Wells House and Gardens, County Wexford – open for tours

Wells House, County Wexford

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

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

www.wellshouse.ie 

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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 2017 for 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]

Wells House, County Wexford, courtesy DNG Properties 2019.
Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rear facade of Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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 lakeside facade of Johnstown Castle, County Wexford, built 1836-72 for Hamilton Knox Grogan Morgan (1808-54), MP, also by Daniel Robertson. It envelops a seventeenth-century house (perhaps by Thomas Hopper) remodelled (1810-4) by James Pain (1779-1877) of Limerick. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We came across Daniel Robertson’s architectural work also when we stayed at Wilton Castle in County Wexford (see my entry https://irishhistorichouses.com/2022/02/04/wilton-castle-bree-enniscorthy-co-wexford-and-a-trip-to-johnstown-castle/).

Wilton Castle, County Wexford – the owners have done a marvellous renovation of what was previously a roofless ruin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wilton Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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]

Rear facade of Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

From “In Harmony with Nature, The Irish Country House Garden 1600-1900” in the Irish Georgian Society, July 2022, curated by Robert O’Byrne.
Rear facade of Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Gardens by rear facade of Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

From 1842 onwards, the 6th Viscount of Powerscourt employed Daniel Robertson to improve the gardens (see my entry https://irishhistorichouses.com/2020/04/26/powerscourt-house-gardens-enniskerry-county-wicklow/). Robertson created Italian gardens on the terraces, with broad steps and inlaid pavement, balustrades and statues.

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]

Quote above from “In Harmony with Nature, The Irish Country House Garden 1600-1900” in the Irish Georgian Society, July 2022, curated by Robert O’Byrne. See below also.
The parterre at Wells House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The parterre at Wells House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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]

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wells House, County Wexford, courtesy DNG Properties 2019.

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.

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.”

Coat-of-arms detailed pierced quatrefoil, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There is more carved decoration above the door from the vestibule.

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carved decoration above the door from the vestibule, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Another family crest on the ceiling of the entrance hall.

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.

Original staircase of the seventeenth century house, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Original staircase of the seventeenth century house, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Wells House, County Wexford, courtesy DNG Properties 2019.
Corner marble chimneypiece, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Versailles style drawing room, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Versailles style drawing room, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Music motif, Versailles style drawing room, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The female face in the panel shows that this was the Ladies Drawing Room, with romantic Cupid’s sheaf of arrows. Versailles style drawing room, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The timber panelled door has carved surround matching shutters and window surrounds, and matching pelmets. The door decoration is repeated in the wall panels.

Versailles style drawing room, retaining carved timber surrounds to door openings framing timber panelled doors, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Versailles style drawing room, retaining carved timber surrounds to door openings framing timber panelled doors, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Plan for the drawing room.

The dining room reminded me of Johnstown Castle, with its carved timber geometric ceiling and Gothic-style timber panelled wainscoting.

Wells House, County Wexford, courtesy DNG Properties 2019.
Dining room, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There are more decorative family crests on the dining room ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A secret room was disovered over one of the doors entering the dining room, where Charles Doyne’s weapons were hidden.

The dining room has what the National Inventory refers to as a “Tudor-headed” buffet niche.

Wells House, County Wexford, courtesy DNG Properties 2019.
Specially designed furniture in the buffet niche, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Food was passed through the grate in the fireplace. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Wells House, County Wexford, courtesy DNG Properties 2019.
The Library chimneypiece. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

The fossil room, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The fossil room, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Armourial shield on ceiling in fossil room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The fossil room, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Scenes painted by Frances née Fitzwilliam. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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!

Stair hall, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wells House, County Wexford, courtesy DNG Properties 2019.
I love the purple walls of the stair hall, painted after the property was sold in 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Oriel window, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Groin vaulted ceiling of stair hall, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Groin vaulted ceiling of stair hall, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carved octagonal newel of stairs, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Plans for the stair hall.

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.

Charles’s bedroom, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Electricity wasn’t installed until the 1950s.

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.

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lady Frances’s riding habit, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dressing room, between the two bedrooms, with a lovely view of the long drive. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lady Frances’s bedroom, Wells House, County Wexford, courtesy DNG Properties 2019.
The wardrobe is original to the house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Wells House, County Wexford, courtesy DNG Properties 2019.
Tourist accommodation in outbuildings at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tourist accommodation in outbuildings at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tourist accommodation in outbuildings at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance to walled gardens, Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In the menagerie of animals we were especially delighted with the meerkats who had fun sliding down a slide!

The meerkats at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The small menagerie at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The small menagerie at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://wellshouse.ie/a-tale-of-betrayal-and-treachery-at-wells

[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.

[4] https://www.dia.ie/architects/view/4570/ROBERTSON%2C+DANIEL#tab_biography

[5] https://wellshouse.ie/a-wells-house-country-garden-our-champion-oak

[6] https://www.english-heritage.org.uk/learn/histories/perfect-parterres/

[7] https://www.buildingsofireland.ie/buildings-search/building/15702132/wells-house-wells-co-wexford

[8] https://wellshouse.ie/the-wells-artist-lady-frances

Ashtown Castle, Phoenix Park, Dublin – an OPW property

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

Ashtown Castle, Phoenix Park, Dublin:

Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

An aerial picture of the castle that the guide showed us, with the shape of the hedges illustrated. Ashtown Castle, Phoenix Park, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory tells us:

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.”

Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

At that time, the estate consisted of 200 acres.

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]

The guide showed us a photograph of a painting of the house as it used to look.
Ashtown Castle, Phoenix Park, with a picture of the castle superimposed onto the house to show its position, although it was not visible. Photograph of photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This is what the house looked like before demolition. The upper storey of the castle had been made into a chapel for the Papal Nuncio when he lived in the house.
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The extension was demolished in the 1980s, due to poor condition.

Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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.

Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance to Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The ground floor would have had only small windows and no fireplace. Recesses and niches may have served for cupboard space or lamp shelves.

Ground floor, Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle first floor, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We then went up to the next level, which had been the chapel for the Papal Nuncio after Ireland gained independence from the United Kingdom.

Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://heritageireland.ie/places-to-visit/phoenix-park-visitor-centre-ashtown-castle/

[2] https://irishtowerhouses.ie/county-dublin/ashtown-castle-co-dublin/

Heywood gardens, Ballinakill, County Laois, Office of Public Works

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

General enquiries: 086 810 7916, emocourt@opw.ie

From the OPW website https://heritageireland.ie/visit/places-to-visit/heywood-gardens/:

Heywood House, County Laois.

Heywood House in County Laois burned in an accidental fire in 1950, but the demesne is maintained and open to the public. My father, who grew up in nearby Abbeyleix, was at a musical concert with his mother the night of the fire and saw the house burning! At the time, the house was owned by the Salesian order of priests.

The house was designed by its owner Michael Frederick Trench (1746-1836) in 1770s, with the help of his friend James Gandon who designed, among other buildings, Dublin Custom House. Trench was an amateur architect, and designed the parish church of Swords, as well as an addition to the Rotunda in Dublin. [1]

Michael Frederick Trench (1746-1836) by Hugh Douglas Hamilton, picture courtesy of National Gallery of Ireland, NGI.7773
James Gandon (1743-1823), courtesy of National Gallery of Ireland.

Robert O’Byrne tells us in his blog The Irish Aesthete that: “In the early 18th century, a younger son William Trench settled in Laois and acquired land there which was initially developed by his heir, the Rev. Frederick. The English antiquary Owen Brereton wrote of the property in 1763, describing it as ‘a sweet Habitation’ with ’24 Acres Walld round 10 feet high. The ground naturally in fine Slopes and Rising, large trees properly disperst, a River of very clear Water running through it. Pouring Cascades, upon which I counted near 100 Couple of rabbits & 100 of Brace of Hares which are in this Grounds…very extensive Views.’ Both the habitation and the grounds were enlarged by the Rev. Trench’s son Michael Frederick Trench…” [2]

The house was named after Trench’s mother-in-law, Mary Heywood (daughter of a Drogheda merchant). Michael Frederick Trench married Anna Helena Stewart who was the only daughter of Patrick Stewart and Mary Heywood of Killymoon in Co. Tyrone. 

Mark Bence-Jones describes the house in his Irish Country Houses (1988):

A house consisting of three storey four bay late C18 centre, with mansard roofed Victorian wings of the same height but in a totally different style. The C18 centre built 1773 by M.F. Trench, who is said to have been the only man who ever called a house after his mother-in-law…The dining room was one of the most accomplished interiors of the Adam period in Ireland, with delicate plasterwork on the ceiling and in panels on the walls.

Information board at Heywood, County Laois.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
The dining room at Heywood House, ceiling probably by Michael Stapleton, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.

After Michael Frederick Trench built the house, he landscaped the area between his house and the village of Ballinakill, apparently moving hills, digging lakes (he made three artificial lakes), planting trees and placing follies. He created a picturesque garden. The idea of the picturesque first emerges as an idea in late Renaissance in Italy where the term pittoresco began to be used in writing about art. It means that the subject, in this case, the landscape, is “like a traditional picture”.  In Holland in the early 17th century a new genre of landscape painting was often referred to as  “painter-like” (schilder-achtig). [3] At roughly the same time, French artists Claude Lorraine and Nicholas Poussin painted Arcadian landscapes with classical elements such as ruined temples and mythological figures. These paintings inspired William Kent (c. 1685 – 12 April 1748), an architect, landscape architect and painter. Kent began a style of “natural” gardening that revolutionised the laying out of gardens and estates. 

There’s a seat in the gardens called “Claud’s Seat” that may be a tribute to Claude Lorraine.

The landscape gardens designed by Lancelot ‘Capability’ Brown (c. 1716-1783) and his followers were considered to be quintessentially picturesque.

“Capability” Launcelot Brown (1716-1783), Landscape gardener, painting by Nathaniel Dance (later Sir Nathaniel Holland, Bt), c. 1773, courtesy of National Portrait Gallery NPG 6049

The demesne includes parkland, woodland, a lake, some architectural features and a formal garden by Edwin Lutyens with a beautiful vista, which takes in seven counties!

Looking over the lake towards the exterior of Heywood House, photograph by A.E. Henson, not used, from archive for Country Life, volume XLV, 1919.
Information board at Heywood Gardens, County Laois.
Parkland of Heywood desmesne, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lovely bluebells in the woodland, Heywood, County Laois, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Heywood, County Laois, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The vista that contains seven counties! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The garden, set within a 250 acre demesne, is, Andrew Tierney claims, the best of its kind in Ireland: a blend of the Arcadian and the Picturesque, above which Edwin Lutyens later erected his walled terraces and enclosures. [4] One of the follies built by the Trenches may contain windows from nearby Aghaboe Abbey. My grandfather purchased property (house and farm) at Aghaboe but the family lost the property when the land was bought by compulsory purchase by the Land Commission in 1977, after my grandfather John Baggot died. I always thought we actually owned the Abbey but that may have been wishful thinking on my Dad’s part.

The Gothic ruin folly, Heywood, County Laois, April 2025. The window may have been taken from Aghaboe Abbey. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey, County Laois, 2018. There are certainly several empty window frames from which a stone medieval tracery window may have been removed! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey, County Laois, 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey, County Laois, 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey, County Laois, 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey, County Laois, 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey in 1985. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey in 1985, with my Dad and sister. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey in 1985, with my sister. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The sham ruin at Heywood, County Laois, April 2025. This window does have some teardrop shapes, like the remaining window at Aghaboe. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stephen looks at the beautiful view framed by a Gothic window in the sham ruin at Heywood, County Laois, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board about the sham castle and Gothic ruin follies, Heywood, County Laois.
The sham castle at Heywood, County Laois, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The sham castle at Heywood, County Laois, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Michael Frederick’s daughter Helena married Compton Pocklington Domvile, 1st Baronet Domvile, of Templeogue and Santry, Dublin. They had several children, but the house was passed down via their daughter Mary Adelaide, who married Lt-Col William Hutcheson Poë (1848-1934) 1st Baronet.

A son of Michael Frederick Trench, this is Frederick Trench (1775-1859). Inscribed on a label on the back: General Sir Frederick Trench/late of Heywood/A prominent promoter of/The Thames Embankment/& other improvements in London. By Unknown artist circa 1827, courtesy National Portrait Gallery 5505. The panorama of the Thames Quay cascading from Trench’s desk appears to stop at St Paul’s and is therefore intended to represent his A Collection of Papers relating to the Thames Quay, with Hints for some further Improvements, illustrated with lithographs by C. M. Baynes and published in 1825, re-issued in 1827. This followed an unsuccessful Bill in Parliament introduced to obtain Treasury support for the project, but in spite of influential backing the plans were dropped and the Embankment was not begun until five years after Trench’s death, with his elegant colonnades omitted. The furnishing of his room includes on a bracket the marble bust by Matthew Wyatt (1826) of Trench’s patron, the Duchess of Rutland, now at Castle Howard. Manuscripts and a William Kent table point to his various antiquarian interests.

Heywood House was enlarged by Lt-Col William Hutchison-Poë in 1875. Around 1906, William Hutchison-Poë hired Edwin Lutyens to create a garden for Heywood.

Information board about Heywood, County Laois.

The website tell us that “The architect Sir Edwin Lutyens designed the formal gardens, which are the centrepiece of the property. It is likely that renowned designer Gertrude Jekyll landscaped them.

The gardens are composed of elements linked by a terrace that originally ran along the front of the house. (Sadly, the house is no more.) One of the site’s most unusual features is a sunken garden containing an elongated pool, at whose centre stands a grand fountain.

The Lutyens sunken garden at Heywood. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Lutyens designed the National War Memorial Gardens in Islandbridge in Dublin many years later, in the 1930s.

Also designed by Lutyens, the National War Memorial Gardens, October 2014: the sunken rose garden. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
War Memorial Gardens October 2014, Stephen, and two of the four “bookrooms” which represent the four provinces of Ireland and house a collection of items relating to both world wars, as well as record books which list the names, regiments and places of birth of the Irish soldiers known to have died in the First World War. These books are illustrated by Harry Clarke and are kept in cases designed by Lutyens. I have never seen these pavilions open to the public, however. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Heywood was bought by the Salesian Fathers in 1923, and it was during their time that the fire occurred. It was transferred to State ownership from the Salesian Fathers in November 1993 .

The OPW website tells us “The Heywood experience starts beside the Gate Lodge. Information panels and signage will guide you around the magical Lutyens gardens and the surrounding romantic landscape.

The entrance gates of Heywood, County Laois. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

An information board tells us that the main entrance was on a turnpike road, on which a toll had to be paid.

The entrance gates and gate lodge of Heywood, County Laois. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance gates of Heywood, County Laois.

Tierney describes the garden: “The gardens stretch from the principal gates for almost a kilometer and a half, incorporating a sequence of three adjoining lakes and a fourth, further east, and areas of rolling parkland skirted by woodlands. Trench named each part of his garden after Alpine scenery. Trench’s Gothic follies include the Abbeyleix gate, an arrangement of octagonal towers joined by a Tudor-arched gateway. The Trench coat of arms is visible to the right of the gateway arch. From this gate the winding drive opens to Trench’s valley. Nearby, marking a split in the road, is the Spire, a shaft raised in memory of Trench’s friend Andrew Caldwell. Further along is a sham castle. High up behind that is a bridge, and a ruin, on the other side, with the Aghaboe windows. Up the pathway is the Gothic Greenhouse, a brick construction with five lancets with hood mouldings. On the east side of the lake is a grotto or bath house. On the east side of the demesne is the Trench mausoleum.”. [see 4]

The Obelisk, erected in memory of Andrew Caldwell, Frederick Trench’s friend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board about the Obelisk.
The Obelisk, erected in memory of Andrew Caldwell, Frederick Trench’s friend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The remains of the Orangery, Heywood, County Laois. Ducts on the inner walls would have conveyed heat. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board.

Heading toward the Lutyens sunken garden from the Orangerie displays the stunning view, over a lawn of perfect grass. Below the lawn, toward the river, is a trellised walkway, by Lutyens. The house was above. To the east of the house was an alley of “pleached” limes: pleaching means bending and weaving the branches of a row of trees to form a living wall.

Information board.
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The lawn is held up by a thick retaining wall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sean O’Reilly describes the Lutyens garden addition:

Lutyens worked on the gardens from about 1906. He complemented the strong architectural framework with an informal planting style, following the same combination of structure and nature developed at Lambay and made popular with his associate – and Country Life author – Gertrude Jekyll. Laying out the garden in a series of terraces and stepped passageways exploding east and west from the falling southern terraces of the house itself, the architect shaped these spaces with a bewildering variety of retaining walls – vertical and battered, stepped and sheer – screen walls – straight and curved, large and dwarf – columns, steps and architectural artifacts.” [5]

The pergola is at a lower level than the lawn. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance to the pergola. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The pergola. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The columns of the pergola, Robert O’Byrne tells us, were recycled from a “Temple of the Winds” built by Trench. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Above, at the level of the former house, is a school and what looks like the outbuildings, with an impressive monkey puzzle tree. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board.
The north wall of the pleached alley at Heywood House. Photograph by A.E. Henson,Published originally Country Life 04/01/1919.
The Pleached Walk. This had “pleached” limes. Pleaching means bending and weaving the branches of a row of trees to form a living wall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Pleached Walk. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Lutyens garden descends to a sunken garden, with terraced borders leading down to a pool surrounded by bronze tortoises perched on stone balls.

Lutyens’ Sunken Garden, Heywood, County Laois: ox-eye circles in the wall frame views. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Sunken Garden, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Tuatha website tells us that, sadly, in 1920, Poe’s car was set alight by Republicans when he was returning from a dinner party in Ballyroan. Poe left Heywood a month later, never to return. [6] Perhaps the website is incorrect and it was slightly later, which would make sense, as Poe served as a Senator in the Irish Free State from 1922 to 1925. Many senators had their houses burned by anti-Treaty forces, so burning his car may have occurred for that reason.

In 1941, the house and gardens at Heywood were broken up, and the Salesian Brothers purchased the property. The Salesians are a religious institute founded in the late-19th century by Italian priest, Saint Don Bosco, in order to help children suffering from poverty during the industrial revolution. The Salesians set up a novitiate at Heywood to a train aspirants to the priesthood. They utilised the glasshouses created by Poe to grow fruit and vegetables, with tomatoes, nectarines, peach trees and grape vines.

Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Bronze tortoises, Lutyens’ Sunken Garden, Heywood, County Laois,Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Bronze tortoise, Lutyens’ Sunken Garden, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Sunken Garden, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Sunken Garden, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

On the east side of the pond Luytens created a Pavilion with Portland stone dressings, terracotta tiled roof and saucer-domed interior, containing two Corinthian capitals rescued by Trench from the Parliament House in Dublin, which he was involved in remodelling. The north wall had busts of philosphers in oval niches, now replaced by urns.

Lutyens’ Pavilion, Heywood, County Laois,Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Pavilion, Heywood, County Laois,Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Pavilion, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Pavilion, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aerial view of Lutyens garden, Heywood, courtesy of tuatha.ie
Lutyens’ Sunken Garden, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.

Behind and above the Sunken Garden are a series of “rooms” created by tall hedges and floral planting, stone structures and a suntrap of a seating area.

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

[1] p. 96. Sadleir, Thomas U. and Page L. Dickinson. Georgian Mansions in Ireland with some account of the evolution af Georgian Architecture and Decoration. Dublin University Press, 1915. 

[2] https://theirishaesthete.com/2018/08/27/heywood/

[3] https://thegardenhistory.blog/2024/09/28/what-is-a-picturesque-garden/

[4] p. 356. Tierney, Andrew. The Buildings of Ireland: Central Leinster: Kildare, Laois and Offaly. Yale University Press, New Haven and London, 2019.

[5] p. 61. O’Reilly, Sean. Irish Houses and Gardens. From the Archives of  Country Life. Aurum Press Ltd, London, 1998. 

[6] https://www.tuatha.ie/heywood-gardens/

and https://theirishaesthete.com/2014/05/12/to-smooth-the-lawn-to-decorate-the-dale/

The Castle, Castletownshend, Co Cork – accommodation

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

http://castle-townshend.com/

Castle Townshend, County Cork, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We visited the Castle of Castletownshend when on holidays in County Cork in June 2022. The Castle is a hidden gem, full of history. We definitely look forward to a return visit, to stay in the Castle, which provides B&B accommodation.

The castle remains in the ownership of the same family, the Townshends, who built it and who have lived here since the 1650s! We came upon the Townshend family of Castletownshed when we visited Drishane House. The Somervilles of Drishane intermarried with their cousins the Townshends who lived down the road. See my write-up:

https://irishhistorichouses.com/2021/03/07/drishane-house-castletownshend-co-cork/

The Castle, Castletownshend: A castellated house, consisting of two battlemented towers joined by a range with dormer gables. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website tells us:

In the picturesque village of Castletownshend, past ‘The Two Trees’ at the bottom of the hill, you’ll find our family-run boutique B&B. Nestled at the edge of a scenic harbour and natural woodlands for you to explore, The Castle is a truly unique place to stay. It has the warm, homely feel of a traditional Irish B&B, but with a few extra special touches.

The gardens and view from Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues: “Steeped in history, The Castle has been home to the Townshend family since the 1650s and has been receiving guests for over 60 years. Inside the old stone walls, you’ll find welcoming faces to greet you, roaring fires to warm you, and comfy beds to sink into. Each room has its own story to tell, with the oak-panelled hall and spacious dining room retaining most of their original features, furniture, and family portraits.

The website explains the family name: “The family name has undergone several changes over the years. The original spelling was Townesend, which later became Townsend. In 1870, the head of the family, Reverend Maurice Fitzgerald Townshend [1791-1872], consulted with the Townshends of Raynham, Norfolk. Following this, it was requested that the whole family add the ‘h’ into the name. However, some families were quite content with the current spelling and refused to adopt the new one. This resulted in various different spellings spread across the branches throughout the UK, Ireland, Australia and Canada.” [1]

Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The centre of the castle is the oldest part, and the two end towers are later additions.

The National Inventory describes: “Square-headed door opening to porch with stone voussoirs, label moulding and timber door with cast-iron studs, strap hinges and door furniture.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website tells us: “The building is in fact a 17th century castellated house, not a defensive castle from earlier times. It was built by Colonel Richard Townesend [1618-1692] towards the end of the 17th century, starting off as a much smaller dwelling. The first castle, known as ‘Bryan’s Fort’ [named after his son Bryan (1648-1726)], was attacked and destroyed by the O’Driscolls in 1690, and its ruins remain in The Castle grounds to this day. Richard then built a second castle, which is thought to be where Swift’s Tower still stands.

A map of the area of Castletownshend.
The map shows us 7. the fort which Colonel Richard Townshend built around 1650, which was probably the first castle of the area. It is now called Bryans Fort after the Colonel’s son Bryan who inherited the Castle Townshend estate in 1722. A second castle was then built, which now probably exists as the ruins called “Swift’s Tower” (8). The centre block of (1) was probably built around 1780, according to Frank Keohane.
“Swift’s Tower,” which may have been part of an earlier house. Jonathan Swift (1667-1745), author and cleric, travelled to the area and his poem “Carberiae Rupes” (Carbery Rocks) is believed to capture the view looking out from the West Cork coastline. One of the guest rooms in the Castle is named in memory of him, The Dean’s Room, as he was Dean of St. Patrick’s Cathedral in Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues “In 1805 the floors were lowered to make the ceilings higher, a decision that left The Castle in ruins. However, instead of rebuilding it, the stone was used to add castellated wings to the dwelling on the waterfront. This became The Castle as you see it today.

Castle Townshend, County Cork.

The inside is a real treat, with wonderful family portraits in the hall of oak and what looks like leather wall covering.

The wood-panelled hall of the Castle in Castletownshend. The portrait of the children is of the children of Reverend Maurice Fitzgerald Townshend (1791-1872): Geraldine, Alice and Henry John. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Colonel Richard Townesend (1618-1692), who was born in England, gained the rank of Officer in the Parliamentary Army in the British Civil War. [2] The Parliament objected to the monarchy of the Stuarts, and they charged the king, Charles I, of treason against the state and ultimately beheaded him. Oliver Cromwell brought troops to Ireland to subdue those loyal to the monarchy. The opposing force to the royalist forces was called the Parliamentary army. Townesend fought in the Battle of Knocknanauss, County Cork in April 1648, where he commanded the main body of the Army under Murrough O’Brien (1614-1674) 1st Earl of Inchiquin. They fought the Irish Confederates, who supported King Charles I in the belief that in reward for their loyalty he would grant them greater self-governance. The Confederate forces were made up of Irish Catholics and “old English” Anglo-Normans who sought to protect their land holding and to end anti-Catholic legislation. The Parliamentarians overcame the Confederates in the battle, and around 3,000 Confederates died at Knocknanauss and up to 1,000 English Parliamentarians.

Murrough O’Brien (1614-1674) 1st Earl of Inchiquin by John Michael Wright courtesy of Manchester Art Gallery.

Richard Townesend’s loyalty to the Parliamentarians wavered after this battle and after the death of Charles I. He returned to Ireland, and he was arrested for being involved in a plot to overcome Lord Inchiquin. However, he may have been a “plant” to undermine the opposition. A mutiny in the garrison at Cork however led to his freedom and Cromwell praised him for being an “instrument in the return of Cork and Youghal to their obedience.” He retired from the military and settled in Castletownshend before 1654. [3]

He managed to hold on to his land after the Stuart monarchy was restored to Charles II. The Dictionary of National Biography suggests that this could be due connections between his wife Hildegardis Hyde and the Lord Chancellor of England, Edward Hyde 1st Earl of Clarendon. Richard held the office of Member of Parliament in the Irish Parliament for Baltimore, County Cork in 1661. He held the office of High Sheriff of County Cork in 1671.

In 1690, after the accession of King James II to the throne, Richard’s home in Castetownshend was unsuccessfully beseiged by 500 Irishmen led by the O’Driscolls, a family who had owned the land before Townesend [for more on the O’Driscolls, see my entry on Baltimore Castle, https://irishhistorichouses.com/2023/12/28/dun-na-sead-castle-baltimore-co-cork-981-x968/ ]Townesend died in 1692, leaving seven sons and four daughters. [see 3]

Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Jane O’Hea O’Keeffe tells us of the Castle’s builder, in her Voices from the Great Houses: Cork and Kerry (Mercier Press, Cork, 2013): p. 83. “In the late 1600s Richard Townsend, an officer in the Cromwellian army, acquired lands at Castlehaven in west Cork originally owned by the O’Driscoll clan. Richard Townsend also owned other lands in County Cork totalling over 6,540 acres. It was he who built the castle at Castletownshend, the centre portion of which still remains. The two towers at each corner of the castle today were added in the eighteenth century.” [4]

Although she identifies the centre of the castle to be built by Richard in the 1600s, Frank Keohane describes Castle Townshend in his Buildings of Ireland: Cork City and County and suggests that this part was built in 1780. The castle Richard built is probably the ruin nearby. In fact, An Officer of the Long Parliament (1892) we are told that he lived for some time in Kilbrittan Castle nearby, “a splendid very pile overlooking Courtmacsherry Bay, which had been forfeited by the head of the McCarthies for his participation in the Rebellion of 1641.

Kilbrittain Castle, County Cork, photograph courtesy of Roaringwaterjournal.com A friend’s father, inventor Russell Winn (d. 1980), restored a wing. See also their facebook page https://www.facebook.com/p/Kilbrittain-Castle-in-Ireland-100090029232570/?_rdr
Kilbrittain Castle by Hostynsky Photography.

Richard Townesend’s early house at Castletownshend is described in An Officer of the Long Parliament (1892):

p. 107-08. “It seems to have consisted of a dwelling – house and small courtyard all comprised in a square enclosure with a bastion at each angle, pierced with loopholes for musketry and some embrasures for small cannon. It was built on a well- chosen site of some strength. The dwelling-house consisted of two stories, the upper one overlooking the harbour. The lower one must have been lighted from the court, on the outer side of which was a parapet for defending the wall. It seems to have been hastily built, as the stones are small and not well put together.A larger mansion appears to have been built before long, which was valued at £ 40,000 , when destroyed in the troubles of 1690.”

Richard Townesend’s son Horatio was in the navy and in 1690 carried the Duke of Schomberg, who fought in King William’s army, to Ireland on board his sloop. He married Elizabeth, daughter of the MP for Baltimore, Thomas Becher.

Death of Frederick Duke of Schomberg at the Battle of the Boyne by Benjamin West, National Trust Mount Stewart.

Another son, John, married Catherine Barry, daughter of Richard, 2nd Earl of Barrymore. Son Philip (1664-1735), became a Protestant clergyman and married Helen Galwey of Lota Lodge, Cork.

Colonel Richard Townsend’s son Bryan (1648-1726) was a Commander in the British navy and MP for Clonakilty. He married Mary Synge, daughter of Edward, Bishop of Cork, Cloyne and Ross in 1663 and they had many children. In The Long Parliament, we are told of a portrait of Bryan: “If the very handsome picture at Castletownshend which has always borne his name is truly the portrait of Bryan, it most probably was painted while he was a naval officer, as he wears his own hair and not the voluminous wig in which gentlemen on land used to enshroud themselves.” I must look for this portrait next time we visit! Although it may have been destroyed, along with many papers and letters described in The Long Parliament, by fires in the castle.

Bryan was well-regarded by his neighbours:

The laws made it almost impossible for any but a Protestant to hold land, so many of the Carbery Romanists, especially the O’Heas and O’Donovans, trusting in Bryan’s high character for integrity, gave their properties entirely into his hands, being obliged to do so without any written guarantee 1. At one time he had under his care upwards of £ 80,000 worth of property which he defended at considerable cost to himself, and when it was safe to restore it to the real owners he did so with all the arrears that had accrued while he held it. This fact was ascertained by the research of the late John Sealy Townshend .” [see 1]

Bryan and Mary’s son Richard (1684-1742) inherited Castletownshend , and was a Justice of the peace and high sheriff for County Cork. He married twice, first to another Mary Synge, daughter of Reverend Samuel, Dean of Kildare. His second wife was Elizabeth Becher from Skibbereen, County Cork.

The Townshends tell us in The Long Parliament about Jonathan Swift’s visit:

Richard Townshend, of Castle Townshend, was born July 15, 1684, and succeeded to the estates on the death of his father Bryan, 1727 . It was at this period (*1) that Dean Swift spent some time in West Carbery . He stayed at Myros , but is said to have written his poem Carberiae Rupes in a ruined tower at Castle Townshend , still known as Swift’s Tower . It is also said that letters from the great Dean are still preserved at Castle Townshend , and that he named one of the houses in the village Laputa.” (*2)

The footnotes refer to *1: G. Digby Daunt and *2: Now Glen Barrahane, the seat of Sir J. J. Coghill , Bart .

Jonathan Swift by Charles Jervas circa 1718, National Portrait Gallery 278.

Richard (1684-1742) and Elizabeth Becher’s son Richard (1725-1783) also served as MP and high sheriff. He married Elizabeth Fitzgerald, daughter of John Fitzgerald, the 15th Knight of Kerry (d. 1741). His father was Maurice Fitzgerald, the 14th Knight of Kerry, and Elizabeth’s brother was Maurice the 16th Knight of Kerry – there is a portrait of a Maurice Fitzgerald, Knight of Kerry, in the front hall, but I’m not sure which one is it. Richard’s portrait is in the dining room.

Maurice Fitzgerald, Knight of Kerry – I’m not sure whether it is the 14th or 16th and Countess of Desmond, Katherine Fitzgerald (abt. 1504-1604). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Next to the Knight of Kerry in the hall there is also a portrait of the Countess of Desmond, Katherine Fitzgerald (abt. 1504-1604), who lived to be over one hundred years old (some say she lived to be 140) and went through three sets of teeth. We came across her also in Dromana in County Waterford.

Richard Townsend (1725-1783), served as MP and high sheriff and lived at Castletownshend. He married Elizabeth Fitzgerald. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Elizabeth Fitzgerald, wife of Richard Townsend. Elizabeth Fitzgerald was daughter of John Fitzgerald (1706-1741), 15th Knight of Kerry, and married to Richard Townsend (1725-1783). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Long Parliament describes:

Richard Townshend married in 1752 Elizabeth , only daughter and heiress by survival of John FitzGerald, 15th Knight of Kerry, by whom he had one son and one daughter. Elizabeth FitzGerald’s only brother Maurice, 16th Knight of Kerry, had married his cousin Lady Anne Fitzmaurice, and died leaving no children, but even now he is remembered as ‘ the good Knight.’ He left all the Desmond estates in Kerry to the son of his sister Elizabeth Townshend.”

It may have been Richard Townsend (1725-1783) and his wife, the daughter of the 15th Knight of Kerry, who started to build the castle we see today. Keohane writes of the current castle at Castletownshend:

p. 314. “The Castle. A house of several parts, the seat of the Townshends. The earliest, described as ‘newly built’ in 1780 by the Complete Irish Traveller, is presumably the two-storey, five-bay rubble-stone centre block, with dormers over the upper windows and a two-storey rectilinear porch. Taller three-storey wings with battlements carried on corbelled cornices and twin- and triple-light timber-mullioned windows. The E. wing was perhaps built in the late 1820s; the W wing was added after a fire in 1852. Modest interior. Large low central hall with a beamed ceiling and walls lined with oak panelling and gilded embossed wallpaper. Taller dining room to the r., with a compartmented ceiling; a Neoclassical inlaid fireplace in the manner of Bossi, and a large Jacobean sideboard. C19 staircase with barley-twist type balusters. 

Octagonal three-stage battlemented tower, 60 m west of the castle.” [5]

The Jacobean sideboard in the Dining Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Neoclassical inlaid fireplace in the manner of Bossi. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Jacobean sideboard in the Dining Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The carving on the sideboard is incredible. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Jane O’Hea O’Keeffe continues: “Over the following centuries, members of the Townsend family served as high sheriffs of County Cork. In 1753 Richard Townsend was the office-holder and in 1785 Richard Boyle Townsend [1756-1826] was appointed to the position. In the 1870s Richard M.F. Townsend owned over 7,000 acres near Dingle in County Kerry, inherited from the FitzGerald family, Knights of Kerry. At that time, the estate of the late Rev. Maurice Townshend extended to over 8,000 acres in County Cork...” [4]

Richard Townsend and Elizabeth Fitzgerald’s son Richard Boyle Townsend (1753-1826) inherited Castletownshend. He was educated at Eton and Oxford. He married Henrietta Newenham. There is a fine portrait of their son Lieutenant-Colonel John Townsend, of the 14th Light Dragoons, who held the office of Aide-de-Camp to Queen Victoria.

Lieutenant-Colonel John Townsend (1786-1845), of the 14th Light Dragoons, Aide de Camp to Queen Victoria. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I think this is a portrait of Henrietta Newenham (1764-1848). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Monument in nearby church, memorial to Colonel John Townsend.

Lt-Col John Townsend died in 1845, and the property passed to his brother, Reverend Maurice Townsend (d. 1872). Maurice married Alice Elizabeth Shute, heiress to Chevanage estate in Gloucestershire. Alice Elizabeth Shute was heiress by survival in her uncle Henry Stephens, and assumed his name. Maurice changed his name in 1870 to Maurice FitzGerald Stephens-Townshend (he was the one who added the ‘h’ in the name). She died at Castle Townshend aged only twenty-eight.

They had a son John Henry Townshend (1827-1869), who gained the rank of officer in the 2nd Life Guards. A fire occurred in 1852, during Reverend Maurice’s time in Castletownshend.

John Henry Townshend (1827-1869). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website tells us about the fire: “Disaster struck again in 1852 when the newly built East Wing went up in flames. The blaze was so fierce that the large quantity of silver stored at the top of the wing ran down in molten streams. The family sent a Bristol silversmith to search the ruins and value the silver by the pound, which he did and promptly disappeared to America with a large part of it! The family still have some of that silver, all misshapen from the fire. The East Wing was rebuilt soon after the fire and The Castle has remained unchanged in appearance ever since.

Reverend Maurice’s son predeceased him so Reverend Maurice’s grandson, Maurice Fitzgerald Stephens-Townshend (1865 – 1948) inherited Castletownshend in 1872 when he was still a minor. In the 1890s, the time of the Wyndham Act, 10,000 acres were put up for auction. The current owners still have the auction books. It was purchased by Charles Loftus Townsend (1861-1931).

Nineteenth century staircase with barley-twist type balusters.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Young Maurice married Blanche Lillie Ffolliot. She was an only child and brought money with her marriage, and Maurice was able to buy back the castle. The castle passed to their daughter, Rosemarie Salter-Townshend. She began to rent out holiday homes in Castletownshend. Her husband, William Robert Salter, added Townshend to his surname. It was their daughter Anne who modernised the castle, putting in central heating etc.

We’ll have to book ourselves in for at least a week to browse the books! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues: “Full of character and old-world charm, The Castle offers a welcoming retreat from everyday life. There are lots of things to do in the local area, like whale-watching and kayaking. Or, you can simply rest and recharge your batteries in the unique surroundings. After enjoying a complimentary breakfast, stroll through the winding pathways of our historic grounds, discovering ivy-covered ruins and their stories along the way. Then, as the sun sets, sit out the front with a drink in your hand, watching the boats in the harbour sway gently back and forth.

While you are a guest in our family’s home, the only thing on your To Do list is to relax. We will look after the rest.

I can’t wait to stay here! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] The website adds that much has been written about the Townshend family and The Castle over the years, and this rich history is documented in great detail. An Officer of the Long Parliament, edited by Richard and Dorothea Townsend (London Henry Frowde, Oxford University Press Warehouse, Amen Corner, E.C.,1892) is an account of the life and times of Colonel Richard Townesend and a chronicle of his descendants.

[2] see Montgomery-Massingberd, Hugh. Burke’s Irish Family Records. London, U.K.: Burkes Peerage Ltd, 1976.

[3] p. 1035, volume 19, Stephen, Sir Leslie, ed. Dictionary of National Biography, 1921–1922Volumes 1–22. London, England: Oxford University Press.

[4] O’Hea O’Keeffe, Jane. Voices from the Great Houses: Cork and Kerry (Mercier Press, Cork, 2013).

[5] Keohane, Frank. The Buildings of Ireland: Cork City and County. Yale University Press: New Haven and London, 2020.

MOLI (Museum of Literature Ireland), Newman House, 85-86 St. Stephen’s Green, Dublin

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

MOLI (Museum of Literature Ireland), Newman House, 85-86 St. Stephen’s Green, Dublin

https://moli.ie

86 St Stephen’s Green, Newman House, which belongs to University College Dublin and now houses the Museum of Literature of Ireland. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The two storey over basement on the left of Newman House is 85 St Stephen’s Green. 85 St. Stephen’s Green was built in 1738 by Richard Castle, architect of Powerscourt House and Russborough House, and is notable for its exquisite baroque plasterwork by the Lafranchini brothers. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website tells us:

No. 85 St. Stephen’s Green was built in 1738 by Richard Cassels, architect of Powerscourt House and Russborough House, and is notable for its exquisite baroque plasterwork by the Lafranchini brothers. The adjoining townhouse at No. 86 was constructed in 1765 and features superb examples of rococo stuccowork by the distinguished Dublin School of Plaster Workers.

85 St. Stephen’s Green was built for Captain Hugh Montgomerie. Robert O’Byrne tells us that Hugh was one of five children born to Sir Thomas Montgomerie  and Clemence Hovell. Clemence was married to Charles Stuart, who died in 1709, and her children with Thomas Montgomerie were born before her husband’s death so were illegitimate. [1]

In 1738 Hugh Montgomerie married Mary Bingham, eldest daughter of Sir John Bingham 5th Baronet of Castlebar, County Mayo, and it may have been her wealth that helped to build their new house on St. Stephen’s Green designed by Richard Castle (or Cassels). After Hugh Montgomerie’s death, Mary married Vesey Colclough (1734-1745), whom we came across when we saw Tintern Abbey in County Wexford.

86 St Stephen’s Green was constructed in 1765 and features superb examples of rococo stuccowork by the distinguished Dublin School of Plaster Workers. The wonderful lion over the door is made of lead. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

86 St Stephen’s Green is a granite-faced townhouse built in 1765 for Richard Chapel Whaley (d. 1796) who was called “Burn Chapel” Whaley due to his anti-Catholic sentiment. The “Chapel” or “Chapell” was really part of his name, from his mother’s family. The Dictionary of Irish Biography tells us “he was a fervent priest-hunter, and once while hunting a priest burned down a catholic chapel when he fired his fowling-piece into the roof and the wadding lodged in the thatch. Forever afterwards he was known as ‘Burn-Chapel ’ Whaley.”

It is ironic that Richard Chapel Whaley’s house is now owned by the Catholic university, University College Dublin, and named for Cardinal John Henry Newman (1801-1890) who famously converted from Protestantism to Catholicism, and by his example, encouraged many others to convert to Catholicism! The house may have been designed by Robert West, more famous as a stuccadore [2]. Much of the stucco work inside is in the style of Robert West – he may have done some of the work and it is thought that others were involved also. [2]

86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Robert West also designed Belvedere House, now Belvedere College, Dublin.

Richard Chapel Whaley (1700–69) wanted to create a house that dwarfed his neighbour in number 85, which was owned at that time by John Meade, 1st Earl Clanwilliam. 85 St. Stephen’s Green was known as Clanwilliam House.

The two houses, 85 and 86, were joined in the mid 19th century and named after Cardinal Newman (1801-90). Together they contain some of the most spectacular plasterwork in Ireland.

The MOLI website continues: “The building takes its name from the theologian and educationalist Dr. John Henry Newman, who was rector when the Catholic University was founded in 1854. UCD Newman House also boasts many literary and cultural associations. The poet Gerard Manley Hopkins lived here during his time as Professor of Classics at the university, and James Joyce was a student here before graduating with a BA in 1902. Other famous Irish writers to have studied at UCD Newman House include Flann O’Brien, Kate O’Brien and Maeve Binchy.

Explore the stunning surroundings and turbulent history of Numbers 85 and 86 St Stephen’s Green on MoLI’s Historic House Tour

These beautiful examples of Georgian opulence – with lavish stuccowork by the famous Lafranchini brothers – have served not only as a university and a museum, but also as the townhouse of Buck Whaley, one of Ireland’s most infamous playboys and adventurers. 

Join your guide as they bring you on a journey through these hidden historic rooms, witness these architectural treasures up close, and learn about the many fascinating characters that have passed through over the centuries.

86 St. Stephen’s Green is of five bays across, of four storeys over basement. It has a two bay entrance hall flanked by two further rooms, and the service stair is on the transverse axis between the entrance hall and the rear right-hand parlour, Christine Casey tells us. [3]

The grandness begins straight away when you enter MOLI – this stuccowork is behind the entrance desk, in 86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The stair hall decoration is particularly splendid. Acanthus ornament mixes with Rococo elements such as trophies of musical instruments, asymmetrical scrolls and birds distinctive of the Dublin school of plasterwork.

86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. The violins in the cartouches are actually real violins, which were easier than sculpting them from scratch! The coved ceiling includes acanthus leaves and high-relief birds with outstretched wings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rococo stucco work in Museum of Literature of Ireland (MOLI), 86 Stephen’s Green, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Richard Chapel Whaley was the father of Thomas “Buck” Whaley (1766-1800). Thomas’s father died when he was only three years old, and Thomas inherited much property and wealth. He gambled away nearly everything he owned and died almost penniless aged just 34. [4] Another house he inherited was Castletown in County Carlow – not to be confused with the more well-known Castletown in County Kildare (or Castletown “Cox” in County Kilkenny), and also Whaley Abbey in County Wicklow. Jimmy O’Toole tells us that his annual income was the equivalent of about £700,000 today. Poor Buck Whaley was a gambler, and he made a bet that he could travel to Israel and back within two years. He won the wager, and £15,000. I read his memoir and he comes across as a lovely man despite his foibles.

Thomas “Buck” Whaley (1766-1800), c. 1780.
Buck Whaley’s Memoirs, courtesy Fonsie Mealy auction.
The sitter’s maiden name was Maria Courtney but for some seven or eight years before her death in 1798 in Douglas, Isle of Man, she was known as Mrs. Whaley. She was the constant companion of a wealthy and dissolute young Irishman, Thomas, or Buck, Whaley, by whom she had four children: Thomas, Richard, Ann, and Sophia Isabella. They lived in a house Buck Whaley built on the Isle of Man, where this portrait may have hung in the dining room. Portrait is attributed to George Chinnery, c. 1795. Picture courtesy of The Met, New York.

After his lover Maria Courtney died, he married Mary Catherine Lawless, sister of Valentine Lawless 2nd Baron Cloncurry.

Valentine Lawless, 2nd Baron Cloncurry, a portrait in 85 St. Stephen’s Green.

Thomas “Buck” Whaley’s sister Anne married John Fitzgibbon, later 1st Earl of Clare, who became Lord Chancellor of Ireland.

The front ground-floor drawing room is, Casey tells us, virtually identical to the now lost French Room at Charlemont House, the home of James Caulfeild, 1st Earl of Charlemont, a house built in 1763. The plaster and timber panels of the walls, Casey writes, appear to emulate the boiserie interiors of mid eighteenth century France.

86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Our friend Claire accompanied with us on our tour, who was visiting us from Greece. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The tiny portrait head might be a representation of Richard Chapel Whaley, Christine Casey tells us. 86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceiling of the yellow room, MOLI. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Great Room, three bays wide and overlooking St. Stephen’s Green, is not normally part of the MOLI tour, but our guide let us pop our heads in to marvel at the plasterwork. It is let to the School of Music. It has an elaborate and stylized bird ceiling, similar to one by Filippo Lafranchini at 9 St. Stephen’s Green. [see 3].

The Great Room, 86 St. Stephen’s Green, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Great Room, 86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
We popped our heads quickly into the Great Room, or music room, not normally part of the tour as it is let out to the School of Music. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceiling of the Great Room, 86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceiling of the Great Room, 86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceiling of the Great Room, 86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceiling of the Great Room, 86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Bishop’s Room is to the rear of the house. It has a Rococo ceiling composed of interlocking C-scrolls and acanthus ornament. The front drawing room has a Rococo ceiling with a flock of birds encircling the central boxx, “rocaille-backed scrolls” in the corners, flower baskets and garlands of flowers.

86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The front drawing room has a Rococo ceiling with a flock of birds encircling the central boxx, “rocaille-backed scrolls” in the corners, flower baskets and garlands of flowers, 86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Bossi fireplace, 86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We then went outside on the tour to enter 85 St Stephen’s Green, next door. This is a smaller building, a Neo-Palladian urban palazzo designed by Richard Castle for Captain Hugh Montgomerie (d. 1741), built for entertaining! It has a rusticated granite street front, a Venetian window overhead formed by pedimented openings, and a balustraded parapet. The strict symmetry of the front hides an asymmetrical interior.

The two storey over basement on the left is 85 St. Stephen’s Green. 85 St. Stephen’s Green was built in 1738 by Richard Castle, architect of Powerscourt House and Russborough House, and is notable for its exquisite baroque plasterwork by the Lafranchini brothers. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

85 St. Stephen’s Green is of three bays and two storeys. Its lower floor is rusticated, and the first floor has a central Venetian window. Inside, it has a two bay entrance hall with a screen of two rounded arches opeing to the stair hall behind. On the right is a single bay front parlour, called the Apollo Room. The stair hall is flanked by a back parlour, and their is a service stair behind the stair hall, and a third room projecting out the back. [3] Christine Casey describes the spatial sequence as Baroque, and points out that it shows us the link Castle had to the Vanbrugh-Pearce circle of architects. The hall retains its eighteenth century flagsone, wainscoting and Kilkenny marble chimneypiece.

Entrance hall of 85 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Apollo Room, Newman House 1953, Dublin City Library and Archives. [5]

I don’t think we entered the Apollo room. Christine Casey tells us that it is rich in stucco ornament, which is accepted to be by Paolo and Filippo Lafranchini. Around the walls are high-relief almost Neoclassical figures of the Nine Muses set in moulded rectangular frames. I mistook the picture in Dublin City Library and Archives (below) to be of Riverstown House in County Cork, which is very similar.

Newman House 1953, Dublin City Library and Archives. [5]
Lafranchini plasterwork, Riverstown, County Cork. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Christine Casey tells us that the stair is mahogany with finely crafted Tuscan balusters and carved tread ends. The upper stair hall, she tells us, was much altered in the nineteenth century and a reconstruction of its ceiling and plasterwork was recently installed, based on an outline of the original scheme found behind the nineteenth century plaster.

Staircase of 85 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Floating mahogany staircase in 85 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This is the crest of the La Touche family, who later owned into 85 St Stephen’s Green. George La Touche lived in 85 St. Stephen’s Green in the 1820s. [5] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

At the head of the stair is the ante-room to the saloon, which was much altered c. 1830 by Judge Nicholas Ball (the last private owner), who cut through the ceiling and created an elegant top-lit galleried library. A large extension with a canted bow was built across the back wall of the house in the early nineteenth century, creating a new reception room on each floor, blocking the light into the now windowless ground floor parlour and first floor ante-room.

The ante-room in 85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green, portrait of Valentine Lawless, 2nd Baron Cloncurry, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The toplit galleried library ante-room in 85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Great Room or Saloon is the full width of the house and overlooks St. Stephen’s Green. The stucco work is by the Lafranchini brothers Paolo and Filippo. The room is entered by a pair of Corinthian doorcases. It is lit by a central Venetian window flanked by two sash windows, all with Corinthian frames.

Newman House 1953, Dublin City Library and Archives. A layer of plasterwork has been added below the dentil cornice in this photograph, as we can see in my photographs. [2]

The frieze below the dentil cornice was deed relatively recently and was copied from the saloon frieze at Tyrone House. [see 3]

The cove, Christine Casey tells us, is ornamented with six lobed ovals containing figure groups, two on each of the long walls and one at each end. These are linked by a frieze of putti who grasp and swing from the oak garlands!

The Saloon in 85 St Stephen’s Green occupies the full width of the front. It has a high relief coved ceiling, a masterpiece by the Swiss Lafranchini brothers Paolo (1695-1776) and Filippo (1702-79). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Venetian window of 85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Richard Castle’s grand late Baroque chimneypiece, reconstructed by Dick Reid of York on the basis of an early twentieth century survey and a surviving fragment, 85 St. Stephen’s Green. [see 3] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The figures of Prudence and Justice at each end of the room derive from paintings by Simon Vouet in the Salon de Mars at Versailles, Christine Casey tells us.

85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
At some point, the Jesuits took over 85 St Stephen’s Green. They did not like all of the naked women in the plasterwork so they gave the women “bodices.” Most were later removed when the plasterwork was restored but one bodice was left on, as you can see above, to show how they were done! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Putti swinging on garlands of oak leaves, 85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The canted bow room at the back of 85 St. Stephen’s Green looks on to the Iveagh Gardens.

The back part of 85 St Stephen’s Green is a later addition, including this room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
85 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The view of the garden from this room, and beyond, to the Iveagh Gardens. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

From this room we went through a narrow door cut in the wall and up a flight of stairs to the Bishop’s Room, which is back in 86 St Stephen’s Green.

The main part of the Museum of Literature is in back rooms of number 86.

86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green.
That’s James Joyce near the tree on the left, second from the tree at the back.
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

After our house tour we browsed the Museum, then went for a delicious sandwich in the cafe and sat in the gardens.

85/86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The back of 86 St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://theirishaesthete.com/2014/11/17/the-most-beautiful-room-in-ireland/

[2] https://theirishaesthete.com/2015/02/25/virtuosic/

[3] Casey, Christine. The Buildings of Ireland: Dublin. The City Within the Grand and Royal Canals and the Circular Road with the Phoenix Park. Yale University Press, New Haven and London, 2005.

[4] p. 125, O’Toole, Jimmy, The Carlow Gentry: What will the neighbours say! Published by Jimmy O’Toole, Carlow, Ireland, 1993. Printed by Leinster Leader Ltd, Naas, Kildare. 

[5] Dublin City Library and Archives. https://repository.dri.ie

[6] https://www.greystonesahs.org/gahs3/index.php/talks-and-visits?view=article&id=214

Kinnitty Castle (formerly Castle Bernard), Kinnity, County Offaly – now a hotel

donation

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

Kinnitty Castle (formerly Castle Bernard), Kinnity, County Offaly

https://www.kinnittycastlehotel.com/index.html

Kinnitty Castle Hotel, 2014, photographer unknown, for Tourism Ireland, Ireland’s Content Pool. [1]

We treated ourselves to a stay in Kinnitty Castle in February 2023. Formerly a home, it is now a hotel.

The website used to include a history, which told us that the present building was originally built by William O’Carroll on the site of an old Abbey in 1630. The building we see today, however, received a major reconstruction by architect brothers James (1779-1877) and George Richard Pain (1793-1838) in 1833. You can see traces of the Abbey in the courtyard.

A finely cut ogee-headed window set in the wall, Andrew Tierney tells us, attests to the fact that the site was occupied in medieval times. Pointed arched entrance to former stable yard and screen wall incorporate part of fifteenth-century church. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There is a ninth or tenth-century high cross in front of the hotel, which must have been from the grounds of the Abbey.

The ninth or tenth century high cross.
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In 1641 the castle was confiscated from William O’Carroll, as he must have played a part in the 1641 rebellion. The land was granted in 1663 by King Charles II to Colonel Thomas Winter for his military service.

The Stable yard is in use as a banqueting hall, called the Great Hall of the O’Carrolls, and kitchens.

There’s even an arrow loop in the ruins by the stable yard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The stableyard of Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Banqueting Hall in the stable yard of Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Banqueting Hall of Kinnitty Castle has a mezzanine, or Minstrels Gallery. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Banqueting Hall of Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There’s an impressive looking fireplace in the banqueting hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues, telling us that the Winter family sold the building in 1764 to the Bernards of County Carlow.

Andrew Tierney tells us in his The Buildings of Ireland Central Leinster that Franks Bernard (named after the surname “Franks”), a son of Charles Bernard of Bernard’s Grove, County Laois (now called Blandsfort), leased a small estate here in the early eighteenth century. Either he or his nephew Thomas (d. 1788) probably built the modest T-plan house that forms the core of the castle.

There is another Castle Bernard in County Cork – this seems to have belonged to a different Bernard family.

The castle website tells us that it was Catherine Hely Hutchinson (d. 1844, daughter of Francis Hely Hutchinson, MP for Naas, County Kildare), wife of Colonel Thomas Bernard (d. 1834), who hired the Pain brothers, James and George Pain, to renovate the building, in 1833 (according to Mark Bence-Jones).

Kinnitty Castle, County Offaly, 9th February 2023. The National Inventory tells us that the oriel window over the castellated entrance porch was added at a later date. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

James and George Pain were architects of the impressive Mitchellstown Castle, unfortunately no longer existing.

Mitchelstown Castle, County Cork, designed by the Pain brothers, courtesy of the National Library of Ireland, Lawrence PHotographic Collection, photographer Robert French ca. 1865-1914 ref. NLI L_ROY_01072.

We saw work by the Pain brothers on a visit to Revenue section 482 property Loughton in County Offaly – see my entry https://irishhistorichouses.com/2020/11/01/loughton-house-moneygall-county-offaly/ Loughton is not Tudor Gothic like Kinnitty.

Loughton, County Offaly. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

James and George were sons of James Pain, an English builder and surveyor. Their Grandfather William Pain was the author of a series of builder’s pattern books, so they had architecture in the blood. According to the Dictionary of Irish Architects, James and his younger brother George Richard were both pupils of John Nash, one of the foremost British architects of his day, responsible for the design of many important areas of London including Marble Arch, Regent Street and Buckingham Palace. He was architect to the prolific lover of architecture the Prince Regent, later King George IV. When Nash designed Lough Cutra Castle in County Galway for Charles Vereker in 1811, he recommended that the two brothers should be placed in charge of the work, so it was at this time that they came to Ireland. Lough Cutra is an amazing looking castle privately owned which is available for self-catering rental (very expensive, I am sure! But for those of you with oodles of money to spend, or for an event that requires nine bedrooms…). [2]

Lough Cutra castle, County Galway, also designed by the Pain brothers, photograph from Lough Cutra website.

James Pain settled in Limerick and George in Cork, but they worked together on a large number of buildings – churches (both Catholic and Protestant), country houses, court houses, gaols and bridges – almost all of them in the south and west of Ireland. [3] In 1823 James Pain was appointed architect to the Board of First Fruits for Munster, responsible for all the churches and glebe houses in the province.

The Pains Gothicized and castellated Dromoland Castle in County Clare at some time from 1819-1838, now a luxury hotel. [4]

Dromoland Castle, County Clare, which was renvoated by the Pain brothers, photo care of Dromoland Castle, for Tourism Ireland 2019, Ireland’s Content Pool.

The Pains took their Gothicizing skills then to Mitchelstown Castle in 1823-25. In 1825 they also worked on Convamore (Ballyhooly) Castle but that is now a ruin. They also probably worked on Quinville in County Clare and also Curragh Chase in County Limerick (now derelict after a fire in 1941), Blackrock Castle in County Cork (now a science centre, museum and observatory which you can visit [7]), they did some work for Adare Manor in County Limerick (also now a luxury hotel), Clarina Park in Limerick (also, unfortunately, demolished, but you can get a taste of what it must have been like from its gate lodge), Fort William in County Waterford, and they probably designed the Gothicization and castellation of Ash Hill Towers in County Limerick (a section 482 property and with lovely tourist accommodation, see my entry https://irishhistorichouses.com/2023/04/06/ash-hill-kilmallock-co-limerick/), alterations and castellation of Knappogue Castle, County Clare (you can also visit and stay, or attend a medieval style banquet), Aughrane Castle mansion in County Galway (demolished – Bagots used to own it, I don’t know if we are related!), a castellated tower on Glenwilliam Castle, County Limerick and more.

Curragh Chase, County Limerick garden front 1938, also designed by the Pain brothers, like Loughton it is classical rather than Tudor Gothic, photograph from 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.
Fortwilliam, Glencairn, Lismore, Co Waterford courtesy Michael H. Daniels and Co., also designed by the Pains in Tudor Gothic style.
Knappogue, or Knoppogue, Castle, County Clare, also designed by the Pains.
Kinnity Castle (Castle Bernard) County Offaly, photograph by Robert French, Lawrence c. 1865-1914 Photographic Collection National Library of Ireland ref L_Cab_09230.

In his 1988 book A Guide to Irish Country Houses, Mark Bence-Jones writes about Kinnitty Castle, formerly named Castle Bernard, that it is a Tudor-Revival castle of 1833, with impressive entrance front with gables, oriels and tracery windows and an octagonal corner tower with battlements and crockets; all in smooth ashlar. [5]

Kinnitty Castle Hotel, 2014, photographer unknown, for Tourism Ireland, Ireland’s Content Pool. (see [1])

The National Inventory describes it:

Ashlar limestone walls with castellated parapet, carved limestone plinth course and continuous string course to parapet. Battered walls to basement level. Square-headed window openings with tooled limestone and sandstone label mouldings, chamfered surrounds and punched limestone sills. Castellated box bay to second bay from north-east rising from basement level to first floor with chamfered stone mullions. Oriel window above entrance added at later date.”

Battered walls at basement are walls that slant outwards. This was a traditional building feature of castles, so that stones could be dropped from above and they would not fall straight down but hit the battered walls and bounce outwards to hit intruders.

The stone finials on top of the porch are particularly impressive. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Mark Bence-Jones defines an oriel window as a large projecting window in Gothic, Tudor, Gothic-Revival and Tudor-Revival architecture; sometimes rising through two or more storeys, sometimes in an upper storey only and carried on corbelling. This particular window is not carried on corbels.

Kinnitty Castle, February 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory continues: “Single-storey castellated entrance porch with diagonal buttresses surmounted by pinnacles with crockets and finials. Tudor arched opening to porch with label moulding accessed rendered porch with ribbed ceiling, niches to side walls and tooled limestone bell surround and post box flanking door. Square-headed door opening with chamfered limestone surround and label moulding, sandstone threshold and timber double doors.

The Tudor arch opening to porch with “label moulding” over, and you can see the ribbed ceiling inside. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I love the rather church-like configuration of the three narrow pointed headed windows at the top arranged to form an arch. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Side of Kinnitty Castle, February 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Before he married Catherine, Thomas Bernard, MP for County Offaly, married Elizabeth, daughter of Henry Prittie, 1st Baron Dunalley of Kilboy, County Tipperary. She died in 1802 and he married for a second time in 1814. He began building work on his house in 1833 but died the following year.

Thomas and Catherine had several children. Their heir was Thomas Bernard (1816-1882). Other sons were Francis, Richard Wellesley, and John Henry Scrope, and daughter Margaret.

Thomas Bernard (1816-1882), son of Catherine née Hely Hutchinson and Thomas Bernard (d. 1834).

Nearby the Bernard family have an unusual pyramid-shaped mausoleum. Richard Wellesley Bernard (c. 1822-1877) completed his military training in Egypt. He was an architect and engineer and it is said that he built the pyramid between 1830-34 but he would have been only eight years old, so perhaps it was constructed by an earlier Bernard. It is an exact replica of the Egyptian pyramid of Cheop.

Richard Wellesley Bernard (1822-1877) in early 1860s, National Portrait Gallery of London ref. Ax196557.
The Kinnitty Bernard mausoleum. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues: “The building was burned in 1922 by Republican forces and rebuilt by means of a Government grant of £32,000 in 1927.

The Buildings of Ireland Central Leinster book by Andrew Tierney tells us that the castle was rebuilt by Joseph John Bruntz. He was born in Dublin. The Dictionary of Irish Architects tells us that he was a pupil in his father’s office for four years and remained as an assistant for a further three years. After starting to practise independently as an architect circa 1915, he moved in 1917 or 1918 to Edenderry, Co. Offaly, where he set up an office. From 1922 he held the position of architect and civil engineer to the Co. Offaly Board of Health.

The website continues: “The building became the property of Lord Decies in 1946. He in turn sold it and the estate to the Government of Ireland on 12th December 1951. The State used the castle as a Forestry Training centre from 1955 until it was purchased in 1994 and turned into a 37 bedroom luxurious hotel for all guests both locally and internationally to enjoy.

Arthur George Marcus Douglas De La Poer Beresford (1915-1992), 6th Lord Decies, bought the property in 1946. He sold it in 1951.

It is a wonderful and affordable hotel, full of character.

The front entrance to Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A suit of armour stands watch by the door. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance hall and reception of Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The impressive staircase of Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I love the angels on this overhead light. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The stair hall is toplit. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kinnitty Castle, February 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There’s a lovely fireplace in the blue drawing room and a painting of the castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Blue drawing room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kinnitty Castle Hotel, 2014, photographer unknown, for Tourism Ireland, Ireland’s Content Pool. (see [1])
This room is now a dining room, 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dining room leads to the octagonal tower room. The room has a vaulted ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Library Bar in Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kinnitty Castle Hotel, 2014, photographer unknown, for Tourism Ireland, Ireland’s Content Pool. (see [1])
A hallway upstairs at Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
We gravitated toward the bookshelf at the top of the stairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Another hallway in Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Our lovely bedroom at Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There’s a bar in the cellar of the hotel, called the Dungeon Bar.

The back stairs of the castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Dungeon Bar in the basement of the hotel. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Dungeon Bar at Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A snug in the Dungeon Bar. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
An old horse trough in the rather ecclesiastical bar looks for a moment like a coffin! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The atmospheric Dungeon Bar at Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There are still meat hooks on the vaulted ceiling of the cellar. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The River Camcor winds through the property.

A map of the Demesne at Kinnitty.
The River Camcor crosses the property at Kinnity Castle, and one can go for lovely walks in the grounds, along the river. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Single-spire wire suspension footbridge, built c.1840, over the River Camcor within the demesne of Kinnitty Castle. The bridge is hung from cast-iron columns, and is accessed through a wrought-iron gate with iron circular framing. The Manufacturer’s name ‘T & D Roberts’ is on a downstream upright. It is one of only two suspension bridges in Offaly (the other is at Birr Castle demesne) and one of several footbridges with Kinnitty Castle demesne. It is a rare surviving example of a multiple-wire cable suspension bridge, and the National Inventory tells us it is significant because of its association with the Mountmellick Foundry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The bridge has odd sunburst decorative iron circular framing at one end. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Single-span metal lattice footbridge, c.1900, over the River Camcor in the grounds of Kinnitty Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This could be the “back lodge” referred to by Andrew Tierney. If so, he suggests that it too could have been designed by the Pain brothers, who had supervised the work of John Nash, who designed the Swiss Cottage in County Tipperary (see my entry under Places to Visit and Stay in County Tipperary). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The gate lodge at Kinnity used to be the Day Spa but is was empty when we visited in February 2023, perhaps a victim of Covid. The National Inventory tells us that it was built around 1835. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://www.irelandscontentpool.com/en

[2] http://www.loughcutra.com/

[3] https://www.dia.ie/architects/view/2640/PAIN-JAMES

[4] https://www.dromoland.ie/

[5] p. 62 (under Castle Bernard), 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.

Tintern Abbey, County Wexford – an OPW property

Tintern Abbey, County Wexford

Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

General information: 051 562650, tinternabbey@opw.ie

donation

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

We visited Tintern Abbey when we were in Wexford in May 2023. We visited again recently as it had rained on our previous visit and we didn’t get to to go to Colclough walled garden, so we made a beeline for the walled garden on our second visit.

Tintern Abbey, photograph by Brian Morrison, 2017 for Tourism Ireland, Ireland’s Content Pool. [see 1]
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey and Colclough Walled Garden.

The Abbey was converted into a residence after the Dissolution of the Monasteries in King Henry VIII’s time. When the Abbey was gifted to the state, the Irish Board of Works immediately demolished the residence, so that the building was left a ruin. It was only two decades later that the Board of Works began to conserve the property.

Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The OPW website https://heritageireland.ie/visit/places-to-visit/tintern-abbey/ tells us that the Abbey was founded as a Cistercian monastery around the year 1200 by William Marshall, 1st Earl of Pembroke, who became Lord of Leinster as he married Isabella de Clare, the daughter of “Strongbow,” Richard de Clare, 2nd Earl of Pembroke. Marshall vowed to create an abbey wherever he could safely land in Ireland during a storm, and he landed in Bannow Bay. Tintern Abbey is located at the head of a small inlet of the sea, next to a stream that provided fresh water. The Abbey was founded as a “daughter house” of Tintern Abbey in Wales, made famous by poet William Wordsworth. To distinguish it from the Welsh abbey, Wexford’s Abbey was also called “Tintern de Voto” meaning “of the vow.”

OPW notice board. Reconstruction drawings by Daniel Tietzsch-Tyler.
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The story of the marriage of William Marshall and Isabel de Clare.

After the dissolution of the monasteries by Thomas Cromwell and King Henry VIII, Tintern Abbey was granted to a soldier, Anthony Colclough (d. 1584).

Information boards tell us about the history of the Abbey and the Cistercian Order, which was based on a strict interpretation of Benedictine rule. The monks would have lived according to a spartan routine of prayer and manual labour. Most of the difficult tasks were carried out by lay brothers. The practice of having lay brothers began because initially the monks wanted to cut themselves off from the outside world and did not allow lay people on their land. However, they needed labourers, so the lay ministry was formed. Some of these lay brothers may have lived nearby in Rathumney Hall, or Castle, now a ruin. Lay brothers often lived in out-farms or “granges,” which would have their own hall, dormitory, kitchen and chapel, and the brothers would then join the monks at the Abbey at weekends.

Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, situated at the top of an inlet.
Tintern Abbey, photograph by Celtic Routes, 2019 for Tourism Ireland, Ireland’s Content Pool. [see 1]

Information boards tell us of the various phases of the Abbey. It would have been built first by lay monks, and later by the mid 1200s, by professional masons.

Tintern Abbey, County Wexford, May 2023. Reconstruction drawings by Daniel Tietzsch-Tyler.
Tintern Abbey, County Wexford, May 2023.
Makers Marks, from as early as the 1200s, Tintern Abbey, County Wexford, May 2023.

Cistercian simplicity was reflected in their buildings, of strong form and good building techniques. In 1140, Malachy, Bishop of Down, visited Bernard of Clairvaux. Bernard sent helped to establish the Cistercian monastery in Mellifont, County Louth, and by 1169 Ireland had fourteen Cistercian settlements. The Anglo Normans established a further ten in the fifty years after 1169, including Dunbrody Abbey, another Cistercian monastery near Tintern Abbey.

The Cistercians built according to well-established convention. The churches consisted of an aisled nave and presbytery with north and south transepts. A tower was not a usual feature. The cloister was south of the church and was surrounded by buildings such as the infirmary, dormitory, kitchen, guest house and scriptorium.

Tintern Abbey, County Wexford, May 2023. Reconstruction drawings by Daniel Tietzsch-Tyler.
The large window at the east end of the chancel of Tintern Abbey, probably built by 1325. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The large window at the east end of the chancel of Tintern Abbey, probably built by 1325. The sloping window cill next to the tower would have accommodated the north transept and chapel. These may never have been built, as there is no evidence. The stepped battlements were probably added at a later date. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The sloping window cill next to the tower would have accommodated the north transept and chapel. Tintern Abbey, County Wexford, May 2023. Above the windows are the carved corbel tables. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
See the carved heads above the window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023.

The monks were interested in farming and adopted the latest methods.

Tintern Abbey, County Wexford, May 2023. Reconstruction drawings by Daniel Tietzsch-Tyler.
Tower, Nave and South Trancept, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The nave, chancel, tower, chapel and cloister still stand. The nave has lost its aisles and clerestory, but still has three bays of plain arches.

Tower and south trancept, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Nave, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Facing the tower from the nave, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tower and Nave, Tintern Abbey, photograph by Brian Morrison, 2017 for Tourism Ireland, Ireland’s Content Pool. [see 1]
Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sculpture was not encouraged in Cistercian buildings but Tintern has a few fine surviving examples. A carved corbel table remains, which contains twenty four carved heads, some human, some monstrous.

Carved heads above the window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carved heads above the window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023.
Picture of carving in Tintern Abbey.

In the 16th century the old abbey was granted to the Colclough family (pronounced Coakley) and soon after the church was partly converted into living quarters and further adapted over the centuries. The Colcloughs occupied the abbey from the sixteenth century until the mid-twentieth.

The nave contained the main residence of the Colclough family.
Renovations and excavation at Tintern Abbey.
Tintern Abbey, County Wexford, May 2023.

A chapter by Sean Clooney about Tintern Abbey in Tintern Abbey County Wexford, Cistercians and Colcloughs, Eight Centuries of Occupation, 1st Edition edited by Kevin Whelan, 2nd Edition edited by Anne Finn, tells us that Anthony Colclough, much like King Henry VIII, divorced his first wife! He divorced Thomasine Sutton in 1547 and married Clare Agard. He converted the tower of the abbey into a fortified tower house. A fire in 1562 had destroyed many of the other buildings. He also built the unique fortified bridge nearby.

The fortified bridge built by Anthony Colclough by Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The fortified bridge built by Anthony Colclough by Tintern Abbey, County Wexford, March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

He is buried in the small ruined church a few hundred metres south east of the abbey. The plaque in this church reads:

Here lieth the body Syr Anthony Colclought Knight, eldest sune of Richard Colclought of Wolstanton in Stafordshire Esquier who came first into this land in the 34 yere of Henry the 8 and then was Captayn of the Pensioners in which place and others of greater charge he continued a most faythful serviter during the life of Edward the VI and Queen Mary and until the XXVI yer of our most noble Queen Elisabeth and then died the IX of December 1584. He left his wife, Clare Agare, daughter of Thomas Agare Esquier 7 sonns, Frances, Ratlife, Anthony, Syr Thomas Colclough, Knight, John, Matew, Lenard and 5 doghters, Jaqnet who married to Nicholas Walsh Esquier of the Priveie Counsayle and one of the Justice of the Kings Bench in Ireland; Fraunc married to William Smethwike of Smethwik in Cheshier; Clare married to William Snead of Brodwal in Stafordshire Esquier; Elinor died iunge.”

Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Anthony’s son Thomas continued to develop Tintern, and is said to have established oyster beds in Bannow Bay. He married, first, Martha Loftus, daughter of Adam Loftus, Protestant Archbishop of Dublin. Their son Adam was raised to the baronetcy as 1st Baronet of Tintern Abbey. Thomas’s second wife, Eleanor Bagenal, was Catholic. After her husband’s death, she married Lucas Plunkett, 1st Earl of Fingall. Thomas’s son by his second marriage inherited lands at Duffry, where Duffry Hall was built by his grandson Patrick Colclough (d. 1691).

Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, May 2023. Reconstruction drawings by Daniel Tietzsch-Tyler.
Colclough family tree, in Tintern Abbey County Wexford, Cistercians and Colcloughs, Eight Centuries of Occupation, 1st Edition edited by Kevin Whelan, 2nd Edition.

During the 1641 rebellion 200 local Protestant people took refuge in Tintern which was garrisoned by forty soldiers from Duncannon Fort situated nearby. At that time Tintern would have been inhabited by the 2nd Baronet, Caesar Colclough (d. 1684). Shortly afterwards the Catholic branch of the family laid siege to the Protestant branch who were in residence in Tintern Abbey. [2]

The Catholic branch who took control of the abbey following a two-week siege included Dudley Colclough (1613-1663), who had married Katherine Esmonde of Johnstown Castle, and his two brothers John and Anthony (who married Mary Esmonde from Johnstown Castle). Following Oliver Cromwell’s arrival in 1649 Dudley was banished to Connaught and he ultimately died in exile in France.

The 3rd Baronet of Tintern Abbey, Caesar (1650-1687) had no heir so the title expired and the lands passed to his sister Margaret. She married firstly, in 1673, Robert Leigh, of Rosegarland, who thereupon assumed the surname of Colclough; and secondly, in 1696, John Pigott, of Kilfinney, County Limerick, who also assumed the surname of Colclough.

Caesar Colclough (d. 1766), known as “Great Caesar,” great-grandson of Catholic Dudley who had rebelled in 1641, united the properties. His grandfather, Patrick Colclough of Duffry Hall, married Katherine Bagenal of Dunleckney, County Carlow. Patrick Colclough was Catholic and very active in the Jacobite cause and was attainted of High Treason and outlawed by King William III but he died in 1691, before the attainder passed into law, so his eldest son was able to inherit his estates. His son Dudley (d. 1712) was brought up in the Protestant faith. [3] He married Mary Barnewall, granddaughter of Nicholas Barnewall, 1st Viscount Barnewall of Kingsland. The Great Caesar was their son.

The “Great Caesar” was a great sportsman and generous landlord. He brought a team of men to play hurling in front of King George. The team wore a yellow sash to distinguish them from the opposition, and the king or queen called out, “Come on the yellow bellies!” and from then on, Wexford men are called “yellow bellies.”

Caesar’s second wife, Henrietta Vesey, was the great-granddaughter of King Charles II, granddaughter of Mary Walters de Crofts, illegitimate daughter of Charles II.

Upon the Great Caesar’s death in 1766, the Tintern estates passed to his grandson Vesey, and the Duffry estates passed to his younger son Adam. Vesey Colclough (1745-1794) married Catherine Grogan of Johnstown Castle in County Wexford. It was not a happy marriage and they separated, but Vesey remained in Tintern and transformed the chancel of the abbey into a residence. He was extravagant in his lifestyle, however, and his son John had to extricate himself from debt accrued.

OPW notice board. Reconstruction drawings by Daniel Tietzsch-Tyler.
Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

John did more renovations of the abbey, constructing a second storey over the south transept aisle, which was known as the Lady Chapel. The lower storey held a kitchen and above, a library, wiht a massive Gothic window facing the sea.

Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford.
The library window, Tintern Abbey, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The large traceried window being restored.
The old library with its large window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

However, when John was standing for election he was shot dead in a duel in 1807 by William Alcock of Wilton Castle in County Wexford, an opponent in the election. Alcock was acquitted by a jury of his peers, but his mental health deteriorated.

Four Colcloughs died in duels. Thomas of Duffrey Hall was killed in a duel in 1690. Agmondisham, son of “Great Caesar,” was killed in a duel in 1758, and John Colclough of St. Kieran’s was killed in 1801 by Henry Loftus Tottenham of Loftus Hall, far down on the Hook Peninsula (a property that is again advertised for sale).

Tintern passed to John’s brother, another Caesar Colclough (1766-1843). He and his wife Jane Kirwan had no children, and some suspected his wife of killing him. She went on to marry Thomas Boyce. Her right to the property was challenged by the Colclough family. So many court cases were instigated that it has been said that it was one of the inspirations for Dickens’ “Jarndice vs Jarndice” in Bleak House.

Adam, the son of “Great Caesar” who inherited Duffry, had a son, Caesar, who died in 1822. He was Chief Justice of Prince Edward Island in Canada. It was his daughter, Mary, who married John Thomas Rossborough, who eventually gained ownership. Her husband took the name Colclough.

The Colclough family lived there until 1958, when it was presented to the state by Lucy Biddulph-Colclough.

The Board of Works that took on care of Tintern Abbey dismantled the residential part of the building: floors, doors and windows were taken out, the roof was taken off, and materials were sold by auction. It was only twenty years later that the Board of Work returned to preserve the abbey.

Tintern Abbey noticeboard. Reconstruction drawings by Daniel Tietzsch-Tyler.
Tintern before restoration work.
Tintern before restoration work.

When it was being restored, the roof of the tower was rebuilt. The coach house with the medieval gateway was restored to provide visitor facilities.

The restored coach house, in use for tourist facilities, at Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Lady Chapel was restored for use as an exhibition room.

Stephen in the stone vaulted Lady Chapel, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carved boss in the Lady Chapel vaulting, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Library was cleared out during restoration, including removing wood panelling. Wood panelling was later partly reinstated.

When the Abbey was converted into a residence, new flooring was added and the tower house was divided into rooms with wattle and daub timber frame screen walls and oak panelling fixed to the masonry walls. What remains of the oak panelling has been conserved and is now located on the first floor of the Crossing Tower. Dendrochronology dates the timbers to 1600-1620. It was known as “wainscotting.” It added warmth to the room.

Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
When converted to a residence, wooden-framed partition walls were added in the tower. The oak framework was infilled with panels of woven sticks “wattle” and caked with mud (“daub”) and painted.
Recovered oak panelling from 1600-1620, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023.
Wattle and daub, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The “wattle” for building was obtained by the practice of coppicing, Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
You can see how thick the walls are, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Display case in Tintern Abbey. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues: “Conservation works have included special measures to protect the local bat colonies. The abbey is set in a special area of conservation and is surrounded by woodland within which are walking trails. Not to be missed is the restored Colclough Walled Garden situated within the old estate.

Colclough walled garden, Tintern Abbey, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Colclough Walled garden, Tintern Abbey, photograph by Brian Morrison, 2017 for Tourism Ireland, Ireland’s Content Pool. [see 1]
Tintern Abbey, photograph by Brian Morrison, 2015 for Tourism Ireland, Ireland’s Content Pool. [see 1]

Following the donation of Tintern Abbey to the Irish State in 1959 the walled garden was abandoned to nature and became overgrown.  The gradual restoration of the walled garden by a team of volunteers began in 2010 and the 1830s layout shown on the Ordnance Survey was reinstated. The restored garden, which opened to the public in 2012, is divided into two sections: the Ornamental Garden and the Kitchen Garden. 

Garden at Tintern Abbey, photograph by Brian Morrison, 2017 for Tourism Ireland, Ireland’s Content Pool. [see 1]
Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://www.irelandscontentpool.com/en/media-assets/media/81101

[2] notes from Tintern website, by Breda Lynch.

[3] https://genealogy-and-you.com/onewebmedia/Colclough.pdf

See the sale of Loftus Hall, courtesy of Colliers.

Loftus Hall, County Wexford, for sale April 2025 courtesy Colliers.

Loftus Hall is a large, partly re-furbished country house which was built on the site of the original Redmond Hall. The property boasts one of the most scenic locations in the southeast with views over Hook Peninsula and the world famous Hook Lighthouse, providing the most stunning landscape which is steeped in history and reputed by locals to have been haunted the property. The property was purchased by the Quigley family in 2011 and run as a tourist attraction with guided tours of the property and seasonal events. In 2021 the property was bought by its current owners who had a masterplan to refurbish the original building over two phases. The estate has already undergone extensive renovations, with Phase 1 nearing completion, set to transform the property into an exclusive 22-bedroom luxury hotel with high-end amenities, extensive food and beverage facilities, and beautifully landscaped gardens. The vision for Phase 2, included an additional 56 bedroom hotel block, a gym and spa, dedicated wedding facilities, 33 standalone garden cottages and 10 eco pods strategically placed along the perimeter of the property.

Loftus Hall, County Wexford, for sale April 2025 courtesy Colliers.

Location Loftus Hall is located on the southern tip of Hook Peninsula, close to the famous Hook Lighthouse, one of the oldest operational lighthouses in the world. Loftus Hall offers an unparalleled location for exploring the beauty and history of County Wexford. Just 4km from the iconic Hook Lighthouse, 33km from the vibrant town of New Ross, 45km from Wexford and 51km from Waterford. The property is also in close proximity to several popular tourist destinations, including Passage East (17km) and Dunmore East (30km) and the charming nearby villages such as Hookless Village, Slade, and Fethard-On-Sea, all within easy access. The location is quite picturesque, making it a popular spot for visitors interested in history, architecture, and the paranormal. Main House Built originally between 1870 and 1871 on the site of Redmond Hall, which traces its history to 1350, Loftus Hall comprises a detached nine-bay, three storey house. The estate is situated on approximately 27.68 hectares (68 acres) with the house extending to a total gross internal area (GIA) of 2,460 sq.m (26,480 sq. ft). Loftus Hall is a protected structure under RPS Ref WCC0692 and under the NIAH Ref 15705401. The estate has already undergone extensive renovations, with Phase 1 nearing completion. The ground floor of the original building has been transformed to contain a large dining room, a cigar room and a number of guest lounge areas. When completed the restaurant will seat over 100 covers which will feature visibility of the chefs working with an open pass, an outside BBQ area and fire pit adjacent to the new restaurant area with the existing bar fully refurbished. The hotel bedrooms are finished to second fix over the first and second floors and are appointed with large ensuite bathrooms and with commanding and sweeping views out to sea. The vision for Phase 2 consists of the development of a permanent marquee erected on the grounds which will cater for up to 300 seated wedding guests, a gym & spa, a new hotel bedroom block which will contain up to 56 additional bedrooms, 33 standalone garden cottages, 10 eco pods wrapped around the perimeter of the property, a children’s playground, a herb and vegetable garden, over two hundred car park spaces in total between the front and rear of the development and a walkway that will allow guests to access the beach directly from the development. The Grounds The grounds are a feature of Loftus Hall and have been maintained to the highest standards throughout the refurbishment. The gardens at Loftus Hall, particularly the walled garden, were designed to thrive in the unique climate of the Hook Peninsula. The garden’s high walls provided a sheltered environment, allowing a variety of plants to flourish. Fruit trees were a significant feature, with mulberry trees being particularly successful. The sheltered environment also supported other fruit trees like apple and pear. Additionally, the garden likely included a variety of herbs and vegetables, which were essential for the estate’s kitchen. The garden’s design and plant selection reflect the practical needs and aesthetic preferences of the time, creating a space that was both beautiful and functional.

Woodhouse, County Waterford – private house, tourist accommodation in gate lodge and cottages

donation

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

We visited Woodhouse on a day trip with the Cork Chapter of the Irish Georgian Society on a gloriously sunny day on May 24th, 2023. The home owners Jim and Sally Thompson welcomed us into their home, and historian Marianna Lorenc delivered a wonderful talk about the history of the house and the family who lived there.

Woodhouse, May 2023. The house is private but you can stay in cottages. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

You can stay in the gate lodge or cottages.

https://woodhouseestate.com/

The Hayloft, Woodhouse, available for self-catering accommodation.
At Woodhouse, County Waterford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website tells us:

The original house was built in the early part of the 17th century by the Fitzgerald family (a branch of the MacThomas Geraldines of the Decies).

An old estate map of Woodhouse.
An information board in the museum.

While in the ownership of the Uniacke family it was passed by inheritance to the Beresford family and subsequently sold by Lord William Beresford in ca 1970. The House has since been extended over the years to become an impressive six bay window residence with bright and spacious rooms overlooking this private estate with the River Tay flowing through.”

The River Tay. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The River Tay. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website gives us a detailed description of the history of the house so I will quote it here:

The house of Woodhouse as we see it at present was built in at least three stages.

The first one dates back to early 1600’s and the Munster Plantation, when the Messenger for Court of Wards and Liveries, an English Protestant and Undertaker (in other words Planter), James Wallis Esq., rented the lands of Woodhouse, Carrigcrokie, Stradballymore, Ballykerogue and others from the fellow Elizabethan settler and land distributor Richard Beacon. The latter gentleman was awarded the lands of the Catholic FitzGerald family in Co. Limerick and Co. Waterford (Woodhouse) by the Queen in appreciation for having performed his duties as her majesty’s attorney for the province of Munster. After leasing the land James Wallis had built a fine stone house, a mill, a walled garden accompanied by a numerous outbuildings and weirs (river dams) in the river Tay. The original house was built in an Elizabethan style on a rectangular plan.

James Wallis (ca. 1570-1661).

During the 1641 Rebellion in Ireland, James Wallis Esq. was forced out of Woodhouse by rebels and despite his detailed Deposition made in 1642 describing the damage to his house and the loss of his goods, as well as the favourable court ruling in his favour in 1653, he never returned to the property.

At Woodhouse, County Waterford.

The 1654 Civil Survey states that the owner of Woodhouse was then Thomas FitzGerald. Two generations later his grandson Major Richard MacThomas FitzGerald (then of Prospect House in Kinsalebeg, Co. Waterford) was facing large debts and had no way of paying them back so he had to sell the house and lands in 1724. Richard MacThomas Fitzgerald received over £8000 for this property but could only retain £840 while the rest was required to cover his debts.

The new owner of Woodhouse was Richard MacThomas Fitzgerald’s distant relative and close neighbour Thomas Uniacke Esq. of Ballyvergin, Barnageehy and Youghal. It was then that the second phase of development for Woodhouse started. Thomas’ sons, Borr and Maurice Uniacke, invested heavily into renovating the dilapidated house and completely changed its character by developing it into a Georgian structure. There is no evidence to confirm who the architect of the changes was so it’s quite possible that the wealthy Uniacke family used the “Pattern Books” and hired traveling stonemasons to introduce the changes. The house was substantially enlarged and its functionality vastly changed. At this time the Woodhouse estate was is thought to have consisted of about 2500 acres in total.

What the house looked like, may be seen at one of Borr Uniacke’s granddaughter’s amateur painting which was likely done in the first half of 1800s.

Colonel Robert Uniacke (1756-1802).

Woodhouse remained with the Uniacke family for about 130 years but in 1853 the Estate changed hands again. It did not entirely leave the Uniacke family inasmuch as the last heiress of this branch of the family, Frances Constantia Uniacke, having inherited Woodhouse from her older brother, Robert Borr Uniacke in 1844, married George John Beresford the grandnephew of the 1st Marquess of Waterford. Frances and George John took on the responsibility for the house and had the house and the outbuildings further extended. Owing to his sufferings caused by severe gout, at the back of the main house he had built a Turkish bath. We also know that construction of the boat house in nearby Stradbally Cove (which in contemporary nautical charts was called the Blind Cove) was done at this time.

George John Beresford (1807-1864).

For almost a century after that Woodhouse did not see any major changes and once again it became in need of extensive work to save it. Most of the eight Beresford children of George John and Frances Beresford married but none of them had children of their own. In 1933, the last surviving daughter of the couple, Lady Emily Frances Louisa (Beresford) Hodson bequeathed Woodhouse (the main house, 550 acres of land and the village of Stradbally) to her distant cousin Lt. Lord Hugh Tristram de la Poer Beresford Royal Navy, the sixth child of the 6th Marquess of Waterford. At the time of Lady Hodson’s death Lord Hugh was Aide De Camp to the Governor General of South Africa, yet he still managed to order renovation works including the installation of electricity and running water to the house. There is an extensive written evidence of his endeavours, which describes the works undertaken.

Emily Frances Louisa (née Beresford) Hodson (1861-1934).
At Woodhouse, County Waterford.

In 1936 Lord Hugh Beresford made his last will and testament and bequeathed Woodhouse to his older brother Major Lord William Mostyn de la Poer Beresford. When in 1941 Lt. Cmdr. Lord Hugh Beresford was killed in action during the Battle of Crete, the will and testament were probated and when in 1944 Major Lord William Beresford returned from the war he took on Woodhouse, its lands and the village of Stradbally. Hence the third stage of structural development for Woodhouse began. Until his return however, the Estate was looked after by Arthur Hunt Esq. who had been the agent for the Beresford family since the late 1800s.

Upon his return from the war, Lord William Beresford moved into Woodhouse. He found the Estate to be quite run down and badly in need of repairs.

Lord William introduced considerable changes not only to the structure of the main house, but he also developed the land and garden in such a way that they yielded large crops. Every week he transported the rich surplus of vegetables, fruits and dairy products to Waterford where they were sold in the first Co-Op in town.

There is a beautiful bridge in the distance, on the property. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Lord William and his wife Rachel are remembered as a good and kind people who successfully ran Woodhouse as a working farm and they put all their energy into making it a self-sufficient establishment.”Lord William and his wife Rachel are remembered as a good and kind people who successfully ran Woodhouse as a working farm and they put all their energy into making it a self-sufficient establishment.

The year 1971 was the year when everything had changed for Woodhouse. It was the first time in 250 years that it was sold outside of the Fitzgerald/Uniacke/Beresford Anglo-Irish family. In that year Lord William sold the Estate to Mr. John McCoubrey who farmed and bred his cattle here and, thanks to the auspicious nature, he succeeded in that enterprise. However only one year later Mr. McCoubrey decided to move on and he, too, sold Woodhouse.

In 1972 Mr. John Rohan bought the house and all the lands. The new owner began extensive renovations to the main house and, being the Master of the Waterford Hunt, built stables for his horses and kennels for his dogs in the walled garden. He also purchased and installed the beautiful black gate at the main entrance to the Estate.

The impressive gates of Woodhouse, purchased and installed by John Rohan. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Ten years later, in 1983 Woodhouse changed hands again and was purchased as an investment by a company owned by Mr. Mahmoud Fustok and his associates from the Middle East. Mr. Fustok never occupied Woodhouse but chose to make it available to Dr John O’Connell, an Irish parliamentarian, and his friends. The house was adjusted to their style, but no major renovations took place between 1983 and 2006.  

After 23 years under Mr. Fustok’s ownership Woodhouse was purchased by two Irish business partners – Mr. Aidan Farrell and Mr. Charles O’Reilly-Hyland. After their purchase these two owners sold some land parcels of Woodhouse to interested parties and made some improvements to the Estate but did not make it their residence. Eventually in 2012 they decided to sell the entire estate.

The front door to the private house of Woodhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The new purchasers, Jim Thompson and his wife Sally, took on the task of renovating and modernizing the vastly run-down house, cottages, outbuildings and lands. Their initiative involved an enormous amount of effort and patience but ultimately was successful. The works extended into every part of the large Estate (500 acres) and was achieved over a period of six years with the support and encouragement of the people of Stradbally.

Inside this area is a museum about Woodhouse, a function room, and the Hayloft cottage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

After many years of being forgotten and with no sufficient means to sustain itself, Woodhouse was brought back to life by various experts – architectural, building, landscape, and farm – who guided the Thompsons through the long renovation process. This commitment to bring Woodhouse back to its former glory proved very successful and as of 2019 – 400 years after the house was originally built – Woodhouse is a vibrant estate once more.

The private home of Woodhouse, the rear entrance, with French doors from the kitchen. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
French doors from the kitchen. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The beautiful day showed the gardens to perfection. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
These lovely buildings house the museum and a function room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We gathered at the ancilliary buildings for coffee and a chat before Marianna’s introduction to the house’s history. She has published a book that was for sale, along with Julian Walton.

This houses the museum and function rooms. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ancilliary buildings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Woodhouse, County Waterford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ancilliary buildings at Woodhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The museum, upstairs in the ancilliary buildings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This was the walk between the museum and the main house. The gardens everywhere are beautiful and we couldn’t have had a finer day for our visit. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

After our talk, we visited the house and then the walled garden. The website tell us:

When Woodhouse changed hands in 2012 a project was undertaken to bring the walled garden back to its former glory. Today the Walled Garden and Orchard have a wide variety of fruits, vegetables, herbs and many types of flowers and, thanks to Paddy Kiely and his excellent team of skilled workmen, has developed in a place of beauty in tune with nature as it was planned when originally built. An oasis of calm and tranquility situated right in the centre of the Estate, the beautifully restored Walled Garden is a perfect venue for small intimate weddings and gatherings. Completely enclosed and surrounded by high stone walls the walled garden has flowers beds, beautiful green lawns, a raised pergola overlooking the entire garden and a soothing water feature. As well as providing a beautiful backdrop for weddings the Walled Garden is also an ideal venue for a variety of special events.  Whether you are looking to toast a birthday or anniversary or hold a charity event the Walled Garden adds a special atmosphere to any occasion.
For more information please get in touch
1woodhouseestate@gmail.com

The beautiful walled garden of Woodtown. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Events can be held in the buildings in the walled garden. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The beautiful walled garden of Woodhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The beautiful walled garden of Woodhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The beautiful walled garden of Woodhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The beautiful walled garden of Woodhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The beautiful walled garden of Woodhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The beautiful walled garden of Woodhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Beyond the walled garden in a further section is an orchard and greenhouse, and a house for chickens.

The orchard at Woodhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The greenhouse at Woodhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
At Woodhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Swiss Cottage, Ardfinnan Road, Cahir, County Tipperary – Office of Public Works

Swiss Cottage, Ardfinnan Road, Cahir, County Tipperary:

General Information: 052 744 1144, swisscottage@opw.ie

Swiss Cottage, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

donation

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

From the OPW website https://heritageireland.ie/visit/places-to-visit/swiss-cottage/:

The Swiss Cottage, just outside the heritage town of Cahir, is a cottage orné – a fanciful realisation of an idealised countryside cottage used for picnics, small soirees and fishing and hunting parties and was also a peaceful retreat for those who lived in the nearby big house.

Built in the early 1800s [around 1810] by Richard Butler, 1st Earl of Glengall, who, we believe, managed to persuade world-famous Regency architect John Nash to design it [he also designed Buckingham Palace for the Crown]. Originally, simply known as “The Cottage” it appears to have acquired its present name because it was thought to resemble an Alpine cottage.

Inside, there is a graceful spiral staircase and some exquisitely decorated rooms. The wallpaper is partly original and partly the fruit of a 1980s restoration project, in which the renowned fashion designer Sybil Connolly was responsible for the interiors.

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

We visited the Swiss Cottage in June 2022. The guide told us that the Glengalls probably never even spent a night in their cottage! They used it for entertaining. They lived in the town of Cahir, in what is now Cahir House Hotel, a house that was more comfortable than Cahir Castle, which they also owned.

Richard Butler (1775-1819) 1st Earl of Glengall was the 12th Baron Caher. He was the illegitimate son of James Butler, 11th Baron Caher (d. 1788). The Butlers sent him away with his mother to France to prevent his ever learning of his noble lineage and claims to his family’s title.

His father succeeded his distant cousin Piers Butler (1726-1788) as 11th Baron Caher, as Piers had no offspring. However, the 11th Baron died suddenly the following month with no legitimate son, so Richard became the rightful heir to the title. Unaware of his inheritance, he grew up in poverty in a garret in Paris, where his mother was obliged to winnow corn and occasionally beg for subsistence. [1] 

One day Arabella Jefferyes née Fitzgibbon, sister of the Lord Chancellor John Fitzgibbon, wife of James St John Jefferyes of Blarney Castle, Co. Cork, was passing through Cahir and heard about the illegitimate son of the 11th Baron Caher. She determined to go to Paris to find the young man!

She managed to find him and brought him back to Ireland. Probably with the assistance of her brother, she brought the case before the courts and succeeded in having Richard declared the rightful heir of the Caher title and estate. This must have been a large fortune, for she then arranged to have her youngest daughter Emily, who was eight years his senior, marry the newly discovered Lord Caher, despite the fact that Richard Butler was not yet of an age to be married, being just 18 years old. The Lord Chancellor was furious and threatened to put his sister in gaol! However, he did not, and the marriage was allowed.

The Dictionary of Irish Biography tells us that Richard, probably under pressure from his mother-in-law, renounced his Catholicism and converted to the established church. He was accepted readily into society, and became governor of County Tipperary and a trustee of the board of the linen manufacturers. [see 1].

Richard was a representative peer (baron) in the UK parliament from 1801, and was created Viscount Caher and Earl of Glengall on 22 January 1816. He remained till his death a loyal supporter of the government and regularly voted against any pro-Catholic proposals, the Dictionary of Irish Biography tells us.

A Swiss Cottage, or cottage ornee, was the ultimate in impressive entertainment. It was meant to look like it had grown from the ground, and it was designed deliberately off-kilter and asymmetrical with different windows, wavy rooves, oddly shaped rooms. Even the expensive floorboards were painted to look like they were made of a cheaper wood!

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

The National Inventory describes it:

The building, constructed as an architectural toy, was used as a lodge for entertainment purposes and was designed specifically to blend with nature. The roof pitches and tosses and varies in length while differing window sizes and openings punctuate it. The verandah and balconies, although luxury features, have been fashioned to appear humble with exposed rustic tree trunk pillars. The asymmetrical design of the cottage, although immediately apparent of architectural detailing, is deliberately flawed and distorted to appear unsophisticated. Both the building and its setting right down to its cast-iron rustic fencing maintains a sense of blending with nature as it was originally designed.” [2]

Swiss Cottage, photograph from the National Library of Ireland.
Timber rustic oak posts with triangular arch detailing between posts to verandahs and to bowed bay, having latticework rail to balcony. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Unfortunately we were not allowed to take photographs inside. I took a few photographs looking through the windows. There are a few photographs on the OPW website, which I copy here.

The timber spiral staircase in the extremely plain front hall. The plainness is deceptive, however, as it has an expensive cobweb patterned parquet floor. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Downstairs has a room off either side of the hallway, the Dufour Room and the Music Room. The Dufour room is so called due to some original Dufour wallpaper, depicting Constantinople, much of which has been reproduced to line the room. Dufour was one of the first Parisian manufacturers creating commercially produced wallpaper. Another door from the central hall leads to a limestone stairway and basement.

Looking through the windows, to the wonderful wallpaper, a reproduction of the original which pictures Oriental scenes. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Dufour room is so called due to some original Dufour wallpaper, depicting Constantinople, much of which has been reproduced to line the room. The Swiss Cottage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Swiss Cottage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Music Room, Swiss Cottage, photograph courtesy of Office of Public Works.

The first floor interior comprises a landing with rooms leading directly to the west (Small bedroom) and east (Master bedroom) through angular-headed timber panelled doors.

Master bedroom, Swiss Cottage, photograph courtesy of Office of Public Works.
Small bedroom, Swiss Cottage, photograph courtesy of Office of Public Works.

Every window has a different shape.

Swiss Cottage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Swiss Cottage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Swiss Cottage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Walking under the balcony one is embraced with the glorious scent of the roses and other flowers.

Swiss Cottage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Swiss Cottage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Richard and Emily had one son and three daughters. His son Richard, Viscount Caher (b. 17 May 1794), was elected MP for Tipperary county in 1818, and succeeded his father as 2nd Earl of Glengall. Emily survived Richard by seventeen years, passing away (2 May 1836) in Grosvenor Square, Middlesex. [see 1]

Richard Butler (1794-1858) 2nd Earl of Glengall, by Richard James Lane, lithograph, 1854, National Portrait Gallery of London D22384.
Margaret Lauretta Butler (née Mellish), Countess of Glengall, wife of the 2nd Earl of Glengall by Richard James Lane courtesy of National Portrait Gallery London NPG D22383.
The setting for the cottage is idyllic, over the River Suir. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Even the wrought iron fencing and gate were made to look natural, like thorny vines. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Swiss Cottage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There is a walkway/cycleway/kayak way along the River Suir, which I’d love to walk.
River by the Swiss Cottage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://www.dib.ie/biography/butler-richard-a1286

[2] https://www.buildingsofireland.ie/buildings-search/building/22208107/swiss-cottage-kilcommon-more-north-tipperary-south