odd mostly historic hotels included Ston Easton Park in Bath, Sharrow Bay in Cumbria, and most famously of all Cliveden in Berkshire. They knew how to throw a good party – we didn’t need an excuse to jive away an evening at their stuccoed Belgravia mansion. The Sunday Times restaurant critic Michael Winner was a close friend; Raine Countess Spencer was too. You never knew who you’d share a bottle of Moët with by the indoor basement swimming pool.

So when they suggested we visit Cliveden, there was only one response: when can we go? It was the heady summer of 2010 when we went south to Berkshire’s best. Our review for Luxury Travel Magazine at the time contained the prescient line, “Notoriety and Cliveden go hand in hand.” Sadly, little did we know that two years after our visit Von Essen would go out of business. A certain Meghan Markle and her mother would later spend the night before her wedding to Prince Harry at Cliveden. The National Trust continues to own the grounds while the hotel has changed hands several times since.

Another forte of the two Andrews was PR. Von Essen sponsored The Sunday Times’ Rich List and regularly appeared in the glossies. An article predating their tenure was written by Jo Newson and Dorothy Bosomworth in Traditional Interior Decoration, February / March 1988. They state, “Country house hotels are a relatively recent phenomenon. They have sprung up with a demand for something more than comfort: a wider appreciation of style without streamlining, and a recognition of the value of old buildings in our brave new world. Cliveden is one of the most recent – and important – examples.”

Here goes. At a bend in the Thames a house has twice risen from the ashes: welcome to Cliveden. Have you ever stayed at an historic hotel and yearned to learn more about its past? Von Essen Hotels have the answer. Throughout 2010 they are rolling out Heritage Concierges at all their properties. Guests can discover the history of the hotel they are staying at through a dedicated member of staff. Tours are free but must be booked upon arrival. First to offer this innovative concept is Cliveden (drop your E’s to pronounce “Cliv’d’n”) in Berkshire.

And what a task. Cliveden has been the scene of riotous living by the rich and infamous for almost three and a half centuries. Spies, call girls, billionaires, dukes and queens have all partied hard here. The name is so synonymous with presidential league entertaining that even the Sugar King Julio Lobo referred to his bolthole for holding court in Havana as the “Cliveden of Cuba”. But Michael Chaloner, Cliveden’s Heritage Concierge, is well up to the job. He jokes that he’s been at the hotel forever. Michael explains, “Surprisingly the house has never been the principal seat of any of its owners. It’s always been a holiday home if somewhat on a grand scale. When it was converted to a hotel in 1985 barely any changes needed to be made.” Some things really haven’t changed. Sue Crawley, Hotel Manager – actually the staff never refer to “hotel” but rather “house” – comments, “All the food still comes up on trays from the cellar kitchen. This involves navigating four twists of the narrow staircase!”

The present house is an impossibly palatial affair erected in 1852 to the design of Sir Charles Barry for the 2nd Duke of Sutherland. This starchitect practised his penchant for all things Italianate a decade earlier at the Reform Club on Pall Mall, London, before being let loose at Cliveden. It’s hard not to feel important, sitting on plumped up cushions in the Great Hall under the disdainful eye of Lady Astor in a Sargent portrait, while on the other side of the tall sash windows a gaggle of National Trust tourists gawk and traipse past (Von Essen lease the building from The National Trust).

Each of the 39 bedrooms is individually decorated and named after someone connected to the house, from the Tudorbethan panelling of the Mountbatten Room to the sloping ceilings of the Prince Albert Room. In the Asquith Room you can lie back in the bath and watch the limos pulling up in the forecourt three storeys below. Thankfully there’s not a modern extension in sight. Fancy a fourposter bed? No problem, try the Chinese Room. A coronet bed? That will be the Sutherland Suite. A polonaise bed? Not sure, but there’s probably one somewhere. Cliveden doesn’t do second class. No wonder Queen Victoria stayed here for six weeks.

Henry Ford, Franklin Roosevelt and George Bernard Shaw have also enjoyed stints at Cliveden. In 1893 the hideously wealthy American tycoon William Astor, who’d bought the house 13 years earlier for a staggering $1.25 million, presented it to his son as a wedding gift. Halcyon days beckoned as Astor junior and his glamorous wife Nancy hosted society. The government of the day was broke (sounds familiar?) and so ministers were only too glad to meet visiting dignitaries at Cliveden. But it is the fall of a later government that keeps Michael’s tour especially lively. Almost half a century ago, on a balmy Saturday evening in midsummer the Secretary of State for War Jack Profumo clapped eyes on Christine Keeler, a 19 year old demimondaine, larking round the outdoor swimming pool. The rest is history as immortalised in the 1989 film Scandal starring John Hurt, Ian McKellen and Joanne Whalley.

Lord Astor had persistent backache,” says Michael, “so he allowed his osteopath Stephen Ward use of Spring Cottage on the estate as payment in kind. That fateful evening the party staying at Spring Cottage included Ward’s acquaintance Christine Keeler and Yevgeny Ivanov, a Soviet assistant attaché who was also a spy. Meanwhile Profumo and his wife, the beautiful Northern Irish actress Valerie Hobson, were guests of the Astors. After dinner they strolled out of the house to the pool area. Profumo in a dinner jacket; Keeler emerging from the pool in a dripping towel. Their clandestine affair began the following day. When Keeler sold her story to a tabloid it was revealed she’d been sleeping with both Profumo and Ivanov at the same time.” A case of Reds in the beds.

Jack Profumo baldly denied any impropriety in his relationship with Christine Keeler in a statement to the House of Commons. “Well he would, wouldn’t he?” tartly snapped Mandy Rice-Davies, Christine’s best buddy and co accused of prostitution, later at the subsequent court case. He finally confessed although not before suing Paris Match and Italian magazine Il Tempo for libel. Stephen Ward was tried on trumped up charges relating to immoral earnings and committed suicide before the case concluded. Jack’s career lay in tatters and the furore brought down the then Conservative government in 1964. The swimming pool is now Grade I Listed in its own right.

Notoriety and Cliveden go hand in hand. Its first owner, the 2nd Duke of Buckingham, was imprisoned several times in the Tower of London. It was said of the Duke that “a young lady could not resist his charms … all his trouble in wooing was, he came, saw and conquered”. He challenged his mistress’s husband to a duel in 1696. And lost. A cross sword emblem set into the East Lawn commemorates his gory death. Even the luscious interiors, manicured to within a square centimetre of their lives, aren’t quite all they seem. Look closely and you’ll find the unexpected, from blood spattered soldiers lurking in the Great Hall tapestries to rabbits mercilessly trapped behind balusters in the gruesome plasterwork of the French Dining Room.

Once a full day’s coach ride from London, Cliveden is now just an hour by train from Paddington. A chauffeur can pick you up from the station at nearby Burnham. Natch. Culinary delights to satisfy the most demanding of gourmands await. The Terrace Dining Room greedily devours six windows of the nine bay garden front. Menu highlights include John Dory slowly cooked to perfection and Heston Blumenthalesque chocolate fondant (The Fat Duck restaurant is a mere 6.5 kilometres downstream).

Business Development Manager Amanda Irby confirms that these days you are more likely to find television chef Jamie Oliver celebrating his 10th anniversary at an informal dinner on the terrace than any political mischief unfolding. “Or you may well pass Sir Paul McCartney engaged in conversation with his daughter Stella next to the Great Hall fireplace,” she remarks. Indeed the President of Afghanistan held meetings in the Macmillan Room lately. History is rumbling along. The Heritage Concierge at Cliveden will never be short of tales to update his tours.

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Saltburn + Drayton House Lowick Northamptonshire

The Go Betweeners

The beautiful Rosamund Pike is such a talented comedic British actress that somehow channelling Lady Elspeth Catton she even makes naming a gravestone font “Times New Roman” sound hilarious. If you’ve heard that the film Saltburn is Brideshead Revisited on a high, The Go Between on a low or The Shining somewhere in between, think again. Writer Director Emerald Fennell’s dazzling genius is to create her own genre of thriller-comedy-romance-drama-gorefest while breaking taboos you didn’t even know existed. And then to line up la crème de la crème of British acting (Rosamund, Carey Mulligan and co) and emerging Irish talent (Barrie Keoghan and Allison Oliver). Only Emerald could musically bookend to perfection a film using Handel’s Zadok the Priest and Sophie Ellis Bextor’s Murder on the Dancefloor – from majestic hauteur to killer moves.

Daughter of the jewellery and silverware designer Theo Fennell, she confides, “I love my name. I think it’s all the things perhaps that I am which is unironic, unsubtle and slightly over the top!” True to form, Saltburn is unironic, unsubtle and, begging to differ, wildly over the top. Emerald goes forth, “I don’t think irony is helpful because it’s a lie, it’s double talk. Things do not have to be all done in the same way. You can be earnest, you can earnestly love things, you can be unsubtle, you can be overwrought, you can be melodramatic and gothic, you can be all those things. In terms of dramatic narratives, you’re looking to find the thing that gets inside you in a way that’s truly sexy and disturbing.”

Saltburn’s a period film set mainly way back in ye olde days of 2007 when everybody smoked indoors and got wings downing Red Bull and eyebrow piercings were à la mode. The opening scenes are all about antics in an Oxford college before things really hot up at the voluminous country house of Saltburn. Emerald chose Drayton House next to the picturesque village of Lowick in Northamptonshire to be Saltburn. She wanted somewhere that wasn’t well known or on the tourist trail. Drayton House is all that and more – it never was and never will be open to the public. The cast and crew spent a full summer here; then the six metre high wrought iron gates were locked for good. Artistic integrity is secured by shooting every Saltburn scene at Drayton. This avoids the visual confusion of Julian Fellowes’ Gosford Park film flitting between the exterior of Luton Hoo (Bedfordshire), the reception rooms of Wrotham Park (Hertfordshire), the bedrooms of Syon House (London) and a film studio kitchen at Shepperton Studios, London.

“A lot of people get lost in Saltburn,” warns Duncan the butler. The characters get lost in the mansion, lost in the maze, lost in the madness, but never in translation. There are references within references in the dialogue. Saltburn heir Felix Catton (played by Australian Jacob Elordi who delivers another masterful triumph of capturing the upper class English accent), nonchalantly boasts, “Evelyn Waugh’s characters are based on my family actually. Yeah, he was completely obsessed with our house.” Turns out Brideshead was really based on Saltburn not Castle Howard in Yorkshire! His father Sir James Catton amusingly played by Richard E Grant organises a house party and listing names of the invitees complains, “Stopford Sackville has cried off.” The Stopford Sackvilles are the owners of Drayton House.

To say Saltburn is beautifully shot is to say a Gainsborough portrait is well lit or Grinling Gibbons knew a thing or two about framing. The symmetry of reflection is just one technique used to great effect, whether a candlelit dinner table or moonlit pond. Those Caravaggio like stills. Shooting on squarish four by three aspect ratio film captures the height of the architecture and interiors. The closeted cloistered class obsessed quad of the Oxford college followed by the country house courtyard emphasises the exclusivity of this upper echelon world. There’s symmetry in the writing too: Felix takes his guest Oliver Quick (Barry Keoghan accelerating from mellow to moody to murderous) on an introductory whirlwind tour of the house starting in the great hall. At the end of the film Oliver will dance the same route sans vêtements in reverse, ending in the great hall. What could possibly go wrong in such gorgeous surroundings? The clue is in the script notes, “It’s all beautiful but it’s about to get messy, fast.”

Drayton House was the cover girl of the March / April 1987 edition of Traditional Interior Decoration, a seriously seminal well written fabulously photographed short lived much missed magazine. The cover money shot of the swirling staircase was accompanied by a 14 page spread salivating over the ravishing rooms. “The grey stone Elizabethan east wall of Drayton,” writes Michael Pick, “masks the baroque façade of 1702 covering a late 13th century great hall which forms the core of the house.” The medieval hammerbeam roof of the great hall is concealed by a 17th century baroque barrel vaulted ceiling designed by William Talman, architect of Chatsworth in Derbyshire. The writer concludes, “It has never been a setting for country house parties …” Rarely has an ellipsis worked so hard or been so ominous.

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The 8th Marquess of Waterford + Curraghmore Portlaw Waterford

Heirs and Graces

Of course we had no idea at the time it would be the last interview to be given by the 8th Marquess of Waterford. We did know it was a rare opportunity though: he rarely spoke to the media. So on a drizzly day in May 2014, with a great tingle of anticipation we watched the gates electronic gates slide open before racing down that eternal avenue. The Marquess, in a wheelchair and sporting trendy trainers, cheerfully greeted us at the top of the steps of the voluminous entrance hall. And so began our glimpse into the magical world of Curraghmore.

In principio erat domus.

The shadows were closing in. On a dark night in 1922, while heavy clouds curled and unfurled over the Comeragh Mountains, four IRA men crawled up the 6.5 kilometre driveway of Curraghmore. The fourth of four castles owned by the de la Poer family, who’d come to these islands during the French Catholic Norman Invasion, was about to become a ruin. But St Hubert would save the night. As the terrorists approached, a flicker of moonlight silhouetted the crucifix atop the stag of St Hubert on the balustrade of the entrance tower. Illiterately, the terrorists assumed the family inside must still be Catholic. They fled and burned down the crucifix-free Woodstown House nearby. The de la Poer motto is Nil Nisi Cruce: “Nothing without the cross.”

We’re in the James Wyatt designed staircase hall of Curraghmore. It’s a Sunday morning and John Hubert de la Poer Beresford,  8th Marquess of Waterford, has graced us with his presence. Inspecting our vintage postcard of Curraghmore, he remarks, “Look, the fountain in the lake is clearly visible. It was the tallest fountain in Europe before my grandfather took it down.” The estate boasts the tallest tree in Ireland, a Sitka spruce. At 47.5 metres tall, its full height is not immediately apparent as it grows out of a dell. The Marquess is less than impressed by wind turbines visible from the neighbouring farm which mar the otherwise Arcadian setting.

“That dashing red haired gentleman,” says the Marquess pointing to a portrait on the landing, “is Henry the 3rd Marquess. He was hot tempered and one day got into such a fierce argument with his father he charged up the staircase on his black stallion. That’s how the middle step got cracked. The portrait of his wife Louisa the 3rd Marchioness, herself an artist, is rather lovely. The 3rd Marquess was killed while fox hunting. My brother Patrick is a great soldier. He was awarded the Sword of Honour at Sandhurst.” The current Marquess was a talented polo player and is a friend of the Duke of Edinburgh. “I’m lucky to have three sons and five grandsons. Richard, my eldest grandson, is 6’8” and a professional polo player.” Sport’s in their (blue) blood. The 3rd Marquess enjoyed partying as much as sport. He was one of several wild sportsmen who sprayed the tollgate and houses of Melton Mowbray in Leicestershire with red paint. The phrase “painting the town red” was born.

“That’s Aunt Clodagh,” the Marquess grins gesturing to another portrait. “Do you know what the Irish name Clodagh means? Muddy water. Lady Muddy Water Beresford.” Over six kilometres of the Clodagh River run through the estate. “Curraghmore has always been a working farm.” Even more than that, it was once a self contained community. In contrast to the format of wings elongating the façade, at Curraghmore the ancillary quarters stretch forward from the entrance doors to form the mother-of-all-forecourts. More Seaton Delaval than Russborough. As well as the stables for 60 horses, this parallel pair of wings at one time housed the accountant, bookkeeper, butler, doctor, estate manager, gamekeeper, headmaster and woodcutter. An estate school lay behind the gatelodge. Basil Croeser, the retired butler, still lives in one of the Gibbsian detailed houses lining the forecourt. A new butler, aged 23, has just started. He’s yet to be fitted for his uniform. Later, he will serve the Marquess lunch, a silver tureen on a silver tray concealing fresh produce from the estate. Game soup’s a favourite. There are 25 estate staff, including a cleaning lady for every floor. There may be fourposter beds but bathrooms are on the corridor. No en suites. This is an Irish country house, not a hotel. Chamber pots at the ready.

“That painting’s by Gilbert Stuart who famously was George Washington’s portraitist. Those are of my parents and grandparents. Do sign the visitors’ book.” Lavender’s Blue is added to Prince Albert of Greece, Grace Kelly, Elizabeth Taylor and, eh, Iain Duncan-Smith. “The house is surprisingly warm, even in winter,” comments the Marquess, “thanks to roaring fires in the main rooms and the thickness of the walls.” We move into the Blue Drawing Room, walking across a 1770 Axminster. The wealth of art between these thick walls becomes even more apparent. One, two, three Joshua Reynolds. Same again for Rubens. A portrait of Catherine the Great by Giovanni Battista Lampi hangs over the doorcase. A Gerrit van Honthorst here; a Thomas Lawrence there. In the adjoining Yellow Drawing Room, filled with morning light from two windows on two sides (blind windows were unblocked in a major restoration 25 years ago), is a painting of another family aunt, Lady Wyndham. She’s wearing the pearl necklace Mary Queen of Scots handed to her lady-in-waiting before she lost her head. The pearls are upstairs, in the Marchioness’s dressing room.

The dining room retains its original skin tone coloured walls and the nine metre long linen tablecloth dating from 1876 is still in use. Standards are high at dinner parties. The Marquess and Marchioness sit at opposite ends of the table, 17 privileged guests on either side. Men wear bow ties; ladies, long dresses and jewellery. Candles perched in three silver candelabra provide the only lighting. Dinner is served on 10 dozen floral Feuillet plates. Upstairs, far flung corners of the house are piled high with boxes of English, French and Chinese china. After dinner, at a nod from the Marquess, the ladies withdraw to another room. A larger than usual party was recently held when the Marquess celebrated his 80th birthday with 80 guests.

There’s so much else to write about Curraghmore. The stuffed lioness and her cubs lurking in a glass box. Elephant trunk and feet umbrella stands. The quatrefoil shaped shell grotto. The grass avenue which stops abruptly, unfinished since the 3rd Marquess’s untimely demise. The Curraghmore Hunt painting by William Osborne with nameplates for everyone including the hounds Jason and Good Boy. Grisaille panels by Peter de Gree. Roundels by Antonio Zucchi. Francini brothers plasterwork. Most of all, the great sense of peace that presides throughout the 1,620 hectares of Ireland’s last wilderness.

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The Baglianis + Gaultier Lodge Woodstown Waterford

Townland and Country

Bastardstown, Cheekpoint, Mooncoin, Passenger East, Priesthaggard … Names, names, such memorable names. Say them with a cut glass accent. Only in Waterford, the civilised southeast coast of Ireland. Geography is close, history closer. Everything is near water, everyone remembers generations past. Land of Molly Keane. Nowhere is more horse and hounds than Gaultier Lodge (pronounced “Gol-teer”) thanks to its country pursuits loving owners, Sheila and Bill Bagliani. Animal motifs abound, on potpourri sachets, coasters, wallpaper friezes, upholstery, saltshakers, pepper grinders, paintings (there’s an artist in residence – Sheila), even wine glasses. “We’re a bit obsessional!” jokes Sheila.

Gaultier Lodge may have been referred to in Victorian times as “Gaultier Cottage” but don’t be misled by its reticent exterior. This is a sophisticated design befitting its former status as a hunting lodge of the Earl of Huntingdon. Four rooms span the original beach front, linked by a tripartite gallery along the entrance front. The middle two rooms are deeper with more ornate mantelpieces and cornices. Now the drawing room and dining room, they are interconnected by a vast pair of panelled doors. In the middle of the gallery is a square vestibule with symmetrical openings. Twin sets of doors include a false door for visual harmony. A guest bedroom bookends either extremity of the beach front.

The hand of a master is at work. His name is John Roberts, the architect who designed much of 18th century Waterford City and worked on Curraghmore, the Marquess and Marchioness of Waterford’s stately home. Never has a piano nobile been more appropriate. The raised ground floor provides breathtaking views across Woodstown’s unspoiled golden strand to a Knights Templar church on the opposite side of the Waterford Channel. “Thank goodness low tide goes out 2.5 kilometres,” says Sheila. “Otherwise we’d be as developed as Tramore.”

In the early 1900s a two bay bedroom wing was added – no country house, however miniature, should be without one. And a porch. “We’ve done our best to dress up the plain porch,” she continues, “with pillars and sash windows.” A pleasant colonial appearance is the result. The coastline was damaged by the Lisbon Tsunami of 1755. Gaultier Lodge was built four decades later. A photo dated 1870 shows the retaining wall along the beach part concealing the lower ground floor. “A storm has since washed away the mound of rabbit burrows against the wall. In 2013, last winter, another storm flattened our greenhouse and blew 100 slates off the roof.” There’s a price to be paid for the beauty of proximity to nature. Not that it’s apparent, on a long spring evening sipping wine on the lawn watching the remains of the day.“Historic houses are like horses,” declares Sheila. “They’re expensive to run!” That hasn’t stopped the Baglianis buying another one on the opposite side of Ireland. “Castle ffrench was the home of Percy French. Maurice Craig compares it to Bonnettstown in his book Classic Irish Houses of the Middling Sizes. All the original furniture was sold but we’ve bought suitable pieces, many from the US.” Sheila and Bill also own a stud in North Carolina, suitably called Castle French Farm.

The fire roars. Frequently read books on the country and houses and country houses and country house owners and lovers of country houses and country house owners’ lovers pile high on occasional tables. “When I used to go to Mount Juliet, it was just like the famous Colman’s Mustard advert, where the butler is sent back from the hunt to get mustard for a guest’s sandwich. The butler really did cater to every whim,” recalls Sheila. Bats noiselessly swoop in eternal graceless circles across the lawn while inside dinner is attentively served. Red onion and goat’s cheese tart is followed by monkfish with salad on the side, an American touch. The hallmark of Gaultier Lodge cooking is fresh country produce, layered with taste, such as the carrots soaked in butter and citrus. Gin and tonic sorbet – what’s not to love? Pudding is Italian carrot cake “baked with ground almond instead of flour to make it lighter”.

Woodstown has always been famed for its decadent high end hospitality. In 1967 newly widowed Jackie Kennedy and her children Caroline and John stayed at nearby Woodstown House. The Daily Herald breathlessly reported, “Woodstown House, about seven miles from Waterford City, where the Kennedys will stay during their visit is one of the most beautiful residences in the area, known for its gracious mansions … Mrs Kennedy will occupy the main bedroom which is toned in a predominantly dark blue colour.”

It keeps going, “The Woodstown area itself probably carries the greatest concentration of Anglo Irish blue bloods in the country and the social whirl runs at a pretty fast pace. Among her neighbours in the county will be the Duke of Devonshire who owns Lismore Castle and the Marquess of Waterford who lives at Portlaw.” Another temporary resident in the 1960s was Jack Profumo who decided to lie low at Ballyglan, his brother’s house across the road from Gaultier Lodge. Names, names, such memorable names.

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Architecture Country Houses

Holy Hill House Strabane Tyrone + Ballymena Castle Antrim

The Big White House and Relics of the Old Decency

Holy (pronounced “Holly” as in Holywood, Country Down) Hill House is a Planter’s house of comfortable grandeur. Set in the wilds of County Tyrone, its shining white walls are testimony to the efforts of Hamilton and Margaret Thompson. They purchased the estate in 1983. “My family were tenant farmers here with 20 acres, half of which was peat land,” Hamilton reminisces. “We bought the house along with 230 acres. But we didn’t want anyone overlooking us so we bought a few surrounding farms too!”

“The last in the line of the Sinclair family was Will Hugh Montgomery, High Sheriff of Tyrone,” says Hamilton in 2015. “He was a confirmed bachelor until he met Elizabeth Elliott, a doll from Philadelphia. Will died in 1930 but Bessie continued to live here along until 1957. Bessie was a snob! She wanted to marry someone with a title and army rank and with Will she got both.” Upon her death in 1957 the estate was inherited by a Sinclair relation, General Sir Allen Henry Shafto Adair, who subsequently sold it to the Thompsons. Hamilton notes, “The Castle of Mey was a Sinclair property. They’d quite a few bob between them. One of their other former homes has been in the news lately: Anmer Hall, Prince William and Catherine’s home. Adair Arms in Ballymena is named after them.”

“The very doghouses are listed!” he exclaims. A village of early 19th century limewashed rubble stone outbuildings embraces the rear elevation of the house. The laundry still has its mangle; tongue and groove panelling lines the coachman’s house; and the stable stalls are fully intact. A saw mill, forge with bellcote, byres and walled garden add to the complex. “I wanted to keep it as authentic as possible,” says Hamilton. “The estate would originally have been self sufficient. Years ago there weren’t any supermarkets!” Metal cockerel finials top the stone entrance piers to the courtyard.

Holy Hill House bears a passing resemblance to Springhill, The National Trust property in County Tyrone. The harled front, a roughly symmetrical grouping of windows centring on the middle bay, slates on a secondary elevation, a Regency looking bay window and so on. But while Springhill is gable ended, the double pile hipped roof of Holy Hill swoops down from the chimneys to the eaves like a wide brimmed garden party hat. The roof contains one of Holy Hill’s hidden glories. More anon. Single bay screen wings topped by ball finials elongate the entrance front. A 1736 map by William Starratt in the library shows the main block of the house. So it’s at least early 18th century but the rear part likely dates from the previous century. Sir George Hamilton, brother of the Earl of Abercorn at Baronscourt, built a house here but it was destroyed in the 1641 Massacre of Ulster. Reverend John Sinclair then bought the estate in 1683 and the building he erected was to become the family seat for a quarter of a millennium. That is, save for a sojourn when the Sinclairs retreated behind the Walls of Derry during the Jacobite conflict.

The glazed entrance door set in a lugged sandstone architrave opens into the entrance hall which leads onto the three storey staircase hall. The Thompsons, though, use a more informal entrance through the left hand screen wing. Antlers and maids’ water cans hang from the white walls of this hallway. Above a sofa is the first of Holy Hill’s hidden glories. A stained glass window of great provenance. Over to Hamilton, “I found the 10 stained glass windows in a shed outside. They’re from Ballymena Castle, once home to the Adairs. When the castle was demolished in the 1950s, Sir Allen brought the windows with him to Holy Hill.” They are now installed throughout the house: some as external windows; others as internal doors. Each stained glass panel is a storyboard telling the history of the Adair family in their Ulster Scots context. A low ceilinged sitting room in the older part of the house is made even lower by a colossal timber beam. ‘Count Thy Work to God 1900 Everina Sculpsit.’ So engraved the evident carpenter and Latin scholar Miss Sinclair.

Hamilton put back the separating wall between the entrance hall and drawing room. The ante room – “Ideal for a glass of sherry!” – is now the library. Delicate ceiling roses and cornicing have been reinstated where missing. “The entrance front faces east,” says Hamilton. “So we generally keep the window shutters pulled.” A new kitchen was installed in the former library at the back of the house. This allowed the basement Victorian kitchen to be retained as a museum piece. Clocks chime on the multiplicity of skyward landings on the 19th century staircase. Time doesn’t stand still, not even at Holy Hill. The dining room is pure magnificence. Crimson flock wallpaper; a higher ceiling; that bay window; and the dining table from Flixton Hall, another former Sinclair residence.

And now for Holy Hill’s highest hidden glory. The front top floor bedrooms have extraordinarily high coving which swallows the roof space above. The top floor bedrooms to the rear have domes. As a result, on what would normally be the nursery floor is a lofty suite of cathedral guest rooms. “Adrian Carton de Wiart stayed here in the 1920s,” says Hamilton, pointing to a copy of Happy Odyssey by the author. “Mrs Sinclair liked entertaining. She had 15 staff. Five lived in the house.” Down to the ground floor. The lowest hidden glory is a Victorian loo. “The Sinclairs built a passageway to a privy,” smiles Hamilton, “so when nature called they didn’t have to run to the end of the garden.” Off said passageway, stone flagged steps lead to the rabbit warren of former servants’ quarters and cellars. “We’re seven feet underground,” says Hamilton in the billiard room, once a servants’ hall. The vegetable store has an earthen floor. “Bessie buried the family silver under here in case of a German invasion.”

It’s been a sad year for country houses of Ireland. Dundarave, Glin Castle, Markree Castle and Mountainstown all up for sale for the first time in their history. Most of the contents of Bantry House and some of Russborough at risk. Not so Holy Hill House. It has never looked smarter, gleaming inside and out, even on a drizzly Ulster summer day. The big house stands tall and proud, surrounded by an apron of soft emerald banded lawn.

John Sinclair was agent to the Earl of Abercorn. On 20 June 1758 he wrote, “Inclosed I send your Lordshipp an account of the halphe years rent due at May 1757 which I hope will please. William McIlroys I think I may get, but I fear Harris Hunter never will pay; about five weeks agoe he went to Scotland and is not yet returned; his mill is in bad repair. Gabriel Gamble is returned in arrear; he will not take a receipt for his halph year’s rent; he says the boat cost him much more and expects to be allowed all his cost; Mr Winsley has not paid for his turf bog for the year 1757; he has three acres, a part of which he hopes your Lordshipp will allow for his house, fire and desired me to let your Lordshipp know he was willing to pay what you pleased to charge him but did not incline paying untill I acquainted you. James Hamilton of Prospect has one acre and a halph, a part of which he also hopes you will allow him for his fire; the remainder he is willing to pay what your Lordshipp pleases. If the manner in which the account is drawn is not agreeable I hope your Lordshipp will excuse me as I am not acquainted with the proper method but shall for the future observe your Lordshipp’s directions if you will please to instruct me.”

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Architects Architecture Country Houses People

Elveden Hall + The Elveden Estate Suffolk + Maharajah Duleep Singh

The White Stuff

In conversation with Arthur Edward Rory Guinness, the wonderfully knowledgeable 4th Earl of Iveagh, the great-great-great-great-great-great-grandson of the original Arthur Guinness of the 1759 Black Stuff fame, and his wife, the extraordinarily beautiful 4th Countess of Iveagh. Or Ned and Clare as they are informally known. It’s September 2014. Over the last number of years Lord Iveagh has turned round the 9,100 hectare estate in Suffolk he inherited aged 21 into the largest working farm in Britain. Over 4,000 hectares are given over to producing great quantities of grain, onions and potatoes. Around 1,600 hectares are forest – conservation is taken seriously. The Elveden Estate as it’s called is a world of its own, complete with a smart inn and even smarter farm shop. They might be billionaires, but even the Iveagh family have found the 26 bay 70 bedroom Grade II* balustraded, columned, niched, pilsastered, quoined and rusticated Elveden Hall a little on the large side. After his father sold the contents in 1984, this palatial barracks of a place was barely lived in again. But plans, they are afoot.

“In fact,” starts Ned, “Elveden Hall has been only used as a permanent Guinness family base for 10 years out of all the time we’ve been here. It was a shooting box. A large shooting box! Apart from films – Eyes Wide Shut and Vanity Fair were shot here – and some special occasions, it sits quietly here.” But it is the graveyard of the 900 year old estate church of St Andrew and St Patrick that best neatly tells the history. Cheek by jowl with the Guinness family plot are the gravestones of the last Maharajah of the Sikh Empire and his wife Princess Bamba. What? Here in rural mid Suffolk? Indeed. The first country house was built here in the 1760s by Admiral Keppel whose descendants Alice Keppel and Camilla Parker-Bowles would famously become royal mistresses. The East India Company forced the Punjabi Maharajah to relinquish his territory and the Koh-i-noor diamond after the end of the 2nd Anglo-Sikh War. He bought Elveden in 1863 with the compensation he received. His architect John Norton engulfed the Keppels’ house into a larger 13 bay building which is now the west wing of Elveden Hall.

“Sikhs from around the world visit the graves,” Ned comments. “It was in my great great grandfather’s day that it became two churches. The Maharajah’s successors were disinherited so us Guinnesses, we bought Elveden.” A simple plaque reads: “This church was restored and the north aisle and chancel added by Edward Cecil, 1st Earl of Iveagh, in the years 1904 to 1906. He died on 7 October 1927 aged 80 years and is buried in the northeast corner of the churchyard.” Ned explains, “The 1916 bell tower and colonnade were added in memory of Adelaide, his wife, the 1st Countess. It’s a beautiful working church and school. Between 1895 and 1910 my great great grandparents built the estate model village using red brick from our brickworks.”

“Two houses with something special in the middle,” is how Ned succinctly describes Elveden Hall. The Guinnesses spruced up the exterior of the Maharajah’s house and duplicated it on the other side of a porte cochère behind which lies that something special: the breathtaking Marble Hall. “The decoration of the Indian style room at Queen Victoria’s Osborne House is actually made of plaster. Ours is Carrera marble. The handiwork of 700 craftspeople working on site. We were immune at that stage to financial restrictions,” he smiles. “Although my great great grandfather was still very careful with money too. He recorded what he spent on newspapers.” This architectural aggrandisement isn’t entirely unlike the transformation of Straffan House into the K Club, only several notches up again. “Clare and I were married in the Marble Hall. It makes for a great party! It’s got a sprung dance floor but is a terrible room for echo!” The spectacular galleried domed space, all four storeys of it, is cathedral meets mosque. “It expresses my great great grandparents’ desire for exoticism and plays tribute to Elveden’s history.”

The design of the Marble Hall was inspired by the rooms of the Maharajah’s house. “He wanted to be reminded of the Court of Lahore. The walls and ceilings are ornately decorated between mirrors. His Drawing Room is divided by slender Indian style columns into conversation areas. The cantilevered staircase cost £30,000. The Maharajah was furious as this took up a large portion of his annual allowance. We whitewashed everything, us Guinnesses,” observes Ned, “it does get dark in winter in Suffolk!” Upstairs an enfilade overlooks the driveway: the King’s Bedroom, the Queen’s Bedroom, the Ladies-in-Waiting’s Bedroom. They retain remnants of Edwardian plasterwork and stencilled paint effects. “George V, George VI and Edward VII were frequent guests,” he explains. Mrs Keppel came too. The Royal Family last visited here for a shooting party in 1931.

On the other side of the Marble Hall, the rooms in the west wing reflect “the neoclassicism of my great great grandparents” confirms Ned. “The Boudoir opposite the Dining Room is where ladies congregated while men retired to the Smoking Room. It once held a collection of ecclesiastical themed tapestries. They must have faded as it’s south facing. More recently the Boudoir was the setting of my 30th birthday complete with oyster bar!” The Guinnesses’ architect was William Young. He’d proved his capability by designing the ballroom of Iveagh House, their Dublin City townhouse on St Stephen’s Green, and making alterations to Farmleigh, their County Dublin country house in The Phoenix Park. Practical design at Elveden includes double glazing on the north facing entrance front: sashes placed behind external casements. The 1st Earl asked Caspar Purdon Clarke, director of the V+A and an expert in Indian decoration, to design the Marble Hall to link the new and the old.

“I’ve managed the estate for 23 years. It pays for itself now.” The current Earl and Countess live with their young sons Arthur and Rupert in a rectory on The Elveden Estate. “But Elveden Hall is an enormous work in progress, an unfinished canvas. Our policy is to use the estate team for all restoration work where possible. I love the house but it’s a big challenge. You can’t see the fruits of our work so far. I’m very proud though we’ve reroofed the whole building, quite an engineering feat. The roof is now tilted to allow rainwater to run off. We’ve secured the shell of the building and it’s watertight now. What’s next? I want to use the house, to safeguard its future. Tens of millions of pounds of restoration you’re talking about. One step at a time. That’s my plan. I’ve furniture in storage too,” ends Lord Iveagh. Over to Lady Iveagh, “I’m not moving in until there is at least heating and hot water!”

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Architecture Country Houses Design People

Viscount + Viscountess Mersey + Bignor Park West Sussex

Downy Grass with Tufts of Alpine Flowers Catching the Slow Train to Dawn

Bignor Park is quite simply the most romantic place in the South Downs. Not just the dream of a house, all shell pink walls and shuttered sashes. Nor the parkland like a leaf out of a Humphry Repton Red Book. Nor that it was the home of a seminal Romantic poet. Nor that it is the home of a successful composer. The golden dusk settles it. Romance belongs here in the most literal fashion, for Bignor Park is the setting of 12 weddings a year. Kisses on the wind and then some. “We love hosting them. Such very happy occasions. At the end of the proceedings people get pretty sloshed!” smiles the 14th Lord Nairne, 5th Viscount Mersey of Toxteth, descendent of the Lords of Kerry. Also known as Ned Bigham, the esteemed music producer and composer.

That explains the pile of CDs on the drum table in the entrance hall. And the drum kit in the library. He’s an eclectic musician; his CV ranges from producing songs for Amy Winehouse to writing ballads for the Scottish Ensemble. Ned was once drummer for Neneh Cherry. His new album, Staffa, was the highest entry by a living composer in the Classical Charts. “Half my working life is taken up composing; the other half, I’m an estate manager.” Bignor Park is the home of Ned, his elegant wife Clare and their two daughters, Flora and Polly. “In 2006, two momentous events happened in my life. The first was a happy one: the birth of my second daughter Polly. The second was sad: the death of my father one month later.” That meant a change of title (form of address) and a change of title (address).

“We have undertaken major conservation work on the estate with funding from Natural England,” he relates, “restoring acres of heathland, planting new hedges and encouraging the rare Field Cricket. We now have one quarter of the UK population of the European Field Cricket. We’ve also created a wildflower wetland. I remember as a child the lovely cry of the lapwing. We are trying to encourage it back again.” There are 120 hectares of forestry and 320 hectares of organic farmland. And fortunately a few hectares left over for ornamental gardens. A million miles from anywhere. Although a surprising 90 minute drive from London.

Somewhere between the house and the stables and the dovecot and the swimming pool and the orchard and the Quadrangle and the Ceremony Garden and the South Lawn and the Dutch Garden is the Walled Garden. Clare is justifiably pleased with recent improvements: “In January 2011, Louise Elliott and Lisa Rawley of Fleur de Lys, the gold medal winner at the previous year’s Chelsea Flower Show, began an ambitious programme of new planting. Louise now manages the garden with help from Andrea Lock, Kirsten Walker and Peter Sherratt. In the centre of the Walled Garden over the pond is Geoffrey Stinton’s Aeolian harp. It hums quietly when the wind blows. Beyond the low wall is a line of pleached limes. They’re pruned to preserve views of the South Downs.”

Bignor Park is a medieval development originally attached to the Arundel Castle Estate,” according to Ned. “The current house was designed by the Belgravia architect Henry Harrison in the 1820s. It cost £30,000. The architect complained he didn’t make any money out of it! His client John Hawkins brought back some rather wonderful Grecian marble reliefs from his Grand Tour. They hang in the loggia. My great grandfather, the 2nd Viscount Mersey, bought Bignor in 1926. His father was a divorce and maritime judge – quite a combination! – and presided over the Titanic and Lusitania inquiries.” Beyond the entrance hall lies an enfilade of reception rooms: the library | the drawing room | the dining room. They’re incredibly smart. Chic not shabby. “My grandmother came from Bowood –she booted out the old furniture! The Robert Adam drawing room doors are from Lansdowne House.”

As for the poet: “Charlotte Turner Smith lived at Bignor as a child,” explains Ned. “Being a female writer was exceptional for that time. She is considered to be the first ever properly confessional writer of poems and novels.” Married off at 15, after giving birth to 12 children she separated from her feckless husband. Not before she joined him for a sojourn at His Majesty’s Displeasure in a debtor’s prison. Leaving behind the halcyon days of Bignor Park, Charlotte gained plenty of material, no words remain unsaid, for her Sonnet XXXII To Melancholy:

‘When latest autumn spreads her evening veil, And the grey mists from these dim waves arise, I love to listen to the hollow sighs, Thro’ the half-leafless wood that breathes the gale: For at such hours the shadowy phantom pale, Oft seems to fleet before the poet’s eyes;Strange sounds are heard, and mournful melodies, As of night-wanderers, who their woes bewail! Here, by his native stream, at such an hour, Pity’s own Otway I methinks could meet. And hear his deep sighs swell the sadden’d wind! O Melancholy! – such thy magic power, That to the soul these dreams are often sweet, And sooth the pensive visionary mind!’

From late 18th century Romance to early 21st century romance. “We aren’t in the business of conveyor belt weddings,” Clare confirms. “What we want people to do is come and have Bignor as their home for the day, whether it’s a marquee on the croquet lawn or a party in the restored stables. Our marvellous Events Promoter Louise Hartley is on hand for bookings.” A breezeless Indian summer’s evening may, just may, add to the colonial air of this most romantic of Regency houses. Such grace, such calm, the smoothest of recesses and gentlest of projections offering fullness of form and precision of proportion. Then there’s Bignor village at the end of the driveway, so chocolate boxy (of the Godiva variety) it’s good enough to eat. Togetherness and nowness, living in the past, present and future. Bignor Park is quite simply the most romantic place in the South Downs.

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Architects Architecture Art Country Houses Design Developers Fashion Hotels Luxury People Restaurants Town Houses

SABBATH PLUS ONE Jerusalem + Tel Aviv

Diligent Hands Make Wealth

Achilles James Daunt CBE is not one to rest on his laurels. MD and reinventor of British bookshop chain Waterstone since 2011, back in 1990 the former banker purchased an Edwardian bookshop on Marylebone High Street (incidentally the US Ambassador to the UK Jane Hartley’s favourite London street), stocked it with the best titles, renamed it after himself, and the rest is literary history. The top lit three storey interior is lined with long oak galleries. Stained glass windows and William Morris wallpaper add to the period charm of what is now undoubtedly London’s finest bookshop. There are offshoots in Belsize Park, Cheapside, Hampstead, Holland Park Kentish Town, Oxford and Marlow.

We’re proud to announce Daunt Books Marylebone is the world exclusive stockist of the first book by Lavender’s Blue. You’re getting our dynamic: SABBATH PLUS ONE Jerusalem and Tel Aviv now takes pride of place in the Middle East travel section shelves. It’s about all our favourite places rolled into two: one of the newest and one of the oldest cities in the world. Brought to fruition by the genius of Digitronix, industry leaders in multi disciplinary design and print. Not forgetting Pete R’s invaluable direction. Beyond conventional categorisation, for we are more than mere phantoms, maybe it’s best to quote some readers’ reactions (from Royalty to Archbishopry to Clergy to Society) to the first edition. Time for some laurel resting.

“This is an outstanding achievement. A vivid creative expression of your wide literary interests and your strong visual sense — and particularly for this subject, your personal spiritual values. Being a person of no religion myself, I’m enjoying your quotations from Biblical sources, especially those expressed in 17th century language. Also the well chosen theological and historical quotes from leading writers of today which are thought provoking. Your rich text together with your wonderful illustrations gives the reader so much to understand and to appreciate about the places described. Congratulations! This is a very engaging book for the reader, it feels like the living experience of a journey with the many historical facts, associations and emotions that are stimulated by travel. In many ways your book makes me think of Jan Morris, who is the ‘grand master’ of travel writing — though she doesn’t offer the reader your richness of visual imagery! I should add that I’m also enjoying your Nancy Mitford references and I really love your quote from Min Hogg: ‘Visiting a hot country especially for those who are not native to it reawakens the senses.’ This is so true.”

“Super, you capture the essence of the Holy Land and Presentation A1, your Singular Contribution to Publishing today. The Slip Cover, so enticing as is the Midnight Blue Binding. So many thanks for the mention, and so apt the dedication to Brother and Prince Alfred. Vulcans must have carried you from desk to studio, as I have never seen a publication arrive at such speed, it is the works of you and the God of letters and images. Now congratulations, and press on now with the next Project, you have The Gift!”

“How wonderful, beautiful, how gracious. So with the packaging still on the floor the next hour was spend reading the text and looking at the gorgeous photographs. Thank you SO much it was so kind of you to think of me for such a beautiful book. I look forward to reading more.  I’ve noticed how the Biblical texts seem so comfortable on the page but also how they are vibrant or energy filled almost as if they jump off the page. You have chosen so well and carefully.”

“Just opened the sumptuous tome on Tel Aviv. What fabulous photographs – they really inspire me to visit and confirm all the wonderful things I have heard about the city. I shall study as the nights draw in and dream of sun kissed climes. You are a true artist of the lens! Straight to the top of the pile … after reading.”

“I was blown away by the stunning book … It is beautiful! I am in awe of the clarity and depth of each picture that speaks so vividly they draw you in … And the time, skill and story you have shared through this stunning piece of art! Thank you so so much (I particularly like page 180)!”

“AND – yesterday we opened a parcel with an amazing book in it – Sabbath Plus One is amazing – what a wonderful creation … utterly incredible and what a lovely gift – we were both enthralled. THANK YOU so much for sending us a copy – beyond that I am speechless! Just THANK YOU.”

“An Amazing Work – I really can’t believe it was the fruit of a lay weekend visit. It feels like you really got under the skin of the place – and had great fun in doing so. Your work is already drawing much attention from those coming into my office.”

“A very interesting book – amazing photos taken with an architectural eye. Brought back memories! I see Newtownstewart and Pubble got a mention on page 28!”

“Amazing photography accompanied by your usual descriptive style and excerpts from Scripture too. Wonderful!”

“Super Daunt Books reception! You follow in the paths of H V Morton and Mary McCarthy. Again, press on and on.”

“A total entity onto itself.”

“I like the book title.”

“A beautiful book.”

(Alternative imagery from the bestseller SABBATH PLUS ONE Jerusalem and Tel Aviv).

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Architects Architecture Art Country Houses Design Developers People Town Houses

Gunnersbury Park House + Gunnersbury House West London

All Features Great and Small

Why are two mansions standing cheek by jowl in west London? It must be the only park in the capital with a pair of very substantial houses almost touching each other. A complicated history of dual and overlapping ownership is the answer. It all began in the 17th century when lawyer Sir John Maynard commissioned Inigo Jones’s amanuensis John Webb to design a large square house inspired by Palladio’s Villa Badoerin in Venetia. The defining feature of this red brick with white stone highlights building was a five bay double height recessed balcony above a ground floor breakfront and below a massive pediment.

A later owner was Princess Amelia, second daughter of George II. The Temple (reflected in the Round Pond) and the Bathhouse are the two most significant extant works she had carried out. Her Royal Highness bought the house and estate in 1762 and lived there until her death 26 years later. The Doric portico fronted Temple in red brick and white stone to match the house was probably designed by Sir William Chambers in circa 1760. The Bathhouse is another estate folly, later described in 19th century sales particulars as “an ornamental diary in gothic style with a cold bath”. In 1801 the house was demolished and the estate sold in lots. Builder Alexander Morrison accumulated the lion’s share of 31 hectares while timber merchant Stephen Cosser acquired a cub’s share of three hectares.

Fashionably rusted freestanding signs strategically positioned across the park inform visitors of its history. One reads: “The Temple. The magnificent 18th century Temple is thought to have been built for Princess Amelia, daughter of George II. She used it as a place of entertainment, enjoying views that reached as far as the Kew Gardens pagoda and beyond. Alexander Copland, the estate’s next owner, played billiards and ate desserts there.”

Alexander appointed his cousin the well known architect Sir Robert Smirke to design Gunnersbury Park House (now called the Large Mansion). A few metres away from the Large Mansion and sharing the same building line, Alexander’s neighbour Stephen built Gunnersbury House (now called the Small Mansion). This long two storey building has bow windows on either side of a lawn facing verandah trimmed with Chinese bells below the eaves. After banker Nathan Rothschild bought the Large Mansion in 1835, he commissioned Sir Robert’s younger brother Sydney to enlarge his house. The three storey Large Mansion lives up to its current name. An enfilade of lawn facing ritzy reception rooms backs onto a cast iron galleried atrium. Both buildings are stuccoed.

Around the same time as designing the Large Mansion, Sir Robert worked up drawings for the Oxford and Cambridge Club on Pall Mall. The previous decade, he had designed Normanby Hall in Lincolnshire for the Sheffield family. Samantha Cameron, Britain’s former First Lady, was brought up at Normanby Hall and her father Sir Reginald Sheffield is still squire of the manor. Sir Robert is best known for the British Museum. The next generation of the Smirke dynasty would design many of the town mansions in Kensington Palace Gardens.

Pharma fortune maker Thomas Farmer bought the Small Mansion in 1827 and appointed father and son practice William Fuller and William Willner Pocock to extend the house. The Pococks also designed the Gothic Ruins Folly below Princess Amelia’s Bathhouse. In 1889, the Rothschilds bought the Small Mansion and Gunnersbury Park once again fell under single ownership. After the renaissance years of the Rothschilds (their heir Evelyn died fighting in Palestine in 1917) the estate and its buildings were bought by the local councils.

A plaque in the arch between the two mansions states: “Gunnersbury Park. Opened for the use of the public 21 May 1926 by the Right Honourable Neville Chamberlain MP Minister of Health. Purchased by the Town Councils of Action and Ealing one fourth of the cost being contributed by the Middlesex County Council. On 1 April 1927 the Brentwood and Chiswick Urban District Council joined the Action and Ealing Councils in the ownership and management of the park.” The Large and Small Mansions were converted to community use. The former building is restored; the latter, under restoration. Princess Amelia’s Bathhouse, the Temple (exterior only), Orangery, Round Pond, Horseshoe Pond and Gothic Ruins Folly have all roared back to life. Sydney Smirke’s East Stables lurk in the shadows waiting their turn.

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Architects Architecture Country Houses Luxury People Restaurants

Ardtara House Hotel + Garden Upperlands Londonderry

Penumbra

If there is a commodious Victorian country house which sums up gentry living in Ulster it would be Ardtara House. Tucked away in the countryside on the outskirts of the village of Upperlands, this two storey stone house is all that is good about late 19th century domestic architecture. Timewise, the original 1896 house was extended in matching style 17 years later so contrary to appearances it strictly speaking isn’t all Victorian. No architect is recorded but it’s very similar to Ardara House in Comber, County Down, which was probably designed by the popular architect Thomas Jackson. Ardara dates from the 1870s with a 1900 matching extension and is also a two storey house of roughly rectangular plan with plenty of canted bay windows. It was built by the Andrews family who were flour and flax millowners.

Ardtara was built by linen millowner Harry Clark. In 1699 the English Parliament had enforced the Wool Act to protect the English wool industry by preventing the Irish from exporting it. To offset the economic damage, Parliament encouraged the development of linen production in Ireland. Linen is a strong natural fabric made from flax plant which grows on wet fertile soil – so suited to the Irish climate. Harry’s ancestor John Clarke of Maghera considered building a mill on the River Clady on a site he referred to as his “Upper Lands”. His son brought the idea to fruition by building the mill. In 1740 the first beetling engine began turning. William Clark and Sons Linen is one of the oldest continually running businesses in the world.

Ampertaine House was the Clark family seat on the edge of Upperlands village. It is a five bay two storey late Georgian house with a large wing. Harry decided he wanted to build his own home for himself, his wife Alice and their six children. He died in 1955, a year after his wife’s death. One of the children, Wallace, would later say, “People from all over the world came to stay in our house. There were visits from cousins and friends from Australia, New Zealand and North America. There were also agents from the 40 or so countries where linen from Upperlands was exported.” The house (and 33 hectare estate) fell into disrepair until it was saved in 1990 by Maebeth Fenton Martin, entrepreneur and Director of the Northern Ireland Tourist Board for North America. She opened it as a hotel four years later. Maebeth had impeccable taste and restored the fenestration, plasterwork, panelling, chimneypieces, garden, lake and so on.

In 2014 restaurateurs Marcus Roulston and Ian Orr purchased Ardtara. It is a rural hotel addition to their urban restaurants portfolio of Eighteen Ninety Four in Portstewart and Browns Bonds Hill and Browns in Town both in Derry City. They have retained the period splendour and comfort. The top lit billiard room is now the restaurant; the pair of drawing rooms remains just that with the insertion of a bar; the conservatory has been reinstated as a function room; and nine bedroom suites are on the first floor. The terrace outside the drawing rooms has been put back and the Victorian garden restored. The garden is a dreamlike sequence of outdoor green spaces around a lake.

Marcus explains, “We have lovingly restored the house, combining romantic Victorian architecture with all the modern comforts you would expect in top class hospitality. Our idea for Ardtara was always for it to be a gourmet destination.” He and Ian have revived Ardtara’s early 20th tradition of self sufficiency of food supply supplemented by products from trusted sources within an hour’s travel. And now, to echo Wallace Clark’s words, “People from all over the world come to stay in the house.” Musician Phil Coulter, actor Bill Murray and singer Ronan Keating have all stayed at Ardtara House (although not at the same time).

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Architecture Art Country Houses Design Fashion People

The Lenox-Conynghams + Springhill Moneymore Londonderry

Living Life on the Hyphen

Last of the line to live at Springhill was Mina Lenox-Conyngham. She was known as a great storyteller, even if occasionally recollections would vary, and recorded her memories for prosperity in her 1946 pot boiler An Old Ulster House and the People Who Lived In It. The delightful Springhill, now owned by The National Trust, never looked better than at dawn two springs ago. It is pure three dimensional reticent charm, falling somewhere between a grand farmhouse and a modest country house; like its last owner, living between two worlds and two words.

Stephen Gwynn provided the foreword: “Here is a book to rejoice anyone who desires to see light thrown on Irish history nonetheless revealing because it traces through nine generations the fortunes of a leading Ulster family and of a great Ulster house. The Conynghams, who became later Lenox-Conyngham, acquired land in County Derry and managed to hold it. As the years went on they were linked up with almost every prominent family in the Province and had their part in all the outstanding events.” The Lenox-Conyngham family came to Ulster from Ayrshire so really they were Scots-Irish rather than Anglo-Irish.

“Or again we have a full inventory of the plenishing – indoor and out – which furnished out Springhill in George III’s day,” ends Stephen. “In short here is a whole mine of information which tells us above all what sort of lives a representative Ulster family lived once Ulster became what we mean by Ulster – and lets us know also what kind of men and women it bred.”

Lyn Gallagher has written about the house a couple of times. In A Tour of the Properties of the National Trust in Northern Ireland, 1979, she notes, “‘To build a convenient house of lime and stone two storeys high’ was one of the obligations put upon ‘Good Will’ Conyngham when he married Miss Anne Upton in 1680, and it would seem that the charming house of Springhill dates from this period. To the rear of the house is the Bower Barn, one of the earliest buildings to be erected at Springhill, and the long narrow windows in the walls show it to have a purpose for which easy defence was not an insignificant factor. It is a house of enormous simple charm, and the warm atmosphere of old wood in the interiors is not dissipated by the fact that Springhill boasts one of the best authenticated ghosts in an Ulster home – seemingly a mother who lost seven children through smallpox still moves around here.” Dorinda, The Honourable Lady Dunleath, who spent many a childhood summer here, rolling her eyes, was more sceptical: “Aunt Mina had a good imagination!” Dorinda was not impressed when the bedroom she always stayed in at Springhill was designated “the haunted room” by The National Trust.

In Castle Coast and Cottage: The National Trust in Northern Ireland, published 13 years later, Lyn along with Dick Rogers writes, “It may be fanciful to say that a house is friendly and welcoming, but if any house fits that description, it’s Springhill, just outside Moneymore in County Londonderry. A straight avenue leads to the simple, open façade, flanked by two long, broad pavilions, with curved gables which look as if they are holding out arms of welcome. The house has an immediate charm on the affections of the visitor; it is something to do with its age – 300 years of one family’s occupation – and something to do with the scale and the charm of small details, like the arched gateway, with a curly iron gate, at the top of a flight of worn steps leading from the carpark into the wide enclosed forecourt, with immaculately raked gravel.”

They’ve more to offer: “Springhill is essentially an Ulster house. Architectural historians have commented on the slightly hesitant way in which the basically classical front is treated – with narrower, two paned windows in the centre, a typical 17th century Ulster feature – and have noted how the 18th century bow extensions give it more assurance. One commentator, Alistair Rowan, describes it as ‘one of the prettiest houses in Ulster, not grand or elaborate in its design, but with very the air of a French provincial manor house.’ Its lack of pretension is its hallmark, and the rear of the house is described as ‘a comfortable jumble of roofs, slate hung walls and chimneys … with a big round headed window on the staircase the most prominent feature.’” A vintage photograph shows the window frames painted fully black rather than just the outer frames black which created an even more distinctive appearance and greater contrast with the white walls. The photograph also shows the pavilion wings were left unpainted which emphasised their subsidiary role to the house.

“Fabulous finials!” exclaims Nick, a character in Alan Hollinghurst’s 1998 novel The Spell. He could have been talking about the roof decorations of the pavilion wings of Springhill. The finials encapsulate the dichotomous essence of the house: they are grand but are embellishing functional farm outbuildings. Author and former Architectural Editor of Country Life magazine, Jeremy Musson, told us when researching Springhill he learned that Mina Lenox-Conyngham had reversed her mother-in-law’s arrangement and swapped the more recent furniture on the main two floors with all the “old fashioned 17th century furniture” stored in the attic. “The family never threw anything out!” Jeremy records. The library collection of over 5,000 books (some with calfskin covers) on everything from theology to ornithology is one of the best of its kind in Ulster. On the raised ground floor, the contrast between the 17th century entrance hall, staircase hall, study and library with the 18th century drawing room and dining room is one of scale, grandeur and decoration. Dark panelling and lowish ceilings in the former; chunky cornicing and high ceilings in the latter. Jeremy’s piece on Springhill was published in “the recording angel of country houses” (his words) of Country Life in 1996.

We first visited Springhill 30 odd years ago, armed with a polaroid camera. That photographic record, which shall remain unpublished, was of mixed result. Our second visit, in 2010, this time armed with a Canon camera, was on a particularly unphotogenic day of pale grey skies. Thank goodness for the sun blessed spring of 2022. You can never have too much of a good thing, so our latest visit is on another sun struck day, this time in the autumn of 2023. A walk round the gardens; a browse in the second hand bookshop; a look at the costume museum; a tour of the house; coffee and cake in the converted stables. Life at Springhill is immeasurably good.

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Architects Architecture Country Houses Design Luxury People Restaurants Town Houses

Sigi Schelling Werneckhof + Werneckstrasse Munich

Her Namesake

A German restaurant serving German food, it is named after its Chef Patron and address. Sigi Schelling is the Chef Patron. Werneckstrasse is the address. It’s one of the classiest streets in one of the classiest areas of Munich: Schwabing. And it turns out to be one of the classiest restaurants in the city. Werneckstrasse is a quiet leafy street off the quite lively Feilitzschstrasse. The walled miniature estate of Suresnes Schlöss dominates the northern part of the street. This castle was built in 1718 for the aristocratic Cabinet Secretary Franz von Wilhelm. It is now a conference venue owned by the Catholic Academy of Bavaria. A sunny yellow façade and Mediterranean shuttered windows can be glimpsed through the cast iron entrance gates and screens.

At the southern end of the street set among townhouses and wooded gardens is Sigi Schelling Werneckhof. A metal sign projecting from the facade and an inset porch with a table of flowers and a stack of business cards in olive green, damson blue and plum red heralds the culinary destination’s presence. The restaurant occupies the ground floor of a traditional mixed use block also painted sunny yellow. A small lobby leads into two adjoining dining rooms. The kitchen is out of sight behind a sliding mirrored door.

Sigi explains, “Cooking is my life. My dishes combine originality, sophistication and lightness. For me, perfection on the plate means straightforwardness in harmony with accompanying elements. All masterfully prepared. Our menus reflect love, passion, experience and appreciation for authentic high quality products. It is a pleasure for my team and me to present you with an unforgettable experience. Nice to have you here!” Later, the waitress will add, “Each day Sigi is the first one in and the last to leave at night.”

The five course tasting menu on a Saturday evening is easily adapted to pescatarian needs. “The Chef is going to make you sole,” the waitress confirms, replacing the venison course. And this being a Michelin starred restaurant, cutting and deboning the sole is a performance carried out by no fewer than three staff in the middle of the dining room. Amuse bouches and canapés bracket the meal but not before fennel infused Don’t Mix the Drugs Gin is served with Thomas Henry of Palatine Tonic Water. Cuvée Excellence Blanc 2019 from Rhône accents the five courses.

The tasting menu is a classic that could match the orders. The original simplicity of Doric: Bretonic Lobster (marinated garden tomatoes, yuzu, bergamot). The organic fluidity of Ionic: Char (pumpkin, pumpkin seed oil, buttermilk). The refinement of Corinthian: Brill (shrimps, gnocchi, cauliflower, Thai curry anise sauce). The structural simplicity of Tuscan: Sole (quince, chestnut, mushroom). The richness of Composite: Curd Cheese (goat’s cheese soufflé, marinated blueberries, poppy seeds, plum, sour cherry ice cream). Saturday dinner is a lively four hour affair.

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Stapleford Park Hotel + St Mary Magdalene Church Melton Mowbray Leicestershire

Making a Splash

It was 35 years ago and there was no escaping Stapleford Park in the print media. American entrepreneur Bob Payton knew how to make a splash. Instead of hiring only interior designers to decorate the bedrooms of his newly converted country house hotel, he threw a shirtmaker, a porcelain company and a perfumier amongst many others into the mix. It caught the press and public’s attention. Eight years later, another media savvy entrepreneur, this time Englishman Peter de Savary, took over Stapleford Park and opened it as one of his Carnegie Club outpost adding not least the Knot Garden in front of the main entrance door. Cue double page spreads in the supplements once more. Skibo Castle in Dornoch, the home of the Victorian philanthropic industrialist Andrew Carnegie, continues to be a Carnegie Club. His portrait hangs in the gents’ bathroom at Stapleford Park. Just when we thought life couldn’t get any more glamorous, we find ourselves pottering about the Wedgwood Room of the hotel, weighing up a walk in the Capability Brown designed parkland of heaven verging fields versus tea on the terrace. Happy camping. We do both.

Bob Payton bought the house and its 200 hectare estate from Lord Gretton for £600,000 and spent a further £4 million rejuvenating and opening it as a hotel and leisure resort. We’re privileged to exclusively share his last recorded interview before he died in a car crash in 1994: “I first saw Stapleford Park from the back of a horse riding nearby in rolling countryside. Stapleford has been for many centuries a sporting lodge with riding, shooting and lavish entertainment all part of its heritage. It is our endeavour to keep that same style for many years to come. So interesting is the history of Stapleford Park and fascinating its architecture that the house was open to the public for several decades. Walking through the house and around the grounds is like going on a magical mystery tour. Through each and every doorway, there is another adventure. Set in 500 acres of woodland and parkland, the house provides breathtaking views of the surrounding countryside from every room.”

“Our approach to life in the country is that of a relaxed, comfortable, casual existence. We’ve replaced the servants and butlers if the old days with a team of people who are dedicated to making sure you enjoy our home and all it has to offer. We hope you like our approach to hospitality. To complement the eclectic architectural style of this most unusual house I invited several famous names to design bedrooms based on their own image of life at Stapleford Park. Signature bedrooms have been created by Tiffany, Wedgwood, Lindka Cierach, Lady Jane Churchill, Crabtree and Evelyn, Nina Campbell, Liberty, Max Pike and many others. We’re thrilled that these folks found Stapleford Park such an exciting challenge.”

“The dining room is decorated with ornate and intricate woodwork accredited to the most famous of all English carvers, Grinling Gibbons. In these luxurious surroundings, we serve traditional English cuisine with the occasional flair of old fashioned American cooking. You can enjoy the food that Stapleford’s guests have enjoyed over the centuries and much much more. As for sport, the surrounding Leicestershire countryside is most famous for its equestrian links. We offer most kinds of equestrian pursuits including carriage driving and riding instruction. There is clay shooting on the property and game shooting can be arranged. You can fish on the lake in front of the house or at nearby Rutland Water. If that’s not enough, there’s tennis, croquet and basketball, as well as walks through and around the property in this most lovely of settings.”

“Come and discover a truly great undiscovered part of England. Stapleford Park is in reality most people’s fantasy of the quintessential English countryside. Let me tell you about Edward Prince of Wales. His mother wouldn’t let him buy Stapleford Park because she felt that his morals might be corrupted by the Leicestershire hunting society. Well that was 100 years ago. Fortunately the Royal Family settled at Sandringham so that all of us may now enjoy the pleasures of this most idyllic estate.” The Royal Family are still happily ensconced at Sandringham and we are even more happily enjoying life at Stapleford Park.

The house glows a golden hue in afternoon sunshine and shimmers a mysterious grey in morning mist. Poet Mary Oliver writes in her essay Wordsworth’s Mountain (Upstream Collected Essays, 2016), “This is to say nothing against afternoons, evenings, or even midnight. Each has its portion of the spectacular. But dawn – dawn is a gift.” Every elevation and wing is a piece of architecture in itself and together they form a visual whole in material only. Crunchie the ginger cat (technically the neighbour’s but wise enough to hang out on the estate) matches the ashlar stone. One minute Stapleford Park is a Jacobean manor house; turn a corner, the next minute it’s a Queen Anne stately home; turn another corner, a Jacobethan hunting lodge; one more, a Loire château. As for the entrance front facing the quiet waters of the lake, the nine bay string coursed perfection is as symmetrical as a supermodel’s face. No big name architects are recorded (unlike the landscape and panelling!) but two owners have added their name for posterity in stone carvings on the exterior of a wing: “William Lord Sherard Baron of Letrym Repayred This Building Anno Domini 1633”. Underneath there’s a postscript: “And Bob Payton Esq. Did His Bit Anno Domini 1988”.

Indoors the eclecticism continues thanks partly to the layering of six or so centuries and partly to the aforementioned cohorts of dreamers and designers let loose on the fabric and fabrics. The main block is laid out around two vast double height top lit spaces: the Staircase Hall and adjacent Saloon. Public and private lounging and dining ebbs and flows throughout the ground floor. The Morning Room (with its mullioned bay window). The Harborough Room (crimson Gainsborough silk wallpaper). Billiard Room (converted games table). The Orangery (windows galore). The Grinling Gibbons Dining Room (festooned panelling by his namesake). The Old Kitchen (stone vaulted ceiling). Formal dinner is served in the Grinling Gibbons Dining Room: Baron De Beaupre Champagne; pea, goat’s curd, mint pistou tartlet and crispy onions; butter roasted cod, fennel and leak cream, new potatoes, sea herbs. Stapleford Park is a bread roll’s throw from Melton Mowbray and its Stilton Creamery so a generous cheese board offering is called for: Beacon Fell, Bingham Blue, Pitchfork Cheddar, Ribblesdale Goat’s, Tuxford and Tebbut Stilton. Five tall sash windows frame the descent of darkness. Mary Oliver again, “Poe claimed he could hear the night darkness as it poured, in the evening, into the world.”

The first floor is filled to the ceiling roses with the Grand Rooms: Savoir Beds, Crabtree and Evelyn, Wedgwood, Lady Jane Churchill, Baker, Turnbull and Asser, Flemish Tapestries, Amanda by Today Interiors, Campion Bell, Sanderson, Eleanor, Lyttle, Lady Gretton, Zoffany, Warner. We’re in the Wedgwood Room, one of the very grandest, with views across the green pastures. Below a Waterford Crystal chandelier and over a Wilton carpet everything is iconic Wedgwood blue and white from the wallpaper to soap dish. Life and Works of Wedgwood, a book by Eliza Meteyard (1865) in the library, praises the entrepreneurial potter, “His name lives in the industrial history of the country he loved so well, and so enriched by the bounties of his art and the example of his worthy life.” Ah, on the table that’s just what we like: a handwritten welcome note. And sash windows that open fully.

The second floor is filled to the rafters with the Slightly Less Grand Rooms: Panache, Wishing Well, Haddon, Treetops, Bloomsbury, Savonerie, Sanderson, Molly, Peacock, Lake View, Game Larder, Burley, Early, Green Gables, Melody, Max. A row of servants’ bells in the corridor reveals the more prosaic original room names, “First Floor: No.1 Bedroom, No.1 Dressing Room, No.2 Bedroom, No.2 Dressing Room, Bathroom, No.3 Bedroom, No. 4 Bedroom, No.5 Bedroom, Bathroom, No.6 Bedroom, No.6 Dressing Room, No.7 Bedroom, No.8 Bedroom. Second Floor: No.1 Bedroom, No.2 Bedroom, Bathroom, No.3 Bedroom, No.4 Bedroom, No. 5 Bedroom, No.6 Bedroom, Dark Room, No.7 Bedroom, No.8 Bedroom, Front Door, Luggage Room, Tradesmen.” Windows are open to the sights and sounds of birdlife: cooing pigeons, flying geese, scarpering pheasants.

Beyond the exquisitely manicured formal and semiformal and informal suite of gardens, the former stable block turned spa matches the house in both material (ironstone rubble with ashlar dressings) and style (baroque revival). There’s a named architect and exact construction date: Peter Dollar, 1899. The Oxfordshire born London based architect Peter Dollar is best known for his Majestic Picturedrome on London’s Tottenham Court Road. In contrast to the historicist appearance of Stapleford stable block, the cinema was an Edwardian looking brick and rendered four storey with attics building. Opened in 1912, it was demolished just 65 years later. His fine stable block has fared rather better. The stalls are occupied by beauty treatment salons and are labelled after racehorses: Apple-Jack, Black Beauty, Red Rum and so on. There’s also a thatched roof theme running through the estate secondary buildings from the gatelodge to cottages and contemporary houses for hire.

The parish and estate church, St Mary Magdalene, is an architectural and acoustic marvel. Again there’s a named architect and exact construction date: George Richardson, 1763. Ashlar with ashlar dressings retains the material theme but the style is high Gothick. The architect trained as a draughtsman under James Adam. Across the west end of the nave is the galleried family pew. A chimneypiece kept the chills at bay in winter.

Lord Nelson’s Prayer at Trafalgar dated 21 October 1805 is framed and nailed to a post in the nave: “May the Great God whom I serve grant to my Country, and for the benefit of Europe in general, a great and glorious Victory; and may no misconduct in anyone tarnish it; and may humanity after Victory be the predominant feature in the British Fleet. For myself, individually, I commit my life to Him who made me, and may His blessing light upon my endeavours for serving my Country faithfully. To Him I resign myself and the just case which is entrusted me to defend.” At the afar end of the nave, on the pulpit lectern the Bible lies open at Psalm 23.

It’s a family church. Literally. Or rather families church. Heraldic shields are displayed on the elevations between the windows and buttresses. On the long south facing nave elevation: Cave, Hill, Noel, Verney, Pedley, Faireax, Denton, Calverly, Christopher, Bennet, Bury, Brow, Folville. On the gabled east facing chancel elevation: Branchester, Bruley, Danvers, Bisett, Mosley. On the long north facing nave elevation: Brabazon, Woodfort, Burges, Fitz-Maxilion, Consull, St Hillary, Clare, Lacy, Verdon, Hauberk, Eyton, Melville, Woodville. And on the west facing towered entrance front: Roberts, Hearst, Sherard, Reeve. It is Sherard that takes pride of place: this family owned the estate for half a millennium.

But it is a servant’s gravestone which is positioned closest to the entrance pathway: “Sacred To the Memory of Mary Carnaby who departed this life the 13th Day of January 1799; aged 59 Years. The daughter of Mrs Drake of Woolsthorpe, and Granddaughter of John and Ann Peele of Cockermouth in the County of Cumberland. She was Housekeeper to the Earl of Harborough for 17 years, which employment She discharged with uprightness and fidelity, becoming the imitation of posterity. Earthly Cavern to thy keeping, We commit our Sister’s dust. Keep it safely, softly sleeping, Till our Lord demand thy trust. Erected by her Aunt Tarn of Cockermouth.” Bless Aunt Tarn.

The sense of family intensifies even more in the chancel. Facing each other are impressive monuments. In the northern recess is a memorial to the 1st Earl and Countess of Harborough (in 1719 they were upgraded from 3rd Lord and Lady Sherard by George I) and their young son (all wearing Roman clothing) in white marble by the Flemish born sculptor Michael Rysback in 1732. A Sherard family memorial predating this church occupies the southern recess: effigies of Sir William and Lady Abigail and their 11 children. An even older memorial salvaged from the demolished church on this site is a brass engraving dedicated to Geoffrey and Joan Sherard and their 14 children dated 1490 and set in the nave floor. All three memorials highlight the commonplace nature of the once infant mortality.

The inscription on the plinth of the Harborough memorial reads: “To the Memory of Bennet 1st Earl of Harborough, only surviving son and heir of Bennet Lord Sherard of Stapleford, Baron of Letrim in the Kingdom of Ireland. By Elizabeth daughter and coheir of Sir Robert Christopher of Alford in the County of Lincoln Knight. He married Mary Daughter and Coheir of Sir Henry Calverley of Ariholme in the Bishoprick of Durham Knight. By whom he had issue one son, who died an infant. He was many years to the time of his death Lord Lieutenant and Custos Rotulorum of the County of Rutland, Lord Warden of Justice in Eyre North of Trent. He died the 16th day of October in the year of our Lord 1732, aged 55.”

A plaque on the wall over the Sherard memorial reads: “William Lord Sherard, third Sonne of Francis Sherard Esquire, Had Issue seaven Sonnes, Bennet, Philip, George, Francis, William, Henry, John, foure Daughters, Emelin, Abigail, Anne, Elizabeth, By his Wife Abigail eldest Daughter of Cicil Cave Esquire, third Sonne of Roger Cave of Stanford, in the County of Northampton Esquire. And this hee most affectionately dedicated to his Memory for him, herselfe, and their Children.” Doesn’t “seaven” look better spelt to emphasise it rhymes with “heaven”? Another inscription is set into the plinth below: “Here lies interred the Body of Sir William Sherard, Lord Sherard Baron of Letrime in Ireland, His most singular. Piety, Bounty, Courtesy, Humanity, Hospitality, Charity, Crown’d his mortall life, which (after he had enjoyed LII years) he changed for that which is immortall, the first day of April in the yeare of our Lord God MDCXL. Whose coming he here expectes.” During our stay we come across several spellings of the Irish county of “Leitrim”.

Australian entrepreneur David Fam, CEO of Dreamr Hotels, has owned Stapleford Park since 2022 and is instilling his expertise in “wellness, healing and ancient wisdom” into the hotel. “One can roam all day, constantly finding new works of art and hidden rooms in this labyrinth of style,” wrote Luc Quisenaerts in his guide Hotel Gems in Great Britain and Ireland, 1997. We do, we do. Mary Oliver one final time, “How wonderful that the universe is beautiful in so many places and in so many ways.” We could dwell in this house forever.

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Architects Architecture Art Country Houses Design People

Parkstead House + University of Roehampton London

Quotation Marks

Architectural historian Joan Alcock wrote an authoritative guide to the architecture of Parkstead House in 1980: “The main block, which faces Richmond Park, was built by Sir William Chambers as Parkstead House in the 1760s for William, 2nd Earl of Bessborough: this building is illustrated in Vitruvius Britannicus and described in the principal histories of Surrey. The Earl used the building as a country house, but on the marriage of his son Frederick, Viscount Duncannon, to Henrietta, daughter of Earl Spencer, he allowed the young couple to live there. Bessborough House, later Parkstead House, became the centre of their social and political life and this continued after Frederick had succeeded to his father’s title in 1793 and had inherited the principal residence in Cavendish Square.” The third Lady Bessborough’s scandalous daughter Caroline would marry William Lamb before pursuing Lord Byron. The 5th Earl sold the property and after a time as a Jesuit college it has been in educational use ever since.

She explains, “The design of Parkstead is based on the Palladian villa. The prototypes appear to be Colen Campbell’s Mereworth and Isaac Ware’s villa which he built in 1754 for the financier, Bourchier Cleeve, at Foots Cray, Kent, which was a severer version of Mereworth. The first design for the façade lacks an attic storey but its row of Ionic columns and arrangements of windows on the first floor was clearly inspired by Foots Cray. The drawing of the house in Vitruvius Britannicus reveals only two windows on the attic floor. In this case the centre front room would be lit entirely by skylights. One circular skylight still survives, having its original decoration round the rim. The room, however, is a large one and the skylight is needed to give extra light to the rear. The façade certainly has more attractive proportions without the windows, which appear to be rather uncomfortably situated above the portico but they are functionally necessary and were probably part of the original design.”

Joan sums up Parkstead House, “The treatment of the façade is strictly in accordance with Palladian principles as laid down by Lord Burlington and Colen Campbell. If anything, Chambers was more severe, reducing his ornament to a minimum.” Only the façade overlooking the parkland is faced in stone: all other elevations are of dark grey brickwork with stone quoins. Bridget Cherry and Nikolaus Pevsner record in The Buildings of South London (1983), “It was the first of several Palladian villas designed by Chambers in the early 1760s. They belong to the second generation of Palladian houses in England … The prototype for the façade appears to have been Bourchier Cleeve’s Foots Cray, built in imitation of the Villa Rotunda circa 1756; but the obvious inspiration for a villa in the London countryside, that is a relatively modest rural retreat rather than a full scale country house, was of course Chiswick House … In the garden is a circular entablature from the portico of a circa 18th century garden temple (the rest in store).” The simple plan of the piano nobile is replicated on the bedroom floor above. A central three bay room behind the portico is flanked by single bay rooms. These three rooms are three bays deep with shallower rooms to the rear. A square staircase hall is behind the portico room.

Nobody is better qualified to critique Sir William Chambers’ work than architect John O’Connell. One of his many professional achievements was brilliantly restoring the Casino Marino in Dublin, arguably Ireland’s greatest neoclassical building. This distinguished design may appear as a single bay single storey structure but as Jeremy Musson, architectural historian for Country Life, enlightens: “Casino Marino is a three dimensional jigsaw puzzle. Depending how you count them, there are some 13 rooms inside.”

John declares, “Sir William Chambers’ work at Parkstead House is about refinement, rebooted Palladianism. There is a real sensitivity and finesse at play. The elevations need a parapet though as there is a certain squatness without one. Everything has been sacrificed for the pediment and the fully expressed portico. The ironwork is painted Somerset House blue. That was his first essay in town planning. It is devalued now being away from the River Thames where once it was rather like a Venetian palace. The Embankment cutting it off from the river was the solution to water stagnation.”

Indoors he observes the plasterwork in one room, “That is a very correct cornice and four fantastic urns. It’s so delicately handled.” In another, “The frieze isn’t right and speaks of later Edwardian modillions. There’s a solecism – the garland should be central.” And as a whole, “This house demonstrates a commitment to good materials following the French noble material hierarchy, from the state rooms on the piano nobile to the rustic rooms in the raised basement. The house as temple on a robust scale.” A framed sign dated 1980 on a corridor wall sets out:

  • Parkstead built as a Palladian villa or summer residence by Sir William Chambers for the 2nd earl of Bessborough. The 3rd Earl lived here for much of his life until the death of his wife Henrietta in 1821.
  • The 3rd Earl leased the house to a banker, Abraham Robarts, who made it his permanent home until his death in 1858. Robarts made many improvements, including constructing a well and pump to provide a water supply.
  • The 5th Earl sold the house and estate to the Conservative Land Society for division into smallholdings. However, it was eventually sold, in conditions of some secrecy, to the Society of Jesus for use as their Noviciate.
  • The Jesuits moved in and this began the occupancy which was to last for nearly 100 years. The name of the house was changed to Manresa in commemoration of the place in Spain where the founder of the Society, St Ignatius Loyola, composed the Spiritual Exercises which form the basis of the Jesuit rule. Many additions were made to the house during this period leaving it much as it can be seen today.
  • The Society left Manresa and among their reasons for doing so were the invasion of their privacy by high rise flats and the compulsory purchase of much of their land by the Greater London Council. The house now became part of Battersea College of Domestic Science and it was officially opened by the Right Honourable Shirley Williams MP, who also signed the order for its subsequent closure in 1979.
  • Manresa became jointly occupied by Garnett College and the Putney Adult Education Institute. In the early days, Lady Bessborough had run a small school here for local Roehampton children. The house has been associated with education for the best part of 200 years.”

Lady Bessborough’s educational legacy continues to seep through the walls of Parkstead House: it is now part of the University of Roehampton.

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Architects Architecture Country Houses People

Coastal Path Moville Donegal + Liam McCormick

Signs to Mark Sacred Times

“Yonder is Lough Foyle, debouching into the ocean,” John Weir gloriously thrills in The Ulster Awakening, 1859. St Colmcille’s Day is an appropriate day to visit Moville on the western shore of Lough Foyle, County Donegal. A coastal walk connects Moville to Greencastle, the next village to the north. It starts out as a winding path which graduates into crossing sandy coves then climbing over walls and finally clambering through gorse. On one side the lough, on the other, splendid villas, several owned at one time by prominent figures. A white painted well marks the spot where St Colmcille stopped for water before leaving Ireland for Scotland. Modernist seating pavilions, painted white of course, punctuate the path at regular intervals. Lights in the vaults of the sky.

The Ark House: Noachian named, the first residence to admire is right on the water’s edge overlooking the stone pier which extends into the quay opening into Lough Foyle. Like all the period houses to follow it is rendered and painted white with a dark slate roof. Three bay three storey with attics, this house looks like it could be an end of terrace rather than standalone. It was built by a Captain John Ramsay who bought an old brig, the original ark, and dragged it up onto this site, converting it into a dwelling in the 1820s. He later broke up this brig and used the timbers in the construction of the current building.

Ravenscliff: dating from the 1830s, it was once a hotel. The main house is a multi gabled one and a half storey mildly Tudoresque affair. A long unusually crenellated single storey wall extending out to one side encloses a garden that originally contained exotic plants. Like the following houses, Ravenscliff is separated from the coastal walk by generous lawns fringed by woods.

Gorgowan House: similar in scale and date to the main block of its neighbour Ravenscliff, it was designed by an English architect James Malton. A projecting gable containing a semilunar window rests on two columns and the chamfered bay windows on either side of the entrance door. Two 19th century residents include Reverend Charles Galway, Rector of the Church of Ireland in neighbouring Greencastle, and later, Captain Ernest Cochrane of the Royal Navy.

Carnagrave House: built as a fishing lodge in the 18th century, it was extended in three stages. A bulbous conservatory protrudes out from between a pair of chamfered bay windows. Carnagrave House and grounds are currently undergoing an extensive and expensive restoration. This estate in miniature is the grandest of all the houses and will soon be even grander.

Lafferty’s Lane: this links the coastal walk up to the main road between Moville and Greencastle. It is lined with several discreet 20th century bungalows in wooded grounds. One of the bungalows was the home of politician John Hume. The Nobel Peace Prize winner regularly entertained the good and the great at his beachside home. There is a sandy cove at the shore end of Lafferty’s Lane.

Glenburnie House: a Scottish sounding name for a Scottish looking residence. A baronial turret rises above the double fronted beach elevation of this 1830s house. It was once owned by the Marquess of Donegall. These days it can only be glimpsed through a cast iron gate propped up in the deep vegetation separating the private garden from the public access.

Ballybrack Lodge: this was another Marquess of Donegall property. He lived up to his name at least in ownership terms. It is of lower architectural pretension that the preceding villas, displaying something of the air of a farmhouse with a red painted entrance door. Ballybrack Lodge is set further back from the coastline than some of the other houses, overlooking a long stretch of garden and backing onto dense woodland.

Friel’s: this was the seaside retreat of one of Ireland’s greatest playwrights. Brian Friel was born outside Omagh but in his life and work became synonymous with Donegal. He was friendly with that other literary Irish colossus, Seamus Heaney, recipient of the Nobel Prize in Literature. Plenty of chamfered bay windows capture views of the sea or as Seamus Heaney would call it, “The Flaggy Shore”.

Portchapel: a decent sized house masquerading as a dinky cottage. Single bays flanking a large gabled porch protrude with mini gables into the low eaves level. Single storey wings to the side and rear expand the accommodation of the main two storey block. A previous resident was Dr Thomas Terence Baird, Chief Medical Officer for Northern Ireland 1968 to 1973.

Brooklyn House: built in 1830 by the great grandfather of Donegal’s celebrated 20th century architect Liam McCormick. The house has passed down the family line. Liam McCormick may have designed modernist masterpieces but he was happy to reside on holidays at this substantial Victorian villa. Like Friel’s, chamfered bay windows maximise the unbroken sea views. It is located on the edge of Greencastle.

Anne Davey Orr, Publisher and Editor of Ulster Architect, Ireland’s longest running and most read architecture magazine, invited architects Sir Hugh Casson, Michael Scott and Liam McCormick to judge the Building of the Year launch in 1985. Later judges of the awards would include architect Max Glendinning and architectural critic Martin Pawley. Magazine alumni include the journalist Leo McKinstry, the writer Sir Charles Brett and the columnist Stuart Blakley.

One of the last articles Stuart Blakley wrote and photographed for Ulster Architect was on Carton LeVert House in Rathmullan, County Donegal. Published in February 2007, it included an interview with Tarla MacGabhann who runs the second generation practice with his brother Antoin. “I would call the house a reinterpretation of the vernacular cottage which has been formed, shaped and developed by the specifics of the site and climate.” Employing a language of skewed angles, non Euclidean geometries and shards, this building may be single storey but isn’t exactly a typical bungalow. Tarla’s five years experience working in the 1990s in the office of Daniel Libeskind working on the Berlin Jewish Museum clearly paid off. MacGabhann Architects also designed Brian Friel’s widow’s house Teach Annie in this county. They smoothly took on Liam McCormick’s mantle as Donegal’s best architectural practice.

Brian Friel’s play Dancing at Lughnasa was one of the highlights of The Lyric Theatre Belfast programme when Anne Davey Orr was Chair. She explains, “The theatre company which originally produced Translations by Brian Friel was called the Field Day Theatre Company. It was founded by Friel and the actor Stephen Rae in 1980 specifically to produce Irish plays in an attempt to build a new theatre audience in the midst of the Troubles. Other people involved were Seamus Heaney and Seamus Deane.”

Rudyard Kipling ponders in his poem The Sea and the Hills, 1903, “Who hath desired the sea? – the sight of salt water unbounded.” Clive Staples Lewis wrote in his 1955 diary about Donegal and “the monstrous, emerald, deafening waves”. A robin is perched on the sill of one of the coastal path pavilions. Signs and wonders. Wonders and signs. Signs and great wonders. Signs and symbols. Great signs from heaven. Wonders in the heavens above and signs on the earth below.

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Architecture Art Country Houses Design

Derek Hill + Glebe House Church Hill Donegal

Following a Pattern

A townhouse in Hampstead London and a country retreat in Church Hill County Donegal. The reclusive socialite had it all. The 20th century artist Derek Hill, whether painting the Duke of Abercorn at Baronscourt or teaching the Tory Island Painters including King Patsy Dan Rodgers, was versatile. In 1988 the artist commented on his rural idyll, “The house was built as a glebe in 1826 and later became a small fishing hotel for gentlemen until I bought it from the last proprietor. In 1953 I paid £1,000 for the hotel and the 20 acres of lakeside land surrounding it. I felt I was meant to live there having noticed, three years previously, the house’s superb position surrounded by great trees and the Donegal hills on every side. It was also on a tongue of land jutting out onto the water, and I love to be near water.”

Glebe House, the two storey former rectory of St Columba’s Church of Ireland, represents the zenith of undemonstrative domestic architecture. The north facing entrance front, the east facing lake front and the south facing garden front are all three bays wide. A fanlight arches over the entrance door and sidelights. Trellis in the ground floor central bay of the other two principal elevations creates the effect of a fanlight and doorcase. The reddish burnt terracotta painted roughcast walls lend the house a Mediterranean air while the grassland falling down to the 2.7 kilometre long Gartan Lough heightens a sense of the bucolic.

Built in 1826, Glebe House could easily be a half century older or newer. Beautiful as it is, the architecture of Glebe House is not unique. Au contraire, it is a type that can be seen throughout Ireland decades before and after. Other three bay fronted roughcast examples with a central fanlight over the doorcase in the north of Ireland include The Rectory, Aghalee, County Armagh (1826); Willowbank, Keady, County Armagh (1834); The Old Rectory, Killyleagh, County Down (1815); and St Elizabeth’s Court, Dundonald, County Down (1819). Minus a fanlight over the doorcase are The Glebe, Finvoy, County Antrim (1820) and The Grange, Salter’s Grange, County Armagh (1781). The Rectory and The Grange both have lower first floors with six pane bedroom windows. Glebe House is slightly different as it is a three bay square in shape – most are only two bays deep.

Maurice Craig’s seminal work Classic Irish Houses of the Middle Size, 1976, summarises the genre: “The glebe houses of the (formerly established) Church of Ireland are an important category of house, because of their ubiquity, their charm, and the influence which they undoubtedly had on other buildings. According to Donald Akenson, following the Reverend Daniel Augustus Beaufort’s Memoir of a Map of Ireland, there were only 354 glebe houses in 1787, and 829 in 1832. This programme was in large part financed by Parliament – first the Irish Parliament, after 1800 that of the United Kingdom – through the Board of First Fruits, and went pari passu with a programme of church building. The years of the greatest government assistance were 1810 to 1816.”

Plate 11 from the Reverend John Payne’s 12 Designs for Country Houses published in Dublin in 1757 is of a three bay two storey hipped roof detached house with small first floor windows similar to Aghalee Rectory and The Grange. Pattern books were a great source of reference for architects and surveyors ranging from James Gibbs’ 1728 publication to Sir Richard Morrison’s a century later. Scottish landscape gardener John Claudius Loudon (1783 to 1843) topped them all with his encyclopaedic 1,100 page doorstopper of a manual. No building form was safe from his diktats from doghouses to limekilns. Nothing was too detailed to warrant his attention from kitchens of country inns to sliding fire screens for drawing rooms.

John Claudius Loudon’s ambition was “to improve the dwellings of the great mass of society”. Illustrations 458, 459 and 460 portray three versions of a three bay two storey hipped roof house. The façade of 458 is plain; 459 has quoins; and 460 has full height pilasters between each bay and at the elevation corners. Illustration 1449 (they go up to 2038!) is a grander three bay two storey hipped roof villa with a miniature portico and lower single bay wings. While these prototypes are not specifically glebe houses, the Encyclopaedia of Cottage, Farm, and Villa Architecture and Furniture was so widely distributed and read it influenced all types and sizes throughout the British Isles.

Dr Michael O’Neill wrote an article A Roof Over Clerical Heads: Visual Insight to Glebe House Drawing in 2017 for the Representative Church Body Library. It goes into historical detail: “A glebe house is a residence provided in each parish (or parish union) for the clergy man or woman and his or her family. In the past glebe land (farmland) was also provided for the rector/vicar/curate of rural parishes, the clergyman up to the late 19th century was often also a farmer or leased out farmland. The poverty of much of the clergy of the established church led to Queen Anne setting up the Board of First Fruits in Ireland in 1711. This initiative (similar to the Queen Anne’s Bounty of 1704 for the Church of England) redirected first fruits or annates (the first year’s income of a clergyman to any new post due to the Crown) into a fund for building new churches, glebes and glebe houses.”

He adds, “In the first 70 years or so the Board of First Fruits purchased glebe land worth £3,500. It also assisted building 45 glebe houses with gifts worth £4,000. Annual parliamentary grants during the period 1791–1803 allowed the Board to spent £55,600 towards building 88 churches and 116 glebe houses. Significantly larger grants in the 20 years following the Act of Union meant a total of £807,648 was paid out in grants to purchases glebe lands in 193 benefices, building 550 glebe houses, and building, rebuilding and enlargement of 697 churches. By 1832 some 829 glebe houses had been built. Small wonder then that hall and tower ‘First Fruits’ churches and glebe houses are such a prominent feature of the Irish rural landscape.”

So what’s the modern equivalent of the pattern book? Volume housebuilders such as Taylor Wimpey have their own standard house types but these are company guides and not for wider use. Perhaps the Daily Mail Book of Home Plans was the last vestige of the pattern book? Back to Glebe House and the last words go to Derek Hill, “So often people say, ‘Don’t you get lonely when you are over in Donegal?’ Remembering Emily Dickinson’s letter to a friend whose sons had died in which she wrote: ‘One can never be alone with a thronged heaven above’, I feel it is the same with a house.”