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Dunguaire is maintained by Shannon Heritage, which also owns Bunratty Castle, King Johns Castle in Limerick, Craggaunowen folk park, Knappogue Castle in County Clare, Dublin GPO Witness History and Malahide Castle and Gardens in Dublin. Stephen and I visited Dunguaire Castle in July 2021. The website currently tells us that it is temporarily closed.
Dunguaire is a tower house built in 1520 by the O’Hynes clan on the shores of Galway Bay. “Dun Guaire” is from Fort of Guaire; Guaire was King of Connaught in the sixth century. Inland lay forests, bogs and wolves, so people travelled at that time by boat.
Dunguaire Castle, County Clare, July 2021.Dunguaire Castle, County Clare, July 2021. This information board claims that it was Rory Mor O’Shaughnessy who built Dunguaire, around 1550.Dunguaire Castle, County Clare, July 2021.
A map in the castle showed us that from Galway in the 17th century, animal hides, tallow from fat, wool and salmon were exported to Spain and France, hare, squirrel, lamb and fox skins imported to Spain, kelp seaweed to France and England, Linen to New York (from flax) and pork and herring to colonies in Jamaica.
Galway would have obtained imports of salt from Portugal (although salt mines were also developed in Ireland), wine from France and Italy, iron, weapons, spices and calico from Spain, flax seed and tobacco from New York, potatoes from Delaware (!), and sugar, cotton and rum from the West Indies.
Another information board tells us that donkeys were brought to Ireland from Spain sometime during the seventeenth century.
The castle retains a small bawn and a second small tower.
Richard Martyn, Mayor of Galway in 1643-43, lived here until 1642 and the Martyn family, who also owned Tullira Castle in County Galway, continued to own Dunguaire castle through the eighteenth and nineteenth centuries and on until 1924. Richard Martyn is though to have modernised the building and added glass windows. Chimneys were added in the seventeenth century.
In 1924 Dunguaire was bought and repaired by Oliver St. John Gogarty, the famous surgeon and literary figure, who saved it from demolition. It became the venue for meetings of the literary revivalists such as W.B. Yeats, his patron Lady Gregory, George Bernard Shaw, Edward Martin and J.M. Synge. In 1954 the castle was acquired by Christobel Lady Amptill, who completed the restoration started by Oliver St. John Gogarty.
Oliver St. John Gogarty (1878-1957) painted by William Orpen.
Mark Bence-Jones tells us in his A Guide to Irish Country Houses (1988) that Lady Ampthill’s architect was Donal O’Neill Flanagan, “who carried out a most successful and sympathetic restoration. The only addition to the castle was an unobtrusive two storey wing joining the main tower to the smaller one. The main tower has two large vaulted rooms, one above the other, in its two lower storeys, which keep their original fireplaces; these were made into the dining room and drawing room.” [1]
She must have been a brave character to live in the tower all on her own! She sold it to the Shannon Development company in 1972. It was opened to visitors before that, however, when Lady Christobel owned it, according to another information board telling us that it was opened to visitors in 1962. Banquets began at the castle in 1968 – although I am sure there were many banquets in the castle before that!
[1] Mark Bence-Jones writes in A Guide to Irish Country Houses (1988):
p. 115. “(Martyn/LGI1912; Gogarty/IFR; Russell, Ampthill, B/PB) An old tower-house with a bawn and a smaller tower, on a creek of Galway Bay; which was for long roofless, though in other respects well maintained by the Martyn family, of Tulira, who owned it C18 and C19, and which was bought in the present century by Oliver St John Gogarty, the surgeon, writer and wit, to save it from threat of demolition. More recently, it was bought by the late Christabel, Lady Ampthill, and restored by her as her home; her architect, being Donal O’Neill Flanagan, who carried out a most successful and sympathetic restoration. The only addition to the castle was an unobtrusive two storey wing joining the main tower to the smaller one. The main tower has two large vaulted rooms, one above the other, in its two lower storeys, which keep their original fireplaces; these were made into the dining room and drawing room. “Medieval” banquets and entertainments are now held here.”
Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
Mark Bence-Jones. 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.
p. 254. “(Cramer-Roberts/LCI 1958; Close/LG1937 supp) A Georgian block of three storeys over basement, six bays long and five bays deep, with a parapeted roof and a strong-course under the top storey windows giving htem the effect of an attic. In the Victorian period, two single-storey three sided pilastered bows were added on one front, with a pilastered rectangular projection between them; and single-storey pilastered rectangular projections were added on the adjoining fronts, one of them having a pierced parapet and running the full depth of the house. Stylistically, these additions seem likely to have been to the design of George Ashlin. On the death of M.W.C. Cramer-Roberts 1939, Sallymount passed to his daughter, Mrs Maxwell Close, by whom it was sold. Now demolished.”
Family tree see Rev John (ne Cramer) Roberts.
Listed in 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.
p. 86. A large plain late 18C house with Victorian additions, built by the Cramer Roberts family. Demolished.
Sherlockstown, Sallins, Co Kildare
Mark Bence-Jones. 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.
Stacumny House, Celbridge, Co Kildare
Mark Bence-Jones. 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.
Mark Bence-Jones. 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.
Yeomanstown, Naas, Co Kildare
Mark Bence-Jones. 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.
Yeomanstown Lodge, Naas, Co Kildare
Mark Bence-Jones. 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.
St. Anne’s (also Thornhill), Clontarf, Dublin – ‘lost’
St. Anne’s, Dublin entrance front with garden party 1912, Gillman Collection, Vanishing Country Houses of Ireland by The Knight of Glin, David J. Griffin and Nicholas K. Robinson, published by The Irish Architectural Archive and The Irish Georgian Society, 1988.
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.
p. 252. “(Guinness, Bt/PB; Plunket, B/PB) The most palatial house to be built in Ireland during second half of C19; on the northern shore of Dublin Bay, approached by a long, straight avenue which crossed over a public road on its way. The original Georgian house here, known as Thornhill, was pulled down ca 1850 by Benjamin Guinness, afterwards the 1st Bt, head of the Guinness Brewery, and an Italianate house by Millard of Dublin built in its stead. Then, ca 1880, Sir Benjamin’s son Arthur, 1st and last Lord Ardilaun, doubled thehouse in size and made it into a palace comparable to the best of the mansions being built at that period in the USA by people such as the Vanderbilts, in taste no less than in grandeur… The architect of the building was James Franklin Fuller, the work being completed by George Ashlin…In the gardens, which were regarded as beautiful even by those who, like Lennox Robinson, thought the ouse too pretentious, there was a lakeside temple and a long clipped alley lined with statues. …When Lady Ardilaun died, 1925, St. Anne’s was inherited by her husband’s nephew, the Most Rev Hon Benjamin Plunket, former Bishop of Meath. Lady Gregory noted how Mrs Plunket was “very anxious to do what is right for Ireland by keeping up the place, 17 labourers paid every Saturday.” In 1939, however, St. Anne’s was acquired by Dublin Corporation, and in 1943, when it was being used as an ARP store – wits said as a store for firelighting equipment – the house was partially gutted by fire. It stood derelict until 1968, when it was completely demolished.”
Arthur Guinness (1768-1855) by Martin Cregan, courtesy of Adam’s auction 13 Oct 2015. Provenance: St. Annes, Clontarf, and by descent in the family. Arthur Guinness of Beaumont, J.P. (1768-1855), courtesy of National Gallery of Ireland.
Listed in 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.
p. 65. “…Rich interior; entrance hall with Roman Ionic columns leading to a vast top-lit inner hall, wiht a gallery supported on Roman Ionic columns. To the right was the imperial main staircase in marble and on the left a palm court. The house was further enlarged to the design of George Ashlin who also designed the stables…”
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.
p. 87. “Late Victorian house of roughhewn red sandstone ashlar with half-timbered gables. Built 1893 by Stephen Grehan; replacing a Georgian house nearby, which was kept in repair as a secondary residence. Near-symmetrical front with central gable above mullioned window above balustraded porch; single-storey three sided mullioned bow on either side; lower service wing ending in another gable. Impressive top-lit staircase hall; pitch-pine staircase and gallery. Sold ca 1975.”
The Buildings of Ireland. Cork City and County. Frank Keohane. Yale University Press: New Haven and London. 2020.
The fortified houses of the late C16 and early C17 constitute a bridge between the medieval tower house and the modern mansion. They were built by old Norman families, at Castle Lyons and Ightermurragh (Ladysbridge); by city merchants, such as the Archdeacons at Monkstown; by English settlers, at Baltimore, Coppinger’s Court (Rosscarbery) and Mallow; and by Gaelic chiefs, at Coolnalong (Durrus), Mount Long (Oysterhaven), Kanturk, Dromaneen (Mallow) and Reendiseart (Ballylickey). Twenty-two such houses survive in Cork.
In comparison to tower houses, these houses are better lit, have thinner walls, lack vaults, and feature timber floors and staircases as well as integral fireplaces. They are also notably symmetrical in plan and elevation, and some, such as Kanturk, incorporate proto-classical features. They generally retain some defensive features, such as door yetts, gunloops, bartizans and crenellated parapets, [p. 18] although their wall-walks were not all continuous, and in cases such as Mount Long and Monkstown were barely accessible. The other notable feature is the use of towers or turrets, influenced no doubt by the Elizabethan fashion for a quasi-military appearance derived from an earlier chivalric age. The arrangement of the towers gives rise to distinctive plan-forms: U plan (Coolnalong), Y-plan (Mallow and Coppinger’s court), L-plan (Dromaneen (Mallow) and Mossgrove (Templemartin), cross-plan (Kilmaclenine, Ightermurragh), X-plan (Kanturk, Monkstown, Mount Long, Aghadown), Z-plan (Ballyannan (Midleton), and T-Plan (Reendiseart). Baltimore, Carrigrohane, Castle Lyons, Myrtle Grove (Youghal) and Castlemartyr aer simple rectangular blocks. A number of Jacobean bawns with circular corner towers also survive, at Ballinterry (Rathcormac), Dromiscane (Millstreet), Dromagh, Clonmeen (Banteer) and Mossgrove.”
p. 45. Few significant country houses were built during the latter half of the C19. Most are of small to middling size, often with minimal Tudor or Italian trim. Unpretentious Italianate is found as Lissard (1854-5) near Skibbereen, Farran (1866) and Ballyvolane (1872) near Castlelyons. The finest of these Italianate houses is Montenotte House in Cork, with its double height top-lit cortile in the manner of Barry’s clubs in London. Lewis Villamy designed Lisselane (1851-3) near Clonakilty in a loose French-chateau idiom. Gothic houses are much rarer; exceptions include Dunboy (1866-70) near Castletownbere, a virtuoso Tudor Gothic house wiht mullioned-and-transomed windows mingled with Continental motifs in an assured and robust composition.
p. 46. With its Scots Baronial stepped gables and corbelled tourelles, Blarney Castle House (1871-5) by the Belfast architect John Lanyon, is unique in Cork. The influence of Ruskin in both detailing and materials can be seen in a number of houses designed by William Atkins: Velvetstown, Ardavilling, and Parknamore. Lettercollum (1872) near Timoleague, by William H. Hill, and Thorncliffe (1865) at Monkstown, by Thomas N. Deane, are in a similar vein. After the 1880s major houses are rare, but there are good late C19 Jacobean interiors at Fota and Lota Lodge (Glanmire).
The Edwardian Domestic Revival or Free Style, which favoured picturesque forms in brick and terracotta with gables, tall chimneys, tile-hanging, and mullioned and leaded windows, is generally confined to lodges, as at Castletownsend and Castle Mary (Cloyne), and to suburban houses in Cork city. Ashlin’s Clonmeen House (Banteer) is a rare country-house example. The Pavilion at Fitzgerald’s Park, Cork, is also Free Style and incorporates some Art Nouveau decorative elements. The last great country house to be built in Cork is Hollybrook Hall near Skibbereen, in a Free Style employing classical and rustic elements, with a wonderfully eclectic range of interiors. The garden buildings by Harold Peto at Ilnacullin were designed in a similar spirit.”
Built in 1893 for Stephen Grehan and designed by George Ashlin. This house remained in the possession of the Grehan family until the 1970s. In the 1940s the Irish Tourist Association Survey noted it as the residence of Major Grehan. Late in the twentieth century it functioned as a hotel for some time but has now returned to private ownership.
Clonmeen Lodge:
Hajba writes that this house was the home of Cornelius O’Callaghan in 1750. In 1786 Wilson refers to “Bantyre” as the seat of Mr. Callaghan. Viscount Lismore is recorded as proprietor of Clonmeen in 1814. At the time of Griffith’s Valuation Clonmeen Lodge was occupied by George Grehan and held from Viscount Lismore. It was valued at £7+. The Grehans continued to use this house as a secondary residence while their main residence was in Dublin. In 1893 a much larger house, Clonmeen House, was built close to the lodge. In the 1940s the Irish Tourist Association Survey noted “The Lodge, Banteer” as the residence of Jerome O’Callaghan and stated that the house had originally been built by the Nash family as a fishing lodge. A building is still extant at the site.
Detached irregular-plan dormered two-storey house over basement, built 1893, facing east. Front elevation has four-bay first floor, three-bay ground floor and gabled projecting entrance bay flanked by canted-bay windows. Porch to entrance, roof having balcony above and supported by engaged columns. Gabled projecting bay to south elevation having box-bay window to east side. Recessed lower five-bay two-storey block to north having gabled end bay to north end. Hipped slate roof to main block, pitched to gables, having decorative terracotta ridge cresting to roof and dormers, with terracotta finials, cast-iron rainwater goods and brick chimneystacks. Half-timbering to gables, entrance gable being jettied, with decorative medallions to bargeboards. Dressed rusticated red sandstone walls with plinth course, having Grehan coat of arms to balcony, with openwork ornamentation to flanking panels. Segmental-headed two and three-light windows to first floor, to ground floor of south projection and to north block, all with timber casement windows. Bay windows have timber mullioned and transomed windows with moulded cornices and hipped roofs. Porch has round-headed doorway with carved timber panelled door having elaborate fanlight and is flanked by round-headed sidelights with elaborate glazing, openings having carved archivolts and being flanked by engaged columns supporting balcony overhead. Columns have decoratively carved capitals and moulded bases. Two moulded limestone steps to doorway. Dormered Gothic-style window to first floor of north block, lighting chapel. Double-height staircase hall with galleries and lit by glazed dome. Entrance gates comprise rusticated limestone square-profile inner and outer piers with plinths and caps, snecked red sandstone quadrant walls with dressed coping stones, and double-leaf vehicular and single-leaf pedestrian cast-iron gates. Three-bay two-storey steward’s house to north having hipped slate roof and rendered walls, with lower four-bay two-storey return and ranges of outbuildings with pitched slate roofs and exposed rubble limestone walls. Demesne also contains woodland, gardens and ornamental lake.
This house was designed by the well-known church architect, George Ashlin, to replace an earlier, Georgian, house, retained. The building contains a host of architectural details typical of the domestic architecture of the turn of the twentieth century. The ornamentation to the entrance bay is particularly fine.
My place is close to many activities including adventure parks (ballyhass lakes), golf clubs, fishing, horse riding, trekking and some of the best restaurants in North Cork. You’ll love my place because of the ambiance, outdoors space, and the views. My place is good for families (with kids) or family reunion. Great place for building family memories.
The space It is our family holiday home with lots of great family rooms and a good kitchen to hang out with your family, friends and kids. Near Kanturk, Mallow and Millstreet. 40 mins from Cork and Killarney.
Guest access There’s a lot of parking in front and at the side of the house.
Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.Clonmeen House, County Cork, courtesy of airbnb.
Clonmeen Castle lies in a field south of the river Blackwater, east of the village of Banteer in County Cork in Ireland.
There may have been an earlier castle at this site, held by Philip O’Mol in the 14th century. In the 1590’s a new castle was built here, probably incorporating older structures. This new castle probably was built by Connoghor O’Callaghan and was an important seat for the O’Callaghan’s. During the wars of the 1640s, the clan was forfeited and the castle destroyed. I don’t have any other historical information. If you know more, please mail me.
Clonmeen Castle now consists of a somewhat square bawn with circular flankers at three of its corners. There is a gap in the wall at the west end of the south side which at present serves as the entrance.There is also a narrow inserted gateway near the north end of the west side. The flanker in the southeast is the best preserved, with several gunloops. There probably was a keep in the center of the bawn, which was demolished and used to build a lime kiln northeast of the castle.
There isn’t a lot to be seen here and what there is, is quite overgrown. Not very interesting.
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.
p. 59. “(Bury/IFR; Sullivan/IFR) A pleasant square late-Georgian house of two storeys over a basement on a promontory jutting out into Lough Mahon. Perron in front of entrance doorway with double steps and simple railings, now partly obscured by porch. Compact but spacious interior; two drawing rooms en suite. Castellated tower by water’s edge. A seat of the Bury family. Occupied in 1st half of C19 by John M. Ashlin, who was born here 1837. In recent years the home of the late Judge D.B. and Mrs Sullivan.”
Carrigrenan Tower, lies on Little island in Cork Harbour, in County Cork in Ireland.
I was not able to find any historical information about this tower. Although it is often called a castle on the internet, I don’t think it is.
Carrigrenan Tower is situated on the former grounds of Carrigrenan House, on the shore of Lough Mahon. This house stood on the site of the waste water plant that now occupies most this southern peninsula of Little Island. In the planning documents of this plant it is called an ‘ornamental tower’. So, I guess this was a folly or lookout tower of the owners of Carrigrenan House. If that is the case, then the tower would probably have been built somewhere in the 19th century.
The ruin of Carrigrenan Tower is freely accessible. A nice tower on a very nice location.
[note, from David Hicks, Irish Country Houses, Portraits and Painters. David Hicks. The Collins Press, Cork, 2014.
p. 23: George Coppinger Ashlin, an architect born at Carrigrenane House in Cork in 1837; in 1856 he became a pupil of Edward Welby Pugin with whom he eventually went into partnership. Ashlin was given responsibility of establishing a Dublin branch of the partnership and to look after the Irish commissions. His portfolio of work was dominated by a large number of churches, convents and schools and he was also responsible for the extension to Tulira Castle for Edward Martyn’s mother in Galway in the 1880s.
Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. The tower house was built originally in the 15th century and in 1882 Edward Martyn, nationalist and patron of the arts, commissioned the design for the house from architect George Ashlin.
Mark Bence-Jones. 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.
p. 276. “(Martyn/LGI1912; Martyn-Hemphill, Hemphill, B/PB) An old tower-house, onto which a castellated house by George Ashlin was built from 1882 onwards for Edward Martyn, a leading figure in the Irish literary and artistic revival, who started a studio for making Irish stained glass and founded the Palestrina choir at the Pro-cathedral, Dublin. The castellated house is of two storeys, with a porch-tower and turret in the centre of its entrance front, and with polygonal corner-turrets, the battlements of which are slightly higher than those of the main roof-parapet. Symmetrical garden front with oriel surmounted by gable and coat-of-arms in centre. Large and regularly disposed mullioned windows. Prominent gargoyle-spouts. Fine Gothic hall where Edward Martyn, whose bedroom and study were rooms of monastic simplicity in the old tower, would play polyphonic music on the organ after dinner. Staircase with stained glass and other decoration of 1891 by John Dibblee Crace. Passed after Edward Martyn’s death to his cousin, Mary, wife of 3rd Lord Hemphill.”
Irish politician Edward Martyn, who once called for all Irishmen who joined the English army to be flogged, commissioned the main house to be built in the 1880s.Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale.
Tullira Castle, County Galway, courtesy National Inventory.
Detached complex Tudor Revival two-storey country house, built 1882, with fifteenth-century tower house adjoining at south-west. Longer north-east elevation of house is seven bays having pedimented canted middle bay and octagonal turrets to corners, shorter entrance elevation at north-west having three-storey towered entrance bay flanked by five-stage tower to its north-east side and with octagonal turrets to corners. Two-storey outbuilding, part of stable yard, adjoins tower house at its south-west side and to south-east side of longer elevation of house is recessed lower five-bay two-storey block having porjecting and slightly higher three-bay two-storey block to its south-east side, latter having higher square-plan three-stage tower projecting from its north-east corner. Roof of main block not visible behind crenellated cut limestone parapets. Pitched slate roofs elsewhere, including tower house. Cut limestone eaves course with string course below parapets, and with sculpted gargoyles to corners of faces of turrets, and to front corner of entrance tower. Cut limestone chimneystacks, with octagonal-plan stacks, mainly double but some triple, to house and tower house. Some cast-iron rainwater goods, and cut limestone eaves courses. Belfry to rear of tower house. Ashlar limestone walls to house and coursed rubble walls to tower house and other blocks, with block-and-start quoins. Stepped cut-stone buttresses with slate capping to lower north-east block. Main block and lower north-east block have cut-stone plinth course, string courses to parapets and between floors. Machicolation to rear of tower house. Canted bay of north-east elevation of main block has stepped pediment with metal finial, gargoyles to base and armorial plaque having hood-moulding. Square-headed window openings throughout having chamfered surrounds to single, two and three-light windows, with cut-stone label-mouldings and some having stained glass. Windows flanking entrance doorway have decorative iron grilles. Tower house has single, double and triple-light windows, latter types having transoms and mullions and label-mouldings. Windows to its north-west elevation have ogee-headed lights, with decorative ironwork grilles. Slit windows also to tower house. Canted single-light oriel window to entrance bay with hipped roof and supported on corbelled courses, with moulded corbels below. Similar, two-light oriel window to first floor of rear, south-west facing, elevation of house supported on corbel courses partly atop stepped cut-stone buttress, latter flanked by single-light windows with metal bars. Windows to tower of lower north-east block lack label-mouldings. Four-light window to rear, south-east facing elevation of house has two transoms and is set within segmental-headed recess with hood-moulding. Pointed arch door opening to front elevation having chamfered block-and-start surround, cut-stone hood-moulding, and double-leaf timber battened door with elaborate strap hinges,a nd reached by flight of cut-stone steps with noses. Cast-iron bell having hand-pull. Pointed arch door opening to rear of tower house with chamfered tooled block-and-start surround and double-leaf timber battened door with decorative strap hinges and with carved stone armorial plaque above. Square-headed door to rear of lower south-east block having block-and-start surround and battened timber door.
The walled garden features a large stone fountain, greenhouse, pergola, and herb and vegetable gardens. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. The monumental Great Hall with its 40ft high timber ceiling is the centrepiece of the castle. There are several fine Irish marble columns, varying in style from Irish Black to Connemara Green. The capitals which crown the columns are of carved stone upon one of which an unknown craftsman carved his own likeness.Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. The Drawing Room, Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. The Morning Room, Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale.
Appraisal
Edward Martyn, nationalist and patron of the arts, commissioned the design for the house from the noted architect George Ashlin. It incorporates a fifteenth-century tower house, formerly a Burke castle, which Martyn remodeled with the help of William Scott. The design for the house was controversial and it is suggested that Martyn grew to dislike it, withdrawing into the tower house. It is an elaborate, elegant house with the Tudor inspired detailing of turrets and projecting bays, fashionable at the time, which complement the architecture of the tower house. The extensive outbuildings give an indication of the scale of operation required for the running of a large estate. The house is set in landscaped grounds.
Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.The property is surrounded by two acres of landscaped gardens, an ornamental lake and an orchard with a ruined original greenhouse. Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale.
Tullira Castle, County Galway, courtesy National Inventory.
Entrance gates, erected c.1815, providing access to Tullira Castle demesne. Comprises pair of tapered square-plan cut limestone piers with chamfered corners, moulded limestone plinths, panelled friezes and pyramidal caps, flanking ornate double-leaf cast-iron vehicular gate. Similar pedestrian gates to each side having similar but lower piers with panelled front faces and simple plinths. Curved cut-stone walls with plinth and coping, terminating in piers matching those to outer sides of pedestrian entrances. Detached three-bay single-storey former gate-lodge to interior, recently refurbished. Pitched slate roof with rendered chimneystack, coursed rubble limestone walls with squared block-and-start quoins, square-headed doorway with block-and-start surround and timber panelled door, and square-headed window openings having tooled sills and surrounds, and replacement timber windows.
Appraisal
This gate lodge and gateway form part of a group with Tullira Castle. The gateway is an accomplished piece of work exemplifying the skills of stone masons and ironworkers, the gates being ornate and the piers being sturdy and giving an air of permanence. Makers imprint on gate ‘…Hammersmith Works – Dublin’. Although the lodge is simple in form, it is well executed with good stone detailing. The assemblage clearly marks the entrance to an important property and makes a strong visual impact on the road.
Tullira Castle, County Galway, courtesy National Inventory.
Entrance gateway, erected c.1880, providing access to Tullira Castle demesne. Comprising pair of square-plan cut limestone piers with plinths, moulded cornices and rounded caps flanking double-leaf cast-iron gate, flanked by similar railings on cut-stone plinths, and flanked in turn by pairs of similar piers flanking similar pedestrian gates. Floral motif to outer face of caps. Lined-and-ruled rendered quadrant walls to gateway, having cut-stone cornice and plinth, terminating in matching square-profile cut limestone piers.
Appraisal
This elaborate gateway appears to have been a later addition to Tullira Castle Demesne, appearing only on the third edition of the Ordnance Survey map. The uniformity and stature of its square-plan piers contrasts well with the decorative nature of the cast-iron gates and railings. Both the masonry and ironwork have been well executed, and the gateway as a whole makes a strong impression on the roadscape.
Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale.
Enclosed two-storey stableyard to rear of Tullira Castle, dated 1843, comprising six-bay north-east block attached to and forming second pile to rear of south-east block of house, three-bay north-west block to south-west side of tower house and whose external wall is probably medieval bawn wall or perhaps part of medieval hall, thirteen-bay block forming south-west side of yard, and entrance gateway between south-west block and south-east gable of north-east block. Pitched slate roofs with cut limestone chimneystacks, cast-iron rainwater goods, and having cut-stone copings to south-east gables of south-west and north-east blocks and somewhat mimicking open-bed pediments. Double and quadruple octagonal cut-stone chimneystacks to north-west block, triple octagonal-plan to north-east block, and rectangular-plan stacks to north-east and south-west blocks. Cut limestone walls. North-east block has square-headed window openings with raised cut-stone surrounds, cut-stone sills and timber sliding sash windows, three-over-six pane to first floor and six-over-six pane to ground floor, with triple keystones to latter, and with dressed voussoirs above all windows. Recent gabled glazed timber porch with slated roof and with dressed limestone plinth walls, with glazed timber door. North-west block has segmental carriage arches and square-headed doorway with block-and-start cut-stone surrounds, having triple-keystone to doorway, recent timber doors, and square-headed windows to first floor with raised limestone surrounds and cut-stone sills with three-over-six and six-over-six pane timber sliding sash windows. South-west and south-east blocks have central segmental vehicular throughways flanked by openings grouped in threes comprising square-headed doorways flanked by windows, with single window above each doorway. Archway has raised block-and-start cut-stone surround and double-leaf iron gate. All other openings have raised cut-stone surrounds, with block-and-start and triple keystones to ground floor openings, timber louvers to first floor windows of south-west block, three-over-six pane timber sliding sash windows to first floor of south-east block and six-over-six pane timber sliding sash windows to ground floor of both blocks, with timber battened doors and one glazed timber door. Outer elevation of north-west block has inserted nineteenth-century triple-light windows with cut-stone surrounds and round and triangular heads. Outer elevation of south-east block has limestone plaque over vehicular throughway reading ‘Erected by John Martyn Esq. AD 1843’. Symmetrically arranged single-storey blocks to north and south sides of yard to rear of north-east half of south-east block, with arcaded front elevations, square-plan piers with imposts, ashlar voussoirs with ashlar walling above, coursed dressed limestone walls elsewhere, and hipped slate roofs. North-east arcade has windows and door and other is open. Lower single-storey blocks at right angles to each arcaded block, having coursed rubble walls and with raised tooled stone surrounds to doorways. Yard to south-west has two-storey middle block with three-bay first floor and four-bay ground floor, with pitched slate roof, rubble walls and raised cut-stone surrounds with dressed voussoirs to relieving arches, and replacement fittings to openings. Two-storey block flanked by single-storey blocks with similar details.
Appraisal
The outbuildings to Tullira Castle were built to be worthy of the main house, their construction proudly marked by the dated plaque over a vehicular throughway. They display good stoneworking and detailing, exemplified by the raised surrounds to doorways and window openings. The octagonal chimneystacks visible on the house are repeated on the outbuildings. Classical design is evident in the arcaded blocks and in the symmetry of the south-west and south-east ranges, with their symmetrically placed openings. Gravel surface to yards, with fountain to main courtyard.
Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.Tullira Castle, County Galway, courtesy National Inventory.
[note, from David Hicks, Irish Country Houses, Portraits and Painters. David Hicks. The Collins Press, Cork, 2014.
p. 23: George Coppinger Ashlin, an architect born at Carrigrenane House in Cork in 1837; in 1856 he became a pupil of Edward Welby Pugin with whom he eventually went into partnership. Ashlin was given responsibility of establishing a Dublin branch of the partnership and to look after the Irish commissions. His portfolio of work was dominated by a large number of churches, convents and schools and he was also responsibly for the extension to Tulira Castle for Edward Martyn’s mother in Galway in the 1880s.
Tullira Castle, County Galway, courtesy Archiseek.
The Castle comprises three main buildings, a medieval tower, courtyard buildings and the Victorian Castle. The original structure, a medieval tower house, rests on 12th century foundations. A castellated house was added to the tower in 1882 by Edward Martyn, a leading figure in the Irish Literary and Artistic revival.
Martyn commissioned George C. Ashlin as his architect. Ashlin, a renowned ecclesiastical architect, had only completed two smaller houses prior to designing Tulira. His ecclesiastical gothic leanings are very obvious in the use of materials and decoration.
The monumental Great Hall with its 40ft high timber ceiling is the centrepiece of the castle. There are several fine Irish marble columns, varying in style from Irish Black to Connemara Green. The capitals which crown the columns are of carved stone upon one of which an unknown craftsman carved his own likeness. There is also a fine staircase hall.
Featured in Irish Country Houses, Portraits and Painters. David Hicks. The Collins Press, Cork, 2014.
p. 193. Edward Martyn was a wealthy individual and patron of the arts who supported many of the ideas and schemes of both Lady Gregory and W.B. Yeats. In fact, there is hardly any area of the Irish Revivial in the 19th century that Edward did not fund from his personal wealth.
Edward Martyn was also involved with a stained glass cooperative called An Tur Gloinne with the artist Sarah Purser. Today Tulira endures and thrives; its restoration by its current owners is impressive.
The castle at Tulira is made up of three distinct sections: a 15th century tower house built on the foundations of a 12th century castle, an 18th century courtyard and a Victorian neo-Gothic Castle. …The Martyn family became owners of the De Burgo’s 15th century castle in Tulira around 1598.
p. 204 The castle was eventually purchased by Keiran Breeden, the widow of John Breeden, heir to a San Francisco real estate fortune who had died in 1977. She bred horses in America and purchased a number of the best ponies that were previously sold from the farm. She hoped to run a pony nursery in association with Lady Hemphill, the former owner, who had established the Connemara Stud Farm…She spared no expense in restoring Tulira and maintained the Connemara Stud Farm established by the Hemphills…In 1986 Dame Keiran Breeden died from cancer in Santa Monica and Tulira Castle was back on the market. By October of that year the castle had been purchased for £1 million by another American, Michael McGinn, a businessman from Washington DC… he already owned Mallow Castle…In May 1990 the castle was back on the market again, this time for £1.25 million. An American couple, the Darians, swapped their luxury yacht for the castle… In 1993 Tulira was back on the market as the Darians found the building too large for their needs.
Eventually in 1995 the current Dutch owners, Ruud and Femmy Bolmeijer took over Tulira as they were looking for a retirement project. They paid about £2 million for the down-at-heel castle and instigated an intensive restoration programme, the fruits of which can be seen today. With extensive research and local craftspeople they turned around the years of decline that had blighted the castle. Their architectural investigations resulted in the large ecclesiastical style window over the staircase having the stained glass installed that was originally designed for it. They have also tried to locate and purchase items of furniture that would have been original to Tuliar. The outbuildings and grounds have been restored, some from the point of near dereliction.
Lewis records Tillyra as the seat of J. Martyn. Tullira was originally a tower house which was modified at various times. The OS Name Books record it as a tower house with a modern house attached. The gardens included a hot house. In 1906 it was the property of Edward Martyn when the buildings were valued at £100. It is still extant and was the home of Lord and Lady Hemphill in the 20th century. It has had a number of owners since then and in 2013 was offered for sale.
A view of Tulira Castle, County Galway. The tower house to the right dates from the 15th century although resting on earlier foundations. Around 1880 the estate’s then-owner Edward Martyn commissioned the new castellated residence to the immediate left from architect George Ashlin who hitherto had been primarily known for his ecclesiastical architecture (he worked on no less than eight of Ireland’s new Roman Catholic cathedrals as well as designing countless churches). Indeed the High Gothic interiors would not look out of place in a religious establishment: Martyn was an ardently pious man who directed his body be buried in an unmarked pauper’s grave. Now on the market, Tulira has been extensively and sensitively restored in recent years. It will be among the properties discussed in a talk on The State of the Irish Country House Today that I am giving next Sunday afternoon, June 22nd at the National Gallery of Ireland. For more information, see: http://www.nationalgallery.ie/whatson/Talks/Sunday_Talks/June-22.aspx
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
It was the misfortune of Edward Martyn that his appearance and character so frequently encouraged ridicule. A large, lumbering man with a passion for beauty in all its manifestations, he devoted the greater part of his life and income attempting to convert others in Ireland to his aesthetic beliefs, with only limited success. In his former friend George Moore’s entertaining, irreverent but not always credible memoir Hail and Farewell, Martyn is described as being ‘not very sure-footed on new ground, and being a heavy man, his stumblings are loud. Moreover, he is obsessed by a certain part of his person which he speaks of as his soul; it demands Mass in the morning, Vespers in the afternoon, and compels him to believe in the efficacy of Sacraments and the Pope’s indulgences…’ W.B. Yeats, another friend-turned-opponent with whom Martyn and Lady Gregory had helped to found Ireland’s National Theatre, was still less charitable, not least on the subject of his old comrade’s religiosity which the poet thought ill-became a member of the ruling gentry. Yeats proposed, ‘The whole system of Irish Catholicism pulls down the able and well-born if it pulls up the peasant, as I think it does.’ From this, he wrote snobbishly of Martyn, ‘I used to think that the two traditions met and destroyed each other in his blood, creating the sterility of the mule…His father’s family was old and honoured; his mother but one generation from the peasant.’ On another occasion Yeats called Martyn, ‘An unhappy, childless, unfinished man, typical of an Ireland that is passing away’. Both Moore and Yeats were baffled by the seeming contradictions in Martyn’s persona, not least his revelling in discomfort. Moore has left an account of Martyn’s accommodation in Dublin, a modest flat above a tobacconist shop on Leinster Street: ‘Two short flights of stairs, and we are in his room. It never changes – the same litter, from day to day, from year to year, the same old and broken mahogany furniture, the same musty wall-paper, dusty manuscripts lying about in heaps, and many dusty books … old prints that he tacks on the wall … a torn, dusty, ragged screen … between the folds of the screen … a small harmonium of about three octaves, and on it a score of Palestrina … on the table is a candlestick made out of white tin, designed probably by Edward himself, for it holds four candles…Is there another man in this world whose income is two thousand a year, and who sleeps in a bare bedroom, without dressing room, or bathroom, or servant in the house to brush his clothes and who has to go to the baker’s for his breakfast?’ Yet Martyn was wont to abandon himself to the same self-imposed hardship even when staying in his country house, Tulira Castle, County Galway.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
To understand Tulira and how it now looks, one needs to know something of the history of the Martyn family. Supposedly descended from a Norman supporter of Richard de Clare, otherwise known as Strongbow, they liked to claim one of their number, Oliver Martyn, had accompanied Richard I on the Third Crusade. In return for this support, the king presented him with armorial bearings. More significantly, the Martyns settled in Galway and became one of the city’s mercantile ‘tribes.’ Like so many of the others of their ilk, during the upheavals of the 16th century they moved into the countryside and acquired large amounts of land, not least that around an old de Burgo castle which was in their possession by 1598. Somehow they survived the turbulence of the following century and were confirmed in the possession of their estates in 1710 when they were specifically exempted by Queen Anne in an Act of Parliament passed ‘to prevent the growth of Popery.’ This was thanks to another Oliver Martyn who, it was noted, during the recent Williamite wars, ‘behaved himself with great moderation, and was remarkably kind to Protestants in distress, many of whom he supported in his family and by his charity and goodness, saved their lives.’ As a result the Martyns of Tulira were confirmed in ‘their very extensive estates and in all their rights as citizens, proprietors, and Catholics.’ At some time in the 18th century, another generation of Martyns built a new house beside the old de Burgo tower. Nothing of this Georgian structure, seemingly three-storeys over basement, has survived, although the stable yard immediately behind the castle dates from that period. In the 1870s when Edward Martyn was still a minor the old house was demolished and replaced with a new residence. The impetus for this transformation seems to have come from his formidable mother. Mrs Martyn was born Annie Josephine Smyth of Masonbrook, County Galway. When she married John Martyn in 1857, her self-made father presented his son-in-law with Annie Josephine’s weight in gold: the sum was supposed to amount to £20,000. After only three years of marriage, John Martyn died, leaving his heir Edward aged just 14 months to be raised by the widowed Annie. The following decade, she embarked on Tulira’s transformation, the eventual cost of which is said to have been £20,000, the same amount as was handed over by her father at the time of her marriage.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Given that Edward Martyn was only in his teens when Tulira was rebuilt, it seems likely his mother was responsible for choosing the architect. Since she was an ardent Roman Catholic, it is not altogether surprising the commission should have gone to George Ashlin, who otherwise worked primarily for clerical clients. Ashlin was born in County Cork in 1837 and in his late teens was articled in England to E W Pugin, son of Augustus Welby Pugin (whose daughter Ashlin married in 1860). When, in 1859, the younger Pugin received the commission for the church of SS Peter and Paul, Cork, he made Ashlin a partner with responsibility for their Irish work, which included St Colman’s Cathedral in Cobh. Ashlin remained in partnership with Pugin until about 1870 after which he set up his own highly successful practice. Tulira was his only major secular commission and regrettably no documents relating to the castle’s design or construction have survived. In any case, for Mrs Martyn and her son, Ashlin designed a densely-castellated two-storey house directly linked to the old castle. In the centre of the asymmetric facade is a projecting three storey tower containing an arched Gothic door case and an oriel window immediately above; on the corbels of the latter are carved Edward Martyn’s initials and the date 1882 indicating this was when work concluded. On either side of the tower are polygonal corner turrets which once more are raised slightly higher than the roof parapet. The garden front shows a similar differentiation in surface rhythm thanks to the presence of further projecting towers. The house has always inspired mixed feelings. Moore, in his usual imaginative way, claimed he attempted to dissuade Martyn from undertaking the project: ‘walking on the lawn, I remember trying to persuade him that the eighteenth-century house which one of his ancestors had built alongside of the old castle, on the decline of brigandage, would be sufficient for his want.’ However, since Mrs Martyn was the driving force behind the enterprise, this recollection seems defective. However in 1896 Yeats and the English critic Arthur Symons stayed in Tulira after which Symons wrote inThe Savoy that here he discovered ‘a castle of dreams’, where ‘in the morning, I climb the winding staircase in the tower, creep through the secret passage, and find myself in a vast deserted room above the chapel which is my retiring room for meditation; or following the winding staircase, come out of the battlements, where I can look widely across Galway, to the hills.’ Yeats was also enchanted, although his preference was for ‘the many rookeries, the square old tower, and the great yard where medieval soldiers had exercised.’ Much later, his verdict was more harsh, dismissing Ashlin’s design as being nothing better than ‘a pretentious modern Gothic once dear to Irish Catholic families.’
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
It is generally accepted that Mrs Martyn’s reason for rebuilding Tulira was to provide a comfortable home for future generations of the ancient family into which she had married. George Moore, most likely apochryally, claimed Annie Martyn had proclaimed, ‘Edward must build a large and substantial house of family importance, and when this house was finished he could not do otherwise than marry.’ Unfortunately she had not reckoned on her son’s lifelong dedication to celibacy and reluctance to linger in the company of women. When he endowed the foundation of the Palestrina Choir in the Pro-Cathedral, Dublin in 1904, for example, he stipulated ‘the said choir shall consist of men and boys only’ and that ‘on no occasion shall females be employed.’ Mrs Martyn also under-estimated her son’s partiality for asceticism: although Tulira was splendidly finished, Martyn preferred to live in the old tower. Here a stone staircase ascending the full height of the building leads to the first floor which served as his private library and still retains its oak floor and oak-panelled walls, as well as stained glass windows designed by Edward Frampton in 1882 and featuring literary figures such as Chaucer, Shakespeare and Dante. A door at the far end of the library provides access to a simple room where Martyn slept, according to Moore ‘with the bed as narrow as a monk’s and the walls whitewashed like a cell and nothing upon them but a crucifix.’ Above this is his private chapel, its fittings, including the benches and altar, apparently designed by Irish architect William A Scott, although the chimneypiece has the dates 1613 and 1681 carved into the limestone. An even more impressive chimneypiece is found on the third floor where the ceiling rises to the roof, allowing for the inclusion of a small minstrels’ gallery at one gable end. Meanwhile inside the Ashlin-designed house, after passing through a modest entrance one reaches the great hall measuring some 31 by 32 feet and rising 42 feet, the full height of Ashlin’s castle. Here Edward Martyn would play the polyphonic music of Palestrina and Vittoria on a long-since lost organ. On a richly-tiled floor repeatedly decorated with the Martyn motto of Sic hur Ad Astra (‘Thus One Climbs to the Stars’) rest the bases of black marble columns, their capitals elaborately carved with figures. From here a massive staircase with quatrefoil balustrading leads to the galleried first floor where a sequence of arches is supported by further marble columns. Much of this room’s decoration is attributed to John Dibblee Crace, the English designer and decorator whose father had worked with Pugin on the Houses of Parliament in London. Crace produced designs for the hall’s main window but these were never executed, as it seems Martyn lost interest in completing the scheme for the castle’s interior decoration. However, on the ground floor a series of reception rooms, intended to impress those prospective brides who were never invited, have compartmented timber ceilings with the recessed panels painted in a delicate design, also by Crace. The drawing and dining rooms retain their polychromatic marble chimneypieces as well as stained glass bearing the crests of Galway’s tribes. The embossed red and bronze wallpaper in the dining room was hung when the castle was first built, with certain sections restored more recently by David Skinner who also made paper for a number of other rooms in the house.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
Despite all that he had done, and all that he had tried to do in the fields of art, music and literature, Edward Martyn’s final years were grim, not least due to creeping ill-health. In her journal for September 1921, Lady Gregory his neighbour and former collaborator, noted, ‘He is anxious about money, has fears of his investment in the English railways, and is very crippled by rheumatism.’ Two years later she visited him at Tulira for the last time and afterwards wrote, ‘In the bow window of the library I saw Edward sitting. I thought he would turn and look round at the noise, but he stayed quite quite immovable, like a stuffed figure, it was quite uncanny…I went in, but he did not turn his head, gazed before him. I touched his hands (one could not shake them, all crippled, Dolan [the butler] says he has to be fed) and spoke to him. He slowly turned his eyes but without recognition. I went on talking without response till I asked him if he had any pain and he whispered: “No, thank God”. I didn’t know if he knew me, but talked a little, and presently, he whispered: “How is Robert?” I said: “He is well, as all are in God’s hands, he has gone before me and before you.” Then I said: “My little grandson, Richard, is well”, and he said with difficulty and in a whisper: “I am very glad of that.” Then I came away, there was no use staying…’ Three months later Edward Martyn was dead at the age of sixty-four, leaving instructions that his body be donated to medical science and the remains afterwards buried in a pauper’s grave. Along with his papers, he left the contents of his personal library to the Carmelites of Clarendon Street, Dublin and they are there still. His collection of paintings, mostly by Irish artists but including a Monet landscape and two works by Degas bought while holidaying in Paris with George Moore in April 1885, Martyn bequeathed to the National Gallery of Ireland. The rest of the castle’s contents, it can be conjectured, were still in Tulira after it was left to a cousin Mary, Lady Hemphill. In 1982 the fifth Lord Hemphill sold Tulira and its surrounding land, and at that time Sotheby’s conducted a house contents auction on the premises when many of the 430 lots once owned by Martyn were dispersed. Between 1982 and 1996, Tulira changed hands no less than five times, on one occasion being exchanged for a yacht, before being sold to its present owners. Since taking possession of Tulira, they have tried to acquire any items of furniture that formerly belonged to the house and have come onto the market, such as a Victorian oak centre table (from a house sale in Oxfordshire) and a set of four oak Gothic chairs of the same period all of which have been returned to the castle’s library. Under their guardianship one feels the spirit of Edward Martyn has returned to Tulira.
Tullira Castle, County Galway, photograph courtesy Irish Aesthete.
One of the stained glass windows in the 16th century tower house at Tulira Castle, CountyGalway. This is in Edward Martyn’s former private library, redecorated by George Ashlin when he made over the whole property in the 1880s. The windows, featuring luminaries such as Chaucer and Shakespeare shown here, were designed by English artist Edward Frampton in 1882. The irony, of course, is that within decades of the windows’ installation many key figures in Ireland’s literary revival – not least another pair of giants, Martyn’s neighbour Lady Gregory and W.B. Yeats – would gather at Tulira. Their presence there went unrecorded, at least in glass. For more on Tulira Castle, see The Ascetic Aesthete, October 13th 2014.
The 15th century de Burgo tower house which forms the core of Tulira Castle, County Galway. This was one of a number of country houses acquired by new owners during the course of 2015, significant others including Bellamont Forest, County Cavan and Capard, County Laois. But many others remain on the market, such as Milltown Park, County Offaly, Newhall, County Clare, Kilcooley, County Tipperary and Furness, County Kildare, all of which have been discussed here on earlier occasions. Let us hope the coming year is kind to them and all of Ireland’s architectural heritage.
An historic Irish castle resting in 250 acres of rolling countryside has gone on the market for £5.5million.
The medieval Tulira Castle features a 16th Century tower and a Victorian main house, built by Edward Martyn, the first president of Sinn Fein.
The stone castle, in the village of Ardrahan in County Galway, Ireland, has seven bedrooms, four reception rooms and seven bathrooms. The site also features three separate outbuildings for staff quarters.
Two of the outbuildings have a further three bedrooms and three bathrooms between them.
There are also staff quarters which boast four more bedrooms and two bathrooms, and stables with enough room for 16 horses.
The original tower from the 1500s has been restored and has a chapel, banqueting hall and wine cellar.
Mr Martyn, an Irish politician who once called for all Irishmen who joined the English army to be flogged, commissioned the main house to be built in the 1880s.
The property is surrounded by two acres of landscaped gardens, an ornamental lake and an orchard with a ruined original greenhouse.
The walled garden features a large stone fountain, greenhouse, pergola, and herb and vegetable gardens.
It is currently owned by Dutch couple Ruud and Femmy Bolmeijer who have decided to put it on the market as they are looking to downsize.
Robert Ganly, from estate agents Ganly Walters in Dublin, said: ‘We don’t have grade listings in Ireland but this is a fully protected property. ‘The tower dates back to the 16th century but rests on 12th century foundations from an earlier building.
‘This is the best property to come on the market in Ireland in 20 years.
‘I believe it will be purchased by an overseas buyer who might have Irish roots.
‘We have had interest from Asia and America but it could also be bought by someone who is European.’
Annemount, Glounthaune, Co Cork – Fire in 1948, destroyed
Mark Bence-Jones. 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.
p. 5. “Falkiner/BT,PB; Cummins/IFR; Beamish/IRF; Gillman/IFR; Murphy/IFR; Bence-Jones/IFR) A two storey house in a magnificent situation overlooking Lough Mahon and the upper reaches of Cork Harbour; built in late C18 by Sir Riggs Falkiner, 1st Bt, who named it in honour of his second wife; enlarged and remodelled ca 1883 to the design of George Ashlin for John Murphy, Master of the United Hunt, who first discovered the house when the fox when he was hunting led him there. As remodelled, the big house was faced in cement, with entablatures over the windows; a projecting two storey porch, with a pediment and pilasters in the upper storey, was added in the centre in its upper storey, was added in the centre of the front, with a single-storey three-sided pilastered bow on either side of it. The front was extended at one end by the addition of a two-storey wing of the same height and in the same style, with a third singel-storey bow and an Italianate campanile tower. Impressive two storey hall, with staircase and gallery of oak and pitch-pine; ceiling of coloured C19 plasterwork. Coloured C19 plasterwork also in drawing room and dining room, and richly ornamented pilaters; flat of drawing room ceiling covered with embossed gilt paper; moulded entablatures over doors; fine late-Georgian chimneypiece of white marble in drawing room, with Classical head and medallion, flowers, foliage and trophies. Brought 1945 by Col Philip Bence-Jones; destroyed by fire 1948, when a mild sensation was caused by the fact that a statue of the Madonna in the small oratory upstairs was untouched by the flames. The ruin was subsequently demolished.”
Annmount, County Cork was built by Riggs Falkiner in 1775 but was heavily modified in the 19th century. It burned down accidentally in 1948. The grounds are now filled with a housing estate.
Listed in 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.
“A late 18C house remodelled by George Ashlin c. 1883 for John Murphy. Italianate campanile tower at one end. Burnt in 1948 and since demolished.”
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St. George’s is a wonderful Arts and Crafts/Gothic Revival house in the beautiful suburbs of Killiney. It was built in the 1870s by George Coppinger Ashlin, a former pupil and later partner of Edward Welby Pugin, son of Augustus Pugin who played a primary role in initiating the Gothic revival style of architecture. Augustus Pugin designed the Houses of Parliament in Westminster. He also designed the hall ceiling, staircase and gallery in Adare Manor, County Limerick.
Adare Manor staircase, photograph by Chris Brooks 2012 from flickr constant commons.
Augustus Pugin converted to Catholicism. In 1836, Pugin published Contrasts, and in it he argued for “a return to the faith and the social structures of the Middle Ages,” and this was reflected in his Gothic taste in architecture and design. In 1841 he published his illustrated The True Principles of Pointed or Christian Architecture in which he advocated medieval, “Gothic”, or “pointed”, architecture. In the work, he wrote that contemporary craftsmen seeking to emulate the style of medieval workmanship should reproduce its methods. Pugin also designed stained glass.
Edward Welby Pugin joined his father’s firm. Pugin & Pugin were mainly church architects. Pugin was invited first to work in Ireland by the Redmond family of Wexford (I think they lived in Ballytrent).
Edward Welby Pugin’s works in Ireland include a beautiful chapel at Edermine, County Wexford, which I’d love to see, as well as Cobh and Killarney cathedrals.
Edermine was built for the Power family of the firm of John Power & Son, Distillers, of Dublin. It was through John Power’s influence that Pugin was commissioned to built many churches in Ireland. Power was awarded a Baronetcy in 1841and became Sir John Power 1st Baronet of Roe Buck House, Dublin and Edermine and Sampton, Co Wexford. He was a friend and confidant of Daniel O’Connell, “the Liberator.” [1]
The Powers distillery was located at that time near Thomas Street in Dublin, and it must have been John Power’s influence that led to the commission in 1860 for the design of the Church of St. Augustine and St. John, often referred to as John’s Lane church, on Thomas Street.
St. George’s architect, George Coppinger Ashlin (1837-1921), became a pupil of Edward Welby Pugin in 1856, and was then taken into partnership by Pugin, who gave him the responsibility of establishing a Dublin branch, taking charge of Irish commissions. [2]
Church of St. Augustine and St. John, Thomas Street, photograph by Warren LeMay 2018, flickr constant commons.The Church of St. Augustine and St. John, commonly known as John’s Lane Church, designed by Edward Welby Pugin, photograph by William Murphy, 2019, courtesy of flickr constant commons.The chapel at Edermine, courtesy of National Inventory of Architectural Heritage.
Pugin & Ashlin designed approximately eight Catholic cathedrals and fifty Catholic churches as well as schools and convents. Ashlin did not design many private homes, but his work includes Tullira Castle in County Galway, and designs for Ashford Castle and St. Anne’s Park for the Guinness family. [3]
George Coppinger Ashlin, courtesy of Irish Architectural Archive.Tullira Castle, County Galway, also by George Coppinger Ashlin, photograph by Fennell Photography BNPS from 2013 when the house was for sale.
George Coppinger Ashlin (1837-1921) was from Carrigrenane House in County Cork, third and youngest son of four children of John Musson Ashlin, a Corkman established as a corn merchant in London, and Dorinda Maria Ashlin (née Coppinger), from an old County Cork family. [4]
The partnership of Pugin & Ashlin was dissolved in the latter months of 1868, but Ashlin married Edward Pugin’s younger sister Mary Pugin (1844-1933) in 1867. Ashlin built St. George’s in the late 1870s after his marriage, as a home for his family.
An information leaflet which owner Robert McQuillan gave us tells us that Mary Ashlin née Pugin grew up in The Grange at Ramsgate in Kent, which was situated on a cliff-top, and that the situation of St. George’s on the hill of Killiney would have reminded her of her childhood home. Shortly after the Ashlins moved to Killiney, the local railway station opened, and in 1887 Queen Victoria and Prince Albert opened Killiney Hill as a public park.
The Dictionary of Irish Architects gives an amusing word portrait of Ashlin:
“Alfred Edwin Jones, who became a pupil in Ashlin & Coleman’s office in about 1911, remembered Ashlin as a tall, commanding figure with ‘an appearance of distinction’ and described his morning routine. Each day he would catch a fast train from Killiney to Westland Row and walk from the station to his office at 7 Dawson Street. On reaching the office door he would hand his umbrella and attaché case to an awaiting junior member of staff and mount the horse which a man held ready at the kerb. He would then canter up Dawson Street to to Stephen’s Green and ride several times round the park on the track which ran just inside the railings before returning to the office to start his day’s work. According to his obituarist in the RIAI Journal, Ashlin ‘continued in active energy until a short while before his death’ and ‘preserved his comparatively youthful bearing almost to the end of his active career’. He died, aged eighty-four, on 10 December 1921, at St George’s, Killiney, the house which he had designed for himself, and was buried in the family plot in Glasnevin Cemetery.“
Ashlin wrote an article which was published in Royal Institute of British Architects Journal 9 (1902), 117-119, called ‘The Possibility of the revival of the ancient arts of Ireland and their adaptation to our modern circumstances.’ He presented this in his Presidential Address to the Royal Institute of Architects in Ireland.
The Dictionary of Irish Biography tells us that under the influence of the Celtic revival, Ashlin turned to ancient Irish architecture for inspiration. In 1877 he designed a domestic chapel for A. J. Moore of Mooresfort, Co. Tipperary, which was modelled on Cormac’s Chapel, Cashel, Co. Tipperary. This was an early example of Hiberno-Romanesque, which was to become the dominant style in Irish catholic church design.
Other work listed for Ashlin in the Dictionary of Irish Architects is Enniscorthy Castle, updating it in 1869 for habitation of Isaac Newton Wallop, the 5th Earl of Portsmouth (born as Isaac Newton Fellowes, but later resumed the family surname and arms of Wallop).
Another private residence designed by Ashlin is Clonmeen House in County Cork.
Clonmeen House, County Cork, also designed by Ashlin, for Stephen Grehan in 1893. Photograph courtesy of National Inventory of Architectural Heritage.
Robert McQuillan, the current owner of St. George’s, very generously allowed me to take photographs inside. He and his wife are the fourth owners of St. George’s and have lived there for over thirty years. They have carefully restored and maintained the house.
Curtains hang on the back of the front door. The use of portiére rods with drapes were extensively used in Victorian homes to keep out draughts. The wallpaper is modern, supplied by Watts of London, and it copies an original Pugin design. All of the woodwork in the house is the original pitch pine, and has many Gothic details. The ceiling beams in the main hall have moulded ribs. The door to the right before the Tudor arch leads to the dining room, and to the left, the front drawing room.
The dining room has a pine ceiling similar to that in the hall. In the bow window on the left is the Ashlin crest and on the right, the Pugin crest. The Gothic designed sandstone fireplace has the Ashlin motto, “Labore et Honore.” The wallpaper design, and that of the drapes, is an original Pugin design.
The Front Drawing Room and back study, the leaflet from St. George’s tells us, are interconnecting spaces in the manner of Pugin’s design for The Grange where Ashlin’s wife grew up. Again, the wallpaper and drapes are of Pugin’s design. The fireplace has the inscribed initials of G.A. for George Ashlin. The ceiling is stencilled, which is a feature of Pugin’s domestic designs. The area beyond the arch was initially a Gothic conservatory. There are two canted bays, one with French doors out to the lawn. The stained glass panels in one depict the four seasons and in the other, figures of music, painting, poetry and architecture.
The Back Hall is double height, with a pitch pine staircase winding around the sides. The staircase is similar to that in Mary Pugin’s childhood home, The Grange. The stairs feature St. Brigid cross shapes and on the newels, more initials carved for George and Mary.
The window which lights the stairs is a three light window in heavy timbered frame with vertical glazed panels. The stained glass depicts St. George, and on one side is the Ashlin crest and the other, the Pugin crest, with G. (George) and M. (Mary) initials.
The chapel was built following the birth of George and Mary’s only child, their daughter Miriam. It is panelled with a timber “wagon vault.” The stained glass was designed by Mary Pugin.
Pictures of many saints are featured in stained glass in the chapel, including St. Dorothea, St. Francis Xavier, St. Joseph and St. George, and there is a beautifully carved altar. George’s mother was named Dorothea (née Coppinger).
The bedrooms are placed facing the sea and to the south, with bathrooms at the back of the house. The bedroom in front was probably Mary’s, as it has the initials “M.A.” in the fireplace. The stained glass in that room contains symbols of the Ashlin-Pugin marriage.
The library is located at the top of an “elbow stairs.” It is completely covered in pitch pine and has a magnificent view of the coast. The stained glass is signed “Frampton” and dated to 1880.
A single bedroom, the staff bedroom, is above the back stairs and would have originally housed three staff bedrooms. Today it is beautifully decorated with an intricately carved wooden sleigh bed, and drapes hanging from a coronet.
Another property designed by Ashlin has recently come on the market, Netterville Almshouses.
The Netterville Almshouses in County Meath, also designed by George Coppinger Ashlin, in 1877. For sale in April 2023, this photograph courtesy of myhome.ieThe splendid interior of Netterville almshouses, photograph from myhome.ieThe splendid interior of Netterville almshouses, photograph from myhome.ieThe splendid interior of Netterville almshouses, photograph from myhome.ieThe splendid interior of Netterville almshouses, photograph from myhome.ieThe splendid interior of Netterville almshouses, photograph from myhome.ieThe splendid interior of Netterville almshouses, photograph from myhome.ie
[1] The Wexford Gentry by Art Kavanagh and Rory Murphy. Published by Irish Family Names, Bunclody, Co Wexford, Ireland, 1994. p. 168. Power of Edermine.
orange: “whole house rental” i.e. those properties that are only for large group accommodations or weddings, e.g. 10 or more people.
green: gardens to visit
grey: ruins
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
Mayo:
1. Belleek Castle and Ballina House, originally Belleek Castle, Ballina, Mayo – hotel and gives tours
Belleek Manor, or Castle, courtesy of National Inventory of Architectural Heritage.
The website tells us:
“Welcome to your authentic Castle Experience in the beautiful West of Ireland in Ballina, County Mayo. An award winning hotel & wedding venue with a gourmet restaurant, cafe and museum on site!
“Explore Belleek Castle, an iconic Irish Country Home a restaurant, wedding venue, boutique hotel and spectacular exhibition of the eclectic Marshall Doran Collection of which one of our academically trained guides will be delighted to take you on a tour.
“Belleek Castle has been a member of the prestigious Ireland’s Blue Book since 2016. Ireland’s Blue Book is a romantic collection of Irish Country House Hotels, Manor Houses, Castles and Restaurants. Located throughout the island of Ireland these charming and stylish hideaways are the perfect choice for your holiday vacation in Ireland. They are also ideal for a midweek or weekend break and those seeking a romantic getaway.
Open dates in 2026: Mar 13-26, Apr 17-25, June 12-26, July 8-24, Aug 15-23, 2pm-6pm
Fee: adult €8, OAP/child/student €3, National Heritage Week free
Brookhill House, photograph from National Inventory of Architectural Heritage. [1]
The National Inventory tells us it is a:
“Detached three-bay two-storey double-pile over part raised basement country house with attic, built 1845, on a T-shaped plan centred on single-bay full-height gabled frontispiece; three- or five-bay two-storey rear (south) elevation centred on single-bay full-height gabled “bas-relief” breakfront… “Restored”, 1990-1…Tudor-headed central door opening approached by flight of thirteen drag edged tooled cut-limestone steps between wrought iron railings, trefoil leaf-embossed timber doorcase having engaged colonette-detailed moulded rebated reveals with hood moulding on polygonal label stops framing timber panelled door. Pointed-arch flanking window openings with creeper- or ivy-covered sills, timber Y-mullions, and carved timber surrounds framing timber casement windows. Square-headed window openings in tripartite arrangement with drag edged dragged cut-limestone sills, timber cruciform mullions, and rendered flush surrounds having chamfered reveals with hood mouldings framing two-over-two timber sash windows without horns. Hipped square-headed central door opening to rear (south) elevation approached by flight of nine drag edged tooled cut-limestone steps between replacement mild steel railings, tooled cut-limestone surround having chamfered reveals with hood moulding framing glazed timber panelled double doors having sidelights below overlight. Square-headed window openings with rendered flush surrounds having chamfered reveals framing timber casement windows. Interior including (ground floor): central hall on a square plan retaining carved timber lugged surrounds to door openings framing timber panelled doors, and moulded plasterwork cornice to ceiling; and carved timber surrounds to door openings to remainder framing timber panelled doors with carved timber surrounds to window openings framing timber panelled shutters on panelled risers. Set in landscaped grounds.
Appraisal
“A country house erected to a design attributed to Frederick Darley Junior (1798-1872) of Dublin representing an important component of the domestic built heritage of the rural environs of Claremorris with the architectural value of the composition, one enveloping a “four square” house annotated as “Brook hill [of] Kirwan Esquire” by Taylor and Skinner (1778 pl. 214), confirmed by such attributes as the deliberate alignment maximising on panoramic vistas overlooking landscaped grounds; the symmetrical frontage centred on a “medieval” doorcase demonstrating good quality workmanship with the corresponding Garden Front centred on a streamlined doorcase; the diminishing in scale of the multipartite openings on each floor producing a graduated tiered visual effect with the principal “apartments” defined by polygonal bay windows; and the robust timber work embellishing the roofline. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior where contemporary joinery; Classical-style chimneypieces; and decorative plasterwork enrichments, all highlight the artistic potential of the composition. Furthermore, adjacent outbuildings (extant 1893); a lengthy walled garden (extant 1893); and an abbreviated “Triumphal Column” erected over the burial place of Joseph Lambert JP (1793-1855), all continue to contribute positively to the group and setting values of an estate having historic connections with the Lambert family including Joseph Lambert (1760-1813), one-time High Sheriff of County Mayo (fl. 1796); Alexander Clendenning Lambert JP DL (1803-92), ‘County Treasurer late of Brookhill County Mayo’ (Calendars of Wills and Administrations 1893, 432); Colonel Joseph Alexander Lambert JP DL (1855-1907), ‘late of Brookhill Claremorris County Mayo and of Bouverie Road West Folkestone Kent’ (Calendars of Wills and Administrations 1908, 297); and Brigadier Alexander Fane Lambert DL (1887-1974), later of Auld Licht Manse, Angus, Scotland; and a succession of tenants including Valentine Joseph Blake JP (1842-1912), ‘Land Agent’ (NA 1901); Major General Reginald Henry Mahon (1859-1929; NA 1911); and Katharine Tynan Hinkson (1859-1931; occupant 1916-21), poet and author of the autobiographical “The Years of the Shadow” (1919) and “The Wandering Years” (1922).“
The Landed Estates database tells us:
“Brookhill was situated on church land held by the Gonnes, who leased the house to the Kirwans in the late 1770s. Occupied by the Lambert family from the 1790s to the 1940s when it was sold to Gerald Maguire, a solicitor in Claremorris. Now the home of the Noone family.” [2]
3. Old Coastguard Station, Rosmoney, Westport, Co. Mayo– section 482
Open dates in 2026: June 29-30, July 1-31, Aug 1-30, Sept 1-8, 11am-4pm
Fee: adult €1, child/OAP/student free
Old Coastguard Station, County Mayo, photograph from National Inventory of Architectural Heritage.
The National Inventory tells us it is “A coastguard station erected to a design examined (1876) by Enoch Trevor Owen (c.1833-81), Assistant Architect to the Board of Public Works (appointed 1863), representing an important component of the later nineteenth-century maritime architectural heritage of County Mayo. Having been reasonably well maintained, the elementary form and massing survive intact together with quantities of the original fabric, both to the exterior and to the interior: the introduction of replacement fittings to the openings, however, has not had a beneficial impact on the character or integrity of the composition. Nevertheless, an adjacent boathouse (extant 1897) continues to contribute positively to the group and setting values of a neat self-contained ensemble making a pleasing visual statement in a low hillside overlooking the islet-studded Westport Bay.“
4. Partry House, Mayo – part of Museums of Mayo– sometimes open to the public
“Partry House is a charming historic house in a unique and secluded old estate by the shores of Lough Carra.
“Built in 1667 on the site of an old Castle, it is set in just 250 acres of unspoilt woodland, bog, pasture and parkland.
Farm
“The farm and gardens are run on ecologically friendly and organic principles. Wildlife abounds on this peaceful sanctuary in scenic South County Mayo.
“Now restored in keeping with its age and character, Partry House is open in part to the public during July and August.
“Partry House dates from 1667 when it was built on the remains of Cloonlagheen Castle by Arthur Lynch as a dowager house for his mother Lady Ellis, widow of Sir Roebuck Lynch [2nd Baronet, 1621-1667] of Castle Carra.
“Sir Roebuck’s lands were seized by the Cromwellians and he was compensated by lands at Castle Carra during the first half of the seventeenth century. The Castle was named after Cloonlagheen (‘the meadow of the little lake’) townland on which it stands.
“Evidence of the original castle was discovered during restoration work in 1995 when slit windows opening inwards were found at knee level on the first floor. Old castle walls can be seen incorporated into stable walls.
“Knox’s ‘History of Mayo‘ (1910) clearly states that Cloonlagheen castle was owned in 1574 by Abbé MacEnvile who was over Ballintubber Abbey. This was part of the Elizabethan survey called the ‘Divisons of Connaught’.
“The Lynchs, of the noted Galway family, occupied Partry House from 1667 until 1991; over 330 years in residence. Many of the ancestors of the present Lynch family are buried in a ring-fort graveyard on the estate, where their achievemements are noted on a large stone obelisk. Military, Exploratory and Humanitarian, their dates and names are written in stone.
“The one-time islands Moynish, Creggaun and Leamnahaye are linked to the shore by means of the Famine Walk built between the lake and a bog area. This and the fine limestone shore edging date from famine times when the Lynchs looked after their tenants providing food and work for them. Two old cast iron pots used to cook cornmeal stand in the garden.
“The obelisk commemorates George Quested Lynch MD who returned at once to Partry from Euphrates on hearing of the famine and died here of Typhus in 1848, aged only 34. The Lynchs, along with Browns of Westport House and the Moores of Moore Hall chartered the ship the ‘Martha Washington’ to bring corn meal from America for their tenants.”
5. Turlough Park, County Mayo – National Museum of Ireland Museum of Country Life
“Turlough Park was built in 1865, to replace a much older building near the entrance to the park. The name of the village and estate derives from the Irish turlach, signifying a lake that dries up in the summer period.
“Turlough Park was the home of the Fitzgerald family, to whom the estate was granted under the Cromwellian land settlements of the mid-seventeenth century.
“At its largest, the Turlough estate consisted of almost 8,500 acres requiring many indoor servants and outdoor estate workers to maintain the house and lands. In 1915, the Congested Districts Board – established to initiate economic improvements along the western seaboard – purchased and re-distributed the Fitzgerald estate.“
“A notable family member was George Robert [c. 1712-1782], son of George and later known as the ‘Fighting Fitzgerald’. Famous for his brave and reckless horsemanship, and a renowned duellist, George Robert was involved in a number of disputes and family quarrels. He was found guilty of murder and hanged in Castlebar, Co. Mayo in 1786.“
Mary née Hervey was George “Fighting Fitzgerald”s mother.Johann Zoffany Portrait of George Fitzgerald (1748-1786) with his Sons George and Charles (roughly 1764) courtesy of National Gallery of Ireland and Crawford Gallery.
“His younger brother Charles Lionel would inherit the Turlough Park estate.
“The architect Thomas Newenham Deane designed Turlough Park House. Deane was also the designer of the National Museum of Ireland – Archaeology in Dublin.
“The architectural style of the house has been referred to as ‘Victorian Gothic’. The two-storey house built of limestone rises to a high-pitched roof with dormer windows. It incorporates an open central Gothic porch bearing the house’s 1865 date stone.
“A service area adjoining the house, which once accommodated the kitchen and stable block, now incorporates visitor facilities such as the gift shop and café. In such houses, the kitchen was detached from the main house to avoid cooking smells disturbing the family and their guests and to minimise the risk of fire.“
“An imposing stained glass window above the porch incorporates the Fitzgerald family crest and bears the motto Honor Probataque Virtus (Honour, Probity & Virtue).”
“While the library was used mostly for recreation and study, the room was also where tenant farmers paid their quarterly rents to their landlord, the Fitzgerald family. The agent, seated facing the glass doors where the tenants entered, would note the payment in his rent book and issue the tenant with a receipt. It is said that the landlord sometimes sat behind the concealed door to hear what the tenants had to say without being observed.“
This room is furnished and decorated the way it may have looked around 1900. Most families occupying a house for a long time accumulate a variety of furniture from different eras and in different styles. The furniture here is from the Decorative Arts & History collections of the Museum.“
“Among the items is a Lyrachord Piano, which is the only one of its kind in the world. The left side operates like a piano and the right like a harpsichord.“
“There is also a nest of tables with harp and shamrock inlay typical of the Killarney school of furniture, as well as an embroidered armchair from Adare Manor, Co. Limerick dating from 1850.
“Becoming part of the National Museum of Ireland, Turlough Park House remained in the same family until 1991 when it was purchased by Mayo County Council. The proposal to open the house as a museum was a local initiative which led eventually to a decision made in 1995 to locate part of the National Museum of Ireland here. The Museum’s Folklife collections had been stored for a long time in Daingean, Co. Offaly, awaiting a suitable venue.“
“As the house was not suitable as a major exhibition space, a new building was purpose-built alongside it. Housing the Museum galleries, this award winning design was created by the architectural branch of the Office of Public Works. As part of the project, the Office of Public Works also restored the original ‘Big House’. The grounds and gardens were restored by Mayo County Council.“
The website tells us: “One of the few privately-owned historic houses left in Ireland, Westport House was built by the Browne family whose connections to Mayo date back to the 1500s. Their lineage relates them and the house to the trail-blazing pirate queen and chieftain, Grace O’Malley.“
“In 2017, Westport House was bought by another local and historic family, the Hughes family, who hope to ensure its survival into the future.
“Built in the 18th century, Westport House was designed by the famous architects, Richard Cassels, James Wyatt and Thomas Ivory. Westport House is located west of the Shannon and is considered to be one of Ireland’s most beautiful historic homes open to visitors – and is today often described as being one of Ireland’s National Treasures. It is situated in a superb parkland setting with lake, terraces, gardens and magnificent views overlooking Clew Bay, the Atlantic Ocean, Clare Island and Ireland’s Holy Mountain, Croagh Patrick right in the heart of the Wild Atlantic Way. It was built … by the Browne family, who are direct descendants of the famous 16th century Pirate Queen – Grace O’Malley.
“After Grace O’Malley’s death, a report stated that for forty years she was the stay of all rebellions in the West. She was chief of the O’Malley Clan and ruled the seas around Mayo. Grace O’Malley had several castles in the West of Ireland and it was on the foundations of one of these that Westport House was actually built. There is still an area of her original castle in the basement of the House (now known as The Dungeons), which is on view to visitors.
“The original house which would have been smaller, was built by Colonel John Browne [1631-1712], a Jacobite, who was at the Siege of Limerick and his wife, Maude Burke [or Bourke, (1640-1690)] in 1679-83. Maude Burke was Grace O’Malley’s great-great granddaughter. The house did not have the lake or a dam and the tide rose and fell against the walls.
“The east front of the House, as it is today, was built in 1730 by Colonel John Browne’s grandson, also John- 1st Earl of Altamont [1709-1776]. He hired the famous German architect, Richard Cassels. It is built with the finest limestone taken from the quarry south of the estate farmyard and was executed by local craftsmen. Richard Cassels also designed Carton, Haselwood, Russborough and Leinster Houses.
John Browne (1709-1776), Baron Mount Eagle, 1st Earl of Altamont, of Westport, County Mayo, after Joshua Reynold, Adams auction 18 Oct 2022.
“From the plans made in 1773, the ground floor contained:
The Waiting Room – now The Library
Front Staircase – now the Ante- library
Living Room – now The Front Hall
Back staircase – now part of the present Drawing Room
Dressing Room – now the East end of The Long Gallery.
“It was only one room deep, built round an open courtyard.
“In 1778, Peter, the 2nd Earl Of Altamont built the south wing to the Thomas Ivory plans his father had commissioned but had not carried out. Ivory’s south façade has a delicacy quite unlike Cassel’s bolder work on the East. In the 1780’s Peter’s son John Denis, 3rd Earl of Altamont (who later became the 1st Marquess of Sligo), completed the square of the House. He engaged James Wyatt to decorate his new Long Gallery and Large Dining Room (one of the great English architects who is responsible for other significant buildings in the town of Westport and further afield).“
John Denis Browne (1756-1809) 1st Marquess of Sligo Date 1806 Engraver William Whiston Barney, British, fl. c. 1805 After John Opie, English, 1761-1807, courtesy of National Gallery of Ireland.
“In 1816, Howe Peter (2nd Marquess of Sligo) began his alterations to the House. He built on the north wing for men servants and between 1819-1825, he built on the south wing. The south wing was built as a two-tiered library designed by Benjamin Wyatt. This was warmed by hot air and due to defects in the system, it was destroyed by fire almost immediately in 1826.
“In the 1830s, the central open courtyard where the Marble Staircase now sits, was covered in and Howe Peter made a new library by running a gallery round the now enclosed wall. In 1858 his son George abolished his father’s Library, moving it to where it is today and replaced it with the Marble Staircase.
“On the west side of the house, the highly effective balustraded terraces’above the lake and the landing places were put in by George Ulick (6th Marquess of Sligo). These were designed by the English architect, Romaine Walker, whose main Irish work was the remodelling of Waterford Castle.“
The website continues, telling us about the Browne Family:
“The story of the Browne Family is a microcosm for the wider and, at times, turbulent history of Ireland. Each generation has had to contend with and adapt to the prevailing social, political and religious changes encountered along the way. Despite revolution, invasion, plantation, famine and confiscation, the bond uniting Westport House and its family remained right up until 2017.
“The Browne Family originally arrived into Mayo from Sussex in the 16th century. Through marriage with daughters of native Irish landowners and by purchase, they built up a small estate near The Neale. As a Catholic family, they were fortunate that their lands were situated in Connaught thereby escaping the notorious confiscations of Cromwell. It was with John Browne III (1638-1711) with whom the connection with Westport House commenced. A successful lawyer, he married Maud Burke, daughter of Viscount Mayo and great-great granddaughter of the Pirate Queen Grace O’Malley (Granuaile 1530-1603).
“John Browne greatly increased his estate in Mayo and Galway including Cathair-na-mart (Stone-fort of the Beeves), a ruinous O’Malley fortress on the shores of Clew Bay. John’s good fortune was swept away as Ireland was plunged into chaos in the Williamite Wars. A Catholic, John supported the Jacobite cause and was appointed a Colonel in the Jacobite army. From the iron mines on his lands near Westport, he supplied the army with cannon balls and weapons. The defeat of the Jacobite army at Aughrim and Limerick in 1691 brought financial ruin in the confiscations that followed. At his death in 1711, his estate was reduced to Cathair-na-Mart and a few hundred acres.
“The Penal Laws which followed left his grandson, John IV, with little option but to conform to the prevailing religion in hope of surviving the confiscations and political upheaval. John IV gradually revived the family fortune. Young and ambitious he set about extending his estate and transforming the old O’Malley castle into modern day Westport House. In 1767, he – along with architect, William Leeson – replaced the old village of Cathair-na-Mart with a new town of Westport where he established a thriving linen industry. An excellent farmer he set about improving the fertility of his lands, which for the most part were of poor quality. He became the 1st Earl of Altamont. In 1752, his son and heir, Peter, 2nd Earl Of Altamont, married the heiress Elizabeth Kelly from Co. Galway whose estates in Jamaica further enhanced the family fortune. It is said that – as part of the dowry – her father insisted that he take the Kelly name and he became known as Peter Browne Kelly.
“John, 3rd Earl of Altamont, continued the innovative farming tradition of his grandfather. He created the lake to the West of Westport House and planted trees. He laid out the principal streets of the present town of Westport and many of the streets in Westport today are named after Browne Family members such as Peter Street, James Street, Altamont Street and John’s Row. He also established a theatre at the Octagon and built the town of Louisburgh. In 1787, he married Louisa Catherine, daughter and heiress of the famous English Admiral Earl Howe. During his lifetime, the French inspired 1798 Rebellion occurred. Aided by the arbitrary actions of Denis Browne, his younger brother, against the Irish insurgents (which earned him the reputation of “ black sheep” of the family), the Rebellion was crushed.
“In 1800, there was an Act of Union with England. The 3rd Earl voted for it and became the 1st Marquess of Sligo and an Irish representative peer. The reason the title is Sligo when the family home is in Mayo, is that in 1800 there was already an Earl of Mayo, a Viscount Galway to the south and a Lord Roscommon to the East. West was the Atlantic Ocean, so it had to be North – the land of Yeats and black cattle – Sligo.
“His only son Howe Peter, 2nd Marquess of Sligo, inherited in 1809 at the age of twenty-one. Extravagant and generous, his early life subscribed to the popular image of a “regency buck”. Friend of Byron, de Quincy and the Prince Regent, he traveled extensively throughout Europe on the “grand tour”. He excavated at Mycenae and discovered the 3,000 year old columns of the Treasury of Atreus. To bring them back to Westport, he took some seamen from a British warship and was subsequently sentenced to 4 months in Newgate prison. He married Hester, the Earl of Conricard’s daughter, with whom he had 14 children and settled down to life in Westport. He bred many famous race horses both at Westport and the Curragh. One of his horses, Waxy, won the Derby. He owned the last two of the original breed of Irish Wolfhound. In 1834, he was appointed Governor of Jamaica with the difficult task of overseeing the “apprenticeship system” a period prior to the full emancipation of the slaves. He met with great opposition from plantation owners and other vested interests. He was first to emancipate the slaves on the family’s Jamaican plantations. The first “free village” in the world, Sligoville, was subsequently named in his honour. A liberal, he was one of the few Irish Peers to vote for Catholic Emancipation. He died in 1845 as the clouds of the Great Famine descended over Mayo.
“His son, George, the 3rd Marquess, inherited a terrible legacy. The West of Ireland was worst affected by the famine. Westport House was closed and with no rents forthcoming, George borrowed where he could, spending £50,000 of his own money to alleviate the suffering of the tenants. With the guidance of his mother, Hesther Catherine, he imported cargoes of meal to Westport Quay and sub-vented the local workhouse, then the only shelter available to the destitute. He wrote tirelessly to the British Government demanding that they do more to help the famine victims. He wrote and had published a pamphlet outlining many pioneering reforms of the economic and social conditions that had led to the famine. In 1854, on being offered the Order of St. Patrick, an honour once held by his father and grandfather, disillusioned by England’s Irish policy (a reoccurring sentiment at Westport House!), the 3rd Marquess wrote “ I have no desire for the honour.” An exhibition about the Great Famine is on display in Westport House as told through Hesther Catherine’s letters to the estate’s agent in Westport, Hildebrand.
“John succeeded his brother as 4th Marquess. He had to contend with the huge changes that occurred in the ownership of land in Ireland in the late nineteenth and early twentieth century. Above all he was a “professional” farmer whose main contribution was to transform a reduced and almost bankrupt estate into a profitable one solely from agriculture. This work was continued by the 6th Marquess who added a sawmill, a salmon hatchery and planted extensively. The compulsory acquisition of the main entrance to the House for local public housing occurred in the ownership of the 8th Marquess which altered the historic relationship that had existed between the House and the town of Westport.
“In 1960, in the midst of a great depression and facing rising death duties, the 10th Marquess, Denis Edward, his wife Jose and son Jeremy (11th Marquess) decided to open Westport House and the grounds to the visiting public. It was a pioneering venture in a place and at a time that was remote and depressed. Over the succeeding decades, the 11th Marquess and his family developed the Estate into a Tourist Attraction.
The Grounds & Gardens
“The Brownes of Westport House knew the value of trees in a landscape too, as the stunning woodland in the estate’s grounds attest. Westport Demesne retains 100 acres of historic woods dating back to the 1700s.
“Back in the day, these trees provided a number of resources for the Westport House Estate. They created a shelter belt from the harsh Atlantic weather systems, they provided a fuel and timber source for heating and building materials, and they created a lush green back drop for the ‘naturalised parkland’ design landscape.
“The lords and ladies loved to interact with the landscape by promenading along a deep networks of track and trails. They would bring their visitors along these paths too, impressing them with the grandeur and beauty of the estate’s stately woodlands. Aptly enough, these design pathways and the areas of woodlands they ventured through were known as ‘the pleasure grounds’.
“An elaborate network of serpentine pathways meandered along, softly curving – following the style of landscape design that was popular during the 1800s and remains timeless to this day. The trails led the walker deep into the woodlands and surrounding landscape, where they could discover hidden design elements, such as sculptural pieces of architecture, exotic plant and tree species and new views.
“The pyramidal cone of Croagh Patrick was one of the most emphasised views in the Westport House Demesne, and a number of the historic pathways were specifically designed to yield the most captivating vistas. The woodlands even had purposely made gaps to seduce the stroller with sudden framed glimpses of the famous Reek.
Opened to the Public in 1960
“By the early 1960s, most historic homes of its nature were either burnt, knocked down or abandoned. Not so for Westport House. Jeremy – 11th Marquess of Sligo (1939 – 2014), took the estate in a whole new direction with inspiration from the “Big Houses” in the UK who had opened their doors to the interested public who were keen to see how the “other half” lived. In 1960, when Jeremy and Jennifer opened the attraction, the admission price was 2/6 for adults and 1/- for children. Admission to the grounds was 6d for both adults and children. In 1960, 2,400 visitors visited Westport House.
“Jeremy had a remarkable passion for product development and marketing. He was inspired by other houses that were becoming sustainable and viable by diversifying their offering from not only heritage but including other leisure attractions. He felt strongly that Westport House needed to appeal to a wider audience than those solely interested in antiques and architecture. Over time, he introduced a number of fun attractions. In the 1970s, the Slippery Dip (Cannon Ball run) and the Miniature Railway (Westport House Express) were added discretely on the grounds. A Camping and Caravan Park was developed – as well as Horse Drawn Caravan tours of Connemara – and Gracy’s Restaurant (situated at the Farmyard was created from what was originally a cowshed) and a shop evolved from a similar situation. There were even one armed bandits in the basement at one point in time and the giant pink rabbit called Pinkie was introduced as the estate’s mascot. The Tennis Courts, Pitch and Putt, a Flume Ride (The Pirates Plunge), Jungle World (The Pirates Den), and of course The Giant Swans on the lake were also phased in. In 2008, the Ships Galleon (The Pirate Queen) was introduced.
“It was during this time that Jeremy and Jennifer realised that in order to be able to leave the estate to their daughters, drastic action would need to be taken. Jeremy had signed a family trust aged 21 to leave the estate and title to his son. They went on to have five wonderful daughters (with no sign of a male heir). With the help of Mary Robinson QC (and later, first female president of Ireland) and Michael Egan, solicitor from Castlebar, Jeremy succeeded in bringing the Altamont Act through the senate in 1992 allowing him to leave the estate to his daughters and break the trust. He did not enact the same for the title of Marquess of Sligo and today, the 12th Marquess of Sligo, Sebastian Browne, resides in Sydney, Australia.
“In 2003, Jeremy commissioned Michael Cooper, his brother-in-law, to create a sculpture of Grace O’Malley – the original of alabaster stone is situated in the House and a bronze casting is in the garden. This was the beginning of reinstating her back where she belongs – in her home, with her family, and where the re-branding of the estate in 2009 as Westport House and Pirates Adventure Park emanated from.
“It was around this time that Sheelyn and Karen Browne – the two eldest of Jeremy’s five daughters – took the reins and added an Adventure Activity Centre, a seasonal Events Programme as well as holding the first large music festivals on the estate while Clare and Alannah ran Gracy’s Bar. Fifth sister, Lucinda, was always happy to lend a hand when home from the U.K. In 2017, the Browne family sold the house and estate to the local Hughes family who own neighbouring Hotel Westport and workwear provider, Portwest. A new chapter in the history of Westport House & Estate has begun. The Hughes family immediately started working on the grounds and gardens of the estate. The adventure park has been upgraded with a variety of new attractions and rides and there are plans to further invest in adventure. In 2021, urgent and necessary restorative works to Westport House will begin. And our new CEO’s main focus – along with the Hughes family – has been to produce a master plan for the entire estate that will ensure the sustainability and viability of the house and estate into the future.“
Places to stay, County Mayo:
1. Ashford Castle, Mayo/Galway – hotel
Ashford Castle, photograph Courtesy Aervisions 2016for Tourism Ireland, Ireland’s Content Pool (see [5]).
The website tells us: “Unrivalled service, warm Irish hospitality and five-star luxury await at Ashford Castle, part of The Red Carnation Hotel Collection. Situated in a spectacular 350-acre estate, discover sumptuous rooms and suites, splendid interiors brimming with antique furniture, fine fabrics and unique features at every turn.“
It was built originally by the Norman De Burgo family around 1228.
Ashford Castle, Cong, County Mayo, photograph by Robert French, Lawrence Photographic Collection, National Library of Ireland.Ashford Castle, photograph by Brian Morrison 2015 for Tourism Ireland, Ireland’s Content Pool (see [5]).Ashford Castle, photograph by Brian Morrison 2015 for Tourism Ireland, Ireland’s Content Pool (see [5]).
Mark Bence-Jones writes in A Guide to Irish Country Houses (1988):
p. 12. “(Browne, Oranmore and Browne, B/PB; Guinness, Bt/PB) A vast and imposing Victorian-Baronial castle of rather harsh rough-hewn grey stone in a superb postion and the head of Lough Corrib…built onto an earlier house consisting of a 2 storey 5 bay Georgian shooting-box enlarged and remodelled in French chateau style. The shooting-box and estate originally belonged to the Oranmore and Browne family; they were sold by the Encumbered Estates Court in 1855 and bought by Benjamin Lee Guinness, afterwards 1st Bt., head of Guinness’s brewery, who transformed the shooting-box into the French chateau. From the 1870s onwards, his son, Arthur, 1st and Last Lord Ardilaun, added the castle, which was designed by James Franklin Fuller and George Ashlin. He also built the tremendous castellated 6 arch bridge across the river, with outworks and an embattled gateway surmounted by a gigantic A and a Baron’s coronet, which is the main approach; from the far side of this bridge the castle looks most impressive. Its interior, however, is a disappointment, like the interiors of so many late-Victorian houses. The rooms are not particularly large, and some of them are rather low; everything is light oak, with timbered ceilings and panelling. The main hall was formed out of 2 or more rooms in the earlier house, and has a somewhat makeshift air; it is surrounded by an oak gallery with thin uprights and a staircase rises straight from one side of it. Another room has an immense carved oak mantel with caryatids and the Guinness motto. Magnificent gardens and grounds; large fountain, vista up the hillside with steps; castellated terrace by the lake. Sold ca 1930, now a hotel.” (see [3])
Ashford Castle, Cong, County Mayo, photograph by Robert French, Lawrence Photographic Collection, National Library of Ireland.Ashford Castle, Cong, County Mayo, photograph by Robert French, Lawrence Photographic Collection, National Library of Ireland.Ashford Castle, Cong, County Mayo, photograph by Robert French, Lawrence Photographic Collection, National Library of Ireland.Ashford Castle, Cong, County Mayo, photograph by Robert French, Lawrence Photographic Collection, National Library of Ireland.Ashford Castle, photograph by Brian Morrison 2015 for Tourism Ireland, Ireland’s Content Pool (see [5]).George V Dining Room, Ashford Castle, Co Mayo, Courtesy Jack Hardy 2016for Tourism Ireland, Ireland’s Content Pool (see [5]).Billiards Room, Ashford Castle,Courtesy Jack Hardy 2016for Tourism Ireland, Ireland’s Content Pool (see [5]).Afternoon tea, Ashford Castle, Co Mayo Courtesy Kelvin Gillmor 2014. (see [5])Ashford Castle, photograph by Brian Morrison 2015 for Tourism Ireland, Ireland’s Content Pool (see [5]).Ashford Castle, photograph by unknown, for Tourism Ireland, Ireland’s Content Pool (see [5]).Ashford Castle, photograph by Brian Morrison 2015 for Tourism Ireland, Ireland’s Content Pool (see [5]).
2. Belleek Castle and Ballina House, originally Belleek Castle, Ballina, Mayo –
Belleek Manor, or Castle, courtesy of National Inventory of Architectural Heritage.
The website tells us:
“Welcome to your authentic Castle Experience in the beautiful West of Ireland in Ballina, County Mayo. An award winning hotel & wedding venue with a gourmet restaurant, cafe and museum on site!
“Explore Belleek Castle, an iconic Irish Country Home a restaurant, wedding venue, boutique hotel and spectacular exhibition of the eclectic Marshall Doran Collection of which one of our academically trained guides will be delighted to take you on a tour.
“Belleek Castle has been a member of the prestigious Ireland’s Blue Book since 2016. Ireland’s Blue Book is a romantic collection of Irish Country House Hotels, Manor Houses, Castles and Restaurants. Located throughout the island of Ireland these charming and stylish hideaways are the perfect choice for your holiday vacation in Ireland. They are also ideal for a midweek or weekend break and those seeking a romantic getaway.
“The neo-gothic Country House, dating from 1831, has not lost its flavour by over modernisation…This historic Belleek Castle is informal, hassle-free and friendly, rich in decor and antiquities, with many open log fires to warm your steps back through half a millennium.”
Belleek Manor, or Castle, courtesy of National Inventory of Architectural Heritage.Belleek Manor, or Castle, courtesy of National Inventory of Architectural Heritage.
It continues in the history section:
“Belleek Castle was built between 1825 and finished in 1831 for the cost of £10,000. The building was commissioned by Sir Arthur Francis Knox-Gore for the cost of £10,000 and . The manor house was designed by the prolific architect John Benjamin Keane, and the Neo-Gothic architecture met the taste of the time, when Medieval styles became fashionable again.”
John B. Keane began his career as assistant to Richard Morrison in the early 1820s and set up his own practice by 1823, David Hicks tells us in his Irish Country Houses, A Chronicle of Change. The stone for the house was quarried from nearby quarry in Moyne. Francis Arthur Francis Knox-Gore had inherited the estate in 1818 when he was 15, and the manor was built after his marriage to Sarah Nesbit Knox from Castle Lacken, County Mayo. It is thought to have replaced an earlier structure, as the basement area of the castle today appears to be older than the floors above.
The website continues: “The house is thought to have replaced an earlier structure & is named after the original Belleek Castle, a 13th Tower House Castle situated on the banks of the River Moy. Francis lived at Belleek Castle with his wife Sarah and his 9 children until his death in 1873. According to his wishes he was buried in Belleek Demense. A striking Neo-Gothic Monument, designed by James Franklin Fuller, now marks his grave and is situated in the middle of Belleek Woods. It is said that his wife & favourite horse are both buried beside him. His eldest son Charles Knox-Gore inherited & became the 2nd Baronet. Charles died without issue in 1890 & was also buried in Belleek Demense beside the River Moy, and his dog Phizzie was buried beside him. The house was inherited by his sister Matilda who married Major General William Boyd Saunders of Torquay. Their grandson William Arthur Cecil Saunders-Knox-Gore sold the house in 1942.
“The house was later purchased by the Beckett family who intended on converting the Manor House into a stud farm but later sold the house. Mayo County Council purchased the house in the 1950s and used the Manor House as a hospital & military barracks and was later abandoned it. It was at this time that Mayo County Council considered taking the roof of the building to avoid paying rates. Fortunately Marshall Doran, a merchant navy officer and an avid collector of fossils and medieval armour, acquired the run down property in 1961, restored it and opened it as a hotel in 1970. Some of the rooms are in 19th style, whilst most of the interior design has a medieval and nautical touch. Marshall, being quite a craftsman, did a lot of the work himself, assisted by John Mullen, and supervised the restoration expertly. Today, the Castle is managed by Marshall’s son Paul Doran and Ms. Maya Nikolaeva.“
Belleek Manor, or Castle, courtesy of National Inventory of Architectural Heritage.
And about the tour of the castle:
“The Belleek Castle Tour includes an explanation of the origins of the Castle and the history of its former owners, the Knox-Gore family, the Earls of Arran. Learn about the life of Marshall Doran an adventurer, sailor & smuggler who restored Belleek Castle in the 1960’s. Visitors will see private dining rooms, decorated in opulent romantic style, as well as rooms designed by Marshal such as the Medieval Banquet Hall, the Spanish Armada Bar and the Tween Deck. The highlight of the tour is The Marshall Doran Collection, which is one of the finest collections of Jurassic fossils, Medieval Weapons and Medieval armour in Ireland. Visitors will also see the Grace O’Malley “The Pirate Queen’s” bed, the last wolf shot in Connaught and other curiosities.”
Magherameena Castle, Belleek, County Fermanagh, also designed by John Benjamin Keane, no longer standing. National Library of Ireland NLI Ref L_CAB_04725 National Library of Ireland
3. Breaffy House Resort, Castlebar, Co Mayo (formerly Breaghwy)
The website tells us: “Breaffy House Resort is located in the heart of County Mayo and is the perfect destination if you are looking for a well-deserved and relaxing break! Set on 101 acres, the resort consists of 4* Breaffy House Hotel and Self-Catering Apartments, only a 2 minute stroll between House Hotel & Apartments.”
Mark Bence-Jones writes (1988):
p. 47. “(Browne/IFR) A large Victorian Baronial mansion of rough-hewn grey stone with red sandstone around the windows; unusually long for its height. Entrance front with single-storey battlemented porch. Garden front with stepped gables, polygonal corner turret with battlements and pointed roof, and another battlemented turret set at an obtuse angle to the façade. Sold ca 1960. Now an hotel.” (see [5])
Archiseek describes it: “Dominick Andrew Browne built the present Breaffy House in 1890. The house is a Scottish baronial mansion and is victorian in style and was designed by English architect William M. Fawcett from Cambridge. The house has boldly recessed facades, a polygonal corner turret with battlements and pointed roof, a second turret set at an obtuse angle to the facade and stepped gables. The entrance front has a single story battlement porch. The building has tall slender chimneys and there are dormer windows on the roof.” (see [3])
4. Enniscoe House, Castlehill, Ballina, Co Mayo – section 482accommodation
The website tells us: “Owned and run by Adrian & Geraldine Noonan, Knockranny House Hotel & Spa is one of Ireland’s finest 4 star hotels in Westport.
“Set in secluded grounds on a hillside, this luxury hotel stands proudly overlooking the picturesque town of Westport and enjoys breathtaking views of Croagh Patrick and Clew Bay’s islands to the west and the Nephin Mountains to the north, one of the best Westport hotels locations.
“The welcoming atmosphere at Knockranny House Hotel Westport begins with the open log fires in the reception hall, and is carried throughout the property with its antique furniture, excellent spa facilities, superb cuisine and friendly service, creating a genuine sense of relaxed warmth and hospitality. Previously voted as AA Irish hotel of the year. “
Mount Falcon Estate, Co Mayo_by Mount Falcon 2020 for Tourism Ireland, Ireland’s Content Pool. (see [5])
The website tells us:
“Mount Falcon Estate is a luxury 32 bedroom 4-star deluxe hotel with 45 luxury lodges located on the west bank of the River Moy and is situated perfectly for exploring the 2500km of rugged Irish coastline called The Wild Atlantic Way. Mount Falcon hotel offers 100 acres of magical woodlands, between Foxford and Ballina, in North County Mayo, the most beautiful part of the West of Ireland. Situated in the heart of the Moy Valley (which encompasses Mayo North and Co. Sligo) this Victorian Gothic manor house (est. 1876) exudes understated elegance from a bygone era. Originally constructed as a wedding gift, Mount Falcon Estate has subsequently become known as the most romantic house in Ireland.
“Mount Falcon’s owners, the Maloney Family fell in love with the Estate and transformed it into one of the top Hotels in Ballina and Mayo. The owners have invested heavily in an ongoing restoration programme, and have ensured that the integrity and charm of the Estate have been completely retained. AA Hotel of the Year 2009/2010 & IGTOA Boutique Hotel of the Year 2011. Best Manor House Hotel in Ireland 2015, Hotel of the year 2017 Manor House Hotel, Traditional Luxury Hotel 2018 Luxury Travel Diary, Irelands Favourite Place to Stay Connaught 2018 Gold Medal Awards People Choice Winner, Top 100 Best Wedding Venues 2018 One Fab Day.“
Mark Bence-Jones writes (1988): p. 213. “(Knox/IFR) A Victorian Gothic house of rough-hewn stone, built 1876 for U.A. Knox [Utred Augustus Knox JP DL (1825-1913)], probably to the design of James Franklin Fuller. Of two storeys with a three storey bock to which a tower was added. Plate glass windows. There is a similarity between Mount Falcon and Errew Grange. Mount Falcon is now a hotel.“
The National Inventory adds:
“A country house erected for Utred Augustus Knox JP DL (1825-1913) to a design signed by James Franklin Fuller (1835-1924) of Great Brunswick Street [Pearse Street], Dublin, representing an important component of the later nineteenth-century domestic built heritage of County Mayo with the architectural value of the composition, one evoking strong comparisons with the Fuller-designed Errew House (1872-7), Errew, confirmed by such attributes as the deliberate alignment maximising on scenic vistas overlooking gently rolling grounds; the compact, albeit multi-faceted plan form; the robust rock faced surface finish offset by sheer limestone dressings not only demonstrating good quality workmanship, but also compounding a ponderous two-tone palette; the slight diminishing in scale of the openings on each floor producing a feint graduated visual effect with the principal “apartments” defined by polygonal bay windows; and the spire-topped tower embellishing a multi-gabled roofline. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior where encaustic tile work; contemporary joinery; restrained chimneypieces carrying the monogram of the proprietor (“UAK”); and decorative plasterwork enrichments, all highlight the considerable artistic potential of a country house having subsequent connections with the Aldridge family including Major John Beauclerk Aldridge RA (1900-76), previously of Glenmore: meanwhile, a discreet benchmark remains of additional interest for the connections with cartography and the preparation of maps by the Ordnance Survey (established 1824).” [7]
7. Owenmore, Garranard, Ballina, Co. Mayo –section 482 accommodation
Tourist Accommodation Facility: Open in 2026: all year except Jan, Feb, Mar 1-9, July 1-23, Dec 22-31
Since it is listed in Revenue Section 482 under Tourist Accommodation Facility, it does not have to open to the public.
Originally called Millbrook, Mark Bence-Jones tells us (1988):
p. 229. “(Orme/LGI1912; McCausland/IFR) An early C19 house of two storeys over high basement. Entrance front of 5 bays; single-storey Doric portico with a die up broad flight of steps. Entablatures on console brackets over windows of lower storey. Side elevation of one bay with a curved bow; at the other side is a two storey bowed wing of the same height and style as the main block, set back from it and joined to it by a canted bay. Eaved roof on cornice. Two drawing rooms en suite with decoration of ca 1830; ceilings with plasterwork in compartments; pediment over double-doors. Dining room ceiling with delicate plasterwork in centre surrounded by rectangular frame with similar decoration.” [3]
Timothy William Ferres tells us it was built ca 1847, and when the estate was decimated by the Land Acts, about 1926, it was sold to the Knox family. It was sold again in 1950 to Major Marcus McCausland.” [4]
It seems to have been built for William Orme (1810-76), JP. The National Inventory adds:
“the compact plan form centred on a pillared portico demonstrating good quality workmanship in a blue-grey limestone; and the very slight diminishing in scale of the openings on each floor producing a graduated visual impression with those openings showing sleek “stucco” dressings. Having been well maintained, the form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior, including crown or cylinder glazing panels in hornless sash frames: meanwhile, contemporary joinery; and ‘splendid ceilings [revealing] the superb skill of the Italian masters introduced for this work’ (Irish Tourist Association Report 1942), all highlight the artistic potential of the composition.”
8. Turin Castle, Turin, Kilmaine, Co. Mayo, Ireland – whole castle rental, up to 12 guest
“Turin Castle in County Mayo is a luxury self catering venue near Ballinrobe in County Mayo Ireland. It is a unique medieval castle set against the backdrop of picturesque countryside. This exclusive and intimate venue is the perfect location for a romantic, castle wedding or family gathering. Unfortuntately It is not suitable for stag or hen parties. It is the only privately owned castle in Ireland with en-suite facilities. The castle sleeps a maximum of 12 people and is hired on a self catering basis but catering can be arranged if required. Please ask for details.
“If you are looking for a truly exceptional medieval experience, Turin Castle in County Mayo will not disappoint. The castle is ideal for a family holiday with a difference or a special intimate wedding affording total privacy.
“Turin Castle is situated in the ancient barony of Kilmaine, the castle is surrounded by 16 acres of rich walled pasture land and is an ideal choice for couples searching for an idyllic but small wedding venue. The nearest town is Ballinrobe which is 8 km away offering a good selection of pubs and eateries. The picturesque village of Cong famous for the John Ford film ” The Quiet Man” and Ashford castle are also close by. The castle is conveniently located close to excellent golf courses.“
The website includes a good description of its history:
“1238 was a most auspicious year in the long and turbulent history of County Mayo. For we are told in the annals of the four Masters that the foreigners erected Castles In Conmacnaine Cuile(Kilmaine) and Muinter Murchadha.(Robeen).
“The Foreigners were Anglo-Normans led by Richard de Burgo, son of William de Burgo. One of the most powerful Lords in England. In 1228 Richard had received the Overlordship of the whole of Connacht from the English King, Henry II, making him the “ red Earl “ the most powerful man in Ireland.
“The de Burgo dynasty survived and flourished up until Elizabethan times when the two hereditary titles of upper and lower Mac William (From William de Burgo, known as the conqueror) were finally abolished. During this time the de Burgos had become completely integrated into Gaelic society adopting Gaelic customs, laws and language becoming “ Hiberniores Hibernis ipis”. More Irish than the Irish themselves .However this was the beginning of the end of the old Gaelic order in Ireland and opened the way for the final conquest and plantation of Ireland.
“The origins and history of Turin Castle Ireland and neighbouring castles are sadly mostly lost in the mists of time. According to the chronicler O’Donovan “ In the parish of Kilmaine there are several square Castles said to have been built by the Burkes ( de Burgos) There is one in Kilmaine, one in Cregduff, one in Elistron and one in Killernan”. Turin would appear to derive from the old Irish meaning ‘small bleaching field’. Which may suggest that Turin Castle Ireland was involved in the very lucrative trade of sheep farming. There was a growing market for hides, meat and wool in continental Europe and by the mid 16th Century Kilmaine, politically and economically was the most important barony in the county. In 1574 there were 41 castles in an area of just 10 miles long by eight broad, by far the highest concentration of castles in Connacht, an indication that agriculture was on an industrial scale. The producers were the owners or tenants of the estates who would have enjoyed the protection of the upper and lower Mac William and in turn the Mac Williams would profit from the duty imposed which would probably directly affect the commodity market price in Galway. Keeping the lines of communication open was essential hence the need for a line of Castles protecting the trade route from Lough Corrib to Galway. Apart from this liberal studding of castles in Kilmaine another possible indication of the profitability and importance of this trade was the presence of a large mercenary army loyal to the Mac Williams.
“In the division of Connacht 1570-1574 one Walter Mac Remon is listed as being resident of Turin Castle Ireland.The Mac Remons was a cadet branch of the clann Seonin who were one of the chief de Burgo clans of Ireland.
“Following the death of the Mac William Sir Richard Bourke, in September of 1586. The de Burgo clans and the Mac Donnells along with the O’Malleys and the Joys(Joyces) rose up against the English oppressors in an attempt to reinstate the Mac Williamship and other lordships which the English had abolished. One of the signatories to a document presented to the council of Connaught was Walter Mac Jonyn ( Seonin) of Towrin (Turin). This document attested that the principle reason for the rebellion was the abolition of the Mac Williamship and other titles.
“In 1589 the de Burgo clans along with the O’ Flaherties,Joys and Clandonnel rose up against the English forces and plundered the baronies of Clare,Kilmaine and Clanmorris.
“Sir Murrough O’Flaherty [(1540-1626)I believe he was a son of Grace O’Malley and Donal O’Flaherty] stayed with a few men at Keltyprichnane in Kilmaine and sent the rest under his son Teige to plunder the baronies of Clare and Dunmore where they burned 16 towns and gathered 3000 head of cattle and horses. The” rebel forces” gathered at the Carre in Kilmainham and engaged the English. Edward Bermingham of MilltownCastle and former Sherrif of Mayo joined the battle after being attacked by Teig O’ Flaherty. He described the battle in a letter written from Athlone on the 31st March:-
“The soldiers not neglecting their time went against them; there was a volley of shot on both sides.They came to the push of the pike with great courage, when the said Teig O’ Flaherty was slain with eight of his company. They were then disordered and I with six horsemen of mine and eight footmen, being beside our battle as a wing ready to charge upon the breach, did charge,
When I struck their Guidion (standard bearer) under his morion (helmet) with my staff and ran him through in the face of battle. I followed another and had him down, and so did my horseman Kill 5 more at that charge. We had not six score of ground to deal with them when they recovered a main bog. Three of my horsemen and eight footmen did kill of them in the bog 16.
Her majesties attorney in that province (Mr Comerford)understanding of their disordering, issued forth when he met of them and did slay 16.Divers others in the fight did kill of them, so that I account there is slain of them 80 and upwards. The attorney and I brought the head of Teige O’Flaherty to Sir Richard yester night that was wonderful glad, for this Teige was the stoutest man in the province and could do most.”
“According to a letter written by Comerford at Turin Castle Ireland dated 29th March Comerford rode two miles to the battle field and sallied forth on the fugitives with six shot, seven footmen and four horsemen killing 24.
“Following the subjugation and pacification of the Gaelic lords and subsequent plantation of Mayo. Many of the Castles were abandoned by their new English owners preferring the comfort of Manor houses. In some cases, incorporating the existing building or cannibalising materials from it. From records we know that Turin Castle Ireland had been abandoned for at least two hundred and fifty years up until its restoration in 1997.“
11. Westbrook Country House, Castlebar, County Mayo – boutique country house holiday rental
“A New Boutique Georgian Country House, Westbrook epitomises elegance & splendour. Located between the tourist meccas’ Westport & Castlebar, Westbrook Country House is the ideal base from which to explore the stunning West of Ireland Wild Atlantic Way, cycle the Greenway, sail on Clew Bay, climb Croagh Patrick, visit Knock Shrine or the National Museum of Country Life, or catch a show in the Castlebar Theatre Royal.
“As restful or as adventurous as you prefer your break to be, Westbrook Country House is the perfect place to base yourself; with world-class home cooked breakfasts, and stylish, spacious, immaculate five star hotel-grade guest rooms & suites complimented by a relaxed, friendly family atmosphere.
“Curl up on a leather armchair in front of a roaring fire with a first edition or your favourite novel in our library, climb in under crisp white linen sheets on one of our sumptuous beds or sink into a bubbling Jacuzzi bath with your favourite music & a lovely glass of Sauvingon Blanc, our vibe is opulent and fabulous but down to earth, and homely. We pride ourselves on guest consideration that is second to none.
“Arrive as a Guest, leave as a friend. We look forward to welcoming you to Westbrook.”
[3] 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.
I have a bigger project than this section 482 houses blog. It helps, when writing about big houses, to know what is out there. So I have studied Mark Bence-Jones’s 1988 publication in great detail,A Guide to Irish Country Houses, and have conducted research with the help of the internet.
For my own interest, and I am sure many of my readers will appreciate, I am compiling a list of all of the “big house” accommodation across Ireland – finding out places to stay for when Stephen and I go on holidays, especially when we go to see the section 482 houses!
I am also discovering what other houses are open to the public. There are plenty to see which are not privately owned or part of the section 482 scheme. In fact many of the larger houses are either owned by the state, or have been converted into hotels.
This Monday, 8th June 2020, Ireland moves to the next phase of the government’s Covid-19 prevention plan, and we are allowed to travel 20km from our home, or to places within our county. Big houses won’t be open for visits, but some will be opening their gardens – already my friend Gary has been to the gardens of Ardgillan Castle for a walk. Stephen and I went there before lockdown, meeting Stephen’s cousin Nessa for a walk. The castle was closed, but we were blown away by the amazing view from the garden, and walked down to the sea.
Here is my list of houses/castles to visit in Dublin. Some are on section 482 so are private houses with very limited visting times; others are state-owned and are open most days – though not during Covid-19 restriction lockdown – they might be open from June 29th but check websites. Some have gardens which are open to the public now for a wander.
The website says “Original home to the Overend family, today Airfield House is an interactive tour and exhibition which brings visitors closer to this admired Dublin family. Here you’ll view family photographs, letters, original clothing and display cases with information on their prize-winning Jersey herd, vintage cars and their much loved Victorian toys and books.
We focus not just on the way of life the family lived at Airfield, but also on their fantastic charitable work for organisations such as St John Ambulance and The Children’s Sunshine Home (now The Laura Lynn Foundation) to name but a few.“
The name was changed from Bess Mount to Airfield circa 1836. It is a working farm, in the middle of suburban Dundrum! The house was built around 1830. [1] It was built for Thomas Mackey Scully, eldest son of James Scully of Maudlins, Co Kildare. Thomas Mackey Scully was a barrister at Law Grays Inn 1833 and called to the bar in 1847. He was a supporter of O’Connell and a member of the Loyal National Repeal Association. In 1852 the house went into the Encumbered Estates, and was purchased by Thomas Cranfield.
The Stillorgan History and Genealogy website tells us that Thomas Cranfield married Anne Keys in 1839. Thomas was a stationer and printer of 23 Westmorland Street. In 1847 he became the first mezzotint printer in Ireland producing copies of a works by Irish artists such as William Brocas. He received an award from the RDS for his print from a portrait of the Earl of Clarendon. He moved to 115 Grafton Street and received a Royal Warrant in 1850. The family moved to Airfield in 1854. Thomas was also an agent for the London Stereoscopic company and moved into photography. He disposed of his business in 1878 to his son and his assistant George Nutter. I recently heard Brian May member of the former rock band Queen discussing his interest in stereoscopic photography, which was fascinating. I wonder has he been to Airfield? It’s a pity there is nothing about it in the house. Thomas moved to England in 1882 after the death of his son Charles.
Thomas’s father was interesting also: the website tells us: “In 1753, Dr Richard Russell published The Use of Sea Water which recommended the use of seawater for healing various diseases. Circa 1790 Richard Cranfield opened sea baths between Sandymount and Irishtown and by 1806 was also offering tepid baths. Originally called the Cranfield baths it was trading as the Tritonville baths by 1806. Richard Cranfield born circa 1731 died in 1809 at Tritonville Lodge outliving his wife by four years to whom he had been married for over 60 years. He was a sculptor and a carver of wood and had a share in the exhibition Hall in William Street which was put up for sale after his death. He was also the treasurer for the Society of Artists in Ireland. He worked at Carton House and Trinity College. His son Richard took over the baths.“
The Stillorgan History and Genealogy website continues. When the Cranfields left Airfield, it was taken over by the Jury family of the Shelbourne hotel in Dublin. William Jury born circa 1805 was a hotel proprietor. He and his second wife went to live at Tolka Park, Cabra and William became proprietor of the Imperial Hotel in Cork and in Belfast and also had an interest ‘Jurys’ in Derry. In 1865 William, together with Charles Cotton, (brother of his wife Margaret) and Christian Goodman, (manager of the Railway Hotel in Killarney) purchased The Shelbourne from the estate of Martin Burke. They closed The Shelbourne in February 1866, purchased additional ground from the Kildare Society, and proceeded with a rebuild and reopened on 21.02.1867. John McCurdy was the architect and Samuel Henry Bolton the builder. The four bronze figures of Assyrian muses/mutes installed at the entrance of the Shelbourne Hotel were designed by the Bronze-founders of Gustave Barbezat & CIE of France.
William’s wife Margaret took over the running of the hotel after the death of her husband. She travelled from Airfield each morning bringing fresh vegetables for use in the hotel. She left Airfield circa 1891.
Four of their sons followed into the hotel business. Their fourth son, Charles, took over the running of The Shelbourne and died in 1946 in Cheshire aged 91 years.
The Overends seem to have taken over Airfield from 1884. Trevor Thomas Letham Overend (1847-1919) was born in Portadown, 3rd son of John Overend of 57 Rutland Square. He married Elizabeth Anne (Lily) Butler 2nd daughter of William Paul Butler and Letitia Gray of Broomville, County Carlow. Their daughters Letitia and Naomi were left well provided for with no necessity to work and instead devoted themselves to volunteer work and never married.
The website continues: “We focus not just on the way of life the family lived at Airfield, but also on their fantastic charitable work for organisations such as St John Ambulance and The Children’s Sunshine Home (now The Laura Lynn Foundation) to name but a few.“
“Airfield Ornamental Gardens Airfield gardens came to prominence under the leadership of Jimi Blake in the early 2000’s. Like all progressive gardens the garden in Airfield is an ever-evolving landscape. The gardens were redesigned in 2014 by internationally renowned garden designer Lady Arabella Lenox Boyd and landscape architect Dermot Foley. The colour and life you see in our gardens today are the result of the hard work and imagination of our Head Gardener Colm O’Driscoll and his team who have since put their stamp on the gardens as they continue to evolve. The gardens are managed organically and regeneratively with a focus on arts and craft style of gardening.
Airfield Food Gardens Certified organic by the Irish Organic Association this productive 2-acre garden supplies the onsite café and farmers market with fresh seasonal produce. Food production is only one element of this dynamic food garden. Education is at the core of this space. Annual crop trails, experimental crops and forward-thinking growing methods are implemented throughout the garden. Soil is at the heart of the approach to growing and and on top of being certified organic the garden is managed under “no dig” principals. These regenerative approaches result in a thriving food garden that is a hive of activity throughout the growing season.”
“The Walled Garden was originally a Victorian-styled kitchen garden that used to supply the fruit, vegetables and cut flower requirements to the house. It is 1 hectare (2.27 acres) in size, and is subdivided by free standing walls into five separate compartments. The walled garden was replanted in 1992 and through the 1990’s, with each section given a different theme.“
“The Victorian Conservatory was originally built in 1880 at Seamount, Malahide, the home of the Jameson family, who became famous for their whiskey all over the world. It was built by a Scottish glasshouse builder McKenzie & Moncur Engineering, and is reputed to be a replica of a glasshouse built at Balmoral in Scotland, the Scottish home of the British Royal Family. The conservatory was donated to Fingal County Council by the present owner of Seamount, the Treacy family and was re-located to the Ardgillan Rose Garden in the mid-1990s by park staff.
“The Department of Arts, Heritage and the Gaeltacht (DAHG) approached Fingal County Council in early 2014 to participate in a pilot project to develop and enhance skill sets in built heritage conservation, under the Traditional Building Skills Training Scheme 2014. The glass house/ conservatory at Ardgillan was selected as part of this project. The glass house has been completely dismantled because it had decayed to such an extent that it was structurally unstable. All parts removed as part of this process are in safe storage. This work is the first stage of a major restoration project being undertaken by the Councils own Direct Labour Crew in the Operations Department supervised by David Curley along with Fingal County Council Architects so that the glasshouse can be re-erected in the garden and can again act as a wonderful backdrop to the rose garden. This is a complex and difficult piece of work which is currently on going and we are hopeful to have the glasshouse back to its former glory as a centrepiece of the visitor offering in Ardgillan Demesne in the near future.“
The Bewleys business began in 1840 as a leading tea and coffee company, started by Samuel Bewley and his son Charles, when they imported tea directly from China. Charles’s brother Joshua established the China Tea Company, the precursor to Bewleys.
The Buildings of Ireland publication on Dublin South City tells us: “Rebuilt in 1926 to designs by Miller and Symes, the playful mosaics framing the ground and mezzanine floors are indebted to the Egyptian style then in vogue following the discovery of Tutankhamun’s tomb. The interior, originally modelled on the grand cafés of Europe and Oriental tearooms, was restructured in 1995 but retains a suite of six stained glass windows designed (1927) by the celebrated Harry Clarke (1889-1931). Four windows lighting the back wall of the tearoom are particularly fine and represent the four orders of architecture.“
Recently Paddy Bewley died, the last of the family directly involved with the running of the cafe and coffee business of Bewleys. Paddy was responsible for starting the coffee supplying end of the Bewley business.
Paddy, like those in his family before him, was a Quaker, and he lived by their ethos. The Bewley family migrated from Cumberland in England to County Offaly in 1700. Their association with coffee and tea dates back to the mid nineteenth centry, when they began to import tea from China.
Mark Bence-Jones writes in his A Guide to Irish Country Houses (1988):
p. 52. [Nugent, Byrne 1863, Ormsby-Hamilton sub Ormsby] A C18 house built round three sides of a square; with well-proportioned rooms and good decoration. Built by that genial Irishman on the C18 English political scene, Robert [1702-1788] 1st and last Earl Nugent, on an estate which belonged to his brother-in-law, George Byrne [or O’Byrne (1717-1763), husband of Clare Née Nugent], and afterwards to his nephew and political protege, Michael Byrne MP. The house was originally known as Clare Hill, Lord Nugent’s 2nd title being Viscount Clare; but it became known as Cabinteely House after being bequeathed by Lord Nugent to the Byrnes, who made it their seat in preference to the original Cabinteely House, which, having been let for a period to John Dwyer – who, confusingly, was secretary to Lord Chancellor Fitzgibbon, 1st Earl of Clare [John Fitzgibbon (1748-1802)] – was demolished at end of C18 and a new house, known as Marlfield and afterwards a seat of the Jessop family (1912), built on the site. The new Cabinteely House (formerly Clare Hill), afterwards passed to the Ormsby-Hamilton family. In recent years, it was the home of Mr. Joseph McGrath, founder of the Irish Sweep and a well-known figure on the Turf.”
Cabinteely House, photograph from Dun Laoghaire Rathdown County Council website.
The National Inventory attributes it to architect Thomas Cooley. It is described as: Detached nine-bay (three-bay deep) two-storey country house, built 1769, on a quadrangular plan originally nine-bay two-storey on a U-shaped plan; six-bay two-storey parallel block (west). Sold, 1883. “Improved” producing present composition” when sold to George Pim (1801-87) of neighbouring Brenanstown House. The Inventory also lists other owners: estate having historic connections with Robert Byrne (d. 1798, a brother to above-mentioned Michael Byrne MP) and his spinster daughters Mary Clare (d. 1810), Clarinda Mary (d. 1850) and Georgina Mary (d. 1864); William Richard O’Byrne (1823-96), one-time High Sheriff of County Wicklow (fl. 1872) [he inherited the house after his cousin Georgiana Mary died]; a succession of tenants of the Pims including Alfred Hamilton Ormsby Hamilton (1852-1935), ‘Barrister – Not Practicing’ (NA 1901); John Hollowey (1858-1928); and Joseph McGrath (1887-1966), one-time Deputy Minister for Labour (fl. 1919-2) and co-founder of the Irish Hospitals’ Sweepstake (1930). [4]
Charlemount House. Photograph from flickr constant commons, National Library of Ireland.
The architect of Charlemount House was William Chambers, and it was built in 1763. The Archiseek website tells us:
“Lord Charlemont [James Caulfeild, 1st Earl, 4th Viscount of Charlemont] had met and befriended Sir William Chambers in Italy while Chambers was studying roman antiquities and Charlemont was on a collecting trip. Years later Charlemont had hired Chambers to design his Casino on his family estate at Marino outside Dublin. When the need arose for a residence in the city Charlemont turned again to Chambers who produced the designs for Charlemont House finished in 1763. The house now the Municipal Gallery of Modern Art consists of a single block of five bays with curved screen walls to either side. The house breaks up the regularity of this side of Parnell Square as it is set back from the other houses…Charlemont house was sold to the government in 1870 becoming the General Register and Census Offices for Ireland and later the Municipal Gallery for Modern Art – a development that Charlemont would undoubtedly would have approved.” [5]
Robert O’Byrne tells us that inside is work by Simon Vierpyl also.
James Caulfeild, 1st Earl of Charlemont (1728-1799) by Richard Livesay, British, 1753-1826.
Open dates in 2026: Apr 17-20, May 1-4, 15-18, 29-31, June 1, 5-8, 15, 19-22, July 17-20, 24-25, Aug 14-24, 28-29, Oct 23-26, Nov 6-9, 20-23, 27-30 Sat -Thurs 9am-1pm, Fridays 3pm -7pm
Open dates in 2026: June 2-30, Tues-Fri, July 1-31, Tue-Sat, Aug 4-23, 10am-2pm
Fee: adult €10, entrance fee is a voluntary donation in honesty box at door
“The house was built in the 1820’s to designs by William Farrell as an Italianate seaside villa. A Mediterranean grove was planted with a Cork tree as its centrepiece. In the remains of this romantic wilderness, the present owner, architect Alfred Cochrane, designed a garden punctuated by a collection of architectural follies salvaged from the demolition of Glendalough House, an 1830’s Tudor revival mansion, built for the Barton family by Daniel Robertson who designed Powerscourt Gardens.”
“There is more fun at Corke Lodge” writes Jane Powers, The Irish Times, where ” the ‘ancient garden’ of box parterres is punctuated by melancholy gothic follies, and emerges eerily from the dense boskage of evergreen oaks, myrtles, and a writhing cork oak tree with deeply corrugated bark. Avenues of cordyline palms and tree ferns, dense planting of sword-leaved New Zealand flax, and clumps of whispering bamboos lend a magical atmosphere to this rampantly imaginative creation.”
Believe it or not, I did my Leaving Certificate examinations in this building! I was extremely lucky and I loved it and the great atmosphere helped me to get the points/grades I wanted!
Dalkey Castle in Dalkey in the suburbs of south Dublin, photograph by Brian Morrison, 2014, from Tourism Ireland. (see [2])
The website tells us: “Dalkey Castle is one of the seven fortified town houses/castles of Dalkey. The castles were built to store the goods which were off-loaded in Dalkey during the Middle Ages, when Dalkey acted as the port for Dublin. The castles all had defensive features to protect the goods from being plundered. These are all still visible on the site: Machicolation, Murder Hole, Battlements and arrow-loop windows. In Dalkey Castle, you will see a fine example of barrel-vaulted ceiling and traces of the wicker work that supported it. Niches have been exposed on the walls where precious goods may have been stored. The Castle is an integral entrance to both the Heritage Centre and Dalkey Town Hall.
Dalkey Castle was called the Castle of Dalkey in the Middle Ages. Later, in the mid to late 1600s it was called Goat Castle when the Cheevers family of Monkstown Castle were the owners.
In 1860s the former living quarters, upstairs, became a meeting room for the Dalkey Town Commissioners. It continued as a meeting room until 1998 when it was incorporated into Dalkey Castle & Heritage Centre. Today, part of the Living History tour takes place there. There is a re-creation of the stocks that were across the street where the entrance to the church is today.“
The website describes the Castle: “Drimnagh Castle is the only castle in Ireland to retain a fully flooded moat. Its rectangular shape enclosing the castle, its gardens and courtyard, created a safe haven for people and animals in times of war and disturbance. The moat is fed by a small stream, called the Bluebell. The present bridge, by which you enter the castle, was erected in 1780 and replaced a drawbridge structure.“
Open dates in 2026: Jan 9-12, 16-19, 23-26, 30-31, Mon-Fri, 9.30pm-1.30pm, Sat-Sun, 1pm-5pm, May 11, 15-18, 29-31, June 5-8, 12-15, 19-22, Aug 14-23, Sept 11-12, 18-21, 25-28, Oct 16-19, 23-24, Mon- Fri 9.30am-1.30pm, Sat-Sun 2pm-6pm
The website tells us: “Fernhill is a former substantial family residence on 34 hectares of land at Stepaside. Fernhill Park and Gardens is Dublin’s newest Public Park, and forms an important component of the historic landscape on the fringe of Dublin City and an impressive example of a small estate dating back to around 1823. The former estate is a unique collection of heritage buildings, gardens, parkland, woodland and agricultural land. The elevated nature of the site, overlooking Dublin Bay on the threshold between the city and the Dublin mountains, lends a particular magic to the place. Fernhill is also home to a unique plant collection, made up of acid-loving plants such as Rhododendrons, Camelias and Magnolias, among others.“
The Stillorgan Genealogy and History website tells us:
“The original house was a single-storey (possibly a hunting lodge) built circa 1723. By 1812 it was substantial family residence with additional out buildings surrounded by gardens, woodlands, parkland and farming land on an elevated location overlooking Dublin Bay. The house itself is a series of rambling interconnecting blocks of one and two stories transcended by a three storey tower which has developed and evolved over the years.
The gardens were planted with exotics such as magnolia and Chilean firetrees but it is also home to an extensive daffodil collection. Originally on 110 acres it now now on about 82 acres. The land was owned by Sir William Verner and part was leased to Joseph Stock. Alderman Frederick Darley purchased the lease from Verner in 1812 and his son William purchased the property outright in 1841.” Another son was the architect Frederick Darley (1798-1872).
20. Georgian House Museum, 29 Lower Fitzwilliam Street, Merrion Square, Dublin 2 – virtual visit only
Mark Bence-Jones. 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.]
p. 155. “Gaisford-St. Lawrence/IF) A rambling and romantic castle on the Hill of Howth, which forms the northern side of Dublin bay; the home of the St. Lawrences for 800 years. Basically a massive medieval keep, with corner towers crenellated in the Irish crow-step fashion, to which additions have been made through the centuries. The keep is joined by a hall range to a tower with similar turrets which probably dates from early C16; in front of this tower stands a C15 gatehouse tower, joined to it by a battlemented wall which forms one side of the entrance court, the other side being an early C19 castellated range added by 3rd Earl of Howth. The hall range, in the centre, now has Georgian sash windows and in front of it runs a handsome balustraded terrace with a broad flight of steps leading up to the entrance door, which has a pedimented and rusticated Doric doorcase. These Classical features date from 1738, when the castle was enlarged and modernized by William St. Lawrence, 14th Lord Howth, who frequently entertained his friend Dean Swift here; the Dean described Lady Howth as a “blue eyed nymph.” On the other side of the hall range, a long two storey wing containing the drawing room extends at right angles to it, ending in another tower similar to the keep, with Irish battlemented corner turrets. This last tower was added 1910 for Cmdr Julian Gaisford-St. Lawrence, who inherited Howth from his maternal uncle, 4th and last Earl of Howth, and assumed the additional surname of St Lawrence; it was designed by Sir Edward Lutyens, who also added a corridor with corbelled oriels at the back of the drawing room wing and a loggia at the junction of the wing with the hall range; as well as carrying out some alterations to the interior. The hall has C18 doorcases with shouldered architraves, an early C19 Gothic frieze and a medieval stone fireplace with a surround by Lutyens. The dining room, which Lutyens restored to its original size after it had been partitioned off into several smaller rooms, has a modillion cornice and panelling of C18 style with fluted Corinthian pilasters. The drawing room has a heavily moulded mid-C18 ceiling, probably copied from William Kent’s Works of Inigo Jones; the walls are divided into panels with arched mouldings, a treatment which is repeated in one of the bedrooms. The library, by Lutyens, in his tower, has bookcases and panelling of oak and a ceiling of elm boarding. Lutyens also made a simple and dignified Catholic chapel in early C19 range on one side of the entrance court; it has a barrel-vaulted ceiling and an apse behind the altar. Howth Castle is celebrated for the custom, continuing down to the present day, of laying an extra place at meals for the descendent of the chieftan who, several centuries ago, kidnapped the infant heir of the Lord Howth at the time in retaliation for being refused admittance to the castle because the family was at dinner, only returning him after the family had promised that the gates of the castle should always be kept open at mealtimes and an extra place always set at the table in case the kidnapper’s descendants should wish to avail themselves of it. Famous gardens; formal garden laid out ca 1720, with gigantic beech hedges; early C18 canal; magnificent plantings of rhododendrons.”
“It is with great sadness that we report the death of Pat Herbert, the founder and curator of The Hurdy Gurdy Museum of Vintage Radio, sadly he passed away on the 18th of June, 2020.
The museum has been a very special place since it first opened its doors in 2003. Pat had begun collecting radios and all things connected with communications, when he was working in the construction industry in London in the 1950’s. His collection grew over the years and found its rightful home in the Martello Tower which has a long history with the story of radio in Ireland. Pat had an encyclopedic knowledge on the history of radio and was also a great storyteller. He generously allowed the setting up of the amateur station EI0MAR in the Martello Tower and was always fascinated with the contacts made throughout the world over the airwaves.”
25. Knocknagin House, Coney Hill, Ballbriggan, Co Dublin, K32 YECO – section 482
Open dates in 2026: June 2 – 27, July 1 – 31, Aug 1-14, Tues – Sat, National Heritage Week, Aug 15-23, 9.30am-1.30pm
Lambay Island, photograph courtesy ofwww.visitdublin.comLambay Island, photograph courtesy ofwww.visitdublin.comLambay Castle, Lambay Island. Photograph from Country Life.The east court of Lambay Castle. (see [8])
26. Lissen Hall, Lissenhall Demesne, Swords, Dublin – open by appointment
The Historic Houses of Ireland tells us about Lissen Hall:
“Looking over the Meadow Water near the expanding village of Swords, Lissen Hall presents a tranquil mid-Georgian façade that is typical of rural Leinster. In fact country houses have become a rarity in the suburb of Fingal, formerly North County Dublin, which reuses an ancient place name for one of Ireland’s newest administrative regions. A pair of end bows disguise the fact that Lissen Hall is part of a far earlier building, possibly dating from the very end of the 17th century. The newer five-bay front is a typical mid-Georgian concept, with a tripartite door-case surmounted by a Serlian window.
“The arrangement is repeated on the upper storey, where the central window is flanked by a pair of blind sidelights, and the façade continues upwards to form a high parapet, now adorned with a pair of stone eagles. The building’s other main decorative features, a pair of attached two-storey bows with half conical roofs, have many similarities with Mantua, a now-demolished house that faced Lissen Hall across the Meadow Water in former times. At Mantua, which was probably slightly earlier, the silhouettes of the bow roofs prolonged the hip of the main roof in an uninterrupted upward line. It is difficult to imagine how this arrangement could have been achieved at Lissen Hall without compromising the outer windows on the top floor.
“The principal rooms are not over large but the interior of the mid-Georgian range is largely intact and original, with good joinery and chimneypieces. Architectural drawings from 1765 can be seen in the house, which at that time was owned by John Hatch, MP for Swords in the Irish Parliament in Dublin.
“Lissen Hall has only been sold once in 250 years. It passed from John Hatch to the politically influential Hely-Hutchinson family, one of whose seats was Seafield House in nearby Donabate. In 1950 Terence Chadwick purchased the house and park from the Hely-Hutchinsons and the house was subsequently inherited by his daughter Sheelagh, the wife of Sir Robert Goff.”
The Great Hall has an important collection of Jacobite portraits, on loan from the National Gallery of Ireland. It has corbel heads of King Edward IV (28 April 1442 – 9 April 1483), which are original.
Malahide Castle 1976, Dublin City Library and Archives. (see [6])Malahide Castle 1976, Dublin City Library and Archives. (see [6])
The library wing dates to the seventeenth century and is hung with eighteenth century leather wall hangings.
The pair of drawing rooms were rebuilt c.1770 after a fire in 1760. They contain rococo plasterwork and decorative doorcases. The castle also has turret rooms.
Open dates in 2026: Jan 12-16, 19-23, 26-30, Feb 3-6, 9, May 1-2, 5-9, 25-30, June 2-6, 8-13, 15-20, 22, Aug 15-23, 9am-1pm
Fee: adult €5, OAP/child/student €2
Meander, photograph from National Inventory of Architectural Heritage.
The National Inventory of Architectural Heritage describes it:
“Detached four-bay two-storey mono-pitched house, built 1939, on an asymmetrical plan with single-bay single-storey flat-roofed projecting porch to ground floor abutting single-bay two-storey mono-pitched higher projection; five-bay two-storey rear (south) elevation with single-bay two-storey projection on a shallow segmental bowed plan….A house erected to a design by Alan Hodgson Hope (1909-65) representing an important component of the twentieth-century domestic built heritage of south County Dublin with the architectural value of the composition, one ‘exploring Scandinavian modernism rather than Mediterranean modernism‘ (Becker 1997, 117), confirmed by such attributes as the asymmetrical plan form; the cedar boarded surface finish; the slight diminishing in scale of the openings on each floor producing a graduated visual impression with some of those openings showing horizontal glazing bars; and the oversailing roofline: meanwhile, a cantilevered projection illustrates the later “improvement” of the house expressly to give the architect’s children a room to wallpaper (pers. comm. 12th April 2016). Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the plywood-sheeted interior, thus upholding the character or integrity of a house ‘which has grown and matured together with its garden to make an ensemble appealing more to the senses than to the mind’.”
“No. 45 Merrion Square, the home of the Irish Architectural Archive, is one of the great Georgian houses of Dublin. Built for the speculative developer Gustavus Hume in the mid-1790s and situated directly across Merrion Square from Leinster House, this is the largest terraced house on the Square and is the centrepiece of its East Side.
Light-filled, spectacularly-proportioned, interconnected rooms on the piano nobile of this Georgian palazzo offer a range of venues and facilities: meeting rooms for up to 20 people; multimedia lecture facilities for up to 55, dining space for up to 80, and receptions for up to 250. Whether the event is a meeting, a conference with breakout sessions, or a private or corporate reception, the Irish Architectural Archive’s beautifully graceful spaces provide Georgian elegance in the heart of Dublin.”
“Standing four stories over basement, and five bays wide, No. 45 is the largest of the terraced houses on Merrion Square. The house was built circa 1794 for the property developer Gustavus Hume. The architect may have been Samuel Sproule who, in the early 1780s, was responsible for the laying out of much of Holles Street, of both Mount Streets and of the east side of Merrion Square. The first person to live in the house seems to have been Robert la Touche who leased the building in 1795. In 1829 the house was sold to Sir Thomas Staples. It had been built in an ambitious and optimistic age, but in the Dublin of the late 1820s its huge size was somewhat anachronistic and certainly uneconomical, so Sir Thomas had the building carefully divided into two separate houses. Sir Thomas died aged 90 in 1865, the last survivor of the Irish House of Commons.
On his death, both parts of the house passed to Sir John Banks, Regius Professor of Medicine in Trinity College, who, like his predecessor, leased the smaller portion of the divided building, by now numbered Nos. 10 and 11 Merrion Square East. Banks himself lived in No. 11, the larger part, which he maintained in high decorative order. Banks died in 1910, and both parts of the building fell vacant and remained so until 1915 when the whole property was used to accommodate the clerical offices of the National Health Insurance Company. With single occupancy restored, the division of the building, renumbered 44 – 45 Merrion Square, began to be reversed, a process carried on in fits and starts as successive Government departments and agencies moved in and out over the decades. The last to go was the Irish Patents Office, relocated to Kilkenny in 1996.
The house was assigned to Irish Architectural Archive by Ruairí Quinn TD, Minister for Finance, in his budget of 1996. The Office of Public Works carried out an extensive programme of works to the house from 2002 to 2004, including the refurbishment of the historic fabric and the construction of new state-of-the-art archival stores to the rear.“
32. MOLI, Museum of Literature Ireland, Newman House, 85-86 St Stephen’s Green, Dublin
“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.
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.”
One entire room is dedicated as a “cabinet of curiosities.” Desmond Guinness and Desmond FitzGerald tells us in their entry about Newbridge House in Great Irish Houses that the collection may have started life as a shell collection in the 1790s by Elizabeth Beresford (1736-1860), who married the archbishop’s son Colonel Thomas Cobbe (1733-1814). She came from Curraghmore in County Waterford (see my entry on Curraghmore) and would have been familiar with her mother’s Shell Cottage. Much of what we see in the collection today comes from the Indian subcontinent, including a Taj Mahal in alabaster, ostrich eggs, corals, statues of house gods, snake charmer’s box and tusks with carving noting the abolition of slavery [see 12]. The oriental theme is even carried through to the elephant design curtains. The panels on the wall are reproduction of the originals.
An Arts and Crafts Gothic Revival mansion built in the late 1870s by its architect owner George Coppinger Ashlin for himself and his wife, Mary in tribute to her father, the hugely influential Gothic Revival architect, Augustus Pugin, who most famously designed the British Houses of Parliament and a number of Irish churches and Cathedrals. [17]
The website tells us: “Located in the centre of the ancient town Swords Castle contains over 800 years of history and, as a recent surprising discovery of burials beneath the gatehouse shows, it has yet to give up all of its secrets. The castle was built by the Archbishop of Dublin, John Comyn, around 1200, as a residence and administrative centre. The extensive complex of buildings is in the form of a rough pentagon of 0.5 hectares and is enclosed by a perimeter wall of 260 meters. It is a National Monument, and it is the best surviving example of an Archbishop’s Palace in Ireland. The curtain walls enclose over an acre of land that slopes down to the Ward River. This complex of buildings is made up of many phases of reuse and redesign reflecting its long history and changing fortunes.”
Swords Castle, 1971, Dublin City Library and Archives photograph. (see [6])Swords Castle, 1971, Dublin City Library and Archives photograph. (see [6])
47. The Church, Junction of Mary’s Street/Jervis Street, Dublin 1– section 482
The National Inventory tells us it is: “Freestanding former Church of Ireland church, built 1700-4… Now in use as bar and restaurant, with recent glazed stair tower built to northeast, linked with recent elevated glazed walkway to restaurant at upper level within church… Saint Mary’s (former) Church of Ireland was begun c.1700 to the design of Sir William Robinson and was completed by his successor, Thomas Burgh.” [18]
Mark Bence-Jones writes in his A Guide to Irish Country Houses (1988):
“[Guinness/IFR] A Victorian house of two storeys over a basement with plate glass windows, built ca 1860 for Thomas Hosea Guinness and his wife Mary, nee Davis, who was heiress of the estate. Rich plasterwork and Corinthian columns with scagliola shafts in hall.”
The National Inventory adds the following assessment:
“A country house erected for Thomas Hosea Guinness JP (1831-88) to a design by Joseph Maguire (1820-1904) of Great Brunswick Street [Pearse Street], Dublin (Dublin Builder 1st December 1861, 692), representing an integral component of the mid nineteenth-century domestic built heritage of south County Dublin with the architectural value of the composition, one superseding an adjacent farmhouse annotated as “Tibradden House” on the first edition of the Ordnance Survey (surveyed 1837; published 1843), confirmed by such attributes as the deliberate alignment maximising on scenic vistas overlooking rolling grounds and the minor Glin River; the compact near-square plan form centred on a Classically-detailed doorcase demonstrating good quality workmanship; the diminishing in scale of the openings on each floor producing a graduated visual impression; and the open bed pediment embellishing a slightly oversailing roofline. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior where contemporary joinery; Classical-style chimneypieces; and decorative plasterwork enrichments, all highlight the artistic potential of the composition. Furthermore, adjacent outbuildings (extant 1909); a walled garden (extant 1837); and a nearby gate lodge (see 60250002), all continue to contribute positively to the group and setting values of a self-contained ensemble having historic connections with the Guinness family including Colonel Charles Davis Guinness (1860-1939), one-time High Sheriff of County Louth (fl. 1918); Major Owen Charles Guinness OBE (1894-1970); and Second Lieutenant Charles Spencer Guinness (1932-2004).“
Current owner Selina Guinness’s memoir The Crocodile by the Door tells us about the house and how she acquired it from her uncle, and the work she has undertaken to run it as a family home, with her adventure of taking up sheep farming to maintain the property and its land.
“Tyrrelstown House & Garden is set in 10 hectare of parkland in Fingal, North County Dublin, just minutes from the M50, off the N3 (Navan Road). There are 2 walled gardens, and an arboretum with woodland walks including 2 hectares of wild flower & pictorial meadows. Lots of spring bulbs and cyclamen adorn this lovely sylvan setting.
The walled gardens are over 600 years old and include a wide range of alkaline and acid loving plants and shrubs and include an organic vegetable garden.
The Wilkinson family arrived here in 1895 & have been farming the land ever since.“
[3] Mark Bence-Jones 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.
Irish Historic Houses 
