Norman Gates
In 1970, the Honourable Desmond Guinness, Founder and first President of the Irish Georgian Society, participated in the television programme Whicker’s World. He told the presenter Alan Whicker that, “In England any dovecote by Robert Adam has been written up about 20 times in Country Life.” While the aforementioned magazine featured Gosford House in East Lothian in 1911, it does not appear to have ever included Gosford Castle outside Markethill in County Armagh. Gosford Castle has though appeared in several books on Irish architecture and rightly so.
Brian de Breffny’s Castles of Ireland, 1977, is a serious study of fortresses and fortified houses. He records, “When it was completed after 20 years, Gosford was claimed to be the largest country house in Ireland – a massive complex of circular towers, angular keep, bastions, towerlets and arches linked internally by rambling corridors. Pale granite quarried at Bessbrook in County Armagh was used for its construction. The Norman theme is pursued purposefully and executed with masterful originality.” Gosford Castle is no mean dwelling, but Coolattin and Humewood (both in County Wicklow) as well as Temple House (in County Sligo) would give it a long and strenuous run for its money as Ireland’s largest country house. Its restoration is approaching 20 years in the making.
Mark Girouard in his seminal 1979 work Historic Houses of Britain (before the avalanche of country house coffee table books truly spilled forth) mentions Gosford Castle when writing about Penrhyn Castle in Gwynedd, Wales, “Thomas Hopper had been fashionable ever since George IV – then still Prince Regent – had commissioned a Gothic conservatory from him in 1807 for Carlton House, London. Like most architects of his time, he was prepared to design buildings in almost any style. Hie had already designed one castle and altered another. His new Irish castle was Gosford in County Armagh. It had the distinction of being the first of the new castles to be Norman.”
“By the 1820s there were plenty of new castles but only one other new Norman one, and that in a part of Ireland which relatively few people visited. The reason why most people steered clear of Norman was straightforward. Norman was the oldest, most primitive and uncomfortable of the English styles (except of course Saxon, of which only a handful of churches, and no houses or castles, survived). It was hard enough to build something which looked sufficiently like a castle and was still reasonably comfortable without loading the dice against oneself by making it Norman too.”
The most recently published commentary on the castle comes from Kevin Mulligan, The Buildings of Ireland: South Ulster, 2013. It is part of the series founded by Sir Nikolaus Pevsner and Alistair Rowan similar to that on England, Scotland and Wales. “Set on a ramparted platform in dense woods, Gosford is a great brawny pile. Large and unforgiving, its castellated form rises mirage like, a picturesque grouping of square and circular masses with carefully recessed surface layers and an impressive display of Romanesque detailing. Even in pale granite, the architecture appears grave, a brooding grandiloquent expression of an invented past that represents the most assured instance of a revived Norman style in these islands.”
“It was probably Hopper’s role as arbitrator in a dispute between Nash and Lord O’Neill at Shane’s Castle in Antrim in 1816 that won him the commission here, brought to Lord Gosford’s notice perhaps by his agent William Blacker, who had also acted for O’Neill. It is difficult to gauge the role of the Earl in the actual choice of design, but there is nothing to suggest that he was the innovator. The Romanesque style was never to become popular, the general view holding that the forms of its apertures are inapplicable to our habits. Hopper’s unique feeling for Romanesque forms expressed here, and later in a more ambitious work at Penrhyn Castle in Wales, was undoubtedly conditioned by his birthplace in Rochester … Hopper was to express deep regret that he had come to Ireland, so disillusioned had he become with his patron in 1834. Even then the castle was far from complete.”
“The second phase of work, undertaken by Hopper’s assistant George Adam Burn for the 3rd Earl, involved the creation of a new bastioned entrance on the eastern corner of the north front, along with the completion of the family apartments in the straggling northwest range. The architecture subtly becomes more eccentric and the details more inventive. Adding a new two storey entrance block on the northeast corner, Burn disrupted the formality of its cubic proportions by forming an unusual engaged cylinder as a corner turret to the first floor Billiard Room.”
Sir Charles Brett devoted four pages to Gosford Castle in Buildings of County Armagh, 1999. Charlie’s epic series on the architecture of the Counties of Ulster was cut short by his death six years later. “An important work by one of the leading London architects of the first half of the 19th century, Thomas Hopper, 1776 to 1856. Sir Howard Colvin says that Hopper was an eclectic designer who held the belief that ‘it is an architect’s business to understand all styles, and to be prejudiced in favour of none’, and considers that ‘his most interesting and original works were the two Norman castles in which he effectively combined picturesque massing with a remarkable repertoire of Romanesque detailing which owed something to his familiarity with the 12th century keeps of Rochester and Hedingham.’ His pupils included the young Belfast architect John Millar, who worked on this commission with him, and signed a drawing showing the proposed front elevation.”
“The design was commissioned by Archibald Acheson, 2nd Earl of Gosford, after the previous house had burned down. Mark Bence-Jones says that it was ‘largely paid for by his wife, the daughter and heiress of Robert Sparrow, of Worlingham Hall, Suffolk: so that it is possible that the choice of so strange a style as Norman was hers; she was a lifelong friend of Lady Byron so may have absorbed some of Byron’s exotic and somewhat sinister brand of romanticism.’” Even before the castle was completed, the Gosfords separated and Lady Gosford returned to live in Suffolk where she died in 1841, eight years before her husband. Her Ladyship’s final earthly journey was not without incident. A record from the time states, “On its return journey to County Armagh for burial in the family vault at Mullaghbrack, her coffin was mislaid by the drunken servants whom Lord Gosford had sent to fetch it, and was conveyed by train to somewhere in the Midlands.” Charles Acheson the 7th Earl of Gosford, born in 1942, whose father sold the castle, lives in Suffolk.
Charlie continues, “Gosford is remarkably large, remarkably elaborate, and exceptionally well built – indeed, it appears not just defensible but practically indestructible. It is dominated by its great square keep with corner turrets containing chimneys, with subsidiary round and square towers. Bence-Jones considers that ‘the garden front has a strange beauty; the stone seems pale, Norman becomes more like Southern Romanesque’. The grouping is masterly; the walls are at different angles to each, so that there is a great sense of movement. Although Norman was really unsuited to 19th century living, the interior does not suffer from the heaviness one finds at Penrhyn.”
Bringing the commentary up to date Nicholas Sheaff, first Director of the Irish Architectural Archive, offers these observations in 2024: “The neo Norman style was practised with great conviction by the architect Thomas Hopper in the second quarter of the 19th Century. It was a ‘reinvention of tradition’ (to pirate historian Eric Hobsbawn’s theme) which had its origins in two distinct aesthetic currents. The first current was the neoclassical proclivity for the ‘elemental’ in architecture, awakened by the rediscovery of the Greek temples at Paestum and amplified by the architectural visualisations of Piranesi, particularly his ‘Carceri’ of the 1750s and Paestum etchings of 1778. The second current was the growing pride in British nationhood in the years after Waterloo, with an exploration of the national tradition in architecture and decorative design where the Norman (often dubbed ’Saxon’) was seen as the fountainhead.”
“As the architectural historian Hugh Dixon has suggested, Hopper’s massing of architectural forms at Gosford probably derives from the profile of the great Norman castle of Carrickfergus County Antrim, with its dominating central keep. Hopper’s interior planning embodies a narrative informality which draws on the example of his older contemporary John Nash, each room contributing a fresh spatial and decorative experience to the interior sequence. Hopper’s neo Norman architecture has a sculptural and emotive presence which is the antithesis of the rectilinear, rationalist neoclassical. A lithograph of circa 1830 portrays Gosford Castle in an almost untamed wooded demesne, an irregular architectural grouping set in a vigorous natural environment as advocated by Richard Payne Knight, that leading aesthetician of the picturesque. The lithograph presents a romantic vision of a turbulent landscape under a northern sky, as painted possibly by Jacob van Ruisdael, far distant in its style and impact from the arcadian vistas and golden light of Claude Lorrain.”
It is something of a wonder that Gosford Castle and its demesne both survive for ever since Thomas Hopper put pencil to paper it has had a rocky time. Financial constraints, disputes and overseas sojourns slowed down construction. In 1821 the outbuildings were progressing; in 1828 the Portland stone staircase was erected; in 1833 plasterers and joiners were working on the main rooms; in 1835 Lord Gosford became Governor in Canada for four years; in 1840 Newry architect Thomas Duff took over designing alterations and additions although Thomas Hopper remained involved at some level; in 1852 the Armagh Guardian reported that “a number of tradesmen are now engaged finishing the remaining wing of this building”; in 1864 the 3rd Earl died and the house became a family shooting lodge; in 1888 the 4th Earl sold the library; in 1921 he sold the rest of the contents; in 1940 the British army occupied the house; and in 1978 the Northern Ireland Forestry Commission acquired the 240 hectare demesne and castle. At least Gosford Castle didn’t burn down like its Georgian predecessor which had ended up a charred ruin in 1805.
An estate acquisition by the Forestry Commission normally rang the death knell for a house (not least Pomeroy House in County Tyrone) but somehow even after a failed stint leased to a hotel, Gosford Castle has survived relatively unscathed. The unrelenting permanence of this mountain of a house built of local stone rooted in geography and history continues to shine like a beacon in the woods. The road to its revival has not been smooth and is a story of changing ownership, court cases and construction delays – all sounding familiar as history repeats itself. Hopefully the restoration won’t take longer than the original construction.
At the opening of the 21st century, the Belfast architectural practice The Boyd Partnership led by Arthur Acheson (no relation to the Gosfords) was commissioned by the developer Gosford Castle Development Ltd to design the conversion of Gosford Castle into 23 homes. Arthur had form. He had restored the 17th century Finnebrogue House near Downpatrick and converted outbuildings to residential use. Arthur and his wife lived at Finnebrogue from 1994 until 2009. He died earlier this year. In her condolences, Lord Lieutenant of Belfast Dame Fionnuala Jay-O’Boyle noted the architect was founding Chair of Belfast Civic Trust.
The rockiest of times had immediately preceded The Boyd Partnership’s involvement. Marcus Patton reported in the Summer 2006 Heritage Review of the Ulster Architectural Heritage Society that, “It is one of fewer than 200 Grade A Listed Buildings in Northern Ireland and is arguably our most important building at risk. The Society has maintained a keen interest in its future, and for those with knowledge of its recent history the confirmation of its sale for £1,000 to a private developer on 6 January will have come as something of a surprise.”
“Perhaps the most disappointing aspect of this process has been the lack of vision shown by central Government as the long term custodian of the castle. We all recognise the significant challenges that such a building can present, and we want to see it sympathetically restored. However this surely could have been achieved in a manner which would have allowed public access to the most important internal spaces as well as facilitating wider economic regeneration.” The Society was concerned about the loss of internal architectural detailing and spatial integrity through the conversion process.
Just before his death, Arthur explained, “In the design of this restoration we as a company decided to break away from the typical apartment model usually associated with conversions of Listed Buildings. Instead we opted to develop the castle as a series of individual homes, each with their own front door, hallway, staircase and in some cases, as many as four floors of accommodation. These unique homes range in size from 92 square metres to 371 square metres.” The average sized three bedroom house in the UK is 88 square metres. This vertical arrangement maximised character and minimised room subdivision. Country townhouses.
The contract value of the development is £8 million; work began in 2006 and is well progressed in 2024. This restoration and conversion is in three phases: firstly, the western part of the family wing and the southern part of the courtyard into eight houses; secondly, the northern part of the courtyard into four houses; and thirdly, the eastern part of the family wing and all of the main block into 11 houses. The cylindrical tower is one of the self contained houses. The neo Norman decorative plasterwork and panelling of the principal rooms such as the Library have been restored. It is unknown if any of the military graffiti scrawled on internal walls will be retained in situ. The demesne is open to the public as a forest park.
Dixie Deane records a structure that predates the castle in his 1994 gazetteer Gatelodges of Ulster, “Circa 1700. Off the old county road, now absorbed into the enlarged Gosford Estate, lie two large ornamental ponds between which the avenue to the manor house led over a causeway. The access is below a semicircular headed carriage archway in a large wall of roughly carved rubble whinstone dressed in classically moulded carved limestone.” On either side of the archway are attached 15 square metre porters’ lodges. Each has a Dutch gable reminiscent of Richhill Castle, also in County Armagh, and Springhill County Londonderry. Perched on their roofs are Sir John Vanbrugh style arched chimneystacks mimicking miniature belfries.
A rerouting of the road to Tandragee means the former gamekeeper’s cottage dating from circa 1840 is now accessed off a cul-de-sac backing onto the Gosford Castle Estate. Probably by Thomas Hopper, it is as unique in its own way as the neo Norman castle: this rustic log cabin is a gingerbread house brought to life. Spindly metal columns prop up a steep hipped roof and frame a wraparound verandah. The walls are panelled with narrow strips of wood at various angles and the windows have triangular heads. A simple rendered contemporary extension doubles the ground floor accommodation of this diminutive dwelling. The cottage is now a two bedroom holiday let.
Gosford Castle is a marvel in so many ways. For starters, why did the 2nd Earl and Countess of Gosford select neo Norman instead of the more popular Gothic or Italianate styles? Perhaps it was in the spirit of choosing your ancestors wisely. In a country of castles to show off your ancestry the next best thing to living in a Norman castle would be erecting and living in a neo Norman castle. The turn of the 18th century entrance archway and lodges – Blenheim Palace on Keizersgracht – are very special. The lodges are windowless but roofed and vegetation has been removed. Most marvellous if not miraculous of all is the survival and reuse of the wooden former gamekeeper’s cottage.
Gosford Castle itself has never looked better. The huge revivification is finally nearing completion to house 23 new Lords and Ladies of the Manor. The white stone glistens in its dense forest surroundings like a fairytale scene. Surprisingly there was no enabling new development as part of the restoration and redevelopment. The Planning Appeals Commission has though in 2024 allowed on appeal a development of 11 one and a half storey contemporary cottages in the abandoned car park to the rear of the castle courtyard. The adjoining walled garden will be restored as part of this residential development.
Commissioner Laura Roddy reports, “The scale and massing proposed with the low elevation design would respect the Listed Building. Whilst the proposed dwellings would be of a more modern design than the castle, this, combined with the simplicity of the design would ensure that the proposed dwellings would be sympathetic to, and do not compete with or detract from, the castle.” She concludes, “Overall, I find the appeal proposal would be of a sympathetic scale of development and would respect the character of the setting of the Listed castle and walled garden. Further, it would restore the Listed walled garden, reinstate the historic pathway between the castle and walled garden and include a significant level of landscaping which would be sympathetic to its setting.” So in the end enabling development was allowed – just for the walled garden not the castle.
And that concludes the definitive tale of Gosford Castle, spanning two centuries and delivered in different voices over four decades, its origins best summarised by Nicholas Sheaff’s narrative of two distinct aesthetic currents.
It’s one of the key English houses to see, totally individual and unlike anywhere else. Set between Elizabethan to Victorian built form is a display of interiors from the third quarter of the 18th century, that fascinating period containing the stylistic segue from high rococo to neoclassicism. Even a taste for the macabre in art – Guido Reni’s touching St Sebastián in the Picture Gallery and his bloodied snowy Massacre of the Innocents in the Corridor and Alessandro Turchi’s equally gory Massacre of the Innocents in the Cabinet Room – cannot dispel the current glory of the place.
Corsham Court is positioned close to its namesake town, separated only to the west by a sea of wavy yews. A magical first glimpse of the south facing entrance front is captured through a gated archway linking two 16th century ancillary ranges. There’s never an excuse for missing Vespers: St Bartholomew’s Church is to one side of the short driveway. To the east and north are nine hectares of gardens and across the haha is a five hectare lake. The estate extends to 188 hectares.
First impressions are of a golden hued stone Elizabethan house. This is both true and false: a concurrency of reality. Thomas Smythe’s house of 1582 is clearly visible, not least on his central datestone, but Lancelot “Capability” Brown, acting as architect and landscape designer from 1760 to 1780, replicated the existing bays on either side of the central forecourt. Further works would follow. In the East Wing, the family accommodation, the additional bay lights the Breakfast Room. The original bay lights the Library. In the West Wing, open to visitors for centuries, the additional bay is part of the Cabinet Room but is walled off – too many paintings to hang. The original bay is curtained off by the fourposter of the State Bedchamber.
The Cabinet Room and State Bedchamber form part of Corsham Court’s celebrated suite of State Rooms and are joined by the Picture Gallery and the Octagon Room. Original blood red damask wall hangings and chair coverings complement furniture by the Adam brothers, Chippendale, John Cobb and Thomas Johnson, as well as two family collections of Old Masters. Move over Wilton House near Salisbury with its double cube room – Lancelot’s triple cube (in multiples of 7.3 metres) Picture Gallery is breathtaking from its symmetrical hang of masterpieces to its deep coved and coffered plasterwork ceiling. Unlike the lead paned mullioned windows in most of the principal rooms, the Picture Gallery has five 12 pane sash windows framing views of the lake. The adjoining Cabinet Room has two sash windows, also on the east elevation. The Library and Picture Gallery appear in the 1993 film adaptation of Kazuo Ishiguro’s novel The Remains of the Day starring Emma Thompson and Anthony Hopkins. Living up to his moniker, Lancelot also designed the lake, completed by Sir Humphry Repton four decades later, and the Gothic Bath House.
The second generation of the Methuen family to own Corsham Court still required more space for their original art collection so commissioned John Nash to remodel the north part of the house. That didn’t end well. Despite charging quadruple his original fee proposal, the ambitious Gothic extension was poorly constructed and damp – not so good for paintings. Completed in 1805, it was demolished 41 years later. The polygonal dairy wing with its row of pointy gabled windows is all that remains of his extension. John Nash’s Library and the Dining Room chimneypiece, both in the south part of the house, survive. He also further Gothicised the Bath House.
Discovering John Nash’s fame sometimes slipped to infamy – there’s a reason these days why both planning design and detailed delivery architectural practices are employed for major developments – in 1849 the Methuen family chose Thomas Bellemy, not a household name this time, to design the rebuilding of the north part of the house. His monumental neo Elizabethan north elevation with its staircase tower rising above the roofs is collegiate in tone, best viewed from the far end of the long lawn bordered by deciduous trees. This is its third incarnation: John Nash’s Gothic front had replaced a 1749 Palladian design by Nathaniel Ireson. Thomas Bellemy also inserted windows between the pair of bays of the central setback on the entrance front. Revelling in a typically Victorian eclecticism, his Staircase Hall and Corridors are Italian Renaissance.
The west front is similar in style to the south front. The little published east front is the most playful elevation. Lancelot Brown’s restrained Palladian design – like Alan Hollinghurst’s description of a house in Our Evenings, 2024, “Sash windows up and down were gleams and depths across the great plain face of the building” – was jollied up by John Nash’s Gothic first floor oriel window and turreted trimmings. Its papery architecture is straight off the drawing board. Under John Nash’s remodelling, the Octagon Room lost two of its four chamfered walls so is now six sided. Its centrepiece is a 1790s octagonal rent table. The Dining Room and Music Room unlike the State Suite are in Thomas Bellemy’s neo Elizabethan mode. There is nothing staged about the interiors; no curator has been at work. It is an aesthetic education to be within these walls – first those of the estate, then those of the house.
Splinter Corsham Court into its constituent parts, extant and demolished, disperse and redistribute them, lower the grandeur while raising the vernacular, and Corsham High Street will appear. Parallel lines of Elizabethan to Victorian built form terminate at The Methuen Arms, a three bay three storey Georgian hotel. Most of the buildings share the same golden hued stone of Corsham Court. Others are harled and painted mustard or skin colour. And everywhere, estate and town, the peacocks, symbols of beauty, rebirth, wealth and pride.
