Mount Stewart, County Down, Northern Ireland, a National Trust property

We don’t have a National Trust in the Republic of Ireland the way they do in Northern Ireland. We have instead organisations such as the Office of Public Works, The Landmark Trust, Irish Heritage Trust and An Taisce. Sorry to republish this as a separate entry – previously published in my “Places to visit and stay in County Down” entry. I’ve been busy at weekends and not visiting Section 482 properties, but I’ll catch up again with that soon I hope!

Mount Stewart, County Down, by Art Ward for Tourism Northern Ireland, 2016. (see [1])

https://discovernorthernireland.com/things-to-do/mount-stewart-p675341

and https://www.nationaltrust.org.uk/mount-stewart

The National Trust website tells us:

The Stewarts came from Scotland to Donegal as part of the Jacobean Plantation of Ulster. Alexander Stewart [1700-1781] and his wife, Mary Cowan, bought a large area of land in County Down in 1744, part of which became Mount Stewart demesne. Mary had inherited a fortune from her brother, Robert Cowan, who was in the East India Company, and was Governor of Bombay.” Mary and Robert’s father John Cowan was an Alderman of the city of Derry in what is now Northern Ireland. Alexander Stewart was MP for Derry.

Alexander Stewart (1700-1781) by Andrea Soldi, courtesy of National Trust Mount Stewart.
Oil painting on canvas, Mary Cowan, Mrs Alexander Stewart (1713–1788), by Andrea Soldi (Florence c.1703 – London 1771), circa 1737. A three-quarter-length portrait of a woman with fair hair, seated, turned to the left, wearing a blue dress with a pink bow, and white drapery. She rests her left elbow on a table, and points to the left with her right hand. She married Alexander Stewart in 1737. The artist returned from “the Levant” to London in 1736 and painted in Scotland c. 1756-58.

The National Trust website continues: “A modest house on the shore of Strangford Lough was extended in the 1780s into a long low 2-storey house by Alexander’s son, Robert. Robert also built a walled garden and farm buildings further inland, and commissioned James ‘Athenian’ Stuart to design the Temple of the Winds, one of the finest small neo-classical buildings in Ireland. Through his political connections and marriage, Robert rose through the political ranks, becoming earl and subsequently marquess of Londonderry.

Mount Stewart, County Down, June 2023. The porte-cochere was added by the 3rd Marquess of Londonderry, when William Morrison designed enlargement of the house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This portrait was completed Robert’s Grand Tour and is considered one of the finest of only 25 similar portraits completed by Anton Raphael Mengs. Robert built the west of the house at Mount Stewart and the Temple of the Winds, an octagonal building inspired by the Roman temples he had seen during his tour of Italy.
Robert Stewart, 1st Marquess of Londonderry, by John Edward Jones of Dublin, 1855, of Carrara marble. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
An information board from Mount Stewart.
Alexander Stewart (1746-1831) was the brother of Robert, 1st Marquess of Londonderry. He married Mary, daughter of Charles Moore 1st Marquess of Drogheda. He lived in Ards, County Donegal. Portrait by Pompeo Batoni, courtesy of National Trust Mount Stewart.

Robert Stewart (1739-1821) 1st Marquess of Londonderry married, first, Sarah Frances Seymour Conway, and she gave birth to his heir, Robert Stewart (1769-1822) 2nd Marquess of Londonderry, who was later made Viscount Castlereagh.

He then married secondly, Frances Pratt, daughter of Charles Pratt 1st Earl of Camden, Chislehurst, County Kent in England.

Oil painting on paper laid down on canvas, A Conversation Piece with Robert, 1st Marquess of Londonderry (1739-1821), his Second Wife, Frances (1750-1833), their Son Charles William (1778-1854), and their Four Younger Daughters, Selina, Matilda, Emily Jane and Octavia by Thomas Robinson (Windermere before 1770 – Dublin 1810), 1803-08. The daughters shown are Lady Selina Stewart, later Lady Selina Kerr (d.1871), Lady Emily Jane Stewart, Viscountess Hardinge (1789-1865), Lady Octavia Catherine Stewart, later Baroness Ellenborough (d.1819) and Lady Matilda Stewart, later Lady Matilda Ward (d.1842). Their elder three daughters Georgiana (d. 1804), Caroline (1865) and France Anne (1777 – 1810) are not present.

The website tells us: “It was Robert’s son, best known as Viscount Castlereagh, who chose the architect George Dance to design a new wing for Mount Stewart which included a series of fine reception rooms. The west wing was built around 1804–6.

Mount Stewart, County Down, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Robert Stewart (1769-1822), 2nd Marquess of Londonderry, Viscount Castlereagh, by Hugh Douglas Hamilton. He succeeded his father in 1821 only a year before his own death so for most of his working life he was Viscount Castlereagh. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, County Down, by Art Ward for Tourism Northern Ireland, 2016 (see [1])
Mount Stewart, County Down, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, County Down, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, County Down, by Art Ward for Tourism Northern Ireland, 2016.

Mark Bence-Jones writes in his  A Guide to Irish Country Houses (1988):

p. 216. “Vane-Tempest-Stewart, Londonderry, M/PB) A long two storey Classical house of 1820s, one end of which is, in fact, a house built 1803-06 by 1st Marquess of Londonderry (father of the statesman, Castlereagh) to the design of George Dance. The seven bay front of 1803-06 house survives as the end elevation of the present house; unchanged, except that its centre bay now breaks forward under a shallow pediment, similar to those on either side of the present entrance front, which are very much of 1820s. The three rooms at this end of the house keep their original ceilings of delicate plasterwork; the centre one, which was formerly the entrance hall, has a ceiling with pendentives, making it an octagon. Behind this former entrance hall is an imperial staircase with a balustrade of elegant ironwork, lit by a dome; this too, is part of the earlier house.

Robert Stewart 2nd Marquess of Londonderry, Viscount Castlereagh.
Amelia Anne Hobart, Viscountess Castlereagh and later Marchioness of Londonderry, courtesy of National Trust Mount Stewart.

The website continues, telling us more about Lord Castlereagh: “Castlereagh is best known in Ireland for his involvement in the repression of the 1798 Rebellion and as one of the architects of the Anglo-Irish Union of 1800, for which he was vilified by many. He was however regarded as a consummate statesman and astute negotiator. 

From 1802 to 1822 he was based in London as Secretary of State for War and Foreign Secretary during the wars with America and France under Napoleon. He was one of the chief negotiators at the Congress of Vienna (1814-15) and his greatest legacy was steering the Congress towards a more equitable balance of power. The Congress was the first multinational European congress; many issues were discussed including the abolition of slavery. Castlereagh became a staunch supporter of abolition, as the trade was ‘repugnant to the principles of humanity and universal morality’.

The Peterloo Massacre of 1819 earned him more criticism, for although he was not personally responsible and was appalled by the outcome, as Home Secretary he had to justify the yeomanry’s actions. In 1822 he suffered a breakdown and took his own life, just a year after becoming the 2nd marquess of Londonderry.

Information board courtesy of National Trust Mount Stewart.
Information board courtesy of National Trust Mount Stewart.
I think Lord Castlereagh is the image of radio dj Dave Fanning!
Information board courtesy of National Trust Mount Stewart.

Castlereagh’s father the 1st Marquess and Frances Pratt went on to have many more children.

Information board courtesy of National Trust Mount Stewart.

It was a son from the second marriage, Charles Stewart (1778-1854) who became the 3rd Marques of Londonderry after his brother killed himself. First he married Catherine Bligh, daughter of John 3rd Earl of Darnley. She had a son, who became Charles’s heir, Frederick William Robert Stewart (1805-1872) 4th Marquess of Londonderry. Frederick married Elizabeth Frances Charlotte Jocelyn, daughter of Robert Jocelyn, 3rd Earl of Roden, County Tipperary, but they had no children. She had been previously married to Richard Wingfield 6th Viscount Powerscourt.

The painting above the archway in the hall is Charles William Stewart (1778-1854) who changed his surname to Vane after his second marriage, who became 3rd Marquess of Londonderry. He wears robe of the Knights of the Garter. The painting is by James Godsell Middleton, 1853/4. The pieces of armour were captured from the French Imperial Guard by General Charles Stewart who fought under Wellington during the Peninsula War.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charles William Stewart, later Vane, courtesy of National Trust Mount Stewart.
Painting by Thomas Lawrence of Catherine Bligh, daughter of 3rd Lord Darnley, with her son Frederick Wililam Robert, who became 4th Marquess of Londonderry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charles Stewart, 3rd Marquess of Londonderry, by Thomas Lawrence. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Above the arch is a painting of Frederick William Robert Stewart (1805–1872), 4th Marquess of Londonderry, KP, PC, as Lord-Lieutenant of County Down. The painting is by James Godsell Middleton., 1856. Frederick was the son of the 3rd Marquess and his first wife, Catherine Bligh. On the wall, a Prussian ‘M. 1809’ brass-mounted black leather crested Cuirassier’s helmet, Early 19th Century. Under the arch, is oil painting on canvas, Lady Alexandrina Octavia Maria Vane, Countess of Portarlington (1823-1874) , by Charles Hancock (Marlborough 1802 – 1877), signed Charles Hancock Pt 1845. Lady Alexandrina Vane, Countess of Portarlington (1823-1874), second daughter of Charles William, 3rd Marquess of Londonderry, and his second wife, Frances Anne Vane-Tempest and Tsar Alexander’s goddaughter is riding side saddle on a white horse in a landscape. Both horse and rider are facing the right. She married Henry Dawson-Damer, 3rd Earl of Portarlington (1822-1889) in 1847. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Elizabeth Jocelyn (1813-1884), Marchioness of Londonderry, formerly Viscountess Powerscourt, by James Rannie Swinton, courtesy of Mount Stewart National Trust. She was wife of the 4th Marquess of Londonderry, but they had no children.

After his first wife’s death, Charles Stewart (1778-1854) married Frances Anne Emily Vane-Tempest in 1819. He changed his surname to Vane. Frances Anne’s mother was Katherine MacDonnell whom we came across at Glenarm, the notorious heiress!

Frances Anne née Vane-Tempest, courtesy of National Turst, Mount Stewart.
Frances Anne, wife of 3rd Marquess of Londonderry, by Thomas Lawrence. The heiress Frances Anne Vane-Tempest, as second wife of 3rd Marquess of Londonderry, who was described by her close friend, Prime Minister Benjamin Disraeli as ‘half ruffian, half real lady’, brought wealth to the Stewart family with her inherited estates, including coal mines in the north-east of England, and County Antrim. She loved opulence and enjoyed an intimate chaste relationship with Tsar Alexander who was godfather to her daughter Alexandrina. But she was also noted for reducing hardships of her tenants and employees and providing their children with schools both in England and Ireland. She was the daughter of Sir Henry Vane-Tempest, 2nd Baronet and through her daughter, Lady Frances Vane, wife of John Churchill, 7th Duke of Marlborough, she was the great-grandmother of Sir Winston Churchill. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Henry Vane-Tempest (1771–1813), 2nd Bt, the source of much of the family income, as the 3rd Marquess married his heiress daughter. The portrait is by Peter Edward Stroehling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Mark Bence-Jones continues: “3rd Marquess, Castlereagh’s younger half-brother, who was far richer than either his father or his brother had ever been, having married the wealthy Durham heiress, Frances Anne Vane Tempest, enlarged the house to its present form ca 1825-28, his architect being William Vitruvius Morrison. A new block was built onto what had been the back of the original house, as wide as the original house was long and long enough to make, with the end of the original house, a new entrance front of 11 bays, with a pedimented porte-cochere of four giant Ionic columns as its main central feature; the three outer bays on either side being treated as pavilions, each with a one bay pedimented breakfront similar to that which was put onto the front of the original house. The outer bays have a balustraded roof parapet, which is carried round the end of the house and along the new garden front. The latter is as long as the entrance front, and has a boldly projecting centre with a pediment and a single-storey portico of coupled Ionic columns; and a curved bow at either end.”

Mount Stewart, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board courtesy of National Trust Mount Stewart.

The website tells us: “Castlereagh’s half-brother, Charles Stewart fought in the Peninsula War under Wellington and became British ambassador at Berlin and then Vienna during the Congress. In 1819 he married the wealthy Frances Anne Vane Tempest who had inherited coal mines and a grand estate in County Durham. They travelled widely and rebuilt Wynyard, County Durham and Londonderry House in London. Charles also extended Mount Stewart in the 1840s. His grandson, the 6th Marquess, was Lord Lieutenant of Ireland in the 1880s. The 6th Marquess was strongly opposed to Home Rule for Ireland; he and his wife were instigators and signatories of the Ulster Covenant in 1912.

Charles and Frances Anne had several children. Their daughter Alexandrina married into Emo Park in County Laois.

Alexandrina Octavia Maria Vane (1823–1874) married John Henry Reuben Dawson-Damer, 3rd Earl of Portarlington, of Emo in County Laois, and was daughter of Charles Willam Vane 3rd Marquess of Londonderry (son of Robert Stewart 1st Marquess of Londonderry) and Frances Anne Emily Vane-Tempest. The portrait is by James Godsell Middleton. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance hall, Mount Stewart, County Down. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A polychrome painted deal occasional table, Netherlands, early 18th century: The hinged shaped oval top painted with scenes from Belshazzar, depicting a scene of a family entertaining a guest to dinner in a grand room with a black and white squared floor, on a turned column and down swept legs. Branded with Londonderry cypher on reverse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Central hall of Mount Stewart. Unfortunately I found it impossible to capture in a photograph. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart.

Mark Bence-Jones continues: “The principal interior feature of the newer building is a vast central hall, consisting of an octagon, top-lit through a balustraded gallery from a dome filled with stained glass, with rectangular extensions so as to form a room much longer than it is wide; with screens of couple painted marble Ionic columns between the octagon and the extensions. Morrison’s reception rooms are spacious and simple; the drawing room has a screen of Ionic colmns at either end. The interior of the house was done up post WWI by 7th Marquess, Secretary of State for Air in 1930s; the central room in the garden front being panelled as a smoking and living room. The 7th Marquess and his wife (the well-known political hostess and friend of Ramsay MacDonald) also laid out an elaborate garden, going down the hillside from the garden front of the house towards Strangford Lough. As well as this noteaable C20 garden, Mount Stewart boasts of one of the finest C18 garden buildings in Ireland, the Temple of the Winds, an octagonal banqueting house built 1780 to the design of “Athenian” Stuart, who based it on the Tower of the Winds in Athens. It has a porch on two of its faces, each with two columns of the same modified Corinthian order as that of the columns of the Tower of the Winds. Mount Stewart was given to the Northern Ireland National Trust by Lady Mairi Bury, daughter of 7th Marquess, ca 1977, and is now open to the public. The Temple of the Winds was given 1962 to the Trust, which has since restored it; the garden was given to the Trust in 1955.” 

You can see pictures and read more about the treasures in the house on the website. The website tells us about the various rooms of the house.

Central hall of Mount Stewart. The sculpture is “Bacchante at the Bath” by Lawrence MacDonald. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Central hall

Soak up the atmosphere of the most impressive space in the house, where you can see life-size sculptures by Lawrence MacDonald, alongside the family collection of silver dating from 1694.

Look down at your feet to take in the original Scrabo stone, which was recently restored after being hidden since the 1960s when it was covered by linoleum.

The Central Hall, Mount Stewart, with an Italian school sculpture of Adonis. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Central Hall of Mount Stewart.
The lamp next to Apollino is of alabaster, so fine the light shines through. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Venus at the Bath by Lawrence MacDonald. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The painting is of Edith Helen Chapman (1878-1959), Marchioness of Londonderry, in the uniform of the Women’s Legion. The halls are a treasure-trove. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

When Frederick died, his brother succeeded as the 5th Marquess of Londonderry, George Henry Robert Charles William Vane-Tempest (1821-1884). Like his father, he joined the military. He married Mary Cornelia Edwards, daughter of John Edwards, 1st and last Baronet Edwards, of Garth, Montgomeryshire.

Their son Charles Stewart Vane-Tempest succeed as the the 6th Marquess of Londonerry in 1884. In 1885 he added Stewart to his surname, to become Vane-Tempest-Stewart. In 1875 he married Theresa Susey Helen Chetwynd-Talbot, daughter of Charles John Chetwynd Chetwynd-Talbot, 19th Earl of Shrewsbury. The 6th Marquess served in many posts, including Lord-Lieutenant of Ireland between 1886 and 1889.

Theresa Susey Helen Talbot, Marchioness of Londonderry (1856-1919) by John Singer Sargent, Vicereine 1886-89. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Their son Charles Stewart Henry Vane-Tempest-Stewart (1878-1949) succeeded as 7th Marquess of Londonderry. He married Edith Helen Chaplin, daughter of Henry Chaplin, 1st Viscount Chaplin.

The website continues: “Charles’s great-grandson, Charles 7th Marquess, served in the First World War, during which his wife Edith founded the Women’s Legion. At the end of the war, Edith began to create the gardens at Mount Stewart and redecorated and furnished the house, processes she thoroughly enjoyed and continued until her death in 1959. Charles served in the new Northern Irish government following the partition of Ireland in 1921. He later became Secretary of State for Air during the early 1930s. The horrors of the First World War and the rise of Communism meant many were anxious to avoid another European war. For Charles, this meant holding a series of meetings with the Nazi leadership, but his actions and intentions were misunderstood and his career and reputation were fatally damaged.

Oil painting on canvas, Lady Edith Helen Chaplin, Marchioness of Londonderry, DBE (1878-1959) in Uniform of the Women’s Army Auxiliary Corps by Philip Alexius de László de Lombos (Budapest 1869 – London 1937), 1918.
Information board courtesy of National Trust Mount Stewart.
Information board courtesy of National Trust Mount Stewart.
Information board courtesy of National Trust Mount Stewart.
“Circe and the Sirens,” Edmond Brock’s group portrait shows Edith, Marchioness of Londonderry and her three youngest daughters Margaret, Helen and Mairi with her pet goat ‘Paddy from Cork’. In the background, the faces of her husband Charles, 7th Marquess (on the left) and the artist himself (on the right) appear in the herms. Edith is shown in the guise of Circe the Sorceress of Homer’s Odyssey who charmed Odysseus and his men to stay on her island before turning them into pigs. As Circe, Edith presided over The Ark, a club she founded during the First World War. She holds the large gold cup that can be seen in the SIlver Display off the Central hall of the house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The “Black and white” hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Various skylights pierce the hall ceiling in different alcoves. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
An early George III carved giltwood rectangular upright mirror with chinoiserie pavilion mirrored cresting with spread foliage, and scrolling foliate mirrored cresting with rocaille, pendant icicles, the divided plate with leaf and fruit-carved divisions with cusped foliate centre, mirrored scrolling sides with pierced rocaille, icicles, pendant flowers and foliage, the mirrored shaped apron with flanking standing figures of musicians, pierced chinoiserie rockwork and central chinoiserie pillared pavilion in the manner of Thomas Johnson.
I was so busy looking around and taking photographs that I didn’t notice these amazing doors at the time. There was just so much detail to see in every direction! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Black and White hall, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Drawing room

Step inside the drawing room which was the social hub of the house, furnished with comfortable armchairs and sofas gathered around the fireplace, as well as a piano for musical entertainment.

At one end of the room stands the Congress of Vienna Desk, brought back by Castlereagh Viscount Castlereagh after the Congress and the Peace of Paris in 1815, for which he was made a Knight of the Garter.  Above it hangs his portrait, by Sir Thomas Lawrence, alongside many others by the same artist.”

The drawing room, Mount Stewart, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
An aunt of Frances Anne née Vane, Mrs Michael Angelo Taylor (1769-1821) as ‘Miranda’ in The Tempest by William Shakespeare, painted by John Hoppner. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lady Amelia (Emily) Anne Hobart, Viscountess Castlereagh, later Marchioness of Londonderry (1772-1829) by Sir Thomas Lawrence. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Portrait by Thomas Lawrence of Robert Stewart (1769–1822), Viscount Castlereagh, Later 2nd Marquess of Londonderry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The lamp in foreground is one of a pair of late 18th century Italian carved giltwood altar sticks, the gilt metal scalloped dished tops on baluster columns, the triangular shaped concave plinths mounted with winged griffin pilasters, fitted for direct and indirect electric lighting with imitation candles and deep bullion fringed vellum shades. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Robert Stewart, 1st Viscount Castlereagh, later 2nd Marquess of Londonderry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Congress of Vienna table: A gilt-bronze mounted mahogany pedestal desk or library table, Vienna, c.1814. The extremely weighty, intricate and highly finished gilt-bronze gallery surrounding the top of the desk is pierced with leaf scrolls enclosing varying florets in a running guilloche pattern. The centre of each side is dominated by a bearded male mask enveloped in foliage. Hinged to the table top, the central section of the front gallery drops down for use of the original green leather writing surface with a gold-tooled border. The three short drawers on both pedestals have simple ring handles surrounding the steel double-turn keyholes, and are flanked by plain pilasters surmounted by gilt-bronze Corinthian capitals, which slide upwards for removal when the table top is lifted off the supporting pedestals. The carcass is apparently of white poplar with oak drawers, and the mahogany is highly figured. The use of poplar in the carcass is foreign to English and French practices and is more typical of Italy. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Dining room

Visit the dining room which was used to entertain famous guests including Winston Churchill and Neville Chamberlain – both of whom later became Prime Ministers of Britain. Along the walls stand the chairs used during the Congress of Vienna (1814–15). Their needlework covers were commissioned by Edith in the 1930s to display the coats of arms of those present at the Congress, and the countries they represented.

The dining room, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Geertruid Johanna de Quirina van der Duyn (d. 1741), Countess of Albemarle, by Godfrey Kneller. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The man in splendid robes at the end of the room is Arnold Joost van Keppel, 1st Earl of Albemarle, by Godfrey Kneller. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The chairs that represent the countries that took part in the Congress of Vienna (1814-1815). They are a set of twenty-two neo-classical chairs traditionally associated with the Congress of Vienna, 1814-15, two of which are later additions made in 1933. All chairs are upholstered and covered with pale yellow wool with silk embroidery, delineating the coat-of-arms of each of the principal delegates to the Congress (on the back) paired with the country, which they represented (on the seat). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board courtesy of National Trust Mount Stewart.
Mount Stewart.

The breakfast room

Stop by the breakfast room, where Charles and Edith enjoyed relaxed family breakfasts, lunches and afternoon teas overlooking the Sunk Garden that Edith created in 1920–21. Edith introduced the large sliding sash window so that they could have direct access to the garden.

In the centre of the room you can see the family’s traditional Irish ‘wake’ or hunting table, whilst a collection of Berlin cabinet plates from 1810–20 are displayed in the cabinets.”

The breakfast room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This room is fascinating as the pattern in the floor duplicates the pattern on the ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceiling in the breakfast room, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
You can really see the pattern on the floor as it is under the table, that reflects the pattern on the ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The marquetry on the doors is a work of art.
Berlin plates in the China cabinet in the breakfast room, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The family collected a large amount of valuable porcelain. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart. Plate, porcelain, from a 59-piece armorial table service, including: twenty-seven notched octagonal plates, twenty-four circular plates and eight straight-sided saucer-dishes, painted in ‘rouge de fer’ (iron-red) and ‘famille rose’ enamels, and gold, diaper band borders and flowering peony sprays on the rim, the centre with the arms of Cowan, China, Jingdezhen, Yongzheng period, circa 1723–25. According to Angela Howard, Heirloom & Howard Ltd, Sir Robert Cowan (d. 1737), initially ordered two services, this service in polychrome for formal dining and an underglaze blue service for common use. Cowan, a merchant and later Governor of Bombay, worked for the East India Company in India from 1719 to 1735. The combination of circular and octagonal plates is unusual and suggests the richness of the original service. Recent research by Edward Owen Teggin, East India company career of Sir Robert Cowen in Bombay and the western Indian ocean, c. 1719-35, Trinity College Dublin. School of Histories & Humanities, 2020, suggests the service was ordered from Surat in April 1722, while Cowan was living in Bombay. The order is recorded in his letter book, addressed to Scattergood, probably John Scattergood, supercargo of a country vessel sailing between Bombay, Madras and Canton, noting instructions for Cowan’s coat of arms to be applied to the service. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The detail on the porcelain plates is amazing: one of a set of twenty-five plates from a Chinese export porcelain part dessert service painted with flowers, insects and Ho-Ho birds in overglaze famille rose enamel colours on a celadon ground. Canton, c.1830-50. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A George Stubbs masterpiece hangs on the west staircase: Hambletonian, Rubbing Down, was painted by Stubbs in 1800. The horse had been owned by Sir Harry Vane Tempest, whose daughter married Charles Stewart (3rd Marquess of Londonderry). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The lantern skylight over the stairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The stair hall, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail in the volute at the end of the stair banister. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Even snails are celebrated in this china: A Majolica pottery dish, Portuguese style, Palissy-type earthenware, circa 1870 – c.1900, as a green glazed cabbage leaf surmounted by a grey snail in brown shell in the centre. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I love this arrangement: there are a pair of Chinese green glazed parrots with red beaks on blue glazed pierced rockwork bases. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We then went upstairs.

The portrait over the red chair is Hazel Lavery by her husband John Lavery. Inside the arch is oil painting on canvas (oval), Maria Cornelia (née Edwards), Marchioness of Londonderry (1826 – 1909), circle of Franz Xaver Winterhalter. A three-quarter-length portrait of the wife of George, 5th Marquess of Londonderry in a brown dress with black embroidery, her right hand raised to her chin.
Lady Hazel Lavery, by John Lavery, Mount Stewart, County Down. John gave her an orchid daily, as can be seen in the picture. Hazel was chosen to be the figure of Ireland on the Republic’s bank note. She and John stayed with the Londonderry family on a number of occasions in the 1920s and 1930s. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Another skylight, this one in the corridor upstairs at Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Edward Charles Stewart Robert Vane-Tempest-Stewart (1902–1955), Lord Stewart, 8th Marquess of Londonderry, as a Page at the Coronation of George V, 1911, by Philip Alexius de László. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The textile elements of a George III mahogany tester bed, circa 1760. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There are even tassels carved into the wood of the bed. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The bed boasts a coronet. A polychrome painted tester bedstead, English or Irish, circa 1920
With twin painted and gilt panelled heads and ends inset with shaped reserves of blue brocade and surmounted by carved and gilt scrolls with turned vase shaped finials, the backboard covered in red figured silk damask, the side curtains of the same material, trimmed galloon. The domed canopy covered in blue silk trimmed with galloon and appliqued gilt carvings, the front and sides carved with gadrooning and leafage, centering on an armorial panel surmounted by a coronet, the whole raised on a plinth as per Londonderry House image of a figured walnut plinth, with box spring mattress, hair overlay and bedding. The bed was Lady Londonderry’s when she was in Londonderry House and was brought here in 1961 Lady Mairi slept in it in Londonderry House and Lady Rose was born in it in 1943, at Londonderry House.
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A gorgeous bed. The portrait is a half-length portrait of Charles Stewart, then Viscount Castlereagh, as a young boy, turned to the left. He wears a pale blue jacket (the colour of the Order of St Patrick), trimmed with white lace, and is dressed as a pageboy, in the costume he wore for his father’s investiture as Viceroy of Ireland. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A bedroom, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The rich blue and pink lend opulence along with the decorative furniture. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Unfortunately it was raining and we were on our way back to Dublin so we didn’t get to explore the gardens though my hairdresser Shane tells me they are splendid.

Information board courtesy of National Trust Mount Stewart.
From “In Harmony with Nature, The Irish Country House Garden 1600-1900” in the Irish Georgian Society, July 2022, curated by Robert O’Byrne.
Information board courtesy of National Trust Mount Stewart.

We did, however, get to the coach house to see the State Coach.

Called the state coach, it is technically a chariot. A chariot carries just two people, facing the coachman. A coach seats four, two either side inside, facing each other. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board courtesy of National Trust Mount Stewart.
The coach was used at George VI’s coronation.
The coronation robe. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart.
Information board courtesy of National Trust Mount Stewart.
Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board courtesy of National Trust Mount Stewart.

[1] Ireland’s Content Pool, https://www.irelandscontentpool.com/en

Text © Jennifer Winder-Baggot, www.irishhistorichouses.com

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