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Introduction ...... 1

1.0 Architectural Conservation Area 1 - Enniscorthy Town Historic only Core ...... 2 1.1 Boundary ...... 2 1.2 Character Appraisal ...... 2 1.3 Elements of Character ...... 6 1.3.1 Chimneys ...... purposes 6 1.3.2 Roofs ...... 7 1.3.3 Roof lights ...... 8 1.3.4 Eaves, Verges and Parapets ...... 9 1.3.5 Windows, Doors and Fanlights ...... 10 1.3.6 Shopfronts ...... 16 1.3.7 Facades ...... information...... 23 1.3.8 Painting of Buildings ...... 23 for - 2.0 Architectural Conservation Area 2 - Templeshannon ...... 24 2.1 Boundary ...... 24 2.2 Character Appraisal ...... 24 2.3 Elementsstatus of Character ...... 26 2.3.1 Chimneys ...... 26 legal2.3.2 Roofs ...... 27 2.3.3 Roof lights ...... 29 No 2.3.4 Eaves, Verges and Parapets ...... 29 2.3.5 Windows, Doors and Fanlights ...... 30 2.3.6 Shopfronts ...... 35 2.3.7 Facades ...... 39 2.3.8 Painting of Buildings ...... 40

3.0 The Conservation and Enhancement of the Area’s Character ...... 40 3.1 The Management of Change ...... 42 3.2 Conservation Guidelines for structures within the ACA ...... 43 3.3 ACA Design Guidance ...... 43

4.0 Architectural Conservation Area 3 - Vinegar Hill and Surrounding only Environs ...... 46 4.1 Boundary ...... 46 4.2 Character Appraisal ...... 46 4.3 The Conservation and Enhancement of the Area’s Character ...... 47 4.4 Vinegar Hill Windmill ...... purposes 48 4.5 Vinegar Hill Lane ...... 51 4.6 Vernacular Gate Pillars, Vinegar Hill Lane...... 51 4.7 Vernacular iron gate ...... 51 4.8 The vacant dwelling at Vinegar Hill Lane ...... Error! Bookmark not defined. 4.9 The entrance at Vinegar Hillinformation Lane ...... 53 4.10 Hedgerows and held boundaries ...... 53 4.11 Vinegar Hill car parkfor and surrounds ...... 55 4.12 Mass Path ...... - ...... 55

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Introduction A detailed conservation and townscape analysis of Enniscorthy town was commissioned by the Council and carried out by William Garnermann in 2007. The following is a distillation of the study and outlines the three areas identified for Architectural Conservation Area (ACA) protection. The character of each area is outlined here. only

Section 1 and 2 describe the character of Architectural Conservation Area 1- Enniscorthy Town Historic Core and Architectural Conservation Area 2- Templeshannon. Section 3 provides guidance on the conservation and enhancement of these areas, the management of change and detailed designpurposes guidance for Architectural Conservation Area 1- Enniscorthy Town Historic Core and Architectural Conservation Area 2- Templeshannon.

Section 4 describes the character of Architectural Conservation Area 3- Vinegar Hill and Surrounding Environs, provides details about the conservation and enhancement of the Architectural Conservationinformation Area and guidance for the management of change in this area. for -

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1.0 Architectural Conservation Area 1 - Enniscorthy Town Historic Core

1.1 Boundary The boundary of the ACA is outlined in Map 6. only 1.2 Character Appraisal Enniscorthy Town lies right at the heart of County Wexford, founded on the important salmonic waters of the River Slaney, which is tidal up as far as the Old Enniscorthy Bridge. A local will tell you that you are always atop of a hill, bottom of a hill or going up and down a hill. The town rises steeply on the west side of purposesthe River Slaney and its meandering streetscapes and impressive eighteenth and nineteenth-century buildings give it a visual character unequalled in Ireland.

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Photographlegal 1. Shows a view of the Town of Enniscorthy and the River Slaney.

NoThe local history of Enniscorthy is very evident as one walks through its impressive streetscapes. The names of features such as Duffry Gate, Rafter Street, the 1798 monument, all allude to a traumatic but nonetheless historic role played by Enniscorthy inhabitants over past centuries. Almost five hundred houses and cabins were destroyed in 1798 and the malt continued to burn unabated for months afterwards. The town of Enniscorthy gained heavily from the compensation after the rebellion, which allowed the town to be substantially rebuilt in mostly stone and slate. 2

Many eighteenth- and nineteenth-century buildings along the various streets of Enniscorthy have date plaques, which carry the date and initials of the owner. The historic site Vinegar Hill can be viewed from many vantage points within the town and this backdrop is an ever reminder of the historical and political significance of Enniscorthy town. only This ACA has special archaeological, historical, social and architectural interest. The archaeological sites and monuments not only enrich the landscape and townscape but are also essential to understanding the older layers of settlement within the town. Sites of significance include the impressive Castle, previously in use as a museum, since renovated as a visitor centre, and the Friary, remains of purposeswhich may still exist below the Bank, which now occupies its site.

Enniscorthy town originated in the monastic settlement of St. Senan. With the arrival of the Normans in 1169 Enniscorthy became a defence point, with a major stone castle being constructed on the west side of the River Slaney. This structure dates back to 1245 and may originally have beeninformation a defensive mote and bailey. Enniscorthy developed slowly over the next four hundred years and was severely damaged when it was attacked by the Kavanaghfor clan in 1548 leaving much of the town in a ruinous state for a long period of time.- The town’s most prominent part in Irish history is undoubtedly the pivotal role it played in the 1798 rebellion with major battles taking place both on Vinegar Hill and throughout the streets of the town. status Enniscorthy owes its present appearance to the dramatic boom in agriculture and trade which marked the early nineteenth century. This period saw the building of the impressively-sitedlegal St. Aidan’s Cathedral, designed by Augustus Welby Northmore Pugin. The town was compact and building was mainly concentrated around the old Nobridge and historic castle area with a criss cross of streets.

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Photograph 2. Shows a view from the east side of the River purposesSlaney across to the west side featuring the old bridge, the impressive medieval castle and the church of Ireland Spire in the distance.

Enniscorthy had a substantial milling industry. The majority of stone mills and associated warehouses date from the nineteenth century. The town also developed breweries, kilns, distilleries, tan yards, informationlime and salt works, bleach greens and malt houses, many of which line the Slaneyfor banks. By 1853 there were twenty-three streets and fourteen lanes in -the town. The striking Gothic Cathedral of St. Aidan’s was completed when the spire was added in 1873. The second half of the nineteenth century also saw the addition of schools, convents and the House of Missions (1866). The railwaystatus arrived in 1863, and resulted in the decline in the river trade. By 1875 there were fifty-five pubs in the town, one for every one hundred inhabitants. In 1908 Oliver Shepherd’s marvellous statue was added to Market Square. In 1916 Enniscorthylegal again raised the flag of freedom and was the only place outside of Dublin where a town came under rebel control. No The town has an immense scenographic quality created by the variety and multitude of views and their unfolding and changing nature coupled with the quality of the terminal features. The Slaney River is the subject of some breathtaking views along its banks and quays and down onto it from on high. Vinegar Hill is another such characteristic landmark. The sequence of civic spaces stepping down the hill from

the Fair Green, to Pigmarket Hill to Market Square to Abbey Square is remarkable. Individual structures such as the fine early nineteenth-century three-storey structures around Market Square and the retail streets give the town a series of attractive streetscapes. The streets leading off Market Square, which slope upwards and downwards, such as Slaney Street, provide a rich variety of townscapes with constantly changing views. An analysis of the views has helped inform the only designation of views for protection in Chapter 11.

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information for - Photograph 3. Market Square. Enniscorthy circa 1900. Source Lawrence Collection National Library of Ireland. status

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Photograph 4. Main Street looking East to Market Square and beyond to Castle Street. Enniscorthy circa 1900. Source Lawrence Collection National Library of Ireland.

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Photograph 5. Shows a view from behind Irish Street across some vernacular thatched roofs beyond the railway bridge and to Vinegar Hill. Enniscorthy c. 1900. Source Lawrence Collection National Libraryinformation of Ireland.

for - 1.3 Elements of Character

1.3.1 Chimneys Chimneystacks statusand their associated pots are important elements of the roofline of a building. They can be indicators of the date of a building and can vary according to location and source of materials. Because of the number of buildings within Enniscorthylegal town displaying date plaques the style of chimneystacks can be dated; Nothere are common types but also unusual designs as well. Many of the chimneystacks within the historic core of the town are in relatively good condition with the majority finished in a grey render. The topography of the steep streets in Enniscorthy and the stepping of buildings and their associated chimneystacks add a visual impressiveness to the streetscape.

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Illustration 1. A selection of chimneys found in Enniscorthy Town Historic Core ACA. Any new chimneys and replacements should adhere to existing designs in keeping withstatus the visual impressiveness and functional qualities which chimneys provide. legal 1.3.2 Roofs No The roof is arguably the most important part of a building. From the seventeenth century onwards slate was the most commonly used roof covering in Irish towns. During the twentieth century alternative roof coverings such as clay or concrete tiles as well as metals have been used. Some older and steeper roofs may have been thatched. Although no thatched roof exists within the town of Enniscorthy it is almost certain that the town would have had considerable numbers of thatch during the 7

eighteenth century. The majority of historic roofs within the town of Enniscorthy have a slate covering while older roofs appear to have smaller slates.

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Photograph 6 Shows original roofs and refurbished metal small rooflights at Market Square. Photograph 7. Shows original varied designs of roofs along Church Street. All appear to have good quality blue slates, which have a long life span and are preferable to imitation inferior slates.

1.3.3 Roof lights information for Traditionally, attics were lit by- dormer windows, or small iron-framed roof lights, with one or two small panes of glass. In Enniscorthy town the design of roof lights appears to have been with one or two panes. The steep topography, which led to the different and varying building heights, has enabled a large percentage of historic structures to havestatus windows in gables. These very windows are a unique feature of the important architecture of the town and should be retained. A recent inappropriate trend legalis the positioning of larger velux rooflights in the roofs of structures. Allowance could be made for larger rooflights in the rear roofs of historic structures which may Noaddress any lack of natural light penetrating the uppermost roof space. Another trend appears to be the installation of dormer windows of a historic or inappropriate design in some older roofs. This seriously detracts from historic rooflines and the visual quality of an intact streetscape.

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Photograph 8. Shows old metal-framed roof lights in a roof at the corner of Market Square and Slaney Street. The scale of these roof lights does not detract from the overall visual impact of the roof and of neighbouring roofs. Where existing metal roof lights of this scale are found they should be refurbished or replaced with similar. information 1.3.4 Eaves, Verges and Parapets The architectural treatment of thefor edges of a roof often gives a distinct character to the entire structure. The eaves- may be flush with the wall below or there may be a projecting stone, slate or brick course. There may be a parapet wall that rises above eaves level with a concealed gutter behind. Parapets can be balustraded or plain. Overhanging eavesstatus and verges are a distinctive architectural feature of many buildings and should not be truncated. legal No

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Photograph 9. Shows original varying parapets on structures along the north side of Market Square.

1.3.5 Windows, Doors and Fanlightsinformation for Windows - Windows can be regarded as the eyes of a building and give expression to what would otherwise be a blank wall. The alteration and replacement of windows can alter the appearancestatus of a historic building dramatically, and in recent years the inappropriate replacement of timber sashes with uPVC windows has had a particularly negative effect on the character and fabric of buildings. Sliding sash windowslegal evolved in France, Holland and England in the mid-seventeenth century and became widespread in use throughout Irish towns in the eighteenth century. NoMany fine examples of eighteenth-, nineteenth- and early twentieth-century sash windows still exist within the historic town core of Enniscorthy, of varying styles and sizes.

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Photograph 10. Shows a group of structures along the south side of Market Square, which have original sash windows still intact.

Illustration A. information Shows a detail of an eighteenth-century sash. Sash windows of this period arefor rare and are characterised by having no horns. The sash -horn was added to strengthen the window.

Illustration B.

statusShows a detail of an 1820s sash. Sash windows of this period and later are characterised by having a concave horn. Examples of this legal type of sash window are found throughout the ACA. No Illustration C.

Shows a detail of an 1830s sash. Sash windows of this period and later are characterised by having a convex horn. Examples of this type of sash window are found throughout the ACA.

Illustration D.

Shows a detail of an 1860s sash. Sash windows of this period and later arecharacterised by having an ogee horn. Examples of this type of sash window are found throughout the ACA.

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information for Illustration E. - Illustration F. Illustration E and F show sash windows with concave horns. These two examples were found on Market Square. status Glass

Handmadelegal crown or cylinder sheet glass was used in the glazing of windows until the 1940s. These glass types are curved or rippled in appearance thus giving Noindividuality to each pane, an effect impossible to reproduce in today’s machined float glass. Period glass adds immeasurably to the character of an historic building. Where old glass is accidentally broken or removed, replacement glass can be sourced to replicate older panes.

Doors

The doorway to a house is often the most decorative and elaborate element on a façade. The details associated with the doors of a building are of importance to the character of a building. Types of doorways may range from elaborate doorways to coach house entrances, which allowed horse and carriage access to the rear of sites. It is important to identify and protect the features of doors and doorways thatonly contribute to the character of townscapes and the protected structures found within.

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information for - Photograph 11. Shows a cut limestone door surround at Market Square.

Door Furniture status During the eighteenth century, doorknockers and doorknobs were generally made from cast-iron or brass, painted black. The introduction of the pre-paid postal stamp in 1840legal prompted the regularised numbering of houses and the introduction of letter boxes in front doors. These features should be retained where possible as they form Nopart of the archaeological evidence of the door.

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Photograph 12. Shows a door and its original brass door fittings.purposes Doors such as this one on Mill Park Road add to the attractiveness of the streetscape and the general character of this area.

Fanlights/overlights

Fanlights were first introduced in the early part of the eighteenth century to allow more light penetrate into the hallways ofinformation buildings. As a result this feature soon became commonplace in the designfor of doorcases. Fanlights and rectangular overlights are one of most attractive- elements of a historic building. Here there was a lot of scope for individuality and the designs of fanlights varied according to regions and local craftsmanship. The fluid and geometric designs of fanlights and overlights in Ireland are a wonderful tradition array and many of these designs are unique to this country. Owingstatus to the widespread use of plate glass after 1845, glazing bars were often omitted in favour of plain glass fanlights. Early fanlights were made of timberlegal with radiating spokes and thick glazing bars. The range of designs found in Enniscorthy is particularly impressive. No

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Photograph 13 and 14. Shows two adjacent and very rare examples of early nineteenth -century fanlights on a protected structure on Main Street. purposes

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Photograph 15.status Shows a surviving example of an early to mid-nineteenth-century fanlight on a protected structure on Main Street. legal No

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Photograph 16. Shows a surviving example of a mid-nineteenth-centurypurposes fanlight on a protected structure on Market Square.

1.3.6 Shopfronts Irish towns and villages have a well-earned reputation for the quality of their shopfronts. Well-designed and well-crafted shopfronts give distinction to buildings and add immensely to the attractivenessinformation of streets. If you have an old shopfront it is worth making every effort to retain it, since you possess something which is for distinctive, perhaps rare or unique.- It can add to the interest of your shop, thereby increasing the potential to attract customers.

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Photograph 17. Shows a surviving example of a shopfront, c. 1900, of simple proportions on Cathedral Street (now Zanadu).

Features of Old Shopfronts The design of most old shopfronts is derived ultimately from classical (Greek and Roman) architecture. It normally takes the form of an entablature resting on pilastersonly or, more rarely, columns. The entire ensemble is one in which these elements, together with the window and door, are in pleasing proportion with one another.

Pilasters are imitation square columns, partly built into, partly projecting from a wall. Like columns, they may be smooth, fluted (with longitudinal grooves),purposes or contain panels. The heads of pilasters and columns may be plain, or decorated according to classical architectural convention: Doric, Ionic, or Corinthian.

The lowest part of the entablature is the architrave. Next is the frieze, which is used as the fascia-board and takes the lettering. Over this is the cornice, which protects the lettering from the weather. Cornices,information and to a lesser extent architraves, may be elaborately detailed to increase fortheir decorative effect. - Frequently brackets (projecting supports) are found at the heads of pilasters. Sometimes they stop underneath the frieze, which contains the fascia-board, but often they run throughstatus to the cornice, acting as ends to the fascia-board. Brackets are of many designs, from scrolls to heaped profusions of foliage, fruit and even animals. Brackets terminating fascia-boards are topped by caps to stop the penetrationlegal of water. No

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Photograph 18 and 19. Shows two decorative brackets on shopfronts.purposes

Lettering and Painting Generally, fascia-boards are of timber with painted or raised lettering, occasionally carved. During the latter half of the nineteenth century several attractive forms of lettering were introduced: raised marbled ceramic, channelled lettering and trompe l'oeil, which gives an artificial three-dimensionalinformation effect. The latter two forms are often found behind glass. Hand-painted advertisements on walls, old enamelled signs and hanging signs representing tradesfor are additional features which enhance the decorative quality of buildings.- The twentieth century saw attractive innovations such as fronts of vitrolite and mosaic tiles, along with chrome detailing and bold modern lettering. status Shopfronts are traditionally painted in strong colours, which are slow to fade. The decorative arts of graining, staining and marbling wood and plaster have been frequentlylegal used. Trompe l'oeil work is sometimes used to give the impression of raised stonework. The reuse of old lettering in the renaming of shopfronts should be Noencouraged.

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Photograph 20. Shows a surviving example of a shopfront, c. 1900, of simple proportions on Market Square which is a good example of new lettering added to an old shopfront.

Shopfront Windows information Some of the earliest shopfronts,for dating from the eighteenth century, have small panes of glass set vertically in- small bowed windows. Others have leaded fanlights over doors. These, and shopfronts which are bowed across the whole ground floor, are rare.

In the mid-nineteenthstatus century, panes of four feet by two feet were introduced, which encouraged perpendicular shopfront designs. Perpendicular shopfronts have heavy round-headedlegal mullions (vertical divisions between the panes), sometimes with tiny capitals and carved panels in the triangular sections over them. Large panes of plate Noglass, filling the whole display window, were not introduced until the late nineteenth century.

Decoratively cut, engraved or stained glass and elegantly curved glass date from 1880 onwards. Wooden shutters were used to protect shopfronts in the nineteenth century. Metal window frames, often coated with chrome in combination with shiny, black vitrolite were used in art deco shopfronts in the 1930s and 1940s. 19

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Photograph 21. Shows a surviving example of early twentieth-century window of simple proportions on Court Street.

Metalwork Cast-iron columns with iron capitals wereinformation used in large shopfronts to support facades. Iron was also used for forcresting above cornices or for finials above brackets. Butchers shops had cast-iron- ventilation grilles and bars for hanging meat Door handles were often backed by decorative brass finger plates. Wrought-iron gates protected entrances, while brass or iron rails in front windows (especially pubs) stopped people sitting on window sills. Protection was also provided by spikes and iron or wire grilles.status

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Photographs 22, 23, 24, 25. Shows examples of varying styles of protective spikes and grilles to windows. The ACA will promote the importance purposesof such features within Enniscorthy.

Tiles Brightly-coloured and patterned glazed faience tiles date from the 1890s onwards. Butchers shops had decorative tiled interiors. Mosaic, dating from the same period, is occasionally found on doorsteps. information for -

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legal No Photograph 26. Shows a surviving example of floor tiles, c. 1900, in Cathedral Street.

Materials The majority of old shopfronts are timber - an easily worked material which can be quickly repaired or replaced where necessary. Stone shopfronts are rare. They either have stone lintels (with keystones) or round-headed arches decorated with flat panels or floral motifs. Mid-nineteenth-century examples often have exotic carved foliage, animals and marble columns. Plaster and cement shopfronts are also foundonly here. They are as sophisticated in design as timber shopfronts and they date from the late nineteenth century onwards. Facades with decorative stonework, plasterwork, and applied broken glass and china are of special interest.

Shop Interiors purposes Few good old shop interiors survive, and every effort should be made to keep them Interiors reflected the style of the exteriors and often had a high standard of woodcarving. Chemists and grocers shops had nests of drawers and carved display cases; pubs had carved shelf fronts, partitions, counter fronts, cut-glass mirrors and polished stone counters; and, as mentioned already, butchers shops had decorative tiled interiors. information for -

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Photograph 27. Shows a surviving example of early 19th century shopfront of simple proportions on Main Street. This shopfront has been well maintained and adds to the character and heritage of the streetscape.

1.3.7 Facades

The outer coat applied to buildings throughout Irish towns usually was intended to protect the structure from the damp elements of the Irish temperate climate. Roughcast renders were the traditional external coatings applied to structures constructed mainly of random rubble, brick and mud. Plain renders are found on only buildings throughout Ireland’s distinctive towns. In many cases the render was ruled and lined out to imitate the pattern of ashlar blocks.

Later more elaborate uses of render included the formation of imitation rustication, cornices, stringcourses, window and door surrounds and shopfronts.purposes Although often not original to certain structures, render embellishments can be of great interest and form part of the character of a building and streetscape.

The character of many of this ACA`s historic structures is defined by the appearance of their external facades. The majority of structures in this ACA are finished in a smooth render. A small number of brickworkinformation facades do exist. The care and conservation of this brickwork is of great importance. Enniscorthy seems not to have suffered from the needless stripingfor off of the front façade plastering which is evident in other Irish towns. In Enniscorthy- there are examples of cladding in slate on some exposed gables. Slate hanging was often applied to exposed external walls and chimneystacks to provide extra protection from the weather. Where slate hanging exists it should bestatus preserved and carefully repaired. Particular care should be taken to identify and protect any slates that are of decorative shape or carved with dates or initials. legal 1.3.8 Painting of Buildings NoColour can enliven buildings and improve the quality of the environment. Colours can be used to good effect on windows, doors, and fascias; the broader use of colours on walls can play a dramatic part in the creation of an attractive urban scene. No matter how well an individual building is painted, a badly maintained neighbouring building will detract from its appearance. One neglected building may mar the appearance of an otherwise attractive street scene.

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Photograph 28. Shows a surviving example of an early nineteenth-century structure with façade and windows cills painted in simple but very effective white and green, near the junction of Castle Hill and Church Street. information

2.0 Architectural Conservationfor Area 2 - Templeshannon - 2.1 Boundary The boundary of the ACA is outlined in Map 6. status 2.2 Character Appraisal The Templeshannon ACA area is situated on the east side of the River Slaney in the historiclegal town of Enniscorthy. The town rises steeply on this side and its meandering Nostreetscapes and impressive eighteenth- and nineteenth-century buildings give it a distinctive visual character. This area is called after St Senan who first settled here and remains of his monastic foundation still exists. The area is of special archaeological, historical, social and architectural interest.

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purposes Photograph 29. Shows the old St. Senan`s graveyard in Templeshannon.

From the settlement of St. Senan Enniscorthy developed slowly over the next four hundred years; the Normans built a castle on the west side in 1245 but when the town was attacked by the Kavanagh clan in 1548 much of it was left in a ruinous state. Templeshannon owes its presentinformation appearance to the dramatic boom in agriculture and trade which marked the eighteenth and nineteenth centuries. The for town had a substantial milling- industry and Templeshannon still has some mills surviving. The majority of stone mills and associated warehouses also date from the eighteenth and nineteenth centuries. The town developed breweries, kilns, distilleries, tan yards, lime and salt works, bleach greens and malt houses, which lined the Slaneystatus wharves. The railway arrived in 1863, with the station located in Templeshannon along with a fine group of railway buildings. Individual structures such as the fine three-storey structures in Templeshannon give this area of the town attractivelegal streetscapes. An analysis of the views have helped inform the designation Noof views for protection in Chapter 11.

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Photograph 30. Shows a view along the east bank of the River Slaney towards Seamus Rafter Bridge.

The town’s most prominent part in Irish history is undoubtedly the pivotal role it played in the 1798 rebellion with majorinformation battles taking place both on Vinegar Hill and throughout the streets of the town. By 1853 there were twenty-three streets and fourteen lanes in the town. In 1916for Enniscorthy again raised the flag of freedom and was the only place outside of -Dublin where a town came under rebel control.

2.3 Elements ofstatus Character

2.3.1 Chimneys Chimneystackslegal and their associated pots are important elements of the roofline of a Nobuilding. They can be indicators of the date of a building and can vary according to location and source of materials. Because of the number of buildings within Enniscorthy town displaying date plaques the style of chimneystacks can be dated; there are common types but also unusual designs as well. Many of the chimneystacks within the Templeshannon ACA are in relatively good condition with the majority finished in a grey render. The topography of the steep streets in

Templeshannon and the stepping of buildings and their associated chimneystacks add a visual impressiveness to the streetscape.

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Illustration 1. Showsstatus A selection of chimneys found on protected structures in Templeshannon. Any new chimneys and replacements should adhere to existing designs in keeping with the visual impressiveness and functional qualities which chimneyslegal provide. No 2.3.2 Roofs

The roof is arguably the most important part of a building. From the seventeenth century onwards slate was the most commonly used roof covering in Irish towns. During the twentieth century alternative roof coverings such as clay or concrete tiles as well as metals have been used. Some older and steeper roofs may have been

thatched. Although no thatched roof exists within Templeshannon it is almost certain that the town would have had considerable numbers of thatch during the eighteenth century. The majority of historic roofs within the town of Enniscorthy have a slate covering while older roofs appear to have smaller slates.

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Photographs 31 and 32. Shows variousinformation roofs on Main Street Templeshannon and the impressive curved structure forat the corner of The Shannon. -

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2.3.3 Roof lights

Traditionally, attics were lit by dormer windows, or small iron-framed roof lights, with one or two small panes of glass. In Enniscorthy town the design of roof lights appears to have been with one or two panes. The steep topography, which led to the different and varying building heights, has enabled a large percentage of historic structures to have windows in gables. These very windows are a unique feature ofonly the important architecture of the town and should be retained. A recent inappropriate trend is the positioning of larger velux rooflights in the roofs of structures. Allowance could be made for larger rooflights in the rear roofs of historic structures which may address any lack of natural light penetrating the uppermost roof space. Another trend appears to be the installation of dormer windows of ahistoric orpurposes inappropriate design in some older roofs. This seriously detracts from historic rooflines and the visual quality of an intact streetscape.

2.3.4 Eaves, Verges and Parapets The architectural treatment of the edgesinformation of a roof often gives a distinct character to the entire structure. The eaves may be flush with the wall below or there may be a for projecting stone, slate or brick- course. There may be a parapet wall that rises above eaves level with a concealed gutter behind. Parapets can be balustraded or plain. Overhanging eaves and verges are a distinctive architectural feature of many buildings and should not be truncated. status

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Photograph 33. Shows a group of structures along the east side of the main street of Templeshannon.

2.3.5 Windows, Doors and Fanlights

Windows only

Windows can be regarded as the eyes of a building and give expression to what would otherwise be a blank wall. The alteration and replacement of windows can alter the appearance of a historic building dramatically, and in recent years the inappropriate replacement of timber sashes with uPVC windowspurposes has had a particularly negative effect on the character and fabric of buildings. Sliding sash windows evolved in France, Holland and England in the mid-seventeenth century and became widespread in use throughout Irish towns in the eighteenth century. Many fine examples of eighteenth- and nineteenth-century sash windows still exist within the Templeshannon ACA, of varying styles and sizes, and also some of these surviving examples have very old glassinformation panes, if not their original.

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Illustration A. status Shows a detail of an eighteenth-century sash. Sash windows of this period are rare and are characterised by having no horns. legal The sash horn was added to strengthen the window.

Illustration B.

Shows a detail of an 1820s sash. Sash windows of this period and later are characterised by having a concave horn. Examples of this type of sash window are found throughout the ACA.

Illustration C.

Shows a detail of an 1830s sash. Sash windows of this period and later areonly characterised by having a convex horn. Examples of this type of sash window are found throughout the ACA.

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Illustration D.

Shows a detail of an 1860s sash. Sash windows of this period and later are characterised by having an ogee horn. Examplesinformation of this type of sash window are found throughoutfor the ACA. -

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Illustration A. Illustration B.

Illustrations A and B. Showing sash windows with concave horns. These two examples are found on Templeshannon.

Glass only Handmade crown or cylinder sheet glass was used in the glazing of windows until the 1940s. These glass types are curved or rippled in appearance thus giving individuality to each pane, an effect impossible to reproduce in today’s machined float glass. Period glass adds immeasurably to the character of an historic building. Where old glass is accidentally broken or removed, replacementpurposes glass can be sourced to replicate older panes.

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Photograph 34. Shows a structure of significant historical value and character with eight of its original windows still intact.

Doors 32

The doorway to a house is often the most decorative and elaborate element on a façade. The details associated with the doors of a building are of importance to the character of a building. Types of doorways may range from elaborate doorways to coach house entrances, which allowed horse and carriage access to the rear of sites. It is important to identify and protect the features of doors and doorways that contribute to the character of townscapes and the protected structures found within.only

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Photograph 35. Shows an example of a doorway and original fanlight in Templeshannon. status Door Furniture During the eighteenth century, doorknockers and doorknobs were generally made from cast-ironlegal or brass, painted black. The introduction of the pre-paid postal stamp Noin 1840 prompted the regularised numbering of houses and the introduction of letter boxes in front doors. These features should be retained where possible as they form part of the archaeological evidence of the door.

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Photograph 36. Shows an example of a wrought Iron gate/door in Templeshannon. The ACA should promote and safeguardinformation such important features. Fanlights/overlights for - Fanlights were first introduced in the early part of the eighteenth century to allow more light penetrate into the hallways of buildings. As a result this feature soon became commonplace in the design of doorcases. Fanlights and rectangular overlights are onestatus of most attractive elements of a historic building. Here there was a lot of scope for individuality and the designs of fanlights varied according to regions and locallegal craftsmanship. The fluid and geometric designs of fanlights and overlights in Ireland are a wonderful tradition array and many of these designs are unique to Nothis country. Owing to the widespread use of plate glass after 1845, glazing bars were often omitted in favour of plain glass fanlights. Early fanlights were made of timber with radiating spokes and thick glazing bars. The range of designs found in Templeshannon is particularly impressive.

2.3.6 Shopfronts Irish towns and villages have a well-earned reputation for the quality of their shopfronts. Well-designed and well-crafted shopfronts give distinction to buildings and add immensely to the attractiveness of streets. If you have an old shopfront it is worth making every effort to retain it, since you possess something which is distinctive, perhaps rare or unique. It can add to the interest of your shop, therebyonly increasing the potential to attract customers.

Features of Old Shopfronts The design of most old shopfronts is derived ultimately from classical (Greek and Roman) architecture. It normally takes the form of an entablaturepurposes resting on pilasters or, more rarely, columns. The entire ensemble is one in which these elements, together with the window and door, are in pleasing proportion with one another.

Pilasters are imitation square columns, partly built into, partly projecting from a wall. Like columns, they may be smooth, fluted (with longitudinal grooves), or contain panels. The heads of pilasters and columnsinformation may be plain, or decorated according to classical architectural convention: Doric, Ionic, or Corinthian. for The lowest part of the entablature- is the architrave. Next is the frieze, which is used as the fascia-board and takes the lettering. Over this is the cornice, which protects the lettering from the weather. Cornices, and to a lesser extent architraves, may be elaborately detailedstatus to increase their decorative effect.

Frequently brackets (projecting supports) are found at the heads of pilasters. Sometimeslegal they stop underneath the frieze, which contains the fascia-board, but often they run through to the cornice, acting as ends to the fascia-board. Brackets Noare of many designs, from scrolls to heaped profusions of foliage, fruit and even animals. Brackets terminating fascia-boards are topped by caps to stop the penetration of water.

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Photograph 37. Shows an example of an early twentieth-century shopfront and fanlight of simple design, which is used to advertise the proprietors name and details. The positioning of the large ESB poll in front of such important structures does not enhance the appearance andinformation appeal of the structure.

for Lettering and Painting - Generally, fascia-boards are of timber with painted or raised lettering, occasionally carved. During the latter half of the nineteenth century several attractive forms of lettering were introduced:status raised marbled ceramic, channelled lettering and trompe l'oeil, which gives an artificial three-dimensional effect. The latter two forms are often found behind glass. Hand-painted advertisements on walls, old enamelled signs and hanginglegal signs representing trades are additional features which enhance the decorative quality of buildings. The twentieth century saw attractive innovations such Noas fronts of vitrolite and mosaic tiles, along with chrome detailing and bold modern lettering.

Shopfronts are traditionally painted in strong colours, which are slow to fade. The decorative arts of graining, staining and marbling wood and plaster have been frequently used. Trompe l'oeil work is sometimes used to give the impression of

raised stonework. The reuse of old lettering in the renaming of shopfronts should be encouraged.

Shopfront Windows Some of the earliest shopfronts, dating from the eighteenth century, have small panes of glass set vertically in small bowed windows. Others have leaded fanlightsonly over doors. These, and shopfronts which are bowed across the whole ground floor, are rare.

In the mid-nineteenth century, panes of four feet by two feet were introduced, which encouraged perpendicular shopfront designs. Perpendicular shopfrontspurposes have heavy round-headed mullions (vertical divisions between the panes), sometimes with tiny capitals and carved panels in the triangular sections over them. Large panes of plate glass, filling the whole display window, were not introduced until the late nineteenth century.

Decoratively cut, engraved or stained glassinformation and elegantly curved glass date from 1880 onwards. Wooden shutters were used to protect shopfronts in the nineteenth century. Metal window frames, oftenfor coated with chrome in combination with shiny, black vitrolite were used in art- deco shopfronts in the 1930s and 1940s.

Metalwork Cast-iron columnsstatus with iron capitals were used in large shopfronts to support facades. Iron was also used for cresting above cornices or for finials above brackets. Butchers shops had cast-iron ventilation grilles and bars for hanging meat Door handleslegal were often backed by decorative brass finger plates. Wrought-iron gates protected entrances, while brass or iron rails in front windows (especially pubs) Nostopped people sitting on window sills. Protection was also provided by spikes and iron or wire grilles.

Materials only The majority of old shopfronts are timber - an easily worked material which can be quickly repaired or replaced where necessary. Stone shopfronts are rare. They either have stone lintels (with keystones) or round-headed arches decorated with flat panels or floral motifs. Mid-nineteenth-century examples often have exotic carved foliage, animals and marble columns. Plaster and cement shopfrontspurposes are also found here. They are as sophisticated in design as timber shopfronts and they date from the late nineteenth century onwards. Facades with decorative stonework, plasterwork, and applied broken glass and china are of special interest.

Shop Interiors Few good old shop interiors survive, andinformation every effort should be made to keep them Interiors reflected the style of the exteriors and often had a high standard of woodcarving. Chemists and grocersfor shops had nests of drawers and carved display cases; pubs had carved shelf- fronts, partitions, counter fronts, cut-glass mirrors and polished stone counters; and, as mentioned already, butchers shops had decorative tiled interiors. status

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Photograph 38 and 39. Shows an example of a late nineteenth-century century shopfront and fanlight of simple design. This structure and its shopfront of pleasing design, immaculately maintained, makes a positive contribution to the overall appearance of the Templeshannon streetscape. The reinstatement of timber sash windows on the upper first floor would improve its appearance even further. only

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information 2.3.7 Facades for The outer coat applied to buildings- throughout Irish towns usually was intended to protect the structure from the damp elements of the Irish temperate climate. Roughcast renders were the traditional external coatings applied to structures constructed mainlystatus of random rubble, brick and mud. Plain renders are found on buildings throughout Ireland’s distinctive towns. In many cases the render was ruled and lined out to imitate the pattern of ashlar blocks.

Later legalmore elaborate uses of render included the formation of imitation rustication, Nocornices, stringcourses, window and door surrounds and shopfronts. Although often not original to certain structures, render embellishments can be of great interest and form part of the character of a building and streetscape.

conservation of this brickwork is of great importance. Enniscorthy seems not to have suffered from the needless striping off of the front façade plastering which is evident in other Irish towns. In Enniscorthy there are examples of cladding in slate on some exposed gables. Slate hanging was often applied to exposed external walls and chimneystacks to provide extra protection from the weather. Where slate hanging exists it should be preserved and carefully repaired. Particular care should be takenonly to identify and protect any slates that are of decorative shape or carved with dates or initials.

2.3.8 Painting of Buildings Colour can enliven buildings and improve the quality of the environment. Colours can be used to good effect on windows, doors, and fascias; the broaderpurposes use of colours on walls can play a dramatic part in the creation of an attractive urban scene. No matter how well an individual building is painted, a badly maintained neighbouring building will detract from its appearance. One neglected building may mar the appearance of an otherwise attractive street scene.

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legal Photograph 40 and 41. Shows examples of early nineteenth-century structures with Noelegant curved corners. All original sash windows survive.

3.0 The Conservation and Enhancement of the Area’s Character The architectural character and heritage of Enniscorthy is generated not only by its landmark buildings or the impressive quantity of its protected structures but is built up by the interaction between these important buildings and the more ordinary 40

building stock and the personal associations to these buildings and open spaces. In order to properly protect and manage this uniqueness it is essential not to concentrate solely on the restoration of landmark buildings but also to support the reuse and conservation of all structures both protected and not protected. The ACA provides a mechanism to protect and enhance this wider area. only Many factors can impact and radically alter the appearance of an area of unique architectural importance if handled insensitively, such as • New development • External alteration to facades • The erection of new shopfronts and advertising signagepurposes • The removal of historic chimneys • Alterations to the pitch of roofs and roof materials • Replacement of original historic windows • Derelict buildings • Removal of important street furniture such as water pumps, vent pipes and post boxes information

for It is particularly important -that any new development within the ACA is carefully planned and implemented with a full appreciation and understanding of Enniscorthy`s significance. The ACA provides an opportunity to build upon the existing character by establishing a high standard of urban design. Enniscorthy possesses astatus distinctive sense of place and this should be embraced and built upon through legal• Repair and maintenance of all structures • Replacement of all uPVC windows that exist in protected structures with No painted timber/casement sash windows to the period of the structure • Restoration of existing iron roof lights • Encouragement in the painting of facades in suitable colours • Information signage promoting the historic built and natural resources

The establishment of an ACA provides a framework for improving the built and natural environment, which in turn can be of benefit to all residents and users of 41

the town and can indeed be beneficial for tourism and the sustainable viability of the town.

3.1 The Management of Change The Enniscorthy Town Historic Core ACA will seek to protect the unique architectural character and strong sense of place, while at the same time only allowing for change and reuse of structures and where possible or necessary encourage redevelopment in a sensitive and sustainable way. It is important that any new development does not detract from the visual impressiveness and setting of the historic town. purposes It is intended to ensure that when development takes place that it draws upon the historic and cultural context and combines positively with the historic fabric of the town and that any such development is of a very high design standard in keeping with the existing historic stock of structures. The owners and occupiers of protected structures within the proposed ACA must still comply with the requirements under the Planning andinformation Development Act 2000 (as amended) in relation to protected structures. for -

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Photograph 42. Shows an attractive red shopfront on a structure, which is not a protected structure, but which has a visual quality that enhances this street. 42

3.2 Conservation Guidelines for structures within the ACA The following guidelines will assist the local authority and owners and occupiers of properties in the management of the Enniscorthy Town Historic Core ACA and Templeshannon ACA and if followed will conserve and enhance the ACA and theonly town. The benefits of this are manifold.

3.3 ACA Design Guidance The introduction of an ACA does not mean that it is compulsory to alter any features that existed when the ACA was designated. There is howeverpurposes a duty to protect the historic fabric and in the event of proposed change all historic fabric should be retained and repaired and any replacement features should be historically- appropriate. Specialist advice may be needed to make accurate choices but the following guidance is intended as general advice for this ACA. It also applies to any new build within the ACA. Consultation with the planning authority is recommended. This advice does not apply to protectedinformation structures as they require a greater level of assessment. for Roofs – slated roofs should be- repaired using natural slate to match. Any roof that has been re-covered with non-slate materials should, upon re-roofing, use a natural slate to match the other original slated roofs in the ACA. Blue Bangor or an Irish equivalent is preferablestatus to any other type. Roof structures - Historic timber structures should be retained and repaired. Chimney stacks - should be maintained, repaired and kept rendered. Particular note shouldlegal be taken of their profiles as some unusual ones exist here. Rainwater goods – These should be regularly maintained. Cast-iron gutters and Nodownpipes should be retained, repaired and, if necessary, replaced with cast-iron; gutters should have a half-round profile unless there is evidence to the contrary and downpipes either a circular or square-profile section. PVC goods should be replaced with cast-iron or cast aluminium, both to have a painted finish. Walls – most buildings within this ACA should have rendered elevations. All ruled and lined render and plain render should be retained and repaired. On an elevation

directly facing the street it should generally be painted; rear elevations were often left unpainted but both painted and unpainted are acceptable. Where the render has been recently removed it should be replaced with a lime render, either plain or ruled and lined, with quoins as an option. If it is desired to remove later cement render this should be replaced with a lime render, either plain or ruled and lined. Historic pebble- dashed effects should also be retained and repaired. Outbuildings and warehousesonly may either be lime-rendered, whitewashed or left of exposed stone. Brickwork elevations should be repaired and repointed using lime mortar which is as weak as is appropriate and all repointing should be carried out based on samples approved by the Planning Authority prior to works being carried out. Opes – all opes on the upper floors should be rectangular withpurposes classical proportions. Where opes have been enlarged they could be reduced again. New build should also have opes to match existing historic ones. Cills – all stone cills should be retained with a painted finish. New build should use painted stone cills too. It should be noted that the stone cills here are narrower than seen elsewhere. Windows – all existing sash windows shouldinformation be repaired. Any uPVC /aluminium windows should be replaced with timber sash windows - any building which dates to pre-1830 should have six-over-sixfor windows with no horns, any building 1830-1860 should have horns but could be- six-over-six or two-over-two, any building post-1860 should have ogee horns and be two-over-two or single-pane. All should have narrow glazing bars where applicable and a painted finish. There may be some exceptions to this such as churchesstatus and public buildings as well as more unusual designs. Attic dormers – none should be added. Rooflights – none should be added on front slopes (except on parapetted roofs wherelegal the roofs aren’t visible); if any new rooflights are permitted to be inserted on rear slopes or inner slopes they should be small and match historic cast iron ones. NoDecorative architraves – all should be repaired and kept painted. Where none exist or where new opes are being formed no architraves are required. Threshold steps – all stone steps should be retained and repaired. New steps should be stone preferably. Doors – all historic timber doors (and their frames and overlights), should be retained and repaired and kept painted. Old town photos may assist in researching original

door types as appropriate models for new doors. Any new doors to replace pvc or aluminium ones should be painted timber panelled doors and may have overlights/fanlights if appropriate. Door furniture – historic ironmongery should be retained and treasured. Shopfronts – all historic timber and rendered shopfronts should be retained and repaired; all mosaic tiled shopfronts and stainless steel framing should be retainedonly and repaired. Where a new shopfront is permitted a variety of styles would be appropriate as long as the fascia is not too deep, the classical format of vertical and horizontal is followed and the members are not too wide. Overly heavy corbel brackets should be avoided. Some recessed porches include good features such as floors, ceilings and doors which should be retained even if thepurposes form of the porch is permitted to be changed. Where new fascia lettering is permitted on historic shopfronts it should be in the form of individual letters. Fixtures – there can be a surprising number of redundant fixtures on a building, such as lights, signs, brackets, poles etc that are no longer in use. These should be removed if they are of no heritage value and the wall made good. Satellite dishes should not be visible from the front of buildingsinformation nor in significant views. Wiring – wiring across a façade should be kept as tidy as possible. Other Features – other historic featuresfor on buildings should be retained and repaired. - Planting – generally additional planting is not required in this ACA, except in new developments. Any new planting added should not cause clutter or lead to extra maintenance problems.status Public domain signage – some limited new information signage would be an enhancement to the ACA; the design should be sleek and modern rather than ‘olde worlde’.legal

4.0 Architectural Conservation Area 3 - Vinegar Hill and Surrounding Environs

4.1 Boundary The boundary of the ACA is outlined in Map 6. only 4.2 Character Appraisal Vinegar Hill and its surrounding landscape is a rich rural landscape of small fields, intact hedgerows, stone walls and banks, gates, piers, pathways, a mass path and the windmill, which is a protected structure and National Monument. It is considered to be of special archaeological and historic interest. The designationpurposes of the area as an ACA will not only afford this area protection under the relevant Planning and Development Act 2000 but will also create awareness that the structures and unique landscape setting within this area are an important resource in the vitality and future of Enniscorthy. It can also be a means of improving the built and natural environment of the site, which in turn can be of benefit to all residents and users of the site and can be beneficial for tourism. information

for Vinegar Hill is an area of upland- rock outcrop located in an elevated inland rural environment near Templeshannon, approximately 1km from Enniscorthy Town Centre. A vernacular windmill caps Vinegar Hill on its highest point. The views from this historic site are breathtaking. The vegetation upon the highest point is mainly of grass with a goodstatus well-established covering of furze bushes. The landscape gradually gives way to mainly mixed agriculturally-farmed land. Important features of this surroundinglegal landscape are the patchwork of small fields with their relatively intact hedgerows. Two important vernacular features are also to be found, firstly a Nopair of cylindrical gate pillars constructed of local random rubble stone and secondly an important hand forged iron gate.

The Battle of Vinegar Hill was an engagement on 21 June 1798 between forces of the British Crown and Irish rebels when over 10,000 British soldiers launched an attack on Vinegar Hill outside Enniscorthy, Co. Wexford, then the largest rebel camp and headquarters of the Wexford rebels. It marked a turning point in the Irish 46

Rebellion of 1798 as it was the last attempt to hold and defend ground against the British military and forced rebels to rely on tactics of mobile warfare for the remainder of the Wexford rebellion. The battle was actually fought in two locations, on Vinegar Hill itself and in the streets of nearby rebel-held Enniscorthy.

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information for Photograph 43. Shows Vinegar- Hill as viewed from Vinegar Hill Lane on the east of the Hill.

status 4.3 The Conservation and Enhancement of the Area’s Character The unique character of Vinegar Hill is generated by the interaction between the naturallegal and manmade landscape coupled with its historical importance. Many factors can impact and radically alter the character of the area if handled insensitively, such Noas • New development • Alteration to field patterns • The removal of landscape features, such as vernacular piers and field gates • Structures which are derelict or vandalised or unmaintained

It is particularly important the any new development within the ACA is carefully planned and implemented with a full appreciation and understanding of Vinegar Hill’s historical significance. The ACA provides an opportunity to build upon the existing character by establishing a high standard of conservation. Vinegar Hill and its surrounding landscape possesses a distinctive sense of place and this should be conserved for future generations through: only • Conservation and or restoration of certain structures • Encouragement and promotion of the important ecological network of hedgerows upon and within the surrounding area of Vinegar Hill • Information signage promoting the historic and natural heritage of Vinegar Hill and its surrounding landscape. purposes • Maintenance of the pathways, walls and boundaries.

The Vinegar Hill and its surrounding landscape ACA will seek to protect the unique built and natural character and strong sense of place, while at the same time allowing for recreational use and reuseinformation of structures and where possible or necessary encourage redevelopment in a sensitive and sustainable way. It is important that any new developmentfor does not detract from the visual impressiveness and setting of the historic Vinegar- Hill and its surrounding landscape.

4.4 Vinegar Hillstatus Windmill The windmill is the remains of a detached circular-plan three-stage windmill, built c.1600, which now survives to the first storey with three slit windows and a later brick lintelledlegal and jambed doorway. It lies on the bedrock and is extremely exposed on all Nosides. It is built of rubble masonry quarried from a nearby outcrop approximately seven metres from the windmill, and is composed of 97% rhyolite and 3% granite (3%)

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Photograph 44. Shows the Windmill on top of Vinegar Hill as viewed from its South side.

The stonework is generally in good condition and despite the degree of exposure of the site remains extremely compact. Occasionalinformation scaling, fracturing and surface staining was recorded. The fracturesfor and coarse pores naturally occurring in the rhyolite do not seem to have weakened- with exposure. Oxidation of iron bearing minerals in the granite is responsible for the red staining. The masonry mortars however were lost to a great extent and the masonry has been largely repointed with a Portland cementstatus mortar, which is currently in good condition. To date, the Portland cement mortar does not seem to have had any adverse effect yet on this particular stone.1 legal No

1 The Heritage Council, Stone Monuments Decay Study, Templeshannon Windmill. 2000. 49

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Photograph 45. Shows the Windmill on top of Vinegar Hill as purposesviewed from its east and Enniscorthy side.

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No Photograph 46. Shows the Windmills main doorway on top of Vinegar Hill as viewed from its east and Enniscorthy side.

4.5 Vinegar Hill Lane Vinegar Hill Lane is a narrow lane located to the northeast side of Vinegar Hill, and is an important surviving feature. It is bounded by banks with rubble stone integrated.

4.6 Vernacular Gate Pillars, Vinegar Hill Lane. An important vernacular feature consisting of rounded piers, erected c.1850, existsonly on Vinegar Hill Lane; they comprise a pair of rubble limestone gate piers on circular plan with domed cement capping over. The original gate is now gone. A new forged iron gateway could be inserted here which would have a positive effect on the visual and cultural significance of this landscape. purposes

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Photograph 47. Shows the vernacular gate piers, Vinegar Hill Lane. legal No4.7 Vernacular iron gate This gate is located at the west end of the Vinegar Hill visitors car park adjacent to the public walkway. It is a field gate, erected c.1860, of wrought iron with flat bars. A gatepost, which is a later iron girder, anchors this gate. It has been extended during its life, which was a common occurrence to suit wider entrances. Another newer gate allows for the complete span of this field opening to be enclosed. It represents a good example of its type and retains much of its vernacular character despite being

in need of repair. Its owner should be encouraged to have it repaired, painted and re- hung in situ. A similar gate, possibly forged by the same blacksmith, is in situ at the Quakers Meeting House and has recently been repaired and painted and is an example of the visual impressiveness that restored forged iron gates can have on the built environment. only

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Photograph 48. and 49. Shows the vernacular hand forged gate, Vinegar Hill Car park.

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Photograph 50, 51, 52 and 53. Shows the vernacular hand forged gate at the Meeting House and the hand forged gate at Vinegar Hill car park. These two gates are possibly created by the same blacksmith.

4.8 The entrance at Vinegar Hill Lane This entrance could be enhanced. Either one or two forged gates by a skilled blacksmith would be an appropriate intervention here.

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Photograph 54. Shows the entrance to Vinegar Hill Lane entrance gates. information 4.9 Hedgerows and held boundaries A hedge usually consists of a rowfor of shrubs or trees planted along the line of a manmade earth or stone bank.- A ditch from which the bank material was excavated often runs parallel to the hedge. Hedges are used to mark boundaries and to contain stock. They provide shelter from wind and facilitate drainage, and need continuous management in statusorder to remain effective.

They are important heritage features. Varying greatly in form and species, they help to formlegal the local and regional character of the landscape. Hedges on deep, fertile Noand well-drained soils are usually dominated by hawthorn and may have trees of ash, elm, sycamore or beech. Shallow or acid soils will give rise to gorse, while hedges on poorly drained land are likely to be dominated by willow. Ancient hedges are survivors of the woods that covered the country before it became agricultural land, and have a particular conservation value as they often contain a richer variety of plant life than more recent hedges. Much of Ireland’s hedgerow landscape, as we know it today, was established between 1750 and 1850 as landlords enclosed

former commonage to form fields. Field boundaries are standing records of the area’s history of land ownership and display evidence of local geology, local craftsmanship, and local farming practice. They show the work of many people - those that established and maintained them, and those that built the cut stone piers or forged the wrought iron gates. In addition archaeological material may be found in hedges and field boundaries. In this context material may date from the 1798 Battle.only

Hedgerows provide food and shelter for insects, birds and other animals, forming corridors that permit wildlife to move between habitats. As many birds and small mammals never venture more than a few metres from cover, populations would become isolated and vulnerable without hedges. Nearly two thirdspurposes of Ireland’s bird species nest in hedges. In general, wide and high hedges with a broad diversity of plant species are the most beneficial to wildlife.

Hedges are durable. A properly maintained hedge will last for centuries, and is ultimately more cost effective than any alternative boundary. Hedges provide shelter from wind for stock, crops and road users.information They alleviate the blinding effects of low sun, filter dust and fumes, and absorb road noise. Hedges provide springy, relatively safe crash barriers beside roadsfor and are more interesting visually for visitors and local travellers than wood or cement- boundaries; they are also more distinctively local in character and can be used to shield unsightly fences. Mature flowering hedgerows, predominantly of hawthorn, provide a strong visual impact on the countryside in earlystatus summer.

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Photographs 55, 56, 57 and 58. Shows the various hedgerows around the landscape of Vinegar Hill.

Hedges need regular maintenance in order to provide effective boundary and shelter. Neglected hedges grow tall and gappy, so that they ceasepurposes to function as effective barriers. A gappy hedge is bad both for wildlife and for farming. Neglected hedges may become overgrown with bramble and elder so that they encroach on fields or roadways and become inaccessible for maintenance. Inappropriate management can also damage hedges. This includes frequent (annual) cutting, and cutting during the bird nesting period. Building developments in which all hedgerows are removed are ainformation major threat to the hedgerow network. Road- widening programmes may threatenfor hedges. Removal of and/or replacement of embankments and stone wall- boundaries may not be an exempted development and their retention in this ACA is very important. In order to ensure compliance the opinion of the Planning Authority should be sought. status 4.10 Vinegar Hill car park and surrounds There is an accumulation of features in and adjacent to the car park intended for visitorslegal at the end of Vinegar Hill Lane. This is a very sensitive site and has great potential to present the significance of the hill to the public. New features here should Nobe to the highest design standards.

4.11 Mass Path There are several features on Vinegar Hill, including the small path, called sometimes a mass path, which have a historic importance and contribute to the character of the ACA but which require further research.