… or several. Driving over the causeway which links Inch Island to the mainland, the mainland being an aqueous bulge of land itself (Inishowen Peninsula), we are faced with one of life’s merrier dilemmas. “Strand 2 kilometres” to the left and “Pier 4 kilometres” to the right. We do both: the full breadth of the afternoon lies before us. The journey to Inch Pier is infinitely longer than suggested by the signpost (Irish miles?) even if it does end rather abruptly. Clinging to the hill, the road ascends and narrows to one car width. Then almost drops off a precipice. The last leg of the journey is a slippery slope slithering straight into the mini harbour. Best travelled by foot. Gingerly. The things we do for a few decent snaps.
A distractingly beautiful house stands close to the road somewhere between the causeway and the pier. Inch House is surprisingly low profile. It gets a passing mention here and there in literature about Buncrana Castle. The houses, or at least their final versions, are of a similar age and ilk: early 18th century austere neoclassicism. Inch House is seven bays wide, the central three bays set in the slimmest of breakfronts. A “missing” window either side of the pedimented doorcase adds to its spare charm.
Inch Island is drenched in history. English ships sailed to Lough Swilly and landed on the island during the Siege of Derry. The event wasn’t just part of Irish history. This small city and its environs on the edge of Europe was for 105 days (straddling 1688 to 1689) the hinge on which the history of the continent swung. It had ramifications not only for the Second British Civil War but also the broader struggle for the domination of Europe. The defeat of the Jacobite forces helped shape the continent for centuries to follow. And Inch played its part. Not that you’d ever guess today. The freshening lace of lapping water is the only sound of the sound. And then there is the sunlight, as efficacious as a prayer.
“Ireland is a staging point beyond Europe and the New World,” Professor Finola O’Kane of University College Dublin told us. Nowhere does it feel more so than in Donegal. A place of wild geese: the constant iterative of land carries a long shadow. A depth of field. Like its distant neighbour Castle Grove, Rathmullan House has been a hotel for more than half a century now. The house was originally built in the 1760s by the Anglo Irish Knox family (really Scots Irish as they hailed from Scotland but the term Anglo Irish is liberally applied to Plantation settlers). Anglo Irish: aristocrats | no portmanteau | universally accented | no translations. Rathmullan House later became the country retreat of a Belfast merchant family. The Batts doubled the size of the house in 1870.
Its long Victorian stuccoed façade is anchored by a central canted bay window and one at either extremity. This proliferation of projections is rivalled only in the Province by Benvarden House in Ballymoney with its two bows and two canted bays. At Rathmullan House they act as framing devices, freezing the corrugated surface of Lough Swilly below the tattered theatre of a thundery sky mid afternoon. Honeycomb punctured vertical bargeboards peek out from the side elevation dormers, silhouetted against a sky turned powder blue. All changes again with the descent of a crimson tinged sunset: bloody inland.
An enfilade of five antique filled commodious yet intimate rooms stretches across the façade. “Almost all the furniture was auctioned when the Batts sold the house. There are just two original items. My grandmother bought the tub chair and the painting of Charlotte Sarah Batt was bought by a lady who discovered it was too big for her home so returned it to Rathmullan House!” says Mark Wheeler who runs the hotel with his wife Mary. “Henry McIlHenny bought much of the furniture for Glenveagh Castle.” Luscious plasterwork, some polychromatic, adds richness to the rooms.
In 1966 the first generation of the current hotel owners, Mark’s parents, employed the architect Liam McCormick to add a dining room extension with tented ceilings. “Liam was a great sailor,” explains Mark, “and the ceilings are hung with the silk used for yacht sails. Their shape was inspired by the Indian arches in the Rajah Room.” The dining room is formed of interlocking octagons, pagoda-like structures taking the Victorian chamfered bays to their logical geometric conclusion. “The hotel is a popular wedding venue for architecture students,” smiles Mark, “ever since Liam McCormick’s Burt Church won building of the year!” He also designed a smattering of cuboid holiday pavilions in the wooded grounds.
Rathmullan House was a departure from his oeuvre. Before his death in 1992, Liam would complete 27 churches in Ireland. Each is recognisably by his hand: with one sweep he felled the cluttered gothic norm with a spare modernist form. Abstraction wasn’t Dr McCormick’s primary goal, “I wouldn’t say it’s studied. My resolution of problems tends to have a sculptural end. I grew up in a physically dramatic countryside; this sort of background inevitably comes into play when I design, and the churches have nearly all been in a rural setting.” The stark white shapes are as integrated into the Donegal vernacular as whitewashed cottages, their outlines as distinctive as Muckish Mountain. The closest of Liam’s seven Donegal churches to Rathmullan are Donoughmore Presbyterian to the south and St Peter’s Milford Catholic to the west.
Enough waxing lyrical taxing diction. Pizza awaits us in the vaults of Rathmullan House. A stone oven baked base piled high with wild and exotic mushrooms, fior di latte mozzarella, marinated friarielli, garlic, parsley and aged Pecorino to be precise. And then a moonlit walk along the two mile beach at the end of the garden. A rare curlew’s forlorn and faintly human sound assumes an eerie resonance across the still sand. The freedom of the country, far away from the London vertigo.
Maidin mhaith. Tiree, Stornoway, Lerwick, Wick Automatic, Aberdeen, Leuchars, Boulmer, Bridlington, Sandettie Light Vessel Automatic, Greenwich Light Vessel Automatic, St Catherine’s Point Automatic, Jersey, Channel Light Vessel Automatic, Scilly Automatic, Milford Haven, Aberporth, Valley, Liverpool Crosby, Valentia, Ronaldsway, Malin Head, Machrihanish Automatic. For the uninitiated that’s the pure poetry of Radio 4’s shipping forecast, a rhapsodic melodic episodic late night cruise circumnavigating the coastlines of the British Isles. Gotcha. The penultimate location, Malin Head, is the exposed most northerly point of Ireland teetering on the tip of the Innishowen Peninsula in view of the Aurora Borealis. The ultimate location in this neck of the island is Castle Grove. Unlike windswept Malin Head, next stop Iceland, this timid estate lies huddled off the Wild Atlantic Way in the sheltered mid southwest wiggle of Lough Swilly, the waterspace separating the peninsula from the mainland.
A mile long drive sweeps through 350 acres of bucolic parkland as composed as a Derek Hill landscape; a wave of anticipation rises, then behold, a house kinda four square, an abiding place of great and unsearchable things. Like two faced Clandeboye, the principal elevations stand proud at right angles to one another. Face to avenue, face to sea. Castle Grove isn’t like Edward Lovett Pearce’s poppet of Palladian perfection Bellamont Forest, Ireland’s Mereworth (currently on the market for less than £1 million, 1,000 acres included, the price of a two bed flat in Battersea), designed to be seen from every angle including a drone. Nope, it’s country house front, farmhouse back. The four bay façade with central Tuscan porch qualifies Castle Grove as an older rural cousin of Belvedere House, Drumbo, a “middling sized house” splash in Charlie Brett’s Buildings of North Down. Precious cornerstones, sure foundations.
Subsumed within its solid footprint dwells an older house dating back to 1730 and 1695. A radical makeover brought Castle Grove bang up to date for the swinging 1820s. As the Groves went up in the world, onward marching in the direction of the neoclassical vanguard, so did the height of their windows and ceilings. The resultant idiosyncrasies only add to the house’s charm. Four of the windows on the south facing entrance front are higher outside than in, highlighted when the shutters are pulled and a dark gap appears above them. A shuttered cupboard in the Samuel Beckett Room was once a window on the original east elevation. The shutters are set at a cute acute angle on one side of the dressing room (now en suite) windows of the replacement 1820s east elevation, maintaining symmetry. As do the two blind windows An antique porch astutely fills the vacancy of the central axis on the entrance front. A conservatory, the 19th century equivalent of today’s cinema room, was added to the side. Castle Grove now looks like “a beautiful Regency house” says leading heritage architect John O’Connell. It is a country house repurposed, just, as an airy hotel and restaurant. The eponymous erstwhile owners the Groves are long gone. The hospitable able hosts the Sweeneys are here to stay. Breezily braving the elements alone with nature – and paying guests.
Tráthnóna maith. The eclipse has come and gone; spring equinox is here. Snowdrops have disappeared, daffodils are in full bloom, primroses on their way. It’s time to talk to Mary Sweeney, châtelaine of Castle Grove since 1989. She and her husband Raymond bought the house and estate from Commander Peter Colin Drummond Campbell and his wife Lady Moyra Kathleen Hamilton, the Duke of Abercorn’s sister. Commander C inherited it on the death of Major James Grove. Incidentally (there are always lots of incidents in life) Lady M was one of Queen Elizabeth II’s five Maids of Honour at her Coronation. “The land steward and housekeeper kept Castle Grove in good shape. For the first year we lived in the house and opened it as a B and B. We wanted to develop it but not spoil it. The house, it was a real challenge. We wanted to keep the characteristics, the symmetries. We again looked and looked at it. In the end we pushed the entire house back into part of the rear courtyard. The stable wing was already lofted so we retained its front and added a corridor behind linking it to the main house. We didn’t want guests having to go out in the rain. The bedrooms in this wing are just as big as those in the main house. We reroofed the conservatory. We never demolished a wall in the original house. Instead we adapted windows as doors or indoor mirrors. I feel a great obligation to maintain Castle Grove.” This is not Grand Designs or Changing Rooms. This is heritage. This is history. This is Hibernia.
“When we applied for a dining room addition the planning officers wanted it to be a conservatory. But that part of the house faces northeast and rarely gets direct sunlight! It took a year to resolve, to get our sympathetically designed extension approved. We didn’t want the corner sticking out in views from the driveway so it’s chamfered. We turned the original sideboard recess into double doors under a fanlight. A local carpenter built the doors to match the 1820s double doors between the two main reception rooms. The fanlight is based on the one between the entrance and staircase halls. The original dining room is now the Red Drawing Room and next door is the Yellow Drawing Room. The marble fireplace in the new dining room is a replica from my old home. I jokingly asked Portadown Fireplaces if they could remake it based on a photo and sure enough they did!” The house is filled with modern Irish paintings. Appropriately there are seascapes and mountainscapes aplenty. “Buying paintings from young artists exhibiting their work on the railings of St Stephen’s Green in Dublin in summer stemmed our interest. Artists like Maurice Wilks, Liam Jones, Brendan Timmons. Derek Hill gave us his oil painting Donegal Late Harvest. Derek brought many guests here. Really such a humble man and so friendly.” The house is filled with antiques. “We have some stories to tell about auctions! Newark Antiques Fair is good. So is the Mill at Ballinderry. The bed in the George B Shaw Room came from Seventh Heaven outside Chester. The beds are unbelievable there! That bed was made for Archduke Ferdinand of Austria. When we bought the four poster in the Jonathan Swift Room we used saddle soap and toothbrushes to carefully clean it before using French polish. Beds and food – they’re so important!” As for the chandeliers, Sia would swing from them.
Saol maith. It’s time to talk to Mary’s daughter Irene who is managing reception (the former flower room). “The weather is unpredictable in Donegal or perhaps that should be predictable – it rains a fair bit! Donegal may be right off the Atlantic but we’re very inland here. The house has a warm, loving presence. It’s a very welcoming atmosphere. Whether this is us as a family, or the building, I’m not sure. The Groves were extremely good landlords, especially during the famine when they fed and educated local children in the long barn. Perhaps this generosity and goodwill has over the centuries seeped into the walls. There’s houses before you know the history, they’re chilling…”
If too long to serve undivided saw them in too; cover the open ends with a lump of paste and a cloth floured and tied close. The paste must be removed before being sent to table. Boil 1½ and 2 hours according to size. Put a ruffle of papar round each & serve in a napkin, with very hot toast. The marrow is spread on very hot toast & seasoned with pepper & salt.”
Raisins cleaned & minced 2 lbs. Sugar 3½ lbs. Salt 8 ozs, green ginger 8 ozs red pepper 2 ozs garlic ½ ozs. These with the exception of raisins & sugar to be separately well pounded then mixed. Add to them the raisins & sugar & lastly 1 bottle of vinegar. This quantity will make nearly 4 bottles. Fill & leave them in the sun in India but at home cook for about an hour.”
“White Milk Soup
1 onion. 1 carrot. 1 turnip. 3 cloves stuck in the onion. A little stock made of rabbit vial, fowl or mutton (best of the three first). Put the vegetables in the stock & boil for an hour and a half to two hours. Strain salt through a verry fine hair seive. Then warm 1 pint of new milk and add all these together. Season with pepper and salt. This soup must be made just before using as it will not keep – the vegetables turn the milk sour.”
“To Prevent Bed Sores
10 grains of the nitrate of silver, to 1 oz of water, to be applied by means of a camel hair brush over every part exhibiting the highest appearance of inflammation, 2 or 3 times a day, until the skins has become blackened, afterwards only occassionally [sic].”