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Architects Architecture Art Design Developers People

Concertgebouw Bruges + Amazings Lego

Hartelijk Bedankt

Johan Creytens, the owner of Hotel Heritage, one of the city’s most prestigious addresses, recommends, “It’s always worth checking the cultural calendar for concerts at the Concertgebouw.” And it’s always worth walking the Concertgebouw Circuit. This is a route up ramps inside the building, taking in visual art and sound installations, before climaxing on the roof terrace.

It’s a breath of modernity amidst medieval monuments under the unrelenting regard of the winter sun. On the edge of the historic centre en route to the railway station, Concertgebouw provides an invigorating visitor experience. Ghent architect duo Paul Robbrecht and Hilde Daem won the design competition in 1999 and just three years later the first performance was held in the 1,289 seater concert hall. Paul says, “We definitely didn’t want to build a plush building so we went for concrete to create both acoustics and silence. Massive, solid, heavy. We have no problem with keeping concrete visible: it doesn’t have to be camouflaged.” The concert hall and arts centre in stats: the exterior is clad with 68,000 terracotta tiles and each year 3,000 artists take part in 165 performances in front of 140,000 audience members.

Hilde explains, “The Concertgebouw lives at the intersection of many worlds: the city, the square, nature. Each of its elevations may appear to be different but all of them work together as a whole and share a common feature of transparency. Through their large and small windows, the outside world can look in.” Paul adds, “Our main source of inspiration was historic Bruges. It was a challenge to create a reclining body that had to coexist alongside those venerable city towers, especially the mighty brick tower of the Onze Lieve Vrouwekerk, or Church of Our Lady.”

Georges Rodenbach writes in his 1892 novel Bruges-la-Morte about the “misty labyrinth of the streets of Bruges”. The urban maze between the towers of Bruges is on full show from the roof terrace on top of Concertgebouw. Johan comments, “I was born here and sometimes still discover new buildings or alleys between the landmarks. A landmark isn’t a landmark unless it’s been recreated in Lego. And so Dirk Denoyelle, who runs a team of Lego artists in Flanders called Amazings, has designed a 185 piece Lego set of Concertgebouw. It joins the likes of Ashford Castle (County Mayo), Leadenhall Building (London) and Stadsmuseum (Ghent) in relishing this honour.

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Architecture Design People

Bruges + Windmill

Bedankt

“Wishing you a visit filled with cultural wonders and thrilling adventures! May your travels be a tapestry of diverse experiences, weaving joy and unforgettable moments. Here’s to exploring new traditions, savouring local flavours and discovering the beauty of our world.” Johan and Isabelle Creytens and their team, Hotel Heritage, Boutique Hotel Club Member, Bruges

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Architects Architecture Art Country Houses Design Developers Luxury People Town Houses

Adornes Estate + Jerusalem Chapel Bruges

Filled With All God’s Virtues

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

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

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

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

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

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

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

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

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Architecture Design

Bruges + Wolf Moon

An Ouroboros of Dynamic Energy

“There’s no moon, no moon in Paris,” croons Marianne Faithfull. But there’s a moon in Bruges tonight – and tomorrow’s dawn. Georges Rodenbach records in his dark thriller of 1892 Bruges-la-Morte “a second moon traced on the surface of the water” of the myriad canals of the Burgundian metropolis. It’s St Brigid Day’s Eve.

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Art Design

Queen Astrid Park Bruges + Bust

Bray

A sort of wild dyarchy, a nascence of garnered plaudits.

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Architects Architecture Art

Églises Notre Dame aux Riches Claires + Notre Dame du Bon Secours Brussels

The Dress is Fine

La Cathédrale by Joris-Karl Huysmans, 1898: “À Chartres, au sortir de cette petite place que balaie, par tous les temps, le vent hargneux des plaines, une bouffée de cave très douce, alanguie par une senteur molle et presque étouffée d’huile, vous souffle au visage lorsqu’on pénètre dans les solennelles ténèbres de la forêt riède.”

St Brigid is, along with St Patrick and St Columcille, one of the three saintly Patrons of Ireland. The Feast of St Brigid is celebrated on 1 February and ushers in spring. True to form, in Brussels on the eve of St Brigid’s Day it is fresh and sunny. The hustle and bustle of the city disappear behind the closed doors of the hallowed spaces devoted to Our Lady. Notre Dame aux Riches on Rue des Riches Claires (or Rijkeklaren Straat if you’re Dutch) is a baroque brick church built in 1665 to the design of architect Lucas Faydherbe. A block away on what is fancifully signposted Rue Tigresse Blanche (Witte Tijgerin Straat if you’re Dutch), Notre Dame du Bon Secours is of a similar style and vintage but with a stone exterior.

La Cathédrale: “Cela depend de Vous, assistez-le dans sa pénurie, pensez qu’il ne peut rein sans votre aide, bonne Tentratrice, Notre Dame du Pilier, Vierge de Sous-Terre!”

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Design Restaurants Town Houses

Scheltema + Bouillon Bruxelles Restaurants Brussels

Sprouts

You can repeat the past, from croquet to coquetry. Sort of. Fresh from a party across two private rooms in The Garrick Club, London, dining with more titles than a Daunt bookshelf, Lavender’s Blue are off on the next Eurostar to Brussels. After some muscles, time for some mussels (later there will be some truffles). Shock, horror, the longstanding brasserie Scheltema, which we last visited in February 2013, is now history except for its first floor façade sign. Fortunately in December 2023, Bouillon Bruxelles opened in Scheltema’s airspace. Chef de Cuisine, Alexandre Masson, tells the tale,

“Born around 1850 in the heart of Paris in Les Halles district, the concept of Bouillons, created by Baptiste-Adolphe Duval, offered revitalising and quality cuisine. This project encountered a great success with numerous establishments in Paris and throughout the entire country. The Bouillons were renowned for their efficient management and iconic locations. Inspired by the Parisian concept, Bouillon Brussels, the first of its kind in Belgium, naturally established itself in the heart of the Ilôt Sacré, an historic district also known as the ‘Belly of the City’. Bouillon Bruxelles thus perpetuates the rich culinary heritage of Belgium’s poplar cuisine.”

Lavender’s Blue are in a rush (always) so it’s all about the entrées this afternoon. For frois, sardines a l’huite d’olive dans la boite (€9.90) and for chaud ravioles de langoustines (€12.20). A carafe of Côtes de Cascogne Marines 2023 (€10.80) pleasantly hints at deflation. The sinewy Art Nouveau décor has been given a lick of paint and a spray of polish so is still comfortingly familiar. So is the food. Déjà vu, déjà mangé. Chef Francisco strikes a pose by the shellfish. Then it’s a dash to spend cash in Les Galeries Royales Saint Hubert. Still such fun.

Back in time to Scheltema. While the horses for (main) courses saga runs amok across Britain (Shergar has turned up served on a plate), Lavender’s Blue decided it was time to cross the channel to brunch in equestrian mad Brussels. This may sound like the best idea since Patty Hearst thought she’d call by a San Fran bank armed with a semiautomatic, but bear with. Destination known: Scheltema, a seafood brasserie. In the lexicon of dining spaces, this is the Belgian capital’s written answer to London’s J Sheekey. Every cloud, and all that.

Understated frontage along Rue des Dominicains, a five minute stroll from Grand Place, belies its pedigree, the silver lining. More Art Nouveau than nouveau riche, Scheltema has been a favoured dining spot of the Almanach de Gotha and the like for the last 30 years. La Belle Époque never ended – it’s forever la Fin de la Siècle in this discreet part of Ilôt Sacré.

Beyond the awnings, the interior is an indulgence of rich wooden panelling, brass railings, leather seating and rows of green shaded hanging lamps reflected in oval mirrors. At the rear of the restaurant, Thierry and Christian, the ebullient Chefs, create a buzz in the open kitchen overlooked by diners. The service is equally energetic and fun.

The menu combines classic dishes with dancingly delicate dashes of individuality. Highlights include shrimp croquettes with fried parsley (€14); pan sautéed scampi with garlic (€20); and crisp Nobashi shrimps, sesame oil and butter (€19). Washed down with pinot gris Ma der d’Alsace, 2011 (€32). Coffee is served with a box of Biscuits Belges Artisanaux.

Place du Grand Salon, on the far side of Grand Place, provides the perfect setting for an early afternoon walk. At the weekend, stripy antiques stalls spring up under the watchful gothic grandeur of Église Notre-Dame de la Chapelle. Further uphill is its little town planning sibling, Place du Petit Sablon. Narrow streets climb past a wedge shaped garden, statuary framed against a verdant backdrop, up to the neoclassical façade of Palais d’Egmont. Once the seat of the Princes of Arenberg, it now houses the Belgian Ministry of Foreign Affairs. Such fun.

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Architecture Country Houses People

The Darlings + Crevenagh House Omagh Tyrone

The Demise of a Demesne

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Architects Architecture Art Country Houses Design Developers People Restaurants Town Houses

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

Whatever It Takes

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

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

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

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

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

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

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

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

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

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

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Design Luxury People Restaurants

Ignite Group + Senkai Restaurant Piccadilly London

Orient Impress

In the Roaring Twenties, architect Sir Reginald Blomfield completed the part of John Nash’s masterplan for Regent Street adjoining Piccadilly Circus. Known as The Quadrant, the lower floors are punctuated by round arched windows set between rusticated piers. The ground floor rectangular portions of the windows serve shopfronts but the more observant passerby will note that a mezzanine level is lit by the half moon portions above. These lunette windows illuminate another world, far removed from the humdrum of shoppers and workers below. Walk under Sir Reginald’s Doric columned miniature boulevard in the sky, enter an elegant doorway on a side lane, ascend a winding flight of stairs, and beyond lies Senkai.

This is the most recent addition to the Ignite Group, the 1998 brainchild of entrepreneurs Matt Hermer and Paul Deeming. Ignite’s portfolio also includes Boujis private members’ club and Bumpkin bar and restaurant, both in South Kensington. And who did we recently see enjoying Marlborough Lights on the Old Brompton Road terrace of Bumpkin? Why, Prince Harry and his girlfriend Chelsy Davy! Opened in September 2011, Senkai is the latest Japanese themed restaurant to hit London’s West End. A DJ plays on Thursday and Saturday nights to attract a young hip crowd. Low ceilings, as mezzanines tend to have, accentuate the intimate clubby ambience.

Matt says, “Modern Japanese restaurants are a true trend in London. Through my travels, the Orient has been a great inspiration so it made sense as a next step for Ignite. We wanted to reduce the formality of Japanese restaurants with Senkai. We serve food in the lounge where a range of fabulous cocktails are mixed to complement the food.”

The long low dining room (125 covers) is punctuated at one end by a cocktail lounge (30 covers) and at the other by a circular marble raw seafood bar (20 covers). A mix of relaxing seating includes red banquettes, flower shaped stools by Pierre Paulin and Tosai lounge chairs made on the Japanese island of Hokkaido. Solid sycamore dining tables are by Benchmark. Bronze de Gournay hand painted wallpaper sets the scene. The ceiling is enlivened by illusory domes with subliminal lighting; Moooi Random LED floor lights throw patterns across the woven flooring. A 1961 floor light from Miguel Milá and a Tripode floor lamp from Santa and Cole add further interest. Interior design was by Christopher Prain, Head of Creative Design at Christopher Chanond, with lighting and furniture mostly supplied by Conran Contracts. Contrast and colour is the dual theme of the decoration and, as will be revealed, out the food. The Executive Chef is Tim Tolley, formerly of Plateau restaurant in Canary Wharf.

In keeping with Ignite Group’s policy on ethical food sourcing, at least three quarters of the fish on the menu is sourced from British day boats or organic farms. The remaining fish is sourced from sustainable worldwide suppliers including yellowtail kingfish from Australia and cobia from Vietnam. Game on the menu is a reminder this is England. edible works of art, polychromatic feasts for the eyes and mouth, arrive on simple white plates and bowls. Highlights from the Autumn Taster Menu include Chef’s Sashimi (yellowtail, salmon, sea bass, sea bream and scallops) and Curried Cabbage Gyoza (dumplings). Crab and Langoustine Ceviche (with mung bean noodles), a Toasted Day Boat (white fish tartare with sesame) and Cobia Umeboshi Samphire are other specialities. Warm dark Chocolate Fondant is served with colourful ice cream (green tea, cherry and vanilla flavoured) perched on a block of ice. Game on the menu (grouse, duck and quail) is a reminder that this Far East haven is in fact in England. The service is seamless and rather aesthetically pleasing. Some fine sommelier steering too.

Like the Roaring Twenties, Senkai revels in the social, artistic and multicultural dynamism of the English capital. Dance music may have replaced jazz and models dine here instead of flappers, but the mood behind Sir Reginald’s sober neoclassical façade is still chilled and decadent. The city has turned full circle. And that was how the review ended 13 years ago.

Alas Senkai didn’t make it to the New Roaring Twenties. Six months after our review, the restaurant went into liquidation. It’s strange as the Ignite Group were successful across a range of ventures, the interior was top notch, the food top quality and the service top drawer. The location, despite being a sushi roll’s throw from Piccadilly Circus is discreet (that side lane and mezzanine) but Hawksmoor steak restaurant has been doing well since November 2012 in the same place and space.

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Sammy Leslie + Castle Leslie Glaslough Monaghan

The Rear View 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Architecture Country Houses Design Developers People Restaurants Town Houses

Glaslough + Castle Leslie Village Monaghan

The Blurring of the Lines

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

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

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Architects Architecture Design Developers People Town Houses

Lady Mico’s Almshouses + York Square + Half Moon Theatre Limehouse London

The Whole of It

Limehouse is known these days for its contemporary high rise Thameside developments but venture inland and you’ll soon discover this part of east London is steeped in history. The grounds of St Dunstan and All Saints Church cover almost three hectares – as an outer suburb of historic London with space to spare they were used for mass burials during the Great Plague of 1665. More recently, the original Chinatown was in Limehouse so up until the 1970s that’s where you headed to for some mapo tofu.

Opposite the church are Lady Mico’s Almshouses. She was the widow of Sir Michael Mico, a mercer who traded across the Mediterranean in the early to mid 17th century. Known for her charitable works, Lady Mico left a bequest in her 1670 will for the building of the almshouses which were completed 21 years later. The terrace was rebuilt in 1856 to the design of George Smith for the Mercers’ Company. Greyish white brick (darkened with age) distinguishes it from the surrounding mainly red brick houses. The end houses are entered from the side elevations and the eight houses in between have paired porches, so giving the illusion of being four double fronted cottages. Three of the houses were carefully rebuilt in 1951 after being destroyed in World War II.

In 1823 a surveyor George Smith drew up plans to redevelop the area to the south of the almshouses. The land was also owned by the Mercers’ Company, the guild for dealers in textiles. Just five years later, the development was completed. York Square with its leafy green forms the focal point of a grid of streets. The red brick terraced houses are mainly two bay two storey (apart from mansards on York Square) with front doors opening off the pavement and decent sized gardens to the rear. Butterfly roofs are hidden from the streetscape by parapets, a common townhouse style for London (Roupell Street in Waterloo is unusual for having no front parapets). Rear elevations are surprisingly uniform.

These houses are what the woman on the street or the man on the No.37 to Clapham refers to as “Georgian”. The well proportioned brick facades; the regular street rhythm; the familiar 12 pane sash windows. Except they’re not technically Georgian but really late Regency or very early Victorian. Whatever their categorisation, they’re a lesson in the lost art of townhouse building. Sustainable, efficient and very easy on the eye.

Six of these houses were demolished in 1862 to make way for the Limehouse District Board of Works Offices. The building was designed by the Board’s surveyor Charles Dunch and built at a cost of £5,172 over the following two years. Occupied by the Half Moon Theatre since 1994, this building couldn’t contrast more if it tried to with the surrounding George Smith’s architecture. It’s bombastic in scale (almost double height storeys), style (decorative Italianate) and material (bright stucco).

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

SABBATH PLUS ONE Louis Pasteur Street + The Jaffa Hotel Jaffa Tel Aviv

Love in a Hot Climate

“Now let my lord send his servants the wheat and barley and the olive oil and wine he promised, and we will cut all the logs from Lebanon that you need and will float them as rafts by sea down to Joppa. You can then take them up to Jerusalem.” II Chronicles 2:15 to 16

The sun stands still. Gazing across the Mediterranean shoreline (273 kilometres stretching north to Lebanon and tipping Egypt to the southwest), astonished by our own brilliance, mingling with the coastal elite, we are delighted how well the afternoon has turned out. “You will die! The Jaffa is gorgeous,” coos Parisienne Maud Rabanne, une dame cultivée. “Coucou! Have coffee on the roof terrace. It’s got the best view! The Jaffa is one of my favourite places. It’s fabuloso! C’est la vie! That’s what we say in Paris. We always mean it in a positive way. Montagne de baisirs. Remplie de joie d’amour et de bonheur. Tchin-tchin!” Cinq à sept. Coûte que coûte. Le paradis, c’est les autres.

Moshe Sakal describes a similar view in his novel The Diamond Setter (2018), “Tel Aviv sprawls out on the right, the rocks of Jaffa on the left, and straight ahead lies Andromeda’s Rock, a plain looking rock that juts out of the water with an Israeli flag billowing on its peak.” International architect John O’Connell hints, “Should you arrive at the hotel, go further up and down the hill, as the Roman Catholic church will be on your left, and nearly opposite it is a very fine and abandoned Ottoman building. A robust ensemble. Try to see the internal court, where I have failed to do so! Such supreme life and joy!” Ah, that will be the Old Saraya House taken over by clubbers, bats and thespians. Abandonment begone!

We’re enjoying a Mitfordesque moment (Love in a Cold Climate heated up from 1949) on that terrace: “So here we all are, my darling, having our lovely cake and eating it too, one’s great aim in life.” We’re feeling “very grand as well as very rich”. The pleasures of passing hours. It helps that this heroic hotel is emphatically designed by everybody’s favourite minimalist maestro, master of the monastic John Pawson, along with Israeli architect and conservationist Ramy Gill. Oracle of our own orbit, balancing on a notional pedestal, we don’t need a doctorate in aesthetics to appreciate John Pawson’s masterwork. John O’Connell is on a roll: “Mr P’s oeuvre is so restrained. Everything’s resolved.” It’s a breath of fresh air, or at least an intake of the coolest sea breeze imaginable. Soon we will be expounding riddles with the grand piano and dwelling on Gertrude Stein (Tender Buttons, 1914), “Cold climate. A season in yellow sold extra strings makes lying places.”

The 1870s Saint Louis V Hospital, built by French businessman François Guinet to the design of architectural practice Grebez and Ribellet and managed by the Sisters of Saint Joseph of the Apparition, has been sharply reimagined under John Pawson’s crisply contained direction. Delamination of extant solid form – from the remnants of a 13th century Crusaders’ bastion in the lobby to the peeling paint of the dusky pink loggias – leads to a richly layered intertextual discursively informative spirited patina of the raw and the worked throughout the revelatory restoration and clever conversion and audacious augmentation and sensual solution. Faded lettering over the arched doorways lining the loggias reads: ‘Communaute’, ‘Tribune’, ‘Salle Ste Elizabeth 2me Don Blesses, ‘Salle Ste Clotilde 2me Don Fievreux’, ‘Salle Ste Marie Pensionnaires’, ‘Orphelinat’. As Hans Ulrich Obrist (Ways of Curating, 2014) would interject, “… conversations … are happening between various narratives”.

Beyond the lobby with its Ligne Roset corduroy sofas and Damien Hirst spin paintings and lacquered backgammon tables lies a courtyard garden of sacred and human geometry (an unflowered greenscape) linking the ancient with the old with the new with the futuristic. John Pawson venerates yet challenges the original architecture, creating an unfolding sequence of voids and vistas and virtuosic visions. There’s an endless tightly choreographed play between past and present, architecture and art: a nuanced paradox of togetherness and oneness. As Elizabeth Bowen contends in The Heat of the Day (1948), “To turn from everything to one face is to find oneself face to face with everything.” There lies the definite ascetism – to be freed from oneself. Not even an Israeli Frances Hodgson Burnett (The Secret Garden, 1911) could summon up such discreet walled splendour. Corrugations of percolated sunshine ripple across the stone floor, climbing over chairs, falling over tables. Beyond the courtyard lies the Chapel Bar. The beyondness of many things. This world is our oyster and ours alone. It’s all it’s cracked up to be. Postcard home material. We’re checked in; we’ve checked out. Being here; doing it.

A private paradise. A secret world. A hidden kingdom. Cloistered espaliered sequestered formal glory. The very essence of unexampled exclusivity. If luxury could be bottled … heaven’s scent. A multiple epiphanic realisation of complete beauty. It was as if Elizabeth Bowen was in The Jaffa and not The House in Paris (1935), “Heaven – call it heaven; on the plane of potential not merely likely behaviour. Or call it art, with truth and imagination informing every word.” Marilynne Robinson (When I Was a Child I Read Books, 2012) insists, “Call it history, call it culture. We came from somewhere and we are tending somewhere, and the spectacle is glorious and portentous.”

Ah – the Chapel Bar – from litany and liturgy to luxury and libation, à la carte over elegy, mixology supplanting doxology, heterodoxy replacing orthodoxy, every hour is happy in this soaring sanctuary for sybarites. The only blues are the saturated cerulean hues of the ribbed vaulted ceiling. Beautiful in its loftiness, this bar is an explosion of sizzling rarity, of dazzlingly dilettantish individuality. There are no equals. There were no prequels. There’ll be no sequels. The perfect pitstop to slake your thirst, it’s like being at a house party if all your friends are knowingly sophisticated distractingly gorgeous models or similar ilk rocking new threads inspired by Inès de la Fressange’s (Parisian Chic Encore: A Style Guide, 2019) “haute couture and street style” – Doron Ashkenaz shirts and skin fade haircuts – dancing in eternal graceful circles. In Tel Aviv, kitchen and club are often confused so dancing on tables is de rigueur. A real era catcher: the New Roaring Twenties. Here they come The Beautiful Ones, The Fabulists, The Found Generation, Our Milieu. As befits our subject matter, we’re looking just a little bit sparkly ourselves: all dressed up in Elie Saab attire with somewhere to go; we shall go to the ball. What Roland Barthes (The Fashion System, 1963) calls “the euphoria of Fashion”. All of life has been a dress rehearsal for tonight. For a hot minute we’re running with the fastest set in town. To reference Nancy Mitford’s Don’t Tell Alfred (1963), it’s “high-falutin’, midnight stuff”.

The hotel is all “courtesy clouds” and “honeyed luxury” in a “rococo harmony” straight from The Diamond as Big as the Ritz (Frances Scott Fitzgerald, 1922). Average doesn’t exist in The Jaffa: it’s Lake Wobegon for real and we’ve got a majestic waterside view. Such is the alchemic segue! And who should know better than us? We’re qualified connoisseurs of fabulousness with diplomas in decadence, bachelors in brio and masters in magnificence. Very Bright Young Things. We’re taking the advice of Frédéric Dassas, Senior Curator of the Musée du Louvre Paris. During the Remembering Napoléon III Dinner at Camden Place in Kent he guided us: “Be part of the room; don’t just go through it.” The Chapel Bar is full of “people one should know” to channel Dorinda, Lady Dunleath. She would say, “It’s wild!” The glitter of this mirage. “Every generation has to keep the party going,” Her Ladyship always remarked in her Belgravia meets Ballywalter accent.

Morning figs and evening chocolates bookend a day’s room service. “Upstairs is crazy with dreams or love,” purrs Elizabeth Bowen (The House in Paris again). Guest suites breathe and stretch and sprawl across six uncrowded unhurried unparalleled bedroom floors, arabesque honeycomb filigreed screens flung open to the birds tweeting roosters crowing leaves rustling church bells peeling Saint Michael’s Greek Orthodox School pupils singing car horns honking cacophony. Deliciously diffused light seeps through the open window conjuring up a crimson carpet of crushed rubies. Devoid of demanding garniture or frivolous flotsam and jetsam, passing on the passementerie, the sole artwork in our bedroom is an orange tree captured by Israeli photographer Tal Shochat. Scholar Rebecca Walker educated us at the Remembering Napoléon III Dinner: “Eugénie, Empress of the French, had a fondness for knickknacks.” The unfussy décor of our bedroom would raise her imperial chagrin. A slanted mirror doubles as a reflection of perfection and a television. The perfumed aroma of jasmine and honeysuckle intensifies in the dying heat of a balmy summer day. And so to bed. Looking back, much later, like Frances Scott Fitzgerald’s character John we “remembered that first night as a daze of many colours, of quick sensory impressions, of music soft as a voice in love, and of the beauty of things, lights and shadows, and motions and faces”. Elizabeth Bowen’s line in To The North (1932) haunts us still: “this evening had an airy superurbanity”.

“… and he has filled him with the Spirit of God, with wisdom, with understanding, with knowledge and with all kinds of skills – to make artistic designs for work in gold, silver and bronze, to cut and set stones, to work in wood and to engage in all kinds of artistic crafts.” Exodus 35:31 to 33

(Extract with alternative imagery from the bestseller SABBATH PLUS ONE Jerusalem and Tel Aviv).

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Architects Architecture Art Country Houses People

Hilton Park Scotshouse Monaghan + William Hague

Powers Hilton

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

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

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

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

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

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

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

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Design Luxury People

Pininfarina Tribute Rally Launch + Hurtwood Park Polo Club Cranleigh Surrey

Polo Mints and Panama Hats

What a wonderful world. Lavender’s Blue were delighted to be invited to cover the exclusive launch of the Pininfarina Tribute Rally 2013 at the glorious Hurtwood Park Polo Club in Surrey. It got off to a flying start on a gorgeous sunny June weekend. The forthcoming September rally is in honour of the late great creative genius Sergio Pininfarina. It was an outing of the bold and beautiful, and that was just starting with the cars. Sergio’s dashing son Paolo, who has taken over as Chairman of the company that carries his family’s name, unveiled for the first time in the UK the concept car made in honour of his father. A helicopter ride over the woodland, a quick spin across the grassland, and Paol pulled up beside us. The view from the VIP marquee (is there any other type?) never looked so good.

“I’m sure my father is happy today,” he proudly announced. “This car expresses his spirit. It also represents the past, the present and the future of Pininfarina. History continues forth in the present tradition of excellence in designing, manufacturing and engineering. For the future, it shows the potential for securing new business for Pininfarina. So it is fitting that my father who created so many motoring masterpieces is honoured by this concept car named in his memory. I know he would like it.”

In polo, as we all know, players are rated on a handicap scale of minus two to 10, the higher the better. Talent shines through horsemanship, range of strokes and speed of play. A goal is a goal, whether by pony or rider. The Sergio is an equine athlete in crimson metal and grey leather. Ferrari’s pioneering wind tunnels were exploited to the max during the design process. The low front spoiler, the leading edge of the roll bar behind the cockpit and the passenger compartment are all shaped to enhance air flow. Instead of a windshield, driver and passenger wear helmets. The headrests appear to float as they are attached to the roll bar, not the seats. Holes atop the rear engine recall Pininfarina’s Ferrari 512S Modulo.

Event sponsors Brokersclub – “high speed online trading” according to founder Markus Böckmann – held the four matches of the Brokersclub Tribute Gold Cup Polo Tournament over the course of the launch weekend. A VIP marquee in front of the clubhouse allowed the glamorous crowd, handbags and glad rags and hot legs, to take in all things horse power, two and four legged, while Rod Stewart laid on the foreground music. Hurtwood is owned by Kenney Jones, legendary drummer with The Who. Kenney also serenaded the crowd with his own band The Jones Gang.

Ooh la la! The triumphant triumvirate of trophies, trips and tribunes kept going with a world record breaking gathering of over 200 Pininfarina designed cars. A lucky 100 owners were there to gear up for taking part in the rally. Among the cars on display were dozens of Ferraris from the past such as the 275 GTB Spider, the 250 GT SWB and the 365 Daytona. More recent Ferrari models included the 360 Modena and the 458 Spider.

Other newer brands represented at Hurtwood included the Alfa Romeo Duetto, the Lancia Aurelia B20 and the Lancia Monte Carlo. Also on display were rare models such as the Lancia Aurelia B24 Spider, first seen at the Brussels Motor Show of 1955. Eric Clapton popped over from his neighbouring estate in his one of a kind SP12 EC Ferrari, designed by Pininfarina in collaboration with the Ferrari Design Centre. Some guys have all the luck. The glamour has only got started and is about to rev into top gear.

  • Day 1: the Pininfarina cavalcade departs from the Hilton on Park Lane crossing the English Channel at Dover and onwards to Dunkirk. Spend first night in Germany.
  • Day 2: the Swiss mountains await; stopover close to the Italian border.
  • Day 3: navigate God’s Highway aka the Stelvio Pass which has more hairpins than a Sixties beehive bouffant. After a rendezvous at the Pininfarina Design Building, onwards to Maranello, the home of Ferrari.
  • Day 4: drive across Monaco where a party on aboard mega yacht provides a travel respite.
  • Day 5: the party continues at Jimmy’z. This is Monte Carlo after all. Raise your champagne flutes to Sergio Pininfarina!
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Lavender’s Blue + Loughmacrory Lough Tyrone

Half a Century of Phantasmagorical Fabulosity

“Plant yourself within His word,” preached Bobbie Houston, Pastor of Hillsong Church, in 2023, “and let the Holy Spirit still your heart. Allow the experience of those who went before to infuse courage.” The poet John Milton wrote 379 years earlier in Areopagitica, “Well knows he to consider, that our faith and knowledge thrive by exercise, as well as our limbs and complexion.”

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Architecture Design Developers People Town Houses

SABBATH PLUS ONE Jerusalem +

Under the Eucalyptus Tree

“Daughters of Jerusalem, I charge you by the gazelles and by the does of the field: Do not arouse or awaken love until it so desires.” Song of Songs 2:7

We’re on a mission so of course it makes sense crossing the Holy Rubicon to reach the place of Christ’s salvific crucifixion, resurrection and ascension. “We are the people of the resurrection!” beams Reverend Andy Rider, Area Dean of Tower Hamlets London. “We are Easter people!” During the post Paschal season, one can almost hear the soaring descant of Regina Coeli from Pietro Mascagni’s Cavalleria Rusticana. Benjamin Disraeli (Disraeli: A Biography, 1993) believed, “The view of Jerusalem is the history of the world; it is more; it is the history of heaven and earth.” Simon Sebag Montefiore (Jerusalem: The Biography, 2012) concurs, “The history of Jerusalem is the history of the world, but it is also the chronicle of an often penurious provincial town amid the Judean Hills. Jerusalem was once regarded as the centre of the world and today that is more true than ever.” Israel’s first Prime Minister David Ben-Gurion (A State at Any Cost: The Life of David Ben-Gurion, 2019) named it the “Eternal Capital”. Teddy Kollek (Mayor and the Citadel: Teddy Kollek and Jerusalem, 1987), Mayor of Jerusalem in the late 20th century, leads with, “Jerusalem has always projected a metaphysical image.” The ancient Babylonian Talmud (circa 500) gets it: “He who has not seen Jerusalem in her splendour has never seen a desirable city in his life.” In Natural History (77) Pliny the Elder exalts Jerusalem to be “… by far the most famous city of the East and not of Judea only”.

Katharina Galor and Hanswulf Bloedhorn open The Archaeology of Jerusalem: From the Origins to the Ottomans (2014) with, “Jerusalem first appears in the written sources as a Canaanite city at the beginning of the second millennium BC.” Moshe Safdie observes in Jerusalem: The Future of the Past (1989), “Jerusalem the Golden is the Jerusalem of yellow-gold limestone.” Henry Van Dyke (Out-of-Doors in the Holy Land, 1908) calls it “a metropolis of infinite human hopes and longings and devotions”. We’re reminded of the words of Paula Fredriksen (When Christians Were Jews: The First Generation, 2018), “It [Jerusalem] was probably the most beautiful city that any of them [Jesus and His followers] had ever seen.” They resonate with Stewart Perone (Jerusalem and Bethlehem, 1965), “Its beauty is bewildering, the accumulated treasure of more than three millennia.” Celestial and terrestrial, natural and supernatural, sacred and secular, universal and personal, Jerusalem is truly the interface of heaven and earth. Jerusalem, the intersection between the then, the now and the not yet. Jerusalem in all your treasured totemic totality, lift up your gates and sing! Rivers clap your hands! Daphne du Maurier writes in her short story The Way of the Cross (1973), “The lights were burning bright in the city of Jerusalem.” They continue to burn bright. Our pilgrimage gathers pace. To repeat the title of singer songwriter Amy Grant’s modern day song of ascents, it’s Better than a Hallelujah.

“And everyone who calls on the name of the Lord will be saved; for on Mount Zion and in Jerusalem there will be deliverance, as the Lord has said, even among the survivors whom the Lord calls.” Joel 2:32

(Extract with alternative imagery from the bestseller SABBATH PLUS ONE Jerusalem and Tel Aviv).

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Architects Architecture Design Developers

SABBATH PLUS ONE Santiago Calatrava + Chords Bridge Jerusalem

Nathan the Prophet and Zadok and Abiathar the Priests

“Praise Him with the sound of the trumpet: praise Him with the psaltery and harp.” Psalm 150:3

Spanish-Swiss architect Santiago Calatrava has designed over 40 bridges – Dublin has two (James Joyce and Samuel Beckett) – but The Chords Bridge was the first to carry both trains and pedestrians. Completed in 2008, it arches over a traffic junction next to Barchana Architects’ Yitzhak Navon Railway Station in northwest Jerusalem. A 188 metre high cantilevered pylon provides mathematically rigorous support for 66 steel cables which hold the bridge’s 30 metre long deck. Santiago relates, “The Jerusalem light rail train bridge project started with the idea that we had to create a very light and very transparent bridge which would span a major new plaza at the entry to Jerusalem.” His work is a stimulating addition to the cityscape, capturing the spirit of the age montaged onto an indigo sky. The Chords Bridge is clad in Jerusalem stone which accords with the architect’s penchant for pale. “Calatrava’s geminal iconoclastic experiments with structure and movement spring out of a long historical tradition,” shares Alexander Tzonis in Santiago Calatrava: The Poetics of Movement (1999). Make that implied, potential and physical movement.

“The architect compares the final result with the form of a musical instrument such as a harp with its cables as strings,” explains Philip Jodidio in Calatrava Complete Works 1979 to Today (2018), “an apt metaphor in the City of David. According to Moshe Safdie in Jerusalem The Future of the Past (1984), “What Bach did with the fugue, we must learn to do in architecture. I feel architecture can, however rarely, move us as deeply as music can.” Sometimes architecture really is frozen music, accompanied by a light cordial on the rocks. At the Cathedral of St George the Martyr, the Mother Church of the Anglican Diocese of Jerusalem, The Very Reverend Canon Richard Sewell hoped, “We might hear the chord that calls us up to dance!” Or the voice of harpers harping with their harps. Sourires d’été en musique.

“You strum away on your harps like David and improvise on musical instruments.” Amos 6:5

(Extract with alternative imagery from the bestseller SABBATH PLUS ONE Jerusalem and Tel Aviv)

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Architects Architecture Art Country Houses Design People

Glenveagh Castle + Derryveagh Mountains + Lough Beagh Donegal

Wild Geese

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

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

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

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

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

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

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Architects Architecture Art Country Houses Design Hotels Luxury People Restaurants

Von Essen Hotels + Cliveden House Hotel Berkshire

The Conservative Party

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

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

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

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

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

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

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

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

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

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

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

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

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

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Knotel + Sessions Arts Club Clerkenwell London

Working Girls and Boys

The Grade II* Listed former courthouse on Clerkenwell Green works hard for its upkeep. Every cubic metre is used up. Sessions Arts Club restaurant occupies part of the building. Designer outlets fill the lower ground floor. And 2,050 square metres across several upper floors are taken up by Knotel work club which is more about laptops (working) than lap dancing (clubbing). But there’s always space for a session in the 20 metre high domed bar. Chintz free kitsch free, the interior is all about rough luxe smooth plaster.

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Saltburn + Drayton House Lowick Northamptonshire

The Go Betweeners

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

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

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

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

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

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

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1890s + Radnor Park Folkestone Kent

Eclecticity 

It was the mother of all building booms. So much housing stock in London and the southeast of England dates from the 1890s. The busy decade or rather decades stretched up to 1914. After World War I the State became involved in the building of homes and in 1947 the planning system was introduced after which all housebuilding was subject to the consent of the local authority.

The 1890s and subsequent decade and a bit were therefore the last time Britain had a free market of housebuilding without restriction or competition of any significance from councils. Builders could more or less pitch up wherever they fancied, buy some land and get putting up homes. One would imagine this free for all would have spewed out architectural horrors but quite the opposite occurred: some of the best domestic architecture was delivered in the very late Victorian and Edwardian eras. Not that it was universally welcomed at the time. In 1907 the Property Owners’ Journal moaned “the builders go on building, notwithstanding the 90,000 empty houses and tenements in London”.

The housing around Radnor Park in Folkestone, Kent, is a prime example. Radnor Park was donated by the Earl of Radnor as a recreation ground to the seaside town in 1886. Soon houses sprung up around the park boosted by the catalyst of the nearby railway station that would become Folkestone Central. Combining red brick, wall tiles and half timbered Tudor gables with transomed and mullioned windows and rendered quoins sounds like cluttered chaos but the confident handling of materials and details has produced houses. Idiosyncratic features further enhance some of the houses: a buttressed stone porch here, an octagonal turret there.

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Architecture Art Design

SABBATH PLUS ONE HaYarkon Park + Environs Tel Aviv

It Could’ve Gone Either Way

“They will come and shout for joy on the heights of Zion; they will rejoice in the bounty of the Lord – the grain, the new wine and the olive oil, the young of the flocks and herds. They will be like a well watered garden, and they will sorrow no more.” Jeremiah 31:12

We are pretty and good and pretty good photographers and pretty good models and pretty good socialites and we have to do them all at once and we find it difficult being pretty good gardeners. Enter now the little owl, and the great owl, and the swan, and the gier eagle. Nature abounds at HaYarkon Park, the green lung breathing life into northern Tel Aviv. This wild and previous landscape, treescape and dreamscape hugs the pioned and twill brimmed banks of the River Yarkon – that molten mirror of gently rippling silver amalgam. Six gardens amidst the rolling riparian parkland include the four hectare Rock Garden filled with over 3,500 plant species as well as raucous birdsong. Hoopoe, Hooded Crow, Laughing Dove, White Throated Kingfisher and Black Crowned Night Heron all join in the dawn to dusk chorus. There’s more.

Come closer, draw nearer. An enigmatic sculpture in the middle of HaYarkon Park stretches our visual vocabulary. White concrete cylindrical and wave forms tip three metres at their tallest point. Berlin born Slade School of Fine Art London trained Yitzhak Danziger became a leading 20th century Israeli sculptor. His Serpentine sculpture was erected in 1973, just four years before he died aged 61. Expand your view, broaden your horizon.

There are certain certainties. There are certain things we are certain about. There are certain uncertainties. That is to say, there are things that we are certain we are uncertain about. But there are also uncertain uncertainties. We are certainly certain that we’ll never be pretty good gardeners but that doesn’t stop us loving HaYarkon Park. As Queen Diambi Kabatusuila Tshiyoyo Muata of the Bakwa Indu People of the Luba Empire Kasaï Democratic Republic of Congo once reminded us, “It’s a beautiful day to be alive!” And butterfly jewellery artist Wallace Chan whispered to us at the British Museum London, “Embrace every fleeting moment.” This is our summer of content and we mean content.

“… and I will bring my people Israel back from exile. They will rebuild the ruined cities and live in them. They will plant vineyards and drink their wine; they will make gardens and eat their fruit.” Amos 9:14

(Extract with alternative imagery from the bestseller SABBATH PLUS ONE Jerusalem and Tel Aviv).

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Architecture Art Design People

SABBATH PLUS ONE Hayim Nahman Bialik + Trumpeldor Cemetery Tel Aviv

Scion of Sion

“Therefore my heart is glad and my tongue rejoices; my body also will rest secure, because You will not abandon me to the grave, nor will You let your Holy One see decay. You have made known to me the path of life; You will find me with joy in Your presence, with eternal pleasures at Your right hand.” Psalm 16:9 to 11

Every ridiculously smart place has one. Paris possesses Père Lachaise. Buenos Aires revels in Recoleta. Savannah boasts Bonaventure. Newtownstewart, Pubble. Tel Aviv trumps them all with Trumpeldor. A stylish resting place steeped in sublime presence and subliminal absence. A three dimensional requiem. An architectural danse macabre. A spectral spectacle. A necropolis in the metropolis. Amazing mausolea. A sepulchral sculpture garden imbued with meaning and nostalgia.

Trumpeldor Cemetery was established by Jewish settlers on empty land in 1902. Jerusalem stone on stone on stone. Today, it is surrounded by downtown Tel Aviv. The cemetery is named after Joseph Trumpeldor, a Zionist originally from Pyatigorsk in Russia who died in 1920. Noa Tishby lionises him in Israel: The Most Misunderstood Country on Earth (2021) as “a decorated Russian military war hero and former POW in Japan … a Jewish Russian idealist.” Joseph Trumpeldor’s biographer Pesah Lipovetzky eulogises in his biography (1953), “He fought for the establishment in the Holy Land of a free society of Jewish workers, and in defending the frontiers of his country met his untimely death.” The cemetery is the burial place of Hayim Nahman Bialik. His 1996 poem After My Death contains the lines: “There was a man – and look he is no more. He died before his time. The music of his life suddenly stopped. A pity! There was another song in him. Not now it is lost forever.”

In Decay and Death: Urban Topoi in Literary Depictions of Tel Aviv, an essay in Tel Aviv The First Century: Visions, Designs, Actualities edited by Maoz Azaryahu (2012), Rachel Harris compares the city that never sleeps with the eternal rest: “The narrative of Tel Aviv as the White City with new, modern buildings contrasts with the decay of the city – through the image of death. Death takes two forms: that of the city and that of individuals. Death is represented in the city by its cemeteries. Shabtai’s novel and Amos Gitai’s adaptation Devarim open with a surreal hunt through the city’s graveyards to find Goldman’s father’s funeral.” Historian Barbara Mann writing in A Place in History (2006) views any cemetery as “a mnemonic space through which the visitor moves and activates images linked to a collective memory.”

“Madame de Valhubert died suddenly the very day she was to have left Bellandargues for Paris,” writes Nancy Mitford in The Blessing (1951), adding with a sparkle of graveyard humour, “She made the journey all the same, and was buried in the family grave at the Père Lachaise.”

“Then you, my people, will know that I am the Lord, when I open your graves and bring you up from them.” Ezekiel 37:13

(Extract with alternative imagery from the bestseller SABBATH PLUS ONE Jerusalem and Tel Aviv).

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Piers Gough + CZWG + Dundee Wharf Limehouse London

Very Light Industry     

Since the 1990s, the architectural practice CZWG has been enhancing the banks of the Thames, the river that snakes through London, with architectural brilliance. Contextualism and historical references are key to their riverside schemes’ success. Piers Gough CBE, the G in CZWG, states, “We have a history of reinterpreting industrial riverside structures for residential use. Dundee Wharf was a riff on cranes and mills, Cascades on grain elevators, Millennium Harbour on cantilevering control rooms and Seacon Tower was channelling exoskeleton support structures. At Rivermark for Taylor Wimpey London, the towers are like well oiled ribbed cooling cylinders of some imaginary industrial process.”

Dundee Wharf was built in 1997 by Irish developer Ballymore. Rectangular brick blocks of varying heights are positioned in a horseshoe shape. The seven storey principal elevation facing the Thames is a grid of alternating stacks of Juliet balconied windows and French doors opening onto balconies. The projecting balconies are framed by steel skeletons resembling inverted pylons. Attached to the corner closest to the river is an 11 storey tower and projecting from this is a steel skeleton tower of terraces taking the inverted pylon concept to its logical conclusion. A residents’ lounge sits on top of the skeleton tower like a bird’s nest surrounded by metal branches.

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Architects Architecture Art Country Houses People

The 8th Marquess of Waterford + Curraghmore Portlaw Waterford

Heirs and Graces

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

In principio erat domus.

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

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

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

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

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

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

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

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Architects Architecture Art Country Houses Luxury People

The Baglianis + Gaultier Lodge Woodstown Waterford

Townland and Country

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

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

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

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

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

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

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

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Architecture Country Houses

Holy Hill House Strabane Tyrone + Ballymena Castle Antrim

The Big White House and Relics of the Old Decency

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

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

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

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

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

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

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

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

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