28 June 2017
I was writing at the end of last week about the church at Nantenan, which may date back to the late mediaeval period or even later, and the surrounding churchyard, half-way between Askeaton and Rathkeale in west Co Limerick.
Earlier this week I also visited Nantenan Glebe, the former glebe house or rectory for the parish that was built by the Board of First Fruits and which, retains much of its modest form, despite later additions.
Many of the features of this house, including the slate roof and sash windows, help to conserve the original appearance of the house.
This detached, three-bay, two-storey over basement former rectory was built around 1819. Although I can find no records of the architect, I wondered whether it was designed by James Pain, who designed the former rectory in Askeaton at the same time.
The house has a porch to the front or west elevation, a single-bay single-storey extension to the south, a two-bay three-storey block to the rear or east elevation, and a single-bay, single-storey extension to south elevation.
The house has roughcast rendered walls. There is a hipped slate sprocketed roof with rendered chimneystacks, a hipped slate roof on the rear block, flat roofs on the extensions, and a half-hipped slate roof on the porch.
There are square-headed openings with six-over-six pane timber sliding sash windows that have painted stone sills. There are square-headed openings to the extensions, some with timber casement windows, and a square-headed opening at the porch with double-leaf timber panelled doors.
A flight of concrete steps with metal railings leads up to the porch and front door.
Outside, it is possible to trace the former walled garden, the kitchen garden and the stables.
A two-bay single-storey outbuilding at the east courtyard has a pitched slate roof. There are rubble boundary walls to the courtyard with an elliptical-headed carriage arch to the north wall with red brick voussoirs.
There is a pair of square-profile rubble limestone piers to the west with double-leaf cast-iron gates and rubble limestone boundary walls.
The Board of First Fruits contributed a gift of £450 towards building the glebehouse in 1819, and a further loan of £50. Samuel Lewis described the house in the 1830s as a handsome residence. At that time, the glebe comprised six acres, which had been bought by the Board of First Fruits.
Until the disestablishment of the Church of Ireland, Nantenan union of parishes was part of the corps of the Precentorship of Saint Mary’s Cathedral. Nantenan parish was united with Rathkeale from 1918, and also with Ballingarry and Rathronan from 1958. So, my predecessors as precentors and as the priests in this parish had a particular interest in the glebehouse at Nantenan.
After almost 200 years, much of this glebe land still surrounds the house, and in this week’s summer rain it reinforced my claim last year after the ‘Brexit’ referendum in Britain that Ireland too is ‘a green and pleasant land.’
Some months ago, I wrote about Pat McAuliffe (1846-1921), the stucco and architectural artist who lived and worked in Listowel, Co Kerry, and his decorative stucco work in Listowel. I had walked through the streets of Listowel, and had been enthralled by his hotel façades, detailed shopfronts and pub decorations.
His work is a wonderful and eclectic mixture of classical, art nouveau, Celtic and Byzantine influences. They are important examples of the late 19th century pan-European quest for a national style, and they remind me of the style of stucco work by my great-grandfather, James Comerford (1817-1902), at the Irish House on Wood Quay and the Oarsman in Ringsend, Dublin.
But there are significant examples of Pat McAuliffe’s work too in Abbeyfeale, Co Limerick, and recently I spent a rainy but enthusiastic afternoon there exploring the surviving parts of his work.
From the early 19th century, Abbeyfeale – like Listowel – grew in importance and expanded as a market town and commercial centre. A new Market Square was laid out, with new streets leading off it, and the building trades found a new demand for their skills.
In Abbeyfeale, Pat McAuliffe plastered and roofed many of the new buildings in New Street, and he renovated shopfronts and pub-fronts, embellishing them with his decorative stucco work.
McAuliffe’s most extravagant and best-known work in Abbeyfeale was at O’Connor’s on Main Street. This building was an example of how Abbeyfeale grow as a business town in the 19th century. The original building was probably erected in the 1850s, and originally housed the family townhouse, with a drapery shop and a branch bank at ground-floor level. In time, it came to accommodate a drapery, public house, grocery, hardware, builders’ suppliers.
Large-scale renovations were carried out in 1905-1910, and McAuliffe probably did not work on the ground floor, where there was already a large shopfront, an entrance to the family residence and a pub-front.
Instead, McAuliffe worked on the two upper floors, where his stucco decorations are eye-catching and riotous.
The first floor has nine pilaster-style strips with inter-lacing Celtic designs that are mainly interspaced by the windows, while the second floor has ten large imposts that, along with the window keystones, are decorated with animals, Biblical allegories, including a mammoth, a wolf, a frog, a peacock, Eve in the Garden of Eden, a dove elephants and lions’ heads.
The focal point of McAuliffe’s work is found at the corner of the top floor, which he decorated with a segmented curved mass. In bold clear lettering, a Latin citation stands out: Vita Brevis Ars Longa – ‘Life is short, art is long.’ This is a Latin version of an aphorism originally in Greek, quoting the first two lines of the Aphorismi by the classical Greek physician Hippocrates:
Ὁ βίος βραχύς,
ἡ δὲ τέχνη μακρή,
ὁ δὲ καιρὸς ὀξύς,
ἡ δὲ πεῖρα σφαλερή,
ἡ δὲ κρίσις χαλεπή.
Life is short,
and art long,
and judgment difficult.
The familiar Latin translation quoted by McAuliffe reverses the order of the original Greek lines. In plainer language, Hippocrates is saying: ‘It takes a long time to acquire and perfect one’s expertise and one has but a short time in which to do it.’
Below this, McAuliffe has a three-lined scrolled text that reads:
Hal, wes bu, folde, fira modor Beo, bu, growende on Godes ferfine Fodre grefylled, firum to nytte
This is said to be a 10th century Anglo-Saxon agricultural charm, and has been translated:
Hail to thee, Earth, Mother of men!
Be fruitful in God’s embrace
Filled with food for the use of men.
McAuliffe placed an angel on the corner above the texts, but this has been removed in recent decades. The upper floors now show signs of neglect, with layers of paint peeling away from the façade, although much repainting and repair work was carried out on this majestic building in 2004.
JD Daly’s is a three-storey, two bay building on Main Street, Abbeyfeale, that was a public house, grocery shop and guesthouse, first built in 1853 on Georgian architectural principles.
McAuliffe’s expressive work on this building dares from about 1890 and included Corinthian capitals, Egyptian gorge moulding, arabesque features, Latin scrolls, Hiberno-Romanesque bearded men, lions’ heads, and Italian diamond-pointed quoins.
When the gable end was replastered in the 1960s, it meant the destruction of an embellished text on a curved scroll that quoted the motto on the great seal of the United States: E Pluribus Unum.
Two, large Byzantine urns that once crowned the façade – one at each side of a large bracketed cornice – were removed in the1970s, supposedly for insurance reasons. In more recent years, Daly’s former pub has become a drapery shop, and then a private residence, resulting in the loss of McAuliffe’s fascia board.
Tangle’s Hair Salon on Main Street is a former pub that has retained its render quoins, a decorative sill band, window surrounds and pilasters. The elaborately decorated shopfront demonstrates the influence of classical design ideas on McAuliffe’s work, and he used the pilaster as an economic substitute for cut stone.
McAuliffe was possibly also the stucco artist who decorated the premises now known as Fuchsia Hair Design on Main Street, with its large amount of render decoration to the façade. There are heavily-rusticated quoins coupled with a dentilated cornice and interlacing motifs that create a striking composition.
Cryle’s Dry Cleaners and Laundrette on New Street was built as O’Mara’s public house. This is a two-storey, three-bay building, and McAuliffe’s work on the façade was an eclectic mixture of exaggerated classical detailing, combined with Celtic, Byzantine and Middle Eastern influences.
The Byzantine influences are seen in the eight urns, each topped with a cross. The first storey is framed by pilaster strips of Celtic tracery, each topped with foliated capitals designed by McAuliffe himself. The three windows on this floor are linked with large moulded bands, and above these bands is a pair of radiating starbursts, flanked on the outside by interlaced Stars of David.
When the building was replastered in 1990s, the fascia detailing was lost along with the ground-floor pilasters with their interlacing strapwork.
At the former MJ Moloney’s pub on Church Street, now a takeaway food shop, McAuliffe’s work was influenced by Classical Revival styles, and the designs for the shopfront includes plants and circular motifs enlivening the frieze.
There are more premises throughout Abbeyfeale that seem to be McAuliffe’s work, or that were influenced by his stucco art. I may need to return on a sunny afternoon this summer to see if I can identify them.