Newpark House, Carrowmurragh, Co. Roscommon

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Newpark House, Carrowmurragh, Co. Roscommon

A three-storey house standing over a basement, its walls pebble-dashed rather than left as bare stone, might seem an odd combination with a Diocletian window, that distinctive semicircular opening divided by two vertical mullions into three lights, named for its supposed origin in Roman bath architecture.

At Newpark House the two sit together above an entrance bay whose ground floor is marked by a tripartite window, three lights grouped under one frame, a favoured device of eighteenth century domestic architecture for lending grandeur to a facade without excessive ornament. The result is a building that has plainly been altered over time, its parapet now finished with a modern balustrade and its chimneystacks rendered rather than left in exposed brick or stone, yet the sheer scale of the place still asserts itself across three bays and three storeys.

The house dates to around 1760, built as a country residence within parkland that looks out over Lough Ree, the widening of the River Shannon between Athlone and Lanesborough that has long shaped the character of this part of the midlands. Two gate lodges survive from later phases of the estate's development. The more elaborate of the pair, a three-bay single-storey lodge with an ashlar gabled front, meaning its front gable was built from precisely cut and dressed stone rather than rubble, was added in 1851, nearly a century after the main house. A second, two-bay lodge stands to the northwest alongside decorative wrought-iron entrance gates. Together these approach features have weathered rather better than the house itself, retaining a crispness of detail that speaks to a period when the estate was maintained at considerable expense.

That contrast between the relatively untouched gate lodges and gates on one hand, and the altered main house on the other, is worth noticing on any visit. The gates and lodges function almost as a frozen record of how the entrance to the property was meant to be experienced, a formal announcement of arrival that has outlasted the changes made to the house itself. Walking the approach from gate to porch, past the tripartite and Diocletian windows that still mark out the entrance bay, gives some sense of the sequence of building campaigns layered here across close to a century, from the original mid-eighteenth-century construction through to the Victorian additions at the gate.

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Pete F
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