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Dorinda The Honourable Lady Dunleath Baroness Mulholland + Killyvolgan House Ballywalter Down

Life and Times

Dorinda loved discussing the many Irish country houses she knew well. “I could write a book about my experiences in country houses. Maybe you should for me!” One of her earliest memories was visiting her uncle and aunt, Major Charlie and Sylvia Alexander, at the now demolished Pomeroy House in County Tyrone. Dorinda also enjoyed visiting Springhill in County Londonderry (now owned by The National Trust) – she was married from there in 1959. There was a painting of Springhill in the sitting room of Killyvolgan House. It was her Great Aunt Mina’s home. Mina Lenox-Conyngham was the last owner of Springhill. “Staying at her house was always enormous fun.”

“I remember aged six being taken against my will to dancing lessons at Lissan House. It was absolutely freezing! I lay on the ground screaming and kicking my feet in the air. Such a dull house, don’t you think?” She was great pals with Diana Pollock of Mountainstown House in County Meath and recalled good times there with Diana and her sisters. “I could never love Mount Stewart. Dundarave has an interesting vast hall but the reception rooms are plain. I remember the auction of Mount Panther’s contents. Everyone was standing in the entrance hall and up the stairs when the staircase started coming away from the wall! Cousin Captain Bush lived in Drumhalla House near Rathmullan in Donegal. He’d a parrot and wore a wig. I remember my cousin threw his wig off when he went swimming in the cove end of the garden. I was absolutely terrified to jump in after him!”

One of Dorinda’s most memorable stories combines several of her loves: country houses, fashion and parties. “It was the Sixties and I had just bought a rather fashionable tin foil dress from a catalogue. I thought it would be perfect for Lady Mairi Bury’s party at Mount Stewart. It was so tight and I was scared of ripping it so I lay down on our bedroom floor, arms stretched out in front of me, and Henry slid me into it.” She gave a demonstration, laughing. “Unfortunately I stood too near one of the open fires and my dress got hotter and hotter. So that was the first and last time I wore it!” Dorinda always managed to look stylish, whether casual or formal. Her suits were the envy of fellow Trustees of the Board of Historic Buildings Trust. Her ‘off duty’ uniform of polo neck, sports jacket, jeans and boyish shoes was effortlessly chic.

When it came to finding her own country house after her tenure at Ballywalter Park ended, things proved challenging. “I searched for two years for a suitable property. There’s a country house for sale in Keady. Nobody lives there! I’d be driving up and down to Belfast non stop!” Eventually Dorinda would build her own house on a site just beyond the walled estate of Ballywalter Park. At first, she wanted to rebuild the double pile gable ended two storey three bay house occupying the site called McKee’s Farm but when the structure proved unstable, a new house was conceived. Despite being known as a modernist, Belfast architect Joe Fitzgerald was selected to design a replacement house of similar massing to McKee’s Farm, adding single storey wings in Palladian style. Like its owner, Killyvolgan House is understated, elegant and charming. She was pleased when the council planners described Killyvolgan as the ideal new house in the countryside. It displays a distinguished handling of proportion and lightness of touch.

“I bought the Georgian grandfather clock in the entrance hall from Dublin. I’m always slightly concerned at how fragile my papier mâché chairs are for ‘larger guests’ in the drawing room. I guess the chairs were really meant for a bedroom? I’ve painted all the walls in the house white as the shadows on them help me see around.” And then there was the urn in the courtyard. “The Coade stone urn I found in the 19th century barn was much too grand. So instead I bought this cast iron urn on the King’s Road in Belfast. Fine, I will leave the Marston and Langinger pot you have brought me in the urn so that I remember that colour. Oh, Farrow and Ball are very smart! They’re very clever at their marketing.” In the end, the much debated urn would remain unpainted. “Henry wouldn’t deal with snobs. That’s why I liked him. Henry took everything he got involved in very seriously. Henry was the only Alliance Party member in the House of Lords. He strongly promoted the Education (Northern Ireland) Act 1974 which provided greater parity across the sectarian divide.” Later, “Oh how exciting, is it full of good restaurants and bars? Great! I’ll be an authority now on Ballyhackamore.”

She recalled an early drama at The Park. It was a tranquil Sunday morning in 1973 and unusually Dorinda was at home rather than at Holy Trinity Church Ballywalter. “Henry was singing the 23rd Psalm at Eucharist when he heard six fire brigades go by. Poor people, he pitied. I’d warned our butler not to interfere with the gas cylinders of the boiler, but he did, and the whole thing exploded, lifting off the dome of the staircase hall like a pressure cooker. The billiard room disappeared under a billow of smoke and flames. I rang the fire brigade and said, ‘Come quickly! There’s a fire at Ballywalter Park!’ The operator replied, ‘Yes, madam, but what number in Ballywalter Park?’” The estate of course doesn’t have a number – although it does have its own postcode.

“A spare room full of china collections fell through the roof. Well, I guess I’d always wanted to do an archaeological dig! It was so sad, really. As well as the six fire brigades, 300 people gathered from the village and around to help lift furniture onto the lawn. Fortunately the dome didn’t crack. Isn’t life stranger than fiction? The Powerscourt fire happened just one year later. Henry was philosophical and said we can build a replacement house in the walled garden.” In the end the couple would be responsible for restoring the house to its lasting glory. Ballywalter Park is a mid 19th century architectural marvel designed by Sir Charles Lanyon.

“I arrived over from London as a young wife and suddenly had to manage 12 servants. I used to tiptoe around so as not to disturb them. There was a crazy crew in the kitchen. Mrs Clarke was the cook. Billy Clarke, the scatty elderly butler, mostly sat smoking. Mrs Clarke couldn’t cook unless he was there. I was too shy to say anything!” Dorinda once briefly dated Tony Armstrong-Jones who would become the society photographer Lord Snowdon. “We met at pony club. He got me to model sitting next to a pond at our house in Widford, Hertfordshire.” One book described Dorinda as being “very pretty”. When questioned, she replied, “Well, quite pretty!” She was more interested in her time bookbinding for The Red Cross. In those days The Bunch of Grapes in Knightsbridge was Dorinda’s local. “Browns Hotel and The Goring were ‘safe’ for debutantes. After we got married we went to the State Opening of Parliament. We stayed in Henry’s club and I haled a taxi wearing a tiara and evening dress. Harrods was once full of people one would know. We would know people there. ‘Do you live near Harrods?’ people would ask. I’ve heard everyone now lives southwest down the river, near the boat races. You need some luck and then you’ve just got to make your own way having fun in London.”

As ever with Dorinda there were always more great stories to relate. “I bought the two paintings from the School of Van Dyke in my dining room for £40. I knew they are rather good landscapes so I decided to talk to Anthony Blunt about them. We arranged to meet in The Courtauld for lunch. Halfway though our meal he disappeared for a phone call. He was probably waiting for a message, ‘Go to the second tree on the left!’ He never reappeared. Next thing I heard he was a spy and had gone missing! I think he turned up in Moscow. I’ll remember other interesting things when you’re gone.” Occasionally colloquialisms would slip into her polite conversation. “The funeral was bunged! That was completely mustard!” One of Dorinda’s catchphrases, always expressed with glee, was, “That’s rather wild!”

“I called up to The Park. It was so funny: for the first time in history there were three Lady Dunleaths including me all sitting chatting on a sofa! One lives in The Park; the other, King’s Road and I don’t mean Belfast!” Dorinda made steeple chasing sound so exciting. A dedicated rider and breeder, she was Chairman of the Half Bred Horse Breeders Society. The Baroness’s contribution to Northern Irish culture and society is unsurpassed. She was Patron of the Northern Ireland Chest Stroke and Heart Association and the Northern Ireland Council for Integrated Education, as well as being a Committee Member of the Royal Ulster Agricultural Society. Dorinda was a Director of the Ulster Orchestra and a founding member of The National Trust in Northern Ireland and the Ulster Architectural Heritage Society. Along with Sir Charles Brett she laboriously carried out and published early ‘Listings’ of buildings in places such as Downpatrick, Dungannon and Lisburn. The Baroness’s legacy lives on in the Dorinda Lady Dunleath Charitable Trust. This charity was started by her late husband but after he died it was changed into Dorinda’s name and she added to it every year thereafter. It supports education; healthcare and medical research; the arts, culture, heritage and science; the environment; alleviating poverty; and advancement of the Christian faith. The Dorinda Lady Dunleath Charitable Trust continues to donate to charities that she would have liked, with a focus on Northern Ireland.

One of the last heritage projects Dorinda supported was the restoration and rejuvenation of Portaferry Presbyterian Church, not far from Ballywalter. It’s one of the best Greek Revival buildings in the United Kingdom. “Prince Charles came to the reopening. I curtsied so low I could barely stand up again! Afterwards, a few of us had a very grand supper at Ikea to celebrate!” She voiced concern about the future of the organ at Down Cathedral. Music in May at Ballywalter Park was an annual festival of organ music started by the newlyweds. The Dunleath Organ Scholarship Trust was set up by her late husband and she continued to support it for the rest of her life, attending its concerts each year.

“It’s so exciting… I can’t say how exciting it is you’re here! Tell me, who is this David Bowie everyone’s talking about? I feel like I’m about 100! It’s like when my father asked me, ‘Who is this Bing Crosby?’ The House of Lords used to be full of country specialists like experts in bees or men who loved linen. They used to give the most marvellous speeches. Each generation must do something. It would be great to write this down.” Later, “Gardens should have vistas, don’t you think? They need focal points; you need to walk for an hour to a place of discovery. Capability Brown and Repton knew how to do it.”

In latter years, there were memorable times to be had at The Wildfowler Inn, Greyabbey. Those long, languid lunches. “Portavogie scampi? I’ll have the same as you. And a glass of white wine please. We can have sticky toffee pudding after.” Dorinda would don her yellow high viz jacket, pulling the look off with considerable aplomb. Her eyesight failing, she would claim, “It helps people see me in Tesco in Newtownards!” Much later, balmy summer afternoons in the sheltered courtyard of Killyvolgan House would stretch long into the evening. There was Darjeeling and more laughter. Those were the days. Halcyon days by the shore. Days that will linger forever. On that last evening at Killyvolgan, Dorinda pondered, “Who’s left who cares about architectural heritage?”

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Architecture Country Houses

Lavender’s Blue + Castle ffrench Galway

Fortissimo

Anglicisation from Gaelic is to blame in some instances (The Argory is a case in point) but quite a few Irish country houses have intriguing names. Jockey Hall and Shandy Hall (the latter in Dripsey) sound fun. Whiskey Hall sounds like too much fun. Bachelors Lodge and Hymenstown are presumably miles apart. Mount Anne or Mount Stewart anyone? The mildly unnerving Flood Hall, Fort Etna, Spiddal Hall and The Reeks. Is Sherlockstown worth investigating? Zoomorphic zaniness: Fox Hall, Lizard Manor, Lyons, Mount Panther and Roebuck Hall. Elphin – Castle? Place names too. Bungalo begs the question: is it full of single storey residences?

Lots of houses without so much as a battlement are called castles: Beltrim Castle, Castle Coole, Castle Grove, Castle Leslie. Castle ffrench joins this list although there are ruins of a tower house on the estate. The double consonant lower case doesn’t disguise the fact the name originated somewhat unsurprisingly in France. The ffrench family were part of a Norman landing in County Wexford in 1169. In time, they became one of the 14 Tribes of Galway. Their single consonant upper class case cousins owned French Park in County Roscommon.

Castle ffrench is a star of Maurice Craig’s seminal work Classic Irish Houses of the Middle Size. He notes its plan is virtually identical to Bonnettstown’s in County Kilkenny, despite the 90 mile 40 year gap. A notable feature of both pretty Big Houses is the pair of staircases side by side, like slightly asymmetric Siamese twins. A thin wall between the pair once segregated the classes’ ascent and descent (for richer, for poorer). One is dressed in plasterwork; the other bare. Landings pressed against the four bay rear elevation provide interesting mid storey variations in window positions. Both stairwells are lit by tall fanlight topped windows identical on the outside – only the family one has internal panelling.

The front elevation is more conventional, the grouped middle three bays of a five bay composition gently projecting. Urns and finials sprouting from a solid parapet dot the horizon. A three storey over basement (hidden to the front | semi exposed to the sides | for all to see to the rear) limestone block, this house is the epitome of Irish Georgian style. It even has an archetypal fanlight set in the entablatured triglyphed pilastered fluted rosetted doorcase. Conservation architect John O’Connell calls the building “very accomplished” and recognises the influence of the architect Richard Castle. A niche in the entrance hall is marginally unaligned with the ceiling plasterwork above. A signal that the house is the work of a builder with a pattern book or two at his disposal? Or simply plastered on a Friday afternoon?

Castle ffrench rises above an unruffled patchwork quilt, a landscape of interlocking greens, quieter than Pimlico Tube Station on a Friday evening (are Pimlocals like Peter York too posh to push onto public transport?). So silent. Rural aural aura. Within the vale beyond The Pale. A mile long drive and 40 acres keep the populace at bay. Augustine days of yore aren’t so distant… Indoors, there’s a hooley! The plasterwork, at any rate. The stuccodores’ genius charges towards zenithsphere in the entrance hall and landing (of the family staircase). Neoclassicism and rococo blend and blur in mesmerising jigs and reels of fables and foliage ribboned round Irish harps and ffrench French horns. Wreathes and sheaves and sickles, the whole shebang.

Lady Fifi ffrench (stutteringly fitting phonetics or what?) and her husband John were the last of the original family to reside at Castle ffrench. Sheila and Bill Bagliani, the current owners, have sensitively restored this knockout property, subtly preserving its patina of age. Bertie the Labrador and Sally the Westie run amok through the grounds. Sheila, a talented artist, has a top floor studio to kill for. No really. All stairs lead to a second floor central corridor spanning the full width of the house. This corridor might not have the ornate plasterwork of the spaces below but it’s very much defined by a series of blind and open arches like abstract vaulting. A forerunner to Sir John Soane’s streamlined style. At one end, a door opens into a softly lit corner room with views to die for. There are flowers and canvases and a ghost – a previous owner refuses to leave and who could blame her? – in the attic.

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Architects Architecture Art Country Houses Design People

Lavender’s Blue + Russborough Blessington Wicklow

Architecture in Harmony

1 Russborough House Blessington © Lavender's Blue Stuart Blakley

A rondo is a piece of music in which the main theme keeps recurring between different episodes. Antonio Diabelli’s Rondino was written for the piano in the 18th century. essentially a ternary or three element form, two repeats elongate this rondo into a five part composition. It opens in mezzo piano, rising through a crescendo then a forte section, before softening through a diminuendo back to mezzo piano.

2 Russborough Houssse Blessington © Lavender's Blue Stuart Blakley

Rondino is typical of the classical era of the arts. It is symmetrical with a regular rhythm set in harmonised yet contrasting elements strung out and repeated. Articulated notions of Beauty, the Sublime and the Picturesque underscore the symbolic sensibilities of the piece. This is a work from a maestro at the height of his creative gamesmanship.

3 Russborough House Blessington © Lavender's Blue Stuart Blakley

The same could be said of Russborough, an Irish neoclassical house designed by the virtuoso architect Richard Castle. The Palladian ideal of dressing up a farm axially to incorporate the house and ancillary buildings into one architectural composition flourished in 18th century Ireland, especially under German born Castle.

4 Russborough House Blessington © Lavender's Blue Stuart Blakley

The central block of Russborough is seven bays wide by two storeys tall over basement. Bent arcades link two identical lower seven bay two storey wings. This five part superfaçade is constructed of silvery grey granite. Straight retaining walls extend from the wings to terminate in gateways at either extremity, like encores. Little wonder Johann von Goethe called architecture “frozen music”.

5 Russborough House Blessington © Lavender's Blue Stuart Blakley

Awesome, yes. But it combined form with function from an 18th century perspective. One wing contained the servants’ quarters and kitchen; the other, the stables. The two gateways led to the separate stable yard farmyard. In the central block, the high ceilinged piano nobile was used for public entertaining. The low ceilinged first floor was for private family use. The basement housed vaulted wine cellars and yet more servants’ accommodation.

6 Russborough House Blessington © Lavender's Blue Stuart Blakley

Such is the genius of the place, and its architect, that this arrangement has adapted well in subsequent centuries. When Sir Alfred and Lady Beit flung open their doors to the great unwashed in 1978, a neo Georgian single storey visitors’ centre was neatly inserted behind the eastern colonnade. The west wing was restored in 2012 and discreetly converted into a Landmark Trust holiday let.

7 Russborough House Blessington © Lavender's Blue Stuart Blakley

The Beit Foundation has ensured the survival of Russborough despite no less than four art robberies from an ungrateful element of the recipient nation. This is no picnic in a foreign land. A tour guide as graceful as Audrey Hepburn glides through the echoing halls and velvety staterooms; the latter, counterpoints in texture to the stony exterior. Not so, other Irish country houses. Carton, Dunboyne Castle and Farnham were all converted into boom time hotels with varying degrees of success. Uncertainty lies over the fate of Glin Castle, Mountainstown House and Milltown House, all for sale in an unstable market. Worst of all, Ballymacool, Castle Dillon and Mount Panther lie in ruins, home to wandering sheep and ghosts.

8 Russborough House Blessington © Lavender's Blue Stuart Blakley

Contemporary composer Karl Jenkins has brought Palladio back to the forefront of orchestral music. Laterally Literally. Inspired by the 16th century Italian architect, Palladio is a three movement piece for strings. Completed in 1996, Karl was influenced by Palladian mathematical proportionality in his quest for musical perfection.

9 Russborough House Blessington © Lavender's Blue Stuart Blakley

Palladio’s pursuit of perfect proportions can be traced back to the Vitruvian model of ‘man as a measure for all things’. He reinterpreted the architectural treatise of Vitruvius, a 1st century Roman architect, for a new audience. Vitruvius believed symmetry and proportion created a harmonic relationship with individual components and their whole, either in music or architecture. He developed ratios based on the human body which were later used by 18th century composers. Michelangelo’s Vitruvian Man illustrates the concept.

10 Russborough House Blessington © Lavender's Blue Stuart Blakley

Like other Roman architects, Vitruvius revered the work of Ancient Greek scholars. Their macro theses argued that the entire cosmos vibrates to the same harmonies audible in music. Pythagorean formulae quantified the relationship of architecture, music and the human form. Even the cyclical nature of the resurgence of classicism, skipping generations like beats, only to be revived in repetition and reinterpretation, has balance and form.

11 Russborough House Blessington © Lavender's Blue Stuart Blakley

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People Town Houses

Ely House Dublin + The Order of the Knights of St Columbanus

Bram’s Lullaby

1 Ely House Dublin © lvbmag.com

Lavender’s Blue visit one of Dublin’s grandest and most historic houses. Following a herculean £5 million restoration, Ely House has never looked better, adapted and ready for its fourth century of continuous use. Now that’s what we call sustainable development. Back in 1771 when the house was built, Dublin’s population had quadrupled in a matter of decades making it the seventh largest city in Europe. Still smaller than the modern day London Borough of Wandsworth. The Wide Streets Commission of 1757 paved the road (no pun) for the development of streets and squares. Now that’s what we call town planning. Building leases on plots dictated height, mostly four storeys over basement, and often even each storey height. A pleasing uniformity was the outcome.

2 Ely House Dublin © lvbmag.com

Exteriors are typically devoid of ornament, relying on quality of brick and pleasing proportion of wall-to-window ratios for their beauty. Except of course for what have become known as the famous Dublin doors. Extraordinary zest was invested into creating eye catching arrangements of heavily panelled doors, lead paned sidelights and semicircular fanlights. Wrought iron railings and balconies are the only other relieving features. This architectural restraint makes the explosion of exuberant interior plasterwork all the more stimulating. And if you think the recent boom was party time, it doesn’t hold a (Georgian) candle to the shenanigans our bewigged predecessors got up to in these ornate settings.

3 Ely House Dublin © lvbmag.com

Chronicler Mrs Delaney, the Lavender’s Blue of her day, recorded one of her meals, “First Course: soup, rabbits and onions, veal, turkey pout, salmon grilde [sic]. Second Course: pickled salmon, quails, little terrene peas, cream, mushrooms, apple pye [sic], crab, leveret, cheese cake. Dessert: blancmange, cherries, Dutch cheese, raspberries and creams, sweetmeats and jelly, strawberries and cream, almond cream, currants, gooseberries and orange butter,” [sick]. Potatoes are not mentioned because they were not considered part of a set ‘dish’; they were handed round. Vast quantities of wine, chiefly claret but also port, accompanied the food. In The Four Georges, Thackeray writes, “Singing after dinner and supper was the universal fashion of the day. You may fancy all the dining rooms sounding with choruses, some ribald, some harmless, but all occasioning the consumption of a prodigious deal of fermented liquor.”

4 Ely House Dublin © lvbmag.com

Built by Henry Loftus, Earl of Ely, Ely House on Ely Place opposite Ely Wine Bar faces down Hume Street towards St Stephen’s Green. It spans the full width of Hume Street and true to form is four storeys over basement with particularly elegant wrought iron railings, balconies and even lamp standards. A parapet partly conceals the roof. But where most Georgian Dublin houses are three bay, Ely House is a full gloriously greedy seven. Red brick from Bridgewater, Somerset, was an inspired choice of material. The Loftus family seat was Rathfarnham Castle, south of Dublin city centre. Their townhouse, or rather town-mansion, was a fulcrum of 18th century social life. Michael Stapleton, the fashionable stuccadore, was commissioned to undertake the interior plasterwork.

5 Ely House Dublin © lvbmag.com

6 Ely House Dublin © lvbmag.com

Stucco acanthus fronds, acorns, arrows, bay leaves, bows, brackets, cherubs, consoles, corbels, cornices, festoons, friezes, helmets, medallions, panels, plaques, putti, quadrants, quatrefoils, ribbons, roses, rosettes, scrolls, shells, swags and two turtle doves await us. There are more fireplaces than the Lassco Summer Sale. Cararra marble, Sienna marble, oak, take your pick. In fact somebody nearly did. Just before we arrived a wannabe thief tried to make off with one. Both outside and in, Ely House is a template of grand Georgian design and layout. Beyond the Doric Palladian doorcase is a squarish outer hall. Sedan chairs would once have been parked on the stone flagged floor. A dentilled cornice is a subtle hint of the plasterwork to come. On one side of the outer hall, the morning room, now an oratory, is equally serene with windows overlooking Ely Place. But on the other side, the dining room shows Stapleton in full flow. As the panelled window shutters are pulled back, the soft Irish light casts shadows across the moulded walls and ceilings in all their glory. The dining room is painted Mount Panther blue, highlighting Stapleton’s three dimensional wonders.

7 Ely House Dublin @ lvbmag.com

Straight ahead of the entrance door, the outer hall leads into the inner hall; what a spectacle! Behold Dublin’s finest staircase, raising the functional to the fantastical. Here is the first clue, all six feet of it, that Stapleton or possibly Loftus was a fan of ancient classical mythology. A statue of Hercules, carved out of the same Portland stone as the three flights of stairs, acts as a human sized newel post. Under a mahogany handrail and below small lead medallions and squiggles, groupings of plant-like wrought iron balusters alternate with giltwood figures representing the Labours of Hercules. In ascending order are the Erymanthian boar; the Stymphalian bird; the Nemean lion; another Stymphalian bird; the Cretan bull; the Arcadian stag; and the three headed dog Cerberus. The staircase basks in natural light from a Palladian window framed by Corinthian pilasters. An obligatory secondary staircase, connecting the basement to the top floor and all levels between, is a marvellous counterfoil to the main staircase. It’s an essay in refined understatement with plain timber balusters.

8 Ely House Dublin © lvbmag.com

The first floor is laid out with typical 18th century taste. An enfilade along the front of the house is formed by a reception room on either side of an anteroom. In this instance the anteroom is a single bay music room. One of the decorative plasterwork roundels on the wall is hollow to improve acoustics. The Pillar Room was once known as the Attic Theatre. This space was created by the Earl’s widow. When Henry Loftus died in 1783 his young widow, the girl about town Dowager Countess, threw together two rooms to make a theatre. Ionic columns and pilasters support the ceiling of the enlarged space. The muted colours of the drawing room allow the plasterwork to do the talking. Romulus and Remus appear with the wolf in the central marble relief of the mantelpiece.

9 Ely House Dublin © lvbmag.com

Ely House was the home of Sir William Thornley Stoker from 1890 to 1911. His brother Abraham (Bram) Stoker was author of Dracula. Since the 1920s the house has been the headquarters of the Order of the Knights of St Columbanus. This Order was founded in Belfast by James K O’Neill to promote Catholic faith and education. His experience as the priest of an inner city parish led him to believe that intelligently applied Catholic principles would remedy social ills and permeate society with the charity of Christ. This was the basis of the programme of study which continues to underpin the Knights’ endeavours. Canon O’Neill died in 1922. Mid 20th century offices built in the rear garden provide a source of income for the Order. It’s not many buildings that over the course of their history have housed a raucous aristocrat, religious order, a Thai restaurant (the previous use of the Knights’ members’ room in the basement) and hosted a gothic horror writer. Now that’s what we call provenance.

10 Ely House Dublin © lvbmag.com