Castle Blunden, County Kilkenny, courtesy National Inventory.
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 62. “(Blunden, Bt/PB) A highly romantic mid-C18 house with water on both sides of it so that it seems to float; the water being two lakes probably formed out of the moat of the earlier house or castle here. It was built either for John Blunden, MP or for his son, Sir John Blunden, 1st Bt. Of three storeys over a vaulted basement; six bay front, central niche with statue below square armorial panel and above single-storey pedimented Doric portico. Quoins; rusticated surrounds to all the windows and the niche. Slightly sprocketed roof. Teh back of the house consists of two gables with a projections between them containing the principal and secondary staircases. The decoration of the interior is late C18 and was probably carried out by the 2nd Bt after his marriage to a bride who, according to Dorothea Herbert, brought him (a clear £8000 a year.) Hall with frieze of rams heads. Drawing room with ceiling of Adamesque plasterwork. Before 2nd Bt married, he and his sisters kept the house constantly filled with young people; in the evenings, there were boating parties on one of the lakes, when, according to Dorothea, the girls would step from the windows into the pleasure boat “whilst six or seven fiddles serenaded us on the water.” The young men of teh party would also serenade the girls at night outsdie their bedroom, and sometimes “burst in” catching them “en chemise.” A wing has recently been added to the house, designed by Mr Jeremy Williams, containing an additional sitting room.”
Castle Blunden, County Kilkenny, courtesy National Inventory.Castle Blunden, County Kilkenny, courtesy National Inventory.
Detached seven-bay three-storey over basement Classical-style country house, c.1750, on a symmetrical plan with (single-storey) prostyle tetrastyle pedimented Roman Doric portico to centre ground floor, two-bay three-storey side elevations, and three-bay full-height central return to west. Hipped slate roof on a U-shaped plan (ending in gables to rear (west) elevation; hipped to return) with clay ridge tiles, rendered chimney stacks, slightly sproketed eaves, and cast-iron rainwater goods on rendered eaves having iron brackets. Part ivy-clad unpainted rendered, ruled and lined walls over random rubble stone construction with cut-limestone dressings including quoins to corners, stringcourses to each floor, round-headed recessed niche to centre first floor having cut-limestone block-and-start surround incorporating keystone, and heraldic plaque to centre top floor with cut-limestone surround. Square-headed window openings (round-headed window opening to return) with cut-limestone sills, cut-limestone block-and-start surrounds having keystones (plain surrounds to basement having keystones), six-over-six and three-over-six (top floor) timber sash windows having four-over-eight timber sash windows to basement with wrought iron bars. Square-headed door opening under prostyle tetrastyle pedimented Roman Doric portico (having cut-limestone columns with responsive pilasters supporting entablature, frieze having central panel, and carved limestone surround to pediment having modillions) with carved cut-limestone surround, and glazed timber panelled double doors. Interior with timber panelled shutters to window openings. Set back from road in own grounds with gravel forecourt, and landscaped grounds to site.
Appraisal
Representing an important element of the mid eighteenth-century architectural legacy of County Kilkenny a Classically-composed substantial country house built to designs attributed to Francis Bindon (c.1698-1765) in a manner reminiscent of the contemporary (1737) Bonnettstown Hall (12401909/KK-19-09) nearby has been very well maintained to present an early aspect with the original composition attributes surviving in place together with most of the historic fabric both to the exterior and to the interior. Sparsely-detailed the external expression of the house is enlivened by limestone dressings including a somewhat squat portico displaying high quality stone masonry. Forming the centrepiece of a large-scale estate (including 12401905, 15, 19 – 20/KK-19-05, 15, 19 – 20) the resulting ensemble having long-standing connections with the Blunden family makes a pleasant contribution to the visual appeal of the local landscape.
A few miles from the cathedral city of Kilkenny, Castle Blunden stands on an elevated site in the midst of mature parkland. Dating from the 1750s, and still owned by the Blunden family, this pretty seven-bay building is typical of County Kilkenny houses from the mid-Georgian period. The house is rendered, with a profusion of cut limestone decoration and details, and a handsome sprocketed roof, while the later Doric porch compliments the symmetry of the facade. The basement is concealed by a ramped gravel approach, which makes the house appear both lower and wider than is actually the case, while the small lakes to either side add to the overall air of enchantment.
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Their father, Sir William Blunden, a British naval officer and farmer, established Rionore, a bespoke jewellery business in Kilkenny along with Sir Basil Gouldiong, which was then taken over by the distinguished jewellery designer Rudolf Heltzel and still operates today…
Their great grand aunt was the eminent artist Sarah Purser – known for her stained glass and portraits. Purser once joked of her portraiture that she “went through the British aristocracy like the measles”…. The Blunden family have been in Kilkenny since the 17th century and their home, Castle Blunden, was constructed in the mid-1800s. “The family integrated and survived through the 18th century by marrying heiresses, and through the 19th century’s turbulent times by being honest and decent – keeping their heads down and playing chess,” say the twins….
The castle and estate have since passed the sisters to the first-born male heir through the primogenitor line.
When their father, Sir William, died in 1985, the estate went to his brother Sir Philip, as the girls had no brother.
Their mother, Lady Pamela Purser Blunden, continued to live at Castle Blunden until her death in 2017, and now the castle, estate and title have passed to the heir apparent, their nephew Patrick.
The Landed Gentry & Aristocracy: Kilkenny. Volume 1. Art Kavanagh, 2004.
Blunden of Castle Blunden.
See the chapter on the Blundens of Castle Blunden in Art Kavanagh’s The Landed Gentry and Aristocracy of Kilkenny.
p. 15. Sir John 1st and his wife Lady Susanna had a large family including five daughters and in order to assist in finding suitable marriage partners for those ladies many lavish parties were held at Castle Blunden. Guests who had travelled far would stay the night and the young unmarrieds would share the barrack room, modesty being maintained by means of a curtain hanging across the room to segregate the sexes.
p. 16. According to Burke’s Peerage Overington Blunden was given a grant of lands in Kilkenny in 1667. He was granted Clanmore or Glanmore “to be forever called Blunden’s Castle”. The lands originally belonged to the Shee family. He was also granted other lands in Kilkenny as well as lands in Co Laois and Co Waterfrod. …Overington was granted the lands in lieu of the money he had adventured. He was originally from Southwark in Surrey and was by profession a whitster or cloth bleacher. …When they took possession of the Kilkenny lands they lived in the tower house which was to the rear of the present house which was not built until almost 100 years later.
THE BLUNDEN BARONETS OWNED 1,846 ACRES OF LAND IN COUNTY KILKENNY
JOHN BLUNDEN (c1718-83), only surviving son of John Blunden, of Castle Blunden, Barrister, MP for County Kilkenny, 1727-52, married Martha, daughter of Agmondesham Cuffe, and sister of John, 1st Baron Desart, and had issue (with several daughters),
JOHN, his heir; William Pitt, father of the 3rd Baronet; Overington. (General in the army; MP).
Mr Blunden was created a baronet in 1766, denominated of Castle Blunden, County Kilkenny.
Sir John was succeeded by his eldest son,
SIR JOHN BLUNDEN, 2nd Baronet (1767-1818), High Sheriff of County Kilkenny, 1805 and 1813, Mayor of Kilkenny, 1802, who married twice, though both marriages were without issue, when the title passed to his nephew,
SIR JOHN BLUNDEN, 3rd Baronet (1814-90), DL, Barrister, High Sheriff of Kilkenny City, 1843-4, County Kilkenny, 1847, who wedded, in 1839, Elizabeth, daughter of Major John Knox, of Dublin, and had issue,
WILLIAM, his successor; John Overington; Edward Herbert; Maurice Robert; Arthur Henry; Abraham; Kate; Harriette; Nicola Sophia.
Sir John was succeeded by his eldest son,
SIR WILLIAM BLUNDEN, 4th Baronet (1840-1923), Surgeon, High Sheriff of County Kilkenny, 1904, who espoused, in 1879, Florence Caroline, daughter of Henry Shuttleworth, and had issue,
JOHN, his successor; Eric Overington; Muriel.
Sir William was succeeded by his eldest son,
SIR JOHN BLUNDEN, 5th Baronet (1880-1923), who wedded, in 1918, Phyllis Dorothy, daughter of Philip Crampton Creagh, and had issue,
WILLIAM, his successor; PHILIP OVERINGTON, 7th Baronet.
Sir John was succeeded by his elder son,
SIR WILLIAM BLUNDEN, 6th Baronet (1919-85), Lieutenant-Commander RN, who married, in 1945, Pamela Mary, daughter of John Purser, and had issue,
Sir William died without male issue, when the title passed to his brother,
SIR PHILIP OVERINGTON BLUNDEN, as 7th Baronet (1922-2007), who wedded, in 1945, Jeanette Francesca Alexandra, daughter of Captain D Macdonald RNR, of Portree, Isle of Skye, and had issue,
HUBERT CHISHOLM, his successor; John Maurice Patrick; Marguerite Eugenie.
Sir Philip was succeeded by his eldest son,
SIR HUBERT CHISHOLM BLUNDEN, 8th and present Baronet (1948-), of The Cottage, Carrigloe, Cobh, County Cork, 1st Battalion, Irish Guards, who married, in 1975, Ellish O’Brien, and has issue,
EDMUND, b 1982; Amelia, b 1977.
CASTLE BLUNDEN, County Kilkenny, is a mid-18th century house built either for John Blunden MP, or for his son, Sir John Blunden, 1st Baronet.
It comprises three storeys over a vaulted basement, with a six-bay front enclosing a central niche containing a statue below an armorial panel.
The interior decoration is late 18th century in style, likely decorated by the 2nd Baronet, whose wife afforded him “a clear £8,000 a year.”
The hall boasts a frieze of rams’ heads; and the plasterwork in the drawing-room has an “Adamesque” ceiling.
Castle Blunden stands in a most idyllic setting, with water on both sides of it, probably formed originally from a moat (from an earlier castle).
Castle Blunden Detached seven-bay three-storey over basement Classical-style country house, c.1750 built to designs attributed to Francis Bindon (c.1698-1765)
Paddy Rossmore. Photographs. Edited by Robert O’Byrne. The Lilliput Press, Dublin 7, 2019.
“the Blundens of Castle Blunden are descended from Overington Blunden, an English soldier who came to Ireland in teh seventeenth century and in 1667 was granted lands by the crown in County Kilkenny, Tipperary, Offaly and Waterford. Castle Blunden dates from around the middle of the following century, and was most likely built, or at least commenced by John Blunden who sat as a Member of the Irish Parliament for Kilkenny City from 1727 until his death in 1766. Its design attributed to amateur architect Francis Bindon, Caslte Blunden is of seven bays and three storeys, its facade enlivened by an unusually wide pedimented portico supported by four Roman Doric columns. Above this is a niche containing a somewhat diminuitve figure of a Roman general and then below the eaves a stone panel features the family coat of arms.”
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 50. [Butler sub Dunboyne, De Montmorency] A 2 storey 3 bay late Georgian house built for Rev Richard Butler, Vicar of Burnchurch. Large drawing room. Remained in the Butler family until 3rd quarter of C19, being occupied by successive vicars; then sold to the Mosse family, millers, of Bennettsbridge. Bought by Capt J.P de Montmorency, formerly of Castle Morres, 1949.
Burnchurch House, BURNCHURCH, Burnchurch, County Kilkenny
Burnchurch house, County Kilkenny, courtesy National Inventory.
Detached three-bay two-storey house, c.1850, on a T-shaped plan possibly incorporating fabric of earlier ranges, pre-1840, on site with single-bay single-storey flat-roofed projecting porch to centre ground floor, and three-bay two-storey double-pile return to west. Refenestrated. Hipped slate roof (pitched double-pile (M-profile) to return) with rolled lead ridges, red brick Running bond chimney stacks having profiled capping, and cast-iron rainwater goods on rendered eaves. Flat roof to porch not visible behind parapet. Ivy-clad unpainted roughcast walls to main block with carved cut-limestone coping to parapet to porch, and painted roughcast walls to remainder. Square-headed window openings (one round-headed window opening to porch) with cut-limestone sills, and replacement uPVC casement windows. Square-headed door opening in camber-headed recess with glazed timber panelled door. Square-headed door opening to house with glazed timber panelled double doors. Set back from road in own grounds.
Appraisal
Positioned on the site of a collection of ranges indicated on archival editions of the Ordnance Survey a well-appointed middle-size house represents an important element of the mid nineteenth-century architectural legacy of County Kilkenny. Occupying a sizeable yet compact footprint the aesthetic appeal of the house is identified by the balanced arrangement of pleasantly-proportioned openings centred on a porch. However, although the original composition attributes survive largely in place together with evidence of early joinery to the interior the character of the house has not benefited from the insertion of inappropriate replacement fittings to the window openings. Forming the centrepiece of an estate with a collection of ancillary ranges (including 12402311-3/KK-23-11 – 3) the resulting ensemble makes a pleasing visual impression in the local landscape. The house remains of additional importance for the historic connections with the Butler family.
Burnchurch house, County Kilkenny, courtesy National Inventory.
Farmyard complex, c.1850, possibly incorporating fabric of earlier ranges, pre-1840, on site including: (i) Attached two-bay single-storey coach house with elliptical-headed carriageway to right. Pitched slate roof with clay ridge tiles, rooflight, and no rainwater goods on red brick eaves. Random rubble limestone walls. Square-headed door opening with timber lintel, and timber boarded door. Elliptical-headed carriageway to right with red brick voussoirs, and no fittings. Set back from road in grounds shared with Burnchurch House. (ii) Detached three-bay two-storey outbuilding with elliptical-headed carriageway to centre ground floor, and two-bay single-storey wing to left. Pitched slate roofs with clay ridge tiles, rendered coping, and rainwater goods not visible. Random rubble limestone walls. Square-headed window openings with no sills, timber lintels, and remains of timber fittings. Square-headed door openings with timber lintels, and timber boarded doors. Elliptical-headed carriageway to centre ground floor with voussoirs, and no fittings. (iii) Detached single-bay single-storey outbuilding. Pitched slate roof with clay ridge tiles, and no rainwater goods. Random coursed squared rubble limestone walls. Square-headed door opening with red brick voussoirs, and timber boarded door. (iv) Detached two-bay single-storey outbuilding with half-attic. Pitched slate roof with clay ridge tiles, and rainwater goods not visible. Random rubble limestone walls. Camber-headed door openings (including to first floor side elevation) with red brick voussoirs, and timber boarded doors. (v) Detached four-bay single-storey outbuilding, post-1947. Pitched corrugated-iron roof with iron ridge. Painted mass-concrete walls. Square-headed window openings with no sills, and corrugated-Perspex fittings. Square-headed door openings with timber boarded doors.
Appraisal
An appealing collection of modest-scale agricultural outbuilding ranges displaying a traditional construction in locally-sourced stone. Informally arranged about a shared courtyard the resulting ensemble contributes significantly to the group and setting values of the Burnchurch House estate.
Burnchurch house, County Kilkenny, courtesy National Inventory.
Burnchurch house, County Kilkenny, courtesy National Inventory.
Gateway, c.1900, comprising pair of rusticated cut-limestone piers with iron double gates, and random rubble limestone curved flanking walls having cut-limestone coping. Road fronted at entrance to grounds of Burnchurch House.
Appraisal
Displaying high quality stone masonry an attractive gateway of modest architectural aspirations makes a pleasing, if subtle visual statement at the entrance to the grounds of Burnchurch House.
Burnchurch house, County Kilkenny, courtesy National Inventory.
Detached three-bay single-storey gate lodge, c.1900. Refenestrated. Now in private residential use. Hipped slate roof with clay ridge tiles, rendered chimney stack, and cast-iron rainwater goods on rendered eaves. Painted roughcast walls. Square-headed window openings with concrete sills, and replacement timber casement windows. Square-headed door opening in round-headed open internal porch with tongue-and-groove timber panelled door. Set back from line of road in own grounds with random rubble limestone boundary wall having cut-limestone coping, iron gate, and iron double gates.
Appraisal
A small-scale gate lodge of humble architectural aspirations retaining the original form and massing, thereby maintaining much of the character of the composition. Forming a neat sub-group with an attendant gateway (12402312/KK-23-12) on the opposite side of the road the resulting ensemble makes a positive impression at the entrance to the grounds of Burnchurch House.
Burnchurch House (Burnchurch Glebe House), SKEAGHATURRISH, County Kilkenny
Burnchurch Glebe house, County Kilkenny, courtesy National Inventory.
Detached three-bay three-storey Board of First Fruits glebe house, built 1815, with two-bay single-storey flat-roofed projecting entrance bay to ground floor incorporating single-bay single-storey advanced porch to left, two-bay three-storey side elevations, and three-bay three-storey rear (south) elevation having four-bay single-storey open veranda along ground floor. Converted to private residential use, pre-1902. Hipped slate roof with rolled lead ridges, rendered chimney stacks (one on axis with ridge), slightly swept eaves, and cast-iron rainwater goods on rendered eaves. Flat roof to entrance bay not visible behind parapet. Hipped slate roof to veranda on timber posts with clay ridge tiles, cast-iron rainwater goods on timber eaves, and open work timber parapets. Unpainted rendered, ruled and lined walls with cut-limestone stringcourse to first floor, and ivy-clad walls to porch having stringcourse supporting parapet. Square-headed window openings (round-headed window opening to porch; one in tripartite arrangement to ground floor rear (south) elevation) with cut-limestone sills, six-over-six (ground floor), three-over-six (first floor), and three-over-three (top floor) timber sash windows having three-over-six timber sash window to porch incorporating fanlight (six-over-six timber sash window to tripartite opening having two-over-two sidelights). Square-headed door opening on three cut-limestone steps with moulded surround, and timber panelled door. Round-headed door opening to house with timber panelled pilaster doorcase, and glazed timber panelled double doors having fanlight. Interior with timber panelled shutters to window openings. Set back from road in own grounds with gravel forecourt, and landscaped grounds to site.
Appraisal
Originally established as a Board of First Fruits-sponsored glebe house referenced by Samuel Lewis (1837) a well-appointed house built for Reverend Richard Butler (n. d.) represents an important element of the early nineteenth-century architectural legacy of County Kilkenny. Incorporating Classically-derived proportions the architectural design value of the house is identified by attributes including the diminishing in scale of the openings on each floor producing an elegant tiered visual effect. Having historically been well maintained the house presents an early aspect with most of the original fabric surviving in place both to the exterior and to the interior. The house remains of particular additional significance in the locality for the historic connections with the Mosse family and the de Montmorency family of Castle Morres (not included in survey).
Brownsbarn, County Kilkenny, courtesy National Inventory.
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
P. 49. [Marsh; Shore, Teignmouth]
A High Victorian Ruskinian-Gothic house by Sir Thomas Newenham Deane, of grey stone with bands of red sandstone giving a polychromic effect. On a high basement, which was the basement of an earlier house; so that as Victorian houses go, it has an unusually compact and straightforward plan, and its rooms have comfortable Regency proportions. Large square hall, with staircase at one side; large and small drawing room en suite. Doors and staircase of pitch pine, stained pleasantly dark; elaborately moulded marble chimneypieces, with flanking columns of different coloured marbles; reminiscent of the altars of Irish Catholic churches of later C19. Inherited by Caroline (nee Marsh) wife of 6th Lord Teignmouth; recently owned by the Lanigan O’Keeffe family (1958).
Brownsbarn, County Kilkenny, courtesy National Inventory.
Detached three-bay (two- or three-bay deep) single-storey over part raised basement double gable-fronted country house with half-dormer attic, designed 1856; built 1857-64, on a square plan centred on single-bay single-storey gabled projecting open porch. Occupied, 1901; 1911. Sold, 1989. Pitched double gable-fronted (M-profile) slate roof including gablets to window openings to half-dormer attic; pitched (gabled) slate roof (porch), roll moulded clay ridge tiles, chamfered chimney stacks having cut-limestone chamfered capping, lichen-spotted “slated” coping to gables on cut-sandstone kneelers with wrought iron finials to apexes, and cast-iron rainwater goods on cut-limestone “Cavetto” consoles retaining cast-iron octagonal or ogee hoppers and downpipes. Cut-sandstone banded tuck pointed snecked limestone walls on cut-sandstone chamfered cushion course on tuck pointed snecked limestone base. Pointed-arch central door opening approached by three lichen-spotted steps with voussoirs having chamfered reveals framing glazed timber panelled double doors having overlight. Cusped lancet flanking window openings with cut-sandstone chamfered sill course, and chamfered reveals framing fixed-pane timber fittings. Pair or cusped lancet window openings in bipartite arrangement (half-dormer attic) with cut-sandstone chamfered sill, and voussoirs having moulded reveals framing two-over-two timber sash windows (north) or timber casement windows (south). Cusped lancet window opening in bipartite arrangement (north) with cut-sandstone chamfered sill course, and voussoirs having moulded reveals framing timber casement windows. Lancet window opening (half-dormer attic) with cut-sandstone chamfered sill, and voussoirs having chamfered reveals framing timber casement window having overlight. Pointed-arch window opening (south) with quatrefoil-perforated balconette, and voussoirs with hood moulding framing timber casement window having overlight. Set in landscaped grounds with “Opus Incertum” piers to perimeter having shallow pyramidal capping supporting wrought iron double gates.
Appraisal
A country house erected for William McDoughall (c.1810-75) to a design by Deane, Son and Woodward (formed 1851) of Upper Merrion Street, Dublin (Building News 1858, 948), representing an important component of the mid nineteenth-century domestic built heritage of County Kilkenny with the architectural value of the composition, one retaining the footings of ‘an early house so that as Victorian houses go it has an unusually straightforward plan [with] rooms of comfortable Regency proportions’ (Bence-Jones 1978, 49), confirmed by such attributes as the deliberate alignment maximising on panoramic vistas overlooking the wooded River Nore; the compact plan form centred on a pillared porch; the construction in a silver-grey limestone with bands of ruby-coloured sandstone producing a polychromatic visual effect; the diminishing in scale of the coupled openings on each floor producing a graduated visual impression with the principal “apartments” or reception rooms defined by polygonal bay windows; and the high pitched multi-gabled roofline. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior where ‘pitch pine stained pleasantly dark…elaborately moulded chimneypieces reminiscent of altars in Irish Catholic churches…[and] fretted cornices’ (ibid., 49) all highlight the artistic potential of the composition. Furthermore, an adjacent stable outbuilding (extant 1839); and a walled garden (extant 1901), all continue to contribute positively to the group and setting values of a self-contained estate having subsequent connections with Captain John Henry Blackburne (d. 1891) of Somerset (The Royal Historical and Archaeological Association of Ireland 1874, 5); Colonel Willoughby Digby Marsh (1831-1924) of the Royal Engineers (NA 1901); and a succession of tenants including Thomas Collier (NA 1911).
Brownsbarn, County Kilkenny, courtesy National Inventory.Brownsbarn, County Kilkenny, courtesy National Inventory.Brownsbarn, County Kilkenny, courtesy National Inventory.Brownsbarn, County Kilkenny, courtesy National Inventory.Brownsbarn, County Kilkenny, courtesy National Inventory.Brownsbarn, County Kilkenny, courtesy National Inventory.Brownsbarn, County Kilkenny, courtesy National Inventory.Brownsbarn, County Kilkenny, courtesy National Inventory.Brownsbarn, County Kilkenny, courtesy National Inventory.
Borrismore House (formerly Marymount), Urlingford, Co Kilkenny
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 46. “(Neville/IFR) A Georgian house built by Garrett Nevill about the time of his marriage 1765 to Mary Hodson, after whom he named it Marymount.”
Bonnetstown, County Kilkenny, courtesy of National Inventory.
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 45. “(Blunden, Bt/PB; Knox/IF; Marescaux de Sabruit/IFR) One of the most perfect medium sized early C18 country houses in Ireland; built 1737 for Samuel Mathews, Mayor of Kilkenny, whose name and the date are inscribed on quoins on either side of the entrance front. Of two storeys over a high basement. Six bay entrance front, with tripartite round-headed rusticated doorcase; blank tympanum over door instead of fanlight. Windows in lower storey have rusticated surrounds; those above, shouldered surrounds on consoles; basement windows camber-headed with keystones. Quoins; broad flight of steps with ironwork railings up to hall door. High, sprocketed roof. Garden front also six bays but plain; with two large windows in the centre and below them a door with an enchanting miniature Baroque perron in front of it, complete with double iron-railed curving steps. Large hall, from the back of which rises a staircase of noble joinery, with Corinthian newels and acanthus carving on the ends of the treads. Black marble chimneypiece in hall contemporary with building of house; ceiling over staircase decorated with geometrical plaster panels. Large lobby above hall open to head of stairs with rococo plasterwork. Drawing room and dining room with plain cornices; chimneypiece in drawing room contemporary with house.; that in dining room, of Kilkenny marble with scroll pediment, proabaly earlier, having been brought from Kilcreene House. Drawing room hung with cream and gold wallpaper of slightly Chinese design, originally made for Allerton Park, Yorkshire. Study with original C18 fielded panelling, and another chimneypiece from Kilcreene.”
Bonnetstown, County Kilkenny, courtesy of National Inventory.Bonnetstown, County Kilkenny, courtesy of National Inventory.Bonnetstown, County Kilkenny, courtesy of National Inventory.
Detached three- or five-bay (three-bay deep) two-storey over part raised basement country house, built 1737-8, on a rectangular plan; three- or five-bay full-height rear (north) elevation. Occupied, 1911. Hipped slate roof on a quadrangular plan with clay ridge tiles, paired rendered central chimney stacks having lichen-spotted capping supporting yellow terracotta tapered pots, grouped rooflights to rear (north) pitch, sproketed eaves, and cast-iron rainwater goods on dragged cut-limestone cornice retaining cast-iron downpipes. Rendered, ruled and lined walls with drag edged rusticated cut-limestone quoins to corners supporting dragged cut-limestone “bas-relief” recessed band to eaves. Square-headed central door opening in tripartite arrangement approached by flight of twelve lichen-spotted cut-limestone steps between arrow head-detailed wrought iron railings, drag edged dragged cut-limestone block-and-start surround centred on keystone framing timber panelled double doors having overpanel with four-over-four timber sash sidelights without horns. Square-headed window openings in camber-headed recesses (basement) with drag edged dragged cut-limestone monolithic surrounds centred on keystones framing wrought iron bars over one-by-one horizontal sash windows without horns having lattice glazing bars. Square-headed window openings (ground floor) with drag edged dragged cut-limestone sills, and drag edged dragged cut-limestone block-and-start surrounds centred on triple keystones framing six-over-six timber sash windows without horns. Square-headed window openings (first floor) with dragged cut-limestone sills on “Acanthus”-detailed scroll consoles, and dragged cut-limestone lugged surrounds framing six-over-six timber sash windows without horns. Square-headed window openings to side elevations with drag edged dragged cut-limestone sills, and concealed dressings framing six-over-six (ground floor) or nine-over-nine (first floor) timber sash windows without horns having part exposed sash boxes. Square-headed central door opening to rear (north) elevation approached by “perron” of eight lichen-spotted cut-limestone steps between wrought iron railings, drag edged dragged cut-limestone doorcase with monolithic pilasters supporting “Cyma Recta”- or “Cyma Reversa”-detailed cornice on rosette-detailed frieze framing glazed timber panelled door. Paired square-headed window opening in camber-headed recesses with drag edged dragged cut-limestone sills, and concealed dressings framing sixteen-over-sixteen timber sash windows without horns having part exposed sash boxes. Square-headed window openings (remainder) with drag edged dragged cut-limestone sills, and concealed dressings framing six-over-six (ground floor) or nine-over-nine (first floor) timber sash windows without horns having part exposed sash boxes. Interior including (ground floor): central hall retaining carved timber surrounds to door openings framing timber panelled doors centred on cut-limestone Classical-style chimneypiece, moulded plasterwork cornice to ceiling, staircase on a dog leg plan with turned timber balusters supporting carved timber banister terminating in fluted Corinthian colonette newels, timber panelled shutters to window openings to half-landing, moulded plasterwork cornice to ceiling centred on “Acanthus” ceiling rose in moulded plasterwork frame, carved timber surrounds to door openings to landing framing timber panelled doors, and moulded plasterwork cornice to ceiling; study (south-west) retaining carved timber surround to door opening framing timber panelled door with carved timber surrounds to window openings framing timber panelled shutters on panelled risers, reclaimed rosette-detailed cut-limestone Classical-style chimneypiece, and moulded plasterwork cornice to ceiling; drawing room (north-west) retaining carved timber surround to door opening framing timber panelled door with carved timber surrounds to window openings framing timber panelled shutters on panelled risers, cut-white marble Classical-style chimneypiece, and picture railing below moulded plasterwork cornice to ceiling; dining room (east) retaining carved timber surround to door opening framing timber panelled door with carved timber surrounds to window openings framing timber panelled shutters on panelled risers, reclaimed cut-limestone Classical-style chimneypiece, and plasterwork cornice to ceiling; and carved timber surrounds to door openings to remainder framing timber panelled doors with carved timber surrounds to window openings framing timber panelled shutters on panelled risers. Set in landscaped grounds.
Bonnetstown, County Kilkenny, courtesy of National Inventory.Bonnetstown, County Kilkenny, courtesy of National Inventory.Bonnetstown, County Kilkenny, courtesy of National Inventory.
A country house erected by ‘Saml. Mathews Esq. May the 14th 1737’ representing an important component of the domestic built heritage of County Kilkenny with the architectural value of the composition, ‘one of the most perfect medium-sized early eighteenth-century houses in Ireland’ (Bence-Jones 1978, 45), confirmed by such attributes as the compact rectilinear plan form centred on a “Venetian”-like tripartite doorcase demonstrating good quality workmanship in a silver-grey limestone; the diminishing in scale of the openings on each floor producing a graduated visual impression with those openings showing robust dressings recalling the contemporary Desart Court (1733; demolished 1957); and the high pitched sproketed roofline. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior, including crown or cylinder glazing panels in hornless sash frames: meanwhile, contemporary joinery including ‘a very wide staircase rising out of the hall in the seventeenth-century manner’ (Craig and Garner 1973, 93); chimneypieces reclaimed from Kilcreen House (ibid., 93); and sleek plasterwork refinements, all highlight the artistic potential of the composition. Furthermore, adjacent outbuildings (see 12401921); and a walled garden (extant 1839), all continue to contribute positively to the group and setting values of an estate having subsequent connections with William Pitt Blunden JP (1815-94) ‘late of Bonnettstown [sic] County Kilkenny’ (Calendars of Wills and Administrations 1894, 46); Major Lindesay Knox JP (1865-1933), one-time High Sheriff of County Kilkenny (fl. 1905); and Commander Geoffrey Marescaux de Saubruit (1901-86) who allowed Andrew Bush access to photograph the house for the book “Bonnettstown: A House in Ireland” (1989).
In 1989 American photographer Andrew Bush published a book of images he had taken at the start of the decade. Bonnettstown: A House in Ireland caused something of a stir at the time and has since become a collector’s item, as it chronicles the last days of a now-disappeared world. The visual equivalent of a Chekhov play, the pictures exude a melancholic dignity. Many of them had previously been exhibited in the United States, and in The New Yorker critic Janet Malcolm wrote that what gave the photographs a special lustre was ‘the frank avowal that they make of their voyeurism. Bush’s images have a kind of tentativeness, almost a furtiveness, like that of a child who is somewhere he shouldn’t be, seeing things he shouldn’t be seeing, touching objects he shouldn’t be touching and struggling with the conflict between his impulse to beat it out of there and his desire to stay and see and touch.’ Anyone who looked at the pictures became willingly complicit in that voyeurism.
As is so often the case, we know relatively little about the history of Bonnettstown, County Kilkenny although conveniently a date stone advises the house was built in 1737 for Samuel Mathews, a mayor of Kilkenny. In other words, this was a merchant prince’s residence, conveniently close to his place of work and yet set in open countryside so that he could play at being a member of the gentry. The house was designed to emulate those occupied by landed families, albeit on a more modest scale. Flanked by short quadrants and of two storeys over a raised basement, it has six bays centred on a tripartite doorcase accessed via a flight of steps. The rear of the building is curious since here the middle section is occupied by a pair of long windows below which is another doorcase approached by a pair of curving steps with wrought-iron balustrades. While much of Bonnettstown remains as first designed, some alterations have been made since the house was first built: the fenestration was updated, although a single instance of the original glazing survives on the first floor. And on the façade, the upper level window surrounds on consoles look to be a 19th century addition. Nevertheless, one feels that were Mayor Mathews to return, he would recognise his property.
Inside, Bonnettstown has a typical arrangement of medium-sized houses from this period. It is of tripartite design, with a considerable amount of space devoted to the entrance hall, to the rear of which rises the main staircase with Corinthian newels and acanthus carving on the ends of each tread. The rooms on either side show how difficult it can sometimes be for aspiration to achieve realisation. As mentioned, Bonnettstown was meant to be a modest-proportioned version of a grand country house, and as a result the requisite number of reception rooms had to be accommodated. To make this happen, some of them are perforce very small, as is the case with what would have been a study/office to the immediate left of the entrance hall. Here a chimneypiece has been incorporated which is out of proportion with the room, although the reason for this could be that it came from Kilcreene, a since-demolished property in the same county. That is certainly the case with the chimneypiece in the dining room, which is wonderfully ample in its scale. The chimney piece in the drawing room looks to be from later in the 18th century, as does another intervention on the first floor, a rococo ceiling in a room above the entrance. The well-worn back stairs lead both to the largely untouched attic storey and to the basement with their series of service rooms.
While hitch hiking around Ireland as a young man in the late 1970s Andrew Bush was offered a lift by an elderly gentleman called Commander Geoffrey Marescaux de Saubruit who invited the American to visit his house, Bonnettstown. Bush took up the offer and over the next few years regularly stayed with the Commander and his octogenarian relations. During this time, the property was sold and so Bush’s photographs, and subsequent book, became a record of what had once been. ‘I guess I was responding to my desperation,’ he later explained, ‘to the anxiety that I was feeling that this place was disappearing. I guess I wanted to soak up as much as I could before it was gone.’ Inevitably it did go, as the new owners put their own stamp on the place and cleared away the atmosphere of shabby gentility which had pertained when Bush saw Bonnettstown. A few weeks ago the house was sold again, and now another generation will take possession. What mark will it leave on the house, and is it likely that another Andrew Bush will wish to make a record of Bonnettstown before the next change occurs? We must wait and see.
An abiding problem in the study of Irish country houses is ascribing a date of construction. Not so Bonnettstown, County Kilkenny where on completion of building work the original owner helpfully provided this information. On one of the quoins to the left of the entrance is the gentleman’s name, Samuel Mathews, while its match to the right features the date May 14th 1737. On the other hand, what remains unknown is who was responsible for the design of Bonnettstown: like a number of other houses in this part of the country for the past half-century it has been attributed to the gentleman-architect Francis Bindon.
Bishop’s Palace, Kilkenny, County Kilkenny, courtesy National Inventory.
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 167. “A Georgian house built on the foundations of the medieval palace probably by Charles Este, who was (C of I) Bishop of Ossory from 1736 to 1745. Plain façade with Gibbsian doorcase. Panelled staircase hall, staircase of handsome joinery with Corinthian newels; doorcase with Corinthian pilasters. In 1760, Bishop Pococke built a Doric colonnade joining the Palace to St. Canice’s Cathedral, which incorporated a delightful singe-storey pedimented and bow-ended Robing Room. The colonnade was subsequently demolished, but the Robing Room remains a feature of the palace garden. The Palace was well restored ca 1963 by the then Bishop, Dr. H.R. McAdoo.”
Kilkenny Bishop’s Palace, Church Lane, GARDENS (ST. CANICE PAR.), Kilkenny, County Kilkenny
Detached five-bay three-storey over basement Church of Ireland bishop’s palace, reconstructed 1735-6, incorporating fabric of medieval undercroft, between 1354-60, to basement with single-bay three-storey return to north-east. Extensively renovated and extended, c.1825, comprising single-bay three-storey flat-roofed central return having three-bay two-storey flanking range to right (north-west). Restored, 1962-3. Now disused. Hipped slate roofs (behind parapet to main block) with clay ridge tiles, cut-limestone chimney stacks (most on axis with ridge), and cast-iron rainwater goods on rendered eaves. Flat roof to central return not visible behind parapet. Unpainted rendered, ruled and lined walls with cut-limestone stringcourses to each stage, moulded cornice having blocking course to parapet, and rendered coping to parapet to central return. Square-headed window openings (Venetian window openings to central return) with cut-limestone sills, six-over-six and three-over-six (top floor) timber sash windows (twelve-over-eight (first floor) and eight-over-eight (top floor) timber sash windows to Venetian openings having four-over-four and four-over-two sidelights). Square-headed door opening with cut-limestone block-and-start surround having keystone, and timber panelled door. Interior with timber panelled reveals to window openings with most having timber panelled shutters. Set back from road in own grounds with gravel forecourt, landscaped grounds to site (including terrace with flight of six steps having parapet with ball finials), unpainted rendered piers with coping, ball finials, iron double gates, random rubble stone boundary wall to perimeter of site having camber-headed pedestrian gateway with red brick dressings including camber relieving arch, and iron gate.
Appraisal
A large-scale house reconstructed under the patronage of Bishop Griffith Williams (1589?-1672) representing an artefact of national significance in the architectural heritage of Kilkenny. A regular entrance elevation displaying Classically-derived proportions together with a distinctive doorcase is counterbalanced with a garden front incorporating a complex massing attesting to a period of evolution spanning five centuries: retaining portions of a medieval undercroft in the basement incorporating the fabric of three separate churches dismantled by Bishop Richard Ledrede (fl. 1317-60) the present edifice not only continues a long-standing occupation of the grounds but represents an integral component of the archaeological legacy of the region. Although now no longer fulfilling the original intended use the house has historically been well maintained following a restoration project undertaken by Doctor Henry McAdoo (1916-98) retaining most of the historic fabric both to the exterior and to the interior where elements exhibiting high quality craftsmanship enliven the design significance of the composition. Set in extensive grounds the palace forms a neat group alongside the associated Cathedral (12005018/KK-4766-08-18) with the resulting assemblage significantly enhancing the character of an historic townscape.
Bishop’s Palace, Kilkenny, County Kilkenny, courtesy National Inventory.Bishop’s Palace, Kilkenny, County Kilkenny, courtesy National Inventory.Bishop’s Palace, Kilkenny, County Kilkenny, courtesy National Inventory.
Detached three-bay single-storey over basement Classical-style robing room, built 1756/60, on an ovoid plan incorporating fabric of medieval town wall, post-1300, with three-bay single-storey pedimented breakfront, and single-bay single-storey bowed side elevations. Now disused and derelict. Hipped slate roof (continuing into half-conical roofs; gabled to pediment) with clay ridge tiles, slightly sproketed eaves, and remains of cast-iron rainwater goods. Unpainted rendered, ruled and lined walls over random rubble stone construction with limestone ashlar dressings including quoins to breakfront, and band supporting pediment having moulded surround. Square-headed window openings with moulded cut-limestone sills, limestone ashlar voussoirs having keystones, and four-over-four timber sash windows (now boarded-up) having some six-over-six timber sash windows to side elevations. Round-headed door opening with four cut-stone steps, cut-limestone block-and-start surround, and glazed timber panelled double doors having fanlight (now boarded-up). Interior with remains of plasterwork including panel over fireplace having lugged surround, round-headed recessed flanking niches having moulded archivolts, and timber panelled shutters to window openings. Set in grounds shared with Kilkenny Bishop’s Palace with rear (west) elevation forming part of random rubble stone boundary wall to perimeter of site.
Appraisal
An elegantly-appointed small-scale range built to designs attributable to Saunderson Miller (1716-80) for Bishop Richard Pococke (1704-65) forming an important element of the architectural heritage of the locality enhancing the group and setting values of the Kilkenny Bishop’s Palace complex: representing the last surviving fragment of a mid eighteenth-century redevelopment of the grounds the robing room provides an indication as to the appearance of the nearby Saint Canice’s Cathedral (12005018/KK-4766-08-18) following the completion of a comprehsive ‘restoration’ programme there in what has been described as the Grecian Doric style. Despite the diminutive proportions the building is distinguished by robust cut-stone dressings producing the pleasing Classical theme enhancing the architectural design value of the composition. Although no longer in use most of the historic fabric survives intact behind protective boarding while an attractive interior space incorporates early joinery displaying high quality craftsmanship together with traces of decorative plasterwork enhancing the artistic design value of the site. Incorporating the fabric of a tower originally forming part of the medieval town wall the site remains an important element of the long-standing archaeological legacy of Kilkenny City.
Bishop’s Palace, Kilkenny, County Kilkenny, courtesy National Inventory.Bishop’s Palace, Kilkenny, County Kilkenny, courtesy National Inventory.Bishop’s Palace, Kilkenny, County Kilkenny, courtesy National Inventory.Bishop’s Palace, Kilkenny, County Kilkenny, courtesy National Inventory.Bishop’s Palace, Kilkenny, County Kilkenny, courtesy National Inventory.
Bessborough, Piltown, Co Kilkenny (Kidalton College)
Bessborough, County Kilkenny, now Kidalton College, courtesy National Inventory.
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
“(Ponsonby, Bessborough, E/PB) A large house by Francis Bindon, consisting of a centre block of two storeys over basement joined to two storey wings by curved sweeps. Built 1744 for Brabazon Ponsonby, 1st Earl of Bessborough, replacing an earlier house; the “Bess” in whose honour the estate received its name – which was singled out by Swift in his scornful attack on the custom of naming houses and estates after peoples’ wives – having been the wife of a seventeenth century Ponsonby. Entrance front of nine bays; three bay pedimented breakfont with niche above pedimented Doric doorway; balustraded roof parapet with urns; rusticated basement; perron and double stairway with ironwork railings in front of entrance door. Ingeniously contrived Gibbsian doorways in the curved sweeps, their pediments being above the cornice; niches on either side of them. Six bay garden front with four bay breakfront; Venetian windows in upper storey above round-headed windows. Later wing at side. Hall with screen of Ionic columns of Kilkenny marble, their shafts being monolithic. Saloon with ceiling of rococo plasterwork and chimneypieces with female herms copied from William Kent. The entrance front, never a very inspired composition, was not improved by the removal of the perron and substitution of a porch at basement level early in the present century, so as to enable the hall to be used as a sitting room; the architect of this work being Sir Thomas M. Deane. The house was burnt 1923. It was afterwards rebuilt to the design of H.S. Goodhart-Rendel; but in the end the family never went back to live in it, and it stood empty until it was sold in 1944. It now belongs to a religious order, and has been added to and altered; the urns have been removed from the parapet and are now at Belline.”
John Ponsonby (1713 – 1787) by Hugh Douglas Hamilton, courtesy of The Library Collection auction 26 April 2023 at Adams. He was Speaker of the Irish House of Commons. He was the son of Brabazon Ponsonby (1679-1758) 1st Earl of Bessborough, 2nd Viscount Duncannon, of the fort of Duncannon, Co. Wexford. He married Elizabeth, daughter of William Cavendish 3rd Duke of Devonshire.
For more on John Ponsonby (1713-1787), Speaker of the House, of Bessborough, see Melanie Hayes, The Best Address in Town: Henrietta Street, Dublin and its First Residents, 1720-80.
Oil painting on canvas, William Ponsonby, 2nd Earl of Bessborough (1704-1793), attributed to Jeremiah Davison (Scotland c.1695 ? London after 1750) or George Knapton (London 1698 ? Kensington 1778), circa 1743/50. Oval, half-length portrait, turned slightly to the left, gazing at spectator, wearing oriental costume, composed of a red tunic, blue cloak edged with white fur and a red and white turban. Courtesy of National Trust Hardwick House. He married Caroline Cavendish, daughter of 3rd Duke of Devonshire.William Ponsonby, 2nd Earl of Bessborough, (1705-1793), observing a copy of the Borghese Vase Date 1794 by Engraver Robert Dunkarton, English, 1744-1811 After John Singleton Copley, American, 1738-1815.Frederick Ponsonby, Viscount Duncannon, (1758-1844), later 3rd Earl of Bessborough Date 1786, Engraver Joseph Grozer, British, fl.1784-1797 After Joshua Reynolds, English, 1723-1792.The Hon. Richard Ponsonby (1772-1853), Bishop of Derry and Raphoe, British (English) School, circa 1830. A half-length portrait of a man, known as “handsome Dick Ponsonby”, turned go the right, gazing at the spectator, wearing surplice and white bands. He was a son of William Brabazon Ponsonby, 1st Baron Ponsonby of Imokilly (1744-1806) who was a son of John Ponsonby (1713 – 1787). Courtesy of National Trust imagesLady Caroline Lamb née Ponsonby (1785-1828) by Eliza H. Trotter, NPG 3312.She was a daughter of the 3rd Earl, and she married William Lamb, 2nd Viscount Melbourne.John William Brabazon Ponsonby (1781-1847) 4th Earl of Bessborough, County Kilkenny.Bessborough, County Kilkenny, now Kidalton College, courtesy National Inventory.
Bessborough, County Kilkenny, now Kidalton College, courtesy National Inventory.
Attached nine-bay two-storey over raised basement Classical-style country house with dormer attic, built 1744-55, originally detached on a symmetrical plan with three-bay full-height pedimented breakfront, four-bay three-storey side elevations having two-bay full-height breakfronts, and six-bay three-storey Garden (south) Front having four-bay three-storey breakfront. Renovated, pre-1899, with three-bay single-storey flat-roofed projecting porch added to centre ground floor. Burnt, 1923. Reconstructed, 1929, to accommodate use as convent. Converted to use as agricultural college, post-1944. Hipped slate roofs on a quadrangular plan behind parapet with clay and rolled lead ridge tiles, cut-limestone chimney stacks (some on axis with ridge), lead-lined shallow barrel roofs to dormer attic windows, and cast-iron rainwater goods. Flat roof to porch not visible behind parapet. Limestone ashlar walls with rustication to ground floor (including to porch having piers supporting frieze, cornice, and balustraded parapet with urns on pedestals), stringcourse over, stringcourse to second floor, round-headed recessed niche to centre top floor breakfront with cut-limestone surround framing statuary, carved (moulded) surround to pediment, and carved (moulded) cornice supporting balustraded parapet. Square-headed window openings with cut-limestone sills, rusticated voussoirs to ground floor, carved surrounds to upper floors, and six-over-six timber sash windows. Square-headed opening (original door opening) to centre first floor breakfront with limestone ashlar pedimented Doric surround, and glazed timber double doors. Bulls-eye window opening to pediment with carved surround, and fixed-pane timber fitting. Some round-headed window openings to breakfront to Garden (south) Front (forming Venetian openings to top floor) with cut-limestone sills, channelled voussoirs to ground floor, carved surrounds to Venetian openings, six-over-six and three-over-six (top floor) timber sash windows having one-over-two sidelights to Venetian openings. Camber-headed window openings to dormer attic with timber casement windows. Round-headed openings to porch (in round-headed recesses to outer bays) with cut-limestone voussoirs having double keystones, timber panelled double doors having overlight, and six-over-nine timber sash sidelights. Interior with timber panelled shutters to window openings. Set back from road in own grounds with tarmacadam forecourt, and landscaped grounds to Garden (south) Front incorporating terraces having flights of cut-stone steps with balustraded parapets supporting urns. (ii) Pair of attached single-bay (seven-bay deep) two-storey Classical-style blocks, pre-1944, perpendicular to east and to west with single-bay full-height pedimented breakfronts, and three-bay two-storey lower linking wings on L-shaped plans. Hipped slate roofs behind parapets with clay ridge tiles, rendered squat chimney stacks, copper-clad vents to ridge, and concealed cast-iron rainwater goods. Roofs to linking wings not visible behind parapets. Rock-faced limestone ashlar walls with cut-limestone stringcourse to first floor supporting limestone ashlar Doric frontispiece (incorporating breakfront) having engaged columns, flanking outer pilasters, frieze, moulded cornice, moulded surround to pediment, and balustraded parapet. Square-headed window openings to ground floor with round-headed window openings to first floor having cut-limestone sills, limestone ashlar block-and-start surrounds to first floor, and six-over-six timber sash windows having fanlights to first floor (fixed-pane fittings to Doric frontispiece on panel having foliate swag motif). Square-headed window openings to linking wings (some round-headed window openings) with cut-limestone sills, limestone ashlar block-and-start surrounds, and six-over-six timber sash windows having fanlights to round-headed openings.
Appraisal
A very fine substantial house built to designs prepared by Francis Bindon (c.1698-1765) for Brabazon Ponsonby (1679-1768), first Earl of Bessborough, and subsequently reconstructed in the early twentieth century to designs prepared by Harold (Harry) Stuart Goodhart-Rendel (1887-1959) following an extensive fire retaining a porch added in the late nineteenth century by Sir Thomas Newenham Deane (1827-99). Various cut-limestone details displaying expert stone masonry contribute significantly to the Classical elegance of the composition. Of particular importance for the relationship with Ponsonby family the house is of additional significance for the associations with ‘The Troubles’ (1922-3). Subsequently adapted to an alternative use a small number of additional ranges have been planned in a manner complementing the appearance of the original portion: however, further extensive development over the course of the mid to late twentieth century has included a number of accretions that have compromised some of the setting quality of the site. Nevertheless, the house remains an impressive feature in the landscape forming an important element of the architectural heritage of Piltown and the environs.
Bessborough, County Kilkenny, now Kidalton College, courtesy National Inventory.Bessborough, County Kilkenny, now Kidalton College, courtesy National Inventory.Bessborough, County Kilkenny, now Kidalton College, courtesy National Inventory.Bessborough, County Kilkenny, now Kidalton College, courtesy National Inventory.Bessborough, County Kilkenny, now Kidalton College, courtesy National Inventory.Bessborough, County Kilkenny, now Kidalton College, courtesy National Inventory.
Gateway, c.1750, comprising pair of sandstone ashlar piers on cruciform plans with raised bands having stringcourses supporting friezes, carved cut-sandstone cornice capping supporting acorn finials, wrought iron open work panels supporting decorative wrought iron double gates, wrought iron open work panels framing decorative wrought iron flanking pedestrian gates, limestone ashlar outer piers with cut-limestone capping supporting urn finials, limestone ashlar screen wall with cut-limestone coping, limestone ashlar piers with cut-limestone capping supporting urn finials, sections of wrought iron railings, and limestone ashlar terminating piers with cut-limestone capping supporting ball finials. Road fronted at entrance to grounds of Bessborough House (Kildalton College).
Appraisal
Constructed in locally-sourced Country Kilkenny limestone and sandstone an elegantly-composed formal gateway known as “The Grand Gates” exhibits particularly fine craftsmanship with robust Classically-derived dressings identifying the architectural design value of the composition. Decorative iron work fashioned at the R. and B. Graham Foundry further enlivens the aesthetic appeal of a commanding gateway forming an imposing landmark at the entrance to the grounds of the Bessborough House (Kildalton College) (12325001/KK-39-25-01) estate.
Bessborough, County Kilkenny, now Kidalton College, courtesy National Inventory.
Gateway, c.1750, comprising pair of rusticated limestone ashlar piers with cut-limestone capping supporting blocking course having ball finials over, decorative iron double gates, and random rubble stone flanking boundary wall to perimeter of site. Road fronted at entrance to grounds of Bessborough House (Kildalton College).
Appraisal
An appealing gateway forming a secondary entrance on to the grounds of the Bessborough House (Kildalton College) estate allowing a direct route to the centre of Piltown. The construction of the piers including heavy rustication in the Classical manner exhibits high quality stone masonry while decorative wrought iron gates further enhance the artistic design value of the composition.
The Landed Gentry & Aristocracy: Kilkenny. Volume 1. Art Kavanagh, 2004.
Bessborough, County Kilkenny, now Kidalton College, courtesy Archiseek.Bessborough, County Kilkenny, now Kidalton College, courtesy Archiseek.
Large Palladian house with wings, designed by Francis Bindon around 1744 on the site of an earlier house. Later addition of a porch by Sir Thomas Manly Deane, who also moved the principal entrance to the ground floor, and converted the original hall into a sitting room. The cigarette card illustration shows the entrance front prior to this. In 1923 the house was burnt and severely damaged. A thorough and complete reconstruction followed and was completed by 1929. Now known as Kildalton College, an agricultural college run by Teagesc.
featured in Georgian Mansions in Ireland with some account of the evolution of Georgian Architecture and Decoration by Thomas U. Sadleir and Page L. Dickinson. Dublin University Press, 1915.
Bessborough, County Kilkenny, in Georgian Mansions in Ireland with some account of the evolution of Georgian Architecture and Decoration by Thomas U. Sadleir and Page L. Dickinson.
“This large mansion, the seat of the Earl of Bessborough, is situated in the south of County Kilkenny, not far from the village of Pilltown, and lies in a well-planted desmesne of over 500 acres. It is built of hewn blue limestone, and rectangular in shape, as may be seen in Plate IX, being 100 feet in length, and in depth 80 feet.
But this picture, we hasten to point out, does not represent the front exactly as it is now, for some years since the flight of stone steps which appears therein was removed, the principal entrance being changed to the ground-floor, and the original hall turned into a sitting-room. These alterations were carried out by Sir Thomas M. Deane, who also added a porch of the same stone that the house is built with. Thus the convenience of the house has been increased to the detriment of its Georgian appearance.
Bessborough, County Kilkenny, in Georgian Mansions in Ireland with some account of the evolution of Georgian Architecture and Decoration by Thomas U. Sadleir and Page L. Dickinson.
This sitting-room, a large apartment hung with pictures, was originally decorated with plaster panels, but these, from being painted over, have lost their character as ornament. Two Ionic columns, monoliths, 10 feet 6 inches high, of black Kilkenny marble, polished, support an entablature. The drawing-room, opening off the original hall, but with a south aspect, is a handsome apartment, remarkable for its elaborate white marble mantel, which we illustrate at plate X. Its peculiarity, which was referred to in Vol. V of the Georgian Society at p. 60, is that the figures at either side are portraits. They represent two members of the Ponsonby family: Lady Catherine, wife of the fifth Duke of St. Albans, and Lady Charlotte, wife of the fourth Earl Fitzwilliam, both daughters of the second Earl. The rococo ceiling is worthy of note, and there is a deep frieze with medallions. This room contains a number of interesting pictures… It only remains to mention the well-proportioned dining-room, also on the first floor, and a small sitting-room, with a corner fireplace and handsome mantel. …[p. 22] Unlike most Georgian mansions, the stairs are not an important feature, and serve no purpose save of utility. One of teh bedrooms contains a fine oak Jacobean bedstead.
p. 22. The history of this estate can be traced from an early period. It was called Kilmodalla, that is the Church of Saint Modailbh, and in the thirteenth century became the property of the Anglo-Norman family of D’Aton, of Dauton, from whom it received the name of Kildaton, sometimes incorrectly written Kildalton.
Edmund Daton, of Kildaton, was attainted for participation in the rebellion of 1641, and in the time of the Commonwealth his estate was granted to Col. John Ponsonby, whose title to this and other lands, in all 19,979 statute acres, situated in the Counties of Carlow, Kerry, Donegal, Limerick, Waterford and Kilkenny, was confirmed by the Act of Settlement. Ponsonby was a Cumberland gentleman, who had raised a regiment of horse for service in Ireland, and had acted as Governor of Dundalk. [Kavanagh, the Aristocracy of Kilkenny, p. 169, tells us John Ponsonby was from Hale Hall in Cumberland.] On the fall of Richard Cromwell he declared in favour of a monarchy, and was in consequence high in favour at the Restoration, being included in the Act of Indemnity, and on 19th February 1660-1661, dubbed a knight by the Lords Justices. It is singular that Sir John, who was a man of property in England, and in fact the head of his house, should have elected to settle in Ireland. He was at the time a widower with a family, one of whom inherited Hale Hall, his estate in Cumberland, and is said to have come over at the solicitation of his brother Henry, who had obtained a grant of Crotto and other lands in Kerry.
[Kavanagh writes that when the war of Cromwell was concluded, he was appointed a Commissioner for the taking of depositions concerning atrocities committed against Protestants during the 1641-9 rebellion, and was made Sheriff of Wicklow and Kildare. Her was knighted by Cromwell and granted teh forfeited estate of Edmond Dalton of Kidalton and lands that formerly belonged to the Walshes particularly in the Fiddown area. …The Datons or Daltons as they were later called came to Ireland with the first Normans in 1171. They settled in Westmeath but later purchased a large estate in South Kilkenny, where they were living when the Cromwellians arrived. After their lands were confiscated some of the daltons may have moved to Connaught, but a number remained behind as tenants to the new landowners. Tjere was a number of Daltons in the Inistioge area in the 18th century farming large holdings.]
It was he who gave the name Bessborough, or Bessie’s Borough, in honour of his second wife, Elizabeth, widow, first, of Sir Richard Wingfield of Powerscourt, Co Wicklow, secondly, of Edward Trevor, and daughter of Henry, first Lord Folliott, probably on building a house to replace the castle of the Datons. In after years this circumstance came to the knowledge of Dean Swift, who makes use of it in his essay “On Barbarous Denominations in Ireland,” in which he vents his raillery on the landed proprietors. “The utmost extent,” he says, “of their genious lies in naming their country habitation by a hill, a mount, a brook, a burrow, a castle, a bawn, a ford, and the like ingenious conceits. Yet those are exceeded by others, whereof some have contrived anagrammatical appellations, from half their own and their wives’ names joined together: other, only from the lady; as, for instance, a person whose wife’s name was Elizabeth, calls his seat by the name Bess-borough.” Sir John was in residence in 1664, when he paid tax for five hearths. He acted in a most considerate and praiseworthy manner by the dispossessed owner, Edmund Daton, for he not only gave him shelter in his house, but maintained him there as his guest till his death.
By purchasing land, and investing largely in soldiers’ debentures, Ponsonby acquired a considerable fortune. He died in 1668, and was succeeded at Bessborough by his son Henry [the eldest son of his second marriage], who, on Nov 5th 1679, received the honour of knighthood. He doubtless fled to England to escape persecution during the vice-royalty of Tyrconnell, for he was resident there in 1689 when attainted by the Irish Parliament of King James II. On Sir Henry’s death, without issue, a few years later, the estates devolved on his next brother, Col. William Ponsonby, who accordingly made this his residence. He had been a Cornet of Horse in the Royal Army, from which he was removed for being a Protestant in 1686; and subsequently distinguished himself in command of Independent Companies in the memorable defence of Derry. He was prominent in affairs, represented County Kilkenny in five successive parliaments (1692-1721), and in 1715 as sworn of the Privy Council. In 1721 he was raised to the peerage as Baron Bessborough, of Bessborough, and in the following year advanced to the dignity of Viscount Duncannon, of Duncannot Fort, in the County of Wexford. He married Mary, daughter of the Hon. Randal Moore, fourth son of Charles, second Viscount Drogheda (by Lady Jane Brabazon, daughter of Edward, second Earl of Meath), and had issue three sons and six daughters.
[Kavanagh, p. 171. A son, Henry, married Frances, daughter of Chambre Brabazon 5th Earl of Meath, “by whom he had a son, Chambre Brabazon. Chambre was married three times and by his second wife he had Sarah Ponsonby, one of the Ladies of Llangollen. Fn. Sarah ran away with her friend Eleanor Butler the daughter of the Ormonde heir. Sarah was the object of unwanted affection from her godmother’s husband, Sir William Fownes. Eleanor, a Protestant, was being persecuted by her Catholic stepmother. Sir William Barker of Kilcooley gave Sarah £580 which helped to keep them for a number of years. When Eleanor’s father succeeded as teh Earl of Ormonde he was persuaded by William Barker to make provision for Eleanor which he did. The two girls never married and stayed together at Llangollen in Wales until their deaths. They became a very celebrated couple and received visites from very distinguished peopel including Lord Byron, the Duke of Wellington, Sir Walter Scott, De Quincy, Wordsworth, Southey and many others.”]
Lord Duncannon died at Bessborough on 17 Nov 1724, and was buried three days later, “with Escocheons,” [Funeral entry in Office of Arms, Dublin Castle], in the family burying-place in Fiddown Church.
Brabazon, second Viscount Duncannon, who succeeded to the title and estate on his father’s death, had been an officer in the 27th, or Inniskilling Regiment, in which he was Captain of the Granadier Company. By his marriage with Sarah, daughter of John Margetson of Bishopscourt, County Kildare, and widow of Hugh Colville, of Newtown, County Down, he acquired a considerable fortune, including landed property in County Kildare and in Leicestershire, as well as the pocket borough of Newtown Ards, for which he sat in the Irish Parliament from 1704-1714.
[Kavanagh book, p. 171: “The following story is told of the marriage of Sir William’s eldest son, Brabazon Ponsonby, future MP and Earl of Bessborough, which took place around 1703. Brabazon soon found himself in pecuniary difficulties from which he attempted to extricate himself by proposing to marry a rich widow then living in Dubln, a Mrs Colville, granddaughter of Archbishop Margetson. Mrs Colvill woudl have none of him and refused to listen to his importunities. Brabazon, however, resolved on a plan for making her his wife. She was awakened one morning by a bank playing epithalamic airs outside her lodgings (the custom being to serenade newly married couples), and flying to the window, opened it, and beheld a great crowd cheering; at the same moment, the next window was thrown open [p.172], and Captain Brabazon Ponsonby appeared in a night dress, smiling and thanking the people for their congratulations. He had hired a neighbouring apartment and the band, and by this ruse proclaimed that he was married to Mrs Colvill. In vain she denied the assertion; public opinion, resting on such convincing proofs, was too strong for her, and she finally gave way and bestowed her hand and her fortune on th gallant officer, who left the Army.” His second wife Elizabeth Sankey was twice widowed and also an heiress]
From 1715 until he succeeded to the peerage he was one of the members for the County of Kildare. In 1726 he was called to the Privy Council, being subsequently appointed a Commissioner of Revenue. In Nov 1733, six months after his first wife’s death, he married Elizabeth, eldest daughter of John Sankey, and widow, first of Sir John King, and secondly of John, Lord Tullamore. During the Lord Lieutenancy of the third Duke of Devonshire, and a few months after his eldest son had married the Duke’s eldest daughter, he was, by patent dated 6th October 1739, created Earl of Bessborough in the peerage of Ireland. Ten years later he received an English peerage as Baron Ponsonby, of Sysonby, in County of Leicester, taking his title from the estate in England which his first wife had inherited from her father.
p. 25. Til 1743 he sees to have lived principally at Bishopscourt, where in the autumn of that year he had the honour of entertaining the Lord Lieutenant, who had lately become connected with the family by another tie, his daughter, Lady Elizabeth Cavendish, having married John Ponsonby, the Earl’s second son [afterwards the Right Hon. John Ponsonby, Speaker of the Irish House of Commons, and long leader of the patriotic party, who died in 1787. He was father of the first Lord Ponsonby, and of the Rt. Hon. George Ponsonby, Lord Chancellor of Ireland]. In 1744 he pulled down the “large old house” at Bessborough, and erected the present mansion from designs by Francis Bindon. As soon as it was completed, he took up his residence, making over Bishopscourt to his younger son John, who eventually inherited that estate. [This property remained in the possession of the family till sold to the 3rd Earl of Clonmel in 1838.] We have unfortunately no detailed account of the house during the lifetime of the 1st Earl. The Primate, who stayed there in January 1753, contents himself with telling Lord George Sackville that “everything was perfectly right and extremely agreeable.”
[Kavanagh, p. 173: Brabazon’s second son, John Ponsonby, was perhaps the most talented and outstanding man of hte family. Born in 1713 he entered Parliament in 1739. Five years later he replaced his father as Commissioner for the Revenue. In the year just prior to that prestigious appointment he married Lady Elizabeth Cavendish, daughter of 3rd Duke of Devonshire [who was Lord Lieutenant]. In order to reinforce his position as a most reliable government supporter, John raised four companies of horse for service against the the Scots rebels in 1745. In 1746 he was appointed a Privy Counsellor which carried with it the title of Rt. Honourable. Ten years later he reached the pinnacle of his power when he was appointed as Speaker of the House of Commons (in Ireland). IN addition to this he became an “undertaker” for the government. This meant that he undertook to manage the business of the government in the Irish Parliament in the absence of the Lord Lieutenant. In return he was given power to appoint people to high offices, acted as Lord Justice, was consulted about policies and given the necessary means to enable him to bring in a majority for hte government when bills needed to be passed. He retained this positino until 1770. After this time the practice was discontinued as Lords Lieutenants were obliged to remain in Ireland as residents.”
p. 174. “John and his wife Lady Elizabeth had five sons and four daughters…His sons were William, John, George, Richard and Frederick. William and George were MPs and were very prominent in their support of the Catholic emancipatino movement, supporting the Catholic Relief Acts according as they were presented in Parliament. George was the more prominent of the two and led the Whig party in the English Parliament after th Union. William tried for the position of Speaker in 1790 but was defeated by John Foster. George was Chancellor of Ireland in 1806. …George had an illegitimate son, George Conolly Ponsonby, who distinguished himself in the Army. He fought in India and Afghanistan. He attained the rank of Major General. He settled his family in Germany and died there in 1866.]
Lord Bessborough, who held the offices of Mariscal of the Admiralty in Ireland, and Vice-Admiral of Munster, was twice one of the Lords Justices. He died here at 3pm on Tuesday, the 4th July, 1758, after a brief illness, caused by swallowing cherry-stones, aged 79.
William, second Earl of Bessborough, who now succeeded his father, lived almost entirely in England. [In October 1773, he associated himself with the Duke of Devonshire, the Marquess of Rockingham, the Earl of Upper Ossory, and Lord Milton, in protesting against the Irish Absentee Tax. Their objection was based on the possession of estates in both countries, and that they should not be penalized for spending the greater part of their time residing in the capital of the UK for the purpose of attending to their duties as peers.] A highly cultivated man, an enthusiastic collector, and a patron of the fine arts, he was long prominent both in society and in politics. He had travelled extensively, and had not only made the usual European tour then essential to the man of fashion, but had even penetrated to Greece, which he visited in 1738, taking with him J.E.Liotard, the eminent French painter. [p. 26] In the following year, soon after his return home, he married, during the vice-royalty of her father, Lady Caroline Cavendish, daughter of William, third Duke of Devonshire. On 8th June 1741, he writes from Chatsworth to inform the Lords Justices of his appointment as Principal Secretary to the Lord Lieutenant; in the following November he was sworn as Privy Councillor in Ireland. Prior to his father’s death, Lord Duncannon, as he was then, sat in the Irish House, representing Newtown Ards from 1725-1727, and County Kilkenny 1727-1758. He also sat in the English Parliament, representing Derby, a pocket borough of the Cavendish family, 1741-54; Saltash, 1754-56, and Harwich, 1756-58. In politics a Whig, he more than once held office, first for ten years, as a Lord of the Admiralty; then a Lord of the Treasury, 1756-59; and twice Joint Postmaster-General.
[Kavanagh p. 176: “The 3rd Earl probably lived most of his life abroad or in Dublinbut he maintained the house at Bessborough. He bought a fine mansion, called Belline that he been built by Peter Walsh in Pilltown in the late 18C, for his agent. Prior to the agent taking up residence it was made available by the Earl of William Lamb, the son of Lord Melbourne, the husband of the Earl’s only daughter, Caroline. He brought her there at the urgings of her frantic family.
Caroline, who was born in 1788 and married to a besotted William Lamb in 1806. Caroline and William had only one son who survived childhood and he was not mentally capable. The marriage became unstable and 9p. 177) Caroline embarked on a very public affair with Lord Byron, much to the embarressment of her family and the annoyance of her husband. Affairs were very much in vogue but had to be discreet. Byron was just 24 at the time, three years her junior and on the verge of becoming the darling of society having just published Childe Harolde’s Pilgrimage. He was feted everywhere. They began a much recognised and indiscreet affair that lasted a tempestuous four months. Byron ended the affair much to Caroline’s displeasure.
She then spent the next four years pursuing him. Byron avoided her, seeking refuge ifor some time with his new mistress, Lady Oxford, and eventually marrying a cousin of Caroline’s husband, Annabella Milbanke. As the enforced exile in Belline had no positive effect on Caroline her family frankly told Lamb to divorce her, but this he refused to do. The marriage continued until 1825. During the intervening period Caroline turned to novel writing and the characters of her first novel called Glenarvon were easily recognisable as leading society figures of the period, including Byron. She wrote two further novels, Graham Hamilton, publ, 1822, and Ada Reiss, pub. 1823. She died in 1828.]
Lady Bessborough, who was a god-daughter of George II, died in 1760 of the same disorder , as Horace Walpole tells us, which had some years previously carried off four of her children. The Earl was a great favourite at Court, particularly with Princess Amedlia, the most attractive of the daughters of George II, and many of his letters relating to her will are preserved in the British Museum. He was so pleased at her condescension in coming to dine with him one night that he greeted her warmly with both hands, on which she exclaimed, “My Lord, you are very good, but I wish you would not paw me so!” When he was finally left alone, on the marriage of his younger daughter, the Princess was anxious that he should not remain a widower, and suggested that Lady Anne Howard would make a suitable bridge. But the Earl, so far from countenancing the idea, took upon himself to propose to the Princess, at which she “laughed to such a degree than she could hardly stand.” [from the Journal of Mary Coke. This does not appear to have caused a quarrel between them, for she appointed him one of her executors, and left him a legacy of £1000 stock].
He also admired Lady Mary Coke, the diariest, who describes him as “very entertaining.” …
p. 27. As one of the first collectors in this country of gems, marbles, and works of art, he ws well qualified to become an original member of the Dilettanti, he was also member of the Accademia di Disegno at Florence, and in 1768 was elected a Trustee of the British Museum. …
Although an absentee, Lord Bessborough did not neglect his Irish seat, and his artistic taste doubtless suggested the beautiful carved mantel in the drawing-room, with its representations of his two daughters…A visitor said “it felt as warm and comfortable as if the family had left it the day before, and it has not been inhabited these forty years.”
…He died on May 1793, at the age of 88, being then “Father of the Dilettanti.” [A portrait of the Earl, in Turkish dress, by Knapton, is in the possession of the Society of the Dilettanti.] p. 28. A monument to him and his wife, with busts by Nollenkens, is in All Saints’ Church, Derby, where they were buried in the mausoleum of the Cavendish family.
p. 28. Frederick, third Earl of Bessborough, his father’s only surviving son, also usually resided in England. He was educated in Christ Church College, Oxford, and entered Parliament in 1780 as M.P. for Knaresborough, which he represented until he succeeded to the peerage, beign twice appointed a Lord of the Admiralty. He tok a decided part in opposing the Union. He was a man of the most amiable and mild manners, who, without affecting the character of an orator, was an able and much-appreciated speaker. As a landlord, he showed the utmost consideration to his tenants and, inheriting the cultured tastes of his father, he was an amateur artist. Lord Bessborough married on 27 Nov 1780, Henrietta Frances, second daughter of John, first Earl Spencer, by whom he had issue, with a daughter and three sons [the daughter was the well-known Lady Caroline Lamb, wife of William, second Viscount Melbourne, and a remarkable woman. She was a devoted admirer of Byron, who is said to be the hero in her novel, Genarvon.] During his declining year he lived chiefly with his youngest son at Canford House, Dorset [the Hon. William Francis Spencer Ponsonby, who was raised to the peerage in 1838 as Baron de Mauley]. He died there on 3rd Feb 1844 aged 86.
His eldest son and successor, John William, fourth Earl of Bessborough, was the distinguished Whig statesman who died at Dublin Castle, while Lord Lieutenant of Ireland, on 22 May 1847.
[Kavanagh, p. 178. 4th Earl was reputed to have been an excellent (and resident) landlord. Liek his illustrious forebears he was closely allied to the Whig party and was liberal minded. It was he who first introduced Daniel O’Connell to the House of Commons in 1829 after he had been elected, as the first Catholic, thus gaining Emancipation.
His was a poisoned chalice. He occupied the post of Lord Lieutenant during the Famine. This dreadful disaster was compounded by political unrest which manifested itself in the Young Ireland movement. Ever since 1829, O’Connell had been seeking Repeal of the Union, using all the peaceful means at his disposal, especially mass meetings. But younger more radical men became more violent in their language and some of their number advocated a peasant led social revolution. These wre the Young Irelanders. [fn. Some of the persons involved were Smith O’Brien, a member of the gentry from County Limerick and an MP for Ennis, Charles Gavan Duffy, a Monaghan born Catholic journalist and publisher of The Nation, Thomas Davis, the Cork born son of an English Army surgeon, and John Blake Dillon a Mayo born Catholic barrister.
The Lord Leiut. Threw himself wholeheartedly and vigorously into the efforts devised by the government to combat the effects of the famine. ]
His fifth son, the Rev. Walter William Ponsonby, who succeeded when the peerage had been held successively by his two elder brothers, was father of Edward, 8th Earl of Bessborough, the present proprietor of the estates.”
The above engraving of Bessborough, County Kilkenny is taken from John Preston Neale’s Views of the Seats of Noblemen and Gentlemen in England, Wales, Scotland, and Irelandpublished in six volumes between 1818-1824. It shows the house as originally designed by Francis Bindon around 1744 and without any of its later alterations and additions. As was mentioned last week, the Ponsonby family spent relatively little time on their Irish estate. When William Tighe published his Statistical survey of the County of Kilkenny in 1802 he observed ‘The principal absentee proprietor is the Earl of Bessborough, who possesses 17,000 acres in the county, about 2,000 of which are let forever…Though not inhabited for forty years, the house is kept in excellent order.’ It would appear that the second Earl of Bessborough, who while on his Grand Tour had travelled as far as Greece and Turkey in the company of the Swiss artist Jean-Etienne Liotard (who painted him in Turkish costume) preferred to live in England where he enjoyed a successful political career. At Roehampton outside London he commissioned a new house from Sir William Chambers which was then filled with an exceptional collection of classical statuary. Only after his father’s death in 1893 did the third earl visit Bessborough for the first time but he too was an infrequent visitor. When staying in the house with the latter’s heir in 1828 Thomas Creevey wrote that following the first earl’s death two years after building’s completion in 1755, ‘His son left Ireland when 18 years old and having never seen it more, died in 1792. Upon that event his Son, the present Lord Bessborough, made his first visit to the place, and he is not certain whether it was two or three days he staid here, but it was one or the other. In 1808, he and Lady Bessborough came on a tour to the Lakes of Killarney and having taken their own house in their way either going or coming, they were so pleased with it as to stay here a week, and once more in 1812, having come over to see the young Duke of Devonshire at Lismore, when his Father died, they were here a month. So that from 1757 to 1825, 68 years, the family was (here) 5 weeks and two days.’
In 1826 the fourth earl, when still going by the courtesy title of Lord Duncannon, came over to Ireland with his wife and eleven children and, astonishingly, remained here until his death twenty-one years later: during the year before this occurred he served as Lord Lieutenant, the first resident Irish landlord to hold that office for a generation. Creevey’s letters to his step-daughter Elizabeth Ord tell us a great deal about life in Bessborough at the time. Of Lady Duncannon he wrote, ‘Her life here is devoted to looking after everybody, and in making them clean and comfortable in their persons, cloaths, cottages and everything…I wish you could have seen us walking up Piltown [the local village] last Saturday. Good old Irish usage…is to place the dirt and filth of the house at the entrance instead of behind it, and this was reformed at every house but one as we walked thro’ and Duncannon having called the old woman out told her he would not have the filth remain in that place…to which she was pleased to reply, “Well, my dear, if you do but walk by next Tuesday not a bit of the dirt shall you see remaining”.’ One suspects that the Duncannons were what might be described as benign despots, ruling over their tenants with an iron fist in a velvet glove. Creevey reported ‘My Lady’s mode of travelling is on a little pony, she sitting sideways in a chair saddle; one of the little girls was on another pony. My Lord and I sauntered on foot by her side. She got off and went into different cottages as we went. She gives prizes for the cleanest cottages…She put her Cottagers in mind of it, but there is a simplicity and interest and kindness in every communication of hers with the people here, on their part a natural unreserved confidential kind of return…’ No doubt worn out by her efforts to improve the lives of those around her, Lady Duncannon died in 1834 at the age of 46. Three of her seven sons became successively Earls of Bessborough, the sixth earl chairing the 1880 commission which investigated the problems of landlord and tenant in Ireland. His younger brother, the seventh earl, had previously been a Church of England clergyman.
Although Bessborough was occupied more than had previously been the case, it was never a permanent home for the Ponsonbys who continued to spend much of their time in England. In Twilight of the Ascendancy (1993) Mark Bence-Jones reports that the family was in residence for eight weeks each summer and another four at Christmas, but while there they entertained extensively and on one occasion had Queen Victoria’s son the Duke of Connaught and his wife to stay. Bence-Jones notes that the royal party was treated to a concert during which another of the houseguests sang Percy French’s ballad ‘The Mountains of Mourne’; she was supposed to do so in her bare feet but instead wore bedroom slippers. During this period Bessborough was also notable for its amateur dramatic performances, a popular pastime in the Edwardian era; the future ninth Earl of Bessborough was a keen actor and even brought over a professional director from London. Nevertheless, like his forbears he was inclined to spend the greater part of his time on the other side of the Irish Sea. Prior to his father’s death in 1920 he had qualified as a barrister and served as an MP as well as becoming a successful businessman (and in the early 1930s he would be appointed Governor General of Canada). When the War of Independence broke out in this country he organised to have much of the contents of Bessborough removed from the house and brought to England. It was a wise decision since in February 1923 during the Civil War Bessborough was gutted by fire, along with another house in the same county, Desart Court. The damage to Bessborough was estimated at £30,000.
The year after Bessborough was burnt, the ninth earl bought Stansted Park in West Sussex and commissioned Harry Stuart Goodhart-Rendel, an old friend from their days together at Cambridge, to carry out alterations to the house. Goodhart-Rendel was a gentleman architect who had inherited Hatchlands in Surrey, which he gave to the National Trust in 1945. Writing of him in October 1942, James Lees-Milne noted, ‘He told me the order of his chief interests in life is 1. the Roman Catholic Church, 2. the Brigade of Guards and 2. Architecture.’ It was thanks to Lees-Milne that Hatchlands came to be given to the NT and today the house is occupied by that wondrous Irish polymath Alec Cobbe in whose own family property Newbridge, County Dublin (now under the authority of the local council) hangs a portrait of his own ancestor Archbishop Charles Cobbe; this was painted by another gentleman-architect Francis Bindon, in turn responsible for the original design of Bessborough. Completing this circle, after he had carried out the job at Stansted Park, Goodhart-Rendel was invited by the ninth earl to oversee the rebuilding of Bessborough, which he duly did from 1925 onwards. In an article on Stansted Park written for Country Life in February 1982, Clive Aslet quotes Goodhart-Rendel’s comment that Lord Bessborough, when it came to reconstructing his family house, ‘relied on my memory for the character of what new internal detail we were able to put in.’ In fact, it does not appear that the house benefitted from much internal detail since the rooms are noticeably plain, the only striking space being the double-height entrance hall with a large staircase that runs up to a screened corridor and has a first-floor gallery on the opposite wall (see the three photographs immediately above). One also has the impression that the central block alone was rebuilt and not the quadrants or wings. The reason for this want of detail is most likely that the Ponsonbys never again lived at Bessborough and by the end of the 1930s they had entirely disposed of their County Kilkenny estate. Soon afterwards it was bought by a religious order, the Oblate Fathers who established a seminary there, adding large and aggressively workaday wings to either side of the house; understandably the architect of these extensions is unknown. In 1971 the estate was bought by the Irish Department of Agriculture and today Bessborough, now called Kildalton, serves as an agricultural college at the centre of a large working farm. Other than some fine planting in the immediate parkland, there is little to recall the house’s former existence, so let us end today as we did last week with a page from a visiting book. This one was kept by Lady Olwen Ponsonby who in 1901 married the third Lord Oranmore and Browne. The page below features signatures of guests at a house party at Bessborough in September 1909 and includes that of Harry Stuart Goodhart-Rendel immediately below a charming drawing he made of the front of the old house. Consider it serving as a memento mori not just for the old Bessborough but for many other such places in Ireland.
Believed to date from September 1908 this photograph, which has appeared on several sites of late, shows the indoor servants at Bessborough, County Kilkenny. The house lay at the centre of an estate owned by the Ponsonby family. The first of their number to settle in Ireland was yet another of those English soldier adventurers who came to this country in such abundance during the late 16th and 17th centuries. Originally from Cumberland, Colonel Sir John Ponsonby was a member of Oliver Cromwell’s army who found himself rewarded for military service here with a parcel of land. He subsequently acquired several more, the largest being an estate by the river Suir in the south of the county hitherto owned by the Anglo-Norman D’Altons after whom it was called Kildalton. Here he settled and having built himself a residence, he re-named the place Bessie-Borough, later Bessborough after his second wife Elizabeth Folliott. Subsequent generations increased their landholdings in both Kilkenny and the neighbouring counties of Carlow and Kildare and by the mid-18th century were in possession of almost 30,000 acres. Furthermore, following the example of Sir John who had served as a local MP in the Irish Parliament and especially in the aftermath of the Williamite Wars (in which the Ponsonbys had been decisively opposed to the Roman Catholic James II) they became more engaged in politics. William Ponsonby, third son of Sir John, was created Baron Bessborough in 1721 and Viscount Duncannon two years later; in turn his son Brabazon Ponsonby became first Earl of Bessborough in 1739.
The main block of Bessborough as we see it today dates from c.1744 and was commissioned by the first Earl to mark his new status. Although it is known that Sir Edward Lovett Pearce wrote a memorial about the building’s setting some time before his death in 1733, the design is attributed to Francis Bindon, a gentleman architect from County Clare, also notable as a portraitist (he painted no less than four likenesses of his friend Dean Swift). Bindon was related by marriage to Pearce and collaborated with Richard Castle on several projects, so his credentials are admirable. Nevertheless, one must be honest and admit that Bessborough was never one of his best works, the handling of the central structure being somewhat heavy. Writing in The Beauties of Ireland (1825) John Norris Brewer pertinently observed ‘The mansion of Bessborough is a spacious structure of square proportions, composed of hewn stone, but the efforts of the architect were directed to amplitude, and convenience of internal arrangement, rather than to beauty of exterior aspect. The house extends in front 100 feet, and in depth about 80. Viewed as an architectural object, its prevailing characteristic is that of massy respectability.’ Likewise in an essay on Bindon published in the Irish Georgian Society Bulletin for spring 1967, the Knight of Glin, evidently struggling to find something good to say about Bessborough (he described the garden front as being ‘an uninspiring six-bay breakfront composition with a pair of Venetian windows clumsily adrift on the first floor’) commented ‘The redeeming architectural feature of the house is to be found in the fine handling of the shallow quadrants leading to the flanking pavilions…The facing sides of the pavilions have niches and surmounting lunettes.’ The photographs above show the front of the house before and after it was altered at the end of the 19th century when the double-staircase leading to the raised entrance was removed and the ground was lowered to permit access via a porte-cochere; this work was undertaken by architect Sir Thomas Manly Deane.
Others found Bessborough more appealing, certainly members of the Ponsonby family even though during the second half of the 18th century they were hardly ever there. The first time the third Earl of Bessborough, who had been raised in England, saw his inheritance was in the aftermath of his father’s death in March 1793. Four months later he wrote to his wife ‘I came here yesterday and am indeed very much pleased with the place…The mountains are beautiful over fine wood, and the verdure is the finest that can be seen…The house is large and very comfortable, but as you may suppose very old-fashioned. There are about 10 or 11 good bedchambers. You would make it very cheerful with cutting down the windows & I believe I should agree.’ His proposals were never carried out, not least because another fifteen years were to pass before Henrietta, Lady Bessborough – the beautiful sister of Georgiana, Duchess of Devonshire – came to see her husband’s Irish home, although she was equally delighted with it then, writing ‘I like this place extremely; with a very little expense it might be made magnificent, and it is beautiful…’ Likewise when staying in the house in September 1828 with the next generation of Ponsonbys, that indefatigable diarist and letter-writer Thomas Creevey advised his step-daughter Elizabeth Ord, ‘This is a charming place. I ought to say, as to its position and surrounding scenery – magnificent.’ Above are two photographs of the garden front of the rear. Note the two-storey extension to the left of the main block, which may date from the same time as the alterations to the front. However, as the second picture shows, at the very start of the last century, this development was improved by the addition of a balustrade stone terrace with double steps leading down to the garden.
We have relatively little information about the interiors of Bessborough, although they were, as both the largely absentee third countess and Thomas Creevey duly noted, certainly magnificent. The entrance hall – which became a sitting room after Deane’s alterations – featured a screen of four Ionic columns of solid Kilkenny marble each ten and a half feet tall. Sadleir and Dickinson’s 1915 Georgian Mansions in Ireland includes a couple of photographs of the saloon or drawing room, both shown above. One features a detail of the splendid rococo plasterwork with which the ceiling was decorated. The other shows the chimney piece, a design supposedly taken from William Kent although Sadleir and Dickinson propose the female herms in profile are portraits of the second earl’s two daughters, the Ladies Catherine and Charlotte Ponsonby who married the fifth Duke of St Albans and the fourth Earl Fitzwilliam respectively. Even though the house was not much occupied during this period, it was well-maintained. When staying at Curraghmore, County Waterford in 1785 Lady Portarlington wrote, ‘Another day we went to Bessborough, which is a charming place, with very fine old timber and a very good house with some charming pictures, and it felt as warm and comfortable as if the family had left it the day before, and it has not been inhabited these forty years.’ There remains a great deal more to tell about Bessborough, its destruction, reconstruction and subsequent history, so rather in the manner of Country Life, today’s piece finishes with the words: To be concluded next week. Meanwhile, below is a photograph of Bessborough with surrounding signatures of members of a house party there, taken from a visiting book kept by one of the Mulholland family (of Ballywalter, County Down) at the start of the last century.
The Ponsonbys of Bishopscourt, Co Kildare, and Bessborough, Co Kilkenny, were a family of staunch protestant Whigs descended from Sir John Ponsonby, a cavalry officer from Cumberland who was appointed by Cromwell to make a record of all atrocities committed on Protestants during the 1641-49 Rebellion. He was awarded an estate in Kilkenny at Kildalton which he renamed Bessborough after his wife Elizabeth ‘Bess’ Folliott.
WILLIAM PONSONBY, VISCOUNT DUNCANNON
Sir John Ponsonby’s second son William served with the Williamite army at the Siege of Derry. Elected MP for Kilkenny City in 1692, Sir William retained the seat for nearly thirty years when, in 1721, he was elevated to the House of Lords as Baron Bessborough. Two years later, he became Viscount Duncanon.[i]
THE 1st EARL OF BESSBOROUGH (1679-1758)
Upon his death in 1724, Sir William was succeeded as 2nd Viscount by his eldest son, Brabazon Ponsonby (1679-1758) who had secured a wealthy heiress as his bride in 1703. The 2nd Viscount played an ingenious hand when he threw his lot in with the 3rd Duke of Devonshire, the rising star of British Whig politics. When the Duke began his seven year tenure as Lord Lieutenant of Ireland in 1737, the 2nd Viscount convinced him to take his son William Ponsonby on as Private Secretary. In 1739, William married the Duke’s 20-year-old daughter, Lady Caroline Cavendish. That same year, the 2nd Viscount superseded Lord Shannon to become Commissioner of the Revenue and was further elevated to the Earldom of Bessborough. In 1743, the Earl’s ambitious younger son John ‘Speaker’ Ponsonby married another of the Devonshire daughters, Lady Elizabeth Cavendish.
THE DEVONSHIRE – BURLINGTON MARRIAGE OF 1748
By 1745, the Earl of Bessborough was a happy man. He had a secure seat in the Irish House of Lords and his family would retain control of the Revenue Board until Lord Townsend’s dismissal of Speaker Ponsonby as First Commissioner of the Revenue in 1770.[ii] His second son John (later the Speaker) further earned the trust of the government when he raised four companies of horse for service against the Jacobite rebels in Scotland in 1745. John was appointed to the Privy Council of Ireland the following year and quickly began to consolidate the foundations laid by his father to make the Ponsonbys one of the principal parliamentary families in 18th century Ireland.
But, if Speaker Boyle was already wary of the Ponsonbys, his heckles were considerably raised when, in 1748, the Duke of Devonshire ‘s heir (the Marquess of Hartington) married the ailing Earl of Burlington’s heiress. On one hand, this bode well as the Duchess-in-waiting was the Speaker’s niece. On the other hand, the Duke-in-waiting was a brother-in-law of not one but two of the dastardly Ponsonby boys. Moreover, it meant that Lord Burlington’s sister (aka Speaker Boyle’s wife) would no longer succeed to any of the fortune. Sure enough, when Lord Burlington died in 1753, Lady Hartington (the future Duchess) secured the whole shebang, including Lismore Castle in Waterford and Chatsworth House in Derbyshire.[iii]
THE PONSONBYS IN ATTACK
The Ponsonbys were dog-like in their bid to bring down the Boyles, pushing for control of Cork City itself and angling for control of all the old Burlington boroughs. [iv] But they had no real power at constituency level, owning just one seat in their native Kilkenny plus control of the borough of Newtonards, Co Down, which they acquired amid much notoriety in 1744. Their political influence rested almost entirely on connections and borrowed strength – and it was always to do so. The pendulum swung Boyle’s way in 1751 when the Ponsonbys unsuccessfully challenged Speaker Boyle at a bye-election in Cork City.[v] But by April 1755 it was back with the Ponsonbys when their brother-in-law, Lord Hartington, became Lord Lieutenant of Ireland. Hartington succeeded his father as Duke of Devonshire in December 1755 and, the following year, replaced the Duke of Newcastle to become Prime Minister of Great Britain and Ireland.
THE TRUCE & THE EARLDON OF SHANNON
The Duke of Devonshire had no time for the Ponsonby-Boyle vendetta. The achievement of peace in 1756 involved protracted negotiations after which Boyle stepped down as Speaker on condition that he be elevated through three ranks of the Peerage to the Earldom of Shannon. He was further granted an annual pension of £2,000 for 31 years, payable by the Crown. His son was appointed Master-General of the Ordnance, for which one disgruntled contemporary felt he was ‘as fit …as the Primate or one of his own daughters’.
JOHN ‘SPEAKER’ PONSONBY (1713-1787)
Lord Bessborough’s second son, John Ponsonby, was duly appointed Speaker with a hefty annual salary of £4,000. He simultaneously became an ‘undertaker’ for the government by which he controversially undertook to manage the business of government in the Irish Parliament in the absence of the Lord Lieutenant. This gave him power to appoint people to high offices, as well as act as Lord Justice, and do anything he deemed necessary to bring about a government majority when bills needed to be passed.
THE EARLS OF BESSBOROUGH
Upon the death of the 1st Earl of Bessborough in 1758, the Speaker’s elder brother William Ponsonby (1704-93) succeeded as 2nd Earl. He had been MP for Kilkenny since 1727 and served variously as Lord of the Treasury, Lord of the Admiralty and as Joint Postmaster General. But his principle interests were collecting art and seducing women (including George II’s daughter, Princess Amelia). He and his son were largely absentee landlords but they would continue to exert considerable political influence throughout the 19th and 20th centuries. The 3rd Earl’s daughter Caroline married future Prime Minister Lord Melbourne and enjoyed a very public affair with Lord Byron.[vi] The 4th Earl served as First Commissioner of Woods and Forests, as Home Secretary, as Lord Privy Seal and as First Lord of the Admiralty. He was Lord Lieutenant of Ireland when the Famine broke but died, a day after his friend Daniel O’Connell in May 1847. The 9th Earl of Bessborough was Governor General of Canada from 1931-35. The 10th Earl was a Minister of State in Ted Heath’s cabinet. The 12th and present Earl lives in Hampshire. The family seat of Bessborough in Co Kilkenny was burned in 1922.
THE PONSONBY-SHANNON MARRIAGE OF 1763
The Ponsonby, Boyle and Devonshire dynasties were further united by a political marriage of 1763 when Richard Boyle (Lord Shannon’s son and heir) married Speaker Ponsonby’s daughter Catherine. The following year, Richard succeeded as 2nd Earl of Shannon. An uneasy alliance between the two families duly ensued although Lord Shannon and his father-in-law continued to disagree and bicker in private. The castle noted that, though their families were married, the two men ‘do not consult or act together politically’.
THE DOWNFALL OF THE PONSONBYS
In a letter to Anthony Foster from 15 August 1765, Speaker Ponsonby expressed himself with characteristic indiscretion: ‘What matters it to us who are Ministers in England? Let us stick to our own circle and manage our own little game as well as we can’. But the Speaker underestimated the charismatic Lord Townshend who became Lord Lieutenant of Ireland in 1767. In 1770, both the Ponsonby and Boyle dynasties took a serious blow when Lord Townshend dismissed Speaker Ponsonby from his lucrative position as Commissioner of the Revenue, and dismissed Lord Shannon from his post as Master-General of the Ordnance. In a state of panic, Ponsonby resigned as Speaker and so lost any remaining influence he might have had. He spent the remainder of his life trying, in vain, to be reelected. His honest but indolent son Billy (aka Lord Shannon’s brother-in-law William Brabazon Ponsonby) tried to follow in his father’s footsteps but lost his way entirely, being defeated in 1790 when he attempted to wrestle the Speakership from John Foster.[vii] The Speaker’s second son George became a prominent advocate of Catholic Relief and led the British Whig party in opposition from 1808-1817.
FOOTNOTES
[i] William Ponsonby was created Viscount Duncannon (of the fort of Duncannon in the County of Wexford), and Baron Bessborough (of Bessborough in the County of Kilkenny) in the Peerage of Ireland in 1723 and 1721 respectively.
[ii] In 1749 Lord Bessborough was given the additional title of Baron Ponsonby of Sysonby, in the County of Leicester, which entitled him to a seat in the British House of Lords.
[iii] The 4th Duke duly recruited Capability Brown to landscape the gardens. Their son and heir, the 5th Duke, was played by Ralph Fiennes in the recent movie ‘The Duchess’.
[iv] The Ponsonby’s first broadside had been fired in 1737 when they purchased the seignory of Inchiquin, right in the heart of Lord Shannon’s East Cork empire.
[v] Their candidate was Sir Henry Cavendish, a kinsman of the Duke of Devonshire who had been collector of the Revenue in Cork from 1743-47
[vi] The 3rd Earl’s son Major General Sir Frederick Cavendish Ponsonby, a great Waterloo hero, was father to Sir Henry Ponsonby, private Secretary to Queen Victoria.
[vii] His son William was the General Sir William Ponsonby who so memorably killed leading the cavalry charge at Waterloo. During the 1790s, the General’s older brother John, 2nd Baron Ponsonby, enjoyed an affair with society beauty Lady Elizabeth Conyngham, wife of the Marquess of Conyngham and later mistress to George IV.
THE EARLS OF BESSBOROUGH WERE THE SECOND LARGEST LANDOWNERS IN COUNTY KILKENNY, WITH 23,967 ACRES
This ancient and noble family derives its origin from Picardy, in France. Their ancestor accompanied William, Duke of Normandy, in his expedition to England, and his descendants established their residence at Haile, near Whitehaven, in Cumberland.
They assumed their surname from the lordship of Ponsonby, in Cumberland. The office of Barber to the King was reputedly conferred upon them in 1177 by HENRY II, about the same time as the Earl of Arran’s ancestor was appointed Butler. Their coat-of-arms includes three combs.
JOHN PONSONBY, of Haugh Heale, Cumberland, and had a son,
SIMON PONSONBY, of Haile, who married Anna Englesfield, of Alenburgh Hall, Cumberland, and had a son,
HENRY PONSONBY, of Haile, who wedded, in 1605, Dorothy, daughter of Henry Sands, of Rottington, Cumberland, and had two sons, of whom the elder,
SIR JOHN PONSONBY (1608-78), Knight, of Haile, and of Bessborough (formerly Kidalton), County Kilkenny, Colonel of a regiment of horse in the service of CROMWELL, who wedded Dorothy, daughter of John Briscoe, of Crofton, Cumberland, and had by her a son, JOHN, ancestor of MILES PONSONBY, of Haile.
Sir John married secondly, Elizabeth, daughter of Henry, 1st Baron Folliott, and widow of Richard, son and heir of Sir Edward Wingfield, and by her had issue, from which derives the family of which we are about to treat.
Colonel Ponsonby, removing himself into Ireland, was appointed one of the commissioners for taking the depositions of the Protestants, concerning murders said to have been committed during the war, and was Sheriff of counties Wicklow and Kilkenny in 1654.
He represented the latter county in the first parliament called after the Restoration; had two grants of lands under the acts of settlement, and, by accumulating debentures, left a very considerable fortune.
Sir John was succeeded by his eldest son,
SIR HENRY PONSONBY, Knight, of Bessborough, at whose decease, in the reign of WILLIAM III, without issue, the estates devolved upon his brother,
THE RT HON WILLIAM PONSONBY (1659-1724), of Bessborough, MP for County Kilkenny in the reigns of ANNE and GEORGE I,who was sworn of the Privy Council in 1715, and elevated to the peerage, in 1721, in the dignity of Baron Bessborough. of Bessborough, County Kilkenny.
His lordship was advanced to a viscountcy, in 1723, as Viscount Duncannon, of Duncannon, County Wexford.
He married Mary, sister of Brabazon Moore, of Ardee, County Louth, and had, with six daughters, three sons,
BRABAZON, his heir; Henry, major-general; Folliott.
His lordship was succeeded by his eldest son,
BRABAZON, 2nd Viscount (1679-1758), who was advanced to an earldom, in 1739, as EARL OF BESSBOROUGH; and created a peer of Great Britain, 1749, as Baron Ponsonby of Sysonsby, Leicestershire.
His lordship wedded firstly, Sarah, widow of Hugh Colville, and daughter of James Margetson (son and heir of the Most Rev James Margetson, Lord Archbishop of Armagh), and had issue,
WILLIAM, his successor; John, Speaker of the Irish House of Commons; Richard; Sarah, m to Edward, 5th Earl of Drogheda; Anne, m to Benjamin Burton; Elizabeth, m to Rt Hon Sir W Fownes Bt; Letitia, m to Hervey, Viscount Mountmorres.
The 1st Earl espoused secondly, in 1733, Elizabeth, eldest daughter and co-heir of John Sankey, of Tenelick, County Longford (and widow of Sir John King, and of John Moore, Lord Tullamore), but by that lady had no issue.
He was succeeded by his elder son,
WILLIAM, 2nd Earl (1704-93), who married, in 1739, Lady Caroline Cavendish, eldest daughter of William, Duke of Devonshire, and had surviving issue,
FREDERICK, his successor; Catherine, m to Aubrey, 5th Duke of St Albans; Charlotte, m to William, 4th Earl Fitzwilliam.
His lordship was succeeded by his only son,
FREDERICK, 3rd Earl (1758-1844), who wedded, in 1780, Henrietta Frances, second daughter of John, 1st Earl Spencer, and had issue,
JOHN WILLIAM, 4th Earl (1781-1847), LORD LIEUTENANT OF IRELAND, 1846-7, who espoused, in 1805, the Lady Maria Fane, daughter of John, 10th Earl of Westmorland, and had issue,
JOHN GEORGE BRABAZON, his successor; William Wentworth Brabazon; FREDERICK GEORGE BRABAZON, 6th Earl; George Arthur Brabazon; WALTER WILLIAM BRABAZON, 7th Earl; Spender Cecil (Rt Hon Sir); Gerald Henry Brabazon; Maria Jane Elizabeth; Kathleen Louisa Georgina; Georgiana Sarah; Augusta Lavinia Priscilla.
His lordship was succeeded by his eldest son,
JOHN GEORGE BRABAZON (1809-80), 5th Earl, who wedded twice, though the marriages were without issue, and the family honours devolved upon his brother,
FREDERICK GEORGE BRABAZON (1815-95), 6th Earl, DL, who died unmarried, when the titles devolved upon his brother,
THE REV WALTER WILLIAM BRABAZON (1821-1906), 7th Earl, who married, in 1850, the Lady Louisa Susan Cornwallis Eliot, daughter of Edward, 3rd Earl of St Germans, and had issue,
EDWARD, his successor; Cyril Walter; Granville; Arthur Cornwallis; Walter Gerald; Ethel Jemima; Sara Kathleen; Maria.
His lordship was succeeded by his eldest son,
EDWARD, 8th Earl (1851-1920), KP CB CVO JP DL, who wedded, in 1875, Blanche Vere, daughter of Sir Josiah John Guest, 1st Baronet, and had issue,
VERE BRABAZON, his successor; Cyril Myles Brabazon; Bertie Brabazon; Olwen Verena; Helena Blanche Irene; Gweneth Frida.
The heir apparent is the present holder’s son, Frederick Arthur William Ponsonby, styled Viscount Duncannon.
BESSBOROUGH HOUSE is located in Kildalton near Piltown in County Kilkenny.
It was first built in 1745 by Francis Bindon for the 1st Earl of Bessborough.
Bessborough House, as stated by Mark Bence-Jones, consists of a centre block of two storeys over a basement joined to two-storey wings by curved sweeps.
The entrance front has nine bays; a three-bay pedimented breakfront with a niche above the pedimented Doric doorway.
The roof parapet has urns, while the basement is rusticated; perron and double stairway with ironwork railings in front of the entrance door.
The Hall has a screen of Ionic columns made of Kilkenny marble.
The Saloon has a ceiling of Rococo plasterwork; and a notable chimney-piece.
Bessborough House had to be rebuilt in 1929 following a catastrophic fire in 1923, and the Bessboroughs never returned to it as a consequence.
In 1940, the Oblate Fathers established a seminary at Bessborough House.
The Oblates worked their own bakery, and farmed dairy cows, poultry, cattle, pigs, sheep. They grew potatoes, grain and other crops.
They also had a very good orchard.
Alas, the great mansion has been altered and added-to since the Ponsonbys left: The urns have been removed from the parapet and are now at Belline.
From 1941 to 1971, 360 priests were ordained in Bessborough House, Kildalton.
By 1970, numbers joining the order had fallen and the Oblates decided to sell the property.
It was bought for £250,000 by the Irish Department of Agriculture in 1971.
It was then opened as an agricultural and horticultural college and renamed Kildalton College.
Other seats ~ Parkstead House, Surrey; Sysonby, Leicestershire; Stansted Park, West Sussex.
Belline, County Kilkenny, courtesy National Inventory.
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 38. “(Ponsonby, Bessborough, E/PB; Murray Smith, sub Burnham, B/PB) A tall late C18 house of three storeys over a basement with a three sided bow in the centre of its entrance front; flanked by two most unusual detached three storey circular pavilions with conical roofs. The house has a fine Classical doorcase in the entrance front bow, with many steps leading up to it; and good stone facings. Octagon hall; drawing room and dining room eachwith a small room, like an alcove, opening off it. Rustic lodge with portico of tree-trunks. The house was built by Peter Walsh; but was bought ca 1800 by 3rd Earl of Bessborough, whose seat, Bessborough, was nearby. From then until 1934, the house was occupied by successive agents of the Bessborough estate; one of whom, and half of C19, was F.W. Walshe, whose family was different from that of the builder of the house. The house is believed to have been lent to William Lamb (afterwards Viscount Melbourne, the Prime Minister) and his wife, the notorious Lady Caroline (daughter of the 3rd Earl of Bessborough) 1812, when he brought her to Ireland in the hope that it would make her forget Byron. After being sold by the Bessboroughs, Belline was for some years the home of Major and Mrs G.W. Murray Smith, who built a two storey addition along the back of the house containing a back hall and a new kitchen. The parapet of this addition, as well as the terrace wall around the sweep, is now adorned with splendid C18 stone urns, which were formerly on the roof parapet of Bessborough. Belline was recently the home of Mr Donal O’Neill-Flanagan, the architect, and Mrs O’Neill-Flanagan.”
Frederick Ponsonby, Viscount Duncannon, (1758-1844), later 3rd Earl of Bessborough Date 1786, Engraver Joseph Grozer, British, fl.1784-1797 After Joshua Reynolds, English, 1723-1792.Henrietta Frances née Spencer (1761-1821), wife of Frederick Ponsonby Viscount Duncannon, 3rd Earl of Bessborough. Date 1787. Engraver Francesco Bartolozzi, Henrietta Spencer was sister-in-law of Artist, Countess Lavinia Spencer.Lady Caroline Lamb née Ponsonby (1785-1828) by Eliza H. Trotter, NPG 3312.
Belline, County Kilkenny, courtesy National Inventory.Belline, County Kilkenny, courtesy National Inventory.Belline, County Kilkenny, courtesy National Inventory.Belline, County Kilkenny, courtesy National Inventory.Belline, County Kilkenny, courtesy National Inventory.
Detached five-bay three-storey over part-raised basement Classical-style country house, c.1775, on a T-shaped plan with three-bay full-height projecting bay to centre on an engaged half-octagonal plan having single-bay full-height entrance breakfront, and three-bay (overlapping) three-storey parallel range to north-east having two-bay three-storey side elevations. Renovated, c.1925, with single-bay single-storey flat-roofed projecting bay added to centre ground floor rear (north-east) elevation having single-bay single-storey flat-roofed lower flanking entrance bays. Hipped slate roof on a T-shaped plan (continuing into half-octagonal section to centre) with rolled lead ridges, cut-limestone chimney stacks, rooflights, and cast-iron rainwater goods on slightly overhanging carved cut-limestone eaves. Flat roofs to additional ranges not visible behind parapets. Painted red brick Running bond walls with limestone ashlar dressings including carved course to basement, quoins to corners, and carved cornices to parapets to additional ranges. Square-headed window openings with carved cut-limestone sills, painted red brick voussoirs, six-over-six and three-over-three (top floor) timber sash windows. Square-headed door opening approached by flight of nine cut-limestone steps having iron railings with cut-limestone engaged Doric columnar doorcase supporting triglyph frieze, carved cornice, and glazed timber double doors. Square-headed door opening to additional range with cut-limestone block-and-start surround having double keystones, glazed timber panelled double door, lunette window opening over having carved cut-limestone sill, and fanlight. Interior with timber panelled shutters to window openings. Set back from road in own grounds. (ii) Freestanding single-bay three-stage pavilion tower, c.1775, to east on a circular plan. One of a pair. Conical slate roof with cut-limestone chimney stack to apex having carved cornice, and no rainwater goods surviving on cut-limestone concave eaves. Painted rendered walls over random rubble stone construction with carved cut-limestone stringcourse to second stage. Square-headed window openings with cut-limestone sills (forming sill course to second stage), painted red brick surrounds including voussoirs, and louvered panel fittings. Square-headed door openings with painted red brick surrounds including voussoirs, and timber boarded doors. (iii) Freestanding single-bay three-stage pavilion tower, c.1775, to north-east on a circular plan. Renovated. One of a pair. Conical slate roof with cut-limestone chimney stack to apex having carved cornice, and no rainwater goods surviving on cut-limestone concave eaves. Random rubble stone walls originally rendered with render removed having carved cut-limestone stringcourse to second stage. Square-headed window openings with cut-limestone sills (forming sill course to second stage), red brick surrounds including voussoirs, and replacement fixed-pane timber windows. Square-headed door openings with red brick surrounds including voussoirs, and no fittings.
A very well composed substantial country house built for Peter Walsh (c.1747-1819) but transferred to occupation by the agents of the nearby Bessborough House (12325001/KK-39-25-01) estate shortly following completion. Centred on a commanding entrance bay the formal architectural design value of the composition is enriched by attributes including the Classically-proportioned openings diminishing in scale on each level producing a tiered visual effect, the restrained decorative treatment confined to refined limestone dressings displaying expert craftsmanship, and so on. However, while the original composition attributes survive in place together with most of the historic fabric both to the exterior and to the interior the polychromatic quality inherent in the construction has been lost following the concealment of the brick. Producing a unique ensemble in a county-wide context a pair of pavilion towers, each of individual architectural design merit, further enhances the elegant quality of a fully-integrated composition in the landscape.
On August 29th last, the Irish Times reported that the portico of a small 18th century lodge in County Kilkenny had collapsed. Not, one might reasonably think, a matter of great import, certainly not as momentous as the disintegration of other buildings reported by the Irish Aesthete over the past year. But this is to ignore the architectural significance of the structure in question, and what its neglect over the past decade says about our failure to care for the built heritage. The temple or columnar lodge stands within the grounds of Belline, an estate not far from Piltown. In the second half of the 18th century Belline was occupied by Peter Walsh (d. 1819), whose family appear to have been agents for the Ponsonbys, Earls of Bessborough whose Irish seat Bessborough House was in the same part of the country. Walsh may well have been a tenant of the Ponsonbys; it is known that Lady Caroline Lamb, daughter of the third Lord Bessborough, stayed at Belline with her husband William (the future Lord Melbourne and future Prime Minister at the time of Queen Victoria’s accession) in September 1812 in the aftermath of her highly-publicised affair with Lord Byron. Whatever Peter Walsh’s precise status, he was regarded in Ireland as an improving landholder, much given to agricultural improvements and to bettering the circumstances of less-fortunate residents in the region. Of particular relevance to the subject under consideration here is the fact that he was also an ardent antiquarian, commissioning and collecting architectural drawings of Ireland’s ancient monuments, and keen to preserve the relics of our history, some of which have since passed into national collections. Both during his lifetime and after his death Walsh was held in high regard; James Norris Brewer in his Beauties of Ireland (1825) declared ‘we are well convinced that every reader, to whom he was known, will join in the warmth of our admiration and the sincerity of our regret; so general was the esteem created by his unassuming virtues!’
Dating from around 1770, Belline House was built by Peter Walsh who then went on to construct a number of other splendid edifices in the surrounding grounds, the majority of which survive to the present day. These included a detached gallery, known as the ‘Drawing School’ since according to Brewer, it ‘was constituted as a sort of academy for students by the active liberality of the late Mr Walsh…several children of the peasantry in this neighbourhood have lately evinced a considerable degree of genius for drawing. Such as were of greatest promise, Mr. Walsh took under his immediate protection, and supported in the pursuit of the art to which they aspired.’ Then there was ‘a most admirable pattern for a farm house; it is an octagon of two stories, inclosing a yard in the centre; below is a dairy, a residence for the dairy-man, cow-house, stable, and other offices, above is a loft for corn, extended over the whole building.’ And in addition there is a pair of circular pavilions behind Belline House, each three storeys high, the top floors serving as pigeon houses, and a pair of octagonal stone gate lodges (one still standing) at the southern entrance to the demesne. Finally we come to the smallest but perhaps most remarkable of Peter Walsh’s buildings: the temple lodge. Comprising portico, front room and two rear chambers, its precise date of construction and purpose are unclear; standing in the midst of the estate and not beside an entrance it was unlikely to have been a gate lodge but might have been intended as a summer pavilion or model dairy. But what is most important is that Belline’s temple lodge has been judged the earliest known example in Britain and Ireland of the 18th century ‘rustic hut’ inspired by theories on the origins of man-made structures expounded first in 1753 by the French Jesuit and philosopher Marc-Antoine Laugier in his Essai sur l’architecture (translated into English in 1755) and then by Sir William Chambers in A Treatise on the Decorative Part of Civil Architecture (1759). In fact it has sometimes been proposed that the Belline lodge was designed by Chambers since it shares similarities with a drawing he made in 1759 for just such a building. The identity of the architect responsible may never be known but we can be confident that the Belline lodge is an important expression of the 18th century’s interest in exploring the past, and that its composition reflects the ideas proposed by Laugier and Chambers. Hence the building is intentionally ‘primitive’ incorporating tree trunks bound with ropework on every side and a pedimented portico to the front below the gabled roof that extends beyond the walls to end in stone blocks.
By the mid-19th century Belline had reverted to the Bessboroughs and remained in their ownership until 1934 after which the estate changed hands a number of times until being bought ten years ago for €3 million by businessman James Coleman. Managing director of a company called Suirway Forklifts based in Carrick-on-Suir, County Tipperary Mr Coleman has in the past declared himself a passionate enthusiast of motor rallying and indeed his business has sponsored a number of events for this sport. On the other hand, he seems less keen to support and sustain the national heritage, since over the past decade Belline’s temple lodge has fallen into such dilapidation that, as was reported by the Irish Times less than a fortnight ago, the building’s portico has now collapsed. It is inconceivable that the lodge’s deteriorating condition was unknown to its owner: there have been two reports on the building and its importance, one compiled by architect John Redmill in 2005, the other by chartered surveyor Frank Keohane earlier this year. Furthermore the National Inventory of Architectural Heritage designated the lodge as being of architectural interest under the Categories of Special Interest. On the other hand as Frank Keohane noted in his report, to which I am much indebted, until now the lodge has not been designated a protected structure in its own right but rather ‘deemed to be protected owing to its being located within the cartilage of Belline House which is a protected structure.’ Clearly this has proven inadequate. Keohane wisely makes the point that the lodge at Belline must be regarded as of international importance both in its own right and as part of a planned 18th century demesne in which diverse complementary elements contributed to the resultant whole. As he writes, ‘The temple lodge is not an artefact to be appreciated in isolation. It is in fact an important element in a group of related structures within the demesne.’ Destroy one of those related structures and you disrupt the entire picture: it is not unlike cutting a section out of a painting. According to the Irish Times, John McCormack who is a Director of Services at Kilkenny County Council with responsibility for heritage said the authority had served a planning enforcement notice on Mr Coleman in May 2012 ‘for failing to undertake works to prevent this protected structure from becoming or continuing to be endangered.’ Legal proceedings commenced the following October and since then ‘there have been four separate court appearances in relation to this prosecution while the council sought to negotiate with the owner. A full hearing of the case is listed for October 7th next at Carrick-on-Suir District Court.’ One waits to see what will happen in four weeks’ time since not only is the survival of Belline’s temple lodge at stake but the forthcoming hearing represents something of a test case. If owners of protected structures can ignore their responsibilities with impunity, then still worse misfortunes lie ahead for our architectural heritage. The national patrimony is at risk in a way that would, one imagines, have appalled Peter Walsh. The first two photographs show Belline’s temple lodge as it looked in the 19th century, note how at one time the building was thatched. The next three show the lodge in 2005, already with its slates removed from the roof, followed by another three photographs taken earlier this year. Finally below is a picture of the lodge as shown in the Irish Times with its portico in ruins.
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 34. “(Butler/IFR) A two storey early C18 house, with a three bay recessed centre and projecting end bays. Eaved roof; bold quoins.”
Frances Jane Gore (1750-1814) of Barrow Mount County Kilkenny by Hugh Douglas Hamilton. She was the daughter of Ralph Gore (1715-1778), and she married William Gore (1744-1815) of Woodford, County Leitrim.
Barrowmount, County Kilkenny, courtesy National Inventory.
Detached five-bay (three-bay deep) two-storey double-pile over part raised basement country house, extant 1777, on a H-shaped plan with single-bay full-height advanced end bays centred on single-bay single-storey flat-roofed projecting porch to ground floor; five-bay two-storey rear (south) elevation with single-bay full-height advanced end bays. Leased, 1854. Occupied, 1901. In occasional use, 1911. Sold, 1977. Hipped double-pile slate roof on a H-shaped plan with clay ridge tiles, cement rendered chimney stacks centred on cement rendered chimney stack on axis with ridge having concrete capping supporting terracotta pots, and cast-iron rainwater goods on timber eaves boards on slightly overhanging eaves on thumbnail beaded cornice retaining cast-iron downpipes. Rendered coursed rubble stone walls on lichen-spotted granite ashlar battered base with lichen-spotted rusticated cut-granite quoins to corners. Square-headed central door opening in square-headed recess approached by flight of eight cut-granite steps between cast-iron “spindle” railings with pair of cast-iron bootscrapers, and concealed dressings framing timber panelled door. Square-headed window openings (“cheeks”) with cut-granite sills, and concealed dressings framing wrought iron bars over fixed-pane timber fittings. Square-headed window openings to front (north) elevation with cut-granite sills, and concealed red brick block-and-start surrounds framing nine-over-six (ground floor) or six-over-six (first floor) timber sash windows without horns. Square-headed window openings (basement) with cut-granite flush sills, and cut-granite lintels framing sash windows behind wrought iron bars. Square-headed window openings with cut-granite sills, and concealed red brick block-and-start surrounds framing nine-over-six (ground floor) or six-over-six (first floor) timber sash windows without horns. Interior including (ground floor): central hall retaining carved timber surrounds to door openings framing timber panelled doors; and carved timber surrounds to door openings to remainder framing timber panelled doors with timber panelled shutters to window openings. Set in landscaped grounds with lichen-spotted granite ashlar piers to perimeter having ball finial-topped “Cyma Recta”- or “Cyma Reversa”-detailed cornice capping supporting looped wrought iron double gates.
Appraisal
A country house representing an important component of the eighteenth-century domestic built heritage of County Kilkenny with the architectural value of the composition, one annotated as “Barrowmount [of] Gore Esquire” by Taylor and Skinner (1778 pl. 133) and thereafter described as ‘the [former] seat of the Gore family but now forming part of the estate of Viscount Clifden’ (Fraser 1844, 179), confirmed by such attributes as the deliberate alignment maximising on scenic vistas overlooking the meandering River Barrow with a mountainous backdrop in the distance; the symmetrical footprint centred on a restrained doorcase, albeit one largely concealed behind a later porch; the diminishing in scale of the openings on each floor producing a graduated visual impression; and the slightly oversailing roofline. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior, including crown or cylinder glazing panels in hornless sash frames: meanwhile, contemporary joinery; chimneypieces; and plasterwork refinements, all highlight the artistic potential of the composition. Furthermore, adjacent outbuildings (see 12402510); a walled garden (extant 1839); and the shell of a gate lodge (extant 1839), all continue to contribute positively to the group and setting values of an estate having historic connections with the Gore family including Ralph Gore (1723/4/78), one-time High Sheriff of County Kilkenny (fl. 1747); Lieutenant-Colonel John Gore (1724-94); and Colonel Ralph Gore (1765-1827; The Gentleman’s Magazine and Historical Chronicle 1815, 278); and a succession of tenants of the Viscounts Clifden of Gowran Castle (see 12310003).
Barrowmount, County Kilkenny, courtesy National Inventory.Barrowmount, County Kilkenny, courtesy National Inventory.Barrowmount, County Kilkenny, courtesy National Inventory.
Gateway, extant 1900, on a symmetrical plan comprising pair of lichen-spotted piers on moulded cushion courses on plinths having dome-topped “Cyma Recta”- or “Cyma Reversa”-detailed cornice capping supporting spear head-detailed wrought iron double gates. Set in landscaped grounds shared with Barrowmount House.
Appraisal
A gateway contributing positively to the group and setting values of the Barrowmount House estate.
Barrowmount, County Kilkenny, courtesy National Inventory.
Farmyard complex, extant 1839, including: Detached twelve-bay single-storey coach house-cum-stable outbuilding on a T-shaped plan centred on two-bay single-storey gabled breakfront with half-attic. Hipped slate roofs; pitched (gabled) slate roof (breakfront), clay ridge tiles, timber bargeboards to gable on timber purlins, and remains of cast-iron rainwater goods on rendered eaves with no rainwater goods on exposed timber rafters (breakfront). Rendered coursed rubble stone walls with rusticated cut-granite quoins to corners. Pair of elliptical-headed carriageways (breakfront) with rendered red brick voussoirs framing timber boarded double doors. Square-headed window openings (half-attic) with cut-granite sills, and concealed red brick block-and-start surrounds framing three-over-six timber sash windows. Square-headed door openings (wings) with cut-granite monolithic surrounds on cut-granite padstones framing timber boarded doors. Square-headed window openings with cut-granite sills, and concealed red brick block-and-start surrounds framing louvered timber fittings. Set in landscaped grounds shared with Barrowmount House with piers to courtyard having ball finial-topped “Cyma Recta”- or “Cyma Reversa”-detailed cornice capping supporting wrought iron double gates
Appraisal
A farmyard complex contributing positively to the group and setting values of the Barrowmount House estate.
Barrowmount, County Kilkenny, courtesy National Inventory.Barrowmount, County Kilkenny, courtesy National Inventory.
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 33. “(Fleming/LGI1904) A two storey Georgian house with a Wyatt window above a pedimented and fanlighted porch. Two bays on one side of the centre, triple windows on the other. Vast castellated mill with turrets and machiocoulis at corner of demesne.”
Barraghcore, County Kilkenny, courtesy National Inventory.
Detached four-bay two-storey Classical-style country house with dormer attic, c.1850, possibly over basement incorporating fabric of earlier house, c.1725, on site with three-bay single-storey flat-roofed projecting porch to ground floor, single-bay two-storey advanced end bay to right, single-bay two-storey side elevation having canted bay window to ground floor, four-bay two-storey range along rear (west) elevation having single-bay full-height gabled advanced bay, and three-bay two-storey return to south-west. Hipped slate roof on an L-shaped plan (pitched slate roof to parallel range continuing into return on an L-shaped plan; gabled to advance bay; gabled to dormer attic windows) with clay ridge tiles, rendered chimney stacks having moulded cornices, rooflights, and cast-iron rainwater goods on moulded rendered eaves. Painted rendered, ruled and lined walls on tooled cut-granite plinth with rock-faced dressed limestone walls to porch having cut-granite dressings including block-and-start quoins to corners incorporating bull-nose detailing, frieze on stringcourse, carved cornice, blocking course to parapet, and painted roughcast walls to rear (west) elevation having rendered strips to corners. Square-headed window openings (some in tripartite arrangement) with cut-granite sills (on cut-granite panelled risers to ground floor), moulded rendered surrounds (on consoles to canted bay window), and one-over-one timber sash windows having six-over-six timber sash windows to rear (west) elevation (some two-over-two timber sash windows throughout having eight-over-eight timber sash window to advanced bay). Round-headed door opening to porch on two cut-granite steps with cut-granite panelled pilaster doorcase having moulded necking, paired consoles supporting open-bed pediment, bull-nose reveals to door opening, timber panelled double doors having overlight, square-headed flanking window openings on cut-granite panelled risers having block-and-start surrounds, chamfered reveals, and one-over-one timber sash windows. Interior with timber panelled shutters to window openings. Set back from road in own grounds with tarmacadam forecourt, and landscaped grounds to site.
Appraisal
An elegantly-appointed substantial country house redeveloped for the Fleming family in the mid nineteenth century incorporating a substantial early eighteenth-century range in the grounds, thereby maintaining a long-standing presence on site. Stylistically reminiscent of the contemporary (c.1850) View Mount (House) (12402107/KK-21-07) nearby suggesting the possibility of a shared architect or builder the architectural design value of the composition is identified by characteristics including the balanced arrangement of the pleasantly-proportioned openings, the arrangement of some openings in a Wyatt-inspired tripartite manner, and so on, all centred on an enriched porch displaying high quality stone masonry in the construction in a combination of granite and limestone. Having been very well maintained the house presents an early aspect with the original fabric surviving substantially intact both to the exterior and to the interior, thereby maintaining the character of a composition forming the centrepiece of a large-scale rural landholding (with 12402112 – 4/KK-21-12 – 4).
Barraghcore, County Kilkenny, courtesy National Inventory.Barraghcore, County Kilkenny, courtesy National Inventory.Barraghcore, County Kilkenny, courtesy National Inventory.Barraghcore, County Kilkenny, courtesy National Inventory.
Barraghcore, County Kilkenny, courtesy National Inventory.
Farmyard complex, c.1850, about a courtyard incorporating fabric of earlier complex, pre-1840, on site including: (i) Detached three-bay two-storey outbuilding with camber-headed carriageway to right ground floor. Hipped gabled slate roof with clay ridge tiles, rendered shallow gabled bellcote (with camber-headed aperture, and rendered stringcourse supporting gabled coping), and iron rainwater goods on rendered eaves. Painted rendered walls over random rubble limestone construction with cast-iron tie plates to first floor. Square-headed window openings with cut-limestone shallow sills, and timber casement windows. Square-headed door opening with timber panelled door. Camber-headed carriageway to right ground floor with timber fitting having overlight. Set back from road in grounds shared with Barraghcore House about a courtyard having random rubble limestone boundary wall incorporating elliptical-headed carriageway in dressed limestone screen with cut-limestone voussoirs, iron double gates, and cut-limestone coping to parapet. (ii) Detached single-bay two-storey outbuilding. Pitched slate roof with clay ridge tiles, and no rainwater goods on dressed rubble limestone eaves. Random squared rubble limestone walls with remains of unpainted roughcast over, and slit-style apertures to first floor. Square-headed window opening with cut-stone shallow sill, and timber casement window. (iii) Detached six-bay two-storey stable outbuilding with camber-headed carriageway to ground floor. Hipped gabled slate roof with clay ridge tiles, and no rainwater goods on dressed rubble limestone eaves. Random squared rubble limestone walls. Square-headed window openings with cut-limestone sills (no sills to ground floor), red brick voussoirs, and timber casement windows. Square-headed door openings with cut-granite surrounds, red brick voussoirs forming camber relieving arches over, and timber panelled doors. Camber-headed carriageway to ground floor with cut-granite surround rising into red brick voussoirs, and no fittings. (iv) Detached five-bay two-storey coach house with series of three elliptical-headed carriageways to ground floor. Pitched slate roof with clay ridge tiles, and no rainwater goods on dressed limestone eaves. Random squared rubble limestone walls. Square-headed window openings in camber-headed recesses with cut-limestone sills, red brick block-and-start surrounds, and timber casement windows. Square-headed door openings with red brick voussoirs, and timber boarded doors. Series of three elliptical-headed carriageways to ground floor with red brick voussoirs, and no fittings. (v) Attached three-bay double-height outbuilding. Hipped gabled slate roof with clay ridge tiles, and no rainwater goods. Random coursed rubble limestone walls with cast-iron tie plates. Square-headed window openings with cut-limestone shallow sills, red brick dressings, and fittings not visible. (vi) Attached four-bay double-height outbuilding with series of four elliptical-headed carriageways to ground floor. Pitched slate roof with clay ridge tiles, and no rainwater goods on squared rubble limestone eaves. Random coursed squared limestone walls. Series of four elliptical-headed carriageways to ground floor with red brick dressings, and fittings not visible.
Appraisal
An attractive collection of modest-scale and middle-size agricultural outbuildings arranged about a shared courtyard with the resulting cluster contributing significantly to the group and setting values of the Barraghcore House estate while indicating the various ancillary services historically necessary in the maintenance of a large-scale landholding. Each range having been well maintained with most of the original attributes surviving intact the complex makes a positive impression on the character of the site.
Barraghcore, County Kilkenny, courtesy National Inventory.
Detached two-bay single-storey gate lodge, c.1825, on an T-shaped plan with single-bay single-storey projecting end bay to left, and single-bay single-storey return to east. Now disused. Hipped slate roof on a T-shaped plan with clay ridge tiles, rendered chimney stack on a profiled octagonal plan, and no rainwater goods surviving on cut-granite eaves having paired consoles. Unpainted fine roughcast walls over irregular coursed dressed limestone construction. Square-headed window openings (some in tripartite arrangement) with cut-granite sills, cut-granite surrounds having consoles supporting entablatures, and six-over-six timber sash windows. Square-headed door opening with cut-granite surround having consoles supporting entablature, and tongue-and-groove timber panelled door. Set back from line of road in grounds shared with Barraghcore House.
Appraisal
A picturesque small-scale gate lodge displaying robust detailing in the Classical manner with granite dressings exhibiting high quality craftsmanship enriching the architectural design value of the composition. Although having fallen into disrepair as a consequence of a prolonged period of disuse the elementary attributes survive in place, thereby making a pleasing visual statement with the attendant gateway (12402114/KK-21-14) at the entrance to the grounds of Barraghcore House.
Barraghcore, County Kilkenny, courtesy National Inventory.