Sunday, 29 October 2023

 A Shared Ancestry

The Knox & Kirkwood 

Family's Forgotten Heritage

Myself David Hicks with Dennis Regan at Rappa Castle Demesne, once home to the Knox family

All text and images in this post remain the copyright of David Hicks, author. Permission must be sought to reproduce same in any format.

In 2016, I wrote a lengthy and extensively researched piece on my blog about the Kirkwood family of Bartragh Island found in Killala Bay, Co. Mayo. Little did I know at the time that I would uncover a forgotten story of a forbidden marriage associated with the Island dwelling family and find a long-lost cousin of my own. This month, Dennis Regan and his wife Andrea travelled to Mayo to explore the townlands once associated with the Knox and Kirkwood families. Dennis’s great, great grandmother was Emma Louisa Knox of Rappa Castle, a sister of my great, great grandfather Captain Annesley Arthur Knox.

Rappa Castle, once home to the
Emma Lousia Knox and her brother Captain Annesley Arthur Knox


In September 1864, Charles Knox Kirkwood of Bartragh Island, late of the Royal Artillery and eldest son of Captain Charles Kirkwood, married the third daughter of Annesley Knox of Rappa Castle. The marriage took place at the nearby, but now derelict, Ballysakeery Parish Church found in Mullafarry. Charles had his brother John as best man and the bride was given away by her brother, Annesley Arthur Knox. After the ceremony the whole group left for further celebrations at Rappa Castle located nearby in Ardagh in Crossmolina. The marriage produced a number of children including Norah Blanche Kirkwood who was born on Bartragh Island in 1875 however her mother died two years later in 1877. Emma Louisa is buried near her former home, Rappa Castle near Ardagh, Crossmolina . In later years Norah's father would not countenance her marriage to a local man, William Knox. Norah's father thought William was of a lower station and a Catholic. A marriage of this nature was not socially acceptable at the time, as Norah was a Protestant. William was born in 1871, the son of John Knox and Margaret Cunningham of Cooneal. In the 1890's, Norah disobeyed her father’s wishes, left Bartragh Island, married William and emigrated to New Haven Connecticut never to return to Bartragh.

Norah Blanche ( nee Kirkwood) and William Knox
together with the house on Bartragh Island


Captain Charles Knox Kirkwood died on Bartragh in 1926 and is buried on the island having never seen his daughter again. Norah and William made a happy life in the US where William became a mounted policeman and had a successful career. William died in 1944 and Norah in 1958. Norah kept in touch with her sister Maud in Ireland who visited her in the US in later years. In 2017, because of my blog post Dennis Regan from Connecticut contacted me and told me this amazing story about his great grandmother. Over the years we have exchanged research and during his recent visit to the area, I was delighted to show him buildings and places associated with ancestors which included Moyne Abbey, the Rappa Castle Demesne, the town of Killala and a number of churchyards where Kirkwood ancestors are buried. I was delighted to facilitate Dennis in this regard, who was an enthusiastic explorer joined by his wife Andrea and their friend Tom from Co. Clare. Dennis, who has impaired vision was accompanied by his wonderful guide dog Myles. A memorable day for all, when a shared ancestry helped make friends on either side of the Atlantic.

Please find a link to my 2016 article on Bartragh Island below:

Dennis Regan, his wife wife Andrea and Myles the dog together with myself, David Hicks in Moyne Abbey,
near Killala, Co. Mayo. This Abbey has a long association with the Knox Family and was once
the childhood playground of Norah Blanche Kirkwood





Saturday, 8 July 2023


A Shared History

The Monuments of Ballina, Co. Mayo
Image Copyright ICHC

All text and images in this post remain the copyright of David Hicks, author. Permission must be sought to reproduce same in any format.

This year marks 125 years since two public memorials were planned for the town of Ballina in Co. Mayo. In this West of Ireland town, in the year of 1898, these monuments represented two different communities that co-existed in the town, Protestant and Catholic. Ireland in the 19th century was governed by a British Administration from Dublin Castle while rural towns, like Ballina, were policed by the Royal Irish Constabulary.  The 1798 Centenary Memorial, also known as the Humbert Memorial, was intended to mark the centenary of an uprising against British dominance of Ireland. It was mainly supported by those of a Catholic and nationalist background. However, in April of the same year, the tragic death of a local Protestant landlord instigated the construction of another memorial to commemorate his life, the Vaughan Jackson font. Now in a small town in the West of Ireland, two communities from different sides of the religious divide were planning and raising funds for memorials that represented different aspects of the town’s past.  It is an interesting dichotomy of the public attitudes to these memorials at this time. The 1798 Centenary Memorial was elaborate in design, but the committee had trouble raising funds despite money being collected in the wider area outside of Ballina. The Vaughan Jackson Memorial was a more measured affair and appeared to have no problem raising funds among the landed classes around Ballina alone. There appears to have been apathy to the 1798 centenary memorial, as it was often damaged and neglected in the years that followed its construction. The completion of the monument missed the commemoration date of the centenary and was not complete until 1899, a fact that is often overlooked.

The 1798 Centenary Memorial shown today and in the early 1900's

The 1798 Centenary Memorial once dominated the entrance to Knox Street from the lower end of the town of Ballina. This memorial recalled the failed rebellion of 1798 when the United Irishmen, with military support from the French, led by General Humbert, tried to overthrow the British establishment in Ireland. French Forces landed in Killala Bay in August 1798, which was seen as the date that would be used to celebrate the centenary. Today, while still an important piece of the town’s architectural and social heritage, the Humbert Memorial has now been side-lined near a carpark, sandwiched between two supermarkets in the town. From its inception, it appears that the monument suffered a number of setbacks, from design changes, to disagreements over location and its construction. A memorial of this nature was essentially an act of defiance against those who ruled from Dublin Castle, as it celebrated a previous attempt to overthrow the British occupation of Ireland. The story of the 1798 Centenary Memorial begins in October 1897, with a meeting of the Ballina ’98 Centenary Committee held in the town hall. Subscriptions were already donated, amounting to £5, which were handed in at this time. A site for the monument and what form it should take would be discussed at a later meeting. At the end of October, another meeting took place in Arthur Muffeny’s Hall where Muffeny was appointed to the chair, which was greeted with loud applause from those present. Arthur Muffeny was a Ballina business man who was one of the driving forces behind the construction of the 1798 Centenary Memorial. He was a contemporary of Charles Stewart Parnell and Michael Davitt, sharing many of their values in terms of the political and social environment of the time. He was a vocal opponent of the cruel landlord Harriet Gardiner and served two terms in prison for his opposition of landlordism and their evictions. He had a number of shops in the town of Ballina as well as a large car and coach factory on the Killala Rd. which is said to have employed 30 people. He also established a saw mills off Pearse St., built a number of houses in the town and established the Town Hall.  In December 1897, the Ballina ‘98 Centenary Committee held a meeting in the Town Hall, chaired by Arthur Muffeny. During this meeting, they discussed the possibility of inviting Maud Gonne to deliver a lecture on 1798 in Ballina to mark the centenary the following year.  

Maud Gonne painted by Sarah Purser in 1890
Image Copyright The Hugh Lane Gallery

The 1798 Centenary Memorial in Ballina was closely associated with Maud Gonne, a well-known female figure in early 20th century Irish History. She appears to have been closely involved at various stages of the memorial’s inception and development. Gonne played a public role in the struggle for Irish Independence and was a vocal figure in the fields of politics and civil rights. She was born in 1866, British by birth, born at Tongham Manor, Surrey. Her father was a captain in the army and the family resided in Ireland during her childhood. Maud was later educated in France, where she encountered a French politician who had anti-British leanings and encouraged the young woman’s hostility to the British domination of Ireland. She became one of the most prominent activists and conducted tours of Europe and the US promoting Irish Independence. It was after a tour of the US in 1897, that she threw herself in to the centenary commemorations for 1798 in Ireland. Also at this time she became aware of the plight of the poor tenants in the West of Ireland and used public events to attack the British establishment for their lack of action. Therefore Gonne’s encouragement of the construction of the memorial, in my opinion was a contradiction. For Gonne to encourage the expenditure of funds in this manner, in a small West of Ireland town was particularly insensitive to those that lived in poverty in close proximity.  Maud was a wealthy woman and a renowned beauty, when W.B. Yeats met her in 1889, he was entranced and remained close over the years. In late December 1897, Maud Gonne sailed from New York on the White Star Liner, Majestic, to be present at Frenchhill, three miles outside of Castlebar in Co. Mayo. The gathering at this site, in January 1898, was to prepare for the celebration of the centenary of 1798 during the summer. This site was chosen as it was the spot where French soldiers, aided by the Irish, routed out the English battalions. Ten thousand people from all over Mayo attended this event. It was here that Mr. T.B. Kelly, the honorary secretary of the Ballina 1798 Centenary committee, approached Maud Gonne. At this gathering, it was agreed that Gonne would pay a visit to Ballina in early March, to deliver a lecture in the town hall about the history of 1798.

An Advertisment for Maud Gonne's lecture in Ballina in March 1898

In Ballina in early March 1898, during a meeting of the 1798 Centenary committee, plans were finalised for the forthcoming visit of Maud Gonne. Now the time had come to choose a site for the monument, firstly an area around the centre of Knox’s Street was initially suggested but was dismissed due to there not being adequate space. At this time, it was thought that the memorial would only be 12 to 14 foot in height, which hints that the design for the monument became more elaborate as plans progressed. The committee would liaise with William Patterson Orchard, the county surveyor, in relation to a proposed site. Another area suggested was in front of the ‘’pig market’’ and that the monument should be positioned in the Market Square. The site of the monument eventually chosen was at Lower Knox Street and the entrance to Brook Street. It is said that the original site on which the monument stood was granted by the Grand Jury, owing to the eloquence of Mr. Coolican, a member of the committee. Later it was often argued if the Grand Jury had the right to grant the permission for the possession of the site in the first place. Funding for the statue was collected by public subscription by the 1798 Centenary Memorial Committee in Ballina and the wider area.

Lower Knox St. soon after the construction of the Humbert Memorial in 1899
Copyright The National Library of Ireland

Tragic events in 1898 would now bring about the construction of another public memorial for the town of Ballina.  On the night of the 8th April 1898, George James Vaughan Jackson was returning home from Ballina where he had been doing business during the fair day. As he turned his horse and trap off the main road at Rehins, he encountered  'a light from a travelling caravan' which was drawn up near the side of the road close to the railway bridge. As he drew closer it appeared to be an ' encampment of peddlers' who had a cart piled high with baskets, beside which they had lit a fire. As his horse was a young animal, George alighted from the trap and intended to remove the horse from the shafts to lead it past the obstruction in the road. The horse bolted, broke its reins resulting in the shafts of the trap breaking free and striking George on the side of his body, knocking him to the ground. Once he regained his feet and being unable to find his horse, he walked the two miles to his home, Carramore House. There he was met by his sister, whom he assured that nothing serious had happened to him but the following morning he was feeling extremely unwell. The local doctor was sent for and it was found that George had serious internal injuries from which he would die the next day. It is said that he passed away after ' bidding a most affectionate farewell to his mother and sisters'. His large funeral cortege extended to over 140 horse drawn vehicles which left Carramore House and made their way to the family burial plot in the Crossmolina Church yard.

One month after the passing of George, it was proposed that a memorial would be erected in his honour. In May of 1898, a meeting was held in the Moy Hotel in Ballina town, where there was gathered ' the friends and admirers of the deceased'. It was the members of the North Mayo Hunt who first intended to erect a memorial. However due to the volume of support from the people of Ballina for the project, the subscription for the memorial was opened to the public. Several donations came from the landed classes, with contributions from numerous persons including members of the Knox Family, such as Miss Knox-Gore, Major Saunders Knox-Gore, the Perry-Knox Gore’s, Captain Kirkwood, together with Jacob Beckett, R.W. Orme, W. Fetherstonhaugh of Glenmore, R.L. Petrie, Dean Skipton, Archdeacon Jackson, the managers of a number of banks in Ballina, and Arthur Muffeny donated five shillings.  Firstly it was proposed that a monument would be erected over his grave, however it was then considered that as ' he was buried in a remote place....that very few of his friends could have an opportunity to see it'. Then it was suggested that the memorial should be placed in St. Michael's Church in Ardnaree, Ballina, however there were a number of objections to that proposal. Eventually it was decided that a water fountain would be erected in the town and that the fountain should be of benefit to both people as well as horses. It was proposed that the fountain should have a statue or the likeness of George placed upon it, however it was agreed that until funds were accumulated, the design of the fountain could not be decided upon. As an illustration for the enthusiasm for the project, by the end of this initial meeting in May 1898, £67 12s had already been accumulated. This was in contrast to the 1798 Centenary Memorial which appeared to be struggling to gather funds.

An sketch of the moment prior to construction 

As planning for the construction of the 1798 Centenary memorial proceeded apace, Thomas Dennany, of Glasnevin, a sculptor and monument builder, was chosen. He would design the memorial and also supervise its construction.  An initial ambitious design was prepared and put before the committee which was approved. However, by May 1898, the committee met again and considered another design received from Mr. Dennany.  It appears that Dennany had concerns in relation to the cost of the monument and had simplified the design to reflect this. Arthur Muffeny was at a loss, as the changes to the design were not requested. It was agreed that the original design was unanimously approved and would be the choice to proceed with.  This did nothing to allay the concerns about cost, which now began to plague the project. This concern prompted the decision that local committees would be set up to collect money towards the monument in surrounding towns in Mayo and Sligo. Collections would be made in Foxford, Swinford, Ballycastle, Enniscrone, Easkey, Dromore West, Ballyhaunis, Castlebar and Westport.  By July 1898, the order was placed with Mr. Dennany by the committee to proceed with the proposed design, despite concerns about the mounting costs. In the following months, the funds for the completion of the monument were still lacking. Therefore, it was agreed by the committee to publish a list of subscriptions of those who had contributed to the monument, in the hope it might encourage those that had not contributed. At the time, it was noted that there was still a deficit of £49 which included money owed to the sculptor. The outlay on the monument included £140 to Mr Dennany for constructing the monument and £27 for foundations.  In today’s terms, the monument was incurring costs amounting to nearly £20,000. Despite the best efforts, the monument would not be complete by the end of 1898 and therefore the committee had missed the celebration of the important date.

T.H. Dennany, markers mark on the monument 

It was decided that the laying of the foundation stone for the 1798 memorial would placate the naysayers and would be completed in August 1898. Maud Gonne wrote to the committee asking to be informed of arrangements for the centenary gathering in Ballina, in August, for the laying of the stone. She requested details so she could invite a French delegation to mark the occasion and cement the bond between the two countries. By September 1898, £118 had been collected and it was noted that it was still £20 short of Mr. Dennany’s contract alone. It was also discussed that the concrete foundations and proposed railings would add an extra £50 to the overall cost. Due to the deficit in funds, plans for the incorporation of a drinking fountain, lighting and railings were abandoned. At this time, Maud Gonne had given an additional £5, bringing her total donations to £8 7s 6d. The list of subscriptions to the 1798 memorial makes interesting reading, there are several anonymous donations, such as ‘’A Nationalist Friend’’, ‘’ A ’98 Man Claremorris’’ and ‘’An Admirer of Maud Gonne’ ’together with several Parish priests’.  The foundation Stone was laid on Sunday 23rd August 1898 at Lower Knox Street, Ballina by Maud Gonne. She and a French delegation had arrived at Ballina Train Station the day before and stayed at the Moy Hotel. Nationalists from Mayo, Sligo and Roscommon packed the town to see Maud Gonne and French delegates arriving by train. The welcoming party at the station was headed by Mr. Arthur Muffeny, Chairman of the Centenary Committee. The following day a large crowd was present, as the distinguished group made their way from the Moy Hotel to the site of the 1798 Monument. The foundation stone was placed in position and Arthur Muffeny presented Miss Gonne with a silver trowel to apply mortar to bed the stone. After this was complete, Miss Gonne struck the stone with three taps of a wooden mallet and declared it laid. In the evening a banquet was held in the Moy Hotel at which Maud Gonne, the French delegation and over 100 people were present. The site of the monument had been squared and raised to five feet, composed of concrete with a substantial foundation which extended to six feet below the road surface. It was later reported that Mr. Arthur Muffeny came in for criticism because the base of the monument was laid in concrete instead of cut stone, which deteriorated in later years. It would be May 1899, before Maud Gonne would return to Ballina to assist at the unveiling of the completed 1798 centenary memorial. The monument has some similarities to the statue erected in Sligo town between the junction of Market Street and Castle Street. However, the Sligo statue was substantially smaller in scale but was surrounded by railings and lighting, something that was never completed for the Ballina Memorial. The Ballina memorial had missed the deadline of the centenary of 1798 and a result of grandiose plans, not enough money had been collected to allow for it to be completed as originally intended. In 1901, two years after the completion of the monument it was reported that a concert had taken place to clear the debt accumulated during its construction.

The 1798 Monument in Sligo with railings and lighting

The completed 1798 Centenary monument, made of limestone, is composed of a plinth on a stepped base. The plinth is inscribed on four sides in Irish and English commerating the events and people of 1798. From this plinth extends a polished pink granite column, either side of which are two draped flags carved in stone. Atop the whole confection stands a female figure, the Maid of Erin, representing Ireland with an Irish wolfhound by her side. She holds a sword in one hand and a shield in the other, emblazoned with a harp and shamrocks. She stands atop a pedestal which rests on two joined hands (like a Claddagh ring) above which are inscribed the words ‘’United We Stand’’.  A plaque on the monument informs the passerby that the memorial was ‘’Erected by the Voluntary Subscriptions of The Priests and People of Mayo and Sligo’’. The Maid of Erin Figure has a striking resemblance to the figure atop, The Manchester Martyrs’ Monument, in Ennis Co. Clare, designed by Patrick J. O’Neill of Dublin. This monument was erected in 1881 to honour the controversial hanging of three men in Manchester in 1867.  In terms of the Humbert memorial in Ballina, it is incredible to think, that at the time of the unveiling of the 1798 memorial, some of the sons and daughters of those who took part in the rebellion were still living in the community.

The Vaughan Jackson Memorial Font
Copyright ICHC

By March 1899, the Jackson Vaughan memorial committee met again and discussed a design for the memorial fountain, proposed by Harrison & Co., Great Brunswick St., Dublin which was to be made of limestone. The committee had earlier contemplated a design made of metal but due to budget implications it was rejected. At this meeting it was proposed that as well as having a trough for horses, that a trough should also be integrated for use by dogs. I had thought that this was something that wasn't included in the final design, but if you look at the fountain today you will see the lower troughs for the use of dogs are found nearer the ground under the main troughs. By June of 1901, a decision had been made on the final design of the Vaughan Jackson memorial fountain.  Mr. E.E. Atkinson wrote on behalf of the Jackson Memorial Committee requesting the permission of the Urban Council to erect the memorial, which was given. 

Decorative elements of the Jackson Vaughan Font
Copyright ICHC

In August 1901, the fountain was completed by the contractors opposite 'Baxter's Corner' in the town of Ballina. It was made of Aberdeen granite, cost £184.00 and stood on a hexagonal concrete foundation. It was made by Scott & Rae, Bothwell St., Glasgow and was erected in Ballina under the supervision of their very capable representative, Mr. Robert Taylor. The company of Scott and Rae were established in Glasgow in 1881, it appears they had completed a number of public drinking fountains in their native Scotland and usually worked in pink granite. The fountain is composed of three large drinking troughs for either ' cattle or horses', and rising from the centre is a red and grey granite column diagonally carved and topped by a grey granite ball. Above one of the troughs is a bronze shield having an engraving of a horse. Above another trough was a tablet with the inscription:

'To the memory of

George James Vaughan Jackson

Carramore, Ballina,

Who died on the 10th day of April 1898'

On either side of this main plaque were smaller tablets with the inscriptions ' Erected by public subscription' and 'He passed from among us in the prime of life, respected and beloved by all'. However the fountain wasn't fully completed at this time as the Memorial Committee did not have the funds to undertake a number of works themselves. The entire cost for the project came to £184 (which would be about €25,000 in today's money) but the fund had only raised £179, however the contractors in an act of generosity remitted the difference. Now that the fountain was in place, it was still necessary that guard stones should be erected around the monument to protect it from damage from cart wheels for which the committee had not the funds.  Therefore the committee asked the Urban Council if they would be in a position to complete these works and in early photographs of the memorial we can see that these were indeed put in place.


The 1798 Centenary Memorial soon after its construction
showing the damage to the base.

In June 1903, the Humbert memorial monument was damaged when a number of men threw rocks at it. The memorial at this time was still in the care of the committee who erected it and it had not been vested in the Urban Council. The handle or shaft of the sword of the statue that stood atop the memorial had been damaged and its repair amounted to £65. £200 had been spent building the memorial but no railing had been put around the base as originally planned. The railing surrounding the monument was still an issue in 1924, the plinth of the memorial was being damaged by children and again the idea of putting railing around it was discussed to give the memorial a more ‘finished appearance’. In 1931, it appears if the public reverence for the monument was waning as it was reported that several of the foundation stones for the monument had been broken and required repair. Also, someone had hung an old tyre from the statue which also needed to be removed. By 1942, it was reported that the monument looked dirty due to nearby building work and should be cleaned, again the suggestion of erecting a protective railing was mooted but never acted upon. Now the location of the monument was beginning to cause issues in terms of traffic, however relocating it at this time was dismissed due to cost.

The 1798 Memorial showing damage that occurred to the
sword in 1903
Copyright The National Library of Ireland

As the town of Ballina changed around both monuments, it became necessary to relocate them. In 1968, it became necessary to move the Vaughan Jackson monument 12 feet further back from the edge of the road. The font was moved again in 1983 to its current location. The Humbert Memorial was also relocated in 1986, it was seen to be a hazard to traffic entering the town. After it was relocated to its existing position within the town, the monument was rededicated by Sean MacBride S.C. in August 1987, over eighty years after his mother had unveiled it.  His mother, Maud Gonne had married an Irish Soldier and Republican, John MacBride in 1903. She converted to Catholicism in order to marry Mac Bride, however the marriage was not a long one. Sean was born soon after, however Maud and John ended their marriage after his birth and divorced. After following in his mother’s footsteps, unveiling the monument in Ballina, Sean would pass away a few months later in September 1988.




 

Friday, 19 August 2022

 Westport House

Evaluation and Evolution

The Entrance Front of Westport House, Co. Mayo dating from 1730,
the work of the architect, Richard Castle
Copyright: ICHC

All text and images in this post remain the copyright of David Hicks, author. Permission must be sought to reproduce same in any format.

After any prolonged period of decline, the road back to robust health is a long one, evident with the continuing restoration of Westport House in Co. Mayo. After decades of ineffective repairs and compromised finances, the fabric of the house was on the brink of being beyond rescue. Water was penetrating the building through many avenues, all of which had to be quickly stemmed when the Hughes Family took over the estate in 2017. Moisture ingress was evident through the walls, around the windows, chimney stacks, leaking through damaged roof lights and overflowing from badly designed valleys. 

Photographs showing the central glazed roof light before works were completed in 2007 
and also after further works were completed in 2021 Copyright: ICHC
Photo Credit of Before Photo: DL Martin and Partners

Water was attacking the house on all sides, damaging and degrading the precious interiors designed by the best architects of their day. The house was also plagued by a lack of ventilation, damaged plasterwork, structural issues, cracking and  subsidence. It is now one year since my first visit when the house was a hive of activity and shrouded in scaffolding. I have now returned to review progress, the scaffolding is gone, the roof is complete and watertight, thus allowing the decay to be arrested and finally reversed. 

Westport House shown in above in 2019 and below 2021 Copyright: ICHC

However, there is no quick fix here, there is no 60-minute make-over for this historic house. Sodden walls and plasterwork will now be allowed time to dry out, slowly, thus leading to more issues such as cracks appearing and historic wall finishes flaking. This reaction is expected, now that the water ingress is stemmed. The next phase of works is being planned and adapted as the house is being observed and evaluated as it reacts to the changes brought about by the last phase of works. Westport House is about to undergo a transition, for years this was a country house and family home that just happened to be one of the most popular tourist attractions in Mayo. Now that the house is secure, in terms of its external fabric, it must now evolve. The future of this great house must now be considered in terms of accessibility, presentation and interpretation. As with any visitor attraction, it must be developed to create an immersive experience with innovative means of informing visitors about the history of the house, the Browne family and the estate. This and the continued restoration of the house is the challenge for the years ahead for the estate and its owners.

Westport House in 1912 , here we can see the Italianate gardens to the
Garden Front of the house situated below the terraces. 
Copyright: ICHC

The Entrance Front of Westport House was built for John Browne, later the first Earl of Altamont, to a design by the architect Richard Castle (also known as Cassels) in 1730. An impressive feat for the 21-year-old Earl who initiated the construction of Westport House and created what is now the entrance front. The Browne home was possibly built on the site an earlier house and is believed to encompass the cellars of an O’Malley castle. The barrel-vaulted ceiling in the entrance hall is thought to be one of the only internal elements from the 1730’s house that has survived which was designed by Castle. Castle also designed Hazelwood House in Sligo which shares many similarities with its Mayo Cousin, particularly the decoration and arrangement of the main entrance door surround. For nearly 200 years after this, the Browne Family extended, adapted and changed both the house and garden. Leaving us with the great architectural legacy that is Westport House and the wider estate. 

Completed works to the roof of Westport House including a
large chimney which had to be cased inlead to ensure it is watertight.
Copyright: ICHC

As with my previous visit, I began my tour at the top of the house, on the roof, which is a changed landscape, or should I say roofscape. Gone is the scaffolding and now for the first time, probably in decades, and possibly since the house was first built, does this structure have a watertight roof. Poor detailing both historic and in the recent past have been replaced with beautiful lead flashing. Gone are unsuitable materials substituted over the years when the original owners fought as best they could to secure their home against the elements. These herculean roof repairs have brought the house back from the brink. When recent works began, it halted a process of continued decline. Poor historic detailing has contributed to a lot of the issues in the house such as masonry buttresses found along the side of some chimneys. This allowed water to penetrate into the house interior affecting the coved plaster ceilings of the bedrooms and the hallways on the upper floors. One of the larger chimney stacks, visually dominant from the garden front, had to be encased in lead to ensure it would be waterproof, it was previously plastered in sand and cement. While the original finish did nothing to keep the water out, the sand and cement layer ensured that the water remained in the structure and could not escape. This allowed water to penetrate down the back wall of the main staircase causing damage to the distinctive coved ceiling and sky light. 

Water damage over the main staircase caused by water
ingress around a chimney  Copyright: ICHC

A bedroom on the upper floor, here we can see the effects of water damage
sustained over the years from the issues with roof. Copyright: ICHC

Sixty-four chimney pots sit atop chimney stacks that populate the roofscape of Westport House. Some have been capped with aluminium caps to prevent birds from nesting in the redundant flues again. Flues to the main reception rooms have been maintained, allowing fireplaces to remain in use when necessary. All chimneys were recently cleaned, removing years of birds’ nests, twigs and other detritus. The chimney flues now provide ventilation to the interior of the house, very important in this phase of drying out. Works also included the removal of asbestos and the treatment of both wet and dry rot.

The re-engineered valleys now provided with ventilation to
ensure that the issues of the past are not re-visited Copyright: ICHC

Shallow lead valleys behind the parapet have been re-engineered, incorporating overflow pipes and additional hoppers to manage the surface water generated by the roof. The poor arrangement of these valleys in the past was responsible for some of the damage to the interiors of the house. The valleys were shallow, so if there was any build-up of water in a heavy downpour of rain, they would overflow, saturating the walls and damaging the plasterwork inside. Now that the surface water is managed more effectively, this problem should cease. Ventilation has also been improved to the substructure of these valleys, preventing the old issues from resurfacing. Previously the hot air from the interior of the house allowed moisture to condense on the underside of the lead causing the supporting ply to rot. Light wells that illuminated the inner corridors of the upper floors, where bedrooms were located, had been covered with plywood and corrugated iron. Now glazing has been reinstated, allowing these areas to be illuminated with natural light again.  

Above and Below: The completed roofscape with lead work, slating and 
glazed roof lights now in good repair. Copyright: ICHC

The estate manager noted that during the works on the roof, the original King Post Oak Trusses remain insitu and it was considered that they were possibly the work of boat builders. Urns on the front of the house have been replaced with replica’s, the originals were removed as they had degraded and were cracked into multiple pieces, held together with an outer layer of chicken wire.  Other larger urns on the corners of the parapet were temporarily removed, the corroded steel rods holding them in place were replaced with stainless steel. This ensured that they are secure in their lofty position, high above the heads of the visitors below. In all 26 tonnes of lead has ensured that the roof will remain watertight for years to come.  While works carried out ensure that the roof is watertight, works also had to be implemented to ensure that the roof would remain watertight in the future. Therefore, access for future maintenance had to be considered and a new fall arrest system has been installed. This will allow operatives to easily and safely access the roof to carry out ongoing maintenance, removing blockages from valleys etc. ensuring the problems of the past are not revisited. A system of discretely placed steps, ladders and platforms ensure that no area of the roof is inaccessible.

A relic from the Victorian past of the house,
the elevator hidden from view in the centre
of the house Copyright: ICHC

In the centre of the house is a service core that provides access to the roof. Here is a time capsule of a part of the house once utilised by the large team of servants. In Victorian times, it was probably unseen by the family or their guests. Here can be found in this top lit space, the service staircase and the mechanism of the lift that would have served the various floors of the house. The basement section of Westport House is wonderfully preserved where the vaulted kitchen and servant’s hall can be seen. A cleverly disguised dumb waiter served the Wyatt Dining Room on the floor above. Servants accessed the house via an entrance in the under croft, which is found under the terrace on the Garden Front. This access arrangement and the service staircase ensured that the bulk of the servants remained out of sight of the family. 

The entrance to the undercroft under the garden terrace which
provided access for the servants to the house Copyright: ICHC

Back staircases from the basement penetrated up into the floors above, to allow servants access to the various reception rooms and bedrooms, virtually unnoticed. These stairs were independent of the main staircase and were necessary so that the family would not meet their laundry or ashes from the many fireplaces being ferried up and down through the house by their servants.  These utilitarian back staircases, which were used constantly by the servants, kept the main marble staircase in pristine condition. The central core service stairs in Westport house is hidden by a set of beautiful etched glass doors on the upper corridor.

The vaulted kitchen area of Westport House found in the basement
Copyright: ICHC

The library wing of the house, destroyed by fire in 1826, remains unchanged but will probably house an events space at a future date. This is the one section of the house that will require a more invasive interior treatment. Here the roof requires attention, as various interventions over the years have compromised its structural integrity. The wing on the north side of the house has had its roof renewed, the balustrades around the edge had to be removed, roof timbers were replaced and covered with a new surface layer of lead.

The North Wing which has now had its roof repaired
and the balustrade repairedCopyright: ICHC

The next phase of the works will ensure that the house is accessible for all, with the establishment of circulation routes for visitors. Part of the planning process for this phase of works will consider how people interact with rooms and artefacts. This pre-planning is necessary so the integration of all necessary electrics, including task and display lighting, are incorporated. Westport House while once a grand country home is also a museum, with valuable paintings, antique furniture, rare books and artefacts on display. A heating system will have to be considered to ensure the rooms are maintained in a controlled environment, despite growing visitor numbers. The upgrading of fire prevention and suspension systems in Westport House are also being developed in tandem with the works. The recent calamitous fire suffered by Clandon Park in the UK, owned and operated by the National Trust, springs to mind. This stately home was destroyed by a fire that spread quickly and left the house in ruins.

The recent fire at Clandon Park in Surrey left the house a ruin,
hence the need for careful consideration of fire prevention at Westport House

These works are currently at the design stage and will be carefully considered. The house is being observed as visitors return to the property after the Covid lockdowns. Once these vital services are resolved, one of the final pieces of this puzzle will be repairs to the plasterwork and internal decoration.  In my innocence, I thought I would be returning to pristine interiors as issues with the roof were resolved. However, the house will take two years to dry out, which is a gradual and continual process. Walls that have been saturated for years, are slowly releasing moisture. Ventilation provided by the chimneys and the opened windows allow it to escape. This has led to its own problems, paint finishes and plasterwork on affected walls, are flaking and delaminating which is particularly evident in the Wyatt Dining Room. Therefore, this room like others in the house, are being observed by a raft of suitably qualified people who can put in place a plan for their stabilisation. 

Above: The Wyatt Dining Room with its contents returned
Below: Damage to the walls and plasterwork of the Wyatt Room
caused by water penetration Copyright: ICHC

Despite the interior of the house being a work in progress, it is beginning to look like its old self again, paintings have returned to the walls and furniture has populated the rooms. In the Chinese Room, the wallpaper has been removed for conservation, and stored onsite. The paper was removed by a specialist and his colleague over five days. This wallpaper hung on these walls for possibly 200 years and is known to have been hung sometime after 1817. This is the date that appeared on a stamp on the wallpaper found underneath : J & P Boylan, 102 Grafton Street, Dublin, 1817. Despite Westport House being situated in the West of Ireland, this room would have been very fashionable and is one of thirteen houses in the Republic of Ireland that possesses a Chinese Room. The walls of this unique space are now stripped back to its original construction, which is a great insight into how this house was constructed, laths, plaster and timber wall bracing have all been exposed. To see a space like this stripped back to its bare bones, is a must for anyone interested in historic interiors.

Above: The Chinese Room before works were undertaken in 2019 with its original
wallpaper in place which was subsequently removed for conservation
Below: The Chinese Room in 2022, the precious wallpaper was removed before
works were undertaken. This room suffered from a number of structural
issues which needed to be rectified. Copyright: ICHC

The artefacts associated with this house are also important, and one person who is passionate about these is Kathryn Connolly, Supervisor at Westport House. When touring the house with Kathryn, its objects are brought to life as she recounts stories about the provenance of each piece. In the Drawing Room, there is the dinner service on display which belonged to the Marquis of Sligo, items range from dinner plates to egg cups emblazoned with an ‘S’. Upstairs there are also on display a piece of porcelain that served the other end of the anatomy. In the sluice room, a vast range of chamber pots, foot baths and jugs are personalised in a similar fashion to the dinner service. 

Above: The chamber pots, foot baths and jugs in the Sluice Room of
Westport House, emblazoned with an S for the Marquess of Sligo
Copyright: ICHC

There are numerous items on display throughout the house, paintings and sketches by Sir John Lavery, chairs from the coronation of George V in 1911, taxidermy, old Irish silver, statuary, ancient military flags, art and antiques. Kathryn’s repository of ephemera associated with the house and the Browne family is found at the top of the house, ina room that was the bed chamber of Lord Sligo. Here are items that will eventually be on display and will tell the story of Westport House, but for the moment must be recorded, collated and archived.

The garden front which is thought to be the work of Thomas Ivory
but it is also possibly thought to have been created by William Leeson.
Copyright: ICHC

Works have continued apace outside the house as well. The limestone steps to the main entrance have been reconstructed, the side walls have been taken down and rebuilt. The bottom four runs of steps had become unstable and required re-alignment.  All works to the house have been non-invasive, unnoticeable to the untrained eye. The steps do not appear over restored and wonderful natural planting on either side, ensures the illusion is kept intact, that they have not been touched. On the garden front, the concrete terraces dating from 1914/1915 are renewed, again the mantra of replacing where only necessary has been upheld. Repairs to the concrete detailing and the installation of limestone steps ensures that this dramatic outdoor space, leading down to the water’s edge, has been retained. Over the decades the steps had been affected by subsidence and sections had become unstable. It was necessary that the area was deconstructed, foundations improved, and the area rebuilt. 

Above: The terrace on the Garden Front of Westport House which
has been subject to restoration and consolidation which included
works to the Summer Pavilion. Copyright: ICHC

The summer pavilion located at one end of the terrace is pristine, having been in a serious state of decay during my visit in 2021. It was composed of an early form of reinforced concrete, which was failing, and the structure was so fragile it had to be cordoned off until works could commence. Enabling works have also been completed around the property, including the provision of service ducting which will allow for the future installation of external lighting and services. The surface water management system and the sewage system have also been upgraded in anticipation of the next phase of works to be completed. Once the house is consolidated, further phases will concentrate on the wider estate including the re-establishment of the Italianate Garden and the development of the nearby coach house.  This project is a wonder to see, the conservation, adaption and restoration of Westport House will ensure it continues to be a wonderful resource for future generations.  I look forward to another visit, to record the continued development and evolution of this unique piece of Mayo’s architectural heritage.