fota – Lavender's Blue

The Lines of Beauty

Roger White writes in Country Life, 2011, “First time visitors to Irish country houses are often struck by two things in particular. One is the sheer quality of architecture and craftmanship, and the other is the idiosyncrasy of the families who have owned these houses. Borris House in County Carlow has both characteristics in spades. The idiosyncrasy tends to be associated with the Anglo Irish but it would not be strictly accurate to so describe the Kavanaghs of Borris, about whom there is nothing ‘Anglo’.”

Staggered up a hillside, an architectural beauty parade of picturesque cottages clinging to the gradient, a Georgian house doubling as a petrol filling station, a boutique hotel boasting a celebrated chef, and an improbably vast château like a granite mirage on the horizon, Borris in County Carlow is a cut above the average Irish village. With a County population of 50,000, one third that of the smallest London Boroughs, driving around Carlow is a breeze. It’s off the beaten track of the touristy east coast. Despite a chalkboard at the gates announcing a house tour, we’re the only people to turn up. Just us and the owner Morgan Kavanagh. There are no National Trust style timed entry queues round the curtilage.

While we are led round the house and adjoining chapel, outside something magical is happening. It’s the bewitching hour: late afternoon in an Irish winter. The windows of Borris House are ablaze – amber, cerulean, mauve, scarlet – in reflected glory as the sun sets behind the Blackstairs Mountains far away across the Barrow Valley. So what do we learn on our select tour? Rather a lot: Morgan proves to be an entertaining and well versed guide.

Key points of the tour include: Borris House is a mostly 1830s Richard and William Vitruvius Morrison confection. Neoclassical innards under a Tudoresque skin. In turn, the original Georgian box had swallowed up an older castle. Morrison masterpieces stretch the length of the country from Glenarm Castle in the north to Ballyfin in the midlands and Fota in the south. Glenarm Castle in County Antrim is the closest in looks.

Borris is the seat of the MacMorrough Kavanaghs, High Kings of Leinster. Their pedigree is traceable back to the dawn of Irish history. King Art Mór Mac Murchadha Caomhánach was a particularly feisty ancestor who reined for 42 years, reviving his family’s power and land in between warring with the English King Richard II. The estate was once 12,000 hectares before being broken up in 1907. On the current 260 hectare walled estate are Lebanon cedars, fern leaf beeches and Ireland’s tallest broadleaf tree. It’s a 44 metre high hybrid American poplar down by the River Barrow.

Morgan says, “A two storey wing with a walkway over the kitchen used to connect the main house to the estate chapel so that the family could enter straight into their first floor gallery seating. My grandmother demolished that wing. Anglican services are still held in the chapel every other Sunday.” Songstress Cecil Frances Alexander, forever extolling the combined merits of Christianity and country life, donated an organ (of the musical variety) to the chapel. Her son Cecil John Francis Alexander married Eva Kavanagh, daughter of a 19th century owner of Borris House, in 1882.

Most excitingly, in 1778, Eleanor Charlotte Butler, the sister-in-law of Thomas Kavanagh fled from Borris House where she was staying to elope with Sarah Ponsonby of Woodstock in Inistioge, County Kilkenny. Eleanor and Sarah escaped to East Britain and set up home together in Plas Newydd, Llangollen. They became well known as the ladies who did more than lunch together. Morgan recently discovered an 18th century letter in the library of Borris which refers to the pair as “Sapphos”.

Local historian Edmund Joyce carried out a study titled Borris House County Carlow and Elite Regency Patronage in 2013. Extracts include: “This study focuses on Borris House, the ancestral home of the MacMurrough Kavanagh family, situated beside the town of Borris in south County Carlow, Ireland. The house sits on a hillside facing southeast towards the County Wexford border. The Blackstairs Mountains, which terminate the prospect, form a boundary in that direction of unusual grandeur. During the 18th and 19th centuries, the MacDonough Kavanagh family were amongst the most powerful in the country with up to 30,000 acres of land in Counties Carlow, Kilkenny and Wexford.”

“In the early 19th century Borris House underwent a dramatic transformation and the house as it now stands is the result of this remodelling of the earlier classical house. The architectural historian Peter Pearson describes how ‘in the 1800s the MacMurrough Kavanaghs of Borris embarked on a lavish building programme that transformed their 18th century mansion into a Tudor Revival showpiece’. The changes were performed under the direction of Richard Morrison, the Cork born architect. The remodelled Borris House was the earliest recorded property in County Carlow to adopt the Gothic Revival style. Early Gothic Revival houses such as Slane Castle, County Meath (1785), are simply classical houses with gothic details.”

“The importance of Borris House as a Regency house designed by an Irish architect, furnished by Irish craftsmen and occupied by a landed family of Gaelic descent deserves a thorough study in order to draw out a deeper understanding of its meaning in the broader context of Regency design both at home and abroad. The scale of the building project at Borris House can be categorised as considerable by any comprehensive by any standard. The veneering of the house in the Gothic Revival style brought it up to date with fashionable contemporary design. In Ireland, a building draped in a gothic shroud provided a consciousness and awareness of defence together with a deep rooted long ancestral provenance.”

“Christine Casey in her essay The Regency Great House describes how Richard Morrison ‘created a series of starkly contrasting interiors’, stating that ‘Borris is clearly a house bristling with ideas, unresolved but full of vitality and interest’. This clearly underscores the importance of the house in the context of Irish Regency design. Casey sees Borris House as Richard Morrison’s Regency prototype that ‘whets the appetite for the Morrisons’ grandest and most mature country house, Ballyfin, County Laois’.” Richard Morrison’s son, although suffering from depression, would join him in the thriving architectural practice. Randal McDonnell, Lord Antrim, owner of Glenarm Castle, once remarked to us how Morrison junior, “Went by the rather wonderful name of Vitruvius.”

In 2022 Edmund Joyce gave a lecture on Borris to the Kilkenny Archaeological Society. He explained, “The house is missing a big chunk and that chunk is missing as a result of works that happened in the 1950s. So when you get an architect in the 1950s to give you advice they give you three options. First option to let Borris House and build a small house adjacent. Second, to demolish rear sections of Borris House and take down the top storey of the main house. Third, to demolish Borris House and build a small house adjacent, a four bedroom bungalow in the walled garden.”

The Kavanaghs’ architect was Dan O’Neill Flanaghan of Waterford City. Edmund pulled extracts out of his 1957 report: “Perhaps I will be forgiven if I say that Borris House is not an architectural gem … to completely remove the front portico I do not think the general appearance of the house would suffer by its removal … to invite tenders from demolition contractors, and the second to auction it room by room, or floor by floor, and employ one’s own contractor on the demolition.”

Fortunately any decisions on the future of the house and estate had to go through four trustees. Option two was chosen in part: demolish the long two storey subsidiary wing but this proved costly and bereft the house of its kitchen. The cupolas, the crowning glory of the four square turrets at each corner of the main block were removed at this time. Fortunately that’s as far as the demolition progressed. Edmund ended his lecture with, “The house was going forwards then it started going backwards now it’s going forwards again. A lot of restoration work is happening and the current generation is very interested in putting back what was there before. It’s nice to see that it’s gone full circle.” The recent lime rendering washed in apricot accentuates the best parapet in Ireland, even with the cuploas removed. Turning the circle comes at a price: it costs the Kavanaghs about €250,000 a year to maintain and run Borris House and its estate.

“The sun rises and the sun sets, and hurries back to where it rises.” Ecclesiastes 1:5

A Treatise on Georgian Architecture In Five Paragraphs

L. V. B. R. T. P. I.

The Ghosts

“Riddled!” shrieked the 5th Countess of Clanwilliam, after years were already gone since irony, when faced with the prospect of sharing her matrimonial home Gill Hall with more ghouls than an episode of Rent-a-Ghost. “Simply one damned ghost after another!” A card game later, or so the rural myth portends, the lucky Earl won neighbouring Montalto House from a gentleman surnamed Ker. “Phew!” she exclaimed, sinking into a sofa in the first floor Lady’s Sitting Room with its Robert West stuccowork of scallop shells and a brush and comb and a cockerel and fox. The only spirits ever at Montalto are the Jameson bottles rattling on drinks trolleys. Over a wee dram, it’s worth catching sight of the resident albino hare in the 10 hectare gardens on the 160 hectare estate. His son the 6th Earl, in between sewing tapestries, demolished the ballroom and a chunk of the servants’ quarters, shrinking the size of the house by a half. Under the ownership of JP Corry, a famed timber merchant, the east wing and rear apartments also had to be chopped following a calamitous fire in 1985.

The Arts

Country houses form distinctive works of architecture, with appropriately furnished interiors, and considered as part of a demesne, conceived in all its complexity as a picturesque ensemble of gardens, woods and buildings, they represent what is justly described by John Harris in The Destruction of the Country House as ‘the supreme example of a collective work of art’. But whatever else a country house may symbolically constitute, it was always conceived to be decorated and furnished quite simply as a habitation, and it is that incomparable sense of home that the restitution, restoration and refurnishing of Montalto has sought to preserve for today and tomorrow. The Earl of Moira commenced construction in 1752 by which time a prosperous Irishman could have confidence that his home would remain his castle without having to look like one.

The Orders

Ballyfin is the Montalto of the South, beloved by the Kanye–Kardashian kouple and all known cosmopolitan denizens. It is no coincidence both houses have benefitted from the hand of heritage architect John O’Connell, plucked from a slim pantheon of heroes. Nor does he spin. Ballyfin is the Morrisons’ masterpiece. John also led the restoration of Fota, another Morrison great. Both Fota and Montalto have Doric porches. He designed a Doric temple for Ballyfin. Order, order! First there were the three orders of Vitruvius’ treatises: Doric, Ionic and Corinthian. Architect George Saumarez Smith, himself author of a treatise, calls Doric “solid and muscular; Ionic “graceful and light”; Corinthian “grand”. Then Renaissance men Alberti, Filarete, Palladio, Serlio and Vignola added Tuscan (a plainer Doric) and Composite (a hybrid Ionic and Corinthian). The five orders became the established canon, a sacred alphabet related to the laws of nature. Now that’s a tall order. Return to Montalto. Tall round headed windows and niches cavalierly skim the carriageway like crinoline skirts. The central shallow porch is set in a canted bay. In 1837 unlucky owner David Ker excavated the rock under the house promoting the basement to ground floor. Not without precedent, Hilton Park and Tullylagan Manor are other examples of the elevation of an elevation. Tripartite windows and more canted bays on the sides of the house overlook nature tamed as topiary taking the form of spherical shrubs and conical box hedges. The rear elevation with its generous wall to window ratio is a 20th century repair following fire and demolition. Its sparseness, bearing the greyness and eternity of a cliff, recalls Clough Williams-Ellis at Nantclwyd Hall.

The Interior

A sense of order framing majestic comfort prevails indoors with eight pairs of Doric columns guarding the entrance hall, sentinels in stone. It’s flanked by the dining room and library. Straight ahead the staircase leads to the long gallery, of more than average beauty, an axis in ormolu, a spine of gilt. Trompe l’oeil and oeil de boeuf and toile de jouy abound. The interior, like beauty, is born anew every hundred years. Montalto is a sun, radiant, growing, gathering light and storing it – then after an eternity pouring it forth in a glance, the fragment of a sentence, cherishing all beauty and all illusion.

The End

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