Strong mindedness, independent thought and determination are all character traits which are taken somewhat for granted in the modern woman but just imagine what it was like in the 18th Century for those of the then very much fairer sex trying to make their mark on the world around them.
One such personality, and by all accounts larger than life was Anne Bligh, daughter of the Earl of Darnley. She was born in 1708 to a privileged background and in her second marriage, after the death of her fist husband in 1745, she became the Viscountess of Bangor and resident, as with many Anglo-Irish Aristocracy of the Georgian Era, in an hereditary estate, by marriage, in Ireland, specifically on the shores of Strangford Lough in County Down.
Contemporary accounts of Viscountess Bangor, or just referred to as Anne Ward, depict her as "whimsical" which could in those times be used to cover a wide range of meanings from funny to strange, a bit eccentric or just plain difficult to live with.
If this can be taken as true then Anne and her second husband, Bernard Ward may not have been a match made in heaven.
There is little to go on in respect of the attributes of Bernard apart from a portrait showing a rather short, rotund man with a serious expression and, well, as far from a whimsical nature as you could possibly get. That is not however surprising for a man in the judiciary and State politics.
The only thing they seemed to have had in common was personal wealth with Bernard having inherited family monies and lands and Anne bringing along a large dowry.
On culture and style the two may also have been quite far apart.
Anne had been brought up in the genteel and socially active surrounds of the City of Bath in England whereas Ireland, although not a backwater, will have been a bit more parochial and traditional. She is recorded as being a Pastellist , so with some artistic and creative genes.
One of the first joint decisions of the couple was to build a large country house which, in the Georgian Era, was the fashionable and accepted way to display wealth and influence, indeed it was expected.
This was where, reputedly, the first signs of differences in the relationship began to be materially evident.
If it was a matter of appointing a Project Manager then both of them will have made very eloquent representations as to their merits and skills to occupy this role.
The normal procedure for the commissioning of a grand country house would be to select an in-demand Architect or invite submissions from up and coming talent for the prestige of winning the job.
The pitch from Bernard was for a classical and clean lined Palladian style which was based on the works of the 16th Century Italian , Andrea Palladio with all of its symmetry, columns, pediments, scallop shells and masks.
In contrast, the whimsical Anne wanted the up to date, mod and stylish Georgian Gothic which was characterised by arched windows, towers, spires and altogether a bit of a menacing and foreboding impression.
It is likely that Architects will have been confused by the conflicting brief of their prospective clients and consequently it appears that none took the risk to take on the project out of fear for their reputation and sanity.
Bernard and Anne did get their house built, Castle Ward as it was named although who did the final designs is not documented. Labour, trades and crafts will have been sourced accordingly.
It's final manifestation was a freakish one.
Those calling at Castle Ward and making their approach from the laid out gardens and driveway will have been presented with the gloriously impressive vista of a Palladian Mansion, a new and very prominent landmark in that part of County Down.
This may have indicated that Bernard had won the day over design but moving around to the back, or as it was referred to , the picture front, of the house and you are confronted with a full-on Gothic elevation in all of its moody and sinister connotations which supported that Anne had not been overruled or sidelined in her own plans.
It was not just the exteriors that illustrated the adversarial creative relationship of Bernard and Anne.
The interior floor plan also sub divides the style in a back to back arrangement separated by double doors between the two different genres.
The Palladian design is to be found in the main entrance hall and stairwell with neat squared and embellished doorheads and classical references but just through the connecting door and you are into a scene of fantasy and over the top imagination, yes, a bit whimsical.
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| Gothic ceiling and style |
Any matrimonial rift between the two may have been stifled and glossed over in social circles but there will have been no chance whatsoever to attempt to camouflage the architectural representation of it in such a prominent landscape setting.
You could speculate that had the events taken place in the glare of today's media and celebrity culture then there would be a lot of giggling, finger wagging and satirical comment with equally cruel and heartless headlines of wasteful extravagance not to mention a bit of character assassination of the individuals involved.
It is not clear if Bernard and Anne kept to their own stylish creations, a bit "my wife next door" of an existence but there will have been a much more deep rooted division and difficulties in that Anne, in 1766 at the age of 58 abandoned Bernard and returning to England ended her days back in her home town of Bath.
There are no contemporary accounts of how Castle Ward was received in the salons and ballrooms of the Georgian aristocracy and gentry and it is only with hindsight that its merits have been truly acknowledged.
For these architectural clashes the building is an exceptional and striking one and under National Trust stewardship it continues to be a major visitor attraction.
(Inspired by the BBC 4 Extra programme- Rivals in Stone)
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