Tag: dr roderick odonnell architectural historian

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Boutique Hotel Club + Hotel Heritage Bruges

The Unfolding Star

Ann Plovie of Visit Bruges introduces us to the city, “The winter season represents cosiness and heartwarming moments with family and friends. Warm World Heritage City Bruges lends itself perfectly to this. Come and soak up the atmosphere in the historic setting of charming ‘reien’ (canals), monumental architecture and picturesque streets. Sip a fragrant coffee and enjoy a sharing platter. Discover some universal stories of care and empathy at the renovated Museum St John’s Hospital. The many almshouses also illustrate the care for the citizens of Bruges throughout the centuries.”

The poet Georges Rodenbach melodramatically explains in The Death Throes of Towns (1892) how during its Golden Age the city was once accessible by sea, “Here is how the drama unfolds. Once the town was linked to the sea by the Zwin, which via Damme sent a channel of deep water as far as Bruges, a royal river, where 1700 ships sent by Philip Augustus against the Flemish and English could easily manoeuvre … One day in 1473, however, the North Sea suddenly retreated and as a result the Zwin dried up, without them being able to dredge it clear or reestablish a flow of water; and henceforth, Bruges, now at some distance from that mighty breast of the ocean which had nourished her children, began to bleed dry and for four long centuries lay in the shadow of death.”

That silting would form a quilting, a protective layer, over the historic fabric, like the deliciously preserved Sandwich in Kent, “England’s prettiest town,” according to international tastemaker Charles Plante. The city in aspic would be rediscovered in the 20th century. Architectural historian Dr Roderick O’Donnell reveals, “It was important to the Romantic Catholic archaeological tourists and scholars, especially A W N Pugin, visiting in the 1830s, 1840s and 1850s.” Bruges plays a major role in Alan Hollinghurst’s novel The Folding Star (1994). He admires “the grand brick houses equally steeped in silence and discretion”, calling it a “beautiful little city”.

The house that is now the five star Hotel Heritage is positively recent by Bruges standards having been built in 1869 to the design of architect Louis Delacenserie. The earliest record of a house on this site does though date back to 1390. After a stint as a bank branch of Crédit Général Liégeois, it was converted into a luxury hotel. A new marble staircase and discreet lift were inserted for access to 18 en suite bedrooms on the first and second floors, and above. A top floor was added to provide four junior suites and an intimate roof terrace directly facing the Belfry, one of Bruges’s many landmarks.

As we exit our car we are greeted by name at the entrance porch. Our first floor bedroom has a balcony with horseshoe gaps in the stone balustrade overlooking Niklaas Desparsstraat (a relatively quiet street despite being a waffle’s throw from Grote Markt). Heavy bordered curtains, underbed lighting, underfloor bathroom heating, an iPad, a bowl of fruit and chocolates (this being Belgium), noon checkout … heaven’s in the detail in this European member of the Boutique Hotel Club.

Johan recalls, “In 1992, when we decided to buy and transform the building into Hotel Heritage, several factors contributed to our choice, primarily rooted in the historical significance and architectural charm of the property. The building itself carries a rich history, and we saw an opportunity to preserve and showcase its unique character. Many historic properties like ours often have a story to tell and can offer guests a sense of the past, creating a distinctive and memorable experience. We knew the neoclassical architecture and original details would add a touch of elegance and authenticity, making the hotel stand out. It’s located in the historic district near the cultural attractions.”

“We collaborated with interior designers to create a cohesive design that complements the historic building while providing modern amenities and comfort,” he adds. The first of the reception rooms, a sitting room off the entrance hall, is a cheerful upholstered avenue into another era, one of refinement, sophistication and elegance. Pictures of horses – Coronation, Cotherstone, Mameluke, Margrave, Our Nell, Plenipotentiary, Stockwell, Van Trump – hang on the floral wallpaper of the first dining room. The adjoining second dining room, also with tall windows overlooking Niklaas Desparsstraat, is rich and rightfully red (the hue that stimulates appetite and conversation). Full bodied crystal chandeliers softly illuminate the decorated painted ceilings. Two more clubby style sitting rooms are to the rear of the building, a chessboard and drinks trolley to hand.

Breakfast in the red dining room is both a buffet and table service affair, at once continental and full. It turns out to be one of the best hotel breakfasts we have ever had – and we get around. A vast chariot (trolley is much too humble a word) piled high with cold and hot delicacies dominates the floral dining room. On top of the sideboard are forests of fruit and two different types of cake each morning (apple and marmor today) and – this still being Belgium – three types of chocolate (dark, milk and white). After a Flanders cheeseboard with salmon, yoghurt, cereal, brioches, croissants, mushrooms and tomatoes it’s time for the waiter to up the ante. A spinach amuse bouche arrives followed by the hotel’s speciality poached egg on biscuit wafer. Strawberry and apple juice is in a carafe not a glass. When we lift up our china cups to drink coffee, a red butterfly is revealed on the saucers underneath (more heaven’s in the detail). Our waiter brings a chocolate mousse just in case we’re still hungry. Philippe Mallet Champagne starts the day in style.

“Begin with a visit to the Belfry of Bruges for panoramic views of the city,” Johan advises. We’re on the up. Maybe it’s the 7am Champagne but the two way spiral staircase in the 83 metre high building (equating to over 27 modern storeys) is a trial of balance and navigation. Still, the climb is worth it for the exhilarating view from the bell level gallery. At this height everything appears so homogeneously historic, revivifying Georges Rodenbach’s city of monuments amidst “the pervasive presence of the waters”.

Round a few corners from Hotel Heritage, Poortersloge is a contemporary art gallery serving as an incubator for nascent creative talent in Burghers’ Lodge which was built between 1395 and 1417. Inside, the brilliant white walls and ebon blackness of the ceilings match the monochromatic work of the 12 photographers work on display. The centrepiece of Kwart Voor Nacht (Quarter to Midnight) is a piece by the multidisciplinary Belgian artist Yves Gabriels. It’s a deconstructed biopsy: body parts and clothes fragments are arranged along a swing hanging in front of a hospital curtain. Yves suggests, “I am the surgeon in my anatomical theatre.” He creates skin using a symbiotic culture of bacteria and yeast. Bruges-la-Morte-Encore-Une-Fois. It’s not for those uneasy in dynamics below mezzoforte. The cadence of the city bells can be heard beyond the huge mullioned windows. In April, the well orchestrated Bruges Triennial will bring contemporary art and installations to the streets as well, hitting all the high notes.

Johan reminisces, “I appreciate the opportunity to reflect on the changes in Bruges since my upbringing in the city. Bruges has undergone a remarkable transformation, blending its rich historical heritage with a growing contemporary vibrancy. One noticeable change is the increasing global recognition and popularity of Bruges as a tourist destination. The city has gracefully embraced this influx, maintaining its charm while accommodating the diverse interests of visitors.”

He concludes, “The preservation efforts and restoration projects have been noteworthy, ensuring that the architectural gems and cultural treasures are meticulously maintained. The revitalisation of public spaces and historic buildings has added a renewed sense of vitality to the city. While change is inevitable, Bruges has admirably retained its enchanting atmosphere, and the community’s commitment to sustainability and cultural preservation has contributed to a city that continues to captivate locals and visitors alike. Overall, witnessing Bruges evolve has been a fascinating journey, and I’m excited to see how the city continues to balance its rich history with the demands of the present and future. I am happy to be able to contribute as a hotelier.” The city continues to unfold, revealing old and added layers of intricacy and delight. A new Golden Age is dawning.

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Architects Architecture People

St Eugene’s Church Glenock + Pubble Graveyard Newtownstewart Tyrone

Forever Building the House of the Lord

“Salve!” greets Father Roland Henry Colhoun. “You’re helping build the house of the Lord.” Following an enthusiastically driven campaign, the Priest is the well deserving recipient of grants from the Irish Georgian Society London and the National Churches Trust, London. Yet his Parish of Ardstraw East lies west of the Bann, County Tyrone, that landlocked rural county, next stop Donegal, a place often overlooked. But not so when you’re such a spirited soul as Father Colhoun.

Earlier that day there would be a visit to Pubble Graveyard. It’s a bluebell and buttercup filled haven 1.25 kilometres west of St Eugene’s Glenock, full of buzzing buzzards and racing hares and the bystanding curious. A stone walled enclosure once part of a Franciscan friary, one of its remaining crumbling gravestones reads: “Erected in memory of Margory of Lower Callon who parted this life 23 March 1873 aged 70 year.” Then there is John McLaughlin’s gravestone: he died aged 91 in 1888. Or Mary Morris who illegibly allegedly died goodness knows what age in 1885. All this history is secreted and nestled below the heavy brown heather of Mary Gray and Bessie Bell hills.

John Gebbie records in his 1968 Ardstraw (Newtownstewart): Historical Survey of a Parish, 1600 to 1900, “In this parish were three 15th century monasteries of the Third Order of Franciscans according to a 1603 Inquisition, ‘Corock, Puble [sic], and Garvagh Kerin. Each had three parts of a quarter of land (120 acres) attached of annual value 1/7 Irish money. But they had just recently been dispossessed and lay ruinous, as they do today.’” Father Colhoun explains, “Pubble is the English transliteration of the Irish word ‘pobal’ meaning ‘people, population, community or parish’. In Irish, one of the most common names for a church is ‘teach an phobail’ meaning the house of the community. The reason the townland of Pubble has its name is that the graveyard originally had a church.”

He confirms there were at least four Franciscan monasteries in west Tyrone: Pubble Graveyard, Newtownstewart; Corrick Graveyard, Plumbridge; Scarvagherin Graveyard, Castlederg; and Omagh Friary in Drumragh parish with lands at Shergrim. “I haven’t located the last one – not yet!” adding, “Pubble and the others in this location lasted around 150 years, from the mid 1400s until the early 1600s. As recently as yesterday, I heard of an archaeologist who says that an aerial drone photograph of an ancient graveyard, if taken during a very dry spell of weather, will reveal the outline of old monastic buildings because the foundations or stumps of walls are below the modern day level of the ground.”

“Our parish has one of the oldest post Reformation churches still in use for Catholic worship in Ireland,” continues this most erudite of priests. “There has been a Catholic church on this site at Glenock since 1785.” Typically for a Catholic church, St Eugene’s lies beyond the nearest town of Newtownstewart, on a country road opposite Holm Field. The Priest regularly takes fundraising historic tours of the area. “After the 1829 Catholic Emancipation the bells of St Eugene’s would be the first to ring in the Catholic diocese since penal times.” But is the current church fit for today’s purpose? “Absolutely,” he smiles, “and no matter where you sit, you can always see me!”

“Until the 1960s churches like St Eugene’s were built to face east. The Ascension of the risen Lord was in the east and He will come again from the east,” says Father Roland. “Around 550 AD, St Eugene established his religious foundation in Ardstraw, which is the origin of this parish. As monastic Abbot, Eugene became Bishop of Ardstraw! His name, which means ‘born under the sacred yew tree’, was added to the church at Glenock in the 19th century, many years after its inception. At present, our project of restoration is the renewal of the church windows. There were never stained glass windows in this building. The windows were replaced and repaired down the years, according to deterioration and need. In 1978 the four windows on the sanctuary wall were replaced. In summer 2021, experts spent two days excavating the boxing casing on every window and Queen’s University plans to carry out carbon testing on many of the wooden structures in the building.” Authentic restoration is paramount to Father Roland. “The octagonal baptismal font in front of the altar dates from as recently as 2016,” he explains. “It had been commissioned by my predecessor to replace the old font which disintegrated beyond repair some years before his tenure. Also in 2016, I designed the octagons and crosses in terrazzo flooring to provide an elegant surround to the font and funereal area. Accordingly, the font stands opposite the resting area for coffins. Alpha and omega: on both occasions you are carried into the church.”

At a glance, Dr Roderick O’Donnell, architectural historian, Pugin expert, Country Life contributor and a Vice President of the National Churches Trust, comments, “This St Eugene’s is a typical Roman Catholic development: an early rectangle which grows wings to become a T plan. The 1834 belfry was enhanced by a timber spirelet of 1904. Note the roundhead and Gothick windows of two storey in height. It’s galleried inside and is an important survival of such a church plan.” More in-depth investigation to come.

“Look at the quatrefoil and circular windows,” assesses Rory. “There was clearly a 19th century façade campaign, a highly conscious decision to Gothicise this vernacular building. The adoption of Gothic is making a statement about history, an historicist reference. This simple Irish and Scottish T plan is compatible with the reformed Catholic liturgy. St Eugene’s is an architectural conundrum: the stairs up from the porch suggest that is the earlier part of the building. The ambitious Georgian sashes are an important survival. Then there’s the slate roofed Victorian porch. It’s all charmingly vernacular. Inside, the original altar rails have been relocated to the upper balcony. I think the original towering timber reredos has been cut down. It was probably a majestic piece of interior architecture. But the current crucifix makes a striking statement. The marble and stone altar is much later 19th century.”

Dr O’Donnell summarises, “To find these elaborate galleries in a country situation is quite rare. They are good pre Victorian joinery, of much better quality than those found in churches in the west of Ireland. The fabric suggests the galleries are the oldest internal fittings in the church. Edward Toye added the spire and I believe he probably reroofed the church. Did he Gothickise some of the windows too?” That Catholic architect was improbably the protégé of Apprentice Boy John Guy Ferguson and together they were responsible for some of Derry City’s finest Victorian and Edwardian buildings.

Edward Toye designed the tower of St Eugene’s Catholic Cathedral Derry as well as what is now The Playhouse Theatre and the bank that would become Shipquay Hotel. The latter two are palazzos-on-Foyle, exhibiting eclecticism typical of that era. He also designed a plethora of local churches including St Patrick’s Church Gortin, just nine kilometres east of St Eugene’s Church. Like St Eugene’s, the Catholic church in Gortin is not in the village centre: it is surrounded by fields at the end of Chapel Lane 0.3 kilometres off Main Street. An external plaque confirms the age of St Patrick’s, “Foundation stone of this church was blessed by Most Reverend J K O’Doherty Lord Bishop of Derry on Sunday 9 October 1898.”

Later conversations will be had. “On Irish Georgian Society London Trustee Stuart Blakley’s question about the pattern of windows on the differing elevations,” Conservation Architect Peter Gallagher will respond, “The glazing bars within the replacement windows will follow the existing patterns, responding to the round headed masonry openings and the pointed arches respectively, repeating what Stuart refers to as the ‘fanlight’ umbrella shaped glazing bars in the first and, in the latter, the pointed Gothick shaped arch with Gothick style ‘trellis’ bars.” In the meantime, there will be an early Sunday morning dew soaked photoshoot from Holm Field. Despite its museum-like aura, resembling one of the buildings transported to the Ulster American Folk Park outside Omagh, St Eugene’s is very much a working church. As Father Roland Henry Colhoun might quote, “Omnibus bene tibi erit.”