Ok it’s more Dales than Moors, but Netherside Hall has quite an air of Wuthering Heights about it. A certain robustness. A sturdy Jacobethan manner. The coursed rubble and ashlar walls are almost the same gunpowder grey as the slate roof. The Nowel family seat was built in the second decade of the 19th century. It has long since been in educational use. The architect was possibly George Webster who belonged to a dynasty of designers based in Kendal. There are plenty of mullion and transom windows for Cathy to knock.
The road from Skipton narrows and meanders as it heads deep into the Yorkshire Dales. Dry stone walls lining the road open in places to reveal the River Wharfe. Curious sheep and goats ignore the Green Cross Code. Pheasants scurry and rabbits run for cover. All creatures very great and very small. Hubberholme is the last hamlet to pass through on the journey. The George Inn, dating back to the 17th century, looks across the River Wharfe to St Michael and All Angels Church which is half a millennium older. The road further narrows and meanders even more. The valleys deepen and the mountains get steeper.
Finally, a tantalising glimpse is caught of Oughtershaw Hall nestling in Langstrothdale Chase before it disappears again back into the woodland. A country kilometre later along the road, slick new timber gates open into a pristine entrance forecourt. This house and estate are where heritage and luxury meet. A plateau of lawns aprons the house. The garden front overlooks the wooded ravine of Oughtershaw Beck, a subsidiary of the River Wharfe. Purple copper beach and Japanese barbery along with red European beech and Japanese maple stand out amongst the greenery of horse chestnut and elephant ear. Even the stone pigsty in the field opposite the entrance is of picturesque appearance.
This regal country house is the jewel in the crown of Catch the Breeze Retreats self-catering company. In the 1850s London wine merchant Basil George Woodd transformed an older house into a grand shooting lodge designed in a neo Jacobethan style. His son Charles further enhanced the house and estate. Just in case the visitor is in any doubt of its providence, dates and initials and inscriptions are all around. ‘BCW NON NOBIS 1851’ in the stone lintel over the entrance door off the garden front verandah. On a stone frieze across the garden front incorporating Latin from the Psalms: ‘1863 NON NOBIS GOD’S PROVIDENCE IS MINE INHERITANCE CHLW + WHEREFORE LET THERE BE SUNG NON NOBIS AND TE DEUM COME LOVE AND HEALH TO ALL WELCOME AS THE FLOWERS IN SPRING C+JW 1873’. And ‘1874’ on a drainpipe and the weathervane. It’s as if the father and son were in competition for who could put their mark on the building most. In true Victorian style, stained glass windows incorporate Woodd family heraldry and the coats of arms of the related Sole and Mitton families.
Rewind a few centuries and Charles I was rumoured to have stayed at Oughtershaw Hall. “This area was known as The King’s Hunting Ground,” says the house manager Ben Hart, “and in 1241 it was recorded as being called Huctredale. A Woodd ancestor allegedly accompanied the king to his execution. ‘Shaw’ is derived from an old English word meaning wooded area.” Rewind a few millennia and Ben confirms there are the remains of a Stone Age settlement at the top of the field beyond the pigsty.
Hilda Christie writes in A Schoolmarm’s Reminiscences, 1955, “At Oughtershaw Hall lives the Reverend T B Woodd, a very dear old parson. He once gave us a most interesting lantern lecture on missionary work in India. Once every summer we all spent a day with him at his home, taking our own food and being provided with liquid refreshment. We tried to pick a fine day, never setting off in the rain. Those who know the Dales will recollect how quickly the weather can change; one can be drenched in no time on those hills!”
She continues, “What treasures he showed us! He was a descendent of Captain Basil Woodd, who was with King Charles I when he was on his way to his execution. Reverend Woodd had, amongst his most treasured possessions, a gauntlet worn by Kings Charles I. He had too a lock of John Hampden’s hair but, as a very keen Jacobite, he seemed rather ashamed of this. His dining room was full of ‘exhibits’ having a 17th century fireplace, in addition to suits of armour and ancient weapons, most of them belonging to his ancestors.” Ben remembers the last lady of the manor having retreated to living with her cats mainly in the largest reception room.
An old faded photograph of the house shows how little has changed externally: the only difference is there was once a conservatory built into the slope down to Oughtershaw Beck. No architect has been identified for the rebuilding of the second half of the 19th century. The many inscriptions would suggest the Woodds gentlemen may have had a helping hand in the design. In a common country house occurrence, the older house became the servants’ quarters. Thicker walls and vertical sash windows differentiate it from the later blocks with their Elizabethan style casement windows. The entrance front is an asymmetrical arrangement of adjoining wings. Set at a perpendicular angle to the entrance front, the elevation overlooking the ravine displays the ‘near symmetry’ beloved of Arts and Crafts practitioners. The entrance hall door behind the loggia is off-centre; the corners of the drawing room bay window are chamfered, the dining room bay is fully rectangular. Otherwise the garden elevation is symmetrical.
The original dining room is so large it now includes a full sized sitting room furnished with sofas plumped high with cushions in purple fabrics matching the hues of the trees outside. Hectares of curtains flow luxuriantly down onto the timber floors. “As many original items in the house as possible were retained,” explains Ben pointing to a long oak dining table engraved with ‘C W 1876’. There’s a row of servants’ bells in the kitchen ‘Drawing Room, Dining Hall, Morning Room, South Room, Middle Room, C Woodd’s Room, Bishop’s Room’. A carved wooden cupboard door set into the dining room wall opens to reveal a shuttered spyhole into the loggia – one way of checking what guests are arriving.
All the reception rooms have open fires or wood burning stoves. “Sustainable heating is provided by ground source pumps,” Ben confirms. “Local stone was used for the restoration and extension. The house is insulated with double glazed windows. The Yorkshire Dales are very seasonal and constantly changing. Spring is pretty special, and summer is full of color in the landscape. In winter we can get snow drifts. The house is open all year round for short stays except January when it is closed.”
There are eight bedrooms upstairs in various wings. The principal bedroom with its super king size bed, bathroom and dressing room forms a private suite. White marble bathrooms by Fired Earth are piled high with thick white towels. The most dramatic contemporary intervention is the swimming pool in the former coach and stable block. The pool is raised a couple of metres up from ground level meaning swimmers can gaze out the glazed arches into the forecourt – another way to spy on guests arriving. It is a double height space open to a beamed ceiling. Clive and Lynne Sykes, the owners of Catch the Breeze Retreats, have carefully integrated the swimming pool complex into the main house by inserting a discreet extension linking it to the former servants’ wing. There’s a sauna in an old cloakroom space.
Further along the road is the hamlet of Oughtershaw. The Old Schoolhouse has been transformed into Ruskin Hostel. Its listing states, “Coursed limestone and gritstone blocks in contrasting bands, graduated stone slate roof. A rectangular single storey building with three windows on the south side and an entrance bay on the east end. East end: a massive round arch of two orders, with imposts and drip moulding, provides a full height porch. Inside is a shouldered arched board double door with large strap hinges decorated with elaborate leaf motifs. Flanking attached columns support the arch with contrasting coloured voussoirs and the tympanum below has a chi-rho symbol in relief and inscription: ‘LYDIA WILSON WOODD AT PAU 16 JUNE 1856 AGED 32.’” Lydia was Charles Woodd’s first wife.
The building was also used as a meeting house for a rural Methodist congregation. The Woodds were involved in charitable endeavours with true Victorian fervour. The Old Schoolhouse is strongly associated with art critic John Ruskin who visited this area as a guest of Charles Woodd. The architecture incorporates Ruskinian ideas such as horizontal bands of masonry imitating geological layers and deep recessed arched openings. Opposite The Old Schoolhouse is a building known as The Reading Rooms. Dating back to at least the 18th century, this is Catch the Breeze Retreats’ latest portfolio addition. A dash of colour amongst all this stone is the red telephone box for emergencies.
But the only emergency is to get back to that terrace at Oughtershaw Hall for a glass of Ribeauvillé Riesling as the sun sets.
Fàilte! It’s the country house that never quite was. No Wonder Mark Bence-Jones gives it short shrift in his 1988 Guide to Irish Country Houses: “A 19th century castle with a long two storey battlemented front, having a central polygon tower with a pointed Gothic doorway and a pointed window over, and a round tower at each end, five bays on either side of the centre.” Dungiven Castle has spent most of its life as a ruin albeit a picturesque one at that. It has forever resembled a rather grand stable block too. Despite a chequered past, this historic structure has proved itself to be truly sustainable forever being resurrecting as an architectural phoenix. Not many buildings have been a country house for a few years, a ruin for a few centuries, an army barracks, a dance hall, a hotel then an Irish language school. Sláinte!
The word “castle” is surely the most flexible in the architectural lexicon of Ireland. Doe Castle in Creeslough County Donegal is the real McCoy or at least the real MacSweeney: all medieval keep and working battlements. Keeps with Georgian houses would later become a genre. Ballymore Castle in Laurencetown County Galway is an example of a medieval tower house with an 1800s two storey house hugging it. Dungiven Castle belongs to an early 19th century Georgian gothic toy fort tradition which includes Carrowdore Castle in County Down (or at least the original one not the postmodern replacement) of 1818.
The other certainty is that an Irish castle is never quite what it seems. Dungiven Castle may have been built by Anglo Irish landowner Robert Ogilby between 1836 and 1839 but of course it goes back much much further. He died before its completion which explains an unusually speedy transition to ruinous status. The first castle was built by the O’Cahan family. It included a keep with round towers fitted with gun ports and earthworks defences. During the Flight of the Earls in 1607 the Clan Chief, Sir Donnell O’Cahan, was implicated in treason and had his lands and titles confiscated, including Dungiven Castle. Some time after the Plantation of Ulster, Robert Ogilby plonked his castle on top of the ruins of his predecessor’s.
It was a two day conference investigating the cultural and commercial migrations of 18th century French boiseries from their places of production in Paris and the Bâtiments du Roi to the drawing rooms of Britain and America. The first major study of boiseries in the context of transatlantic cultural history was appropriately held at Camden Place outside London, a country house with a history and interior shaped by the migration of people and decoration over four centuries.
Dr Lindsay Macnaughton of the University of Buckingham, who organised the conference with Laura Jenkins of The Courtauld Institute of Art, opened the conference: “We are marking the death of Napoléon III here 150 years ago. The name ‘Camden’ evokes somewhere that doesn’t exist anymore, Château de Bercy.” We are in the dining room of Camden Place which is lined with boiseries from that château. “The scattered surviving evidence of the architectural vestiges of lost houses continue to live and breathe. These panels possess a sense of scale, of shared taste, the layering of history. From an historical perspective boiseries have always, in a sense, been mobile. In the 18th century, Parisian joiners and carvers travelled to locations outside the city to install panelling. Entire decorative schemes were sent abroad to Germany, Spain and Latin America. Shifting fashions and continual reallocations of appartements at Versailles set into motion near ceaseless rotations of décors, including boiseries.”
Her colleague Dr Thomas Jones spoke next on ‘Camden Place as a Headquarters of Bonapartism 1870 to 1879’. “The movement of boiseries is the movement of people and their things, of exile, of friendship. There were nine glorious years of Bonapartism at Camden. This house was ideally located close to ports and accessible to London by rail and the local church is Catholic. Eugénie and her son Louis Napoléon established a household of 62 while they waited for Napoléon III to join them. The year after the Emperor’s death, the Imperial Prince’s 18th birthday had a sense of massive celebration with 4,000 guests. Could there be a Third Empire? Both Napoléons had overthrown Republics, curbing the excessive influence of Paris with provincial assemblies. Their shared dynamic was one of dramatic action, over reach and disaster.” The potential Napoléon IV was killed serving for the British army in Zululand in 1879.
The 48 hours (or 72 if you add the pre and post celebrations) spent at Camden Place were full of highlights. As Lee remarked, “There are so many luminaries in this room we hardly need the lights on!” The after lunch graveyard slot on the second day was anything but dead. Here are just some of the quickfire lines of Dr Mia Jackson, Curator of Decorative Arts at Waddesdon Manor, on ‘Contextualising the Rothschild collection of panelling at Waddesdon Manor’: “Waddesdon was originally meant to be twice as large. Think of how more stuff we could have fitted in! It’s like a Parisian townhouse albeit one that has been smoking opium. This is a brief segue into how obsessed I am with the house. If Waddesdon is a stage, boiseries aren’t scenography, they’re actors. The West Hall has some stonking panelling from Palais Bourbon. With the added excitement of carved cats! The Green Boudoir panelling is from Hôtel Dudin and has frankly bonkers iconography. The men ate their first meal of the day in the Breakfast Room while the ladies ate breakfast in bed as is right and proper.”
The most recent biography of Napoléon III is The Shadow Emperor by Alan Strauss-Schom (2018). Colourful extracts include: “a red blooded young man bent on adventure and excitement, and this, combined with an unquenchable idealism, was bound to resurface at the next opportunity … the young man continued to dream in a world of his own … Queen Hortense was without doubt the most influential person in Louis Napoléon’s life, inculcating his moral and spiritual values, strengthening his ego, and enforcing his determination to achieve supreme power … Louis Napoléon spent every day at her bedside. ‘My mother died in my arms at five o’clock in the morning today,’ he wrote his father on 5 October … As for the mourning 29 year old Louis Napoléon, his was a grief that would never disappear.”
“Downing Street gave Louis Napoléon permission to come to England, and the great houses of the capital opened their doors to offer him a warm welcome once again. The prince settled in at the spacious and fashionable 17 Carlton House Terrace, Pall Mall, overlooking St James’s Park. The prince’s second and last principal residence was at nearby 1 Carlton Gardens, a large, handsome, white two storey corner house, now the Foreign and Commonwealth Officer, then owned by the wealthy and influential Frederick John Robinson, the Earl of Ripon.”
“Although the French have never had clubs on as large a scale as the English, and never replicating the ambience and purpose of English clubs, Louis Napoléon himself was a natural ‘club man’ and a frequent visitor to the Athenaeum, Brooks’s, and especially the Navy Club … The key to Louis Napoléon’s private and public life was a modest gentleman rarely mentioned by historians, but whose real role was fundamental to everything … naturally he took his pleasures seriously, which centred more and more around Gore House, Kensington (on the site of Albert Hall). There the lovely Marguerite Gardiner, the Countess of Blessington, resided with her dissolute, effeminate lover and Parisian playboy, the talented painter and sculptor Alfred Count d’Orsay dubbed ‘the Archangel of Dandyism’ by Lamartine.”
“Chislehurst Golf Club was founded in 1894,” explained Peter, “We have an 18 hole course in 70 acres of beautiful parkland.” He expressed his compliments on the star studded array of speakers at the conference and summarised the French connection: “On 9 January 1873 Napoléon III, France’s first President and last Emperor, died here at Camden Place. His funeral was a huge event attracting tens of thousands of mourners from France and England. For a combination of reasons his less than ordinary life has been largely eclipsed by his famous uncle. He lived at Camden Place for less than two years but he certainly made his mark! Chislehurst is proud to celebrate its French Imperial heritage and this week we remember the man who gave France 22 years of stable government and economic growth.” The Chairman also remarked that one of the guests, who works for a housebuilder, observed the golf course would make a great housing site.
Mark Bence-Jones’ tome A Guide to Irish Country Houses, 1978, unusually misses out Killeavy Castle. Its architect George Papworth (1781 to 1855) moved from London to work in Dublin. There’s an entry for another of his works, Middleton Park in Mullingar, County Westmeath: “A mansion of circa 1850 in the late Georgian style by George Papworth, built for George Augustus Boyd. Two storey six bay centre block with single storey one bay wings; entrance front with two bay central breakfront and single storey Ionic portico. Parapeted roof with modillion cornice; dies on parapets of wings. At one side of the front is a long low service range with an archway and a pedimented clocktower. Impressive stone staircase with elaborate cast iron balustrade of intertwined foliage. Sold circa 1958.”
Middleton Park is very well restored as a hotel; another of the architect’s houses is not. Kenure Park in Rush, County Dublin, is included in The Knight of Glin, David Griffin and Nicholas Robinson’s 1988 publication Vanishing Country Houses of Ireland, “A large early to mid 18th century house altered circa 1770 when the two large drawing rooms were created. These rooms had magnificent rococo ceilings and carved doorcases, that on the ground floor having a superb Doric chimneypiece. The house was altered and enlarged again in 1842 for Sir Roger Palmer Baronet, to the design of George Papworth. Papworth refaced the house and added the granite Corinthian portico. He also created the entrance hall, the library and the central top lit staircase hall. The house was sold in 1964 and became derelict before its demolition in 1978. Samples of the rococo ceiling were saved by the Office of Public Works. Only the portico remains.”
Nick Sheaff, the first Executive Director of the Irish Architectural Archive, recalls a visit to Kenure Park: “My first impression was of a mansion conceived on ducal scale in Greco Roman style. In reality it was a stucco refacing of a mid-18th-century three-storey house, skilfully realised by George Papworth in 1842 and fronted by his great Corinthian porte cochère of limestone. It had stylistic echoes of Nash’s work at Rockingham, County Roscommon, and the Morrisons’ work at Baronscourt, County Tyrone. Kenure had a remarkable interior, with two magnificent rococo ceilings of circa 1765 in the style of Robert West. The majestic top lit stairhall by George Papworth had a double-return staircase with a decorative cast-iron balustrade painted to resemble bronze, and walls marbled to suggest Sienna marble blocking as at Benjamin Dean Wyatt’s York House, St James’s in London (now Lancaster House), completed in 1840. When I visited Kenure in 1977 with Rory O’Donnell the house was derelict, open to the elements and to vandalism. It was demolished in 1978 with only the great porte cochère left standing. Kenure had contained some exceptional English furniture of the mid-18th-century, including pieces attributed to Thomas Chippendale, Pierre Langlois, and William and Richard Gomm.” A Chippendale cabinet, commissioned by Sir Roger Palmer for Castle Lackan in County Mayo, and formerly at Kenure Park, was sold at Christie’s in 2008 for £2,729,250.
George Papworth, typical of his era, was able to fluently design in a multiplicity of styles, from the neoclassicism of Middleton Park and Kenure Park to the Tudor Gothic medieval castellated Killeavy Castle. The latter’s setting is majestic, backing into the hillside of the Slieve Gullion and commanding a panorama across the green basin floor. The castle is now a wedding venue and forms the star in a galaxy of 140 hectares of forest, farm and formal gardens. It stands in isolated splendour rising over its battlemented apron of a terrace like a fairytale in granite. In line with best conservation practice, the ‘enabling development’ contemporary hotel and spa accommodation is kept away from the main house. No sprawling 20th century type extensions here. The Listed coach house and mill house were restored and five less important farm buildings demolished and replaced with newbuild around a courtyard roughly filling the original footprint. The mill fountain and pond form eyecatchers framed by the large single pane windows of the hotel. Owner Mick Boyle, locally born then raised in Australia, returned to his homeland and together with his wife Robin and four children took on the immense task of restoring and rejuvenating the castle and demesne. He explains,
“The environment around us inspires all that we do at Killeavy Castle Estate. Everything has a purpose. We put much thought into what we grow, buy, use and reuse. We’re restocking our woodland with native oak to restore habitat diversity. And creating forest trails to bring you closer to nature. We farm sustainably too. Traditional local breeds of Longhorn cattle and Cheviot sheep graze in our pastures. Whenever possible we use fresh ingredients foraged, grown or raised right here, in our fields, forests and extensive walled and estate gardens. We make our own jams, preserves and dried foods. We smoke, age and cure our own meat so that bounty can be savoured year round in our restaurants and farmshop. We support our community by sourcing 90 percent of what we serve and sell from within a 32 kilometre radius. Even the seaweed adorning Carlingford oysters ends up fertilising our strawberry plants. And slates have a second life as plates. We’re always finding inventive ways to meet our sustainable target goal of being carbon neutral by 2027.”
The Boyles’ architect was Patrick O’Hagan of Newry. In the planning application of 2014 (which would be approved a year later by Newry and Mourne District Council) he explained, “The Grade A castle will be repaired and fully restored adapting current conservation techniques and standards. Interventions to the Listed Building will be minimal. The works to the Listed Building will be under the direction of Chris McCollum Building Conservation Surveyor, working in conjunction with Patrick O’Hagan and Associates Architects, and other design team members. A 250 person detached marquee will be sensitively positioned to the rear of the castle, excavated into the hillside and suitably landscaped to ensure it does not detract from the setting of the Listed Building or the critical views from the Ballintemple Road.” A discreet wheelchair ramp to the entrance door is just about the only element Powell Foxall wouldn’t recognise. The entrance hall leads through to two formal reception rooms with further informal reception rooms now filling the basement. The first floor has a self contained apartment including a sitting room, dining kitchen and three bedroom suites.
Patrick O’Hagan continued, “The hotel will have its main entrance located in the Listed coach house and will be restored under the direction of the conservation surveyor working closely with the architect. The lean-to Listed structures and the old mill building will be restored and form part of the hotel accommodation. The design carefully maximises the benefits of the steeply sloping site, sloping to the east, which ensures that the new three story hotel building’s roof level is some six metres below the floor level of the castle. The flat roofs of the hotel will be appropriately landscaped to present a natural ‘forest floor’ when viewed from the castle and terrace above.”
And concluded, “The layout of the hotel provides important views to the castle, the restored walled garden and distant views of the surrounding demesne and beyond making travel in and around the hotel an experience in itself. The restaurant, lounge and kitchen areas are vertically stacked on the northern elevation but the public areas also address the internal courtyard providing a southerly aspect and natural solar gain. Views up to the castle from the restaurant and lounge areas are a critical element of the design and will ensure a unique ambience. The courtyard level bedrooms are externally accessed directly from the landscaped courtyard and internally via passenger lifts. The remaining bedrooms are designed with both courtyard and east elevation views.”
Sustainability was a theme of the construction as well as the ongoing running of the hotel. “A limited palette of materials is proposed in the new building work. The use of granite cladding and larch boarding reflects materials naturally occurring on the site. The larch boarding will be painted with a water based wood stain to emulate the great boughs of the adjacent ancient beech, lime and sycamore. The organic masonry water based paint colours will be selected to tone with the woodland setting. All construction materials will be 100 percent recyclable.” Sustainable operational features for the 45 bedroom hotel include a woodchip boiler harvesting waste timber from the demesne and collecting and reusing rainwater.
Kimmitt Dean records in The Gate Lodges of Ulster Gazetteer, 1994, “South Lodge circa 1837 architect probably George Papworth; demolished. A painting in the Armagh Museum indicates what was a contemporary and unassuming gatelodge at the end of a straight avenue on an axis with the front door of the ‘castle’.” Not content with simply restoring the castle, the Boyles commissioned Templepatrick based architects Warwick Stewart to dream up a suitably romantic replacement gatelodge. The result is a convincing neo Victorian country house in miniature faced in stone, dressed with cut granite, and dressed up with bargeboards. The gatelodge provides self contained guest accommodation of two bedrooms over a sitting room and dining kitchen.
Kevin Mulligan provides a detailed account of the castle in The Buildings of Ireland: South Ulster, 2013. Highlights include: “A delightful toy castle rising above a castellated terrace… remodelled in 1836 … In both architecture and picturesque effect the design recalls Charles Augustus Busby’s dramatic Gwrych Castle near Abergele in Wales … a lot has been achieved in a small compass: by the addition of an entrance tower, corner turrets, stringcourses, battlements, attenuated slits, flat label mouldings and mullioned windows, what was effectively a decent farmhouse has been impressively transformed … The tall narrow doorway is flanked by stepped buttresses, the door an ornate Gothic design bristling with studs and set under a Tudor arch and a machiolated bay window with three round lancets. The Foxall arms are displayed in Roman cement on the upper stage.” George Papworth’s client was Powell Foxall even though the Newry bank his family co founded, Moore McCann and Foxall, had folded two decades earlier.
And adds, “There is little dressed stonework in the design, and Papworth’s additions are distinguished from the rubble of the 18th century work by rough ashlar blocks – of limestone rather than the local granite – with wide uneven joints. On the side elevations, presumably as an economy, he concealed the old wall by replicating the newer pattern in stucco, using a composition render, as he had done at Headford (County Galway) in 1829.” Really it’s an attractive 1830s pre Gothic Revival version of Gothic.
The castle started life as an 18th century two storey over basement villa of the rectory size, with a three bay entrance front and a bow window in the centre of the rear elevation. George Papworth mostly retained the symmetry and plan, adding a square tower to each corner except for a circular tower to the rear northwest corner which rises an extra storey. A bathroom now occupies the top floor of the tallest tower. Charmingly, the Gothic carapace cracks on the rear elevation to reveal glimpses of the earlier house. Less charmingly, well for the Foxalls anyway, this was probably down to that age old issue of running low on funds. Earlier sash windows still light the bowed projection.
It’s hard to imagine the perilous state of Killeavy Castle until the Boyles came to its rescue. Imagination turns to reality in a lobby of the hotel: a gallery of photographs shows the ruins. St Luke’s Church of Ireland in the local village, Meigh, hasn’t been so lucky. At first glance it could be mistaken for another George Papworth commission, an offshoot of the castle. But Kevin Mulligan confirms that it is an 1831 design by the prolific Dublin based architect William Farrell. “A variation of the design for the churches of Clontribret and Munterconnaught. A small three bay hall with Farrell’s familiar pinaccled belfry and deep battlemented porch. The walls are roughcast with dressings of Mourne granite, nicely displayed in the solid pinnacle topped buttresses framing the entrance gable and porch. The windows are plain lancets with hoodmoulds, made impossibly slender on either side of the porch. Inside, the roof is supported on exposed cast iron trusses.”
Those trusses now compete for space with trees growing up the aisle. “The roof of the Protestant church in Meigh was only removed 15 years ago,” says Derek Johnston, landlord of Johnny Murphy’s pub and restaurant in the village. A trefoil arched plaque set in a high pedimented gravestone reads: “In loving memory of William Bell who died on 10 March 1896 aged 75 years. Margaret Bell wife of above who died 2 November 2016. Dr Margaret Boyd who died 21 August 1906. Joseph Priestly Bell who died 24 August 2013. John Alexander Bell who died 15 November 1928. Elizabeth Anne Bell who died 27 May 1951. John Alexander Bell who died 1 July 1957. George Reginald Bell who died 16 July 1957. George Reginald Bell who died 16 July 1972. Henry Wheelan Bell who died 30 October 1973. Phyllis Maureen Bell died 7 July 2000.” Their ancestor, Joseph Bell, had bought Killeavy Castle in 1881. Phyllis Maureen Bell was the last of the line to own the castle.
Charlie Brett had big concerns yet high hopes for Killeavy Castle, “It is now, alas, empty, and in poor order, the victim both of vandalism and of burglary, though many interior features appear to survive – including even some of the original wallpaper … It richly deserves its classification as one of only a handful of buildings in Category A in the county … Dare one hope that happier days may come, and that this delightful building might, in some shape, become a showpiece of the Ring of Gullion?” Happier days are here, and this delightful building has, now in shipshape, become a showpiece of the Ring of Gullion.
Long time resident and Secretary of the Chislehurst Residents’ Association from 1966 to 1974, Mary Holt was committed to the architectural research of her local area. In 1991 her definitive study of Chislehurst Conservation Area was published. Two of the most beautiful gated roads in this leafy location are Camden Park Road and Yester Park, both lined with villas designed to induce envy. The former borders Chislehurst Golf Club while the latter forks away to straddle a ridge. This is outer suburbia at its finest.
Mary’s introduction states, “Indeed Chislehurst grew up as a scattered village centred around its various commons, surrounded by large country estates, and did not outgrow its hilltop site until mid Victorian times. After the construction of the railway in 1865, however, it became a fashionable suburb for London businessmen, while in 1870 the French Imperial Court took up residence in exile at Camden Place. Sadly, World War II left its mark on Chislehurst: a surprising number of Victorian buildings and earlier properties were destroyed or damaged by bombs, thus providing the opportunity for more intensive development.”
She comments, “The special character of Camden Park Road lies in the contrast between the undeveloped park-like nature of the golf course to the north and the largely built up backcloth of substantial houses to the south. The road is developed for the major part of its length with substantial detached houses, but on the northern side of the road frontage development stops at No.23. The edge of the golf course is well treed, giving this part of the road a very rural appearance although the housing development continues on the other side of the road. The road has an attractive character of a high class residential area in which the landscaping forms a prominent and important part of the street scene.”