Office of Public Works Properties Dublin

I have noticed that an inordinate amount of OPW sites are closed ever since Covid restrictions, if not even before that (as in Emo, which seems to be perpetually closed) [these sites are marked in orange here]. I must write to our Minister for Culture and Heritage to complain.

I have written to Minister for Tourism Catherine Martin and received a response in June 2022:

I wish to acknowledge receipt of your recent correspondence to Catherine Martin, TD. Minister for Tourism, Culture, Arts, Gaeltacht, Sport and Media in connection with OPW Sites.

OPW Sites would fall under the remit of Minister of State Patrick O’Donovan and the Department of Office of Public Works. Minister of State O’Donovan’s office can be reached at  ministersoffice@opw.ie and should be able to assist you with your query.

Well, I have another email to write! I’ll keep you posted…

Dublin:

1. Aras an Uachtarain, Phoenix Park, Dublin

2. Arbour Hill Cemetery, Dublin

3. Ashtown Castle, Phoenix Park, Dublin

4. The Casino at Marino, Dublin

5. Customs House, Dublin

6. Dublin Castle

7. Farmleigh House, Dublin

8. Garden of Remembrance, Dublin

9. Government Buildings Dublin

10. Grangegorman Military Cemetery, Dublin

11. Irish National War Memorial Gardens, Dublin

12. Iveagh Gardens, Dublin

13. Kilmainham Gaol, Dublin

14. National Botanic Gardens, Dublin

15. Phoenix Park, Dublin

16. Rathfarnham Castle, Dublin

17. Royal Hospital Kilmainham in Dublin – historic rooms closed

18. St. Audoen’s, Dublin

19. St. Enda’s Park and Pearse Museum, Dublin

20. St. Stephen’s Green, Dublin

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

1. Aras an Uachtarain, Phoenix Park, Dublin 8:

July 2012, The Garden Front of the Aras. The portico with giant Ionic columns was added in 1815 by Francis Johnston. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

general enquiries: (01) 677 0095

phoenixparkvisitorcentre@opw.ie

From the OPW website:

Áras an Uachtaráin started life as a modest brick house, built in 1751 for the Phoenix Park chief ranger. It was later an occasional residence for the lords lieutenant. During that period it evolved into a sizeable and elegant mansion.

It has been claimed that Irish architect James Hoban used the garden front portico as the model for the façade of the White House.

After independence, the governors general occupied the building. The first president of the Republic of Ireland, Douglas Hyde, took up residence here in 1938. It has been home to every president since then.” [1]

See my entry https://irishhistorichouses.com/2023/10/17/office-of-public-works-dublin-aras-an-uachtarain-phoenix-park/

The Vice-Regal Lodge (Lord Lieutenant’s Residence), Phoenix Park, Dublin After John James Barralet, Irish, 1747-1815, photograph courtesy of National Gallery of Ireland.
A covered ceiling with original mid-C18 plasterwork of Aesop’s fable theme. This beautiful plasterwork is by Bartholomew Cramillion. Another ceiling by him was taken from a house which was demolished, Mespil House in Dublin, and is now in what is called the President’s Study, and depicts Jupiter presiding over the elements and the four season and dates from the late 1750s. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Myself and Stephen with the President Michael D. Higgins and his wife Sabina in 2012, in the State Drawing Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Peach House glasshouse was designed by Richard Turner, constructed between 1836-37. Turner also designed the large palm houses in the Botanic Gardens in Dubln, Belfast and London. The one at the Aras underwent restoration between 2007-2009. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This lovely building is to one side of the main house at the Aras, I’m not sure what it is but it’s very picturesque. Photograph courtesy of Declan Murray.

2. Arbour Hill Cemetery, Dublin 7:

General enquiries: (01) 821 3021, superintendent.park@opw.ie

From the OPW website:

The military cemetery at Arbour Hill is the last resting place of 14 of the executed leaders of the 1916 Rising. It is therefore a place of pilgrimage for students and aficionados of this tempestuous moment in Irish history.

There is an adjoining church, the chapel for Arbour Hill Prison. At the rear of the church lies the old cemetery, containing fascinating memorials to British military personnel.

The clear focus of Arbour Hill, however, is the legend of the rising. Among those buried here are Patrick Pearse, James Connolly and Major John MacBride. Their bodies were put into an unmarked pit and covered with quicklime, but their grave has now been saved from obscurity with an impressive memorial inscribed in English and Irish.

Arbour Hill Cemetery is at the rear of the National Museum of Ireland, Collins Barracks, where you can currently find a large display of 1916-related material.

3. Ashtown Castle, Phoenix Park, Dublin:

Ashtown Castle is in the Phoenix Park. The OPW are currently running one tour per day. From the OPW website:

Ashtown Castle is a tower house that probably dates from the seventeenth century, but may be as early as the fifteenth.

For years it was completely hidden within the walls of a Georgian mansion once occupied by the under-secretary for Ireland. When that house was demolished in the late 1980s, the castle was rediscovered. It has since been fully restored and now welcomes visitors.”

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

See my entry https://irishhistorichouses.com/2025/05/17/ashtown-castle-phoenix-park-dublin-an-opw-property/

4. The Casino at Marino, Cherrymount Crescent, Malahide Road, Marino, Dublin 3

The Casino at Marino, Dublin, August 2009. It looks like it houses one large room, but it actually has sixteen rooms, arranged over three floors. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

General enquiries (01) 833 1618, casinomarino@opw.ie

From the website:

“The Casino is a remarkable building, both in terms of structure and history. Sir William Chambers designed it as a pleasure-house for James Caulfeild, first earl of Charlemont, beside his residence in what was then the countryside. It is a gem of eighteenth-century neo-classical architecture. In fact, it is one of the finest buildings of that style in Europe.

The term ‘casino’ in this case means ‘little house’, and from the outside it gives an impression of compactness. However, it contains 16 rooms, each of which is finely decorated and endlessly rich in subtle and rare design. The Zodiac Room, for example, has a domed ceiling which represents the sky with astrological symbols modelled around its base.

See my entry: https://irishhistorichouses.com/2023/11/09/office-of-public-works-dublin-the-casino-at-marino/

5. Custom House, Dublin:

Custom House, Dublin, by James Gandon, 1781-91. Photograph by Chris Hill, 2014, for Tourism Ireland. Ireland’s Content Pool. [2]

General enquiries: 086 606 2729, customhousevc@opw.ie

From the website:

“This architectural icon stands on the Liffey quays, which were once Ireland’s major trade route to the wider world. The architect James Gandon completed the building, a masterpiece of European neoclassicism, in 1791. Admire the decorative detail of Edward Smyth’s beautifully executed stonework carvings on the exterior and the famous carved keystones depicting the terrible heads of the river gods. There are 14 of these – one for every major river of Ireland.

The Custom House witnessed not only the development of a great city, but also some of the most turbulent milestones in its history. The building was destroyed by burning in 1921 and later restored to its former splendour.

The stories of the building, burning and restoration of Dublin’s Custom House are now brought to life in a new and fascinating exhibition, revealing a rich, many-layered story that spans over 200 years.

Custom House, from James Malton, English, 1761-1803, photograph courtesy of National Gallery of Ireland.
Customs House, Dublin, February 2015. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Custom House detail, 21st November 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Custom House, 21st November 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A previous Custom House was located further up the river at Essex Quay, built in 1707. By 1780 it was judged to be unsafe for ships to come all the way up the river to that point, where the Clarence Hotel is now located, and a new building was required. John Beresford (1738-1805) determined position for the new Custom House against much objection as its position affected property prices – raising prices in the area and lowering the value of properties nearer the previous Custom House. Beresford sought to move the city centre eastwards from the Capel Street-Parliament Street axis towards College Green. The new Custom House was built on land reclaimed from the estuary of the Liffey. He wanted to shift the city near to his developer brother-in-law’s estate, the Gardiner estate, where Luke Gardiner Ist Viscount Mountjoy had developed an exclusive area for the gentry to inhabit. Both Luke Gardiner and John Beresford married sisters, daughters of William Montgomery of Magbiehill, 1st Baronet of England, who served as an MP in Ireland.

John Beresford, (1738-1805), First Commissioner of Revenue in Ireland G. Cowen, Dublin and at T. Macklin’s, London, 1st November 1790, Engraver Charles Howard Hodges, English, 1764-1837 After Gilbert Stuart, American, 1755-1828. Photograph courtesy of National Gallery of Ireland.
John Beresford was related to Luke Gardiner who developed the Gardiner estate.

John Beresford was the son of Marcus Beresford 1st Earl of Tyrone and Catherine De la Poer of Curraghmore in County Waterford.

On the main pediment, Hibernia is seen embracing Britannia while Neptune drives away famine and despair. Above the pediment stand four figures symbolising Neptune, Mercury, Industry and Plenty. At the top of the dome stands a figure of Commerce. [3] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
At the roof line is the coat of arms of the Kingdom of Ireland, with a lion and a unicorn either side of an Irish harp. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

James Gandon was an English-born architect who settled in Dublin in 1781 and was responsible for three major public buildings there – the Custom House, the Four Courts, and the King’s Inns – as well as for Carlisle Bridge and for extensions to the Parliament House. He also designed Emo in County Laois for John Dawson, 1st Earl of Portarlington (formerly 2nd Viscount Carlow). He was apprenticed to William Chambers, who designed on the Casino at Marino.

James Gandon, (1743-1823), Architect, against the Custom House, Dublin, photograph courtesy of National Gallery of Ireland.

The Custom House has four different but consistent facades, linked by corner pavilions. The south facade is of Portland stone, the others of mountain granite. The exterior is adorned with sculptures by Thomas Banks, Agnostino Carlini and Edward Smyth. Smyth carved the series of sculpted keystones symbolising the rivers of Ireland: the Bann, Barrow, Blackwater, Boyne, Erne, Foyle, Lagan, Lee, Liffey, Nore, Shannon, Slaney and Suir. On the north face are personifications of the four continents of world trade: Africa, America, Asia and Europe. [4]

Custom House, photograph taken 1943, Dublin City Library archives. [5]
Custom House 1982 photograph from Dublin City Library archives. [see 5] Smyth carved the series of sculpted keystones symbolising the rivers of Ireland: the Bann, Barrow, Blackwater, Boyne, Erne, Foyle, Lagan, Lee, Liffey, Nore, Shannon, Slaney and Suir.
Custom House detail, 21st November 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Custom House 1982 photograph from Dublin City Library archives. [see 5]
Custom House detail, 21st November 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Allegorical statues and motifs on the north façade of Custom House, photograph courtesy of Swire Chin, Toronto.

During the Irish Civil War, the buildings was engulfed in flames and the interior destroyed. The dome was rebuilt with Ardbraccan limestone instead of Portland stone.

Custom House photograph taken 1971, Dublin City Library archives. [see 5]

6. Dublin Castle, Dame Street, Dublin:

Dublin castle, photograph taken 1951, from Dublin City Library archives. [see 5] This is the Bedford Hall and the design has been attributed to Arthur Jones Nevill (d. 1771), who was Surveyor General at the time. He also designed the entrance front of the Battleaxe Hall building with its colonnade of Doric columns. The Bedford Hall was completed by his successor Thomas Eyre (d. 1772). [6]
Dublin Castle, 2020.
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

General Enquiries: 01 645 8813, dublincastle@opw.ie

From the website:

Just a short walk from Trinity College, on the way to Christchurch, Dublin Castle is well situated for visiting on foot. The history of this city-centre site stretches back to the Viking Age and the castle itself was built in the thirteenth century.

The building served as a military fortress, a prison, a treasury and courts of law. For 700 years, from 1204 until independence, it was the seat of English (and then British) rule in Ireland.

Rebuilt as the castle we now know in the seventeenth, eighteenth, nineteenth and twentieth centuries, Dublin Castle is now a government complex and an arena of state ceremony.

The state apartments, undercroft, chapel royal, heritage centre and restaurant are now open to visitors.

See my entry https://irishhistorichouses.com/2024/07/25/dublin-castle-an-office-of-public-works-property/

Dublin Castle, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

What is called “Dublin Castle” is a jumble of buildings from different periods and of different styles. The castle was founded in 1204 by order of King John who wanted a fortress constructed for the administration of the city. By the beginning of the seventeenth century, the castle contained law courts, meeting of Parliament, the residence of the Viceroy and a council chamber, as well as a chapel.

The oldest parts remaining are the medieval Record Tower from the thirteenth century and the tenth century stone bank visible in the Castle’s underground excavation.

Dublin Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dublin Castle July 2011. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Chapel Royal, renamed the Church of the Most Holy Trinity in 1943, was designed by Francis Johnston in 1807. It is built on the site of an earlier church which was built around 1700.

Chapel Royal and the Record Tower, Dublin Castle, March 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The State Apartments consist of a series of ornate decorated rooms, stretching along the first floor of the southern range of the upper yard.

The Battleaxe Staircase, Dublin Castle, September 2021. This staircase dates from 1749 and is the gateway to the State Apartments. The Viceroy’s Guards were called the Battleaxe Guards. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The State Corridor on the first floor of the State Apartments is by Edward Lovett Pearce in 1758.

The State Corridor, Dublin Castle, September 2021. It was designed in 1758 and provided access to a series of public reception rooms on the left and the Viceregal’s quarters on the right. At the far end it led to the Privy Council Chamber. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ceiling of the Apollo Room. Apollo, god of the sun and music, identified by a sunburst and a lyre. Emerging from the clouds are some of the signs of the zodiac, including Sagittarius, Scorpio and Libra. The ceiling was taken in eleven pieces from a nearby townhouse, Tracton House, St Stephen’s Green, which was demolished in 1910. [10] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Drawing room was largely destroyed in a fire in 1941, and was reconstructed in 1968 in 18th century style. It is heavily mirrored with five large Waterford crystal chandeliers.

The State Drawing Room, designed in 1838, with its five Waterford crystal chandeliers, installed in the 1960s. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Throne Room, originally known as Battleaxe Hall, has a throne created for the visit of King George IV in 1821. The walls are decorated with roundels painted by Gaetano Gandolfi, depicting Jupiter, Juno, Mars and Venus. The Throne Room was created by George Nugent-Temple-Grenville, 1st Marquess of Buckingham, the viceroy of the day.

The Throne Room, originally known as Battleaxe Hall. The walls are decorated with roundels painted by Gaetano Gandolfi depicting Jupiter, Juno, Mars and Venus. The chandelier was created in 1788. (see [6]) Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
St. Patrick’s Hall, Dublin Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

7. Farmleigh House, Phoenix Park, Dublin, July 2015:

Farmleigh House, Phoenix Park, Dublin, July 2015. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

See my entry https://irishhistorichouses.com/2025/08/03/farmleigh-house-and-iveagh-house-phoenix-park-dublin/

8. Garden of Remembrance, Parnell Square, Dublin 1:

Garden of Remembrance, Parnell Square, Dublin, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

General enquiries: (01) 821 3021, superintendent.park@opw.ie

From the OPW website:

This beautiful garden in the centre of the city was designed by architect Dáithí Hanly and dedicated to the memory of ‘all those who gave their lives in the cause of Irish freedom’. 

The garden was officially opened on the fiftieth anniversary of the 1916 Rising.

The focus point is a magnificent sculpture by Oisín Kelly, based on the legend of the Children of Lir, in which four children are transformed into swans and remain so for 900 years before becoming human again. A poem by Liam Mac Uistin is inscribed on the wall behind the sculpture. It concludes: ‘O generations of freedom remember us, the generations of the vision.’

Garden of Remembrance, Parnell Square, Dublin, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Garden of Remembrance, Dublin, photo by Anthony Woods, 2021 for Failte Ireland, Ireland’s Content Pool. (see [2])

The garden is intended as a place of quiet remembrance. It is a perfect place to enjoy some respite from the clamour of the city.

Garden of Remembrance, Dublin, photo by Anthony Woods, 2021 for Failte Ireland, Ireland’s Content Pool.

and

In the eighteenth century, it was the location of pleasure gardens which were intended to raise funds for the maternity hospital to the front of Rutland (now Parnell) Square. In the late nineteenth century, these gardens contained a large temporary building which was used as a hall, and called Rotunda Rink.

It was at Rotunda Rink in 1913 that the Irish Volunteers were formed, at a meeting reportedly attended by around 7,000 people. In 1916, the Rotunda gardens were also where many of the leaders of the Easter Rising were held, before being taken to Kilmainham Gaol for execution. The site for the Garden of Remembrance was bought from the hospital in 1939, and a competition for its design was announced the year after.” [15]

Architect Daithí Hanly (1917-2003) was responsible for the design of the Garden. The centre of the plan contains a large cross-shaped pool, with a tiled mosaic pattern as its base. The tiles show a picture of swords, shields, and spears thrown beneath waves; this is a nod to the Celtic custom of casting weapons into water once a battle had ended. Important objects from the history of prehistoric and medieval Ireland were woven into the structure of the Garden elsewhere; in the railings can be seen the shapes of the Trinity College (Brian Boru) harp, the Loughnashade trumpet, and the Ballinderry sword.” [15]

Commemorated by the Garden of Remembrance are:

  • the 1798 rebellion of the Society of United Irishmen
  • the 1803 rebellion of Robert Emmet
  • the 1848 rebellion of Young Ireland
  • the 1867 rising of the Fenian Brotherhood
  • the 1916 Easter Rising
  • the 1919-21 Irish War of Independence
Garden of Remembrance, Parnell Square, Dublin, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

9. Government Buildings Dublin:

Irish Government Buildings, Dublin, housing the office of the Prime Minister or Taoiseach, as well as the Department of Finance. Photograph by Dave Walsh, 2009, for Tourism Ireland, Ireland’s Content Pool. (see [2])
Government buildings, Photograph by Jeremy Hylton, June 2022.

General Inquiries: 01 645 8813

From the OPW website:

The imposing complex of Government Buildings on Upper Merrion Street, next door to Leinster House, was the last major public building the British constructed in Ireland. It was intended as accommodation for the Royal College of Science and various departments of the administration.

Fortuitously, it was complete by 1922. When independence dawned, the new Free State government moved in.

In more recent times, Taoiseach Charles Haughey converted and entirely refurbished the building to form state-of-the-art accommodation for a number of departments, including the Department of the Taoiseach, the Department of Finance and the Office of the Attorney General. Despite criticism of the expenditure involved, the renovated building won awards for its architectural design when it opened in the 1990s.

There are free guided tours every Saturday, although they are subject to occasional cancellation for urgent government business.

The building was constructed between 1904 and 1922 as a combination of Government offices and Royal College of Science, which occupied the centre block. My father went to college there! The function is represented by statues of William Rowan Hamilton, a mathematician, and Richard Boyle, the scientist, in niches flanking the entrance. The architects were Sir Aston Webb of London (who also designed Admiralty Arch in London’s Trafalgar Square) and Sir Thomas Manley Dean, from Cork. 1,000 people were at the opening ceremony. George V knighted the Architects on the day.

Internally the building was one of the most modern of its day. The floors were made of concrete and all the corridors were paved with marble tiles. Many rooms were fitted with fireplaces but it was mainly central heating that was used. Electricity was installed throughout and there was also a lift. Fans ventilated the rooms. It was one of the first colleges to admit women to its privileges.

The College was taken over by University College Dublin in 1926. In 1989 U.C.D. vacated the premises and moved to Belfield. Between January December 1990 and December 1991 the building was renovated by architects of the Office of Public Works to house the Department of the Taoiseach which had previously occupied as side wing. It was occupied by the Department in January 1991.

Stephen and I took the tour of the buildings in 2020 but one is not allowed to take photographs. We were excited to stand in the Office of the Taoiseach – who was Leo Varadkar at the time.

1947, photograph from Digital Repository, Dublin City Archives and Library, for Failte Ireland. [see 5]

10. Grangegorman Military Cemetery, Blackhorse Avenue, Dublin 7:

General enquiries: (01) 821 3021, superintendent.park@opw.ie

From the OPW website:

The largest military cemetery in Ireland, Grangegorman is a stone’s throw from the landmark Phoenix Park.

The graveyard was opened in 1876 as a resting place for service personnel of the British Empire and their families. It contains war graves from both world wars, as well as the graves of some of the British soldiers who lost their lives during the 1916 Rising.

A simply designed screen-wall memorial, built of Irish limestone and standing nearly 2 metres high, commemorates those war casualties whose graves lie elsewhere in Ireland and can no longer be maintained.

Mature trees and well-maintained lawns cast a sombre and reflective atmosphere over this restful place.” [16]

The cemetery adopts the “garden cemetery” styple promoted by J.C. Louden, the Victorian botanist and garden designer.

11. Irish National War Memorial Gardens, Islandbridge, Dublin:

National War Memorial Gardens, Dublin, 2021. At the centre of the garden is the War Stone, or Stone of Remembrance, on which is written “Their name liveth forevermore.” There is a similar stone is almost all cemeteries of the Commonwealth War Graves Commission. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

General enquiries: (01) 475 7816, parkmanager@opw.ie

From the OPW website:

These gardens in Islandbridge, a Dublin suburb, are one of the most famous memorial gardens in Europe. They are dedicated to the memory of the 49,400 Irish soldiers who died in the First World War. The name of every single soldier is contained in the sumptuously illustrated Harry Clarke manuscripts in the granite bookrooms.” They were created in the 1930s, with the stipulation that labour would be divided with fifty percent coming from ex-soldiers of the British army and fifty percent from ex-soldiers of the Irish army.

These gardens are not only a place of remembrance; they are also of great architectural interest and beauty. The great Sir Edwin Lutyens (1869-1944) designed them. Lutyens was a prolific garden designer, especially of war memorials, but nonetheless lent his expertise to only four gardens in Ireland.

Sunken rose gardens, herbaceous borders and extensive tree-planting make for an enjoyable visit in any season. The solemn, serene atmosphere of this elegant garden makes it a perfect place in which to relax and reflect.

War Memorial Gardens October 2014: the sunken rose garden. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
War Memorial Gardens November 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
War Memorial Gardens October 2014, my Dad and Stephen. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
War Memorial Gardens October 2014, Stephen, and two of the four “bookrooms” which represent the four provinces of Ireland and house a collection of items relating to both world wars, as well as record books which list the names, regiments and places of birth of the Irish soldiers known to have died in the First World War. These books are illustrated by Harry Clarke and are kept in cases designed by Lutyens. I have never seen these pavilions open to the public, however. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
War Memorial Gardens November 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
War Memorial Gardens November 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The site chosen for the Gardens lies on the banks of the River Liffey, and was known as Longmeadows. It is around fifty acres in size. Its location next to this section of the Liffey meant that it was an important ancient and medieval fording point. The earliest Viking burials were discovered in the vicinity in the early nineteenth century. The most recent excavations in 2008 uncovered a grave which contained a sword, spearhead, and ringed pin. In an era when the Liffey was unconstrained by its modern quays, and spread far wider than it does today, Islandbridge was the first navigable point. The Irish National War Memorial Gardens therefore occupy a space that was important at many different points in Irish history.

Today, the location of the Gardens mean that they are a popular recreational destination for both the local community and international visitors alike. The pathways between the rose gardens, tree avenues, and herbaceous borders allow for pleasant walking. The presence of many boatclubs, mainly along the north side of the Liffey, mean that the park is a significant hub for rowing, and other water sports, in Dublin. The 250m-long weir, dating to the 13th century, attracts a steady stream of anglers who fish its salmon and trout.” [17]

12. Iveagh Gardens, Clonmel Street, Dublin 2:

Iveagh Gardens, Dublin, October 2021.

General Enquiries: 01 475 7816, parkmanager@opw.ie

From the OPW website:

Tucked away behind the National Concert Hall, the Iveagh Gardens are among the finest, but least known, of Dublin’s parks and gardens.

They were designed by Ninian Niven in 1865 as the grounds for the Dublin Exhibition Palace – a space ‘where the citizens might meet for the purposes of rational amusement blended with instruction’.

The gardens contain a unique collection of features, which include rustic grottos, sunken formal panels of lawn with fountain centrepieces, woodlands, a maze, a rosarium, the American garden, rockeries and archery grounds.

This oasis of tranquillity and beauty, just a stone’s throw from the city centre, can justly claim to be the capital’s best-kept secret.

This figure used to be in the fountain. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Iveagh Gardens rose garden, 2009. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information about Ninian Niven, from the exhibition at the Irish Georgian Society in July 2022 curated by Robert O’Byrne, “In Harmony with Nature, The Irish Country House Garden 1600-1900.

The website gives us a wonderfully informative history of the garden:

In 1777, Harcourt Street was built southwards from the south-west corner of St Stephen’s Green. The following year, its first residence was completed – Clonmel House – now number 17 Harcourt street. The proprietor was John Scott (1739 – 1798), 1st Earl of Clonmell, whose country estate was Temple Hill House in Blackrock, Co Dublin. A lawyer by profession, Scott was a friend, collaborator, and fellow-scoundrel of the infamous ‘Buck’ Whaley (whose house at number 85 St Stephen’s Green backed onto Leeson’s Fields).” John Scott, or “Jack,” was the original “Copper Faced Jack,” so called because of his face red from alcohol.

John Scott, 1st Earl of Clonmel, (1739-1798), Chief Justice of the King’s Bench in Ireland Date after 1798 by Engraver Pierre Condé, French, fl.1806-after 1840 After Richard Cosway, English, 1742-1821, photograph courtesy of National Gallery of Ireland.

Scott bought eleven acres of Leeson’s Fields as a garden for Clonmel House. Because Harcourt Street separated the two, a subterranean passage was built (believed to be extant), from one of the now-demolished wings of Clonmel House, with two entrances in the garden.  In a map of 1789 this site is named ‘Lord Earlsfort’s Lawn’ after Scott’s first title Baron Earlsfort.  In the 1790s he became Earl of Clonmell, to which he added an ‘L’ (Clonmell).  

In 1817 this private land was leased, made public, and renamed the ‘Cobourg Gardens’, a name probably suggested by recent events on the Continent. For a brief period the Cobourg Gardens, barely altered from their time as the lawn of Clonmell House, enjoyed a very fashionable position among Dublin’s upper-class society…

Iveagh Gardens 2014, photograph by James Fennell for Tourism Ireland, Ireland’s Content Pool. (see [2])

By the 1830s the popularity of the Cobourg Gardens had declined sharply. In 1836, the ground reverted to Thomas, Earl of Clonmell, who seems to have encouraged plans to build a new street across the Garden, parallel to St Stephen’s Green to be called Clonmel Street.

The gardens … were badly neglected until bought by Benjamin Lee Guinness from John Henry, [3rd] Earl of Clonmell, in 1862.

Benjamin Lee Guinness acquired the land to act as a garden for his town house mansion Iveagh House (numbers 80 and 81 St Stephen’s Green), which he acquired in 1856. Being characteristic of his conscientious and philanthropic family, he became a trustee of the Dublin Exhibition Palace and Winter Garden Company, established in 1862.

He sold the land bordered by Harcourt Street, St Stephens Green south, Earlsfort Terrace and Hatch Street, to the Company for the price he had paid for it. This was to be the location of the Company’s planned recreational and cultural centre for Dublin’s citizens…

Meanwhile, considerable labour was required in the pleasure grounds of the Exhibition Palace. Ninian Niven, famed landscape gardener and former Director of the Botanic Gardens Glasnevin (1834 – 1838), designed the layout…” [you can see a picture of the Exhibition building on the OPW website]. The gardens combined the “French formal” style with “English landscape.” Niven also designed the gardens at a Section 482 property, Hilton Park in County Monaghan, as well as the National Botanic Gardens at Glasnevin at gardens at Aras an Uachtarain.

Iveagh Gardens 2014, photograph by James Fennell for Tourism Ireland, Ireland’s Content Pool. (see [2])

The heir to the throne, Albert Edward, Prince of Wales, to rapturous enthusiasm, performed the grand opening, on 9 May 1865. In all a huge 930,000 visitors attended the Exhibition between 9 May and 9 November.  The Company arranged special railway and other concessions and the Palace was equipped with a telegraph centre, post office branch, railway office, and facilities for a large number of international newspapers.

The gardens remained open to the public until the exhibition building was sold and then, the land made private again in 1883. They opened again to the public in 1941, first as part of University College Dublin.

The Gardens feature a unique collection of landscape features, which include a Rustic Grotto and Cascade, sunken formal panels of lawn with Fountain Centre Pieces, Wilderness Woodlands, a Maze, Rosariurn, American Garden, Archery grounds, Rockeries and Rookeries. Happily, many of these features were still visible when the gardens transferred into State care in 1991.

Accordingly, a plan was put in place immediately to undertake restoration and conservation works to the gardens. Looking around the gardens the fruits of this work are visible, in features such as the Yew maze and the Rosarium with its period collection of roses pre-dating 1865. The two fountains, restored in 1994, form a magnificent centerpiece in the gardens.” [18]

Legend tell us that an elephant is buried near the sunken lawn. It may have been used for dissection in the medical school or by a veterinarian, or else could have died in Dublin zoo. However, no remains have ever been found so its presence may be an urban myth.

13. Kilmainham Gaol, Dublin:

The main entrance was the formidable doorway, above which five monstrous shapes writhe. These have variously been called dragons, demons, serpents, and a hydra. It is said that they represented the five worst crimes: murder, rape, theft, treason, and piracy. Just outside this entrance was where public hangings took place until the late nineteenth century, and remains of the fixtures for the gallows can still be seen. [19] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilmainham Gaol, January 2014.

General Enquiries: 01 453 5984, kilmainhamgaol@opw.ie

from OPW website:

Kilmainham Gaol is one of the largest unoccupied gaols in Europe. It opened in 1796 as the new county gaol for Dublin and finally shut its doors as such in 1924. During that period it witnessed some of the most heroic and tragic events in Ireland’s emergence as a modern nation.

Among those detained – and in some cases executed – here were leaders of the rebellions of 1798, 1803, 1848, 1867 and 1916, as well as members of the Irish republican movement during the War of Independence and Civil War.

Names like Henry Joy McCracken [founder of the United Irishmen. He entered the Gaol on the 11th of October 1796 and was hanged two years later], Robert Emmet [United Irishman, hung in 1803], Anne Devlin [friend of Robert Emmet, spent two years in Kilmainham Gaol] and Charles Stewart Parnell [leader of the Irish Parliamentary Party at Westminster, and many of his fellow MPs were detained in Kilmainham after their open rejection of the Land Act introduced by the British government in 1881. Parnell was imprisoned in Kilmainham from October 1881 to May 1882] will always be associated with the building. Not to be forgotten, however, are the thousands of men, women and children that Kilmainham held in its capacity as county gaol. 

Kilmainham Gaol is now a major museum. The tour of the prison includes an audio-visual presentation.

The Gaol was closed as a convict prison in 1910 and handed over to the British Army. It was closed for good as a prison in 1924.

Kilmainham Gaol, January 2014. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilmainham Gaol, January 2014. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilmainham Gaol, January 2014. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
In the late 1850s, the east wing was replaced completely. The architect who won the open competition was John McCurdy, freemason and official college architect of Trinity College Dublin. This new wing was envisaged as a different system as early as its competition advertisement in 1857. It opened four years later, and reflected the very different ideas of the Victorian age. Based on the Panopticon, it is possible to see all ninety-six cells from a central viewing area. The use of light was deliberate and philosophical. It was thought that the huge skylight would spiritually inspire the inmates, while the out-of-reach cell windows would encourage them to turn heavenward. Under the ground of this new wing were four cellar-level isolation cells intended for dark and solitary confinement. [23] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Eamon De Valera’s cell, who later became President of Ireland. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Eamon de Valera, as President of Ireland, portrait in the Áras an Uachterain. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Easter Rising of 1916 was devised to take place at a time when the British were distracted by fighting the Great War on the continent. Led by members of the Military Council of the Irish Republican Brotherhood, with support from the Irish Citizen Army, the Irish Volunteers, and Cumann na mBan, the rebels seized key sites in Dublin on the 24th of April 1916. It began with a reading of the Proclamation of the Republic by Patrick Pearse. Fighting lasted for six days, until the British Army suppressed the rebellion and Pearse surrendered.

James Connolly was badly wounded and brought to Dublin Castle. Patrick Pearse was brought to Arbour Hill, before transferring to where the rest of the leaders were located, in Richmond Barracks. There they were court-martialled and sentenced to death. They were transferred to Kilmainham Gaol. Here, they were visited by loved ones, and wrote their final goodbyes. It was also here that another leader, Joseph Plunkett, married Grace Gifford in the Gaol chapel the night before he was shot. Between the 3rd and 12th of May 1916, fourteen men were executed by firing squad in the Stonebreakers’ Yard of Kilmainham Gaol. Seven of them had been the signatories of the Proclamation. These were Thomas Clarke, Seán Mac Diarmada, Thomas MacDonagh, Patrick Pearse, Éamonn Ceannt, James Connolly, and Joseph Plunkett.” [23]

The cell of Grace Gifford, Mrs Joseph Plunkett in 1923 (her husband was killed in 1916). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The place where the executions took place in 1916. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilmainham Gaol, January 2014. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

14. National Botanic Gardens, Glasnevin, Dublin 9:

National Botanic Gardens Glasnevin, 2009: the Richard Turner Palm House. The glass houses were built between 1843-1869. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

General enquiries: (01) 804 0300, botanicgardens@opw.ie

From the OPW website:

The National Botanic Gardens in Glasnevin, just 3 kilometres from Dublin city centre, are renowned for the exquisite plant collections held there. They are home to over 15,000 plant species and cultivars from a variety of habitats from all around the world.

The jewel in the gardens’ crown is a set of exquisitely restored and planted historic glasshouses. Most notable among these are Richard Turner’s Curvilinear Range and the Great Palm House, both winners of an award for excellence in conservation architecture.

Conservation plays an important role in the life of the gardens and Glasnevin is home to over 300 endangered plant species, 6 of which are already extinct in the wild.

The gardens have been closely associated with their counterpart in Kilmacurragh, County Wicklow, since 1854. Unlike the Wicklow branch, though, they provide a calm and beautiful green space in the midst of the nation’s capital.

National Botanic Gardens Glasnevin, 2009. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

“In 1790, the Irish Parliament, with the active support of the Speaker of the House, John Foster, granted funds to the Dublin Society (now the Royal Dublin Society), to establish a public botanic garden.

In 1795, the Gardens were founded on lands at Glasnevin…The original purpose of the Gardens was to promote a scientific approach to the study of agriculture. In its early years the Gardens demonstrated plants that were useful for animal and human food and medicine and for dyeing but it also grew plants that promoted an understanding of systematic botany or were simply beautiful or interesting in themselves.

By the 1830s, the agricultural purpose of the Gardens had been overtaken by the pursuit of botanical knowledge.

This was facilitated by the arrival of plants from around the world and by closer contact with the great gardens in Britain, notably Kew and Edinburgh and plant importers such as Messrs. Veitch. By 1838, the basic shape of the Gardens had been established. Ninian Niven as Curator had, in four years, laid out the system of roads and paths, and located many of the garden features that are present today. [Niven had formerly been head gardener at the Chief Secretary’s Lodge in the Phoenix Park, now the residence of the American Ambassador to Ireland).

The ever increasing plant collection, and especially plants from tropical areas, demanded more and more protected growing conditions and it was left to Niven’s successor, David Moore, to develop the glasshouse accommodation. Richard Turner the great Dublin iron-master, had already supplied an iron house to Belfast Gardens, and he persuaded the Royal Dublin Society that such a house would be a better investment than a wooden house. So indeed it has proved.

“…Moore used the great interest in plants that existed among the estate owners and owners of large gardens in Ireland to expand trial grounds for rare plants not expected to thrive at Glasnevin. The collections at Kilmacurragh, Headford, and Fota, for example, attest to this.

It was David Moore who first noted potato blight in Ireland at Glasnevin on 20th August 1845, and predicted that the impact on the potato crop would lead to famine in Ireland….

A development plan for the Gardens, published in 1992, led to a dramatic programme of restoration and renewal.

Primary amongst these was the magnificent restoration of the Turner Curvilinear Range of glasshouses completed for the bicentenary of the Garden in 1995. A new purpose-built herbarium/library was opened in 1997. The 18th century Director’s House and the Curator’s House have been refurbished. New service glasshouses and compost storage bays have been built. Additional lecture rooms for the Teagasc Course in Amenity Horticulture were opened in 1999. Improved visitor and education facilities have been provided in a new Visitor Centre. In tandem with the restoration and expansion of the buildings, upgrading of the collections and displays has also been in progress. The work of plant identification and classification, of documenting, labelling and publishing continues, as does that of education and service to the visiting public.

The Botanic Gardens came into state care in 1878 and since then have been administered variously by the Department of Art and Industry, the Department of Agriculture, Dúchas the Heritage Service of the Department of Arts, Heritage the Gaeltacht and the Islands, and the Office of Public Works (OPW), which currently has responsibility for the Gardens.” [20]

The gardens include an extensive arboretum as well as rockery, herbaceous border, alpine house, rose garden and woodland garden.

National Botanic Gardens Glasnevin, 2009. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
National Botanic Gardens Glasnevin, 2009. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
National Botanic Gardens, Dublin, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

15. Phoenix Park, Dublin:

Phoenix Park in snow, 1969, photograph from Dublin City Library archive. [see 5]

General Enquiries: 01 821 3021, superintendent.park@opw.ie

One would think it was named for the bird that rose from the flames, but in fact its name comes from the Irish phrase “Fionn Uisce” meaning “clear water.”

A neolithic burial chamber was discovered in the park in 1838, and the grave of a Viking woman.

Information boards in the visitors centre, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information boards in the visitors centre, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

From the OPW website:

It was originally formed as a royal hunting Park in the 1660s [by James Butler, 1st Duke of Ormond, for King Charles II] and opened to the public in 1747. A large herd of fallow deer still remain to this day. The Park is also home to the Zoological Gardens, Áras an Uachtaráin, and Victorian flower gardens. The Phoenix Park is only a mile and a half from O’Connell Street. Both passive and active recreational pursuits may be viewed or pursued such as walking, running, polo, cricket, hurling, and many more. The Glen Pond is set in very scenic surrounds in the Furry Glen. There are many walks and cycle trails available to the public.

The Phoenix Park is open 24 hrs a day, 7 days a week, all year round.”

Information boards in the visitors centre, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information boards in the visitors centre, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The 4th Earl of Chesterfield [Philip Stanhope] was appointed Lord Lieutenant of Ireland in January 1745, and is credited with initiating a series of landscape works, many of which were probably not completed until after his short tenure, having been recalled to London more than a year later. These included considerable replanting of the Park as well as planting of trees on either side of the main avenue and the erection of the Phoenix Column in 1747. He is also credited with opening the Park to the public.

The dominant eighteenth-century managerial and infrastructural characteristics of the Phoenix Park were reflected in the extensive use of the Park by the military and the number of lodges used by government officers and other lesser officials involved in Park management. Apart from the use of the Park for military manoeuvres and practices, there were also a number of military institutions which included the Royal Hibernian Military School (1766) for children who were orphaned, or whose father was on active military service abroad. The Magazine Fort, constructed in 1736 with additions in 1756, was a major military institution from which small arms, munitions and gunpowder were distributed to other military barracks in the Dublin area. Mountjoy Cavalry Barracks (formerly the home of Luke Gardiner, one of the Keepers of the Park) and the Royal Military Infirmary were two further buildings constructed during the eighteenth century, in 1725 and 1786 respectively. The role of the Salute Battery (for firing cannon on Royal and other special occasions), situated in the environs of the Wellington Testimonial, was discontinued, and the lands it occupied within the Park subsequently became known as the Wellington Fields, and on which the Wellington Testimonial was erected.

All the important lodges and accompanying demesnes, which were originally occupied by Park Rangers or Keepers, were purchased for Government use as private dwellings for the chief officers of state. These included the Viceregal Lodge for the Lord Lieutenant (now Áras an Uachtaráin), the Chief Secretary’s Residence (now the residence of the U.S. Ambassador to Ireland [called Deerfield]) and the Under-Secretary’s Residence (subsequently the Papal Nunciature and now the Phoenix Park Visitor Centre [Ashtown Castle, next to a Victorian walled kitchen garden]).

The beginning of the nineteenth century saw the Park in a much-neglected state with poor drainage, the roads in bad order, and most of the trees very old and/or in a state of decay. However with the Commissioners of Woods and Forests taking over the management of the public areas of the Park and the employment of the renowned architect/landscape architect, Decimus Burton, all this was about to change. Burton produced a master plan for the Park which included the building of new gate lodges, the removal and levelling of old hedgerows and shooting butts, tree planting in strategic locations, drainage, the restoration of the boundary wall, creation and realignment of the Park roads, which included Chesterfield Avenue. This latter project involved the relocation of the Phoenix Column on the main avenue. Burton’s involvement for nearly two decades represents the greatest period of landscape change since the Park’s creation by the Duke of Ormond.

“…From the 1830s and particularly after the 1860s, sporting and recreational activities became prominent. The Royal Dublin Zoological Society opened Dublin Zoo in 1830. The Promenade Grounds opened in 1840 (later to be known as the People’s Garden) and were considerably improved in the 1860s with the addition of a Head Gardener’s House, rock garden, and horticultural facilities to allow for flower production for planting in the Gardens. Between the People’s Garden and Dublin Zoo, a bandstand and tearooms were built in the final decade of the nineteenth century.” [21]

Phoenix Park People’s Garden, 1971, photograph from Dublin City Library archive. [see 5]

Next to the visitor’s centre is a Victorian Walled Garden.

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

An area in the park is designated as People’s Flower Garden:

A 9-hectare section of the massive Phoenix Park is given over to this enclosed and immaculately manicured Victorian flower garden. 

The garden was laid out and opened in the mid-nineteenth century as the Promenade Grounds. It provides an opportunity to enjoy the horticulture of that era at its best. A large ornamental lake with various fowl, a children’s playground, picnic areas and Victorian bedding schemes are just some of the attractions you will come across here.

Whether you’re looking to relax in the sun, have a picnic or simply take a pleasant walk, don’t miss this enchanting portion of the capital’s largest green space.

Phoenix Park People’s Garden, 1959, photograph from Dublin City Library archive. [see 5]

16. Rathfarnham Castle, Dublin:

Rathfarnham Castle, Dublin, September 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

General Enquiries: 01 493 9462, rathfarnhamcastle@opw.ie

From the OPW website:

The castle at Rathfarnham dates back to the Elizabethan period. It was built [around 1583] for Adam Loftus, a Yorkshire clergyman and politician [1533-1605]. Loftus was ambitious and eventually rose to become Archbishop of Dublin and Lord Chancellor of Ireland.

Loftus’s castle, with its four flanker towers, is an excellent example of the Elizabethan fortified house in Ireland. In the late eighteenth century, the house was remodelled on a splendid scale employing some of the finest architects of the day including Sir William Chambers and James ‘Athenian’ Stuart. The collection includes family portraits by Angelica Kauffman, Sir Peter Lely, and Hugh Douglas Hamilton.

See my entry https://irishhistorichouses.com/2025/07/11/rathfarnham-castle-dublin-an-office-of-public-works-property/

17. Royal Hospital Kilmainham, Military Road, Dublin 8:

Royal Hospital Kilmainham, January 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Royal Hospital, Kilmainham, North Walk James Malton, English, 1761-1803, photograph courtesy of National Gallery of Ireland.
Aerial view before restoration, Royal Hospital Kilmainham.

General Enquiries: 01 643 7700, rhktours@opw.ie

In Irish, ‘Kil Maignenn’ means Maignenn’s church, and the area takes its name from that saint, who established a church and monastery here around AD 606. After Strongbow’s arrival in Ireland, the land was granted to the Knights Hospitaller of St John of Jerusalem, who established a priory here.

From the OPW website:

The building as we know it today was begun in 1680. Leading architects such as William Robinson, Thomas Burgh and Francis Johnson made it the starting point for Dublin’s development into a city of European standing.

Inspired by Les Invalides in Paris, the building was to be a retirement home for old soldiers. Over the next 247 years, thousands of army pensioners lived out their final days within its walls.

In 1991, the Royal Hospital Kilmainham became home to the Irish Museum of Modern Art.” [22]

Royal Hospital Kilmainham, 15th October 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

See my entry https://irishhistorichouses.com/2025/01/22/royal-hospital-kilmainham-dublin-office-of-public-works/

Royal Hospital Kilmainham dining hall by Robert French, Lawrence Photographic Collection NLI, flickr constant commons.
Royal Hospital Kilmainham, 15th October 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Royal Hospital Kilmainham, 15th October 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Richmond Tower by Francis Johnston, named after the Lord Lieutenant, Charles Lennox, 4th Duke of Richmond, Royal Hospital Kilmainham, 15th October 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

18. St. Audoen’s, Dublin

St Audoen’s, Culture Night 2010. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

General Enquiries: 01 677 0088, staudoenschurch@opw.ie

From the OPW website:

Nestled in the heart of the walled medieval city of Dublin, St Audoen’s Church is the only remaining medieval parish church in the capital. It is dedicated to the seventh-century bishop of Rouen and patron saint of Normandy.

St Audoen’s Church was crucial to the life of the medieval city. Here papal bulls were pronounced and public penances carried out. The Guild Chapel of St Ann houses an award-winning exhibition on the importance of St Audoen’s to medieval Dublin.

Visitors to St Audoen’s can examine the part of the church still in use by the Church of Ireland. They can also view the stunning fifteenth-century tomb to Baron Portlester and his wife.

St Audoen’s, Culture Night 2010. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The church is dedicated to St Ouen the 7th century bishop of Rouen and patron saint of Normandy, and was built in 1190 to replace an earlier structure. It is said to have the oldest bells in Ireland with three bells dating from 1423 hanging in the tower. In the main porch is stored an early Christian gravestone known as the Lucky Stone which has been kept here since 1309.

The OPW restored and re-roofed St Anne’s Guild Chapel, which had been without a roof since 1826. This chapel dates back to the time of Henry VI of England, who in 1430 authorised the erection of a chantry here, to be dedicated to St. Anne. The story of this Guild is fascinating as it had most of Dublin’s most important businessmen as its members. After Henry VIII made Protestantism the state religion, the Catholic members of St Anne’s Guild had to have meetings and Catholic masses in secret. They held much property, as wealthy patrons gave land to the church and guild as a way to curry favour in heaven, and so Guild members took to hiding the property deeds to the St Anne’s Guild.

An article written for the OPW tells us more about St. Anne’s Guild:

Medieval Christians believed that only the truly saintly would enter heaven after death. Others had to spend time in purgatory to purify their souls. The idea of purgatory became widely accepted after 1290, when a chantry house or lay religious guild was established after the death of Queen Eleanor of Castile to pray for her soul. Masses sung or said for a person after death, especially on the anniversary of their death, would speed the journey through purgatory and into heaven. People regularly left money in their wills to provide for these masses.

Christians came together in sodalities and fraternities to support each other in praying for their dead relatives. St Anne’s Guild, based in St Audoen’s Church, grew out of this movement. There were about six religious guilds in medieval Dublin. St Anne’s is the most well known and probably the most long lived of these.The guild was formally established by charter in 1430, but property deeds relating to the work of the guild go back as far as 1285. The purpose of the guild was to fund chaplains in St Audoen’s church to pray for dead guild members’ souls. Financial support for St Anne’s guild during a person’s lifetime or in their will, was a form of spiritual insurance; your soul would be cared for after your death...

“…All masters and wardens were drawn from the elite of medieval Dublin; Mayors of Dublin, Alderman of Dublin Corporation, Recorders of Dublin (chief magistrates), freemen, citizens, chaplains, knights or merchants. This connection to powerful people was one of the factors that enabled the guild to survive and thrive even through the Reformation.

“…Some of the wealthier members of the guild paid fees to St Audoen’s church so that they could be buried within the walls of the church.

“…Perhaps the most well know endowment at St Audoen’s church was from Sir Roland FitzEustace, Lord of Portlester in 1482. He funded a private chapel to the south east of the church, which was named the Portlester Chapel. FitzEustace was Lord Chancellor of Ireland and it is said he made the donation in thanks for being saved during a perilous sea journey. He also bequeathed a life size cenotaph of himself and his wife Margaret, least anyone forget his generosity. Probably as a gesture of appreciation, St Anne’s guild granted him a messuage; this medieval term referred to a property with buildings, outbuildings, a garden and an orchard. It was located close to St Audoen’s Church and was granted for his and his son’s lifetime.” [23]

The Portlester Chapel. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The roof of the Portlester Chapel was removed in the 17th century, and the tomb was removed and can be seen in the main porch. The church still holds a weekly Church of Ireland service.

St. Audoen’s. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
St. Audoen’s. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Portlester tomb, St Audoens, featuring Roland FitzEustace (d. 1496), Lord Portlester, and his wife Margaret d’Artois. Photograph from ca. 1898, National Library of Ireland flickr constant commons.

The OPW arcticle continues:

In 1534, the guild acquired Blakeney’s Inn, located to the east of St Audoen’s Church. The guild purchased the Inn from James Blakeney of Rykynhore in exchange for cash and lands at Saucereston, near Rykynhore in the parish of Swords. The Inn is described as having a garden and a turret. It had been the home of the Blakeney family whose ancestors John and James Blakeney had been among the founders of the guild over a hundred years before. The building was renamed the College of St Anne and was used as accommodation for the guild chaplains. Parts of the College were also rented out to raise income.

The building is long gone and St Audoen’s Catholic church stands in its place today.

“…From 1541, the new Protestant religion was promoted in Ireland. Henry VIII abolished lay religious guilds across England. Many in Ireland, including St Anne’s Guild, managed to survive. The new Protestant religion, with King Henry VIII at its head, rejected the doctrine of purgatory. This had been a core part of the existence of St Anne’s Guild. Many of the rituals at the core of St Anne’s Guild, such as veneration of shrines, were called into question by the new religion. With the dissolution of the monasteries (1536-41), St Anne’s guild lost some of its properties, such as the lands rented from St Mary’s Abbey. However, they did manage to salvage some lands in Kilmainham that were leased out to the prior of the Hospital of St John.

Wealthy parishioners continued to support St Anne’s guild and leave money and property in their wills. Chaplains continue to be appointed each year and the property portfolio continued to grow. Affiliation to St Anne’s guild was initially able to transcend the differences between Catholics and Protestants; the guild was able to accommodate both. St Audoen’s Church had been appropriated for Anglican services after 1540s and Catholic services were fully transferred to St Anne’s College by 1611. St Anne’s College was later appropriated by the St Audoen’s Protestant parish clergy and renamed St Audoen’s College.

“..Conscious that they were coming under attack from the state and established church, the guild recorded the minutes of their meetings meticulously. From 1591, measures were taken to secure all the property deeds of the guild. They were put in a stout chest locked with three keys. The keys were held by the wardens and a senior guild member; all three needed to be present to open it...

There were many Catholics and recusants, those who refused to adopt the new state Protestant religion, among the membership of the guild. Walter Sedgrave, guild master in 1593, had been arrested for supporting the rebellion of Viscount Baltinglass in the early 1580s and was known to protect priests in his home. Michael Chamberlain, guild master from 1598, and Matthew Handcock, guild warden in 1593, were imprisoned for their recusancy in 1605-6, having refused an order to accompany the governor to Protestant divine service. Catholics Edmund Malone and Nicholas Stephens held guild wardenships from 1605. Stephen’s execution was ordered in 1613 for his leading role in the riot in Dublin after the overturning of the parliamentary election. He was reprieved. Handcock, Malone and Stephens spent the early months of 1606 in prison in Dublin Castle. Guild member, William Talbot, lost his position as Recorder of Dublin because of his refusal to take the Oath of Supremacy. All of these attacks on guild members hindered the administration of the guild. As the guild came under attack, they employed the services of the Lawyer, Henry Burnell. Burnell was also recusant.

…The decision to refurbish the guild altar in St Audoen’s in 1597 and again in 1605, shows that the shrine was still important to guild members. The hall of St Anne’s college was refurbished in the following years and in 1618 it was said that masses were conducted there – despite being outlawed by the state. Masses were also said in the houses of guild members. It is likely that money paid to Catholic priests was not recorded in the guild accounts. Members of the Sedgrave, Browne and Malone families worked as priests in the Dublin area from 1600-1630 and all had kinfolk in the guild.

In 1611, the state brought proceedings against the continued existence of St Anne’s Guild, with a view to acquiring the guild’s extensive property portfolio. John Davis, the Attorney General, filed a case against Mathew Hancock, Master, and Nicholas Stephens and Edmond Malone, wardens of St Anne’s Guild. Davis was challenging the practices of St Anne’s Guild; demanding to know the legal basis on which they were founded and challenging their corporate status. The guild successfully relied on the original 1430 charter to defend its right to exist, arguing these rights had been exercised uninterrupted since 1430. The Attorney General argued that this was insufficient to protect their property being seized by the King. But the case seemed to rest there and no action was taken.

“…The argument that the guild was being used to support Catholic members, Catholic priests and ultimately a restoration of the Catholic religion was revived in 1634 when the Anglican Vicar of Christchurch, Reverend Thomas Lowe presented his case to the Archbishop of Dublin. Lowe claimed that a Papal Bull from Pope Pius V dating to 1568-9 was found in the papers of Richard and Christopher Fagan; directing the assets of St Anne’s guild be applied only to the benefit of Catholics. He revived the argument that the guild assets were being divided between its own members, Jesuit priests and popish friars. He also accused the guild of swallowing up all the church means to the detriment of the parish church that was in need of funds.

Lowe delivered the documents as proof of wrong-doing to The Lord Deputy of Ireland, Thomas Wentworth, in Dublin Castle. Wentworth had already been involved in a wholesale attempt to seize the assets of Irish Catholics. He sought to have these ‘secret misappropriated livings’ returned to the Anglican church. He ordered that the records of the guild be inspected to investigate their expenditure since 1603. The records showed that St Anne’s guild had investments worth over 800 pounds and were only giving a small part of that to the parish church. They attempted to seize some of the guild property for use by the parish church and imposed thirty Protestant luminaries as members of the guild. They also seize the property of St Anne’s College for the use of Anglican priests and renamed it St Audoen’s College. This attempted coup of St Anne’s Guild failed, probably because of the religious upheaval throughout the country at the time. While this attempt to close the guild failed, the membership was now mostly Protestant.

Lord Deputy Wentworth was recalled to London for ‘high misdemeanours’ and the charges against him specifically refer to his treatment of St Anne’s Guild. Within months, he was taken to the Tower of London where he was executed on the 12th May 1641. Despite the fate of Lord Deputy Wentworth, Reverend Lowe continued his persecution of St Anne’s Guild.

Thomas Wentworth, the 1st Earl of Strafford (1593-1641).

“…After 1690, Catholics were excluded from holding the roles of master or warden of the guild. In 1695, the assets of the guild were handed over to four trustees; Archbishop Narcissus Marsh, Rev. John Finglass, William Molyneux and Christopher Usher. The trustees later sold a large part of the property portfolio to the Wide Streets Commission for clearance prior to the layout of new wider streets in Dublin.

The Charitable work continued through this time with funds used for the relief of poverty, the upkeep of the Blue Coat school, the upkeep of the church and the freeing of Christian slaves in Algeria and the Turkish Empire.

Blackhall Place, Dublin, or The Blue Coat School, by Thomas Ivory, 2019.

Throughout the 18th century, the guild continued its charitable works under the watchful eye of the prebend of St Audoen’s Church. They met every year on the 26th July for their members banquet. Membership remained principally Protestant, although some small number of Catholic families continued to be members. The bonds of friendship between the families still in the guild remained strong and they continued to dispense relief from poverty and distress in a spirit of civic welfare and solidarity.

The Accounts of the Guild of St Anne shows that guild members continued to collect rents and pay out grants up to 1779. The final property transaction in their records dates to 1817, although some small number of their properties were retained by St Audoen’s Church right up to recent years. In 1773, the parish clergy ordered the removal of the roof at the east side of the chapel, including the Portlester Chapel; the cost of maintaining the building was beyond the means of the church. In 1820, they removed the roof from St Anne’s Chapel for the same reason. In 1835, an act of parliament abolished what remained of the medieval guilds but by then St Anne’s had already ceased operation.” [23]

Photograph from the National Library of Ireland.
The arch and old city walls, St. Audoen’s, 1954 photograph from Dublin City Library and Archives. [see 5]

See also https://theirishaesthete.com/2024/05/13/st-audoens/

19. St. Enda’s Park and Pearse Museum:

Pearse Museum, St Enda’s Park, Dublin, photograph 2021 by Aoife O’Neill_Aidona Photography for Fáilte Ireland, Ireland’s Content Pool. (see [2])

General Enquiries: 01 493 4208, pearsemuseum@opw.ie

From the OPW website:

The Pearse Museum in St Enda’s Park is where the leader of the 1916 Rising, Patrick Pearse, lived and operated his pioneering Irish-speaking school from 1910 to 1916.

Set in nearly 20 hectares of attractive parkland in Rathfarnham, Dublin, the museum tells the story of Patrick Pearse and his brother Willie, both of whom were executed for their part in the 1916 Rising. Here you can peruse a fascinating exhibition on Pearse’s life and wander through the historic rooms where he, his family and his students once lived and worked.

The romantic landscape surrounding the museum contains a wild river valley, forested areas and some enchanting eighteenth- and nineteenth-century follies.” The follies were built by two generations of the Hudson family.

and

Edward Hudson, the State Dentist and a Doctor of Physic, signed a lease on the lands known as the ‘Fields of Odin’ in Rathfarnham which were owned by Thomas Connolly of Castletown House in Co. Kildare on 2 April, 1786. He had a home and business premises on St. Stephen’s Green but he also built the house which now houses the Pearse Museum as a country retreat and appropriately named it ‘The Hermitage’.

We stayed in the country house of Edward Hudson in Cork in 2020, Glenville Park, which later became the home of Mark Bence-Jones.

Glenville Park, County Cork, 2020 – the country residence of Edward Hudson and later, Mark Bence-Jones. [24] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues:

Across the road was The Priory, the home of the famous lawyer John Philpot Curran. His daughter, Sarah, was the sweetheart of the rebel Robert Emmet. Legend has it that Hudson allowed the two young lovers to meet in the grounds of the Hermitage away from the disapproving stares of her father. It was this story which first drew Pearse to this area of Rathfarnham in the summer of 1910.

Edward Hudson was a very learned man with a passionate interest in science and the ancient past. This interest is reflected in the garden monuments and follies which are dotted around the park, many of which were built in imitation of ancient Irish field monuments, including the ogham stone which bears his name. His son William Elliot shared his father’s fascination with Irish history, and in particular the Irish language. He was a founder of the Celtic Society and was a friend of Thomas Davis. He was a lawyer and was involved in the defence of the Young Irelanders, Thomas Francis Meagher and William Smith O’Brien, following their rebellion in 1848. He sold The Hermitage to a legal colleague, Justice Richard Moore, in 1847. Ironically it was Moore who eventually passed sentence on Meagher and Smith O’Brien.

From Justice Moore the property came into the ownership of Major Richard Doyne, a veteran of the Crimean War, who purchased it in 1859. It was then inherited by his son, Lieutenant-Colonel Philip Kavanagh Doyne, who spent much of his life serving with the British Army in India. In 1898, two years before his death, he sold The Hermitage to William Woodbyrne who had made his fortune in the diamond mines of South Africa. Woodbyrne made many improvements to the grounds, including the creation of the ornamental lake. He never lived in the house as his wife contracted tuberculosis and they had to move to a warmer climate. Instead he rented the house to a series of tenants, including Pearse.

One other tenant of particular note was Sir Neville Chamberlain, a former officer in the British army in India and the person credited with the invention of the game of snooker. He moved into The Hermitage in 1900 when he was appointed Chief Inspector of the Royal Irish Constabulary, the police force of Ireland at the time. In an amazing historic coincidence, Sir Neville was head of the RIC in 1916 when Pearse led the Rising against British rule in Ireland!

Surrounded by fifty acres of landscaped parkland, the museum is located in the former home and school of Patrick Pearse, the leader of the 1916 Rising. He founded his school, Scoil Éanna, in 1908 in Cullenswood House, Ranelagh. His initial interest in education stemmed from his involvement in the Gaelic League and the Irish language movement. However he very quickly became passionate about education and its possibilities. His ideas were progressive and radical and he had little time for the exam-focused education system of the time. He felt that schools should nurture the talents of all their pupils, even if those talents lay outside the traditional school subjects.

For Pearse the key to real learning was inspiration, and he felt that to be a success his school needed a suitably inspiring setting. He was anxious to find a home for his school which would allow his pupils direct access to the natural world. He discovered The Hermitage in Rathfarnham in 1910 while on a historical pilgrimage of sites associated with the revolutionary Robert Emmet. Nestled in the foothills of the Dublin Mountains, it was the ideal location for his school.

The house was also Patrick Pearse’s family home. His mother, brother and sisters all assisted in the running of the school. In 1916 he and his brother William left to fight in the 1916 Rising, never to return. Pearse was the leader of the uprising and the author of the Proclamation of the Irish Republic. He also oversaw the surrender once all hope of victory was lost. While revolution was raging in Dublin, his mother and sisters waited for news in Rathfarnham. It was there that they heard that both brothers were to be executed. His mother and eldest sister lived on in the house and ran the school there until 1935. Following the death of Pearse’s last surviving sister in 1968, the house and grounds were handed over to the state with the provision that they be used as a memorial to the lives of Patrick and William Pearse. The Pearse Museum was then opened to the public in 1979.” [25]

20. St. Stephens Green, Dublin:

The park was landscaped between 1877-1880. It was created as a park in 1663 for citizens of the city could take the open air. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stephen’s Green 1957, photograph from Dublin City Library archives. [see 5]
Stephen’s Green 1949, photograph from Dublin City Library archives. [see 5]

General Enquiries: 01 475 7816, info@heritageireland.ie

from the OPW website:

In the very centre of Dublin’s shopping district lies one of Ireland’s best-known public parks.

Lord Ardilaun [Arthur Edward Guinness, 1st and last Baron Ardilaun of Ashford (1840-1915)] opened it for the citizens of the city in 1880. This 9-hectare green space has been maintained in its original Victorian layout, with extensive tree and shrub planting and spectacular spring and summer bedding. The herbaceous border provides vibrant colour from early spring to late autumn.

It boasts over 3.5 kilometres of accessible pathways. The waterfall and Pulham rockwork on the western side of the green are well worth a visit. So is the ornamental lake, which provides a home for waterfowl. Several sculptures are located throughout the green, including the James Joyce Memorial Sculpture and a fine specimen by Henry Moore.

A children’s playground in the park is always popular and, if you visit at lunchtime during the summer months, you might even catch a free concert.”

Stephen’s Green 1952, photograph from Dublin City Library archives. [see 5]
Stephen’s Green 1955, photograph from Dublin City Library archives. [see 5]
Stephen’s Green 1963, photograph from Dublin City Library archives. [see 5]
St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stephen’s Green 1966, photograph from Dublin City Library archives. [see 5]
Stephen’s Green 1944, photograph from Dublin City Library archives. [see 5]
Statue of Clarence Mangan in St. Stephen’s Green, March 2011. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The name St Stephen’s Green originates from a church called St Stephen’s in that area in the thirteenth century. Attached to the church was a leper hospital. Around this time the area was a marshy piece of common ground, which extended as far as the River Dodder and was used by the citizens of the city for grazing livestock.

In 1663 the City Assembly decided that the plot of ground could be used to generate income for the city and a central area of twenty-seven acres was marked out which would define the park boundary, with the remaining ground being let out into ninety building lots. Rent generated was to be used to build walls and paving around the Green. Each tenant also had to plant six sycamore trees near the wall, in order to establish some privacy within the park. In 1670 the first paid gardeners were employed to tend to the park.

Saint Stephen’s Green Gardens, Dublin James Malton, English, 1761-1803, photograph courtesy of National Gallery of Ireland.
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Green became a particularly fashionable place during the eighteenth century, owing mainly to the opening of Grafton Street in 1708 and Dawson Street in 1723, and the construction of desirable properties in and around this area. The Beaux Walk situated along the northern perimeter of the park became a popular location for high society to promenade. Lewis’ Dublin Guide of 1787 describes the Beaux Walk as being a scene of elegance and taste. Other walks found in the park included the French Walk found along the western perimeter of the park, and Monk’s Walk and Leeson’s Walk located along the eastern and southern boundaries of the park respectively.

By the nineteenth century the condition of the park had deteriorated to such an extent that the perimeter wall was broken, and many trees were to be found in bad condition around the park. In 1814 commissioners representing the local householders were handed control of the park. They replaced the broken wall with ornate Victorian railings and set about planting more trees and shrubs in the park. New walks were also constructed to replace the formal paths previously found in the park. However with these improvements, the Green then became a private park accessible only to those who rented keys to the park from the Commission, despite the 1635 law which decreed that the park was available for use by all citizens. This move was widely resented by the public.

The Band Stand in St Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sir Arthur Guinness, later known as Lord Ardilaun, grew up in Iveagh House located on St Stephen’s Green, and came from a family well noted for its generosity to the Dublin public. In 1877 Sir Arthur offered to buy the Green from the commission and return it to the public. He paid off the park’s debts and secured an Act which ensured that the park would be managed by the Commissioners of Public Works, now the OPW.

Sir Arthur’s next objective was to landscape the park, and provide an oasis of peace and tranquility in the city. He took an active part in the design of the redeveloped park, and many of the features in the park are said to have been his suggestions. The main features of the redeveloped park included a three-acre lake with a waterfall, picturesquely-arranged Pulham rockwork, and a bridge, as well as formal flower beds, and fountains. The superintendent’s lodge was designed with Swiss shelters. It is estimated the redevelopment of the park cost £20,000.

After three long years of construction work, and without a formal ceremony the park reopened its gates on 27th of July 1880, to the delight of the public of Dublin.” [26]

St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stephen’s Green 1963, photograph from Dublin City Library archives. [see 5]
Royal Fusiliers Arch, St. Stephen’s Green, 2007, commemorates members of the Royal Dublin Fusiliers who died in the Second Boer War. It was erected in 1907. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fusilier’s Arch, St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://heritageireland.ie/visit/places-to-visit/aras-an-uachtarain/

[2] https://www.irelandscontentpool.com

[3] https://www.archiseek.com/2010/1791-custom-house-customhouse-quay-dublin/

[4] https://www.archiseek.com/2010/1791-custom-house-customhouse-quay-dublin/

[5] https://repository.dri.ie/

[6] p. 8, Marnham, Niamh. An Introduction to the Architectural Heritage of Dublin South City. Published by the Department of Culture, Heritage and the Gaeltacht, 2017.

[7] https://www.archiseek.com/2010/1204-dublin-castle/

[8] p. 6, Marnham, Niamh. An Introduction to the Architectural Heritage of Dublin South City. Published by the Department of Culture, Heritage and the Gaeltacht, 2017.

[9] https://www.buildingsofireland.ie/building-of-the-month/chapel-royal-dublin-castle-dame-street-dublin-2/

[10] p. 9, Marnham, Niamh. An Introduction to the Architectural Heritage of Dublin South City. Published by the Department of Culture, Heritage and the Gaeltacht, 2017.

[11] See also https://farmleigh.ie/

* I visited Iveagh House during Open House in October 2014.

[12] https://farmleigh.ie/the-guinness-family/

[13] https://farmleigh.ie/the-parkland/

[14] https://farmleigh.ie/the-parkland/

[15] https://opwdublincommemorative.ie/garden-of-remembrance/learn-more/

[16] https://opwdublincommemorative.ie/grangegorman/learn-more/

[17] https://opwdublincommemorative.ie/war-memorial/

[18] https://iveaghgardens.ie/

[19] https://kilmainhamgaolmuseum.ie/the-building/

[20] https://botanicgardens.ie/glasnevin/history/

[21] https://phoenixpark.ie/

[22] See also https://rhk.ie/about-us/

William Robinson also built Marsh’s Library in Dublin.

Marsh’s Library, photograph from 1975, Dublin City Library and Archive. [see 5]

[23] https://heritageireland.ie/assets/uploads/2022/09/The-Story-of-St-Annes-Guild.pdf

The bibliography for this article is:

Bibliography:
Berry, H. (1904) History of the Religious Guild of St Anne in St Audoen’s Church Dublin 1430-
1740, Taken from its records in the Haliday collection, R.I.A. Proceedings of the Royal Irish
Academy: Archaeology, Culture, History, Literature. Volumn 25 (1904/1905) pp. 21- 106.
Empey, A. (2002) The layperson in the parish: the medieval inheritance, 1169-1536 , in
The Laity and the Church of Ireland 1000-2000 eds. Gillespie,R. and Neely, W.G. Four Court Press,
Dublin
Lennon, C. (2017) Charitable Property: The Manuscripts of St Anne’s Guild, Dublin. RIA lecture
available: https://www.ria.ie/charitable-property-manuscripts-st-annes-guild-dublin
Lennon, C. (2011) ‘The Fraternity of St Anne in St Audoen’s parish, Dublin’, in Salvador Ryan &
Brendan Leahy (eds), Treasures of Irish Christianity: people and places, images and
texts (Dublin: Veritas, 2012), pp 116–18.
Lennon, C. (1990) The Chantries in the Irish Reformation: the case of St Anne’s Guild, Dublin,
1550-1630 in Comerford, R.V., Cullen, M, Hill, J and Lennon, C.
Religious Conflict and Coexistence in Ireland, 1990 published by Gill and Macmillian Ltd. Dublin
McMahon, M (2006) St Audoen’s Church, Cornmarket, Dublin: Archaeology and Architecture.
The Stationary Office, Dublin ‘The Case of St Anne’s Guild’ from National Library of Ireland LO2337

[24] http://www.glenvillepark.com/

[25] https://pearsemuseum.ie/the-museum/

[26] https://ststephensgreenpark.ie/cultural-heritage/

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

Kilshannig House, Rathcormac, County Cork P61 AW77 – section 482

Open dates in 2025: March 18-19, 21, 24, 26-27, April 2, 4-7, 9, 11-13, 21, 23, 25, May 12, 14, 16-17, 19, 21, 23-26, 28, 30, June 2, 4, 6-9, 11, 13, 16, 25, 27-29, July 2, 4-7, 14, 16, 18-20, 28, 30, Aug 1- 4, 6, 8, 11, 13, 15-25, Sept 18, 20, 22-25, 27, 29, 8.30am-3pm,

Fee: adult €14, OAP €12, student €10, child €8

Stephen and I visited Kilshannig House in Rathcormac, County Cork, in August 2020, during Heritage Week. Kilshannig is most notable for its wonderful stucco work.

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I rang Mr. Merry in advance, and he was away but told me his housekeeper could show us around. Stephen and I were spending a few days on holidays with our friends Denise and Ivan, and Denise decided to join us to come to see the house. I was excited to show someone what it is like to visit the section 482 houses. In most cases, like this day visiting Kilshannig, we are going to see someone’s private home. It is not like visiting a place normally open to the public, like Fota House or Doneraile Court, two houses which Stephen and I also visited while in Cork, which are now owned and run by Irish Heritage Trust and the OPW (Office of Public Works) respectively. [1] I always feel that I am an inconvenience, requesting a visit someone’s home. I must remind myself that it is visitors like me and you who ensure that the section 482 revenue scheme continues. I envy owners of these beautiful homes, but maintaining a Big House is almost a career choice. In fact owners often express their belief that they are the caretaker of a small part of Ireland’s built heritage. In this case, Mr. Merry runs an equine stud, and it is the success of that which enables him to maintain the upkeep of his home. He has also converted an extension into self-catering accommodation [2].

The house, as you can see from the photograph of the entire sweep, is Palladian [3]. It was built in 1765-66 for Abraham Devonsher, an MP and a Cork banker. The date 1766 is written on a “hopper” and probably commemorates the completion of the house.

Cast-iron rainwater goods having ornate hoppers, dated 1766, with gambolling lion and winged cherub head, square-profile down pipe and moulded joints.” [see 9] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was designed by Davis Ducart [or Duckart], whose Irish career began in the 1760s and continued until his death in about 1785. The Dictionary of Irish Architects tells us:

According to William Brownlow, writing to the Earl of Abercorn in 1768, he ‘dropped into this Kingdom from the clouds, no one knows how, or what brought him to it.’ [4]

The Irish Historic Houses website tells us that Ducart worked as a canal and mining engineer as well as an architect. With engineering skill, he was committed to good design and craftsmanship. The Dictionary of Irish Architects tells us of criticism of his work, however:

An attack on him in the Freeman’s Journal for 3-4 February 1773 states that he had given up architecture by this time: ‘Our French architect … never could bring any thing to perfection he put his hands to; he made some of his first (and, alas! his last) experiments as an architect, at the cost of the public and many private gentlemen, in the country and city of Cork, the latter of which bears a large monument of his insipid, uncooth taste in the art of designing; he was actually ignorant of the common rules and proportions of architecture; eternally committing mistakes and blunders, and confounding and contradicting his own directions, until he himself saw the folly of such proceedings, and (not without certain admonitions) quitted the profession he had no sort of claim to.’

I do not know enough about architecture to contradict the writer in the Freeman’s Journal but the Irish Historic Houses website claims: “Ducart was arguably the most accomplished architect working in Ireland between the death of Richard Cassels and arrival of James Gandon.” [5] In an article in Country Life, Judith Hill suggests that criticism was motivated by professional jealousy of a foreigner. [6]

Other works associated with Ducart are the Mayoralty or Mansion House, Cork (1765-1773); Lota Lodge in County Cork (1765); Castletown Cox in County Kilkenny (1767); Brockley House, Laois (1768); Custom House of Limerick (1769) which now houses the Hunt Museum; Castlehyde House, County Cork; Drishane Castle, County Cork (which is also a section 482 property, not to be confused with Drishane House – about which I will be writing shortly). [see 4]

The cherrypicker out front mars the photograph, but Anne the housekeeper explained that work was being done in the house. The front door is approached by a flight of limestone steps. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown Cox, County Kilkenny, also by Ducart, photograph courtesy of Knight Frank estate agents.

The house consists of a central block of two storeys over basement (with a mezzanine level), with wings either side that are described by Mark Bence-Jones as “L” shaped but to me they look U shaped, almost like a pair of crab claws. [7] Curved walls close in either wing into courtyards. Frank Keohane describes it in The Buildings of Ireland: Cork, City and County:

At Kilshannig, Ducart developed his own interpretation of the ubiquitous Irish Palladian country-house plan, which he also used with modification at Castletown Cox, Co Kilkenny, and The Island, Co Cork (demolished). Eschewing the Pearse-Castle tradition, Duckart’s central block is flanked by inward turned L-shaped (rather than rectangular) wings which project forward to form a cour d’honneur. Curved screen walls connect the inward-facing ends of the wings back to the house and enclose kitchen and stable courts. The principal North front, looking across the park to Devonsher’s parliamentary borough of Rathcormac, comprises a neat central corps de logis flanked by six-bay blind arcades, representing the back ranges of the courts, which terminate in domed pavilions. The plan has been likened to that of Vanbrugh’s Castle Howard, Yorkshire.” [8]

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

The view from the front, overlooking Rathcormac. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Keohane suggests that Davis Ducart was probably assisted by Thomas Roberts of Waterford. The front of the house is of red brick with limestone quoins, and the centre block is seven bays across with a single-storey three bay Doric frontispiece which the National Inventory of Architectural Heritage tells us is of cut sandstone. [9] The frontispiece has Doric style pilasters, and the door and window openings have fluted scroll keystones with plinths that look like they should hold something, in circular niches. The pilasters support an entablature which the National Inventory describes: “with alternating bucrania and fruit and flowers metopes and triglyphs.” The metopes are the squares with the pictures of “bucrania” (cow or ox skulls, commonly used in Classical architecture, they represent ancient Greek and Roman ceremonies of sacrifice) and fruit and flowers, and the triglyphs are the three little pillars between each square picture (wikipedia describes: “In classical architecture, a metope (μετόπη) is a rectangular architectural element that fills the space between two triglyphs in a Doric frieze, which is a decorative band of alternating triglyphs and metopes above the architrave of a building of the Doric order.“) [10]

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Above this stone frontispiece is an empty niche which Bence-Jones tells us contained, in a photograph taken in approximately 1940, a statue or relief of a warrior or god.

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There is a mezzanine level, which is unusual in such a house, and we can see that the windows at this level are squeezed between ground and first floor levels. The Irish Historic Houses website tells us that the house has four formal fronts. Unfortunately we did not walk around the house so I did not photograph the other fronts. The basement windows are semicircular, which is apparently characteristic for Ducart.

Photograph from the National Inventory of Architectural Heritage [9].
The basement windows, “charmingly glazed with cobweb-like astragals,” as Casey and Rowan describe them. Photograph from National Inventory of Architectural Heritage.

The wings have five arched windows each and Keohane tells us that the wings are actually low two-storey buildings. The copper domes and timber cupolas have been reinstated by the present owners.

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

On the back facade the arcades have plain Tuscan pilasters supporting a deep entablature with small blind roundels above each arch.

Photograph from National Inventory of Architectural Heritage – you can see that this was taken before the domes were reinstated.
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Anne the housekeeper welcomed us and brought us into the impressive Baroque hall.

Front Hall. Excuse the dirty floor, from ongoing repair work. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Keohane writes that the plasterwork in Kilshannig is by two different people with distinctive styles. He writes: “The accomplished decoration to the Saloon and Library ceilings is the work of the Swiss-Italian Filippo Lafranchini, here combining emphatic late Baroque modelling with the refinement of small-scale ornament of a Rococo character. The remaining decoration, which is vigorously naturalistic and in places ungainly, is by an unknown, and presumably Irish, hand.” For more on the Lafranchini brothers, see the Irish Aesthete’s entry about them. [11]

The stuccadore of the wonderful Rococo plasterwork in the hall is therefore unknown. Our guide, Anne, pointed out that the birds, that reminded me of birds at Colganstown by Robert West of Dublin, stick out too far and that the heads have a tendency to be knocked off. The ceiling is deeply coved, and features acanthus leaves, flower and fruit-filled baskets and garlands with draped ribbons.

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The floor of the front hall is of Portland stone with black insets. The walls have Corinthian columns and the corners of the ceiling decoration are curved.

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

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The hall has a beautiful Portland stone fireplace with a mask flanked by garlands, and two male Grecian bearded Herms (“a tapering pedestal supporting a bust, or merging into a sculpted figure, used ornamentally, particularly at the sides of chimneypieces. Roughly similar to a term.’) [3]. Herm refers to Hermes, the Greek god.

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Here we see one of the birds who has had its head broken off. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The entrance hall leads to a three bay saloon, with dining room on one side and library on the other. To one side of the front hall is a corridor leading to the wonderfully curving staircase. The stone floor and stuccowork continue into the corridor, which has panelled walls.

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The circular cantilevered Portland stone staircase rises two full rotations to the first floor. The domed ceiling has more stuccowork. There’s also a lovely circular pattern with geometrical black and grey shapes on the floor below the stairs.

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
You can see the mezzanine level in this photograph, and the Portland stone cantilevered stairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The doll house is an architectural model of Kilshannig! It even has electricity! It was made for the young girl of the house, Sophie.

Kilshannig dollhouse, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig dollhouse, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig dollhouse, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Amusingly, the Kilshannig doll house is more advanced than the actual house, as the attic has been converted! The actual attic of Kilshanning House has not been converted. As the owner charmingly told me: “The two [bedrooms] in the dolls’ house are poetic license to give the owner of the dolls’ house the opportunity to decorate and fit it out bedrooms.”

Kilshannig dollhouse, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Denise, duly masked for Covid, in the hallway at the bottom of the staircase. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We entered the library first. The current owner’s father, Commander Merry, and his wife, bought the house. With his DIY skills, the Commander installed the library shelves, acquired from a Big House built in the same period as Kilshannig. The room has another spectacular ceiling, which is deeply coved. The centre features a rondel with Diana and Apollo, and the corners have oval plaques depicting the Seasons. The cove features female portrait busts, eagles, standing putti and garlands. Christine Casey has noted the likeness of the cove to that formerly in the Gallery at Northumberland House in London, which was decorated by Pietro N. Lafranchini, perhaps in collaboration with his brother Filippo.

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The rondel in the centre of the library ceiling featuring Diana and Apollo. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The female heads in rondels in the library are believed to portray members of the Devonsher family [10]. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The doors have been stripped back to their original timber.

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The next room is the Saloon, or Salon. It has a particularly splendid ceiling, also by Filippo Lafranchini, “combining emphatic late Baroque modelling with the refinement of small-scale ornament of a Rococo character” (Keohane):

“Joseph McDonnell has established that the figurative work is derived from an engraving of 1717 of a now lost ceiling painting by Antoine Coypel, the Assembly of the Gods, at the Palais-Royale in Paris. The centre depicts Bacchus and Araidne, with Pan and a sleeping Silenus, reclining on almost imperceptible clouds. The lavishly intricate border consists of six cartouches framing plaques depicting the Four Elements – Water (a dolphin), Air (an eagle), Earth (a lion), and Fire (a Phoenix) as well as Justice and Liberty. These are linked by a sinuous frame populated by charming putti with dangling legs. The corners feature trophies dedicated to Architecture, Painting, Music and Sculpture.” [12]

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

“The centre depicts Bacchus and Araidne, with Pan and a sleeping Silenus, reclining on almost imperceptible clouds.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Justice, blindfolded. The Art of painting is represented in the right corner. Other corners represent architecture, music and sculpture. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Here we see architecture represented in the corner trophy. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The lion on in the left rondel, symbolising Earth, and the eagle on the right, symbolising Air. The other of the four Elements are represented, by a dolphin for Water and a Phoenix for Fire. I love the way the legs and feet of the putti and especially Ariadne stick out from the ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The final room we were shown was the dining room. Keohane writes that the stuccowork is by a different hand than the Lafranchini brothers. “The deep cove has four large oval cartouches of naturalistic foliage with masks depicting Bacchus, Ceres, Flora and Diana, the last framed by trophies of the chase and a rather insipid fox.” [13]

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I believe the figure at the bottom, next to the rather sadly draped hanging game, is the “insipid” fox. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The head of Bacchus, encircled by grapes. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig dollhouse, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was in the dining room under Bacchus that we stopped to consider how odd it was that a Quaker, as Abraham Devonsher was, had such an elaborate ceilings created in his home. Indeed, he was expelled from the Quaker community before he had the house built, in 1756, for “conformity to the world.” This was because he entered politics that year and became an MP for Rathcormac. [14] My husband Stephen, a Quaker, tells me that in order to serve as an MP, Devonsher would have had to swear an oath, and Quakers do not believe in swearing oaths – they believe that their word suffices (George Fox said: “My yea is my yea and my nay is my nay.”).

The borough was very small – in 1783 it had only seven electors. Devonsher won his seat by appealing directly to the electors, unseating the Barrys who had traditionally held the seat. He entertained grandly in order to woo the electors. He also served as High Sheriff for County Cork in 1762.

The Devonsher family had settled in Cork as merchants in the mid seventeenth century. [15] Abraham’s father Thomas married Sarah Webber in 1662. It was his father Jonas who acquired the land at Kilshannig. A portrait offered for sale in May 2025 by Fonsie Mealy auctioneers could portray Jonas or Thomas, and the seller speculates that it could be by Garret Morphey, as the painting bears many of the attributes of a work by Garret Morphey, an artist who had close connections with Ireland. Many of Morphey’s portraits were of members of families such as the Plunketts, Nettervilles, Talbots, Nugents and O’Neills, and he often depicted men wearing armour, as in his portrait of Sir Edward Villiers at Dromana House in Co. Waterford. 

Possibly of a member of the Devonsher family of Kilshannig, attributed to Garret Morphey, provenance Kilshannig House, courtesy Fonsie Mealey Summer art sale 2025. The auctin house writes that “Judging by the style of thepainting and the costume, this portrait can be dated to around 1700.”

The article in Country Life tells us that toward the end of his life the sociable Abraham Devonsher “lives a recluse life with a Harlot.” He led a rather rakish life, apparently, and he died childless in 1783 – or at least left no legitimate heirs – and left the estate to a grand-nephew, John Newenham, of Maryborough, County Cork (now a hotel) who then assumed the name Devonsher.

John had a son, John (1763-1801), who inherited the house and passed it to his son, Abraham Newenham Devonsher. He ran into financial difficulties, and at some date before 1837, sold the estate to Edward Roche (1771-1855). [16]

Edward Roche used it as a winter residence, and lived the rest of the year in his other estate, Trabolgan (since demolished), as did his son, Edmond Burke Roche, who was raised to the peerage as 1st Baron Fermoy in 1856. He was also an MP and served as Lord Lieutenant for County Cork 1856-1874.

According to the Landed estates database, at the time of the Griffith Valuation, James Kelly occupied Kilshanning. The Griffith valuation was carried out between 1848 and 1864 to determine liability to pay the Poor rate (for the support of the poor and destitute within each Poor Law Union). The 1st Baron Fermoy’s sister, Frances Maria, married James Michael Kelly, another MP (for Limerick), of Cahircon, County Clare, and James Kelly was their son. According to the Landed Estates Database, in 1943 the Irish Tourist Association Survey mentioned that it was the home of the McVeigh family. Mark Bence-Jones adds that other owners were the Myles family, and Mr and Mrs Paul Rose. The property had a succession of owners until it was purchased in 1960 by Commander Douglas Merry and his wife.

When they purchased it, the cupolas had disappeared and one wing was ruinous and the rest in poor condition. Commander Merry set about restoring the house. His son Hugo has continued the work, partly with help from the Irish Georgian Society [17]. This work included repairing a sagging saloon ceiling, and restoring the pavilions and cupolas, recladding them in copper. The entire main house, arcades and both courtyards have been completely restored and re-roofed. One wing is used for self-catering and events, and the other contains stables. There are fourteen bedrooms in the wing, and six in the main house, Anne told us.

We did not explore the outside, and did not get to see inside the pavilions or wings. That will have to wait for another visit!

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[1] https://fotahouse.com/

http://doneraileestate.ie/

[2] http://thecourtyardkilshannig.com/

[3] Palladian architecture is a style derived from the designs of the Venetian architect Andrea Palladio (1508-1580). Palladio’s work was strongly based on the symmetry, perspective, and values of the formal classical temple architecture of the ancient Greeks and Romans. https://irishhistorichouses.com/2020/04/18/architectural-definitions/

[4] https://www.dia.ie/architects/view/1660#tab_biography

[5] https://www.ihh.ie/index.cfm/houses/house/name/Kilshannig

[6] Hill, Judith. “Pot-Walloping Palladianism.” Country Life, June 15, 2016.

[7] 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.

[8] p. 465. Keohane, Frank. The Buildings of Ireland: Cork, City and County. Yale University Press, New Haven and London, 2020.

[9] https://www.buildingsofireland.ie/buildings-search/building/20904408/kilshannig-house-kilshannig-upper-co-cork

[10] https://irishhistorichouses.com/2020/04/18/architectural-definitions/

[11] https://theirishaesthete.com/2015/05/18/exuberance/

[12] p. 466. Keohane, Frank. The Buildings of Ireland: Cork, City and County. Yale University Press, New Haven and London, 2020.

[13] Ibid.

[14] http://lordbelmontinnorthernireland.blogspot.com/search/label/County%20Cork%20Landowners?updated-max=2018-07-21T07:33:00%2B01:00&max-results=20&start=8&by-date=false

[15] Keohane writes that Abraham Devonsher’s parents are Thomas Devonsher and Sarah Webber. The website The Peerage says his mother was Sarah Morris. https://www.thepeerage.com/p30600.htm#i305998

See also the article in Country Life from June 15 2016, by Judith Hill, that is linked to the Kilshannig courtyard website. Hill says Abraham Devonsher’s father was named Jonas, and that his family began to acquire the land at Kilshannig from the 1670s.

Keohane says that John Newenham was Abraham’s nephew, the Peerage website has John as the great nephew: Abraham’s brother Jonas had a daughter Sarah who married Richard Newenham, and it was their son, John Newenham, who inherited Kilshannig.

The home of the Newenhams, Maryborough, is now a hotel:

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

[16] http://landedestates.nuigalway.ie/LandedEstates/jsp/estate-show.jsp?id=2764

[17] https://www.igs.ie/conservation/project/kilshannig

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


Russborough House, Blessington, County Wicklow W91 W284 – section 482

The Albert Beit Foundation, Blessington, Co. Wicklow

http://www.russborough.ie/

Open dates in 2025: Feb 1-Dec 23, 27-31, Feb, Nov, Dec 9am-5.30pm, Mar-Oct 9am-6pm

Fee: adult €14.50 OAP/student €12, child €6.50, group rates on request

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!

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Russborough House, Photograph taken in June 2012 on a visit with my friends Tara and Jeremy and their daughters. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photo by Jeremy Hylton.

In his A Guide to Irish Country Houses, Mark Bence-Jones calls Russborough House “arguably the most beautiful house in Ireland.” [1] We are lucky that Russborough House is open to the public, thanks to the Beit Foundation. Sir Alfred and Lady Clementine Beit left the property to the state in 1978, to be cared for by a Trust established for the purpose. The Irish Aesthete Robert O’Byrne tells us about the Beits: “The couple had no immediate connection with Ireland, although Lady Beit’s maternal grandmother had been raised in this country and being a Mitford, she was first cousin of the Hon Desmond Guinness’s mother.” [2]

Russborough House was built for Joseph Leeson (1701-1783) in 1741 when he inherited a fortune from his father, also named Joseph (1660-c. 1741), and purchased land owned by John Graydon, and it was designed by Richard Castle.

Joseph Leeson (1660-1741) of Saint Stephen’s Green, painted posthumously around 1772 by unknown artist, courtesy of National Gallery of Ireland NGI 1648.
Joseph Leeson (1701-1783), painted by Anthony Lee. Portrait from the National Gallery of Ireland. Later he was created 1st Earl of Milltown. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Leeson went to great expense creating the grounds for the building of his house: “Leeson’s development of the garden terraces was extravagant. The house gained its fine prominence from sitting on an embankment created by the opening of the lakes and ponds, all reputedly costing some £30,000.” [3]

Russborough, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We came across Richard Castle (c.1690-1751) (or Cassels, as his name is sometimes spelled) in Powerscourt in County Wicklow. The Dictionary of Irish Architects tells us that, oddly, he was born David Riccardo, and it is not known when or why he changed his name. [4]

Castle originally trained as an engineer. He worked in London, where he was influenced by Lord Burlington. Richard Boyle, 3rd Earl of Burlington and 4th Earl of Cork, is credited with bringing the Palladian style of architecture to Britain and Ireland, after Grand Tours to Europe. [5] Palladian architecture is a style derived from the designs of the Venetian architect Andrea Palladio (1508-1580). Palladio’s work was strongly based on the symmetry, perspective, and values of the formal classical temple architecture of the ancient Greeks and Romans.

Portrait of Richard Boyle, 3rd Earl of Burlington (1694-1753) by Jonathan Richardson, courtesy of London’s National Portrait Gallery NPG 4818.

Castle came to the attention of Sir Gustavus Hume of County Fermanagh, who invited Castle to Ireland in 1728 to build him a home on the shores of Lough Erne, Castle Hume, which unfortunately no longer exists. [6] Castle was a contemporary of Edward Lovett Pearce, and early in his career in Dublin worked with him on the Houses of Parliament in Dublin. Both Lovett Pearce and Castle favoured the Palladian style, and when Lovett Pearce died at the tragically young age of 34, in 1733, Castle took over all of Lovett Pearce’s commissions.

Russborough House, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Dictionary of Irish Architects gives us a flavour of what Castle was like as a person:

According to the short biography in Anthologia Hibernica for October 1793, Castle was a man of integrity, of amiable though somewhat eccentric manners, kept poor by his improvidence and long afflicted by gout resulting from intemperance and late hours. The same source states that he often pulled down those of his works which were not to his liking, ‘and whenever he came to inspect them … required the attendance of all the artificers who followed him in a long train’.

Russborough, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Castle began work on Powerscourt House in County Wicklow in 1730, finishing in 1741. He also began work on Westport House in County Mayo in 1730. He worked on Carton House, in County Kildare, which is now an upmarket hotel, from 1739-1744. In Dublin City he built Tyrone House (which now houses the Department of Education) for Marcus Beresford, Earl of Tyrone (we came across him at Curraghmore in County Waterford) [7]. He designed and built the hunting lodge called Belvedere in County Westmeath around 1740, and began to work on Russborough House around 1742. He was still working on Russborough House when he died suddenly, while at Carton House, in 1751, while writing a letter to a carpenter employed at Leinster House (begun in 1745 for James FitzGerald, the 20th Earl of Kildare, the house was at initially called Kildare House, and now houses the government in Dublin). Desmond FitzGerald, the Knight of Glin, wrote about Richard Castle and his work, and attributes another section 482 property to him, Strokestown House in County Roscommon. FitzGerald attributes many more buildings to Castle. [8]

Joseph Leeson (1711-1783) was the grandson of Hugh Leeson, who came to Ireland from England as a military officer in 1680, and settled in Dublin as a successful brewer. Hugh married Rebecca, daughter of Dublin Alderman Richard Tighe. Joseph inherited the brewing fortune from his father, another Joseph, who had married the daughter, Margaret, of a Dublin Alderman and Sheriff, Andrew Brice.

Margaret Leeson née Brice wife of Joseph Leeson (1660-1741), c. 1772 by unknown artist, courtesy of National Gallery of Ireland NGI 1649.

As well as young Joseph, his father Joseph and Margaret née Brice had a daughter, Anne, who married Hugh Henry (d. 1743) of Straffan House in County Kildare and Lodge Park in County Kildare, the latter also a section 482 property. Another daughter, Joyce, married Robert Blackwood, 1st Baronet Blackwood, of Ballyleidy, County Down.

Young Joseph Leeson entered politics and from 1743 sat in the House of Commons. By this time, he had already married, been widowed by his first wife, Cecelia Leigh, and remarried, to Anne Preston (daughter of Nathaniel Preston, ancestor of the owners of a house we have visited, Swainstown in County Meath – which was built later than the start date of Russborough, in 1750, and which Richard Castle may also have designed), and inherited his fortune from his brewer father, and started building Russborough House. He was raised to the peerage first as Baron Russborough in 1756, and as Earl of Milltown in 1763.

Cecilia Leeson (born Leigh) (d.1737) Date 1735-1737 by Anthony Lee, Irish, fl.1724-1767. First wife of Joseph Leeson. Photograph courtesy of the National Gallery of Ireland.

Anne died on 17 January 1766, and Leeson married thirdly Elizabeth French, daughter of the Very Reverend William French, Dean of Ardagh, on 10 February 1768.

Photo taken by Jeremy Hylton, showing the extent of the centre block with the curving Doric colonnades and two-storey seven bay wings. Beyond the wings on either side of the central block, one can see the arches with cupolas. The full stretch contains kitchen and stable wings.

The entrance front of Russborough stretches for over 700 feet, reputedly the longest house in Ireland, consisting of a seven bay centre block of two storeys over a basement, joined by curving Doric colonnades to wings of two storeys and seven bays which are themselves linked to further outbuildings by walls with rusticated arches surmounted by cupolas. In this structure, Russborough is rather like Powerscourt nearby in Wicklow, and like Powerscourt, it is approached from the side.

Russborough, County Wicklow. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph from the National Inventory of Architectural Heritage, showing wing to the right of the house.
Russborough, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph taken in May 2018 – the weather makes a difference to the appearance of the house. The roofline is topped with urns on the parapet. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The residential part of the house is quite small, and is entirely housed in the central block. Of seven bays across, it houses three rooms along its front. It is made of local granite from Golden Hill quarry rather than the more expensive Portland stone often imported from Britain. In Sean O’Reilly’s discussion of the house in his Irish Houses and Gardens (from Country Life), he explains the styles used on the facade of the house:

the different functions of the building’s elements are appropriately distinguished though Castle’s frank, if unsubtle, use of the orders: Corinthian for the residence, Doric for the colonnades, Ionic for the advancing wings, and a robust astylar threatment for the ranges beyond.” [9]

The lions at the foot of the entrance steps carry the heraldic shield of the Milltowns, which must have been put in place after 1763 when Joseph Leeson was promoted to be Earl of Milltown. Photo by Jeremy Hylton.
Photograph by Jeremy Hylton of central block.

The main central block has a pediment on four Corinthian columns, with swags between the capitals of the columns. Above the entrance door is a semi-circular fanlight window.

Russborough, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph from the National Inventory of Architectural Heritage, of pediment on four Corinthian columns.
Wing in foreground, with Ionic pilasters, and urns on the parapet. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, wing on the right hand side, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph by Jeremy Hylton, wing on left.
The “rusticated” arch that gives entrance to a courtyard, and is topped by a cupola. Rustication – the use of stone blocks with recessed joints and often with rough or specially treated faces; a treatment generally confined to the basement or lower part of a building [10]. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The wings have a central breakfront of three bays with Ionic pilasters. Within the colonnades are niches with Classical statues.

Russborough, May 2024. Joseph Leeson purchased the statues, which are of gods, on his trip abroad, mostly in Rome. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Colonnade at Russborough, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Colonnade with niches containing Classical statues, photograph by Jeremy Hylton.
Russborough, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The back of the house at Russborough, May 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The garden front of the centre block has a few urns on the parapet, and a pair of Corinthian columns with an entablature framing a window-style door in the lower storey which opens onto broad balustraded stone steps down to the garden.

Russborough, May 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Inside, we see Castle’s difference from Edward Lovett Pearce, in his fondness for the Baroque, which is described in wikipedia:

The Baroque style used contrast, movement, exuberant detail, deep colour, grandeur and surprise to achieve a sense of awe. The style began at the start of the 17th century in Rome, then spread rapidly to France, northern Italy, Spain and Portugal, then to Austria, southern Germany and Russia…excess of ornamentation…The classical repertoire is crowded, dense, overlapping, loaded, in order to provoke shock effects.

The Baroque effect is most obvious in the wonderful plasterwork. The plasterwork may be by the Francini brothers – it is not definite who carried it out but the Francini brothers certainly seem to have had a hand in some of the beautiful stucco work.

Entrance hall of Russborough House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough entrance hall, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance hall of Russborough House with chimneypiece is of black Kilkenny “marble,” above it hangs a striking painting by Oudry of Indian Blackbuck with Pointers and Still Life, dated 1745. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough entrance hall, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In his book, Big Irish Houses, Terence Reeves-Smyth describes the entrance hall:

Ascending the broad flight of granite steps guarded by a pair of carved lions, the visitor enters the front hall – a well-proportioned room with a floor of polished oak and an ornate but severe compartmental ceiling with Doric frieze quite similar to the one Castle deigned for Leinster House. The monumental chimneypiece is of black Kilkenny marble, much favoured by Castle for entrance halls, while above it hangs a striking painting by Oudry of Indian Blackbuck with Pointers and Still Life, dated 1745.” [11]

Russborough entrance hall, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough entrance hall, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough entrance hall, May 2024. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The principal reception rooms lead from one to the other around the central block: the saloon, drawing-room, dining-room, tapestry room and the grand staircase. They retain their original doorcases with carved architraves of West Indian mahogany, marble chimneypieces and floors of inlaid parquetry.

Russborough, County Wicklow. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, May 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The house took ten years to complete, and development of the house followed Leeson’s trips to Europe, where he bought items to populate his house. In 1744 and in 1751 he travelled to Rome and purchased extensive Roman materials, as well as many artworks. He had his portrait painted by Pompeo Batoni, and was aided in his purchases by dealers including an Irishman named Robert Wood. A book details his collection, as well as later owners of Russborough, Russborough: A Great Irish House, its Families and Collections by William Laffan and Kevin V Mulligan.

Joseph Leeson later 1st Earl of Milltown, by Pompeo Batoni, 1744. While building Russborough House he made the first of two trips to Italy to broaden his education and to acquire art. Batoni depicted him wearing a fur hat and fur-lined surcoat, in front of a cascading curtain and column base. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Richard Castle died while the house was still being built, and the work was taken over by his associate, Francis Bindon.

The Saloon, Russborough House 2018, Rubens painting over fireplace, large picture on back wall is Cain and Abel. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Saloon occupies the three central bays of the north front of the house. It has a coved ceiling with rococo plasterwork incorporating flowers, garlands, swags and putti bearing emblems of the Seasons and the Elements, which on stylistic grounds can be attributed to the Francini brothers of Italy. [Rococo is the asymmetrical freely-modelled style of decoration originating in France and popular in Ireland from about 1750 to 1775. Craig, Maurice and Knight of Glin, Ireland Observed, A Handbook to the Buildings and Antiquities. Mercier Press, Dublin and Cork, 1970].  Terence Reeves-Smyth describes the room:

The walls are covered with a crimson cut Genoese velvet dating from around 1840 – an ideal background for paintings which include many pictures from the Beit collection. The room also has Louis XVI furniture in Gobelins tapestry signed by Pluvinet, a pair of Japanese lacquer cabinets from Harewood House and a chimney-piece identical to one at Uppark in Sussex, which must be the work of Thomas Carter (the younger) of London.

“A striking feature of the room is the inlaid sprung mahogany floor with a central star in satinwood. This was covered with a green baize drugget when the house was occupied by rebels during the 1798 rebellion. The potential of the drugget for making four fine flags was considered but rejected, lest “their brogues might ruin his Lordship’s floor.” The rebels, in fact, did virtually no damage to the house during their stay, although the government forces who occupied the building afterwards were considerably less sympathetic. It is said that the troops only left in 1801 after a furious Lord Milltown challenged Lord Tyrawley to a duel “with blunderbusses and slugs in a sawpit.” [11]

Russborough, May 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Next to the Saloon is the music room with another wonderful rococo ceiling, and then the library, which was formerly the dining room, both have ceilings probably by the Francini brothers. There aren’t records to tell us who created the stucco work of the house, and stylistically different parts of the house have been done by different hands.

Russborough House 2018, the music room. The last portrait to the right on the wall is Lord Conolly of Castletown House. The Russborough House website tells us: “When the Beits’ art collection was stolen, Sir Alfred had many copies of the paintings made. This room showcases the replicas of the oil paintings that were infamously stolen in the 1970s and 1980s. The originals of these paintings were gifted to the National Gallery of Ireland in the 1980s for safekeeping, where they can now be seen.
Visitors can learn more about the robberies at Russborough and how most of the paintings were recovered. The exhibition also includes Sir Alfred in an interview with broadcasting legend Gay Byrne, talking about the pictures and furniture contained in the house.
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ceiling in the Music Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Library, Russborough House 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough House 2018 Lady Beit’s grandmother, Mabell, Countess of Airlie, by John Lavery. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Reeves-Smyth writes that:

The coffered and richly decorated barrel-vaulted ceiling of the tapestry room, to the south of the music room, is by a less experienced artist, though the room is no less impressive than the others and contains an English state bed made in London in 1795 and two Soho tapestries of Moghul subjects by Vanderbank.

The Tapestry Room, Russborough House 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Tapestry Room, Russborough House 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, County Wicklow. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, May 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Russborough website states:

Infused with a restless energy the plasterwork of the adjacent drawing-room spills onto the walls, where fantastic plaster frames surround the four oval marine scenes by Vernet representing morning, noon, evening and night. Although part of the patrimony of the house, these pictures were sold in 1926 and only after a determined search were recovered 43 years later by Sir Alfred Beit. [12]

Stucco specially designed to frame the oval Joseph Vernet paintings. Carrera marble fireplace. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Drawing Room, 2018, small painting next to the fireplace of the Beits by Derek Hill. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, County Wicklow. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Unusual timepiece clock from time of Louis XVIth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, May 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Reeves-Smyth continues his evocative description:

Beyond lies the boudoir, a charming little panelled apartment with a Bossi chimney-piece dating around 1780. From here visitors pass into the tapestry-hung corridor leading to the pavilion, formerly the bachelor’s quarters. The dining-room, formerly the library, on the opposite side of the hall has a monumental Irish chimney-piece of mottled grey Sicilian marble. The walls are ornamented both by paintings from the Beit collection and two magnificent Louis XIV tapestries.” [11]

The dining room, with a monumental Irish chimneypiece of mottle grey Sicilian marble. The walls are ornamented with two magnificent Louis XIV tapestries. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, County Wicklow. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, County Wicklow. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, May 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Reeves-Smyth goes on to say that “No one who visits Russborough is likely to forget the staircase with its extraordinary riot of exuberant plasterwork; there is nothing quite like it anywhere else in the British Isles.

In later years the decorator Mr. Sibthorpe is reported to have remarked that it represented “the ravings of a maniac,” adding that he was “afraid the madman was Irish.”

The Staircase Hall is decorated with a riot of exuberant Rococo plasterwork, Russborough, Copyright Christopher Simon Sykes, The Interior Archive Ltd, CS_GI24_37.
Nobody knows who did the wonderful stuccowork in the staircase hall. The stairs are of mahogany. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail of the spectacular plasterwork in the Staircase Hall, Russborough, Copyright Christopher Simon Sykes, The Interior Archive Ltd, CS_GI24_35.
Russborough, County Wicklow. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, May 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sean O’Reilly tells us that the Knight of Glin pointed out that Castle “cribbed the idea of the balustraded upper landing lit by a lantern window at Russborough from Pearce’s superb Palladian villa of Bellamont Forest, Co Cavan, built circa 1730 for his uncle Lord Justice Coote (and recently immaculately restored by the designer John Coote from Australia)”. Sadly since this was written, John Coote has died. I did not take a photograph of the upper landing, but you can see it on the Russborough website or better yet, during a visit to the house. The rooms off the this top-lit lobby would have been the bedrooms.

Joseph the 1st Earl of Milltown and his first wife Cecelia had several children including the heir, Joseph (1730-1801), who succeeded as 2nd Earl of Milltown, and his brother Brice (1735-1807) who succeeded as 3rd Earl. They also had a daughter, Mary (1734-1794) who married John Bourke, 2nd Earl of Mayo. Joseph 1st Earl and his second wife, Anne Preston, had a daughter, also named Anne, who married her cousin Hugh Henry, son of Hugh Henry (d. 1743) and her aunt Anne Leeson.

Joseph the 1st Earl of Milltown died in 1783, and his bachelor son Joseph succeeded to the peerages and to Russborough. The first Earl’s third wife and widow, Elizabeth French, lived on to a very great age until 1842. She and the 1st Earl had a daughter Cecelia who married Colonel David La Touche of Marlay. They als had a daughter Frances Arabella who married Marcus de la Poer Beresford, son of John the 1st Marquess of Waterford (of Curraghmore House, which we visited, another section 482 property). They also had sons Robert (1773-1842) and William (1770-1819).

Joseph Leeson, 1st Earl of Milltown with his third Wife Elizabeth, their daughter Cecilia and his grandson Joseph, later 3rd Earl of Milltown Date c.1772 after Pompeo Batoni. Photograph courtesy of National Gallery of Ireland.
Joseph Leeson, later 2nd Earl of Milltown (1730-1801) Date 1751 by Pompeo Batoni, Italian, 1708-1787, photograph courtesy of the National Gallery of Ireland.

When the 2nd Earl of Milltown died in 1801, his brother Brice succeeded to Russborough and to the title to become the 3rd Earl of Milltown.

Cecilia La Touche née Leeson (about 1769-1848). She was the daughter of Joseph 1st Earl of Milltown and she married Colonel David la Touche.

Russborough remained in the possession of the Earls of Milltown until after the 6th Earl’s decease – the 5th, 6th and 7th Earls of Milltown were all sons of the 4th Earl of Milltown. The 6th Earl’s widow, the former Lady Geraldine Stanhope, daughter of the 5th Earl of Harrington, Co. Northampton in England, lived on at Russborough until 1914.

Emily Douglas (d.1841) by James Dowling Herbert courtesy of National Gallery of Ireland NGI 6271. She was wife of Joseph Leeson (1766-1800) mother of 4th Earl of Milltown.
Edward Nugent Leeson, 6th Earl of Milltown (1835-1890), 1875 by Francis Grant, Courtesy of National Gallery of Ireland NGI.1036.

The family collection of pictures in the house was given by Lady Geraldine to the National Gallery of Ireland, in 1902 (the Milltown wing was thus created in the National Gallery). [13] On the death of Lady Milltown in 1914, it passed to a nephew, Sir Edmund Turton (the son of the 4th Earl’s daughter Cecelia), who rarely stayed there, as he lived in Yorkshire and was an MP in the British Parliament. After Turton’s death in 1928, his widow sold the house to Captain Denis Bowes Daly (of the Dalys of Dunsandle, County Galway – now a ruin) in 1931.

Alfred Beit, heir to a fortune made in gold and diamond mining by his uncle in South Africa, saw Russborough in an article in Country Life in 1837.  He was so impressed that he had the dining room chimneypiece copied for a chimney in his library in his home in Kensington Palace Gardens in London. [see 13] In 1952 he bought Russborough from Captain Daly to house his art collection and in 1976 established the Alfred Beit Foundation to manage the property. The foundation opened the historic mansion and its collections to the Irish public in 1978.

Sir Alfred died in 1994 but Lady Beit remained in residence until her death in 2005. [14] The Beits donated their art collection the National Gallery of Ireland in 1986, and a wing was dedicated to the Beits.

Russborough House is now a destination for all the family. Inside, rooms have been filled with information about the Beits, their life and times. They entertained many famous friends, travelled the world, and collected music, photographs and films, all now on display.

Russborough, County Wicklow. Photograph of photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Various visitors and friends of the Beits. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, County Wicklow. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Russborough, May 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Russborough website tells us: “In 1939 Sir Alfred joined the Royal Air Force. In this room, extracts can be heard from some of the many romantic letters that Sir Alfred Beit wrote to his wife during the Second World War.”

Russborough House 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

“The exhibition includes a short film that starts in 2D and then moves to the third dimension. We display 3D images taken by Sir Alfred on his world travels in the 1920s and 1930s.

Russborough, May 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

“This private auditorium is arguably one of the most interesting rooms in the house, and was created by Sir Alfred himself when he bought Russborough so that he could share his adventures with friends and enjoy movies on the silver screen. 

“Visitors can also sit and watch fascinating footage from around the world in the glamorous 1920s at the touch of a button.”

Outside near the former riding arena, hedges have been shaped into a maze.

Photo by Jeremy Hylton, 2012.
Photo by Jeremy Hylton, 2012, the former riding arena.
Woods at Russborough House 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Woods at Russborough House 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
“Thank you for visiting Russborough House.” Classical gate at the eastern entrance to Russborough, built in 1745 to designs by Richard Castle.

[1] 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.

[2] https://theirishaesthete.com/2015/05/11/of-russborough-and-its-predicament/

[3] p. 85. O’Reilly, Sean. Irish Houses and Gardens. From the Archives of Country Life. Aurum Press Ltd, London, 1998.

[4] https://www.dia.ie/architects/view/347/CASTLE,+RICHARD

[5] https://en.wikipedia.org/wiki/Richard_Boyle,_3rd_Earl_of_Burlington

[6] https://en.wikipedia.org/wiki/Richard_Cassels

[7] https://www.buildingsofireland.ie/buildings-search/building/50010221/tyrone-house-department-of-education-marlborough-street-dublin-1-dublin-city

[8] https://www.dia.ie/architects/view/347/CASTLE,+RICHARD#tab_works

[9] p. 85. O’Reilly, Sean. Irish Houses and Gardens. From the Archives of Country Life. Aurum Press Ltd, London, 1998.

[10] https://irishhistorichouses.com/2020/04/18/architectural-definitions/

[11] Reeves-Smyth, Terence. Big Irish Houses. Appletree Press Ltd, The Old Potato Station, 14 Howard Street South, Belfast BT7 1AP. 2009

[12] http://www.russborough.ie/

Note that the website has changed since I first wrote the blog and some quotations from the website are no longer on the site.

[13] p. 147. Montgomery-Massingberd, Hugh and Christopher Simon Sykes. Great Houses of Ireland. Laurence King Publishing, 1999.

[14] http://lordbelmontinnorthernireland.blogspot.com/search/label/County%20Wicklow%20Landowners?updated-max=2018-01-05T08:13:00Z&max-results=20&start=8&by-date=false

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

Curraghmore, Portlaw, County Waterford – section 482

www.curraghmorehouse.ie

Open dates in 2025: May 2-5, 9-11, 16-18, 23-25, 30-31, June 1-2, 6-8, 13-15, 20-22, 27-29, July 4-6, 11-13, 18-20, 25-27, Aug 1-4, 8-10, 15-24, 29-31, Sept 5-7, 12-14, 19-21, 26-28,

10am-4pm

Fee: adult/OAP/student, full tour €22, garden tour €8, child under 12 years free

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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

According to the Curraghmore website:

Curraghmore House in Waterford is the historic home of the 9th Marquis of Waterford. His ancestors (the de la Poers) came to Ireland from Normandy after a 100-year stopover in Wales around 1170, or about 320 years before Columbus ‘discovered’ the New World.

Some 2,500 acres of formal gardens, woodland and grazing fields make this the largest private demesne in Ireland and one of the finest places to visit in Ireland….

This tour takes in some of the finest neo-classical rooms in Ireland which feature the magnificent plaster work of James Wyatt and grisaille panels by Peter de Gree.” 

Curraghmore, the garden facing side of the house, designed by James Wyatt (1746-1813), 14th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues: “Curraghmore, meaning great bog, is the last of four castles built by the de la Poer family after their arrival in Ireland in 1167. The Castle walls are about 12 feet thick and within one, a tight spiral stairway connects the lower ground floor with the roof above. Of the many curious and interesting features of Curraghmore, the most  striking is the courtyard front of the house, where the original Castle is encased in a spectacular Victorian mansion with flanking Georgian ranges.

We came across a link to the De La Poer family, also called Le Poer or Power, in Salterbridge, and will meet them again in Powerscourt in Wicklow and Dublin.

Curraghmore, the courtyard facing side of the house, 14th Aug 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The core of the house is the medieval tower, visible from the courtyard facing side of the house, built by the original owners, the La Poers, and the house is still owned by the same family today. The tower may stretch back all the way to the original La Poer occupants from 1167. When we went inside, we stood in what was the original tower, and we could see the 12 foot thick walls.

It was difficult to find Curraghmore House. We drove two kilometres up a stony track; without the reassuring directions, we would not have believed we were on the right road. The road winds along by the River Clodagh. As our guide told us later, the distance from anything else in all directions is one reason the house remains intact. There are three entrances, and all have drives of about 1.5km to the house.

The River Clodagh on the drive to Curraghmore. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The River Clodagh on the drive to Curraghmore. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Entering Curraghmore, via servants’ quarters either side of courtyard, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph courtesy of Curraghmore website.
This is the gate one drives through into the courtyard of Curraghmore. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Mark Bence-Jones describes Curraghmore in A Guide to Irish Country Houses as a medieval tower with a large three storey house behind it. He writes that the “original Castle is encased in a spectacular Victorian mansion” with flanking Georgian ranges housing servants, stables, etc. [1] The house is seven bays wide (see garden front) and seven bays deep.

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Garden front, 5th May 2019. It has full height windows where there was the original door, I think. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The guide told us that when James Wyatt added to the house, he specifically created windows and no door in the room that faces the garden, to avail of the view. However, the windows are deceptive and are actually “doors,” as they fully open to let in visitors.

Photograph courtesy of Curraghmore website.
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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The view takes in a sweeping lawns, a circular pond that once held a big fountain and a lake beyond, created by Wyatt, and the mountains in the distance. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Curraghmore House and Fountain, Portlaw, Co. Waterford. Unfortunately the huge fountain has gone. Poole Collection National Library of Ireland, call no. pooleimp141.

Mark Bence-Jones writes that:

The tower survives from the old castle of the Le Poers or Powers; the house was in existence in 1654, but was rebuilt 1700 and subsequently enlarged and remodelled; it extends round three sides of a small inner court, which is closed on fourth side by the tower. The 1700 rebuilding was carried out by James Power, 3rd and last Earl of Tyrone of first creation, whose daughter and heiress, Lady Catherine Power, married Sir Marcus Beresford…The 1st Beresford Earl of Tyrone remodelled the interior of the old tower and probably had work done on the house as well.

The tower has three tiers of pilasters framing the main entrance doorway and triple windows in the two storeys above it, and is surmounted by St. Hubert’s Stag, the family crest of the Le Poers. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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St. Hubert’s Stag on top of Curraghmore. The crown below the stag, on top of the coat of arms, is the coronet of a Marquess, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rt. Hon. Marcus Beresford, 1st Earl of Tyrone, photograph courtesy of the Beresford family and creative commons and wikipedia.

Mark Bence-Jones continues his description of the house: “The tower and the house were both refaced mid-C19. The house has a pediment in the garden front; and, like the tower, a balustraded roof parapet. The tower has three tiers of pilasters framing the main entrance doorway and triple windows in the two storeys above it, and is surmounted by St. Hubert’s Stag, the family crest of the Le Poers.” (see [1])

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The house is very large as it is not only seven bays wide but seven bays deep, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We explored the buildings flanking the courtyard while waiting for the guided tour, and found the entrance to the gardens, through an arch, with an honesty box, in which we duly deposited our fee. We had missed the earlier house tour so had a couple of hours to wait for the next tour. We wandered out into the gardens. The gardens are amazing, in their formal arrangement.

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

I’ll write more about the gardens later, as we learned more about them on the tour.

We gathered with others for a tour. The tour guide was excellent. She told us that the gardens only opened to the public a few years ago, when the more private father of the current (ninth) Marquess died.

As usual, we were not permitted to take photographs inside, unfortunately. You can see some on the website. There is also a new book out, July 2019, it looks terrific! [2] More on the interior later – first I will tell you of the history of the house.

POWER AND MONEY AND MARRIAGE: Don’t be put off by the complications of Titles!

The estate was owned by the la Poer (or de la Poer or Le Poer – I have seen it written several ways) family for over 500 years, during which time the family gained the titles Baron la Poer (1535), Viscount Decies and Earl of Tyrone (1673, “second creation”, which means the line of the first Earls of Tyrone died out or the title was taken from them – in this case the previous Earl of Tyrone, Hugh O’Neill, rose up against the British throne during the Nine Years War and fled from Ireland when arrest was imminent, so lost his title).

The La Poer family was Norman originally, and the name has been sometimes Anglicised to “Power.”

Piers Power (or Le Poer) of Curraghmore, who held the office of Sheriff of County Waterford in 1482, cemented the family’s influence with a strategic marriage to the House of Fitzgerald. His wife, Katherine, was a daughter of Sir Gerald Fitzgerald, Lord of the Decies.

Piers’s son and heir, Richard, further strengthened the power of the family by marrying a daughter of the 8th Earl of Ormond (Piers Butler, d. 1539), Katherine. The rival families of Butler and Fitzgerald, into both of which the Le Poers had married, effectively ran the country at this time when English influence in Ireland had been in decline for several decades. [4]

Richard was created 1st Baron le Power and Coroghmore, Co. Waterford on 13 September 1535. [5]

Richard 1st Baron le Power and Coroghmore died on 10 November 1538, killed by Conor O’Callaghan while intervening (on the Crown’s behalf) in the issue of the succession of the Earldom of Desmond.

After Richard died, his wife married James John Fitzgerald, 13th Earl of Desmond, in 1549/50, who held the office of Lord High Treasurer of Ireland.

I shall intervene here to give a summary of the rank of titles, as I’m learning them through my research on houses. They rank as follows, from lowest to highest:

Baron –  female version: Baroness

Viscount – Viscountess

Earl – Countess

Marquess – Marchioness

Duke – Duchess

In 1538 Richard was succeeded by his eldest son, Piers (1526-1545). Piers was a soldier and fought in Boulogne in France for King Henry VIII. After Piers’s premature death in 1545, he was succeeded by his younger brother, John “Mor” Power (d. 1592), 3rd Baron. In 1576, Henry Sidney, the Lord Deputy of Ireland and father of the poet Philip Sidney, stayed with John Mor at Curraghmore. He wrote:

“The day I departed from Waterford I lodged that night at Curraghmore, the house that the Lord Power is baron of. The Poerne country is one of the best ordered countries in the English Pale, through the suppression of coyne and livery. The people are both willing and able to bear any reasonable subsidy towards the finding and entertaining of soldiers and civil ministers of the laws; and the lord of the country, though possessing far less territory than his neighbour (ie: Sir James Fitzgerald of the Decies, John Mor’s cousin) lives in show far more honourably and plentifully than he or any other in that province.” [6]

Sir Henry Sidney (1529-1586), Lord Deputy of Ireland, after painter Arnold Van Brounkhorst, courtesy of National Gallery of Ireland.

“Coign and livery” was the practice of getting a ruler’s subjects to host the ruler. I think Sidney must have meant that Lord Power’s subjects were willing to participate in entertainment because they were well treated by Lord Power.

Turtle Bunbury writes of the Le Poer family history in his blog (see [4]). I wonder if I can turn my blog into a way of learning Irish history, through Irish houses? I will continue to quote Mr. Bunbury’s blog here, so I can try to see connections between various house owners as I continue my travels around the country.

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When one enters the garden through the arch, one walks along the side of the house to the garden front, which originally held the front door of the house. Originally visitors would drive up to the house through the courtyard and then the horse and carriage would go through the arch to the garden front, to enter through the front door facing the gardens. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was a common practice at the time for the aristocracy to send their sons to the English Court. It was a way to for the artistocracy to secure favour and contacts, and for the King to secure the loyalty of the aristocracy and their Protestant faith. 

John Mor the 3rd Baron married Eleanor, daughter of James FitzGerald the 13th Earl of Desmond, who bore his heir. After she died, he married Ellen MacCartie, widow of the 3rd Viscount Barry. He died in 1592 and was succeeded by his son Richard (d. 1607), 4th Baron Le Poer. The 4th Baron married his step-sister, Katherine Barry, daughter of his step-mother Ellen MacCartie and her first husband the 3rd Viscount Barry.

The oldest son of the 4th Baron, John “Og”, died young, in 1600, predeceasing his father, but not before he married Helen Barry, daughter of the 5th Viscount Barry, Viscount Buttevant, and produced an heir. John “Og” was killed by Edmond FitzGibbon (The White Knight).

The 4th Baron’s other children married well. His daughter Elizabeth married David Barry and gave birth to David, 1st Earl of Barrymore.

David Barry (1605-1642) 6th Viscount Buttevant and 1st Earl of Barrymore. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

His daughter Gille married Thomas Fitzmaurice, 16th Baron of Kerry and Lixnaw. His son Piers married Katherine, daughter of Walter Butler the 11th Earl of Ormond.

After the 4th Baron died, his widow Helen remarried, espousing Thomas Butler the 10th Earl of Ormond, “Black Tom” (you can read more about him in my entry about the Ormond Castle in Carrick-on-Suir, an OPW property www.irishhistorichouses.com/2022/06/26/opw-sites-in-munster-clare-limerick-and-tipperary/). She married a third time, after he died, in 1631, to 1st (and last) Viscount Thomas Somerset, of Cashell, County Tipperary.

The family were very powerful and influential, and Catholic. Despite dying young, John “Og” and Helen had daughters, Ellen, who married Maurice Roche, 8th Viscount Roche of Fermoy (the Peerage website tells us that “She died in 1652, hanged by the Commonwealth regime on a trumped up charges of murder“) and Elinor who married Thomas Butler, 3rd Baron Caher.

King James I ordered Richard the 4th Baron to send his grandson and heir, John, the 5th Baron (born circa 1584), to England for his education, in order to convert John to Protestantism. John lived with a Protestant Archbishop in Lambeth. However, John didn’t maintain his Protestant faith. Furthermore, he later suffered from mental illness.

Julian Walton, in a talk I attended in Dromana House in Waterford (another section 482 house), told us about a powerful woman, Kinbrough Pyphoe (nee Valentine). [7] She is named after a Saxon saint, Kinbrough. Her unfortunate daughter Ruth was married to John Power of the “disordered wits” (the 5th Baron). In 1642, Kinbrough Pyphoe wrote for to the Lord Justices of Ireland for protection, explaining that Lord Le Poer had “these past twelve years been visited with impediments” which had “disabled him from intermeddling with his own estate.” As a result, when Oliver Cromwell arrived in Ireland, he issued a writ on 20th September 1649 decreeing that Lord Power and his family be “taken into his special protection.” In this way, Kinbrough Pyphoe saved the family and estates from being confiscated by the Cromwellian parliament or overtaken by Cromwellian soldiers.

Despite his mental illness, John and Ruth had a son Richard (1630-1690) (along with many other children), who succeeded as the 6th Baron. One of their daughters, Catherine (1641-1660), married John Fitzgerald (1642-1664), Lord of the Decies, of Dromana, County Waterford. We will come back to her later.

Richard (1630-1690) married Dorothy Annesley, daughter of Arthur, 1st Earl of Anglesey in 1654. Richard was Governor of Waterford City and County Waterford in 1661, and MP for County Waterford from 1661-1666.

Richard (1630-1690) married Dorothy Annesley, daughter of Arthur, 1st Earl of Anglesey: portrait of Arthur Annesley (1614-1686) 1st Earl of Anglesey, after John Michael Wright based on a work of 1676, NPG 3805.

In 1672 King Charles II made Richard the 1st Earl of Tyrone, and elevated Richard’s son John to the peerage as Viscount Decies.

Turtle Bunbury writes that Richard the 1st Earl of Tyrone sat on Charles II’s Privy Council from 1667-1679. However, Richard was forced to resign when somebody implicated him in the “Popish Plot.” The “Popish Plot” was caused by fear and panic. There never was a plot, but many people assumed to be sympathetic to Catholicism were accused of treason. In 1681, Richard Power was brought before the House of Commons and charged with high treason. He was imprisoned. He was released in 1684.

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

WHO TO SUPPORT? CATHOLIC OR PROTESTANT? JAMES II OR WILLIAM III?

James II came to the throne after the death of his brother Charles II, and he installed Richard in the Irish Privy Council in 1686.

When William of Orange and Mary came to the throne, taking it from Mary’s father James II, Richard was again charged with high treason, this time for supporting James II, and he was imprisoned in the Tower of London and died there, in 1690. He was succeeded by his son 25-year-old son John, who became 2nd Earl of Tyrone.

John married his first cousin, the orphaned heiress Catherine Fitzgerald, daughter of above-mentioned Catherine (1641-1660) who married John Fitzgerald (1642-1664), Lord of the Decies, of Dromana, County Waterford. They were married as children in 1673, in order for John to marry Catherine’s wealth. However, Catherine managed to have the marriage declared null and void, so that she could marry in March 1676 her true love, Edward Villiers, son and heir of George, 4th Viscount Grandison [I write more on this in my entry on Dromana www.irishhistorichouses.com/2021/02/06/dromana-house-cappoquin-co-waterford/].

John died aged just 28 in 1693 and was succeeded by his brother James. Before he died, it is said that John made a prediction:

One night in 1693 when Nichola, Lady Beresford [nee Hamilton, wife of 3rd Baronet Beresford of Coleraine, daughter of Hugh Hamilton, 1st Viscount of Glenawly, Co Fermanagh], was staying in Gill Hall, her schoolday friend, John Power, [2nd] Earl of Tyrone, with whom she had made a pact that whoever died first should appear to the other to prove that there was an afterlife, appeared by her bedside and told her that he was dead, and that there was indeed an after-life. To convince her that he was a genuine apparition and not just a figment of her dreams, he made various prophecies, all of which came true: noteably that she would have a son who would marry his niece, the heiress of Curraghmore and that she would die on her 47th birthday. He also touched her wrist, which made the flesh and sinews shrink, so that for the rest of her life she wore a black ribbon to hide the place.” [8]

At the time of his death, his neice was not yet born! It makes a good story. She was born eight years later in 1701 to John’s brother James.

James, the 3rd Earl of Tyrone, married Anne Rickard, eldest daughter and co-heir of Andrew Rickard of Dangan Spidoge, County Kilkenny. He had fought with the Jacobites (supporters of James II), but when William III came to the throne, the 3rd Earl of Tyrone claimed that he had only supported James II because his father had forced him to (this is the father who died in the Tower of London for supporting James II). In 1697 James Le Poer received a Pardon under the Great Seal and he served as Governor of Waterford from 1697 until his death in 1704.

DEVELOPING THE CASTLE
In 1700 the 3rd Earl, James, commissioned the construction of the present house at Curraghmore on the site of the original castle. Mark Bence-Jones writes: “the house was in existence in 1654, but was rebuilt 1700 and subsequently enlarged and remodelled; it extends round three sides of a small inner court, which is closed on fourth side by the tower.“(see [1])

nli curraghmore house waterford
Photograph from flickr commons, National Library of Ireland, by Robert French, The Lawrence Photographic Collection, between ca. 1865-1914, ref. L_CAB_04065.

In 1704 the male line of the la Poers became extinct as James had no sons.

The predictions of John the 2nd Baron of Curraghmore came true. Lady Nichola did indeed die on her 47th birthday, and her son Marcus married John’s niece, Catherine Power, or de la Poer.

Catherine de la Poer (1701-1769), the sole child of her parents, could not officially inherit the property at the time. Her Catholic mother made a deal with a Bishop that Catherine would marry a Protestant of his choosing, in order to keep her land. Fortunately, the property was kept for her and she was married to Marcus Beresford (1694-1763), in 1717. This ensured that the house stayed in her family, as Marcus joined her to live in Curraghmore.

Sir Marcus Beresford of Coleraine (born 1694) was already a Baronet by descent in his family. After he married Catherine, he became Viscount Tyrone and 1st Baron Beresford, of Beresford, County Cavan. In 1746 he was created 1st Earl of Tyrone. Proud of her De La Poer background, when her husband died in 1763, Catherine, now titled the Dowager Countess of Tyrone, requested the title of Baroness La Poer.

The block on the right contained servants’ quarters. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
St. Hubert’s Stag on top of Curraghmore, photograph courtesy of Curraghmore website.

The Guide told us a wonderful story of the stag on top of the house. It has a cross on its head, and is called a St. Hubert’s Stag. This was the crest of the family of Catherine de la Poer. To marry Marcus Beresford, she had to convert to Protestantism, but she kept the cross of her crest. The Beresford crest is in a sculpture on the front entrance, or back, of the house: a dragon with an arrow through the neck. The broken off part of the spear is in the dragon’s mouth.

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Dragon from the Beresford crest, atop the garden front of the house, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The IRA came to set fire to the house at one point. They came through the courtyard at night. The moon was full, and the stag and cross cast a shadow. Seeing the cross, the rebels believed the occupants were Catholic and decided not to set fire to the house. The story illustrates that the rebels must not have been from the local area, as locals would have known that the family had converted to Protestantism centuries ago. It is lucky the invaders did not approach from the other side of the house!

When I was researching Blackhall Castle in County Kildare, I came across more information about St. Hubert’s Stag. The stag with the crucifix between its antlers that tops Curraghmore is in fact related to Saint Eustachius, a Roman centurion of the first century who converted to Christianity when he saw a miraculous stag with a crucifix between its antlers. This saint, Eustace, was probably the Patron Saint of the Le Poers since their family crest is the St. Eustace (otherwise called St. Hubert’s) stag. I did not realise that St. Eustace is also the patron saint of Newbridge College in Kildare, where my father attended school and where for some time in the 1980s and 90s my family attended mass!

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See the St. Eustace stag in the Newbridge College crest. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I read in Irish Houses and Gardens, from the archives of Country Life by Sean O’Reilly, [Aurum Press, London: 1998, paperback edition 2008] that the St. Hubert Stag at Curraghmore was executed by Queen Victoria’s favourite sculptor, Sir Joseph Edgar Boehm. He was also responsible for the beautiful representation in the family chapel at Clonegam of the first wife of the 5th Marquess, who died in childbirth. [9]

THE INTERIOR OF THE HOUSE

The entrance hall, which is in the old tower, has a barrel vaulted ceiling covered with plasterwork rosettes in circular compartments which dates from 1750; it was one of the rooms redecorated by Marcus Beresford and his wife Catherine (see [1]). Sadleir and Dickinson tell us of the house and the Hall:

p. 49. “Careful remodelling has given to the back of the structure the lines of a complete architectural whole, but there can be no doubt from internal evidence that at least three important additions are in fact embodied; it is also probable that a portion of the centre, which differs in character from the surroundings, was rebuilt in consequence of a fire.

The entrance hall is part of the original tower house, and you can see the thickness of the walls. The hall now has a Georgian ceiling of bold, regular design. On the wall in the front hall is a huge portrait of Catherine, Marcus Beresford, and their children. Three stuffed lions stand guard, which were brought back from India by a descendant of Catherine and Marcus (more on the lions later).

Sadleir and Dickinson continue: “A flight of stone steps leads up to a corridor giving access to the spacious staircase hall, a late eighteenth century addition, with Adam ornament on the ceiling and walls. The grand staircase, which has a plain metal balustrade, is gracefully carried up along the wall to a gallery, giving access to the billiard room and bedrooms.” (see [6])

Photograph courtesy of Curraghmore website: the corridor from the front hall to the staircase hall.

The staircase hall wasn’t added until the next generation. Above the front hall in the tower house, Marcus Beresford had a magnificent room created, now the Billiard room. Unfortunately we didn’t see it on the tour, but there are photographs on the website.

It has a tremendously impressive coved ceiling probably by Paul and Philip Francini, according to Mark Bence-Jones. The ceiling is decorated with rococo foliage, flowers, busts and ribbons in rectangular and curvilinear compartments. The chimneypiece, which has a white decorative  overmantel with a “broken” pediment (i.e. split into two with the top of the triangular pediment lopped off to make room for a decoration in between) and putti cherubs, is probably by John Houghton, German architect Richard Castle’s carver. Bence-Jones describes that the inner end of the room is a recess in the thickness of the old castle wall with a screen of fluted Corinthian columns. There is a similar recess in the hall below, in which a straight flight of stairs leads up to the level of the principal rooms of the house.

The Great Room in the old tower was transformed into a billiard room and has an exquisite 18th century plasterwork ceiling, Photograph courtesy of Curraghmore website.
Photograph of Curraghmore mantel in billiard room from Georgian Mansions In Ireland by Thomas U. Sadleir and Page L. Dickinson, printed for the authors at the Dublin University Press, by Ponsonby & Gibbs, 1915. (see [6])
Photograph from Georgian Mansions In Ireland by Thomas U. Sadleir and Page L. Dickinson, printed for the authors at the Dublin University Press, by Ponsonby & Gibbs, 1915. Mark Bence-Jones writes that the ceiling in the billiards room was probably decorated by the Francini brothers. (see [6])

The entry via the servants’ quarters, which I thought odd, has indeed always been the approach to the house. Catherine had the houses in the forecourt built for her servants in 1740s or 50s. She cared for the well-being of her tenants and workers, and by having their houses built flanking the entrance courtyard, perhaps hoped to influence other landlords and employers.

The wing that contained servants’ quarters. The flanking wall has niches, and an archway leading to the garden. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stephen by the carriage entry to garden, 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The sculptures were purchased at the Great Exhibition in Paris in 1889. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Someone asked about the sculptures in the niches in the courtyard. Why are there only some in niches – are the others destroyed or stolen? That in itself was quite a story! A visitor said they could have the sculptures cleaned up, by sending them to England for restoration. The Marquess at the time agreed, but said only take every second one, to leave some in place, and when those are back, we’ll send the remaining ones. Just as well he did this, since the helper scuppered and statues were never returned.

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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Bence-Jones writes of the forecourt approach to the house:

“[The house] stands at the head of a vast forecourt, a feature which seems to belong more to France, or elsewhere on the Continent… having no counterpart in Ireland, and only one or two in Britain… It is by the Waterford architect John Roberts, and is a magnificent piece of architecture; the long stable ranges on either side being dominated by tremendous pedimented archways with blocked columns and pilasters. There are rusticated arches and window surrounds, pedimented niches with statues, doorways with entablatures; all in beautifully crisp stonework. The ends of the two ranges facing the front are pedimented and joined by a long railing with a gate in the centre.

The courtyard, designed by John Roberts: the long stable ranges on either side are dominated by tremendous pedimented archways with blocked columns and pilasters. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Pedimented archways with blocked columns and pilasters, which leads to more stables. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The archway leads through to the stableyard and ancilliary buildings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The doors have arched fanlights with semicircular windows above. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside, the ceilings are vaulted. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Part of the Café. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The terrace contains servants’ quarters. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Number 6, closest to the house, was the Butler’s Quarters. The Butler lived in the main house until he married, when he then was given the house in the courtyard. There was a Butler in the house until just five years ago, and he lived here until he retired. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The terrace of buidings on the right hand side of the house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There are niches at the ends of each terrace. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Barrels in the forecourt picture the St. Hubert’s Stag, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Since bad weather threatened on our visit in 2019 (and in 2023!), the tour guide took us out to the Shell House in the garden first. This was created by Catherine. A friend of Jonathan Swift, Mrs. Mary Delany, started a trend for shell grottoes, which progressed to shell houses.

Mary Delany (née Granville) (1700-1788) Paper collage artist; memoir and letter writer, by John Opie, 1792, courtesy of National Portrait Gallery NPG 1030.

Catherine had the house specially built, and she went to the docks nearby to ask the sailors to collect shells for her from all over the world, who obliged since their wages were paid by the Marquess. She then spent two hundred and sixty one days (it says this in a scroll that the marble sculpture holds in her hand) lining the structure with the shells (and some coral). The statue in the house is of Catherine herself, made of marble, by the younger John van Nost (he did many other sculptures and statues in Dublin, following in his father’s footsteps). Robert O’Byrne has a lovely video about shell grottoes and tells us more about this shell house on his website. [10]

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The Shell Grotto, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside the shell grotto, statue by John van Nost of Catherine Le Poer Beresford, Countess of Tyrone. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Inside the shell grotto, statue by John van Nost of Catherine Le Poer Beresford, Countess of Tyrone. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Curraghmore. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The scroll in the sculpture’s hand tells us that the shells were put up in 261 days by the Countess of Tyrone. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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All the the shells were collected before Catherine started to put them up. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Catherine also designed the pattern on the floor. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Catherine also adorned the interior of Curraghmore with frescoes by the Dutch painter van der Hagen, and laid out the garden with canals, cascades, terraces and statues, which were swept away in the next century in the reaction against formality in the garden. In the nineteenth century, the formal layout was reinstated. [11]

Marcus and Catherine has many children. John de la Poer Beresford (1738-1805) served as first Commissioner of the Revenue.

John Beresford (1738-1805), first commissioner of the Revenue in Ireland, engraver Charles Howard Hodges, after Gilbe, courtesy of National Gallery of Ireland.
John Beresford (1738-1805), MP by Gilbert Stuart c. 1790, courtesy of National Gallery of Ireland NGI 1133
Barbara Montgomery (?1757-1788), second wife of John Beresford (1738-1805) by Hugh Douglas Hamilton, courtesy of National Gallery of Ireland P5547. His first wife was Anne Constantia Ligondes.
John Claudius Beresford, Lord Mayor of Dublin courtesy Adam’s 8 March 2006 in style of William Cuming PRHA. He was the son of John Beresford (1738-1805).
Elizabeth Cobbe née de la Poer Beresford (1736-1806), wife of Thomas Cobbe (1733-1814) of Newbridge House, Dublin, in a costume evocative of Mary Queen of Scots, miniature, Cobbe Collection. She is the daughter of Marcus Beresford 1st Earl of Tyrone.

Marcus Beresford was succeeded by his fourth but eldest surviving son, the second Earl, George Beresford (1734-1800), who also inherited the title Baron La Poer from his mother in 1769.

The Honourable George de la Poer Beresford (1735–1800), 2nd Earl of Tyrone, Later 1st Marquis of Waterford by Johann Zoffany, courtesy of National Trust Images.

He married Elizabeth Monck, only daughter and heiress of Henry Monck (1725-1787) of Charleville, another house on the Section 482 list which we visited www.irishhistorichouses.com/2020/09/18/charleville-county-wicklow/.]  

In 1786 he was created Baron Tyrone. Three years later he was made Marquess of Waterford in the Peerage of Ireland. He was therefore the 1st Marquess of Waterford. The titles descended in the direct line until the death of his grandson, the third Marquess, in 1859.

George de la Poer Beresford (1735-1800) First Marquess of Waterford by Gilbert Stuart, courtesy of Bonhams and commons.

Note on spelling of Marquis/Marquess: on the Curraghmore website “Marquis” is used, but in other references, I find “Marquess.” According to google:

A marquess is “a member of the British peerage ranking below a duke and above an earl. … A marquis is the French name for a nobleman whose rank was equivalent to a German margrave. They both referred to a ruler of border or frontier territories; in fact, the oldest sense of the English word mark is ‘a boundary land’.”

I shall therefore use the spelling “marquess.” If quoting – I’ll use the spelling used by the source. I prefer “marquis”,  as “marquess” sounds female to me, although it refers to a male!

George the 1st Marquess had the principal rooms of the house redecorated to the design of James Wyatt in the 1780s. Perhaps this was when the van der Hagen paintings were lost! We can see more of Van der Hagen’s work in a house sometimes open to the public, Beaulieu in County Louth. At the same time, George the 1st Marquess probably built the present staircase hall, which had been an open inner court, and carried out other structural alterations.

The Staircase Hall with its impressive sweeping staircase was created by James Wyatt in the 1780s, Curraghmore, County Waterford, Copyright Christopher Simon Sykes/The Interior Archive Ltd, PhotoShelter ID/ I0000CSsOaT_f.Fk, CS_GI14_39.
Photograph from Georgian Mansions In Ireland by Thomas U. Sadleir and Page L. Dickinson, printed for the authors at the Dublin University Press, by Ponsonby & Gibbs, 1915.

As Bence-Jones describes it, the principal rooms of the house lie on three sides of the great staircase hall, which has Wyatt decoration and a stair with a light and simple balustrade rising in a sweeping curve. Our tour paused here for the guide to point out the various portraits of the generations of Marquesses, and to tell stories about each.

Photograph courtesy of Curraghmore website. The large portraits of the women at the bottom of the stairs are the Stuart sisters. Louisa Stuart was wife of Henry, 3rd Marquess of Waterford. She was the daughter of Charles Stuart 1st and last Baron Stuart de Rothesay. Her sister Charlotte married Charles John Canning, 1st Viceroy to India. On the right had side of the photograph is Christiana née Leslie, wife of the 4th Marquess, who previously lived in Castle Leslie in County Monaghan.
Elizabeth Stuart née Yorke (1789-1867). Lady Stuart de Rothesay, with her daughters Charlotte (1817-1861) and Louisa (1818-1891) by George Hayter, photograph courtesy of UK Government Art Collection.
Photograph courtesy of Curraghmore website.

Bence-Jones writes that the finest of the Wyatt interiors are the dining room and the Blue drawing room, two of the most beautiful late eighteenth rooms in Ireland, he claims.

The dining room is decorated with grisaille panels by Peter de Gree and an ornamented ceiling. Photograph courtesy of Curraghmore website.

The walls have grissaille panels by Peter de Gree, which are imitations of bas-reliefs, so are painted to look as if they are sculpture. De Gree was born in Antwerp, Holland [12]. In Antwerp he met David de la Touche of Marlay, Rathfarnham, Dublin, who was on a grand tour. The first works of de Gree in Ireland were for David de la Touche for his house in St. Stephen’s Green in Dublin. [13]

Photograph courtesy of Curraghmore website.
Photograph courtesy of Curraghmore website.

The dining room has delicate plasterwork on the ceiling,  incorporating rondels attributed to Antonio Zucchi (1726-1795, an Italian painter and printmaker of the Neoclassic period) or his wife Angelica Kauffman (a Swiss Neoclassical painter who had a successful career in London and Rome).

Angelica Kauffmann (1741-1807) by Angelica Kauffmann, oil on canvas, circa 1770-1775, courtesy of National Portrait Gallery NPG 430.
Photograph from Georgian Mansions In Ireland by Thomas U. Sadleir and Page L. Dickinson, printed for the authors at the Dublin University Press, by Ponsonby & Gibbs, 1915.

The Blue Drawing Room has a ceiling incorporating roundels by de Gree and semi-circular panels attributed to Zucchi.

Sadlier and Dickinson tell us: “The principal drawing room is a large apartment, somewhat low, with three windows, four doors, and Adam overdoors; there is a pretty Adam ceiling in pale green and white, the work in relief being slightly gilt.

Photograph courtesy of Curraghmore website.
Photograph courtesy of Curraghmore website.
Photograph from Georgian Mansions In Ireland by Thomas U. Sadleir and Page L. Dickinson, printed for the authors at the Dublin University Press, by Ponsonby & Gibbs, 1915. The circular plaques are decorated in monochrome by De Gree, while four semi-circular compartments are believed to have been painted by Zucci, the husband of Angelica Kauffman.

Sadleir and Dickinson continue: “The circular plaques are decorated in monochrome by De Gree, while four semi-circular compartments are believed to have been painted by Zucci, the husband of Angelica Kauffman. The heavy white marble mantel, of classic design, is possibly contemporary with the decoration…A door communicates with the yellow drawing room, smaller but better proportioned, which has an uncoloured Adam ceiling, and a pretty linen-fold mantel in white marble [plate XXXI]. It is lighted by three windows … 

Photograph courtesy of Curraghmore website.
“A pretty linen-fold mantel in white marble” [plate XXXI] Photograph from Georgian Mansions In Ireland by Thomas U. Sadleir and Page L. Dickinson, printed for the authors at the Dublin University Press, by Ponsonby & Gibbs, 1915.

Sadleir and Dickinson continue the tour: “A door to the right gives access from the Hall to the library, which has an Adam ceiling with circular medallion heads, and an Adam mantel with added overshelf, the design of the frieze being repeated in the mantel and bookcases. Most of the books belonged to Lord John George Beresford, Archbishop of Armagh, whose portrait hangs over the fireplace.

John George Beresford was a son of George, the 1st Marquess.

Photograph courtesy of Curraghmore website.
The library, Photograph courtesy of Curraghmore website.
Photograph from Georgian Mansions In Ireland by Thomas U. Sadleir and Page L. Dickinson, printed for the authors at the Dublin University Press, by Ponsonby & Gibbs, 1915.

MARQUESSES OF WATERFORD

I am aided here by the wonderfully informative website of Timothy Ferres. [14]

George, 1st Marquess of Waterford had several children including some illegitimate. His illegitimate son Admiral Sir John de la Poer Beresford was raised to the British peerage as 1st Baronet Beresford, of Bagnall, Co. Waterford. His other illegitimate son was Lt.-Gen. William Carr Beresford, created 1st and last Viscount Beresford of Beresford. His first legitimate son died in a riding accident.

The first legitimate son of the 1st Marquess, Marcus Gervais de la Poer Beresford (1771-1783), killed in a riding accident. Photograph from Georgian Mansions In Ireland by Thomas U. Sadleir and Page L. Dickinson, printed for the authors at the Dublin University Press, by Ponsonby & Gibbs, 1915.
Photograph courtesy of National Portrait Gallery, London, https://artuk.org/discover/artworks/search/keyword:de-la-poer–referrer:global-search

He was succeeded by his second legitimate son, Henry, 2nd Marquess (1772-1826), who wedded, in 1805, Susanna, only daughter and heiress of George Carpenter, 2nd Earl of Tyrconnell. Henry, who was a Knight of St Patrick, a Privy Counsellor in Ireland, Governor of County Waterford, and Colonel of the Waterford Militia, was succeeded by his eldest son, Henry, 3rd Marquess.

Henry de la Poer Beresford (1772-1826) 2nd Marquess of Waterford by William Beechy courtesy of Eton College.
Thought to be Elizabeth Louisa Reynell (1783-1856) née De La Poer and formerly wife of Sir Denis Pack, courtesy of Whyte’s Nov 2011. She was the daughter of the 1st Marquess of Waterford, and she married Denis Pack of County Kilkenny and later, Thomas Reynell, 6th Baronet.

In an interview with Patrick Freyne, the current Marquess, whom the townspeople call “Tyrone,” explained that it was the third Marquess, Henry who originated the phrase “painting the town red” while on a wild night in Miltown Mowbray in 1837: he literally painted the town red! [15]

I wonder was this the Marquis who, as a boy in Eton, was expelled, and took with him the “whipping bench,” which looks like a pew, from the school. It remains in the house, in the staircase hall! We can only hope that it meant than no more boys in Eton were whipped.

In 1842, Henry the third Marquess of Waterford married Louisa Stuart, daughter of the 1st Baron Stuart de Rothesay, and settled in Curraghmore House. Sadly, when she came to Curraghmore with her husband she had an accident which prevented her from having children.

Louisa Anne Beresford née Stuart (1818-1891) by Sir Francis Grant 1859-1860, NPG 3176. The National Portrait Gallery tells us: “Louisa Stuart was brought up mostly in Paris, where her father was British Ambassador to the French court. She was taught to draw from an early age and art, along with religion and philanthropy, was one of her main interests throughout her life. A gifted amateur watercolourist, she did not exhibit at professional galleries until the 1870s. With a strong interest in the welfare of the tenants on her Northumberland estate, she rebuilt the village of Ford. She provided a school and started a temperance society in the village. Her greatest artistic achievement was the decoration of the new school with life sized scenes from the Old and New testaments that used children and adults from the village as models.”
James Beresford (1816-1841), 4th son of Henry De la Poer Beresford, by Joseph Clover, courtesy of Ingestrue Hall Residential Arts Centre.

Louisa laid out the garden. She had been raised in France and modelled the gardens on those at Versailles.

According to the website:

After Wyatt’s Georgian developments, work at Curraghmore in the  nineteenth century concentrated on the gardens and the Victorian refacing to the front of the house.

Formal parterre, tiered lawns, lake, arboretum and kitchen gardens  were all developed during this time and survive to today. At this time some of Ireland’s most remarkable surviving trees were planted in the estate’s arboretum. Today these trees frame miles of beautiful river walks  (A Sitka Spruce overlooking King John’s Bridge is one of the tallest trees in Ireland).

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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Curraghmore, 14th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Curraghmore, 14th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Curraghmore, 14th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Curraghmore, 14th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Curraghmore, 14th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Lake was designed by James Wyatt, photograph 14th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Tragically, The 3rd Marquess broke his neck in a fall while hunting, in 1859, and died.

He was succeed by his younger brother, John (1814-1866), who became the 4th Marquess. It was this Marquess who bought the scarey statues in the garden. The tour guide told us that perhaps the choice of statue reflected the Marquis’s personality.

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There were horrible scary statues flanking a path – we learned later that they were bought by the fourth Marquis of Waterford in the World Fair in Paris. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Curraghmore, 14th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The 4th Marquess had studied to join the clergy. He did not want to be the heir to the estate, with all of the responsibilites that came with it. He became more religious and more forboding as he aged.

John married Christiana Leslie in 1843, daughter of Charles Powell Leslie II of Castle Leslie (we will learn more about the Leslies in my write ups for Castle Leslie www.irishhistorichouses.com/2020/08/07/castle-leslie-glaslough-county-monaghan/ and Corravahan House in County Cavan www.irishhistorichouses.com/2020/08/28/corravahan-house-and-gardens-drung-county-cavan/).

John entered the ministry and served as Prebendary of St Patrick’s Cathedral, under his uncle, Lord John (John George de la Poer Beresford, Lord Archbishop of Armagh, the brother of his father the second Marquess).

Our guide told us that John forbade his wife from horseriding, which she adored. When he died in 1866, the sons were notified. Before they went to visit the body, when they arrived home they went straight to the stables. They took their father’s best horse and brought it inside the house, and up the grand staircase, right into their mother’s bedroom, where she was still in bed. It was her favourite horse! They “gave her her freedom.” She got onto the horse and rode it back down the staircase – one can still see a crack in the granite steps where the horse kicked one on the way down – and out the door and off into the countryside!

The oldest of these sons, John Henry de La Poer Beresford (1844-1895), became 5th Marquess, and also a Member of Parliament and Lord Lieutenant of Waterford. Wikipedia tells us that W. S. Gilbert of Gilbert and Sullivan fame refers to John Henry in his opera “Patience” as “reckless and rollicky” in Colonel Calverley’s song “If You Want A Receipt For That Popular Mystery”!

The second son, Admiral Charles William de la Poer Beresford, was created the 1st and last Baron Beresford of Metemmeh and Curraghmore, County Waterford in the British peerage. His daughter Kathleen Mary married Maj.-Gen. Edmund Raoul Blacque and in 1926 she purchased Castletown Cox, a Georgian classical mansion in County Kilkenny.

Kathleen Mary married Maj.-Gen. Edmund Raoul Blacque and in 1926 she purchased Castletown Cox, County Kilkenny, photograph courtesy of Knight Frank. It was designed by Davis Duckart, built 17567-71 for Michael Cox, Archbishop of Cashel, whose father, Sir Richard Cox, Lord Chancellor of Ireland, had obtained a lease of the estate from the Duke of Ormonde.
Castletown Cox, photograph courtesy of Knight Frank.
Castletown Cox, photograph courtesy of Knight Frank. It has fancy      
Castletown Cox, photograph courtesy of Knight Frank.

The 5th Marquess eloped with Florence Grosvenor Rowley, wife of John Vivian, an English Liberal politician, and married her on 9 August 1872. She died in 1873, and he married secondly, Lady Blanche Somerset, daughter of Henry Somerset, 8th Duke of Beaufort, on 21 July 1874. The second Lady Waterford suffered from a severe illness which left her an invalid. She had a special carriage designed to carry her around the estate at Curraghmore.

Lady Waterford in her specially designed invalid carriage 1896
Lady Blanche Waterford, daughter of the 8th Duke of Beaufort, wife of the 5th Marquess, John Henry, in her specially designed invalid carriage 1896, photograph courtesy of National Library of Ireland, from Flickr constant commons.

Sadly, John Henry killed himself when he was 51, leaving his son Henry to be 6th Marquess (1875-1911).

Henry the 6th Marquess served in the military. He married Beatrix Frances Petty-Fitzmaurice. He died tragically in a drowning  accident on the estate aged only 36. His daughter Blanche Maud de la Poer Beresford married Major Richard Desiré Girouard and had a son Mark Girouard, architectural historian, who worked for Country Life magazine.

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January 10, 1902, Group shot of guests at a Fancy Dress Ball held at Curraghmore House, Portlaw, Co. Waterford, courtesy of National Library of Ireland.

His son John Charles became the 7th Marquess (1901-34). He too  died young. He served as a Second Lieutenant in the Royal Regiment of Horse Guards but died at age 33 in a shooting accident in the gun room at Curraghmore. He married Juliet Mary Lindsay. Their son John Hubert (1933-2015) thus became 8th Marquess at the age of just one year old.

A story is told that a woman’s son was hung, and she cursed the magistrate, the Marquess, by walking nine times around the courtyard of Curraghmore and cursing the family, wishing that the Marquess would have a painful death. It seems that her curse had some effect, as tragedy haunted the family. It was the fourth son who inherited the property and titles of Marcus Beresford, all other sons having died.

The obituary of the 8th Marquis of Waterford gives more details on the curse, which was described to us by our guide, with the help of the portraits:

The 8th Marquis of Waterford, who has died aged 81, was an Irish peer and a noted player in the Duke of Edinburgh’s polo team.

That Lord Waterford reached the age he did might have surprised the superstitious, for some believed his family to be the object of a particularly malevolent curse. He himself inherited the title at only a year old, when his father, the 7th Marquis, died aged 33 in a shooting accident in the gun room at the family seat, Curraghmore, in Co Waterford.

The 3rd Marquis broke his neck in a fall in the hunting field in 1859; the 5th shot himself in 1895, worn down by years of suffering from injuries caused by a hunting accident which had left him crippled; and the 6th Marquis, having narrowly escaped being killed by a lion while big game hunting in Africa, drowned in a river on his estate in 1911 when he was 36.” [16]

The lion, along with some pals, stand in the front hallway in a museum style diorama!

the Hunt, Curraghmore House
The Hunt, January 11, 1902, courtesy of National Library of Ireland.
Otter Hunt, Curraghmore
According to the National Library, this is an Otter Hunt! At Curraghmore, May 14, 1901.

It is not all fun and games at the house, as in the pictures above! The guide told us a bit about the lives of the servants. In the 1901 census, she told us, not one servant was Irish. This would be because the maidservants were brought by their mistresses, who mostly came from England. The house still doesn’t have central heating, and tradition has it that the fireplace in the front hall can only be lit by the Marquis, and until it is lit, no other fires can be lit. The maids had to work in the cold if he decided to have a lie-in!

household staff of Curraghmore House, Portlaw, Co. Waterford, ca.1905, National Library of Ireland
Household staff of Curraghmore, around 1905, courtesy of National Library of Ireland.

John Hubert served as a lieutenant in the Royal Horse Guards’ Supplementary Reserve and was a skilled horseman. From 1960 to 1985, he was captain of the All-Ireland Polo Club, and he was a member of the Duke of Edinburgh’s Windsor Park team. After retiring from the Army, John Hubert, Lord Waterford, returned to Curraghmore and became director of a number of enterprises to provide local employment, among them the Munster Chipboard company, Waterford Properties (a hotel group) and, later, Kenmare Resources, an Irish oil and gas exploration company. He was a founder patron of the Waterford International Festival of Light Opera.

In 1957 he married Lady Caroline Olein Geraldine Wyndham-Quin, daughter of the 6th Earl of Dunraven and Mount-Earl, of Adare Manor in County Limerick. The 8th Marquess and his wife Caroline carried out restoration of the Library and Yellow Drawing Room. Lord Waterford devoted much of his time to maintaining and improving the Curraghmore estate, with its 2,500 acres of farmland and 1,000 acres of woodland.

He was succeeded by his son, Henry de La Pore Beresford (b. 1958), the current Marquess. He and his wife now live in the House and have opened it up for visitors. His son is also a polo professional, and is known as Richard Le Poer.

The website tells us, as did the Guide, of the current family:

The present day de la Poer Beresfords are country people by tradition. Farming, hunting, breeding  horses and an active social calendar continues as it did centuries ago. Weekly game-shooting parties are held every season (Nov. through Feb.) and in spring, calves, foals and lambs can be seen in abundance on Curraghmore’s verdant fields. Polo is still played on the estate in summer. Throughout Ireland’s turbulent history, this family have never been ‘absentee landlords’ and they still provide diverse employment for a number of local people. Change comes slowly to Curraghmore – table linen, cutlery and dishes from the early nineteenth century are still in use.

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Built in 1205, this stone-arched structure, spanning the Clodagh River, is the oldest bridge in Ireland, called King John’s Bridge, a 13th-century bridge built in anticipation of a visit from King John (he never came). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

THE OUTBUILDINGS

Behind the houses and stables on one side were more buildings, probably more accommodation for the workers, as well as more stables, riding areas and workplaces such as a forge. I guessed that one building had been a school but we later learned that the school for the workers’ children was in a different location, behind a the gate lodge by the entrance gate (nearly 2 km away, I think).

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

We were lucky to be able to wander around the outbuildings.

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There were some interesting looking machines in sheds. Perhaps some of this machinery is for grain, or some could be for the wool trade. Turtle Bunbury writes of the wool trade in the 18th century and of the involvement by the de la Poer family in Curraghmore. [17] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Other buildings were stables, or had been occupied as accommodation in the past, and some were used for storage.

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Amazing vaulted ceilings for stables! 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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The buildings above are behind the stables of the courtyard. 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Curraghmore., 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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The Forge – see the bellows in the corner of the room, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Last but not least, Curraghmore is now the venue for the latest music festival, Alltogethernow. There’s a stag’s head made by a pair of Native American artists, of wooden boughs that were gathered on the estate. It was constructed for the festival last year but still stands, ready for this year (2019)! Some of my friends will be at the festival. The house will be railed off for the event.

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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Curraghmore, 5th May 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Remnants of Alltogethernow festival August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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[1] 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.

[2] https://theirishaesthete.com/2019/07/03/now-available/

[3] Thomas U. Sadleir and Page L. Dickinson. Georgian Mansions in Ireland with some account of the evolution of Georgian Architecture and Decoration. Printed for the Authors at the Dublin University Press, by Ponsonby & Gibbs, 1915. 

[4] http://www.turtlebunbury.com/history/history_family/hist_family_delapoer.html

Turtle Bunbury on his website writes of the history of the family:

“On his death on 2nd August 1521, Sir Piers was succeeded as head of the family by his eldest son, Sir Richard Power, later 1st Baron le Poer and Coroghmore…. In 1526, five years after his father’s death, Sir Richard married Lady Katherine Butler, a daughter of Piers, 8th Earl of Ormonde, and aunt of ‘Black Tom’ Butler, Queen Elizabeth’s childhood sweetheart. The marriage occurred at a fortuitous time for Power family fortunes. English influence in Ireland had been in decline for several decades and the rival Houses of Butler and Fitzgerald effectively ran the country. The Powers of Curraghmore were intimately connected, by marriage, with both.”

[5] www.thepeerage.com

As a description of the times, and the issue of the succession of the Earls of Desmond, I shall include here some history panels I came across in the Desmond Banqueting Hall in Newcastle West in Limerick (see my entry on Office of Public Works properties in County Limerick):

Information panel on the Earls of Desmond, the Desmond Banqueting Hall in Newcastle West in Limerick.
Information panel on the Earls of Desmond, the Desmond Banqueting Hall in Newcastle West in Limerick.

[6] Quoted p. 51, Thomas U. Sadleir and Page L. Dickinson. Georgian Mansions in Ireland with some account of the evolution af Georgian Architecture and Decoration. Printed for the Authors at the Dublin University Press, by Ponsonby & Gibbs, 1915. 

[7] https://dromanahouse.com/2019/03/20/the-drawbacks-and-dangers-of-heiress-hunting/

[8] Mark Bence-Jones describes it in his book, A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.

[9] see https://theirishaesthete.com/2019/07/01/curraghmore-church/

[10] https://theirishaesthete.com/2018/03/19/in-a-shell/

[11] Hugh Montgomery Massingberd and Christopher Simon Sykes. Great Houses of Ireland. Laurence King Publishing, London, 1999.

[12] https://theirishaesthete.com/2019/11/23/to-a-de-gree/

[13] https://www.libraryireland.com/irishartists/peter-de-gree.php

[14] from http://lordbelmontinnorthernireland.blogspot.com/search/label/County%20Waterford%20Landowners

[15] https://www.irishtimes.com/life-and-style/people/oh-lord-next-generation-takes-the-keys-to-waterford-county-1.2191959

[16] https://www.independent.ie/irish-news/news/obituary-the-irish-peer-who-outlived-curse-30998942.html

[17] http://www.turtlebunbury.com/history/history_family/hist_family_delapoer.html

[5] https://www.buildingsofireland.ie/buildings-search/building/22900816/curraghmore-house-curraghmore-co-waterford

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