We’re Marching to Sion
Daphne’s, South Ken: voluminous pneumatic crowns all round at Astrid Bray’s moliminous blown up festive dinner party. ‘Twas the season. A party out of the top drawer, as F Scott Fitzgerald or Evelyn Waugh would’ve said. Grilled squid with caponata at Princess Diana’s old haunt was impossible to resist. Equally irresistible, grilled squid with garlic for lunch at 8 Mount Street was a surprising success. Nope, the reviews aren’t correct. Marble ain’t cold, it’s classy. The menu’s been sorted. End of. Sociability then solitude, Derek Hill style. Southeast to northwest.
County Tyrone sure isn’t the most obvious location to come across an overblown Tudorbethan mansion. This half timbered affair would look more at home in the Surrey Hills. Southeast England, not northwest Ulster. A Cyclopean scaled forerunner to Stockbroker’s Tudor semi d’s. The landscaped gardens are an attempt to tame the wildness of this rainswept region. It’s not surprising, then, to learn the architect of Sion House was an Englishman.
The original early 19th century house, which would later be engulfed through rebuilding, was a much more typical country house of this region. It was a mildly Italianate three bay wide by three bay deep stone faced two storey house built in 1846 to the design of the illustrious Sir Charles Lanyon, a starchitect of his day. A 19th century John O’Connell. Less than four decades later, William Unsworth designed a replacement house. With gusto.
William Unsworth is famed for designing the first Shakespeare Memorial Theatre in Stratford-upon-Avon. Perhaps that’s where he developed his penchant for all things half timbered. He was mates with Sir Edwin Lutyens. Ned also knew his jettied projections from his mullioned multi diamond paned canted bay windows. William just happened to be the son-in-law of his client James Herdman. He was also brother-in-law of the celebrated Missionary of Morocco, Emma Herdman.
The Herdmans arrived in Ireland from Ayrshire in 1699. This Plantation family swiftly established itself as big time farmers. At the time of the first potato famine of 1835, the Herdman brothers James, John and George upped sticks to the sticks, moving from Belfast to the district of Seein in County Tyrone. Adopt a broad Ulster country accent and saying it aloud you can hear how Seein evolved into Sion. Those were the days when spelling – for those who could actually write – was idiosyncratic at best.
John Herdman had gone into partnership in 1833 with Thomas, Andrew and St Clair Mulholland who owned York Street Linen Mill in Belfast. The Herdman brothers brought this expertise to the development of a new spinning mill at Sion. Not content with just building a country house and mill, the Herdmans philanthropically added a model village, Ulster’s answer to New Lanark. Soon there was a shop, cricket club, fishing club and cottages fitted out with – ta dah! – newfangled gas as soon as it became available. William Unsworth also designed a gatehouse to frame the main entrance. Again, he discontinued the tradition of single storey demure vaguely neoclassical gatelodges. Instead a Hansel and Gretel version of the black and white three storey gatehouse of Stokesay Castle appeared.
And so the glory days began. For 70 years the new Sion House happily played host to generations of the Herdman family. Celia Ferguson née Herdman is one of the two last direct descendants living in Ireland. Her daughter is a neighbour of Lavender’s Blue HQ. Celia still lives in the village and founded the Sion Mills Buildings Preservation Trust in 1999. In an exclusive, Mrs Ferguson reminisces,
“Sion House was my grandfather’s home. I lived there after the Second World War. It was such a busy house! As well as my relatives and Welsh nanny, there was a cook and four or five parlour maids. A dairy maid, washer maid and four under gardeners came during the day. The head gardener lived in the gatelodge. It was very self sufficient. In fact the whole of Sion Mills was like that. When we needed a plumber, he came from the mill.
The Italianate gardens were designed in 1909 by Inigo Triggs of Hampshire. Inigo was in partnership with William Unsworth and a friend of Gertrude Jekyll. I was recently asked to go along to Glenmakieran in Cultra which I’m quite sure is another Unsworth house. In 1955 a fire threatened to destroy Sion House. Such a huge house. Nevertheless my grandfather rebuilt all 50 rooms exactly as they were before. I remember the oak panelling in the dining room and linen wall covering in the drawing room.
In 1967 it took just one day for Ross’s to auction the house and its contents, even the books. The house went for only £5,000 and the contents £3,000. Fortunately Sion House is well documented. My grandfather wrote daily letters from 1934 to 1964 chronicling life in the house. At the moment I’m writing a book about my mother Maud Harriet Herdman MBE JP, a fascinating person.”
After much ado involving a collapsing clock tower and the first Compulsory Purchase Order of a Building at Risk in Northern Ireland, Hearth Preservation Trust restored the roadside stables block. It’s now a tearoom and education centre. But something is awry at Sion House. The gatehouse is boarded up; the river overgrown; the façade butchered; the lean-to fallen over. It’s as if the struggle to combat the barrenness of its far flung location has proved too much. The tall neo Elizabethan chimneystacks have been lopped off; the veranda has vanished like the lost ‘h’ from verandah. Worst of all, the back of the house looks like it’s been struck by a meteorite. There’s a gaping hole in the centre in its centre. A spiffingly watchable tragedy. Another Irish country house bites the dust. And then there were none. Less of a whodunit and more of a whodidn’tdoit. Ulster says so.
The Irish Builder flatteringly recorded the rebuilt Sion House in its December 1884 publication. Even then, the country house halcyon days had less than half a century to go. Sion House, besides being almost unique in style, was one of the last country houses to be built between the Gael and the Pale.
“Sion House, the residence of E T Herdman Esq, JP, which, for some time past, has been undergoing extensive alterations, is now completed, and as the building and grounds are singularly picturesque and pleasing, a short description of what is unquestionably one of the most unique and remarkable examples of domestic architecture in the North of Ireland, will be read with interest. The approach to the grounds is on the main road from Strabane to Baronscourt, about three miles from the latter place, and is entered through a delightfully quaint Old English gatehouse of striking originality, containing a porter’s residence and covered porch carried over the roadway.
Winding down the graceful sweep of the avenue, through the wooded grounds which appear to have been laid out with considerable judgment many years ago, we catch a glimpse of the house, reflected in the artificial ponds formed in the ravine that is crossed by a two arch stone bridge of quite medieval character.
As we approach the house, the general grouping of the house is most pleasing, and the full effects of the rich colouring of the red tiled roof is now apparent, diversified with quick pitched gables, quaint dormers, the beautifully moulded red brick chimneys, the skyline being covered by the Tyrone mountains and the village church in the distance. The style of the building is late Tudor of the half timber character, which, though it has been described as showing a singular and absurd heterogeneousness in detail, yet gives wonderful picturesqueness in general effect. The principle entrance is on the north side, through a verandah, supported on open carved brackets, in which is placed an old oak settle, elaborately carved and interlaced with natural foliage in bas-relief. On entering through an enclosed porch we are ushered into a spacious panelled hall, with its quaint old fashioned staircase, open fireplace, and wood chimneypiece, with overmantel extending to the height of the panelling.
The screens enclosing the entrance porch, as also that from the garden entrance to the southeast side, are filled in with lead lights, glazed with painted glass, and emblazoned with national and industrial emblems, monograms and coats of arms. The billiard room, which is in a semi-detached position, and entered from the east side of the hall, is very characteristic of the style of the building, having the principal roof timbers exposed, and forming the pitched ceiling into richly moulded panels. The walls are wainscoted to a height of five feet in richly moulded and panelled work. The fireplace is open, and lined with artistic glazed earthenware tiles of a deep green colour and waved surface, giving a pleasing variety of shadow, and is deeply recessed under a quaint panelled many centred architectural, freely treated, forming a most cosy chimney corner with luxurious settles on each side. On a raised hearth, laid with terra-metallic tiles in a most intricate pattern, are some of the finest examples of wrought iron dogs we have ever seen. There is also in this chimney nook a charming little window, placed so as to afford a view of the pleasure grounds. The reception rooms are on the south side. On entering the spacious drawing room we notice particularly the panelled arch across the further end, which forms a frame to the beautiful mullioned bay window, enriched with patterned lead glazing.
From the recess of the bay a side doorway leads to a slightly elevated verandah, enclosed with balustrade, extending the full length of the south façade, and leading to the beautiful conservatory on the south side, with a short flight of steps giving access to the tennis lawns. The dining room is enclosed off this verandah by a handsome mullioned screen, having folding doors and patterned lead glazing similar to the drawing room bay. The walls of this room are panelled and moulded in English figured oak, enriched with carvings, the arrangement of the buffet being an especial feature, as it forms part of the room in a coved recess and designed with the panelling. The fireplace is open and lined with tiles, in two colours, of the same description as the billiard room, with chimneypiece and overmantel of carved oak, having bevelled mirrors, and arms carved in the most artistic manner in the centre panel. The mullioned screen masked by a gracefully carved arch, made in oak, and capped (as is also the panelling over the buffet and mantel) with a moulded cornice, supported with artistically carved brackets and richly dentilled bed mouldings. Here and in the drawing room the ceilings are of elaborate workmanship, enriched in fibrous plaster, with moulded ribs in strong relief, and massive cornices, with chastely enriched members. The floor, like those of the principal rooms and halls, is laid in solid oak parquetry.
The library and morning room are situated on the north side. These rooms are complete in arrangement for comfort, most of the required furniture and fittings being constructed with the building and in perfect character. The culinary departments are situated on the west side, on the same level with the principal rooms. They are of the most perfect and convenient description, containing every modern appliance for suitable working.
Here also the evidence of artistic design is to be observed, more especially on a wrought iron hood, constructed over the range for the purpose of carrying off the odour from the cooking, to flues provided for that purpose. The hood is a very intricate piece of wrought iron work, which, we learn, was manufactured at the engineering works of the Messrs Herdman and Co. The upper floors contain 16 spacious bedrooms and dressing rooms. Several of the bedrooms are obtained by the judicious pitching up the main roof, and obtaining light through the quaintly shaped dormers, which form so marked a feature on the roofline. There is a spacious basement extending under the entire area of the building, which contains the usual offices, and in which are placed two of Pitt’s patented apparatus, now so favourable known for warming and ventilating, by which warmed fresh air is conveyed to the various apartments and corridors.
One of the great features of the exterior elevations is the balconies, of which there are several, whence views of the varied scenery and charming surroundings can be obtained. There is also easy access to the leads of the roof, from which more extended views of the beautiful and romantic valleys of the Foyle and Mourne, together with the picturesquely grouped plantations of the Baronscourt demesne, and the far-famed mountains of Barnesmore, Betsy Bell, and Mary Gray, can be seen in the distance. From this point a magnificent bird’s eye view can be obtained of the village of Sion and of the palatial buildings which form the flax spinning mills and offices of the Messrs Herdman and Co, which we are pleased to observe are so rapidly extending their lines and improving under the enlightened policy of the spirited owners.
The gardens and grounds are laid out in terraces, with low red brick walls, in character with the house, which give great effect when viewed from the several levels. It is noticeable throughout the perfectness and richness of all the detail, which has been carried out with great care, from special designs. The architect has succeeded in giving an individuality and picturesqueness of outline, due proportion of its parts and beauty of the whole, to the buildings and grounds, which have not been heretofore obtained in this part of the country.
The execution of the work throughout was entrusted (without competition) to Mr J Ballantine, builder, of this city, who has carried it out in a style of workmanship maintaining his high reputation as a builder, and reflecting credit on the skilled tradesmen associated with him in the work. The entire building, gate entrance, bridge, grounds, fittings, and principal furniture have been carried out according to the designs, and under the superintendence of Mr W F Unsworth, FRIBA.”
A townhouse in Hampstead London and a country retreat in Church Hill County Donegal. The reclusive socialite had it all. The 20th century artist Derek Hill, whether painting the Duke of Abercorn at Baronscourt or teaching the Tory Island Painters including King Patsy Dan Rodgers, was versatile. In 1988 the artist commented on his rural idyll, “The house was built as a glebe in 1826 and later became a small fishing hotel for gentlemen until I bought it from the last proprietor. In 1953 I paid £1,000 for the hotel and the 20 acres of lakeside land surrounding it. I felt I was meant to live there having noticed, three years previously, the house’s superb position surrounded by great trees and the Donegal hills on every side. It was also on a tongue of land jutting out onto the water, and I love to be near water.”
Glebe House, the two storey former rectory of St Columba’s Church of Ireland, represents the zenith of undemonstrative domestic architecture. The north facing entrance front, the east facing lake front and the south facing garden front are all three bays wide. A fanlight arches over the entrance door and sidelights. Trellis in the ground floor central bay of the other two principal elevations creates the effect of a fanlight and doorcase. The reddish burnt terracotta painted roughcast walls lend the house a Mediterranean air while the grassland falling down to the 2.7 kilometre long Gartan Lough heightens a sense of the bucolic.
Maurice Craig’s seminal work Classic Irish Houses of the Middle Size, 1976, summarises the genre: “The glebe houses of the (formerly established) Church of Ireland are an important category of house, because of their ubiquity, their charm, and the influence which they undoubtedly had on other buildings. According to Donald Akenson, following the Reverend Daniel Augustus Beaufort’s Memoir of a Map of Ireland, there were only 354 glebe houses in 1787, and 829 in 1832. This programme was in large part financed by Parliament – first the Irish Parliament, after 1800 that of the United Kingdom – through the Board of First Fruits, and went pari passu with a programme of church building. The years of the greatest government assistance were 1810 to 1816.”
Plate 11 from the Reverend John Payne’s 12 Designs for Country Houses published in Dublin in 1757 is of a three bay two storey hipped roof detached house with small first floor windows similar to Aghalee Rectory and The Grange. Pattern books were a great source of reference for architects and surveyors ranging from James Gibbs’ 1728 publication to Sir Richard Morrison’s a century later. Scottish landscape gardener John Claudius Loudon (1783 to 1843) topped them all with his encyclopaedic 1,100 page doorstopper of a manual. No building form was safe from his diktats from doghouses to limekilns. Nothing was too detailed to warrant his attention from kitchens of country inns to sliding fire screens for drawing rooms.
John Claudius Loudon’s ambition was “to improve the dwellings of the great mass of society”. Illustrations 458, 459 and 460 portray three versions of a three bay two storey hipped roof house. The façade of 458 is plain; 459 has quoins; and 460 has full height pilasters between each bay and at the elevation corners. Illustration 1449 (they go up to 2038!) is a grander three bay two storey hipped roof villa with a miniature portico and lower single bay wings. While these prototypes are not specifically glebe houses, the Encyclopaedia of Cottage, Farm, and Villa Architecture and Furniture was so widely distributed and read it influenced all types and sizes throughout the British Isles.
Dr Michael O’Neill wrote an article A Roof Over Clerical Heads: Visual Insight to Glebe House Drawing in 2017 for the Representative Church Body Library. It goes into historical detail: “A glebe house is a residence provided in each parish (or parish union) for the clergy man or woman and his or her family. In the past glebe land (farmland) was also provided for the rector/vicar/curate of rural parishes, the clergyman up to the late 19th century was often also a farmer or leased out farmland. The poverty of much of the clergy of the established church led to Queen Anne setting up the Board of First Fruits in Ireland in 1711. This initiative (similar to the Queen Anne’s Bounty of 1704 for the Church of England) redirected first fruits or annates (the first year’s income of a clergyman to any new post due to the Crown) into a fund for building new churches, glebes and glebe houses.”
He adds, “In the first 70 years or so the Board of First Fruits purchased glebe land worth £3,500. It also assisted building 45 glebe houses with gifts worth £4,000. Annual parliamentary grants during the period 1791–1803 allowed the Board to spent £55,600 towards building 88 churches and 116 glebe houses. Significantly larger grants in the 20 years following the Act of Union meant a total of £807,648 was paid out in grants to purchases glebe lands in 193 benefices, building 550 glebe houses, and building, rebuilding and enlargement of 697 churches. By 1832 some 829 glebe houses had been built. Small wonder then that hall and tower ‘First Fruits’ churches and glebe houses are such a prominent feature of the Irish rural landscape.”
