Kilconner House, Kilconner, Co. Carlow

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Kilconner House, Kilconner, Co. Carlow

A house that has been rebuilt smaller than it once was tends to carry a faint air of amputation about it, and Kilconner House is a good example of the type.

Five bays wide and two storeys tall, dressed in the pointed windows and steep gables of Gothic Revival taste, it presents itself today as a tidy, self-contained country house. What is easy to miss is that this is only a fragment of a larger building, and that the fragment itself contains an older fragment again.

The house as it now stands dates largely from around 1870, when Gothic styling, pointed arches, decorative bargeboards, the general silhouette borrowed from mediaeval church architecture, was fashionable for Irish country houses wanting to look venerable rather than merely comfortable. But the fabric of that 1870s house was built around and incorporates masonry from a much earlier structure raised around 1650, in the unsettled decades following the Cromwellian campaigns in Ireland, when new landowners across the country were putting up houses to secure their footing on confiscated or newly granted estates. Rather than levelling the older house entirely, whoever rebuilt Kilconner in the Victorian period folded its walls into the new design, a common enough practice when stone, labour, and existing foundations were worth preserving even as tastes changed. The result was originally a larger, more irregular composition than what survives now.

That composition did not last. Around 1985 the house was truncated and remodelled again, reduced from its Victorian extent to something more manageable, a pattern familiar from many Irish country houses of the twentieth century, where maintaining an oversized Victorian pile against the economics of the later 1900s often meant paring a building back rather than losing it altogether. What remains is therefore a house of three distinct centuries pressed into one another: a seventeenth century core, a nineteenth century Gothic remodelling, and a late twentieth century contraction, each stage leaving its trace in the walls even where the outward appearance now reads as a single, coherent building.

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