Help me to pay the entrance fee to one of the houses on this website. This site is created purely out of love for the subject and I receive no payment so any donation is appreciated!
€15.00
2025 Diary of Irish Historic Houses (section 482 properties)
To purchase an A5 size 2025 Diary of Historic Houses (opening times and days are not listed so the calendar is for use for recording appointments and not as a reference for opening times) send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €10 for the A5 size calendar, so I would appreciate a donation toward the postage – you can click on the donation link.
€20.00
I am preparing for my busiest week of the year: Heritage Week! All of the section 482 houses are open for a visit (except those listed as Tourist Accommodation). See my home page for opening times: https://irishhistorichouses.com
This year we were lucky enough to secure a place on a tour of Temple House in County Sligo, which is normally not open as it is on the section 482 list as accommodation, but this year they are giving tours on Sunday 17th – you have to book in advance but maybe there are still places left.
Temple House, County Sligo. Photograph courtesy of Temple House and Historic Houses of Ireland.
I can’t wait to identify the people in the portraits! I do hope we have time to do so, as it’s only a 45 minute tour.
We are staying in what looks like a historic farm house, Andresna House, on the border of Roscommon and Sligo. I look forward to finding out more about its history. https://www.andresnahouse.com
We’ll also be visiting Castlecoote in County Roscommon. It was always booked for accommodation in previous years when I asked to visit so I am happy to have this opportunity.
Castlecoote, County Roscommon, photograph courtesy of National Inventory of Architectural Heritage.
We may get to Frybrook house in Boyle as well.
We’re mainly based in Dublin and Wexford this year since we can’t afford to stay away from home – and I need to water my veggies in Wexford at some point during this heatwave!
We’re off to Birr again, where we spent time last year during Heritage week to see Crotty Church. This time we have booked a tour of the Castle. While in the area, we will also visit Bellefield house and gardens.
I’m excited that we also managed to book a place on the tour of Howth Castle. I was in it once before, for the book sale when it was sold after over 800 years of ownership. We only saw the impressive front hall and library so I can’t wait to see some more, although unfortunately it will probably be empty since contents were also sold.
Howth Castle 1966, Dublin City Library and Archives.
I have also booked a tour of Rokeby in County Louth, which we visited years ago but I’d love to see again, to have our dose of Francis Johnston, also visiting Townley Hall.
Townley Hall, County Louth.
Let us know if you have Heritage Week plans – you can share in the Comments section.
In previous years, we have been very busy during Heritage Week, and we visited houses before I embarked upon this project. In 2019 I read an article in the Irish Times about the Section 482 scheme and I decided to visit them and to blog about it.
There are generally about 180 properties on the Revenue Section 482 list every year and the properties stay on the list for at least five years in order to obtain state aid by subtracting a percentage of maintenance costs from income tax.
In 2019 we visited Swainstown House in County Meath, Marlay Park house in Rathfarnham (we’ll be visiting again next month when it is open during Dun Laoghaire/Rathdown Heritage), Beaulieu in County Louth, and Harristown House and Blackhall Castle in County Kildare. Not all are on the Section 482 property list.
In 2021 we headed to County Sligo and Mayo for Heritage Week then over to Counties Westmeath, Kilkenny and Carlow.
Markree Castle, Collooney, Co. Sligo – 16th Aug 2021 Newpark House and Demesne, Co. Sligo – 16th Aug 2021 Enniscoe House & Gardens, Ballina, Co. Mayo (accommodation) – 17th Aug 2021 Coopershill House, Riverstown, Co. Sligo (accommodation) – 18th Aug 2021 Tullynally Castle & Gardens, Co. Westmeath – 4th Aug 2019 and 21st Aug 2021 Kilfane Glen & Waterfall, Co. Kilkenny (garden) – 23rd Aug 2021 The Old Rectory Killedmond, Borris, Co. Carlow – 1st July 2020 and 23rd Aug 2021
In 2022 during Heritage Week we travelled to Counties Limerick, Galway and on up to Roscommon, Sligo and Leitrim and home via County Monaghan! We treated ourselves to a stay in Ash Hill in County Limerick.
Ash Hill, Kilmallock, Co. Limerick (accommodation) – 12-15 Aug 2022 Beechwood House, Co. Tipperary – 13 Aug 2022 The Turret, Rylanes, Ballingarry, Co. Limerick – 13th Aug 2022 Glenville House, Glenville, Ardagh, Co. Limerick – 14th Aug 2022 Mount Trenchard House and Garden, Co. Limerick – 14th Aug 2022 Claregalway Castle, Claregalway, Co. Galway (accommodation) – 15th Aug 2022 Oranmore Castle, Oranmore, Co. Galway – 15th Aug 2022 Strokestown Park House, Co. Roscommon – 16 and 17th Aug 2022 King House, Boyle, Co. Roscommon – 18th Aug 2022 Lissadell House & Gardens, Co. Sligo – 19th Aug 2022 Manorhamilton Castle (Ruin), Co. Leitrim – 20th Aug 2022 Hilton Park House, Co. Monaghan (accommodation) – 21st Aug 2022
That year we made a circle from around Clogheen County Tipperary, driving through it to our first airbnb in County Waterford and ending up nearby at our last airbnb in Ardfinnan in County Tipperary. We visited ten Section 482 properties!
Our last day in Heritage Week 2023, we visited Clashleigh House in Clogheen, County Tipperary. A beautiful house, it was used for some years as a rectory. We visited in the morning, so had time to drive down to Lismore in the afternoon to see the idyllic Lismore Castle gardens.
In 2024 during Heritage Week we went to the wonderful Charleville Woods Castle in County Offaly (which is not Section 482).
Charleville Castle Tullamore by Matt McKnight 2007, courtesy of flickr constant commons. Unfortunately this room was closed to the public yesterday as it is being used in filming Wednesday, the Addams family movie.
On the Monday we went to see Tullynisk house. We were given a wonderful tour by its resident Alicia Clements, daughter of the Earl of Rosse, who married a descendant of Nathaniel Clements who built the Áras an Uachtaráin in the Phoenix Park.
We found ourselves with spare time after Emo Park as it was too rainy to wander the lush grounds, so we headed to Roscrea for more OPW properties: Damer House and Roscrea Castle. Unfortunately we weren’t allowed to take photographs inside Damer House except in the exhibition rooms. After a tour of Damer House we went across the bawn to tour Roscrea Castle. It is a treasure for the beautiful ancient town of Roscrea.
On the Saturday we visited Ballybrittan Castle, which we were lucky to see before it changes hands to a new owner. Rosemarie warmly welcomed her visitors, sharing the home she lived in and loved for 27 years along with her late husband Jerry Healy, who served on the boards of the Irish Georgian Society and the Alfred Beit Foundation, which manages Russborough House, Co Wicklow.
Ballybrittan, courtesy of Sherry Fitzgerald Rose de Vere Hunt and myhome.ie
Donation towards maintaining website
I receive no funding nor aid to create and maintain this website, it is a labour of love. I travel all over Ireland to visit Section 482 properties and sometimes this entails an overnight stay. A donation would help to fund my accommodation or my website which costs €300 annually.
Farmleigh,photograph courtesy of Farmleigh facebook page.Farmleigh,photograph courtesy of Farmleigh facebook page.
Farmleigh House is part of a 78-acre estate inside Dublin’s Phoenix Park. The government bought it in June 1999 to provide accommodation for high-level meetings and visiting guests of the nation. The rest of the time it is maintained by the Office of Public Works and is open to the public for tours.
Farmleigh was originally a two storey Georgian house, belonging to the Coote family and the Trenches, then bought by Edward Cecil Guinness (1847-1927) in 1873, a great grandson of brewery owner Arthur Guinness, at the time of his marriage to his cousin Adelaide Guinness.
Farmleigh was built for the Trench family in 1752, according to a Dublin City Council website, Bridges of Dublin. Charles Trench built the walled garden. I am afraid I am unable to find more information about the Trenches of Farmleigh so I would appreciate any feedback about them.
The Landed Estates database identifies John Chidley Coote (1816-1879) as a previous owner, the son of Charles Henry Carr Coote (1794-1864) 9th Baronet. John Chidley was from Ballyfin in County Laois, later and school and now a beautiful hotel. He married his neighbour Margaret Mary Pole Cosby from Stradbally Hall in County Laois (see my entry https://irishhistorichouses.com/2021/10/14/stradbally-hall-stradbally-co-laois/ ), daughter of Sydney Cosby (1807-1840). They had no children, and she went on to marry Charles Robert Piggott 3rd Baronet of Knapton, County Laois, after John Chidley’s death.
Edward Cecil Guinness enlarged the house, using designs first by James Franklin Fuller (1832-1925), who extended the house to the west, refurbished the existing house and added a third storey. Edward Cecil later engaged William Young (1843-1900), a young Scottish architect, who added the ballroom wing in 1896. Young also worked on the Guinness’s English country seat Elveden in Surrey and Edward Cecil’s house on St. Stephen’s Green. A conservatory was added adjoining the ballroom in 1901. Edward Cecil Guinness was created the 1st Earl of Iveagh in 1919.
Edward Cecil Guinness (1847-1927) 1st Earl of Iveagh, by William Orpen, photograph courtesy of Farmleigh website.Adelaide Maria Guinness by George Elgar Hicks, photograph courtesy of Farmleigh website.
From the website:
“Farmleigh is a unique representation of its heyday, the Edwardian period. Edward Cecil Guinness [(1847-1927) 1st Earl of Iveagh], great-grandson of Arthur Guinness (founder of the brewery), constructed Farmleigh around a smaller Georgian house in the 1880s. According to his tastes, the new building merged a variety of architectural styles.
“Many of the artworks and furnishings that Guinness collected remain in the house. There is a stunning collection of rare books and manuscripts in the library. The extensive pleasure-grounds contain wonderful Victorian and Edwardian ornamental features, with walled and sunken gardens and scenic lakeside walks. The estate also boasts a working farm with a herd of Kerry cows.” [1]
In the Dublin between the canals book by Christine Casey, part of the Buildings of Ireland series, she describes Farmleigh as a mediocre building. It is of three storeys with an extensive south facing front, rendered with a pediment and Corinthian Portland stone portico to the two advanced central bays and central canted bows to the flanking five-bay ranges. The five bays on the right of the porch correspond to the eighteenth century house, of which one interior survives, she tells us.
One is not allowed to take photographs inside the house but you can see pictures of the house and take an online tour on the website. It operates as the official residence for guests of the Irish state, which is why photography is not allowed inside.
The website tells us:
“With the addition of a new Conservatory adjoining the Ballroom in 1901, and increased planting of broadleaves and exotics in the gardens, Farmleigh had, by the early years of the twentieth century, all the requisites for gracious living and stylish entertainment. Its great charm lies in the eclecticism of its interior decoration ranging from the classical style to Jacobean, Louis XV, Louis XVI and Georgian.
“Farmleigh was purchased from the Guinness family by the Irish Government in 1999 for €29.2m. The house has been carefully refurbished by the Office of Public Works as the premier accommodation for visiting dignitaries and guests of the nation, for high level Government meetings, and for public enjoyment.” [2]
Edward Cecil Guinness was the son of Benjamin Lee Guinness (1798-1868), who purchased Ashford Castle, County Galway, in 1855. The castle had been a shooting lodge belonging to Lord Oranmore and Browne. In 1867 Benjamin Lee Guinness was created 1st Baronet of Ashford Castle in thanks for his restoration of St. Patrick’s Cathedral in Dublin at his own expense. His father had lived in St. Anne’s Park in Clontarf, a house unfortunately no longer in existence.
St. Anne’s, Dublin entrance front with garden party 1912, Gillman Collection Vanishing Country Houses of Ireland by The Knight of Glin, David J. Griffin and Nicholas K. Robinson, published by The Irish Architectural Archive and The Irish Georgian Society, 1988.Ashford Castle,photograph courtesy of Ashford Castle facebook page.
Edward Cecil’s older brother Arthur Edward (1840-1915), like his father, held the office of Member of Parliament (M.P.) (Conservative) for the City of Dublin. He succeeded as 2nd Baronet of Ashford Castle. He added to the residence at Ashford Castle and developed its grounds. He was created Baron Ardilaun of Ashford Castle in 1880. In 1871 he married Lady Olivia Charlotte White, daughter of the 3rd earl of Bantry. They had no children, and the Ardilaun barony became extinct after his death in Dublin on 20 January 1915.
The Dictionary of Irish Biography tells us about Arthur Edward:
“As well as providing funding for the completion of the restoration of Marsh’s library, begun by his father, he also contributed to the rebuilding of the Coombe Hospital. As president of the Artisans’ Dwellings Company (in which he was a large shareholder), he took particular interest in improving working-class housing conditions, most notably in the areas around St Patrick’s cathedral. Perhaps his most notable legacy was financing the transformation of the twenty-two-acre St Stephen’s Green into a landscaped garden, which, through an act of parliament sponsored by Guinness, was presented to the Board of Works for the use of Dublin citizens. This generosity was marked by the erection of a bronze statue of him in the park, financed by public subscription in 1891. Another significant purchase of his was the 17,000-acre Muckross estate in Co. Kerry, adjoining the lakes of Killarney, which he bought for £60,000 to prevent the land being exploited by a commercial syndicate, thus enabling it to continue as an important tourist attraction.“
Muckross House Killarney Co. Kerry, photograph by Chris Hill 2014 for Tourism Ireland, Ireland’s Content Pool.
Another brother, Benjamin Lee (1842-1900) who went by his middle name Lee, married Henrietta Eliza St. Lawrence of Howth Castle. It was their son who became the 3rd Baronet of Ashford Castle.
Edward Cecil Guinness, the Dictionary of Biography tells us, was: “Socially innovative, with a concern for the welfare of employees, from as early as 1870 he had established a free dispensary for his workforce and made provisions for pension and other allowances – acts of social reform that were remarkable for the time. To mark his retirement in 1890 he placed in trust £250,000 to be expended in the erection of working-class housing in London and Dublin.“
Before the Iveagh Market was built in 1906, hundreds of traders sold their goods outdoors, especially around St. Patrick’s Cathedral, and the area was a maze of poor and dirty streets and alleys with homes, as the city council said, “unfit for human habitation.” Children were sent out by their parents to work selling goods in the streets, and women tried to make money as dealers selling fish, flowers, old clothes and fruit.
Edward Cecil Guinness cleared the markets in the area to build a park and housing for the labouring poor – you can see the beautiful Victorian style brick buildings still run by the “Iveagh Trust” around St. Patrick’s Cathedral. He donated what in today’s money would be almost 20 million euro for the new housing. As the traders had long established market rights, he built a new market building, moving trading indoors, in the tradition of Victorian covered markets.
Edward’s main residence at the time he purchased Farmleigh was 80 St. Stephen’s Green, now Iveagh House, the headquarters of the Department of Foreign Affairs. He viewed Farmleigh as ‘a rustic retreat’.
Let’s take a quick diversion to Iveagh House (80 and 81 St. Stephen’s Green), which I was lucky enough to visit during Open House Dublin in 2014. 80 St. Stephen’s Green was built for Bishop Robert Clayton (1695-1758), Bishop of Cork and Ross, by Richard Castle in 1736. After both number 80 and 81 were bought by Benjamin Guinness in 1862, he acted as his own architect and produced the current house, combining the two houses. [see Archiseek] In 1866 a Portland stone facade by James Franklin Fuller was added.
“The Dublin Builder, February 1 1866: ‘In this number we give a sketch of the town mansion of Mr. Benjamin Lee Guinness, M.P, now in course of erection in Stephen’s Green, South, the grounds of which run down to those of the Winter Garden. As an illustration so very quiet and unpretending a front is less remarkable as a work of architectural importance than from the interest which the name of that well-known and respected owner gives it, and from whose own designs it is said to have been built. The interior of the mansion promises to be of a very important and costly character, and to this we hope to have the pleasure of returning on a future occasion when it is more fully advanced. The works, we believe, have been carried out by the Messrs. Murphy of St. Patrick’s Cathedral notoriety, under Mr. Guinness’s own immediate directions, without the intervention of any professional architect.’ “
The Farmleigh website tells us of the Guinness family’s source of wealth: “In 1886 Edward Cecil Guinness floated the brewery on the Stock Exchange increasing his wealth and social standing and this reflected in an extensive rebuild of Farmleigh. Despite this work, Edward and his wife Adelaide spent relatively little time there. Their primary residence was in London, but when in Dublin, they stayed mostly at 80 St. Stephen’s Green. The family only stayed in Farmleigh for short periods of a couple of weeks, mainly in the spring and summer months.“
80/81 St. Stephen’s Green was donated to the Irish government by Benjamin Guinness’s grandson Rupert, the 2nd Earl of Iveagh, in 1939 and was renamed Iveagh House.
One enters Iveagh House through a large nineteenth century entrance hall with two screens of Ionic columns, which incorporates the front parlour of the Clayton house. The hall is adorned with sculptures bought by the Guinnesses at the Dublin Exhibition of 1865. Through a door at the west end is a Victorian domed vestibule and beyond it a service stair. East of the hall is an Inner Hall that was the entrance hall of Bishop Clayton’s house. This has niches flanking the chimney breast, fielded panelling and a modillion cornice.
The two stair compartments of the eighteenth century house on St. Stephen’s Green were combined to create the space for the grand imperial staircase inserted by James Franklin Fuller in 1881.
The drawing room’s ceiling is modelled on the Provost of Trinity House dining room ceiling. There is also a room downstairs in Iveagh House with a room which was added in 1866 with Georgian Revival ornament derived from the Provost’s House.
Christine Casey describes the ballroom of Iveagh House, which was designed, as was that in Farmleigh, by William Young. Casey writes in her Buildings of Ireland: Dublin book (p. 498): “This is an impressive if vulgar room. Tripartite, with a big shallow central dome and lower vaulted end bays with canted bay windows overlooking the garden. Elaborate, almost Mannerist stucco decoration by D’Arcy’s of Dublin.”
The ballroom, our guide to Iveagh House told us, was created to host a Royal visit. The room was built specially to have room for the guests, for £30,000.
Now that we have placed Edward Cecil Guinness in the context of the house he lived in at the time of purchasing Farmleigh, let’s return to Farmleigh.
Casey writes that inside Farmleigh, two ranges of rooms open off an east-west spinal corridor, with a “showy” central entrance hall opening through a columnar screen to a large top-lip double-height stair hall.
The entrance hall at Farmleigh, photograph courtesy of Office of Public Works Farmleigh website.
The immediate front hallway is also toplit by roundels set in the ceiling of the hallway/porte cochere. The porte cochere is upheld by Portland stone pilasters and there is a screen of six columns of Connemara marble on pedestals with Ionic capitals on pedestals. The columns support the coffered ceiling of the Entrance Hall.
The chimneypiece is of carved and inlaid marble, and the website tells us it is probably a nineteenth-century copy of an original, though the plaque may date from the eighteenth century.
The entrance hall at Farmleigh, photograph courtesy of Office of Public Works Farmleigh website.Fireplace plaque in the entrance hall at Farmleigh, photograph courtesy of Office of Public Works Farmleigh website.
The doors leading off the hall have carved mouldings and pediments, and the doors are of veneered mahogany on the hall side and of oak on the other.
The website continues: “The classical motif continues at the Staircase to the rear of the hall. Corinthian pilasters rise from first-floor level to a strongly projecting cornice. San Domingo mahogany is used for the Staircase on which the wrought iron balusters were made to correspond exactly with those on the staircase of Iveagh House, formerly the Earls of Iveaghs’ city mansion.“
After Edward Cecil’s death in 1927 his eldest son Rupert became the second Earl of Iveagh and inherited Farmleigh and 80 St Stephen’s Green. He was aBritish MP for Southend at the time, and ceased to be an MP when he succeeded to his father’s earldom. His wife Gwendolen the Countess of Iveagh won the Southend by-election in November 1927 to replace her husband as MP. She served until her retirement in 1935.
He presented the house on St. Stephen’s Green to the Irish State in 1939.
The website tells us about the family in Farmleigh: “Rupert gave Farmleigh to his grandson and heir, Benjamin (Rupert’s eldest son and Benjamin’s father, Arthur, was killed in WWII). Farmleigh became a family home for Benjamin (3rd Earl of Iveagh) and Miranda Guinness, and their children. Benjamin became a keen bibliophile and collector of rare books, parliamentary and early bindings, as well as first editions of the modern poets and playwrights. The library in Farmleigh in now dedicated to Benjamin Iveagh and his wonderful collection of books.
“Benjamin died in 1993 in London and in 1999, his son Arthur Guinness (4th Earl of Iveagh), sold Farmleigh to the Irish State.” [2]
The website continues:
“The door to the left of the hall leads to the Dining Room, which is lined with boiseries in the style of Louis XV. There is some spectacular woodcarving in this room, of particular note is the chimney piece, supported by a pair of female herms, with a clock at its centre surmounted by a grotesque face. Bronze figures of Bacchantes are placed in the shell-topped niches on either side of the fireplace, while beneath them are late Victorian oak buffets. The London firm of Charles Mellier & Co., supplied the interior here (apart from the ceiling which was designed by the architect J.F. Fuller).”
The Dining Room panelling was designed by decorators Charles Mellier & Co to incorporate four late seventeenth century Italian tapestries which once belonged to Queen Maria Christina of Spain. Three of the embroidered panels have been identified as the planetary gods, Jupiter, Venus, and Saturn. These panels are likely to be part of a larger set of seven panels relating to the Roman deities. One such panel, apparently from the same set and depicting Mercury, is in the Hermitage Museum in St Petersburg. The fourth panel above the fireplace is thought to depict a personification of Africa and to be part of a further set, depicting the continents.
The Dining Room in Farmleigh, photograph courtesy of Office of Public Works Farmleigh website.
Beyond the dining room is Guinness’s Study, a wainscoted room with a sky painted ceiling. A concealed door next to the window at the southwest corner led to a basement stronghold, a secret chamber for Guinness to escape in case of attack.
The Study in Farmleigh, photograph courtesy of Farmleigh facebook page.
The website tells us:
“The main entrance to Farmleigh was originally on the north side of the house (in part of what is now the Library) and this was probably a reception room where guests either dined or withdrew after dinner. By 1873, when Edward Cecil Guinness bought the house, the entrance had been changed to the south of the building and this room was the entrance hall. It subsequently became a boudoir and reverted in later years with the Guinness family to a reception room while keeping its appellation as ‘boudoir’. (Generally the boudoir was a ‘private’ room for the lady of the house, decorated in a light and elegant style. Her ‘public’ room was the drawing room, just as the gentleman’s study was his ‘private’ room and the library his ‘public’ room.).
“The Boudoir is oval in shape with two niches, one each side of the door into the Corridor. The niche to the right of the door as one enters contained a jib door into the Oak Room but the space between the rooms now holds a safe accessed from the Oak Room.“
Christine Casey describes the Oak Room in her Buildings of Ireland: Dublin (p. 298). She writes: “On the right of the hall is the studiolo-like Oak Room, which has a coffered oak ceiling and tall panelling with pilasters, scalloped tympana and grotesque terms. …Beefier and more textured than most of the carving at Farmleigh. It has been suggested that Fuller used salvaged panelling, although the regularity of execution seems at odds with the seventeenth century style.”
The Boudoir,Farmleigh, photograph courtesy of Office of Public Works Farmleigh website.
The website describes the Boudoir: “The ceiling plasterwork dates from about 1790 and is in the Adam style, with husk chains and classical motifs in medallions surrounding the central decoration of a fan-like or bat’s-wing motif, which is itself echoed in the heads of the niches. The unusual medallion motifs here are similar to those in a ceiling in 35 North Great George’s Street, Dublin which has been attributed to Francis Ryan or Michael Stapleton and dated to 1783. It is in particularly fine condition and clearly articulated without excessive applications of paint.
“During the OPW restoration work, it was possible to examine the original decorations and colour scheme of the Georgian house here because the ceiling heights had been changed in the Guinness alterations. Particular attention has been paid in the selection of fabrics for this room to reflect its character.
“An item of particular interest is the pair of engraved brass lock-plates on the door into the corridor which are similar to some in Iveagh House where they are original to that 1736 house! They are the only examples of these at Farmleigh and it is presumed that they got here through Fuller who also worked at Iveagh House.“
One of the former drawing rooms is now called the “Nobel Room” and honours the memory of Ireland’s four Nobel Laureates for literature: George Bernard Shaw, William Butler Yeats, Samuel Beckett and Seamus Heaney. It interconnects with the “Blue Drawing Room.” These rooms were significantly re-modelled by Fuller in the 1880s, and again in the 1890s by William Young. The saucer-domed ceiling in the Nobel Room is in the style of the 1820s and its plasterwork of vine-leaves, grapes and vases filled with fruit and flowers indicates that it may have been a dining room. A clever touch is the window over the fireplace, an unusual feature. Christine Casey writes: “Taking a leaf from Charles Barry’s book, Fuller went to pains to move the fireplace to the centre of the rear wall to create an arresting overmantel window.”
The Nobel Room and Blue Room, with the window over the fireplace, Farmleigh, photograph courtesy of Office of Public Works Farmleigh website.
The Blue Room is an ante room to the Ballroom. The ceiling was copied from that in the Oval Room, though it is not at all as finely executed as the original. The three arched doorways in these rooms were created out of windows in the old house when Young added the Ballroom in 1896.
The Blue Drawing Room, photograph courtesy of Farmleigh facebook page.Blue Room, Farmleigh, with a “portiere” over the arched door on the right, photograph courtesy of Office of Public Works Farmleigh website.The spandrels in the Nobel Room support a circular ceiling. The spandrels have overscaled Rococo-revival flower baskets, Farmleigh, photograph courtesy of Office of Public Works Farmleigh website.
The suite for state guests, which is not included in the house tour, is inspired by designs of Irish modernist Eileen Gray (you can see examples of her work in the Museum at Collins Barracks in Dublin).
The house also contains the Benjamin Iveagh Library, donated by the Guinness family to Dublin’s Marsh’s Library and on permanent display in Farmleigh. The Library, which is panelled in Austrian Oak with exquisitely rendered carvings in the neo – Jacobean style, was part of the renovation undertaken by Edward Cecil in the 1880s. Scholars can access material from the collection by arrangement. The Benjamin Iveagh Library is open for use by suitably qualified scholars, third-level students, and independent researchers. A full electronic catalogue of the collection may be viewed online via Marsh’s Library.
The Library, Farmleigh, photograph courtesy of Office of Public Works Farmleigh website.
Applications to carry out research in the Benjamin Iveagh Library may be made to the Keeper of Marsh’s Library. Email: reading.room@marshlibrary.ie
The librarian Nuala Canny writes:
“While the printed works which include many rare imprints and early periodicals represent the majority of the holdings, there is some exceptional manuscript material, including a copy of the Topography of Ireland by Gerald of Wales c.1280, and the trilingual language primer used by Queen Elizabeth I c. 1564 to learn Irish, together with letters from Sean O’Casey, W.B. Yeats, Lennox Robinson, Daniel O’Connell and Roger Casement.
“The items that adorn these shelves represent important moments in the areas of Irish Politics, Literature, and Science: we have a triumphant letter from Daniel O’Connell to his wife in 1829 telling her of the passing of the Roman Catholic Relief Act, which led to Catholic Emancipation, a first edition of James Joyce’s seminal work Ulysses published in 1922 and the first appearance in print in 1662 of Boyle’s Law.”
The Ballroom with adjoining conservatory is the piéce de resistance of the house. The ballroom was designed by William Young in 1892. It is a large rectangular room with bows in the centre of the north, east and south walls. Casey writes that “it is a much more reticent affair than the showy marble ballroom that Young designed the Guinness townhouse at St. Stephen’s Green [as pictured above].”
The Ballroom, Farmleigh, photograph courtesy of Office of Public Works Farmleigh website.Ballroom at Farmleigh, photograph courtesy of Farmleigh facebook page.
The website tells us:
“The Guinness’ guests could not fail to be impressed with the superb decoration in the style of Louis XVI with swags, wreaths, musical trophies, urns, sphinxes, and Corinthian pilasters. The rich decoration is executed in plaster that is applied to wood panelling, and the whole room, including the ceiling, is painted off-white to resemble plaster. The chimney piece is also made of wood and this, together with the overmantel, the ceiling, and the elegant portieres, were all part of an integrated scheme designed by Young. The Edinburgh-based interior design company Morrisons probably supplied the portieres as they had done so for the Young-designed ballroom at Iveagh House.“
“Hanging from the centre of the ceiling is a magnificent late nineteenth-century cut-glass and gilt metal chandelier complete with coronet. Purchased specifically for the Ballroom, it is on loan from the Guinness family. There is a story that the oak floor was made from disused barrels at the brewery but that has never been confirmed!“
The Ballroom, Farmleigh, photograph courtesy of Office of Public Works Farmleigh website.
The Conservatory: “Erected in 1901-2, it was supplied by Mackenzie and Moncur of Edinburgh, on the recommendation of Young. Exotic plants and flowers were grown here, and have been re-introduced by the Office of Public Works. Hot water pipes that ran around the perimeter were covered up by cast iron grilles, which have been restored. The marble floor, which is original, is tiled in the traditional eighteenth-century pattern of carreaux octagons.
“This room posed one of the most difficult conservation problems for the OPW at Farmleigh, as it was in a dangerous condition when the State took over the house. It was completely re-glazed and new structural supports for high-level metal work were introduced. As a result the character of the Conservatory has been retained and its life span increased for at least another 100 years.“
A room we don’t see on the tour is discussed on the blog on the Farmleigh website: the Billiard Room:
“Located at mezzanine level between the ground and first floors, typical of nineteenth century billiard rooms to keep offending cigar odours away from the rest of the house and male visitors appropriately distanced from visiting ladies, it is very much a masculine enclave. Beneath a top-lit roof – reconstructed and reglazed with ultraviolet screens by the OPW – the plaster cornice, deep ceiling cove and decorative ribs are painted in imitation of timber. The oak chimneypiece with Corinthian columns and carved frieze to the south of the room is dark in colour, lending to the heaviness about the overall decor when combined with the distinctive red cotton wall fabric which is printed with an arabesque motif.“
The Billiard Room at Farmleigh, photograph courtesy of Office of Public Works Farmleigh website.
The grounds contain a clock tower, a large classical fountain in the Pleasure Grounds, an ornamental dairy, garden temple and four acre walled garden and sunken garden. The outbuildings have been adapted to house an art gallery and a theatre and a courtyard for additional state accommodation. The Boathouse now houses a cafe overlooking the lake.
“Sunken gardens in various formal styles were popular in the early twentieth century… This one is in the Dutch of Early English style and was created some time after 1907, probably by Edward Cecil Guinness. The design has some similarities with the sunken pond garden at Hampton Court, which dates from the original Early English period, and may relate to his connections with the British Royal family.
“An ornamental gate leads into the rectangular garden, which was designed with three descending brick terraces leading to an oval pool in the centre, with a marble fountain of carved putti figures. The fountain has been restored under the direction of OPW and the Carrara marble exposed. Fine topiary peacocks and spirals surround this fountain on two levels. A brick wall enclosing the garden is paralleled by a high yew hedge, which leads the eye to the two conifers framing the view to the small apple orchard beyond.” [3]
“The Walled Garden covers about four acres and is sloped ideally towards the south. A fine pair of highly decorative wrought iron gates lead into a diagonal walk with double herbaceous borders backed by high yew hedges. South of the main crosswalk is a small orchard and potager, while north of it there is a small rose and lavender garden. The Walled Garden dates from the early nineteenth century, when Charles Trench owned Farmleigh; it is shown on the 1837 Ordnance Survey map as having a diagonal layout with seven squares and glasshouse. Later that century it had an extensive range of glasshouses on the south wall for many plants grown in typical Victorian fashion to support large-scale bedding schemes as well as producing exotic fruit and flowers and foliage, particularly orchids and ferns, for year round display in the house.
“Among the additions made by Edward Cecil Guinness were the small Victorian fernery under glass and grotto nearby with two old ogee windows from St Patrick’s Cathedral in the end wall of the garden. He also erected a number of glasshouses, including a fine three quarter span cast-iron vinery behind the high yew hedge, the potting shed, and the gardener’s house and pump house which were built in the Arts and Crafts style. His daughter in-law, Gwendolen, Lady Iveagh, subsequently created a compartmentalised layout, which was fashionable in the early twentieth century along with renewed interest in old style garden plants and herbaceous borders. A new traditional path led from the wrought iron gateway connecting the Walled Garden to the broad walk at the back of the house. This new axis of the garden was reinforced by tall yew hedges backing the long double herbaceous borders which she also planted.
“A stone temple was created as a focal point of the garden by Benjamin and Miranda Guinness in 1971: it has six antique columns of Portland with a copper roof and ornamental weather vane. The main cross path either side of the temple has metal structures designed by Lanning Roper for climbing roses and wisteria similar to those in the famous Bagatelle Garden in Paris. A paved rose garden was laid out to the north east of the temple backed by a yew hedge and looking across a lawn to the small orchard and potage. Lanning Roper suggested planting a quince, a mulberry, a catalpa, and a magnolia, to complete what he described as a Carolingian Quartet on this lawn. Lady Iveagh subsequently planted the double herbaceous borders, which include yuccas, phormiums, paeonies, astilbe and euphorbias.” [4]
Help me to fund my creation and update of this website. It is created purely out of love for the subject and I receive no payment so any donation is appreciated! My website costs €300 per year on WordPress.
€15.00
Open dates in 2025: May 16-17, 19-24, 26-31, June 2-7, 9-14, 16-21, 23-28, 30, July 1-5, 7-12, 14-19, 21-26, 28-31, Aug 1-2, 4-9, 11-30, Sept 1-6, 11am-3pm
Fee: adult €12.50, OAP/student €11, child 7, family 2 adults and 2 children €34, guided castle tour €22
Birr Castle, photograph by Chris Hill 2018, for Tourism Ireland, Ireland’s Content Pool. [1]
We visited Birr Castle in June 2019. I am dying to visit again!
The castle has been in the one family since 1620. A castle existed on the site before then, but little remains of the original, as the old O’Carroll keep and the early C17 office ranges were swept away around 1778. However, parts of the auxiliary buildings of the original are incorporated into today’s castle, which was made from the gate tower which led into the castle bawn. The front hall of the original gatehouse is now at basement level. The rest of the castle has been built around this, at various times.
The castle formed part of a chain of fortresses built by the powerful O’Carroll family of Ely, on the borders of Leinster and Munster. In the 1580s the castle was sold to the Ormond Butlers. By 1620 the castle was a ruin, and King James I granted it to Laurence Parsons (d. 1628). [2] It was Laurence who made the current castle originating from the gate tower.
Although still a private residence, it is well set up for tours of the castle, and the demesne is wonderful for walks. The current owner is William Parsons, 7th Earl of Rosse.
The Parsons still live in the castle today and maintain the archives. According to the website:
“The Rosse papers are one of the most important collections of manuscripts in private ownership in Ireland. Extending from the early seventeenth century, when members of the family first established roots in the country, to the present, the core of the family archive is provided by the papers of successive members of the Parsons family. This calendar is essential reading for anyone interested in the history of: seventeenth and eighteenth-century Ireland; science in the nineteenth century; the British navy in the eighteenth century; the evolving story of the surviving families of the Irish landed elite in the nineteenth and twentieth centuries, and in the influence of a particular family that contrived over a number of centuries not only to transform Birr into one of the country’s most elegant small towns, but also to construct and sustain one of the finest country houses and its gardens.Access to the archives is by appointment.” [3]
In Crowned Harp, Memories of the Last Years of the Crown in Ireland, Nora Robertson writes about her ancestor Laurence Parsons:
“With the further connivance of his even less admirable brother [less admirable, that is, than Laurence Parson’s kinsman Richard Boyle], Lord Justice William Parsons, Laurence acquired the forfeited estates of the Ely O’Carrolls in Offaly, whither he moved and erected Birr Castle...” [4]
The family history section of the Birr Castle website explains that there were four Parson brothers living in Ireland in the 1620s. They came to Ireland around 1590, and were nephews of Sir Geoffrey Fenton, Secretary of State in Ireland to Queen Elizabeth I. [5] Laurence’s brother William (1570-1649/1650) became Surveyor General of Ireland, 1st Baronet, and founded the elder branch of the Parson family in Bellamont, Dublin. This branch died out at the end of the eighteenth century.
Sir William Parsons (d. 1650), Surveyor-General and Lord Justice of Ireland Date: 1777, Engraver Samuel De Wilde, after unknown artist.
William was known as a “land-hunter”, expropriating land from owners whose titles were deemed defective. William was the progenitor of the first generation of the title of Earl of Rosse. When the last male to hold that title died without heirs, after a time the title passed to the descendants of the first baronet Bellamont’s younger brother, Laurence Parsons of Birr Castle.
Before obtaining land in Offaly, through his connection with Richard Boyle later 1st Earl of Cork (Richard married Catherine Fenton, daughter of Geoffrey Fenton, Secretary of State in Ireland to Queen Elizabeth I), Laurence Parsons acquired Myrtle Grove in Youghal, Co. Cork, previously owned by Walter Raleigh, and succeeded Raleigh as Mayor of Youghal.
Raleigh, who introduced tobacco to Europe after discovering it on his travels, had a bucket of water thrown over him by a housemaid when he was smoking, as she thought he was on fire! Raleigh is also said to have planted the first potato in Ireland.
Laurence Parsons served as Attorney General of Munster and later, Baron of the Exchequer, and was knighted in 1620. That same year, he ‘swapped’ his interest in a property near Cadamstown in County Wexford with Sir Robert Meredith, who served as Chancellor of the Exchequer in Ireland, for the latter’s 1,000 acres at Birr, Kings County. Parsons was granted letters patent to ‘the Castle, fort and Lands of Birr.’ [see 5]
The castle website states that:
“rather than occupy the tower house of the O’Carrolls, the Parsons decided to turn the Norman gate tower into their ‘English House,’ building on either side and incorporating two flanking towers. Sir Laurence Parsons did a large amount of building and remodelling including the building of the two flanking towers, before his death in 1628. This is all accounted for in our archives.” [6]
Suitably, a room which is now the castle’s Muniments room, which holds the archives, is located inside one of the flanking towers and retains a frieze of early 17thcentury plasterwork.
Our guide walked a group of us over to the castle, across the moat, which he told us had been created in 1847 when the owners of Birr Castle provided employment to help to stave off the hunger of the famine, along with the enormous walls surrounding the castle demesne as well as the stone stable buildings, which are now the reception courtyard, museum and cafe.
I was intrigued to hear that the gates had been made by one of the residents of the castle, Lady Mary Field, wife of William Parsons, the third Earl of Rosse. She was an accomplished ironworker! She was also a photographer. She brought a fortune with her to the castle when she married the Earl of Rosse, which enabled him to build his telescope, for which the estate is famous. But more on that later.
Family crests from families who intermarried with the Parsons of Birr are also worked into the gate. There are similar crests on the ceiling of the front hallway of the castle.
We were not allowed to take photos inside the castle, unfortunately. On the other hand it’s always a relief when I am told I cannot take photos, for it means I can relax and really look, and listen to the tour guide.
With the help of portraits, our guide described the Parson family’s ancestors. The entrance hall, the room over the arch in the original gatehouse, has some portraits and a collection of arms.
Birr Castle, photograph courtesy of Birr Castle website.
The principal staircase is from the 17th century house, and is built of native yew. It was described in 1681 by Thomas Dinely as “the fairest in all Ireland.” It rises through three storeys, and is heavy, with thick turned balusters and a curving carved handrail. The ceiling above the stairs has plaster Gothic vaulting and dates from the reconstruction after a fire in 1832.
The massive seventeenth century yew staircase, photograph from an article in the Irish Times, photographer Laura Slattery.
Sir Laurence’s son Richard succeeded his father in 1628. Richard died in 1634 without an heir so Birr Castle passed to Richard’s brother William (d. 1653). During his time in Birr Castle, William protected the castle from a siege in 1641 during the Catholic uprising. He fought off the forces for fourteen or fifteen months but eventually surrendered in January 1642/43. [Burke’s Peerage and Baronetage p. 1721] The family moved to London, returning at the end of the Cromwellian period.
In his will, William specified that when the Birr estate is worth £1000 per year, his heir should build an alsmhouse in Birr for four aged Protestants, each with a garden and orchard and enough grass for the grazing of two cows. The beneficiaries would be given 12 pence every Sunday, freedom to cut turf for fire, and a red gown with a badge once every two years, which was to be presented by the heir.
William’s heir was his son, Laurence Parsons (d. 1698), who married Lady Frances, youngest daughter and co-heir of William Savage Esquire of Rheban, County Kildare.
This Laurence Parsons has a substantial entry in The Dictionary of Irish Biography. He was created Baronet of Birr Castle in 1677. Under the lord deputyship of Tyrconnell, Irish protestant grew nervous about another Catholic uprising, and Parsons moved his family to England in 1687. He left a tenant and servant of long standing, Heward Oxburgh, in charge of his estate, with instructions to use his rentals to pay certain debts, and to remit payments to him in England.
Oxburgh was a Catholic who had lost land and been transplanted to Connaught, but was a tenant and servant of the Parsons for thirty years by 1692.
When the rental money did not materialise, Parsons returned to Ireland. He found his agent “highly advanced to the dignity of sheriff of the county, who lorded it over his neighbours at a great rate, and was grown and swollen to such a height of pride he scarce owned his master.” (Birr Castle MSS, A/24, ff 1–2). Furthermore, Oxburgh had used the estate’s rental income to raise a regiment of foot soldiers for King James II.
Parsons reoccupied his castle, which was then besieged by Oxburgh’s forces. Under duress he signed articles, only to find himself tried for treason against William III, and sentenced to death. Imprisoned in his castle, he was reprieved from execution several times, and eventually in April 1690 he was moved to Dublin, and was released shortly after the battle of the Boyne.
Oxburgh sat for King’s County in the Irish parliament summoned by James II in 1689, while his son Heward was returned for Philipstown. He died in the Battle of Aughrim in 1691.
Parsons was again appointed high sheriff of King’s County, and returned to Birr to secure the area against Jacobites and tories. He was involved in one notable skirmish on 11 August, before returning to Dublin to meet his wife and children who had travelled from England. Birr was subsequently occupied by Williamite forces.
Laurence Parsons died in 1698 and was succeeded in the baronetcy by his son, William Parsons (d. 1740) 2nd Baronet. William served in the Williamite forces, and was MP for King’s Co. (1692–1741). He married firstly Elizabeth, daughter of a Scottish Baronet, and they had one son. This son William Parsons married Martha Pigott and they had a son, Laurence (1707-1756). William Parsons 2nd Baronet died in 1740 and his grandson Laurence Parsons (1707-1756) succeeded as 3rd Baronet of Birr Castle.
Lawrence Parsons 3rd Baronet married Mary Sprigge in 1730. They had one son, William (1731–1791). Laurence died in 1749 and was succeeded in the baronetcy by his eldest son by his first marriage, William Parsons (1731–1791) who became 4th Baronet.
The Third Baronet married again in 1742, marrying Anne Harman, daughter of Wentworth Harman of County Longford, and had two more sons, Laurence and Wentworth. Laurence (1749-1807), inherited his uncle Cutts Harman’s estate County Longford with the proviso that he take the name Harman, to become Laurence Harman Parsons. In 1792 he was raised to the Peerage of Ireland as Baron of Oxmantown, in County Dublin and in 1795, Viscount Oxmantown. In 1806 when he was created Earl of Rosse in the Irish peerage, of the second creation.
The title of Earl of Rosse came from the elder branch of the family, from the descendants of William Parsons (1570-1649/1650), 1st Baronet of Bellamont. Rosse refers to New Ross in County Wexford.
Let us go back and look at the descendants of William Parsons (1570-1649/1650), 1st Baronet of Bellamont. First, let’s look at the machinations of William himself, the “land hunter.” The Dictionary of Irish Biography details his activities:
“his conduct as supervisor of various plantations outraged the numerous native landowners who were dispossessed by his highly questionable legal machinations: local juries were intimidated into invalidating titles to property, while those dispossessed who sought legal recourse were ruined by expensive and time-consuming counter-suits. From 1611 to 1628 he was heavily involved in the increasingly crude efforts by the government to wrest land in Cosha and Ranelagh, Co. Wicklow, from Phelim McFeagh O’Byrne, which culminated in a failed attempt to frame O’Byrne for murder by torturing witnesses. He also encountered criticism for the manner in which he exercised his office as surveyor of plantation land by deliberately underestimating the extent of plantation land in order to defraud the crown and the church of their revenues. At least twice he had to procure royal pardons for corrupt activities.
“By these means, he furthered the crown’s policy of supplanting catholic landowners with more politically reliable protestant ones while personally acquiring prime plantation land in Co. Wexford, Co. Tyrone, and Co. Longford, and in King’s Co. (Offaly) and Queen’s Co. (Laois). Although his grasping nature was widely advertised in Ireland, he escaped royal censure due to his political clout, being a key member of a powerful and tightly knit group of Dublin-based government officials who enriched themselves by obstructing and redirecting royal grants of Irish lands intended for courtiers in London. Reflecting his political influence and widening property interests, he sat as MP for Newcastle Lyons (1613–15), Armagh Co. (1634–5) and Wicklow Co. (1640–41).“
Parsons’s fortunes changed when Thomas Wentworth came as Lord Deputy to Ireland. Wentworth believed that the protestant establishment was hopelessly corrupt and had failed in its civilising mission in Ireland. He instigated legal proceedings – designed to recover property for the crown – against a number of prominent protestant landowners.
Thomas Wentworth 1st Earl of Strafford (1593-1641), Lord Deputy of Ireland 1632-1640 for King Charles I.
Parsons managed to keep in favour to an extent with Wentworth, although they did not trust each other, and when Wentworth was subsequently accused in 1640 of corruption and treason, Parsons was appointed Lord Justice of Ireland. Parsons knew he stood on shakey ground, however, due to his complicity with Wentworth.
Parsons’s position deteriorated when the king agreed to make a number of wide-ranging concessions, including a promise to halt the plantation of Connacht. Parsons succeeded in delaying the passage of the king’s concessions into law by pleading with the king not to give so much away without extracting money from parliament. Many then and since believed that, but for Parsons’s delaying tactics, the king’s concessions would have been passed by the Irish parliament, the catholics would have felt more secure, and the subsequent disaster of 1641 would have been averted.
In February 1642 a royal proclamation arrived in Dublin calling on the rebels to surrender and promising them lenient treatment, after which a number of catholic landowners surrendered voluntarily to the government. Parsons disliked this, and to discourage further submissions, he imprisoned and tortured those who had surrendered and even executed a catholic priest who had saved thirty protestants from being murdered in Athy, Co. Kildare. Similarly, in May he condemned the terms by which the city of Galway had submitted to the government as being too lenient. His actions quickly stemmed the flow of submissions that could have brought a peaceful end to the rising. In the meantime the English Parliament was gaining in power over King Charles I.
The Dictionary of Irish Biography continues:
“Parsons declared an official policy of neutrality while privately favouring parliament in every matter. From October 1642 he allowed two parliamentarian representatives to sit at the meetings of the Irish privy council. However, the royalist Ormond had his supporters in the Irish council. The growing factionalism that pervaded the Dublin administration reflected the mistrust between the royalists and parliamentarians in Ireland.
…Meanwhile in Ireland the catholics organised their own system of government, the ‘catholic confederation’, and were bolstered militarily by the arrival of experienced officers from the Irish regiments serving in the Spanish Netherlands. The protestant forces, starved of pay and munitions, were pushed back once more. The royalists led by Ormond began courting the disgruntled protestant troops in Ireland. In December army officers presented Parsons and his council with a petition outlining their unhappiness at their lack of pay. Although Parsons maintained his grip on the civil administration, the army increasingly looked to Ormond.” This led to his dismissal from the Irish privy council in July and his arrest in August 1643.
Parsons remained a prisoner in Dublin until autumn 1646. By then parliament had won the English civil war and Parsons was released. He died in 1650.
William’s son Richard married Lettice Loftus, daughter of Adam Loftus (1585-1666) of Rathfarnham Castle. Their son William (d. 1658) succeeded as 2nd Baronet of Bellamont. He married Catherine, daughter of Arthur Jones, 2nd Viscount Ranelagh. Their son Richard Parsons (1655-1702) was raised to the title of Viscount Rosse in 1681.
Richard Parsons, 1st Viscount Rosse married three times. He married, firstly, Anne Walsingham, daughter of Thomas Walsingham, on 27 February 1676/77. He was created 1st Viscount Rosse, Co. Wexford [Ireland] on 2 July 1681. He married, secondly, Catherine Brydges, daughter of George Brydges, 6th Baron Chandos of Sudeley on 14 October 1681.
He married his third wife, Elizabeth Hamilton, daughter of Sir George Hamilton, Comte Hamilton in December 1695, after he’d been imprisoned in the Tower of London in February for high treason, according to Burke’s Peerage, Baronetage & Knightage. I can’t find much information about this.
Viscount Rosse’s father-in-law George Hamilton, Comte Hamilton, was the grandson of the 1st Earl of Abercorn, son of 1st Baronet Hamilton, of Donalong, Co. Tyrone and of Nenagh, Co. Tipperary. George Hamilton travelled to France to fight in the Catholic French army, where he was given the title of Comte, fighting against the British. He married Frances Jenyns, who gave birth to his daughter Elizabeth who married Richard Parsons 1st Viscount Rosse. Frances Jenyns, or Jennings, married a second time, to Richard Talbot, the Duke of Tyrconnell. So we can see the circles in which Richard Parsons mixed, and why it was that he could have been imprisoned for treason.
Frances Jennings, Vicereine of Ireland 1687-89, Duchess of Tyrconnell. She was married to Richard Talbot, 1st Duke of Tyrconnell (1630-1691).
The Viscount must have changed his loyalties, to support William III. The Viscount Rosse’s son by Elizabeth Hamilton, Richard (d. 1741), succeeded as 2nd Viscount Rosse upon his father’s death in 1703. He was raised to the peerage as 1st Earl of Rosse in 1718. He became the Grand Master of the Freemasons and was a founder member of the Hellfire Club which met at Montpelier Hill in a former shooting lodge of William Conolly. The Earl of Rosse’s townhouse on Molesworth Street later became the site of the Masonic Grand Hall. One sees no trace of his supposed Satanic leanings in his portrait in Birr Castle, in which he looks the picture of innocence!
The innocent looking Richard Parsons (d. 1741) 1st Earl of Rosse, one of the founders of the Hellfire Club. Photograph of the portrait courtesy of Birr Castle’s website. Painting by William Gandy.Henry Clements (1698-1745), Col Henry Ponsonby (1685-1745), Richard St George (d. 1775), Simon Luttrell, Henry Barry 3rd Baron Santry (1680-1735), members of the Hellfire Club, painted by another member, and co-founder, James Worsdale, photograph of portrait in the National Gallery of Ireland.
Richard’s son, also named Richard, succeeded as the 2nd Earl but died childless and the title became extinct. It was then created for a second time for the descendants of Lawrence Parsons of Birr Castle.
Let us go back now to the Parson Baronets of Birr Castle. As I mentioned, Laurence Parsons 3rd Baronet of Birr Castle had a son by his first marriage, William (1731–1791). When Laurence died in 1749, William succeeded as 4th Baronet of Birr Castle.
Laurence’s son by his second marriage, Laurence (1749-1807), who inherited his uncle Cutts Harman’s estate County Longford with the proviso that he take the name Harman, became Laurence Harman Parsons. In 1792 he was raised to the Peerage of Ireland as Baron of Oxmantown, in the County of Dublin and in 1795, Viscount Oxmantown. In 1806 when he was created Earl of Rosse in the Irish peerage, of the second creation.
William Parsons (1731-1791) the 4th Baronet served as M.P. and High Sheriff for County Offaly. William in turn was succeeded in the baronetcy by his son Laurence Parsons (1758-1841). When Laurence the 5th Baronet of Birr Castle’s uncle the 1st Earl of Rosse of the second creation died without a male heir, Laurence became the 2nd Earl of Rosse. He married Alice, daughter of John Lloyd Esquire of Gloster, King’s County.
During Heritage Week in 2024, Stephen and I visited Tullynisk house in County Offaly, where Alicia Clement, daughter of the Earl of Rosse, who grew up in Birr Castle, gave a tour of her home. She told us that the Parsons were not as illustrious as the Lloyds, and that Alice Lloyd was considered to be a good catch!
Laurence Parsons (1758-1841) 2nd Earl of Rosse served as M.P. and opposed the Union and the abolishment of the Irish Parliament. He was a friend of Henry Grattan. He was described by Wolfe Tone in his days as an MP as “one of the very few honest men in the Irish House of Commons.” [7]
The 2nd Earl of Rosse made further alterations to the castle, shortly after 1800. He worked with a little known architect, John Johnson, and they gave the castle its Georgian Gothic style.
The website explains the additions to the castle:
“The castle survived two sieges in the 17th century, leaving the family impoverished at the beginning of the 18th century and little was done to the 17th century house. However, at some time towards the end of that century or at the beginning of the 19th century, the house which had always faced the town, was given a new gothic facade, which now faces the park. The ancient towers and walls on this, now the park side of the castle, were swept away, including the Black Tower (the tower house) of the O’Carrolls, which had stood on the motte. Around 1820 the octagonal Gothic Saloon overlooking the river was cleverly added into the space between the central block and the west flanking tower.”
Birr Castle, photograph by Liam Murphy, 2015, for Tourism Ireland, Ireland’s Content Pool. (see [1])
The entrance we see was previously the back of the house, and most of this facade was added in the additions by the 2nd Earl from 1801 onward. First the two storey porch in the centre of the front, with the giant pointed arch over the entrance door was added and the entire facade faced with ashlar. The third storey which we see was added later, after 1832. The battlements were added as the castle was given a Gothic appearance.
Mark Bence-Jones describes the Castle in his Guide to Irish Country Houses:
“…during the course of C17, the gatehouse was transformed into a dwelling-house, being joined to the two flanking towers, which were originally free-standing, by canted wings; so that it assumed its present shape of a long, narrow building with embracing arms on its principal front, which faces the demesne; its back being turned to the town of Birr and its end rising above the River Camcor. Not much seems to have been done to it during C18, apart from the decoration of some of the rooms and the laying out of the great lawn in front of it, after the old O’Carroll keep and the early C17 office ranges, which formerly stood here, had been swept away ca. 1778. From ca 1801 onwards, Sir Laurence Parsons [1758-1841] (afterwards the 2nd Earl of Rosse), enlarged and remodelled the castle in Gothic, as well as building an impressive Gothic entrance to the demesne. His work on the castle was conservative; being largely limited to facing it in ashlar and giving a unity to its facade which before was doubtless lacking; it kept its original high-pitched roof containing an attic and two C17 towers at either end of the front were not dwarfed by any new towers or turrets; the only new dominant feature being a two storey porch in the centre of the front, with a giant pointed arch over the entrance door. At the end of the castle above the river, 2nd Earl built a single-storey addition on an undercroft, containing a large saloon. He appears to have been largely his own architect in these additions and alterations, helped by a professional named John Johnston (no relation of Francis Johnston). In 1832, after a fire had destroyed the original roof, 2nd Earl added a third storey, with battlements.” [8]
In the book Irish Houses and Gardens, from the archives of Country Life by Sean O’Reilly, the plaster-vaulted saloon which the 2nd Earl added is described: “With the slim lines of its wall shafts and ribs, the free flow of the window tracery and the curious irregular octagon of its plan, the room possesses all the light, airy mood of the best of later Georgian Gothic, and remains one of Birr’s finest interiors.” [9]
The Saloon, or Music Room, Birr Castle, photograph courtesy of Birr Castle website.
Vaulting fills the castle, even in small hallways.
Laurence Parsons (1758-1841) 2nd Earl of Rosse was succeeded by his son William Parsons (1800-1867), the 6th Baronet and 3rd Earl of Rosse. In 1836 he married Lady Mary, eldest daughter and co-heir of John Wilmer Field Esquire of Heaton Hall, County York. It was this Mary who created the gates which we admired on the way to the Castle.
Portrait of William Parsons, 3rd Earl of Rosse, (1800-1867), photograph courtesy of National Gallery of Ireland.
It was the third Earl, William Parsons (1800-1867), who built the world’s largest telescope for over 70 years, in 1845. He was one of the leading scientists and engineers of his day, and he designed the telescope as well as having it built.
All this work took place in rural Parsonstown at the Birr demesne. Furnaces had to be built and local men trained in manufacture and metal casting, overseen by the 3rd Earl. As we saw earlier, his wife Mary also learned metalwork.
Mary was also an accomplished photographer – the photography dark room of his wife Mary née Field has only been rediscovered in the castle recently, but unfortunately we did not get to see it. Their younger son, Charles Parsons, was a groundbreaking engineering pioneer and the inventor of the steam turbine.
The Birr Castle website continues:“After a fire in the central block in 1836 the centre of the castle was rebuilt, ceilings heightened, a third story added and also the great dining room. In the middle of the 1840s to employ a larger work force during the famine, the old moat and the original Norman motte were also flattened and a new star-shaped moat was designed, with a keep gate. This was financed by Mary, Countess of Rosse. This period of remodelling also overlapped with the building of the Great Telescope, The Leviathan.”
Only one person perished in the 1836 fire, a nanny to the children, who is said to haunt the top floor of the house. There’s a crack in the fireplace of the library from this fire, which was started by a cigarette tossed into a bucket of turf.
Birr Castle dining room, photograph by Chris Hill 2018, for Tourism Ireland, Ireland’s Content Pool. (see [1])The Dining Room, which contains many family portraits. The sideboard is supported by the Parson family crest. The leopards are the heraldic symbol of the Parsons family. The massive Gothic sideboard of the dining room probably dates from shortly after the marriage in 1836 of the 3rd Earl of Rosse to Mary Wilmer Field. Birr Castle, photograph courtesy of Birr Castle website.
The website tells us that the final work on the castle was done in the 1860s when a square tower at the back of the castle on the East side was added. This now contains nurseries on the top floor which have a view over the town.
I was overwhelmed by the plush interior of the castle. It was the fanciest I had seen to date. The pelmets are huge, curtains heavy, and paintings old and abundant – although several are copies and not originals, placed due to their relevance to the inhabitants of the castle.
In the front hall there are huge tapestries, brought by the wife of the 6th Earl, Anne Messel, which fit the hall perfectly. The ceiling is sculpted in plaster, as are all of the reception rooms which we visited. There is an enormous wardrobe in the hall which can be taken apart so is called a “travel” wardrobe despite its heft, and a lovely walnut clock stood alongside the walnut exterior wardrobe. It is a Dutch clock, and as well as the time, it tells the date, and the phase of the moon, and has a little clockwork scene that is meant to move on the hour, but is no longer functioning. The clock is “haunted,” the guide told us, and is his favourite piece in the castle. It is said to be haunted because of a few odd incidents that occurred before it was brought to the castle. When someone in the family died, the clock stopped. Another time, at the moment someone in the house died, the pendulum of the clock dropped from its mechanics. Finally, when another person died in the house, the entire clock fell forwards onto its front.
Consequently nobody wanted the clock except the daughter of the family, who brought the clock with her when she moved into Birr Castle. For safety, however, she had the freestanding clock firmly affixed to the wall behind.
The website history of the family tells us:
“The 19th century saw the castle become a great centre of scientific research when William Parsons, 3rd Earl built the great telescope. (See astronomy).His wife, Mary, whose fortune helped him to build the telescope and make many improvements to the castle, was a pioneer photographer and took many photographs in the 1850s. Her dark room – a total time capsule which was preserved in the Castle – has now been exactly relocated in the Science Centre.“
The 3rd Earl was succeeded by his eldest son Lawrence Parsons (1840-1908), 4th Earl of Rosse. He married Frances Cassandra Hawke. He held the office of Chancellor of Dublin University between 1885 and 1908. He was President of Royal Irish Academy (P.R.I.A.) between 1896 and 1901. Also a keen scientist, he constructed a thermometer for guaging the moon’s heat.
He was appointed Knight, Order of St. Patrick in 1890. He held the office of Justice of the Peace (J.P.) for County Tipperary and also for West Riding, Yorkshire, and was Lord-Lieutenant of King’s County between 1892 and 1908.
He was suceeded by his son William Parsons, 5th Earl of Rosse (1873-1918), who in 1905 married Lady Frances Lister-Kaye, daughter of Sir Cecil Lister-Kaye, fourth Baronet of Grange. The 5th Earl served in the military. He was wounded in World War I and later at home in Birr died of his wounds.
The website family history continues:
“Their son the 4th Earl also continued astronomy at the castle and the great telescope was used up to the beginning of the 2nd world war. His son the 5th Earl was interested in agriculture and visited Denmark in search of more modern and successful methods. Sadly he died of wounds in the 1st world war.“
His son Lawrence Michael Harvey Parsons (1906-1979) succeeded as the 6th Earl of Rosse in 1918. In 1935 he married Lady Anne Messel, daughter of Lieutenant-Colonel Leonard Charles Rudolph Messel.
The website continues: “His son, Michael the 6th Earl and his wife Anne created the garden for which Birr is now famous. (see the gardens and trees and plants) Anne, who was the sister of Oliver Messel the stage designer, brought many treasures to Birr from the Messel collection and with her skill in interior decoration and artist’s eye, transformed the castle, giving it the magical beauty that is now apparent to all. Michael was also much involved in the creation of the National Trust in England after the war.“
The Irish Historic Houses website tells us:
“The interior is another skilful combination of dates and styles, forming a remarkably harmonious whole for which Anne Rosse, chatelaine of Birr from the 1930s to the 70s, is chiefly responsible [Anne Messel wife of 6th Earl]. She was the sister of Oliver Messel, the artist and stage-designer, and the mother of Lord Snowdon. A talented designer, decorator and gardener in her own right, her arrangement of the family collections is masterly.” [see 2]
The Yellow Drawing Room, created by Anne née Messel, Countess of Rosse. She created the yellow drawing room from two rooms, a renovation that nearly brought the entire ceiling crashing down! Birr Castle, photograph courtesy of Birr Castle website.Birr Castle, photograph courtesy of Birr Castle website.The portrait is labelled Countess of Rosse b. 1698, but I can’t find which Countess this could be.Birr Castle, photograph courtesy of Birr Castle website.
Anthony Armstrong-Jones, who married Princess Margaret, is a son from Anne Messel’s first marriage, her second marriage being to the sixth Earl of Rosse, Laurence Michael Parsons. The museum, off the Ticket Office, has a family tree:
The museum, off the Ticket Office, has a family tree of the Parson family.
A sister of Anthony Armstrong-Jones married into the Vesey family of Abbeyleix, who owned the De Vesci estate. My father grew up in Abbeyleix. We used to be able to walk in the grounds of the De Vesci estate but it has since been closed to the public.
The website continues to tell us of the next generation: “Their son Brendan, the present Earl [b. 1936, he succeeded his father as the 7th Earl of Rosse in 1979], spent his career in the United Nations Development Programme, living with his wife Alison and their family in many third world countries. He returned to Ireland on his father’s death in 1979. Brendan and Alison have also spent much time on the garden, especially collecting and planting rare trees. Their three children are all passionate about Birr and continue to add layers to the story for the future.
“Patrick, Lord Oxmantown currently lives in London and is working on plans to bring large scale investment into Birr which will enable him and his family to move back to Ireland.
“Alicia Clements managers the Birr Castle Estate and lives in the sibling house of Tullanisk.
“Michael Parsons, works in London managing a portfolio of properties for the National Trust and is a board member to The Birr Scientific and Heritage Foundation.”
After our castle tour, we ate our lunch under a tree on a lovely circular bench made of a huge tree trunk, then went to see the telescope.
The telescope contains a speculum mirror at the bottom of the tube, which is 1.8 metres in diameter. The mirrors were made in a workshop set up by William Parsons, and the speculum had to be taken away and polished up every once in a while, so a second speculum mirror was made. The tube which houses the speculum is 17 metres long and was made near me in the Liberties, in a Foundry on Cork Street. The Earl would look into the telescope via a brass eyepiece in the enormous wooden tube, by climbing up the stairs on the side of the stone walls, to the viewing platform. With the telescope, the Earl could see further into space than anyone had ever seen. He sketched what he saw. According to the information at the site, his sketches were amazingly accurate when compared to modern photographs taken by the Hubble Telescope. The Earl studied “nebulae,” which are clouds of dust and gas in space, and discovered the “Whirlpool Nebulae.” There is now a planting of trees in the grounds of the castle to honour the founding of this M51 nebula. The “whirlpool spiral” of trees is a plantation of lime trees, planted in 1995, marking 150 years since the Earl discovered the nebula.
The sixth Earl of Rosse, Lawrence Michael Harvey Parsons, pursued an interest in trees and botany rather than the stars and moon, and created the gardens. We enjoyed the beautifully sunny day, walking around the generous landscape.
This little fountain works by gravity, as the water falls from the lake to the stream. It’s an aspect I love about exploring heritage properties: the clever and sustainable engineering of the times. We have much to learn from our ancestors. I love that they have kitchen gardens and walled gardens and were self-sustaining.
Above, the Teatro Verde, “Green Theatre,” from which you can see the vista of the castle and demesne. It was inspired by the design of 18th century architect and family member Samuel Chearnley. Dedication to Edward and Caroline on a plaque on the bench, “In Truth we Love, in Love we Grow.”
We didn’t have the energy to explore the entire garden, but followed the map to see a few places such as the Fernery, the Teatro Verde, and the Formal Gardens. Along the way, we passed the box hedges, the tallest in the world! The box hedges are around ten metres tall, and are over 300 years old.
The Formal Gardens were designed by Anne Messel, the 6th Countess of Rosse, to celebrate her marriage to the 6th Earl, Michael, in 1935. There are white seats either end which bear their initials, which she designed. The hornbeam arches are in the form of a cloister complete with “windows”!
We headed back to the visitor centre and museum, passing the children’s area, the wonderful Tree House! The current owners, Brendan Parsons, who was director of the Irish House and Gardens Association for eleven years, and his wife Alison, have been leading advocates for finding a new role for country houses in a heritage and educational context.
In the museum, we studied the pictures and explanations, but had to ask where it was that the viewer would sit or stand to look through the telescope. There’s a great timeline in the museum – I always find these very useful and informative!
It was interesting also to see some documents from the family archives, including a booklet written by the Earl about management of property, and purchase of the elements that make up the speculum mirror, which is made of metal and not glass – only later did they make mirrors of glass for telescopes.
[3] During the period 1979-2007, Lord and Lady Rosse facilitated research by Dr. Anthony Malcomson, former director of the Public Record Office of Northern Ireland (PRONI), and latterly sponsored by the Irish Manuscripts Commission, to enable the production of a comprehensive calendar of the Rosse Papers in 2008. The archive is held in the Muniment Room of Birr Castle.
[4] p. 12, Robertson, Nora. Crowned Harp, Memories of the Last Years of the Crown in Ireland, published 1960 by Allen Figgis & Co. Ltd., Dublin.
[7] Hugh Montgomery Massingberd and Christopher Simon Sykes. Great Houses of Ireland. Laurence King Publishing, London, 1999.
[8] Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
[9] O’Reilly, Sean. Irish Houses and Gardens, from the archives of Country Life, Aurum Press, London: 1998, paperback edition 2008.
2026 Diary of Irish Historic Houses (section 482 properties)
To purchase an A5 size 2026 Diary of Historic Houses send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €11 for the A5 size, so I would appreciate a donation toward the postage – you can click on the donation link.
€20.00
Donation
Help me to fund my creation and update of this website. It is created purely out of love for the subject and I receive no payment so any donation is appreciated! My website costs €300 per year on WordPress.
€15.00
Donation towards website
I receive no funding nor aid to create and maintain this website, it is a labour of love. The website hosting costs €300 annually. A generous donation would help to maintain the website.
General Enquiries: 01 493 9462, rathfarnhamcastle@opw.ie
Rathfarnham Castle is a wonderful property to visit and I suspect, much underappreciated! It is one of the oldest surviving residences in Ireland, and has a variety of impressive ceilings. It is also another property which was inhabited by the Jesuits at one time, as was Emo Court in County Laois. Although they no longer own either of these properties, they still run schools in the former Castle Browne in County Kildare (now Clongowes Wood College) and Belvedere House in Dublin. They certainly knew how to pick impressive properties! [1]
Rathfarnham Castle was built around 1583 for Adam Loftus (1533-1605), a clergyman originally from Yorkshire, who rose to the position of Archbishop of Dublin and Lord Chancellor of Ireland. Its position outside the city of Dublin made it vulnerable to attack, so it was built as a fortified house, with four flanker towers shaped to give maximum visibility of the surrounding landscape. The OPW website tells us:
“Loftus wanted the Castle to be a grand and impressive home which would reflect his high status in Irish society. He also needed it to be easily defended against attack from hostile Irish families such as the O’Byrnes based in the mountains to the south. The design was radically modern for the time and based on recent continental thinking about defensive architecture. The angled bastion towers located at each corner of the building were equipped with musket loops which allowed a garrison of soldiers to defend all approaches to the castle.”
Archbishop-Chancellor Adam Loftus (1533-1605). The portrait is in Trinity College Dublin, as he was the first Provost. He was also Keeper of the Great Seal of Ireland, and he is here holding the embroidered purse which held the seal.Adam Loftus (1533-1605), Lord Chancellor, 1619. Painting hangs in Malahide Castle, courtesy of National Museum of Ireland.This shows the special shape of Rathfarnham Castle’s flanker towers.
Loftus had previously lived in an archiepiscopal palace in Tallaght, and it had been sacked by the O’Byrnes and O’Tooles from the Wicklow mountains, which is why he ensured that his new house in Rathfarnham had strong defenses. The Bishop’s Palace in Raphoe, now a ruin, is similarly shaped.
Maurice Craig points out in his The Architecture of Ireland from the earliest times to 1880 that there are a group of similar buildings, built over a period of fifty years or more: Rathfarnham; Kanturk for MacDonagh MacCarthy, built before 1609; Portumna for the Earl of Clanrickarde, before 1618; Manorhamilton for Sir Frederick Hamilton, probably around 1634; Raphoe, for Bishop John Leslie (the “Fighting Bishop” – see my entry on Castle Leslie https://irishhistorichouses.com/2020/08/07/castle-leslie-glaslough-county-monaghan/) in 1636, and Burncourt for Sir Richard Everard before 1650. Manorhamilton is a section 482 ruin (see my entry https://irishhistorichouses.com/2025/02/20/manorhamilton-castle-castle-st-manorhamilton-co-leitrim/) and we visited Portumna in County Galway – see my entry https://irishhistorichouses.com/2022/02/14/office-of-public-works-properties-connacht/. The buildings resemble a fort, such as Mountjoy Fort in County Tyrone built 1600-1605. Killenure, County Tipperary, is similar but has cylindrical flankers, Craig tells us. This last was unroofed by 1793, and it is now (2025) a Section 482 property which I must visit!
Loftus attended Cambridge, where he took holy orders as a Catholic priest. Upon Queen Elizabeth’s accession to the throne in 1558, he declared himself Anglican. The Dictionary of Irish Biography tells us that a major turning point in Loftus’s life and career occurred in 1560, when he emigrated to Ireland as a chaplain to Thomas Radcliffe, 3rd Earl of Sussex, who had been granted a commission to serve as Lord Lieutenant of Ireland by Queen Elizabeth. On the recommendation of Sussex, Loftus was appointed Archbishop of Armagh, his consecration taking place on 2 March 1563. In January 1565, on account of the poverty of the archbishopric of Armagh, Queen Elizabeth granted Loftus the deanery of St Patrick’s cathedral in Dublin. In 1567 he was made Archbishop of Dublin.
It was Adam Loftus who had Reverend Dermot O’Hurley executed, whom I wrote about a couple of weeks ago in my entry about Doheny & Nesbitt.
The Dictionary of Irish Biography tells us:
He was “a strongly delineated establishment figure whose primary concerns were to serve the crown in Ireland, in whatever capacity the queen and her advisers thought fit; and to build up his own personal affinity, so that he would be in a position to execute the offices that came his way with a measure of genuine political and social authority. Thus, during the periods when the archbishop served as lord chancellor of Ireland (1581–1605), or as acting governor of the country during the periodic absences from Ireland of a serving viceroy (August 1582–June 1584, November 1597–April 1599, September 1599–February 1600), he was also careful to establish a network of connections throughout the country, particularly through the marriage of his children to leading families among the new English protestant elite. Among the families with which Loftus made these connections were the Bagenals of Co. Down, the Dukes of Castlejordan, the Hartpoles of Shrule, the Usshers of Dublin, the Colleys of Castle Carbury, the Berkeleys of Askeaton, and the Warrens of Warrenstown. The social ascent of Loftus and his family was also evident in the archbishop’s decision to proceed with the purchase of the estate of Rathfarnham, Co. Dublin (c.1589–90), on which he built a stately castle.” [2]
Adam Loftus married Jane Purdon. They had twenty children, not all of whom survived to adulthood, and those who did married very well.
Anne Loftus married, first, Henry Colley of Castle Carbury in County Kildare, and second, Edward Blayney, 1st Lord Blayney, Baron of Monaghan.
Martha Loftus (d. 1609) married Thomas Colclough (1564-1624) of Tintern Abbey in Wexford.
Isabelle Loftus (d. 1597) married William Ussher (1561-1659)
Thomas Loftus (d. 1635) married Helen Hartpole of Shrule.
Alice Loftus (d. 1608) married Henry Warren of Warrenstown, County Offaly.
Katherine Loftus married Francis Berkeley of Askeaton, County Limerick.
son Adam died unmarried in 1599.
Margaret Loftus married George Colley of Castle Carbury.
Edward Loftus (d. 1601) married Anne Duke of Castle Jordan, County Meath.
Dudley Loftus (1561-1616) married Anne Bagenal of Newry Castle, County Down, daughter of Nicholas Henry Bagenal, Marshal of Ireland.
Dorothy Loftus (d. 1633) married John Moore (d. 1633)
Adam Loftus was the first Provost of Trinity College Dublin.
The Dictionary of Irish Biography continues:
“Although by the early 1590s Loftus had largely reconciled himself to the reality that the task of converting the indigenous community to protestantism, and securing its allegiance to the state church, was beyond him, the queen and her advisers still expected him to discharge his religious duties and press ahead with reforming initiatives on behalf of the state church. To this end, and in the midst of a period of mounting political crisis that culminated in the outbreak of the Nine Years War, Loftus was the prime mover behind the foundation of TCD, which received its royal charter on 3 March 1592. The archbishop also served as the college’s first provost till June 1594.“
Adam Loftus died in the old Palace of St. Sepulchre beside St. Patrick’s Cathedral, which until recently was the Garda barracks on Kevin Street, now housed in a new building. I hope they will make something of the historic old archbishop’s palace now, which could be a great museum!
Adam’s son Dudley (1561-1616) sat in the Irish parliament for Newborough in County Wexford. He married Anne Bagenal of Newry Castle, County Down, daughter of Nicholas Henry Bagenal, Marshal of Ireland. The castle passed to their son, Adam Loftus (1590-1666), who married Jane Vaughan of Golden Grove, County Offaly.
Another son of Dudley and Anne Bagenal was Nicholas Loftus (1592-1666), the ancestor of Henry Loftus, the Earl of Ely. Nicholas’s second son Henry (1636-1716) lived in Loftus Hall in County Wexford.
Loftus Hall, County Wexford, for sale April 2025 courtesy Colliers.Formerly named Redmond Hall, it is a three-storey mansion built in 1871, incorporating parts of a previous house here, which was late 17th century or early C18. [3]
Adam Loftus (1590-1666) and Jane née Vaughan’s children also made good marriages. Their son Arthur Loftus (1616-1659) married Dorothy Boyle (1616-1668), daughter of Richard Boyle the 1st Earl of Cork. Arthur also served as MP for County Wexford, as well as Provost Marshall of Ulster.
The castle came under seige in 1641 and in 1642 the house was occupied by Cromwell’s Parliamentary troops. [4] In 1649 it was stormed and taken by Royalist troops under the Marquess of Ormond and all occupants were taken as prisoners. Ormond writes that nobody was killed. [5] Rathfarnham Castle was restored to Adam Loftus (1590-1666) when Charles II was crowned king.
Adam’s son Arthur predeceased him, so the castle passed to Arthur’s wife Dorothy née Boyle. In 1665 she obtained six firelock muskets from the Master of Ordinance to protect the castle.
Arthur Loftus and Dorothy née Boyle had a son Adam Loftus (1632-1691). Adam Loftus was Ranger of the Phoenix Park in Dublin and from 1685, a member of the Irish Privy Council. King James II created him Baron of Rathfarnham and Viscount Lisburne in the Peerage of Ireland. Adam married Lucy Brydges, daughter of George Brydges, 6th Baron Chandos of Sudeley, England.
Lucy Loftus née Brydges (1654-1681), by Peter Lely.She was a renowned Restoration beauty and the first wife of Viscount Adam Loftus. He died at the Siege of Limerick in 1691 and the cannon ball which reputedly killed him hangs in St Patrick’s Cathedral. Lucy is dressed in pseudo-antique clothing against an Arcadian landscape. The parrot in the background is an ambiguous symbol and can refer to a number of characteristics including eloquence, marital obedience or exoticism. Peter Lely was of Dutch origin but spent most of his career in England and became the most influential portrait painter at court following the death of Anthony van Dyck. He successfully navigated the turbulence of the 17th century to paint at the court of Charles I, the Cromwellian Commonwealth and Charles II following the Restoration. Lely was prolific, often only painting the sitter’s head while students and assistants at his studio completed the portraits.
After his wife Lucy died, Adam Loftus married Dorothy, the daughter of Patrick Allen or Alen, of St. Wolstan’s of Celbridge in County Kildare. Adam was a gallant at the court of King Charles II.
Despite earning his peerage from King James II, Adam Viscount Lisburn supported the cause of William III. He died at the Siege of Limerick in 1691 and the cannon ball which reputedly killed him hangs in St Patrick’s Cathedral.
The castle passed to Adam’s daughter Lucy, who married Thomas Wharton, 1st Marquess of Wharton in 1692, who in 1715 was created 1st Earl of Rathfarnham, 1st Marquess of Carlow and 1st Baron of Trim.
Lucy Loftus, Marchioness of Wharton (1670-1717) by Godfrey Kneller.
Lucy and the Marquess of Wharton had a son Philip, who became the Duke of Wharton. He was a Jacobite and supporter of the titular James III, and was subsequently granted many titles. The Peerage website lists the titles. As well as those he inherited from his father, he was created 1st Viscount Winchendon, Co. Buckingham [England] and 1st Marquess of Woodburn, Co. Buckingham [England], 1st Earl of Malmesbury, Co. Wilts [England] on 22 December 1716, Jacobite.
He was appointed Privy Counsellor (P.C.) in Ireland between 1717 and 1726. He was created 1st Duke of Wharton, Co. Westmorland [Great Britain] on 28 January 1717/18, in an attempt by the authorities to wean him from his Jacobitism and make him a good Whig like his father. Darryl Lundy of The Peerage website tells us that his Dukedom did at least make him for a while speak and vote with the Tories in the House of Lords, for instance in debates on the South Sea Bubble. He lost a fortune from participation in the South Sea Bubble. In June 1725 he left the country. He was Envoy to Vienna in August 1725, for the Jacobite King James III, and then Envoy to Madrid in March 1725/26.
Philip Wharton Duke of Wharton by Rosalba Carriera – Royal Collection, Public Domain.
Out of money, he took a position in the Jacobite forces and commanded a Spanish detachment at the Siege of Gibraltar in 1727, fighting against the English. On 3 April 1729 he was outlawed and his titles and such estates as he still held in Britain forfeited.
He had no surviving male issue when he died on 31 May 1731. On his death, all his titles, most forfeited by his treason, expired, except the Barony of Wharton, which was deemed by the House of Lords in 1915 to be descendible to his heirs.
He sold Rathfarnham Castle in 1724. It was purchased by Speaker William Conolly for £62,000. Speaker Conolly never lived in the Castle since he had built Castletown in County Kildare, and he leased Rathfarnham in 1742 to Dr. Hoadley, Archbishop of Armagh.
Dr. Hoadley was interested in building, and he had built an Episcopal mansion in Tallaght to replace a medieval castle. He then restored Rathfarnham Castle. It was famed for its excellent agriculture and fruit gardens. [see 5].
Dr. Hoadley’s daughter Sarah married Bellingham Boyle (1709-1772), and they inherited Rathfarnham Castle. Boyle also took an interest in farming and grew the first oats in Ireland. [see 5]. The Hoadley-Boyle tenancy lasted for twenty-five years, and Bellingham Boyle and his wife mixed in high society, entertaining two Lords Lieutenant in the castle: the Duke of Devonshire and the Earl of Harrington. Boyle may be be responsible for installing some of the delicate rococo ceilings in the castle.
“Bellingham Boyle (1709-1772). He inherited Rathfarnham Castle in 1746 from his father-in-law, Archbishop John Hoadley who leased the castle in 1742 by “indented lease renewable forever.” Bellingham Boyle served as an MP, first for Bandon then for Youghal in Cork and was later appointed a Commissioner for the Revenue. Prior to his marriage, Belingham travelled across Europe to Italy where he had his portrait painted by Giorgio Dupra.”
Interestingly, in Aug 1742, Bellingham Boyle was appointed to a commission to investigate the soundness of mind of Jonathan Swift, Dean of St. Patrick’s Cathedral in Dublin. The Writ “De Lunatico Inquirendo,” in the case of Jonathan Swift, D.D. was issued to investigate and ascertain whether the ailing Dean Swift was of unsound mind and memory to safely conduct his own business. Belllingham Boyle was one of 12 commissioned to perform the investigation. Dean Swift was found to be of unsound mind and memory and was placed under the protection of the Court of Chancery. [6]
Boyle’s daughter Anne married Robert Langrishe 2nd Baronet Langrishe, of Knocktopher, Co. Kilkenny.
Knocktopher Abbey, Knocktopher, Co. Kilkenny, for sale November 2024, photograph courtesy DNG Country Homes & Estates.
The castle returned to the ownership of the Loftus family in 1767, to Nicholas Hume Loftus, 2nd Earl of Ely, a descendant of the original owner Adam Loftus. Nicholas never married and on his death in 1769 the Castle passed to his uncle, Henry Loftus (created Earl of Ely in 1771). Henry continued the remodelling of the castle and the works were completed by the time of his death in 1783.
Let us backtrack now to look at the descendants of the first Adam Loftus. Adam’s grandson Nicholas lived in Fethard, County Wexford, in the precursor to Loftus Hall. His son Henry (1636-1716) of Loftus Hall was the father of Nicholas Loftus (1687-1763) who was created 1st Viscount Loftus of Ely.
Nicholas Loftus, 1st Viscount Ely (1687-1763). Painter unknown. This painting was completed in 1758 to mark the 70th birthday of Nicholas, father of both Nicholas (the 1st Earl of Ely) and Henry Loftus. He sits next to a book entitled The Present State of Ireland. This anonymous work was originally published in 1730 and contained criticism of the amount of money flowing out of Ireland to absentee landlords, no doubt reflecting Nicholas’s concern with the financial state of the kingdom. He is sometimes known as “the Extinguisher” because of his threat to extinguish the Hook lighthouse in Wexford unless the rent he received from it was increased.
Nicholas served as MP for Wexford, and married Anne Ponsonby, daughter of William Ponsonby, 1st Viscount Duncannon. He was first created Baron Loftus of Loftus Hall in 1751, and then assumed a seat in the House of Lords, and became Privy Counsellor of Ireland in 1753. He was created Viscount Loftus of Ely in County Wicklow in 1756.
After Anne died, around 1724, Nicholas Viscount Ely married Letitia Rowley (d. 1765) of Summerhill in County Meath. To make matters more confusing, she had been previously married to Arthur Loftus (1644-1725) 3rd Viscount of Ely!
Summerhill, County Meath, etnrance front, photograph: Maurice Craig, Vanishing Country Houses of Ireland by The Knight of Glin, David J. Griffin and Nicholas K. Robinson, published by The Irish Architectural Archive and The Irish Georgian Society, 1988.
Viscount Loftus is a title that has been created three times in the Peerage of Ireland for members of the Anglo-Irish Loftus family. The first creation was for Adam Loftus (1568-1643) on 10 May 1622, who served as Lord Chancellor of Ireland in 1619. He is not to be confused the our Adam Loftus (1533-1605) of Rathfarnham Castle. This title became extinct in 1725 upon the death of the third viscount, who had no male heir, despite having married three times.
Nicholas and Anne’s son Nicholas Loftus (1708-1766) became the 1st Earl of Ely, and added Hume to his surname after marrying Mary Hume, daughter of Gustavus Hume, 3rd Baronet of Castle Hume, County Fermanagh. As well as Loftus Hall in Wexford, they owned 13 Henrietta Street in Dublin. He became known as the “wicked earl” due to a court hearing about the supposed mental incapacity of his son, also named Nicholas. Young Nicholas’s uncle, George Rochfort (1713-1734), brother of the 1st Earl of Belvedere, sought to have young Nicholas declared incapable of succeeding to the title. George Rochfort was married to another daughter, Alice, of Gustavus Hume, 3rd Baronet of Castle Hume. Family members testified that young Nicholas was of normal intelligence, and that any eccentric behaviour should be blamed on his father’s ill-treatment. The trial lasted for nine years and was even brought to the House of Lords. Poor young Nicholas died before the trial was finished and Rochfort’s case was declared invalid.
Nicholas Hume Loftus, 1st Earl of Ely (1708-1766), unknown artist. It was after Nicholas Loftus (son of the Extinguisher) had married into the wealthy Hume family that the Ely earldom was created for the first time. This depicts Nicholas, the so-called “Wicked Earl” in the doctoral robes of Trinity College Dublin.Nicholas Hume Loftus, 1st Earl of Ely (1708-1766) by Jacob Ennis. These two portraits depict Nicholas, the so-called “Wicked Earl” at various stages of his life. Nicholas is much older in the Ennis portrait. Jacob Ennis was an Irish historical and portrait painter who spent some time studying in Italy. He was later a Master in the Dublin Society’s Drawing Schools.
Nicholas Loftus Hume officially succeeded as 2nd Earl of Ely (1738-1769). It was through him that Rathfarnham Castle returned to Loftus ownership. Nicholas bequeathed Rathfarnham Castle and the estate to his uncle, Henry Loftus (1709-1783) who became the 1st Earl of Ely of the second creation. Henry was the younger son of Nicholas Loftus (d. 1763) 1st Viscount Loftus and Anne née Ponsonby, brother to the earlier Nicholas Hume Loftus (d. 1766) 1st Earl of Ely, the Wicked Earl.
Henry Loftus, 1st Earl of Ely of the 2nd Creation (1709-1783) by Angelica Kauffman. Henry inherited Rathfarnham Castle and its demesne in 1769 upon the death of Nicholas, his nephew. Nicholas had been the subject of a long running legal case concerning the state of his mind and Henry had supported him throughout. The Swiss artist Angelica Kauffman is known to have spent several months in Dublin in 1771. As well as this portrait which was probably completed to mark Henry’s elevation to the earldom of Ely, this renowned painter also completed a group portrait of Henry and his family (now in the National Gallery) as well as a series of ceiling paintings for the long gallery on the first floor depicting scenes from Greek mythology.
Between 1769 and his death in 1783 Henry funded some of the most substantial 18th century changes to Rathfarnham Castle and the demesne.
He contracted Sir William Chambers to remodel several of the rooms including the Ballroom and Anteroom. Externally, the window openings were enlarged, and a new stone Tuscan entrance portico added, probably to the designs of William Chambers. The original battlements were removed and the new parapet was embellished with ball finials and urns some of which also serve as chimneys. On the south front new garden steps were added, while on the east front a three bay bow had been added by 1774.
“Loftus’s castle, with its four flanker towers, is an excellent example of the Elizabethan fortified house in Ireland. In the late eighteenth century, the house was remodelled on a splendid scale employing some of the finest architects of the day including Sir William Chambers and James ‘Athenian’ Stuart. The collection includes family portraits by Angelica Kauffman, Sir Peter Lely, and Hugh Douglas Hamilton.“
From an information panel in the entrance hall: “This room is believed to have been built to a design by the influential architect Sir William Chambers (1723-1796). Despite never visiting Ireland, Chambers left a significant mark on Dublin where he also designed the Casino at Marino, Charlemont House on Parnell Square, and much of Front Square in Trinity College. The floor and free standing Doric columns are in Portland stone. The painted glass panels featuring fruit and flowers are believed to be by the Dublin Huguenot artist Thomas Jervais (d. 1799). The marble relief busts on the walls depict well known figures from the Classical and Renaissance past, including the Egyptian queen Cleopatra and Italian poet Dante. These sculptures seem to have been acquired in Italy and would have been incorporated into the design of the Entrance Hall to signal the taste and refinement and learning of the Loftus family. The original eighteenth century marble fireplace was replaced with a painted timber one in around 1913. It was one of several of the original fireplaces which were removed and sold when the Blackburne family left the castle in 1911.“
Henry Loftus (1709-1783) is pictured below. He married first, Frances Monroe of Roe’s Hall, County Down, (pictured below), who died in 1774, then married secondly Anne Bonfoy. He purchased Ely House in Dublin (built 1770) from Sir Gustavus Hume, 3rd Baronet (now owned by the Knights of Columbanus).
Painting by Angelica Kauffman, who spent several months in Dublin in 1771. It shows Henry Loftus 1st Earl of Ely of the 2nd Creation (1709-1783) with his wife Frances, her nieces and an exotic trophy servant, a young Indian page in Oriental dress carrying a cushion with two coronets, symbolising the title the Earl had just received. The older niece, Dolly Monroe, was Classical costume. Her younger sister Frances plays a fashionable aria on the harpsichord.
As well as the ante room and ballroom and the entrance hall on the first floor, Chambers was responsible for the small drawing room ceiling, back staircase lobby, and the octagonal room in one of the towers.
There are also several rooms which are attributed to architect and designer James “Athenian” Stuart, whose best work in Ireland is the Temple of the Winds at Mount Stewart, County Down. Stuart was employed at Rathfarnham from at least 1769 and was responsible for the design of the ground floor gallery and two rooms above it. He was also involved in the decoration of some interiors at the family townhouse, Ely House, Dublin.
Henry Loftus was succeeded by his nephew Charles Tottenham (1738-1806), son of Henry’s sister Elizabeth (1720-1747) and her husband John Tottenham (1714-1786) 1st Baronet of Tottenham Green, County Wexford. Charles Tottenham’s name was changed to Charles Loftus in 1783 after the death of Henry Loftus 1st Earl of Ely of the 2nd Creation.
Charles held the office of Member of Parliament (M.P.) for New Ross between 1761 and 1768, M.P. for Bannow between 1768 and 1776, M.P. for New Fethard between 1776 and 1783. and M.P. for County Wexford between 1783 and 1785. He was created 1st Baron Loftus of Loftus Hall, Co. Wexford [Ireland] on 28 June 1785. He succeeded as the 2nd Baronet Tottenham [I., 1780] on 29 December 1786. He was created 1st Viscount Loftus of Ely [Ireland] on 28 December 1789 and 1st Earl of Ely [Ireland] on 2 March 1794. He was created 1st Marquess of Ely [Ireland] on 1 January 1801 and 1st Baron Loftus of Long Loftus, Co. York [U.K.] on 19 January 1801. He was also Privy Counsellor.
Charles Tottenham Loftus, Marquis of Ely by Hugh Douglas Hamilton. Charles was the nephew of Henry Loftus Earl of Ely and inherited Rathfarnham Castle and the demesne on his death in 1783. The painting shows Charles in the robes of the Irish House of Lords. He is also wearing a chain indicating his membership of the prestigious Order of St Patrick. He was elevated to a Marquis, given a baronetcy in England as well as £45,000 in return for his votes in favour of the Act of Union. Hugh Douglas Hamilton (1740-1808) was born and grew up in Dublin and attended the Dublin Society’s Drawing Schools. He had a long and successful career as an artist and worked in London and Rome as well as Dublin. He is perhaps best known for his work in pastels and left an extensive series of portraits of leading figures in Irish society.
At Rathfarnham, Charles did little beyond the erection in 1790 of the Gothic or Back Gate, now almost competely demolished to make way for a road.
He married Jane Myhill of Killarney, County Kerry. Her sister Hannah married Hercules Langrishe, 1st Baronet of Knocktopher, County Kilkenny.
The Dining Room. “This room remains unrestored which allows us to see the changes and alternations which were made to the building over the years. The door on the left-hand (northern) wall is typically eighteenth century in style and decoration. However to the left of it a trace of the original Elizabethan doorway is visible. It was blocked up during the 18th century refurbishments. The bow extension to the eastern side of the building is another change dating to that period which added space and brought more light into these rooms. The 18th century timber wall panelling and lining paper survives in this room. It is likely that the walls were covered with silk. Although designed as a dining room, in the 20th century the Jesuits used this room as a library.“
The Castle fell into disrepair. From the Parliamentary Gazetteer of Ireland 1846 (vol. iii): ‘Rathfarnham Castle, situated in a once noble demesne, at the south-east extremity of the village, was not long ago esteemed a magnificent building, and boasted a gorgeous picture-gallery, and superb series of garden and pleasure grounds, but it was allowed to fall into decay in consequence of the prolonged non-residence of its proprietor, the Marquis of Ely, and it now prosaically, though usefully, figures as a diary‘.
At this time, John Loftus (1770-1845) was 2nd Marquess of Ely, who inherited the Castle and lands from his father, Charles Tottenham Loftus. John Loftus rented out the house and surrounding lands, and between 1812 and 1852 the estate was leased to the Roper family. [from the castle’s Instagram page]
Oil painting on canvas, John Loftus, 2nd Marquess of Ely (1770-1845), attributed to Sir Thomas Lawrence (1769-1830). A three-quarter-length portrait, in a brown coat and blue sash. Peer’s robes to the right, red curtain to the background. A picture of the sitter’s wife by Lawrence is in the Art Institute of Chicago. By Studio of Thomas Lawrence – Sothebys, Public Domain, https://commons.wikimedia.org/w/index.php?curid=15266849
Rathfarnham Castle was sold in 1852 to Francis Blackburne (1782-1867), Lord Chancellor of Ireland.
Francis Blackburne (1782-1867), Lord Chancellor of Ireland, 1852 by engraver George Sanders, after Stephen Catterson Smith, courtesy of National Gallery of Ireland.
His family lived there until 1911. Coincidentally almost in the footsteps of Adam Loftus who built Rathfarnham Castle, Francis Blackburne became Vice-Chancellor of Trinity College.
The Society of Jesus then acquired the building and for much of the remainder of the 20th century it was used as a Retreat House for lay visitors as well as accommodation for seminarians attending college in the city. Following the departure of the Jesuits in 1985, the Castle came into the care of the state and a great deal of restoration work has been carried out. Most of the rooms have been restored to their 18th century state and several are furnished with a collection of fine eighteen and nineteenth century pieces from continental Europe, Britain and Ireland.
Belvedere House in Dublin, Castle Browne, now Clongowes Wood College, and Manresa House in Clontarf, formerly called Granby Hall and Baymount Castle.
Manresa Jesuit Retreat Centre, Clontarf, photograph courtesy of National Inventory.A three-bay three-storey house over basement, dated 1838, incorporating mid-eighteenth-century fabric.Originally known as Granby Hall, this house was leased by Doctor James Traill, Church of Ireland Bishop of Down and Connor, in 1775. Robert Warren was later granted a lease of the land and house from J.E.V. Vernon in 1838, undertaking to construct new outbuildings, gate lodges, and to repair and improve the house, and renaming it Baymount Castle.
Clongowes Wood College, County Kildare:
Clongowes Wood College, County Kildare, is a school run by the Jesuits. It was purchased by the Jesuits in 1814. There was a castle here since 1450, built by the Eustace family to protect the area called The Pale. The Pale rampart itself was a six foot high bank surrounded by a double ditch. There are two areas of well preserved Pale on the property of Clongowes Wood. The name comes from a hybrid of Latin and Irish, meaning “the wood of the meadow of the smith.” See https://www.clongowes.net/about-us/clongowes-history/ Photograph by Brian O’Neill, This file is licensed under the Creative CommonsAttribution-Share Alike 3.0 Unported license.
In 1718 Stephen Fitzwilliam Browne (d. 1767) rebuilt Clongowes Wood Castle, creating the western front facade as it appears today, comprising the central keep and two square towers. In 1788 Thomas Wogan Browne (d. 1812) extended and decorated the castle. The extension consists of the eastern facade and two round towers at the back of the castle. Note that this information is from the Clongowes Wood school website, with information from A Short History of Clongowes Wood College by Brendan Cullen.
Stephen and I visited Belvedere House during Open House in 2015. We went into three rooms upstairs, up the beautiful staircase. We weren’t allowed photograph on the tour, unfortunately, in the Apollo Room, Venus Room and Jupiter Room.
Belvedere House is a symmetrical five-bay four-storey Georgian townhouse over exposed basement, completed 1786, designed by Robert West who, in addition to being a stuccodore was also an architect and property developer. It was built for George Augustus Rochfort, 2nd Earl of Belvedere. The house was built for £24,000 on what would have been rural green fields with a view of the Custom House, the bay and distant mountains. It is alleged that the house is haunted by Mary Molesworth, the first lady of Belvedere, mother to George Rochfort – we came across her at Belvedere in County Westmeath.
Rochfort was the son of the cruel Robert Rochfort, 1st Earl of Belvedere, who kept his wife under lock and key in the countryside after he believed she had an affair with his brother. Some believe that she was the inspiration for Charlotte Bronte’s “madwoman in the attic.” Robert Rochfort had the summer lodge, Belvedere, built in County Westmeath, now open to the public, which also has fine plasterwork. Robert O’Byrne writes that it was the 1st Earl who bought the property on Great Denmark Street. At first his son attempted to sell the property, but then he finished having the house built. Robert O’Byrne also tells us that it is similar to 86 St Stephen’s Green (Newman House, now housing the Museum of Literature of Ireland (MOLI), which was begun in 1765, and which is also attributed to Robert West.
North Great Georges Street itself was originally laid out in 1774 as a driveway leading to Belvedere House.
In 1841 the house was bought by the Society of Jesus (Jesuits) to accommodate their growing boys school which had started life ten years previously around the corner on Hardwicke Street, now known as Belvedere College.
One of the more outstanding features of the house is the stucco-work of Adamesque style popularised by Robert and James Adam. This can be seen in the ornamental surrounds, wherein pictures are framed in plaster rather than oil.
Dublin stuccodore and designer Michael Stapleton (1740-1801) was responsible for this work and further examples of his craftsmanship include the ceiling in the exam hall in Trinity College as well as some of the plasterwork in Powerscourt House in South William Street in Dublin and the Aras an Uachtarain in Phoenix Park.
It seems odd that a house designed by Robert West would have plasterwork by Michael Stapleton. Robert O’Byrne elucidates this for us:
“In 1967 C.P. Curran’s Dublin Decorative Plasterwork of the 17th and 18th centuries noted in the collection of drawings left by stuccodore Michael Stapleton several items directly relating to the design of ceilings in Belvedere House. Accordingly, this work was assigned to Stapleton. However, the fact that West was responsible for designing the house complicates matters, and the consensus now appears to be that both he and Stapleton had a hand in the plasterwork. Conor Lucey (in The Stapleton Collection, 2007) suggests that Stapleton may have been apprenticed to, or trained with, West and the fact that he was named the sole executor of the latter’s will in 1790 indicates the two men were close. The source material for the stucco work is diverse, that in the stair hall deriving in part from a plate in Robert Adam’s Works in Architecture, but the first-floor rooms feature a wider range of inspiration, much of it from France and Italy.”
“The ground floor rooms were intended for everyday and business use and therefore are minimally ornamented. However when one ascends they will encounter Stapleton’s stucco-work that depicts scenes from Greek and Roman mythology.On the half-landing the Bacchanalia is celebrated. The left panel depicts Bacchus with his thyrsis and staff, the right panel is Ceres with her cornucopia. The central oval shows Cupid being demoted by the three Graces. The arched window is ornamented with symbols of the authority of ancient Rome. The tall pilasters on each side have the Green anthemion (honeysuckle) motifs.
“At the top of the stairs the panel between the two doors on the right show Juno seated on a cloud with her peacock. The panel on the centre wall is Aurora in her chariot pulled by winged horses. Under this plaque “The New Bride” from an ancient marble popular in 18th century Rome. All the five doors have the same over-door: Silenus, the tutor of Bacchus. On the ceiling, Eros is depicted gazing at Psyche as she sleeps. Next is an Apollo head with winged lions and lastly, Cupid with a flower.
“The door immediately to the right of the stairs leads to the Apollo Room, named after the featured frieze of Apollo the music-maker holding court with attendent putti playing a variety of instruments. The adjoining Diana Room depicts Diana, patron of the chase, in a chariot drawn by stags. The design is taken directly from Pergolesi, however, Stapleton added the outer circle of flowers.
“Finally the Venus Room’s flanking panels have lunettes representing astronomy, architecture and sculpture. Notice the beautiful over-doors in all three rooms, each with the head of the principle subject.”
Venus was taken down by the Jesuits as she was nude, and it is supposedly in the National Gallery.
Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.
[3] Loftus Hall: Formerly named Redmond Hall, it is a three-storey mansion built in 1871, incorporating parts of a previous house here, which was late 17th century or early C18.
Loftus Hall, County Wexford, for sale April 2025 photograph courtesy Colliers.Loftus Hall, County Wexford, for sale April 2025 photograph courtesy Colliers.Loftus Hall, County Wexford, for sale April 2025 photograph courtesy Colliers.Loftus Hall, County Wexford, for sale April 2025 photograph courtesy Colliers.Loftus Hall, County Wexford, for sale April 2025 photograph courtesy Colliers.
Help me to pay the entrance fee to one of the houses on this website. This site is created purely out of love for the subject and I receive no payment so any donation is appreciated!
Dunguaire is maintained by Shannon Heritage, which also owns Bunratty Castle, King Johns Castle in Limerick, Craggaunowen folk park, Knappogue Castle in County Clare, Dublin GPO Witness History and Malahide Castle and Gardens in Dublin. Stephen and I visited Dunguaire Castle in July 2021. The website currently tells us that it is temporarily closed.
Dunguaire is a tower house built in 1520 by the O’Hynes clan on the shores of Galway Bay. “Dun Guaire” is from Fort of Guaire; Guaire was King of Connaught in the sixth century. Inland lay forests, bogs and wolves, so people travelled at that time by boat.
Dunguaire Castle, County Clare, July 2021.Dunguaire Castle, County Clare, July 2021. This information board claims that it was Rory Mor O’Shaughnessy who built Dunguaire, around 1550.Dunguaire Castle, County Clare, July 2021.
A map in the castle showed us that from Galway in the 17th century, animal hides, tallow from fat, wool and salmon were exported to Spain and France, hare, squirrel, lamb and fox skins imported to Spain, kelp seaweed to France and England, Linen to New York (from flax) and pork and herring to colonies in Jamaica.
Galway would have obtained imports of salt from Portugal (although salt mines were also developed in Ireland), wine from France and Italy, iron, weapons, spices and calico from Spain, flax seed and tobacco from New York, potatoes from Delaware (!), and sugar, cotton and rum from the West Indies.
Another information board tells us that donkeys were brought to Ireland from Spain sometime during the seventeenth century.
The castle retains a small bawn and a second small tower.
Richard Martyn, Mayor of Galway in 1643-43, lived here until 1642 and the Martyn family, who also owned Tullira Castle in County Galway, continued to own Dunguaire castle through the eighteenth and nineteenth centuries and on until 1924. Richard Martyn is though to have modernised the building and added glass windows. Chimneys were added in the seventeenth century.
In 1924 Dunguaire was bought and repaired by Oliver St. John Gogarty, the famous surgeon and literary figure, who saved it from demolition. It became the venue for meetings of the literary revivalists such as W.B. Yeats, his patron Lady Gregory, George Bernard Shaw, Edward Martin and J.M. Synge. In 1954 the castle was acquired by Christobel Lady Amptill, who completed the restoration started by Oliver St. John Gogarty.
Oliver St. John Gogarty (1878-1957) painted by William Orpen.
Mark Bence-Jones tells us in his A Guide to Irish Country Houses (1988) that Lady Ampthill’s architect was Donal O’Neill Flanagan, “who carried out a most successful and sympathetic restoration. The only addition to the castle was an unobtrusive two storey wing joining the main tower to the smaller one. The main tower has two large vaulted rooms, one above the other, in its two lower storeys, which keep their original fireplaces; these were made into the dining room and drawing room.” [1]
She must have been a brave character to live in the tower all on her own! She sold it to the Shannon Development company in 1972. It was opened to visitors before that, however, when Lady Christobel owned it, according to another information board telling us that it was opened to visitors in 1962. Banquets began at the castle in 1968 – although I am sure there were many banquets in the castle before that!
[1] Mark Bence-Jones writes in A Guide to Irish Country Houses (1988):
p. 115. “(Martyn/LGI1912; Gogarty/IFR; Russell, Ampthill, B/PB) An old tower-house with a bawn and a smaller tower, on a creek of Galway Bay; which was for long roofless, though in other respects well maintained by the Martyn family, of Tulira, who owned it C18 and C19, and which was bought in the present century by Oliver St John Gogarty, the surgeon, writer and wit, to save it from threat of demolition. More recently, it was bought by the late Christabel, Lady Ampthill, and restored by her as her home; her architect, being Donal O’Neill Flanagan, who carried out a most successful and sympathetic restoration. The only addition to the castle was an unobtrusive two storey wing joining the main tower to the smaller one. The main tower has two large vaulted rooms, one above the other, in its two lower storeys, which keep their original fireplaces; these were made into the dining room and drawing room. “Medieval” banquets and entertainments are now held here.”
Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.
€15.00
Today I do not have a Section 482 property to write about because I find visiting difficult. My regular readers will have noticed that over the past couple of years I have been writing more often about properties that are publicly owned. I do intend to continue visiting and writing. But I realise my blog puts me in a difficult position. Most owners, understandably, do not want their private property written about on a website.
I have mixed feelings about the Revenue Section 482 scheme. The public are deprived of the amount of income tax that Section 482 owners save. Is it value for money? Should the government be urged to consider doing away with the scheme?
It’s not that I disagree about the value of historic houses. I love historic houses! I love to visit them, I love their history, their architecture, their gardens. I love to stay in them when I can. However, inclusion is too broad. I don’t think every property is actually worth visiting.
When I began visiting the properties, I had no idea that Ireland had so many wonderful houses. So I assumed that the few we have are worth saving. When I discovered Mark Bence-Jones’s landmark A Guide to Irish Country Houses I learned that there are at least 3000 such houses. Perhaps the ones still standing are worth saving, I thought.
After more than five years pursuing my project, I have learned that Mark Bence-Jones only touches the surface. The National Inventory of Architectural Heritage lists thousands more properties. Nearly every week a gorgeous historic property is advertised for sale. Each one could be a Section 482 property. Could every rectory and old farmhouse be included on the Section 482 scheme?
Criteria for inclusion is that the property is of horticultural, scientific, historical, architectural or aesthetic significance. Application of the criteria is sometimes tenuous.
Ostensibly, the scheme helps owners to maintain their historic property because it is worth maintaining. It seems that thousands more properties could be included at little inconvenience to owners (more on this later). With the housing crisis and the ecological impact of building, every building is worth maintaining. If one owner has their income tax reduced by spending on house repairs while another owner does not, there should be a very good reason.
The Scheme requires that the historic properties must be either open to the public for specified periods, or provide tourist accommodation. I have criticised the latter before as there is no limit on what can be charged. I wonder why more B&Bs and hotels don’t apply for section 482 status. Why don’t all castle hotels apply, for example? Is it to do with what sort of ownership meets criteria? The government should definitely do away with the part of the scheme that allows a property to fulfil its obligations by providing tourist accommodation. Most are too expensive for the majority of Irish people. The public does not benefit at all. I suspect this was not originally part of the scheme.
Worst are the houses that only do “whole house” rental. In those cases, we can be grateful that someone is maintaining a wonderful piece of history, but since we will never get to see it, we should not be expected to fund it.
That leaves us with the houses that are open to the public for specified periods. I am sure I am not the only person who arrived to a locked gate, or was told that the open day was not convenient. It’s hard for owners, I understand! I know I couldn’t do it, showing people around my home, having it tidy, being there to open the door, not knowing who would arrive. Fortunately, I think only people who are genuinely interested go to see the properties.
And so, I would hope, only people genuinely interested look at my website. I do have owners who have asked me not to write about their property at all. I understand. But that’s when I return to the value of the scheme. Is it because we value these houses, their beauty, their history? Aren’t owners receiving tax benefits because they are acknowledging the value of their property to the larger public? And if so, can they really ask me not to write about them? By highlighting their aesthetic and historical significance, my website encourages people to believe historic houses are worth maintaining.
I am not saying I am convinced of this, and therein lies my problem. Which is why I have only visited one private section 482 property in the past year or more. I completely understand that an owner does not want me to write about their property. I understand that an owner wishes nobody would visit. So I find it hard to make myself visit. I would love to know others’ experience.
And if you are an owner, please let me know if I am welcome to visit! Because I find it hard to ask.
2026 Diary of Irish Historic Houses (section 482 properties)
To purchase an A5 size 2026 Diary of Historic Houses send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €11 for the A5 size, so I would appreciate a donation toward the postage – you can click on the donation link.
€20.00
Donation towards accommodation
I receive no funding nor aid to create and maintain this website, it is a labour of love. I travel all over Ireland to visit Section 482 properties and sometimes this entails an overnight stay. A donation would help to fund my accommodation.
Open dates in 2025: all year, except Christmas Day, Mon-Wed, 9am-12 midnight, Thurs-Sat, 9am-1.30am, Sun, 9am-12 midnight Fee: Free
Donation
Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.
€15.00
Doheny & Nesbitt, photograph courtesy of Flickr, “photos by Joe.”
Doheny & Nesbitt, a popular bar on Lower Baggot Street, occupies what was once a residence, built around 1790. Now it holds one of the finest Victorian pubs in Dublin.
Not long before, until 1773, the road had been called Gallows Road, as it led to the Gallow Mount, where criminals were hung. It was not just criminals, however, but also Catholics: Dermot O’Hurley, Archbishop of Cashel, was hung on 20 June 1584, and officially recognised as a Catholic martyr by Pope John Paul II in 1992. I first heard of the painful fate of Dermot O’Hurley when exploring the park of St. Kevins church, where the Archbishop is buried. His feast day, coincidentally, is this week, the 20th June.
Dermot O’Hurley was born in County Tipperary and studied in Louvain in Belgium. Catholics from Ireland had to go abroad to study. He knew that when he was ordained, his life would be that of a fugitive, ministering when possible. When he travelled to Ireland after his appointment, he never reached Cashel . Officials believed that O’Hurley was plotting to overthrow the English in Ireland. He was captured and tortured, including putting his feet into boots filled with boiling pitch and oil.
Richard Verstegen’s depiction of the 1584 torture and execution of Archbishop Dermot O’Hurley. The 1579 hanging of fellow Irish Catholic Martyrs Bishop Patrick O’Hely and Friar Conn Ó Ruairc is shown in the background.Coloured engraving from Richard Verstegan, Theatrum crudelitatum haereticorum nostri temporis, 1587.
Another person executed in the same spot was “Darkey” Dorcas Kelly, a “Madam” who operated the Maiden Tower brothel on Copper Alley, off Fishamble Street in Dublin. She was burnt at the stake in 1761 – not all that long before the Georgian houses were built on Gallows Road.
Doheny & Nesbitt, photograph from the pub’s facebook page.
The pub occupies both numbers 4 and 5, two Georgian houses of two bays and four storeys, fronted in brown brick, with corner quoins. The windows diminish in size from ground to top storey. The Georgian period spans over a century, referring to the four successive reigns of King Georges of the House of Hanover, from the accession of George I to the throne in 1714 to the death of George IV in 1830.
Dublin Georgian town houses are typically terraced. Dublin Civic Trust’s website tells us that the house facade, including the spacing and shape of windows, is designed in accordance with classical rules of proportion. Servants quarters and kitchens were housed in the basement, while the principal living space was at first floor level, called a ‘piano nobile’ (Italian for main floor). Large windows at this level let in lots of light. Bedrooms, with smaller windows, were on upper storeys.
The National Inventory tells us that the timber pub front is from around 1890. The Inventory describes panelled pilasters over a painted masonry plinth.
Doheny & Nesbitt, photograph from the National Inventory.
A decorative brass sheet reads ‘Tea & Wine Merchant’.
Doheny & Nesbitt, photograph from the National Inventory.
Wooden oversize scrolled foliate consoles frame the signage. Inside the pub retains its Victorian decor, with its original joinery in the bar, snugs and carved timberwork ceilings (according to the National Inventory). The website tells us that the ceiling is of papier maché, and that it has been restored. There’s a replica Victorian bar in the rear.
Doheny & Nesbitt, photograph from the National Inventory.Doheny & Nesbitt, photograph from the pub’s facebook page.
The main bar retains the original counter, and almost all of the original fittings date from the 19th century. I think it’s unfortunate the bar has big tvs so that customers can follow sports, as they ruin the old world atmosphere.
The National Inventory tells us that the liquor licence has been held by several owners. It was a grocers as well as a pub. Shaw’s Directory of 1850 records William Burke as the occupant of the premises. The website tells us that it became a pub in the 1840s. Burke ran the pub as ‘Delahuntys’ for almost fifty years.
In 1924, Philip Lynch and James O’Connor took it over for around thirty years, before passing it onto a Felix Connolly. A sign over the bar retains the Connolly name. Ned Doheny and Tom Nesbitt, two Co. Tipperary men, then took over and gave it the current name. It now has newer owners, who retained the name.
There are three rooms available to book for functions: Tom’s Bar, Paul’s Bar and the Marble Bar. There is also a cellar bar.
Doheny & Nesbitt, photograph from the pub’s facebook page.Doheny & Nesbitt, photograph from the pub’s facebook page.Doheny & Nesbitt, photograph from the pub’s facebook page.Doheny & Nesbitt, photograph from the pub’s website.Doheny & Nesbitt, photograph from the pub’s website.Doheny & Nesbitt, photograph from the pub’s website.The smoking area, Doheny & Nesbitt, photograph from the pub’s website.Doheny & Nesbitt, photograph from the pub’s website.
I receive no funding nor aid to create and maintain this website, it is a labour of love. I travel all over Ireland to visit Section 482 properties and sometimes this entails an overnight stay. A donation would help to fund my accommodation.
€150.00
2026 Diary of Irish Historic Houses (section 482 properties)
To purchase an A5 size 2026 Diary of Historic Houses send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €11 for the A5 size, so I would appreciate a donation toward the postage – you can click on the donation link.
€20.00
Donation
Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.
The Odeon, formerly Harcourt Street Railway Station.
Donation
Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.
€15.00
I have created my 2026 Diary Calendar, which is available to order now. Please note that if you are purchasing from outside Ireland, I would appreciate a donation toward postage, by clicking on the donation button.
2026 Diary of Irish Historic Houses (section 482 properties)
To purchase an A5 size 2026 Diary of Historic Houses send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €11 for the A5 size, so I would appreciate a donation toward the postage – you can click on the donation link.
€20.00
Donation towards accommodation
I receive no funding nor aid to create and maintain this website, it is a labour of love. I travel all over Ireland to visit Section 482 properties and sometimes this entails an overnight stay. A donation would help to fund my accommodation.
€150.00
The Odeon, 57 Harcourt Street, Dublin 2, D02VE22, formerly the Old Harcourt Street Railway Station, is now a bar and currently a Section 482 property:
Open in 2025: all year Tue-Sat, National Heritage Week, Aug 16-24, 12 noon-12 midnight
Railways began in the 1550s as wooden rails used in mines to transport tubs carrying ore. That reminds me of the way Bord na Mona used trains to carry their turf on the bog, and the Guinness brewery also had its own train lines for transporting barrels of stout within the site.
The first public commuter railway system in Ireland launched in 1834 and ran between Dublin and Dún Laoghaire, formerly named Kingstown. [1] The Dublin and Kingstown Railway (D&KR) travelled from Westland Row in Dublin.
The Harcourt Street Station, built in 1859, was the terminus for the Dublin to Bray, County Wicklow train. Passengers could travel to the villages of Dundrum, Stillorgan and Milltown, and the train line helped to develop Bray into a seaside resort. An article in the Irish Independent, “Fascinating story of Harcourt Street line retold,” published 29th February 2012, tells us that two companies vied for the contract to run the train line. One company started building from Harcourt Street, the other from Bray. It was decided that the first to reach Dundrum would win the contract to run the Railway line. William Dargan was the successful contractor. [2]
Before trains, public transportation comprised of stagecoaches travelling specified routes between coaching inns and horse-drawn boats carried paying passengers along canals.
The Harcourt-Bray train travelled for a century, ceasing in 1959. Much of the former trackbed remained intact and now carries the Luas, the Dublin light rail, the modern version of the tram. The Luas station ‘furniture’ impedes photography of the building and my attempts to highlight its architectural features!
An entry about Dublin tram history on the Dublin City Public Participation Network tells us that the idea of transporting people along a fixed routewithin a city began in Nantes, France, around 1823, when Stanislas Baudry opened a bath house outside the city and started a shuttle service that left the town centre on a regular schedule. [3] I’m glad that the first fixed route city public transport system was for bathing and not for work, as I would have expected!
After Baudry realised some passengers used the shuttle to travel to destinations along the route, he created the first urban transit service in 1826 in Nantes, calling his coaches the “Omnibus” (Latin for “for all”). He quickly expanded to Bordeaux, Lyon, and eventually Paris. [see 3]
Architect George Wilkinson (1840-1890) designed the Harcourt Street station. [4] After he built twenty-four workhouses in England, in 1839 the Poor Law Commission in Ireland invited Wilkinson to design 130 workhouses. After eleven years, the Commissioners of the Poor Law decided that they could no longer afford their own full-time architect, and in September 1855 Wilkinson was retired on a pension of £300 per annum. [5]
Next, Wilkinson designed railway stations, mostly for the Midland Great Western Railway Company. As he acknowledged, a workhouse had to be “uniform and cheap, durable and unattractive” so that people would be discouraged from applying to them for aid and accommodation. He took pride in his work, however. To underline the painstaking attention he had given to the materials used in the construction of the workhouses, Wilkinson published in 1845 his Practical Geology and Ancient Architecture of Ireland, which included a detailed account of the building materials available in the different counties with tables of the experiments he had conducted on the principal Irish building stones. [see 5] He managed to insert an Italianate tower in the Carlow workhouse.
The Dictionary of Irish Architects tells us that in August 1860 Wilkinson was appointed architect to the Commissioners of Asylums for the Lunatic Poor at a salary of £300 per annum. He designed two identical asylums at Castlebar, Co. Mayo, and Letterkenny, Co. Donegal. He remained in the post until 1886. He appears to have done relatively little private work. A few houses are recorded in Bray and Dalkey and a marble staircase for the Marquess of Sligo at Westport House (1858) but he does not seem to have designed any commercial premises or churches. His last important recorded commission was the new agricultural hall for the Royal Dublin Society at Ballsbridge, built in 1879-80. [see 5]
The building is brown brick with granite stone dressing. Two colonnades of Tuscan columns flank the central monumental arch porch which has the entrance doors inside under a further two stone arches. The building is fronted by stone steps as it was built on an embankment.
The central block is double height, topped by an open pediment portico which has ends sitting on a frieze on top of pairs of oversized granite scrolled “corbels.” The large entrance arch is supported on a structure of paired columns.
At the rear of Harcourt Street Station at Hatch Street is the curved end wall of the former trainshed. The curved is due to the placement of the former turntable upon which steam locomotives turned to travel in the opposite direction. [6] This engine shed was used at another time as a bonded warehouse.
In 1900 an accident occurred, when a train failed to stop at the station due to the weight of 30 wagonloads of cattle.
The 1900 crash, photograph courtesy of Odeon websiteThe 1900 crash, photograph courtesy of Odeon website, copyright Ciaran Cooney.
Archiseek describes:
“Beneath the station shed are excellent arched vaults originally designed as a bonded spirit store and now housing a wine merchants and one of Dublin’s trendiest nightspots. The main front part of the building has recently been renovated and cleaned and is now an enormous bar which looks and feels bigger that the external dimensions of the station would suggest. The bar design manages to be sympathetic to the original design suggesting a large ‘Gentleman’s Club’ of the Victorian era without descending to pastiche.
“The rear of the station has various store buildings which were accessible from a raised ramp off Harcourt Road. Due for redevelopment, these stores are quite large containing many brick archways from area to area and were used by Dunlop for many years.” [4]
The Odeon, photograph courtesy of Lisney Commercial Real Estate, June 2025.The Odeon, photograph courtesy of Lisney Commercial Real Estate, June 2025.The Odeon, photograph courtesy of Lisney Commercial Real Estate, June 2025.The Odeon, photograph courtesy of Lisney Commercial Real Estate, June 2025.The Odeon, photograph courtesy of Lisney Commercial Real Estate, June 2025.
This entry makes me want to visit the Steam Museum in County Kildare, another Section 482 property! More next week on a different pub, Doheny and Nesbitt.
Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.
€15.00
2026 Diary of Irish Historic Houses (section 482 properties)
To purchase an A5 size 2026 Diary of Historic Houses send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €11 for the A5 size, so I would appreciate a donation toward the postage – you can click on the donation link.
€20.00
Donation towards accommodation
I receive no funding nor aid to create and maintain this website, it is a labour of love. I travel all over Ireland to visit Section 482 properties and sometimes this entails an overnight stay. A donation would help to fund my accommodation.
Wells House, although not a Section 482 property, is open to the public for house tours and has 450 acres of woodland and garden to explore. It is one of Wexford’s most popular tourist destinations with some 100,000 visitors each year. Stephen and I visited in May 2025.
The original house was built in the 1600s for John Warren, a Cromwellian soldier who was granted 6000 acres. The house at the time was a simple square manor. The name “Wells” comes from the fact that the land holds several natural springs. In the 1830s Daniel Robertson enlarged and remodelled the house in Tudor-Gothic style.
According to the house’s website, John Warren’s wife predeceased him and he had no children. In his last will and testament, he left his estate, which was then earning him £400 a year, to a cousin, Hugh Warren, on the condition that Hugh pay Samuel Jackson, the executor, £5000, to be divided among John’s other relatives. Alternatively, if Hugh preferred, Wells would be sold, and he would instead be given £500.
Hugh was at Wells in 1693 when John Warren died. He immediately collected up all the valuables in the house, including £1200. He then opted for the £500 legacy rather than having to pay £5000 to inherit the house.
The executor of the will, Samuel Jackson, must have realised that Warren had taken things from the house, so took Hugh to court in England, which resulted in Hugh being imprisoned in 1699.
The House of Lords was asked to delibrate on the case, and two years later Hugh was released from primson but he was ordered to sell the house. [1]
The estate was purchased in 1703 by Robert Doyne (1651-1733). At the time, Robert Doyne was Lord Chief Justice of the Court of Common Pleas in Ireland, having studied in Trinity College Dublin.
Robert Doyne (1651-1733), who purchased Wells property in 1703.
The tour guide, Aileen, told us that Robert Doyne was from an old Irish family from County Laois. He never lived in the seventeenth century house, and nor did his son and heir, Philip (1685-1753). Robert married Jane, widow of Joseph Saunders of Saunders Court in County Wexford and daughter of the wealthy lawyer and politician Henry Whitfield. They had a house in Dublin at Ormond Quay, where he died, and he is buried in St. Nicholas Within in Dublin. [2]
Philip Doyne (1685-1753), courtesy of Wells House.
The son Philip, who served on the Privy Council, married three times. His first wife, Mary, was daughter of Benjamin Burton (1662-1758), MP for Dublin and Lord Mayor of Dublin, who purchased Burton Hall in County Carlow. Mary gave birth to Philip’s heir, Robert (1705-1754) but she died in childbirth.
Philip went on to marry Frances South, with whom he had several children. Their son Charles (d. 1777) held the office of Dean of Leighlin. Frances died in 1712, and Philip married his third wife, Elizabeth, daughter of James Stopford, MP for County Wexford. Elizabeth’s brother was James, 1st Earl of Courtown, County Wexford.
The tour guide told us that it was Robert Doyne’s great grandson who inherited the property when he was just nine years old, another Robert Doyne, who had Wells House rebuilt, designed by Daniel Robertson.
To backtrack to look at the family tree, Philip Doyne and Mary Burton’s son Robert (1705-1754) inherited the estate and old house at Wells. He served as MP for County Wexford and also High Sheriff. He married Deborah Annesley.
Their son Robert (1738-1791) also served as High Sheriff for County Wexford. His elder brother Philip married Joanna, daughter of Arthur Gore 1st Earl of Arran, but he died young and they had no children. Robert married Mary Ram from Ramsfort in County Wexford, whose father Humphreys was also an MP.
Wells House was spared from attack in the 1798 Rebellion thanks to protection by a local man, Thomas Murphy, who claimed to have risked his life to save the house. Tour Guide Aileen showed us a copy of the letter in which he makes this claim, when he sought to be exonerated from his part in the 1798 Rebellion.
1798 letter by Thomas Murphy.
Wells House became a barracks for the troops that were stationed in the area after the fighting of 1798. The house’s website blog tells us:
“They occupied it for three years. Once the army left, the house and 393 acres around it were let, on long-term lease, to a man named Charles Craven for £393 a year. Craven carried out repairs to the house, and set about improving the land, but in 1811 Robert Doyne, who had by this time left school in Dublin, moved to England, married and decided he would return to Wells to live. To compensate Charles Craven for the work he had done, he agreed to pay the Cravens £80 a year for as long as Charles or his son should live.“
Robert and Mary Ram’s son Robert (1782-1850) married Annette Constantia Beresford in 1805. Before that he’d lived a life of adventure, travelling in Europe with famous dandy Beau Brummell, sailing on a raft down the Rhine. We came across Annette Constantia Beresford when we visited Woodhouse in County Waterford. She had been married to Colonel Robert Uniacke (1756-1802) of Woodhouse, County Waterford (see my entry https://irishhistorichouses.com/2025/03/29/woodhouse-county-waterford-private-house-tourist-accommodation-in-gate-lodge-and-cottages/ ).
Annette Constantia Beresford-Uniacke-Doyne (1768-1836), courtesy of Woodhouse, County Waterford.
It was Robert (1782-1850), probably with wealth from his wife’s first marriage, who commissioned Daniel Robertson to design the Wells House which we see today, building on to the original square residence.
Wells House and Gardens, Ballyedmond, Gorey, Co Wexford_Courtesy Sonder Visuals 2017for Tourism Ireland, Ireland’s Content Pool.A portrait of Daniel Robertson that our guide showed us.
Mark Bence-Jones writes (1988):
“(Doyne/IFR) A Tudor-Gothic house of ca 1840 by Daniel Robertson of Kilkenny; built for Robert Doyne, replacing an earlier house which, for nearly three years after the Rebellion of 1798, was used as a military barracks. Gabled front, symmetrical except that there is a three sided oriel at one end of the façade and not at the other, facing along straight avenue of trees to entrance gate. Sold ca 1964.” [3]
The house is of red brick with granite dressings, and has finial topped gables on the roofline. A crenellated Tudor style entrance porch with arched entrance surrounds the studded timber door. Windows have arched tops, Gothic tracery and hood moulding. The oriel window has crenellation on top.
Robertson, our guide told us, was born in America. When living in England he was thrown into debtors prison. He then moved to Ireland, and Wells was one of his first Irish commissions. He lived in Wells House while working on Johnstown Castle nearby (see my entry about Johnstown Castle https://irishhistorichouses.com/2023/09/30/a-heritage-trust-property-johnstown-castle-county-wexford/). He worked for the Doyne family on and off for fourteen years and he designed everything from the house, gardens, window sills down to such detail as the picture frames.
The Dictionary of Irish Architects tells us more about Daniel Robertson:
“From the early 1830s he did no further work in Britain but received a series of commissions in Ireland, mainly for country house work in the south eastern counties. Most of these houses or additions were in the Tudor style, which, he asserted in a letter to a client, Henry Faulkner, of Castletown, Co. Carlow, was ‘still so new and so little understood in Ireland’. For some of them he used Martin Day as his executant architect.” [4]
Ballydarton House, County Carlow, also designed by Daniel Robertson, in 1830.Photograph from the National Inventory of Architectural Heritage.Dunleckney Manor, County Carlow, by Daniel Robertson, 1835.Photograph from the National Inventory of Architectural Heritage.
Daniel Robertson introduced a dramatic entrance avenue of oaks in the 1840s, retaining the original U shape directly in front of the house. Some of the original oak trees remain, which are over two hundred years old. Lady Frances planted fifty species of daffodil on the avenue.
Wells House, County Wexford, courtesy DNG Properties 2019.
The avenue is 550 meters in length from the front door to the entrance at the road and this central axis continues through the house and finishes at a lake that is situated in the woodland at the far side of the house.
Along the avenue on the left-hand side, the website tells us, are 25 mature Oak trees, 3 Sycamore, 2 Lime, and one beech tree. Amongst them we have a Champion Oak tree. A champion tree is the largest tree of a species. [5]
Robertson also designed the surrounding garden including the parterre at the back of the house. From the French word meaning ‘on the ground’, a parterre is a formal garden laid out on a level area and made up of enclosed beds, separated by gravel. Parterres often include box hedging surrounding colourful flower beds.
The parterre was first developed in France by garden designer Claude Mollet around 1595 when he introduced compartment-patterned parterres to royal gardens at Saint-Germain-en-Laye and Fontainebleau. The style soon became popular in France and all over Europe. [6]
Robert O’Byrne tells us that Daniel Robertson was one of the most influential garden designers to work in Ireland in the second quarter of the 19th century.
Powerscourt County Wicklow, photograph by Jeremy Hylton.Powerscourt County Wicklow, photograph by Jeremy Hylton.Powerscourt County Wicklow, photograph by Jeremy Hylton.Powerscourt, County Wicklow, photograph by Jeremy Hylton.Powerscourt County Wicklow, photograph by Jeremy Hylton.
The Dictionary of Irish Architects continues in the entry about Robertson: “In spite of his success in attracting commissions, when he was working at Powerscourt in the early 1840s he was, in the words of Lord Powerscourt, ‘always in debt and…used to hide in the domes of the roof of the house’ to escape the Sheriff’s officers who pursued him. By then he was crippled with gout and in an advanced state of alcoholism; at Powerscourt he ‘used to be wheeled out on the terrace in a wheelbarrow with a bottle of sherry, and as long as that lasted he was able to design and direct the workmen, but when the sherry was finished he collapsed and was incapable of working till the drunken fit had evaporated.’ In at least two instances – at Powerscourt and at Lisnavagh – he lived on the premises while work was in progress, and it seems that from the 1830s until the year of his death his wife and family never settled for any time in Ireland… Robertson was overseeing the completion of Lisnavagh, Co. Carlow, where he had been living intermittently since the start of building in 1846, when he fell seriously ill in the spring of 1849” and died in September of that year. [see 4]
Our guide brought us through the impressive double door into the entrance hall. The vestibule retains its original encaustic tile floor, and carved timber Classical-style surrounds to door openings and windows with their shutters. [7]
Daniel Robertson imported Italian oak for the panelling in the entrance hall. The hall retains its carved timber Classical-style corner chimneypiece, and dentilated cornice to the compartmentalised ceiling.
The ceiling of the entrance hall has the carved coat of arms of the Doynes, with an eagle representing strength and courage, and the family motto Mullac a boo, “Victory from the hills.”
Robert and Annette Constantia’s son Robert Stephen Doyne (1806-1870) lived at Wells House. He served as High Sheriff of County Wexford and later of County Carlow, and was Deputy Lieutenant and Justice of the Peace. He married Sarah Emily Tynte Pratt (1814-1871), daughter of Joseph Pratt (1775-1863) of Cabra Castle.
Robert Stephen Doyne (1806-1870) of Wells House.I think this is Robert Stephen Doyne’s wife, Sarah Emily Tynte Pratt (1814-1871).
Robert Stephen Doyne’s son Charles Mervyn Doyne (1839-1924) was heir to the estate. He attended university in Magdalene College in Cambridge, then served, like his father, as High Sheriff of Counties Wexford and Carlow, Justice of the Peace and Deputy Lieutenant.
In Cambridge he met the sons of William Thomas Spencer Wentworth-Fitzwilliam, 6th Earl Fitzwilliam of the grand house Wentworth Woodhouse in England. The family was one of the richest in England, and made their money from mining coal on their 20,000-acre estate near Sheffield in Yorkshire. They also owned Coollattin in County Wicklow, and the 6th Earl served as M.P. for Wicklow between 1847 and 1857.
Charles Mervyn stayed with the family at Coollattin, playing cricket, shooting and fishing, and there met his friends’ sister, his wife-to-be, Lady Frances. He and Lady Frances announced their engagement in September 1867 and married two months later at Wentworth Woodhouse. [8]
Charles Mervyn Doyne (1839-1924) and his wife Frances.
Our tour mostly focussed on the lives of Charles Mervyn and his wife, because they lived in and clearly loved Wells House. They were good landlords and had twelve servants, all of whom could read and write. Interestingly, they gave their daughters rather Irish names: Kathleen, Eveleen and Bridget.
Frances Mary née FitzWilliam.
We passed through a stair hall next to the large entrance hall, which contains the original staircase of the seventeenth century house.
The Drawing Room is the piéce de resistance of the house with its Versailles style. The room has a cut white marble corner Classic-style chimneypiece with large mirror over, and decorative wall panelling.
An impressive gilt acanthus leaf ceiling rose with surrounding leaf decoration support a chandelier, and the room has a modillion cornice and a border with acanthus detail.
A musical decoration indicates that the room was probably used for musical events. The female face in the panel shows that this was the Ladies Drawing Room, with romantic Cupid’s sheaf of arrows.
The timber panelled door has carved surround matching shutters and window surrounds, and matching pelmets. The door decoration is repeated in the wall panels.
Aileen showed us the two surprising places where food entered the room – through a trap door in the floor and through a grate in the fireplace! There is a room you can see through the grate where food preparation took place.
The study has jib doors hidden within the bookcases, disguised by false books. It has a carved timber Gothic-style corner chimneypiece, and carved timber cornice to the geometric ceiling centred on Gothic-style ceiling rose.
Robert, Charles’s son, started a lending library based on his book collection. Some of the original books that belonged to the Doynes remain in the collection.
The study, or Fossil Room as it was called, is the cabinet of curiosities of items collected by the family on their travels. The room has another corner marble fireplace and timber cornice with geometric decorative ceiling with armourial shields.
Lady Frances painted the pictures that hang on the walls of the fossil room. She died of scarlet fever in 1903, and her husband lived another 21 years but never remarried.
The stair hall introduced in the Robertson renovation has more Gothic timber wainscoting, and cast iron balusters support a carved timber banister which terminates in octagonal newels. The half-landing has the oriel window with stained glass detail and carved shutters. The groin vaulted ceiling has moulded plasterwork ribs centred on octagonal boss. I found it hard to capture the grandeur in one photograph!
We visited two bedrooms upstairs. Our guide explained that the beds were made shorter in those days, because a sleeper slept sitting up in order to breathe better. The fireplace in the room would have absorbed oxygen from the air so it was easier to breathe in an upright position.
When the Butler was ill, Charles Doyle sent for his own doctor. The doctor advised that the Butler take some time off work. When the Butler died just one day after he went home to his family, Charles was heartbroken, our guide told us. The family were good to their servants and tenants. They ran a soup kitchen during the Famine.
Frances enjoyed horseriding, and the house still has her riding habit.
Charles and Frances’s son Robert married Mary Diana Lascelles, daughter of Henry Thynne Lascelles, 4th Earl of Harwood. He chose to sell the house. His sister Kathleen, who never married, bought it!
When Kathleen died in 1938, her brother Dermot inherited, and gave the house to his son Charles Hastings Doyne. Charles Hastings sold the house to a German family, who renovated it. It was opened to the public in 2012.
It was for sale again in 2019 and purchased in 2022 by a local man. He renovated the outbuildings for tourist accommodation.
Wells House, County Wexford, courtesy DNG Properties 2019.
The property has a café, playground, woodland walk, a glorious walled garden and small menagerie of animals, and is a working farm.
[2] F. Elrington Ball, The Judges in Ireland 1221-1921 published by John Murray, London, 1926.
[3] p. 283, Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.
Ashtown Castle is in the Phoenix Park. The Office of Public Works are currently running one tour per day. [1] The tower house had been incorporated into a house in the late 1700s, and the Office of Public Works demolished the house, which had become very dilapidated, to restore the tower house.
Hugh Tyrrell (d. 1199), later 1st Baron of Castleknock, came to Ireland with Strongbow, Richard de Clare, 2nd Earl of Pembroke. Tyrrell, a second cousin of Strongbow, became right hand man to Hugh de Lacy, Lord of Meath. De Lacy conferred the feudal barony of Castleknock to Tyrrell.
The land at Ashtown, now part of the Phoenix Park, was granted by Hugh Tyrrell to the Hospital of St. John the Baptist in the 12th century. The Hospital belonged to the “Crutched Friars” (brothers of the cross) and was one of the earliest city charities.
When the monasteries were dissolved in 1540, Walter Foster was leasing the land, which he in turn sublet to two tenants.
It is not known when the tower house was built but a fragment of a wooden roof truss, found in the wall during the restoration project, has been dated by dendrochronology to the early seventeenth century. The OPW website tells us that it could date further back, as early as the fifteenth century.
In 1429 a statute was passed by King Henry IV to grant £10 to every man within the Pale who would build a castle of certain minimal dimentions in the following ten years. Ashtown may have been built in this period.
On the tour, our tour guide told us the castle was built for a General Lambert in the early 1600s. I am not sure if this is conjecture or fact! General John Lambert (7 September 1619 – 1 March 1684) was an English army officer and politician and he fought in Cromwell’s army for the Parliamentarians. He was also Deputy Lord Lieutenant of Ireland.
Major-General John Lambert, (1619-1683), Parliamentarian, Deputy Lord Lieutenant of Ireland, courtesy of National Gallery of Ireland.
From the OPW website:
“For years it was completely hidden within the walls of a Georgian mansion once occupied by the under-secretary for Ireland. When that house was demolished in the late 1980s, the castle was rediscovered. It has since been fully restored and now welcomes visitors.”
Ashtown Castle, Dublin, courtesy of Phoenix Park website. The arrangement of the growing hedges outline where the house was, before it was demolished.
Outside, the hedges to one side of the castle form the shape of the house that used to stand there, attached to the old castle.
“The castle was dated to the early seventeenth century on the basis of surviving fragments of a roof truss found in the wall during the restoration project in the early 1990s. There is in the stonework some suggestion of a further wing to the north, but no archaeological evidence was found, leaving this section unresolved. The builder is unknown, but in 1641 the estate was in the ownership of John Connell, a distant ancestor of Daniel O’Connell. Curiously the Civil Survey, 1654, lists him as a Protestant. Stone from a quarry at Pelletstown owned by Connell was used in the building of the original wall of the Park.”
When James Butler 12th Earl of Ormond (who later became 1st Duke of Ormond) was created Lord Lieutenant of Ireland in 1662, he purchased the tower house and lands around it to create a deer park for King Charles II.
In 1668 Marcus Trevor, Viscount Dungannon, was appointed Ranger of the Park. Along with two Keepers, he was responsible for overseeing the Fallow deer imported from England.
The tower house became the official residence of second Keeper of the Park, William Flower, but he assigned it to a subordinate.
In the late eighteenth century the tower house was extended to become the Under Secretary’s residence, and was called Ashtown Lodge.
After Irish Independence, the house served as the residence of the Papal Nuncio. In 1978 the Papal Nuncio moved to a different residence.
The guide showed us what the house used to look like, that had been attached to the castle. For some more photographs, you can visit the Irish Tower House website. [2]
Restoration started in Autumn 1989. Corbels that carried the floor levels were uncovered, and also portions of fireplaces on the first and second floors and a piece of window jamb on the first floor.
Restoration work including new stonework, insertion of oak floors and roof was carried out by craftsmen attached to the National Monuments depot in the Phoenix Park.