Just to finish up my entries about Office of Public Works properties: Carlow, Dublin, Kildare, Kilkenny, Laois, Longford, Louth, Meath, Offaly, Westmeath, Wexford and Wicklow are the counties that make up the Leinster region.
1. Altamont Gardens
22. Castletown House, County Kildare
23. Maynooth Castle, County Kildare
24. Dunmore Cave, County Kilkenny – site currently closed
25. Jerpoint Abbey, County Kilkenny
26. Kells Priory, County Kilkenny
27. Kilkenny Castle, County Kilkenny
28. St. Mary’s Church, Gowran, County Kilkenny – site currently closed
1. Altamont House and Gardens, Bunclody Road, Altamont, Ballon, County Carlow:
General information: (059) 915 9444
From the OPW website:
“A large and beautiful estate covering 16 hectares in total, Altamont Gardens is laid out in the style of William Robinson, which strives for ‘honest simplicity’. The design situates an excellent plant collection perfectly within the natural landscape.
For example, there are lawns and sculpted yews that slope down to a lake ringed by rare trees and rhododendrons. A fascinating walk through the Arboretum, Bog Garden and Ice Age Glen, sheltered by ancient oaks and flanked by huge stone outcrops, leads to the banks of the River Slaney. Visit in summer to experience the glorious perfume of roses and herbaceous plants in the air.
With their sensitive balance of formal and informal, nature and artistry, Altamont Gardens have a unique – and wholly enchanting – character.” 
From Living Legacies: Ireland’s National Historic Properties in the care of the OPW, Government Publications, Dublin, 2018:
“Altamont House was constructed in the 1720s, incorporating parts of an earlier structure said to have been a medieval nunnery. In the 1850s, a lake was excavated in the grounds of the house, but it was when the Lecky-Watsons, a local Quaker family, acquired Altamont in 1924 that the gardens truly came into their own.
Feilding Lecky-Watson had worked as a tea planter in Ceylon (Sri Lanka) where he nurtured his love of exotic plants, and of rhododendrons in particular. Back in Ireland, he became an expert in the species, cultivating plants for the botanical gardnes at Glasnevin, Kew and Edinburgh. So passionate was he about these plants that when his wife, Isobel, gave birth to a daughter in 1922, she was named Corona, after his favourite variety of rhododendron.” 
Around the lake are mature conifers that were planted in the 1800s, including a giant Wellingtonia which commemorates the Battle of Waterloo.  Corona continued in her father’s footsteps, planing rhododendrons, magnolia and Japanese maples. Another feature is the “100 steps” hand-cut in granite, leading down to the River Slaney. There are red squirrels, otters in the lake and river, and peacocks. Before her death, Corona handed Altamont over to the Irish state to ensure its preservation.
22.Castletown House and Parklands, Celbridge, County Kildare.
General Information: firstname.lastname@example.org
From the OPW website:
“Castletown is set amongst beautiful eighteenth-century parklands on the banks of the Liffey in Celbridge, County Kildare.
The house was built around 1722 for the speaker of the Irish House of Commons, William Conolly, to designs by several renowned architects. It was intended to reflect Conolly’s power and to serve as a venue for political entertaining on a grand scale. At the time Castletown was built, commentators expected it to be ‘the epitome of the Kingdom, and all the rarities she can afford’.
The estate flourished under William Conolly’s great-nephew Thomas and his wife, Lady Louisa, who devoted much of her life to improving her home.
Today, Castletown is home to a significant collection of paintings, furnishings and objets d’art. Highlights include three eighteenth-century Murano-glass chandeliers and the only fully intact eighteenth-century print room in the country.
It is still the most splendid Palladian-style country house in Ireland.“
William Conolly rose from modest beginnings to be the richest man in Ireland in his day. He was a lawyer from Ballyshannon, County Donegal, who made an enormous fortune out of land transactions in the unsettled period after the Williamite wars.
The Archiseek website tells us:
“Soon after the project got underway Conolly met Alessandro Galilei (1691-1737), an Italian architect, who had been employed in Ireland by Lord Molesworth in 1718 [John Molesworth, 2nd Viscount, who had been British envoy to Florence]. He designed the façade of the main block in the style of a 16th century Italian town palace. He returned to Italy in 1719 and was not associated with the actual construction of the house which began in 1722. Sir Edward Lovett Pearce (died 1733), a young Irish architect, on his Italian grand tour became acquainted with Galilei in Florence and through this connection he was employed by the Speaker to complete Castletown when he returned to Ireland in 1724. Pearce had first hand knowledge of the work of the Italian architect Andrea Palladio (1508-1580) and his annotated copy of Palladio’s Quattro libri dell’architettura survives. It was Pearce who added the Palladian colonnades and the terminating pavillions. This layout was the first major Palladian scheme in Ireland and soon had many imitators.” 
Mark Bence-Jones tells us in his A Guide to Irish Country Houses:
“The centre block, of three storeys over a basement, has two more or less identical thirteen bay fronts reminiscent of the façade of an Italian Renaissance town palazzo; with no pediment or central feature and no ornamentation except for doorcase, entablatures over the ground floor windows, alternate segmental and triangular pediments over the windows of the storey above and a balustraded roof parapet. Despite the many windows and the lack of a central feature, there is no sense of monotony or heaviness; the effect being one of great beauty and serenity. The centre block is joined by curved Ionic colonnades to two storey seven bay wings; the wings and colonnades having been designed by Pearce, who also designed the impressive two storey entrance hall, which has a gallery supported by Ionic columns. Apart from the hall, the long gallery upstairs and some rooms with simple wainscot, the interior of Castletown was still unfinished at the time of Speaker Conolly’s death, and remained so until after his great-nephew, the popular Irish patriot Tom Conolly, married Lady Louisa Lennox (daughter of the 2nd Duke of Richmond and sister of Emily, Duchess of Leinster) 1758.” 
William Conolly married Katherine Conyngham of Mount Charles, County Donegal, whose brother purchased Slane Castle. William and Katherine had no children, so his estate passed to his nephew William James Conolly (1712-1754) via his brother Patrick. We came across William James Conolly before in Leixlip Castle (another Section 482 property), which he also inherited. William James died just two years after Katherine nee Conyngham, so the estate then passed to his son Thomas Conolly (1738-1803).
Thomas’s wife, Lady Louisa Lennox, was one of five Lennox sisters, daughters of the Charles Lennox, 2nd Duke of Richmond. From the age of eight she had lived at nearby Carton with her sister Emily, who was married to James Fitzgerald, the 20th Earl of Kildare (who became the 1st Duke of Leinster) where she was exposed to the fashionable idea of the day in architecture, decoration, horticulture and landscaping. 
Archiseek continues: “The Castletown papers, estate records and account books, together with Lady Louisa’s [i.e. Louisa Lennox, wife of Tom Conolly] diaries and correspondence with her sisters, provide a valuable record of life at Castletown and also of the reorganisation of the house. Lady Louisa’s letters from the 1750s onwards are revealing of the fashions in costume design, fabric patterns and furniture. She played an important part in the alteration and redecoration of Castletown during the 1760s and 1770s. As no single architect was responsible for all of the work carried out, she supervised most of it herself. Much of the redecoration of the house was done to the published designs of the English architect Sir William Chambers (1723-1796) who never came to Ireland himself. Chambers also worked for Lady Louisa’s brother, the 3rd Duke of Richmond, at Goodwood in Sussex. In a letter, written in July 1759, Lady Louisa mentions instructions given by Chambers to his assistant Simon Vierpyl who supervised the work at Castletown.” 
Description of the Hall, from Archiseek: “This impressive two-storeyed room with a black and white chequered floor, was designed by Sir Edward Lovett Pearce. The Ionic order on the lower storey is similar to that of the colonnades outside and at gallery level there are tapering pilasters with baskets of flowers and fruit carved in wood. The coved ceiling has a central moulding comprising a square Greek key patterned frame and central roundel with shell decoration.” [see 4]
Mark Bence-Jones continues:
In the following year, Tom Conolly and Lady Louisa employed the Francini to decorate the walls of thestaircase hall with rococo stuccowork; and in 1760 the grand staircase itself – of cantilevered stone, with a noble balustrade of brass columns – was installed; the work beign carried out by Simon Vierpyl, a protégé of Sir William Chambers. The principal reception rooms, which form an enfilade along the garden front and were mostly decorated at this time, are believed to be by Chambers himself; they have ceilings of geometrical plasterwork, very characteristic of him. Also in this style is the dining room, to the left of the entrance hall. It was here that, according to the story, Tom Conolly found himself giving supper to the Devil, whom he had met out hunting and invited back, believing him to be merely a dark stranger; but had realised the truth when his guest’s boots were removed, revealing him to have unusually hairy feet. He therefore sent for the priest, who threw his breviary at the unwelcome guest, which missed him and cracked a mirror. This, however, was enough to scare the Devil, who vanished through the hearthstone. Whatever the truth of this story, the hearthstone in the dining room is shattered, and one of the mirrors is cracked. The doing-up of the house was largely supervised by Lady Louisa, and two of the rooms bear her especial stamp: the print room, which she and her sister, Lady Sarah Napier made ca 1775; and the splendid long gallery on the first floor, which she had decorated with wall paintings in the Pompeian manner by Thomas Riley 1776. The gallery, and the other rooms on the garden front, face along a two mile vista to the Conolly Folly, an obelisk raised on arches which was built by Speaker Conolly’s widow 1740, probably to the design of Richard Castle. The ground on which it stands did not then belong to the Conollys, but to their neighbour, the Earl of Kildare, whose seat, Carton, is nearby. The folly continued to be a part of the Carton estate until 1968, when it was bought by an American benefactress and presented to Castletown. At the end of another vista, the Speaker’s widow built a remarkable corkscrew-shaped structure for storing grain, known as the Wonderful Barn. One of the entrances to the demesne has a Gothic lodge, from a design published by Batty Langley 1741. The principal entrance gates are from a design by Chambers. Castletown was inherited by Tom Conolly’s nephew, Edward Michael Pakenham, who took the name of Conolly. It eventually passed to 6th and present Lord Carew [William Francis Conolly-Carew (1905-1994)], whose mother was a Conolly of the Pakenham line. He sold it 1965; the estate was bought for development and for two years the house stood empty and deteriorating. Then, in 1967, Hon Desmond Guinness courageously bought the house with 120 acres as the headquarters of the Irish Georgian Society, and in order to save it for posterity. Since then the house has been restored and it now contains an appropriate collection of furniture, pictures and objects, which has either been bought for the house, presented to it by benefactors, or loaned. The house is open to the public.”
The Dining Room, description from Archiseek:
“This room dates from the 1760s redecoration of Castletown undertaken by Lady Louisa Conolly and reflects the mid-eighteenth century fashion for separate dining rooms. Originally, there were two smaller panelled rooms here. It was reconstructed to designs by Sir William Chambers, with a compartmentalised ceiling similar to one by Inigo Jones in the Queen’s House at Greenwich. The chimney-piece and door cases are in the manner of Chambers. Of the four doors, two are false.
Furniture original to Castletown includes the two eighteenth-century giltwood side tables. Their frieze is decorated with berried laurel foliage similar to the door entablatures in the Red and Green Drawing Rooms. The three elaborate pier glasses are original to the Dining Room. The frames are carved fruiting vines, symbols of Bacchus and festivity. These are probably the work of the Dublin carver Richard Cranfield (1713-1809) who, with the firm of Thomas Jackson of Essex Bridge, Dublin, was paid large sums for carving and gilding throughout the house.“
The Red Drawing Room, description from Archiseek:
“It is one of a series of State Rooms that form an enfilade and were used on important occasions in the eighteenth century. This room was redesigned in the mid 1760s in the manner of Sir William Chambers. The chimney-piece, ceiling and pier glasses are typical of his designs.
The walls are covered in red damask which is probably French and dates from the 1820s. Lady Shelburne recorded in her journal seeing a four coloured damask, predominently red, in this room. The Aubusson carpet dates from about 1850 and may have been made for the room. Much of the furniture has always been in the house and Lady Louisa Conolly paid 11/2 guineas for each of the Chinese Chippendale armchairs which she considered very expensive. The chairs and settee were made in Dublin and they are displayed in a formal arrangement against the walls as they would have been in the eighteenth century. The bureau was made for Lady Louisa in the 1760s.“
The Green Drawing Room, description from Archiseek:
“The Conollys formally received important visitors to the house in the Green Drawing Room which was the saloon or principal reception room. The room was redecorated in the 1760s and like the other state rooms reflects the neo-classical taste of the architect Sir William Chambers. The Greek key decoration on the ceiling is repeated on the pier glasses and the chimney-piece. Originally these were pier tables with a Greek key frieze and copies of these may be made in the future. The chimney-piece is similar to one designed by Chambers for Lord Charlemont’s Casino at Marino.”
The Long Gallery, description from Archiseek:
“measuring almost 80 by 23 feet, with its heavy ceiling compartments and frieze dates from the 1720s. Originally there were four doors in the room and the walls were panelled in stucco similar to the entrance Hall. In 1776 the plaster panels and swags were removed but traces of them were found behind the painted canvas panels when they were taken down for cleaning during recent conservation work.
In the mid 1770s the room was redecorated in the Pompeian manner by two English artists, Charles Reuben Riley (c.1752-1798) and Thomas Ryder (1746-1810). Tom and Louisa’s portraits are at either end of the room over the chimney-pieces and the end piers are decorated with cyphers of the initals of their families: The portrait of Lady Louisa is after Reynolds (the original is in the Fogg Art Museum, Harvard) and that of Tom after Anton Raphael Mengs (the original is in the National Gallery of Ireland). The subjects of the wall paintings were mostly taken from engraving in d’Hancarville’s Antiquites Etrusques, Greques, et Romaines (1766-67) and de Montfaucon’s L’antiquite expliquee et representee en figures (1719). The busts of the poets and philosophers are placed on gilded brackets designed by Chambers. In the central niche stands a seventeenth-century statue of Diana. Above is a lunette of Aurora, the godess of the dawn, derived from a ceiling decoration by Guido Reni, the seventeenth century Bolognese painter.
The three glass chandeliers were made for the room in Venice and the four large sheets of mirrored glass came from France. In the 1770s the Long Gallery was used as a living room and was filled with exquisite furniture. Originally in the room, there were a pair of side tables attributed to John Linnell, with marble tops attributed to Bossi, a pair of commodes by Pierre Langlois, that were purchased in London for Lady Louisa by Lady Caroline Fox and a pair of bookcases at either end of the room.
In 1989 major conservation work was carried out on the Long Gallery. The wall paintings that had been flaking for many years were conserved. The original eighteenth-century gilding has been cleaned and the chandeliers restored. The project was funded by the American Ireland Fund, the Irish Georgian Society and by private donations.“
Print rooms were fashionable in the 18th century – ladies would collect their favourite prints and paste the walls with them – and Lady Louisa’s remains the only intact 18th century print room in Ireland. Those featured include Le Bas, Rembrandt and Teniers, the actor David Garrick and Sarah Cibber, Louisa’s sister Sarah, Charles I and Charles II as a boy, with whom Louisa shared a bloodline. [see 6]
From the website: “The Boudoir and the adjoining two rooms formed Lady Louisa’s personal apartment. The Boudoir served as a private sitting room for Louisa and subsequent ladies of the house. The painted ceiling, dado rail and window shutters possibly date from the late eighteenth century and were restored in the 1970s by artist Philippa Garner. The wall panels, or grotesques, after Raphael date from the early nineteenth century and formerly hung in the Long Gallery. Amongst the items inside the built-in glass cabinet are pieces of glass and china featuring the Conolly crest.
In the adjoining room, Lady Louisa’s Bedroom, OPW’s conservation architects have left exposed the walls to offer visitors a glimpse of the different historic layers in the room, from the original brick walls, supported by trusses, to wooden panelling to fragments of whimsical printed wall paper that once embellished the room.“
23.Maynooth Castle, County Kildare:
General information: 01 628 6744, email@example.com
From the OPW website:
“This majestic stone castle was founded in the early thirteenth century. It became the seat of power for the FitzGeralds, the earls of Kildare, as they emerged as one of the most powerful families in Ireland. Garret Mór, known as the Great Earl of Kildare, governed Ireland in the name of the king from 1487 to 1513.
Maynooth Castle was one of the largest and richest Geraldine dwellings. The original keep, begun around 1200, was one of the largest of its kind in Ireland. Inside, the great hall was a nerve centre of political power and culture.
Only 30 kilometres from Dublin, Maynooth Castle occupies a deceptively secluded spot in the centre of the town, with well-kept grounds and plenty of greenery. There is a captivating exhibition in the keep on the history of the castle and the family.“
24.Dunmore Cave, Mothel, Ballyfoyle, Castlecomer Road, County Kilkenny:
General information: 056 776 7726, firstname.lastname@example.org
From the OPW website:
“Dunmore Cave, not far from Kilkenny town, is a series of limestone chambers formed over millions of years. It contains some of the most impressive calcite formations found in any Irish underground structure.
The cave has been known for many centuries and is first mentioned in the ninth-century Triads of Ireland, where it is referred to as one of the ‘darkest places in Ireland’. The most gruesome reference, however, comes from the Annals of the Four Masters, which tells how the Viking leader Guthfrith of Ivar massacred a thousand people there in AD 928. Archaeological investigation has not reliably confirmed that such a massacre took place, but finds within the cave – including human remains – do indicate Viking activity.
Dunmore is now a show cave, with guided tours that will take you deep into the earth – and even deeper into the past.“
25. Jerpoint Abbey, Thomastown, County Kilkenny.
General information: 056 772 4623, email@example.com
From the OPW website:
“Founded in the 12th century, Jerpoint Abbey is one of the best examples of a medieval Cistercian Abbey in Ireland. The architectural styles within the church, constructed in the late twelfth century, reflect the transition from Romanesque to Gothic architecture. The tower and cloister date to the fifteenth century.
Jerpoint is renowned for its detailed stone sculptures found throughout the monastery. Dating from the thirteenth to the sixteenth centuries these include mensa tombs from the O’Tunney school, an exquisite incised depiction of two 13th century knights, the decorated cloister arcades along with other effigies and memorials.
Children can explore the abbey with a treasure hunt available in the nearby visitor centre. Search the abbey to discover saints, patrons, knights, exotic animals and mythological creatures.
A small but informative visitor centre houses an excellent exhibition.“
26. Kells Priory, Kells, County Kilkenny:
General information: 056 772 4623, firstname.lastname@example.org
From the OPW website:
“Kells Priory owes its foundation to the Anglo-Norman consolidation of Leinster. Founded by Geoffrey FitzRobert, a household knight and trusted companion of William Marshal the priory was one element of Geoffrey’s establishment of the medieval town of Kells.
Although founded in c. 1193 extensive remains exist today which include a nave, chancel, lady chapel, cloister and associated builds plus the remains of the priory’s infirmary, workshop, kitchen, bread oven and mill. The existence of the medieval defences, surrounding the entire precinct, underline the military aspect of the site and inspired the priory’s local name, the ‘Seven Castles of Kells’.“
27. Kilkenny Castle, County Kilkenny:
General information: 056 770 4100, email@example.com
From the OPW website:
“Built in the twelfth century, Kilkenny Castle was the principal seat of the Butlers, earls, marquesses and dukes of Ormond for almost 600 years. Under the powerful Butler family, Kilkenny grew into a thriving and vibrant city. Its lively atmosphere can still be felt today.
The castle, set in extensive parkland, was remodelled in Victorian times. It was formally taken over by the Irish State in 1969 and since then has undergone ambitious restoration works. It now welcomes thousands of visitors a year.“
Kilkenny Castle has been standing for over eight hundred years, dominating Kilkenny City and the South East of Ireland. Originally built in the 13th century by William Marshall, 4th Earl of Pembroke, as a symbol of Norman control, Kilkenny Castle came to symbolise the fortunes of the powerful Butlers of Ormonde for over six hundred years. 
1n 1967 James Arthur Norman Butler (1893-1971), 6th Marquess and 24th Earl of Ormonde sold the Castle to the Kilkenny Castle Restoration Committee for £50. Two years later it went into state ownership.
William Marshall (about 1146-1219) was married to the daughter of “Strongbow” Richard de Clare, 2nd Earl of Pembroke. With the marriage, he gained land and eventually, the title, Earl of Pembroke. The daughter of Strongbow, Isabel, inherited the title of 4th Countess of Pembroke “suo jure” i.e. herself (her brother, who died a minor, was the 3rd Earl). Hence William Marshall became the 4th Earl through his wife, but then then was created the 1st Earl of Pembroke himself ten years after their marriage. They seem to have settled in Ireland and created place for themselves, beginning with setting up the town of New Ross and then restoring Kilkenny town and castle – a castle had pre-dated them, according to the Kilkenny Castle website. It tells us that the present-day castle is based on the stone fortress that Marshall designed, comprising an irregular rectangular fortress with a drum-shaped tower at each corner. Three of these towers survive to this day.
By 1200, Kilkenny was the capital of Norman Leinster and New Ross was its principal port. The Marshalls also founded the Cistercian abbeys at Tintern in County Wexford and Duiske in Graiguenamanagh, County Kilkenny, as well as the castles at Ferns and Enniscorthy. He died and was buried in England. 
In 1317, the de Clare family sold the Kilkenny castle to Hugh Despenser. The Despensers were absentee landlords. In 1391 the Despensers sold the castle to James Butler, 3rd Earl of Ormond, 9th Chief Butler of Ireland (1360–1405). The first Butler to come to Ireland was Theobald Walter Le Botiller or Butler, 1st Baron Butler, 1st Chief Butler of Ireland (1165–1206). He was called “Le Botiller” because he received the monopoly of the taxes on wines being imported into Ireland (which The Peerage website tells us was eventually purchased back by the Crown from the Marquess of Ormonde for £216,000 in 1811.)
The Butlers were an important family in Ireland. They fought for the king in France and Scotland, and held positions of power, including Lord Lieutenant of Ireland, the monarch’s representative in Ireland.
The castle now forms a “u” shape, because in the time of Oliver Cromwell’s invasion, the fourth wall fell. After the Restoration of 1660, there was a major rebuilding of the old castle. In 1826, another remodelling of the castle began. In 1935, the Butler family held a great auction, selling all of the castle’s furnishings.
Thomas Butler the 7th Earl of Ormond (d. 1515) lacked a male heir, and on his death, the Earldom was contested between Sir Piers Butler and his grandchildren led by Sir Thomas Boleyn. Thomas was favoured by King Henry VIII when Henry married his daughter Anne Boleyn. Piers Butler (1467-1539) was a descendant of the 3rd Earl of Ormond. Piers relinquished the claim to the title Earl of Ormond to Boleyn and was created Earl of Ossory by Henry VIII. The lands of the 7th Earl were divided between both parties. After a rapid escalation of disputes with rural Fitzgeralds and Boleyns, Piers regained his position and was recognised Earl of Ormond in February 1538.
The Crown hoped Piers would improve the Crown’s grip over southern Ireland. Piers the 8th Earl of Ormond gained much from Crown, including suppressed monasteries. He married Margaret Fitzgerald, daughter of the 8th Earl of Kildare, in marriage arranged for the purpose of ending the long-standing rivalry between the two families. They lived in Kilkenny Castle and greatly improved it. Margaret urged Piers to bring over skilled weavers from Flanders and she helped establish industries for the production of carpets, tapestries and cloth. Margaret and her husband commissioned significant additions to the castles of Granagh and Ormond. They also rebuilt Gowran Castle, which had been originally constructed in 1385 by James Butler, 3rd Earl of Ormond.
The 10th Earl of Ormond, “Black Tom,” had no direct heir so the Earldom passed to his nephew, Walter, a son of Sir John Butler of Kilcash. Unlike his uncle, who had been raised at Court and thus reared a Protestant, Walter the 11th Earl of Ormond was a Catholic. See my entry about the Ormond Castle at Carrick-on-Suir for more on “Black Tom.”
Walter Butler’s claim to the family estates was blocked by James I. The latter orchestrated the marriage of Black Tom’s daughter and heiress Elizabeth to a Scottish favourite Richard Preston. This gave Preston the title Earl of Desmond, and awarded his wife most of the Ormond estate, thus depriving Walter of his inheritance. Walter refused to submit and was imprisoned for eight years in the Fleet, London. He was released 1625. Thomas’s nine-year-old son, James, became the heir to the titles. Plans were made for a marriage between James and Elizabeth, only daughter of the Prestons, to resolve the inheritance issue.
James Butler (1610-88) 1st Duke of Ormond, 12th Earl of Ormond was the eldest son of Thomas Butler, Viscount Thurles, and his wife Elizabeth Poyntz. Following his father’s death in 1619, 9-year-old James became direct heir to the Ormond titles. He was made a royal ward and was educated at Lambeth Palace under the tutelage of George Abbot, Archbishop of Canterbury. In 1629 he married his cousin Elizabeth Preston and reunited the Ormond estates, as she was the sole heiress of her mother Elizabeth, daughter of the 10th Earl of Ormond, who had married Theobald Butler, 1st Viscount Tulleophelim, and secondly, Elizabeth’s father Richard Preston, 1st Earl of Desmond.
James succeeded to the Ormond titles in 1633 on the death of his grandfather, Walter Butler, 11th Earl of Ormond.
The website tells us: “A staunch royalist, Ormond was appointed commander-in-chief of the army in Ireland in 1641. He served his first term of three as Lord Lieutenant of Ireland from 1648 to 1650. Following the defeat of the royalists in Ireland, Ormond went to exile and spent most of the years 1649 to 1660 abroad, moving about Europe with the exiled court of Charles II. After the restoration of the monarchy in England, Ormond was rewarded with a dukedom and several high offices by a grateful king. Though he enjoyed the king’s favour, Ormond had enemies at court and as a result of the machinations of the Cabal, which included powerful figures such as the Earl of Shaftesbury, he was dismissed from his post as Lord Lieutenant in 1669. When he was raised to a dukedom in the English peerage in 1682, Ormond left Ireland to reside in England. During his last term as Lord Lieutenant (1677-85), he played a major role in the planning and founding of the Royal Hospital for old soldiers at Kilmainham, near Dublin. The last decade of his life was marked by tragedy: all three of his sons and his wife died during that time. He died at his residence at Kingston Lacy in Dorset was buried in Westminster Abbey.“
The 1st Duke of Ormond had three sons: Thomas (1634-1680), 6th Earl of Ossory; Richard (1639-1686), 1st and last Earl of Arran; and John (1634-1677), 1st and last Earl of Gowran. He had two daughters, Elizabeth (1640-1665) and Mary (1646-1710). Mary married William Cavendish, 1st Duke of Devonshire.
During the 1st Duke of Ormond’s tenure the castle underwent improvements. Mark Bence-Jones describes:
“The Great Duke transformed the castle from a medieval fortress into a pleasant country house, rather like the chateau or schloss of contemporary European princeling; with high-pitched roofs and cupolas surmounted by vanes and gilded ducal coronets on the old round towers. Outworks gave place to gardens with terraces, a “waterhouse” a fountain probably carved by William de Keyser, and statues copied from those in Charles II’s Privy Gardens. The Duchess seems to have been the prime mover in the work, in which William (afterwards Sir William) Robinson, Surveyor-General and architect of the Royal Hospital, Kilmainham, was probably involved; supervising the contruction of the Presence Chamber 1679. Robinson is also believed to have designed the magnificent entrance gateway of Portland and Caen stone with a pediment, Corinthian pilasters and swags which the second Duke erected on the street front of the castle ca 1709. Not much else was done to the castle in C18, for the Ormondes suffered a period of eclipse following the attainder and exile of the 2nd Duke, who became a Jacobite after the accession of George I.” 
Thomas Butler (1634-1682) 6th Earl of Ossory, was the father of the 2nd Duke of Ormond. Thomas was also Lord Butler of Moore Park and Lord Deputy of Ireland, and was a soldier and Naval Commander, known as ‘Gallant Ossory’. Born at Kilkenny Castle in 1634, he was the second but eldest surviving son of the Duke of Ormonde. His childhood was spent at Kilkenny until he went with his father and brother Richard to England in 1647. They then went to France, where he was educated at Caen and Paris at Monsieur de Camps’ Academy. In Holland he married Amelia of Nassau, daughter of Lodewyk van Nassau, Heer van Beverweerd, a natural son of Prince Maurice of Nassau. Ossory was a witness when James, Duke of York (later King James II) secretly married Anne Hyde in 1660.
Ossory enjoyed the favour and support of both King Charles II and his queen. Because of his wife’s Dutch connections he was frequently sent on royal missions to that country. In 1670 he conducted William of Orange to England. John Evelyn, the diarist, was a close friend, who referred to him as ‘a good natured, generous and perfectly obliging friend’. He died suddenly in 1680, possibly from food poisoning, at Arlington House in London. He was buried in Westminster Abbey
James Butler (1665-1745) 2nd Duke of Ormonde, 13th Earl of Ormonde, was the eldest surviving son of Thomas Butler, Earl of Ossory and his wife Amelia van Beverweerd. Following his father’s death in 1680, James became the heir to his grandfather, James Butler, 1st Duke of Ormond, whom he succeeded in 1688.
Following his involvement in a Jacobite rising, he was impeached and a year later a Bill of Attainder was passed against him. His English and Scottish honours and his English estates were seized. Ormonde fled to France. He lived out his life in exile, and died at Avignon in France and was buried in 1746 in Westminster Abbey.
Charles Butler (1671-1758), 2nd Earl of Arran, de jure 3rd Duke of Ormonde, de jure 14th Earl of Ormonde was born on 4th September 1671, the youngest son of Thomas Butler, Earl of Ossory and Amelia of Nassau and brother of the 2nd Duke of Ormonde. Arran was enabled by an Act of Parliament in 1721 to recover his brother’s forfeited estates.
A younger brother of James the 1st Duke of Ormond was Richard Butler (d. 1701) of Kilcash, County Tipperary. His son was Walter Butler of Garyricken (1633-1700). Pictured above are the sons of Walter Butler: Christopher (the Catholic Archbishop) and Thomas (d. 1738).
Colonel Thomas Butler of Kilcash (d. 1738), son of Walter Butler of Garryricken and Lady Mary Plunket, inherited Kilcash from his grandfather Richard Butler, youngest brother of James, 1st Duke of Ormond. A Colonel of a Regiment of Foot in the army of King James II, he married Margaret Bourke, widow of Viscount Iveagh and daughter of William, 7th Earl of Clanricarde. They had three sons: Richard (d.1711), Walter who died in Paris and John Butler of Kilcash, who succeeded to the Ormonde titles as de jure 15th Earl in 1758 on the death of his cousin Amelia, sister of James Butler, 2nd Duke of Ormonde. The couple also had five daughters: one, Honora married Valentine Brown, Lord Kenmare.
A son of Thomas became the 15th Earl of Ormond, John Butler (d. 1766), because the 14th Earl (the 2nd Earl of Arran) had no children.
The title then passed to a cousin of the 15th Earl, Walter Butler (1703-1783), another of the Garryricken branch, who also became the 9th Earl of Ossory. He was the only son and heir of John Butler of Garryricken and Frances, daughter of George Butler of Ballyragget. He inherited the Ormonde titles in 1766 which he did not assume but took up residence at Kilkenny Castle. Walter, who remained a Roman Catholic, exercised no political role but undertook the restoration of the Castle and also built the stable block across the road from the Castle, today the Design Centre and National Craft Centre, and the Dower House, today Butler House.
Walter the 16th Earl of Ormonde carried out various repairs, decorating some of the rooms with simple late C18 plasterwork.
He married Eleanor Morres (1711-1793), the daughter of Nicholas Morres of Seapark Court, Co. Dublin, and of Lateragh, Co. Tipperary, and of Susanna, daughter of Richard Talbot of Malahide Castle. After Walter’s death in 1783, she moved into the Dower House, today Butler House, across the road from the Castle.
Their son John (1740-1795) became known as “Jack of the Castle” and was the 17th Earl. Jack’s sister Susannah married Thomas Kavanagh of Borris House in County Carlow (see my entry about Borris House). Jack married Anne Wandesford, pictured below.
Their son Walter (1770-1820) became the 18th Earl and 1st Marquess of Ormonde. He had no sons so his brother James Wandesford Butler (1777-1838) inherited the title and was recreated at 1st Marquess of Ormonde and became one of the largest landowners in Ireland with an estate worth more than £20,000 a year. He was created Marquess of Ormonde in 1825 and officiated as Chief Butler of Ireland at the Coronation of George IV. He married Grace Louisa Staples in 1807, they had ten children.
James Wandesford Butler the 1st Marquess undertook more renovations. Mark Bence-Jones describes:
“Ca. 1826, the Kilkenny architect, William Robertson, when walking in the castle courtyard with the Lady Ormonde of the day, noticed that a main wall was out of true and consequently unsafe. One suspects it may have been wishful thinking on his part, for it landed him the commission to rebuild the castle, which he did so thoroughly that virtually nothing remains from before his time except for the three old towers, the outer walls and – fortunately – the 2nd Duke’s gateway. Apart from the latter, the exterior of the castle became uncompromisingly C19 feudal; all the 1st Duke’s charming features being swept away. Robertson also replaced one of two missing sides of the courtyard with a new wing containing an immense picture gallery; the original gallery, on the top floor of the principal range, having been divided into bedrooms. Robertson left the interior of the castle extremely dull, with plain or monotonously ribbed ceilings and unvarying Louis Quinze style chimneypieces.” [see 11]
The 1st Marquess died in Dublin in 1838 and was succeeded by his eldest son John Butler (1808-1854), 2nd Marquess, 20th Earl of Ormonde, Earl of Ossory and Viscount Thurles, Baron Ormonde of Lanthony, Chief Butler of Ireland (see his portrait below).
John the 2nd Marquess travelled extensively. His journals (now in National Library of Ireland) record his many journeys across Europe to Italy and Sicily. He published an account of his travels, Autumn in Sicily, and he also wrote an account of the life of St. Canice. He married Frances Jane Paget in 1843. He continued the work of rebuilding Kilkenny castle that was started by his father. His journals show him to have a deep interest in art, and there are careful descriptions of several of the great galleries in Italy to be found in his writing. Although he continued to write in his journals during the years 1847 to 1850, no mention of the Irish famine is made. He died while bathing in the sea near Loftus hall on Hook Head, Co. Wexford. A marble tomb was erected in his memory in St. Canice’s Cathedral, Kilkenny.
The second eldest daughter of James Butler, 1st Marquess of Ormonde and Grace Louisa Staples, Anne Wandesford Butler married in 1838, the Right Honourable John Wynne of Hazelwood, Co. Sligo, which is now a distillery.
Another daughter, Louisa Grace Butler (1868-1896), the third eldest daughter of James Butler, 1st Marquess of Ormonde and Grace Louisa Staples, married Thomas Fortescue of Ravensdale, Co. Louth, 1st Baron Clermont in 1840.
The son of the 2nd Marquess, James Edward William Theobald Butler became the 3rd Marquess. His brother James Arthur Wellington Foley Butler (1849-1943), 4th Marquess, 22nd Earl of Ormonde, was the brother and heir to James Edward Butler, 3rd Marquess of Ormonde. He was educated at Harrow and joined the army becoming a lieutenant in the 1st Life Guards. He was state steward to the Earl of Carnarvon when Lord Lieutenant of Ireland. In 1887 he married Ellen Stager, daughter of American General Anson Stager.
As I mentioned earlier, it was James Arthur Norman Butler (1893-1971), 6th Marquess and 24th Earl of Ormonde, youngest son of James Arthur, 4th Marquess of Ormonde, who in 1967 sold the Castle.
From the website: “Today the first floor space is occuppied by three rooms: Anteroom, Library and Drawing Room, as it was in the 19th century. The processional lay out of the rooms, each opening into the next is characteristic of the Baroque style of the 17th century and was know as an ‘ enfilade’ suite of rooms. Baroque protocol dictated that visitors of lower rank than their host would be escorted by servants down the enfilade to the nearest room that their status allowed. In the 16th and 17th century the State Rooms were situated on this floor. 17th century history records that it was in these state apartments that James Butler 1st Duke of Ormonde received the Papal Nuncio Giovanni Battista Rinuccini during the Irish Confederate Wars of that century. An Anteroom was a small room used as a waiting room, that leads into a larger and more important room. The Anteroom and the room below, today the Serving Room, were constructed in the area where an earlier stone staircase was situated.” The anteroom features a reproduction poplin wallpaper and bronze figurines in niches.
The anteroom leads to the library. “The interior decoration is a faithful recreation of the furnishing style of the mid to late 19th century. Thanks to a salvaged fabric remnant found behind a skirting board, it was possible to commission the French silk poplin on the walls in its original pattern and colour from the firm of Prelle in Lyons in France. The claret silk damask curtains are also based on the originals were made in Ireland. One of the nine massive curtain pelmets is original and an Irish firm of Master Gilders faithfully reproduced matching gilt reproductions. The bookcases were also reproduced based on one original bookcase acquired by the OPW in the 1980s, this original with its 19th century glass stands in the right end corner of the library. The matching pair of pier mirrors over the mantelpieces was conserved and re gilded.”
“The magnificent Picture Gallery is situated in the east wing of Kilkenny Castle.This stunning space dates from the 19th century and was built primarily to house the Butler Family’s fine collection of paintings.“
From the website: “The Picture Gallery was built during the early nineteenth century building programme carried out by the architect William Robertson. It was constructed on earlier foundations. Robertston’s Picture Gallery, in keeping with his work on the rest of the castle, was in a Castellated Baronial style. Initially the gallery was built with a flat roof that had begun to cause problems shortly after its completion. The distinguished architectural firm of Deane and Woodward was called in during the 1860s to make changes to the overall design of the Picture Gallery block, and other corrections to Robertson’s work. These changes included the insertions of four oriels in the west wall and the blocking up of the eight windows, while another oriel added to the east wall…. The entire ceiling was hand painted by John Hungerford Pollen (1820-1902), then Professor of Fine Arts at Newman College, Dublin, using a combination of motifs ranging from the quasi-medieval to the pre-Raphaelite, with interlace, gilded animal and bird heads on the cross beam.“
“The Marble Fireplace is made of Carrara marble and was designed by J. H. Pollen also in a quasi-medieval style. It was supplied by the firm of Ballyntyne of Dorset Street, Dublin. Foliage carving attributed to Charles Harrison covers the chimneypiece and a frieze beneath is decorated with seven panels, showing the family coat of arms and significant episodes from the family’s long history. Starting on the left, the first panel shows the buying the castle by the first Earl of Ormond in 1391 from the Despenser family – money changing hands is shown. The second panel depicts Theobald Fitzwalter acting as Chief Butler to the newly crowned King of England highlighting their ancient royal privilege and upon which their surname of Butler is based. On the third panel, you see King Richard the Second acting as godfather for one of the infants of the Butler family in 1391. The centrepiece is the family crest which can also be seen over the arch and gateway, with the family motto “comme je trouve”- “as I find”, as well as the heraldic shield guarded, the falcon, the griffin (a legendary creature with the body of a lion and the head and wings of an eagle) and the ducal coronet. In the fifth panel, the 1st Duke of Ormond can be seen entering the Irish House of Lords still bearing his sword. Indeed, he refused to hand his weapon over as were the protocols in case it was used inside during an argument; this became known as The Act of Defiance. The sixth panel next to this symbolizes the charity of the Butler family showing Lady Ormonde giving alms to the poor. Finally, the sixth and last panel portrays the First Duke of Ormond’s triumphant return to Dublin from exile on the Restoration of Charles the Second in 1662, when he also established the Royal Hospital in Kilmainham and founded the Phoenix Park.”
Mark Bence-Jones tells us that the interior was largely redecorated and wood-carvings in the manner of Grinling Gibbons were introduced into some of the family rooms in the South Tower after the castle suffered damage 1922 during the Civil War, when, having been occupied by one side, it was attacked and captured by the other; the Earl of Ossory (afterwards 9th Marquess) and his wife being in residence at the time. In 1935 the Ormondes ceased to live in the castle, which for the next thirty years stood empty and deteriorating. It is now a wonderful place to visit, and has fifty acres of rolling parkland, a terraced rose garden, playground, tearoom and man-made lake, for visitors to enjoy.
28. St. Mary’s Church, Gowran, County Kilkenny:
General information: 056 772 6894, firstname.lastname@example.org
From the OPW website:
“This church was built in the late thirteenth century as a collegiate church and was served by a college – clerics who lived in a community but did not submit to the rule of a monastery.
The church was patronised by the Butler family and many early family members are commemorated here with elaborate medieval tombs. The impressive ruins were decorated by the Gowran Master whose stone carvings are immortalised in the poetry of Nobel Laureate Séamus Heaney.
The once medieval church was later partly reconstructed in the early 19th century and functioned as a Church of Ireland church until the 1970’s when it was gifted to the State as a National Monument. Today the restored part of the church preserves a collection of monuments dating from the 5th to the 20th centuries.“
 p. 75. Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
 p. 129. Great Irish Houses. Forewards by Desmond FitgGerald, Desmond Guinness. IMAGE Publications, 2008.
 p. 167. 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.
Carlow, Dublin, Kildare, Kilkenny, Laois, Longford, Louth, Meath, Offaly, Westmeath, Wexford and Wicklow are the counties that make up the Leinster region.
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.
29. Emo Court, County Laois – house closed at present
30. Heywood Gardens, County Laois
31. Corlea Trackway Visitor Centre, County Longford
32. Carlingford Castle, County Louth
33. Old Mellifont Abbey, County Louth – closed at present
34. Battle of the Boyne site, Oldbridge House, County Meath
35. Hill of Tara, County Meath
36. Loughcrew Cairns, County Meath – guides on site from June 16th 2022
37. Newgrange, County Meath
38. Trim Castle, County Meath
39. Clonmacnoise, County Offaly
40. Fore Abbey in County Westmeath
41. Ballyhack Castle, County Wexford – closed at present
42. Ferns Castle, County Wexford – closed at present
43. John F. Kennedy Arboretum, County Wexford
44. Tintern Abbey, County Wexford
45. Dwyer McAllister Cottage, County Wicklow – closed at present
46. Glendalough, County Wicklow
47. National Botanic Gardens Kilmacurragh, County Wicklow
29. Emo Court, County Laois:
General enquiries: 057 862 6573, email@example.com
From the OPW website:
“Emo Court is a quintessential neo-classical mansion, set in the midst of the ancient Slieve Bloom Mountains. The famous architect James Gandon, fresh from his work on the Custom House and the Four Courts in Dublin, set to work on Emo Court in 1790. However, the building that stands now was not completed until some 70 years later [with work by Lewis Vulliamy, a fashionable London architect, who had worked on the Dorchester Hotel in London and Arthur & John Williamson, from Dublin, and later, William Caldbeck].
The estate was home to the earls of Portarlington until the War of Independence forced them to abandon Ireland for good. The Jesuits moved in some years later  and, as the Novitiate of the Irish Province, the mansion played host to some 500 of the order’s trainees.
Major Cholmeley-Harrison took over Emo Court in the 1960s and fully restored it [to designs by Sir Albert Richardson]. He opened the beautiful gardens and parkland to the public before finally presenting the entire estate to the people of Ireland in 1994.
You can now enjoy a tour of the house before relaxing in its charming tearoom. The gardens are a model of neo-classical landscape design, with formal lawns, a lake and woodland walks just waiting to be explored.” 
Mark Bence-Jones tells us that the 1st Earl of Portarlington was interested in architecture and was instrumental in bringing James Gandon to Ireland, in order to build the new Custom House. The name Emo is an Italianised version of the original Irish name of the estate, Imoe. 
The Emo Court website tells us of the history:
“John Dawson, 1st Earl of Portarlington [1744-1798] commissioned the building of Emo Court in 1790 although the house was not finally completed until 1870, eighty years later. Emo Court is one of only a few private country houses designed by the architect James Gandon. Others were Abbeyville, north Co. Dublin for Sir James Beresford [or is it John Beresford (1738-1805)? later famous for being the home of politician Charles Haughey] and Sandymount Park, Dublin for William Ashford. In addition, Gandon built himself a house at Canonbrook, Lucan, Co. Dublin.” 
Many of Gandon’s original drawings, plus those of his successors, are currently on display in the Irish Architectural Archive, 45 Merrion Square, Dublin.  The Emo Court website continues:
“James Gandon was born in London of Huguenot descent. He studied classics, mathematics and drawing, attending evening classes at Shipley’s Academy in London. At the age of fifteen, James was apprenticed to the architect Sir William Chambers and about eight years later, set up in business on his own. His first connection with Ireland was in 1769 when he won the second prize of £60 in a competition to design the Royal Exchange in Dublin, now the City Hall. He was invited to build in St Petersburg, Russia, by Princess Dashkov, and offered an official post with military rank. However, he chose instead to accept an offer from Sir John Beresford and John Dawson, Lord Carlow, later 1st Earl of Portarlington, to come to Dublin to build a new Custom House. This was begun in 1781. The following year, Gandon was commissioned to make extensions to the Parliament House, originally designed by Sir Edward Lovett Pearce. Here he added a Corinthian portico as entrance to the Lords’ Chamber. After the Act of Union in 1801, the building became the Bank of Ireland. In 1785, Gandon was commissioned to design the new Four Courts. The third of his great Dublin buildings was the King’s Inns, begun in 1795. His few private houses were designed for patrons and friends.” [see 4]
The website continues: “In the early 18th century, Ephraim Dawson [1683-1746], a wealth banker, after whom Dawson Street in Dublin is named, purchased the land of the Emo Estate and other estates in the Queen’s County (Co. Laois). He married Anne Preston, heiress to the Emo Park Estate and fixed his residence in a house known as Dawson Court, which was in close proximity to the present Emo Court. His grandson, John Dawson, was created 1st Earl of Portarlington in 1785. Three years later, he married Lady Caroline Stuart, daughter of the [3rd] Earl of Bute, who was later Prime Minister of England. John Dawson commissioned Gandon to design Emo Court in 1790.“
“After Gandon died in 1823, to be buried in Drumcondra churchyard, the 2nd Earl of Portarlington, also John Dawson, engaged Lewis Vulliamy, a fashionable London architect, who had worked on the Dorchester Hotel in London and A. & J. Williamson, Dublin architects, to finish the house. In the period, 1824-36, the dining room and garden front portico with giant Ionic columns were built, but on the death of the 2nd Earl in 1845, the house still remained unfinished. It was not until 1860 that the 3rd Earl, Henry Ruben John Dawson [or Dawson-Damer, the son of the 2nd Earl’s brother Henry Dawson-Damer, who had the name Damer added to his name after the family of his grandmother, Mary Damer, who married William Henry Dawson, 1st Viscount Carlow] commissioned William Caldbeck, a Dublin architect, and Thomas Connolly, his contractor, to finish the double height rotunda, drawing room and library.” [see 4] Caldbeck also added a detached bachelor wing, joined to the main block by a curving corridor.
Although it was not built during Gandon’s time, most of the house is as it was designed by Gandon, wiht some additions or changes. Mark Bence-Jones describes the house:
“Of two storeys over a basement, the sides of the house being surmounted by attics so as to form end towers or pavilions on each of the two principal fronts. The entrance front has seven bay centre with a giant pedimented Ionic portico; the end pavilions being of a single storey, with a pedimented window in an arched recess, behind a blind attic with a panel containing a Coade stone relief of putti; on one side representing the Arts, on the other, a pastoral scene. The roof parapet in the centre, on either side of the portico, is balustraded. The side elevation, which is of three storeys including the attic, is of one bay on either side of a curved central bow.” [see 3]
Bence-Jones continues: “The house was not completed when the 1st Earl died on campaign during 1798 rebellion; 2nd Earl, who was very short of money, did not do any more to it until 1834-36, when he employed the fashionable English architect, Lewis Vulliamy; who completed the garden front, giving it its portico of four giant Ionic columns with a straight balustraded entablature, and also worked on the interior, being assisted by Dublin architects named Williamson. It was not until ca 1860, in the time of 3rd Earl – after the house had come near to being sold up by the Encumbered Estates Court – that the great rotunda, its copper dome rising from behind the garden front portico and also prominent on the entrance front, was completed; the architect this time being William Caldbeck, of Dublin, who completed the other unfinished parts of the house and added a detached bachelor wing, joined to the main block by a curving corridor.” [see 3]
The website continues: “Emo court remained the seat of the Earls of Portarlington until 1920, when the house and its vast demesne of over 4500 ha, (11,150 acres), was sold to the Irish Land Commission. After the Phoenix Park in Dublin, Emo Court was the largest enclosed estate in Ireland. The house remained empty until 1930 when 150 ha., including the garden, pleasure grounds, woodland and lake were sold to the Society of Jesus for a novitiate. The Jesuits made several structural changes to the building to suit their purposes, including the conversion of the rotunda and library as a chapel. The distinguished Jesuit photographer, Fr Frank Browne lived at Emo Court from 1930-57.  A notable novitiate was the Irish author, Benedict Kiely.
The Jesuits remained at Emo until 1969 and the property was eventually sold to Major Cholmeley Dering Cholmeley-Harrison. He embarked upon a long and enlightened restoration, commissioning the London architectural firm of Sir Albert Richardson & Partners to effect the restoration.
In 1994, President Mary Robinson officially received Emo Court & Parklands from Major Cholmeley-Harrison on behalf of the Nation.” [see 4]
Unfortunately Emo Park house has been closed to the public for renovation for several years, and was closed on the day we visited in July 2021. I am looking forward to seeing the interior, which from photographs and descriptions I have seen, look spectacular. From the outside we gain little appreciation of the splendid copper dome.
In the meantime, you can read more about Emo and see photographs of its interiors on the wonderful blog of the Irish Aesthete Robert O’Byrne. 
There are beautiful grounds to explore, however, on a day out at Emo, including picturesquely placed sculptures, an arboretum, lake, and walled garden. Here is a link to a beautiful short film by poet Pat Boran, about the statues at Emo Park, County Laois. https://bit.ly/35uXPO1
30. Heywood Gardens, Ballinakill, County Laois:
General enquiries: 086 810 7916, firstname.lastname@example.org
From the OPW website:
“The entrancing eighteenth-century landscape at Heywood Gardens, near Ballinakill, County Laois, consists of gardens, lakes, woodland and some exciting architectural features. The park is set into a sweeping hillside. The vista to the south-east takes in seven counties.
The architect Sir Edwin Lutyens designed the formal gardens [around 1906], which are the centrepiece of the property. It is likely that renowned designer Gertrude Jekyll landscaped them.
The gardens are composed of elements linked by a terrace that originally ran along the front of the house. (Sadly, the house is no more.) One of the site’s most unusual features is a sunken garden containing an elongated pool, at whose centre stands a grand fountain.
The Heywood experience starts beside the Gate Lodge. Information panels and signage will guide you around the magical Lutyens gardens and the surrounding romantic landscape.“
The gardens at Heywood were created by Michael Frederick Trench (1746-1836), at his home, Heywood House, a house which was unfortunately burnt down in 1950 (my father as a young boy was at a musical concert nearby and saw the house burning!). Heywood House was built around 1789, and was captured before it burned down in photographs in Country Life, volume XLV in 1919. The article tells us that after Michael Frederick Trench built the house in the 1770s, he landscaped the area between his house and the village of Ballinakill, moving hills, digging lakes (he made three artificial lakes), planting trees and placing follies. The house was named after his mother-in-law, Mary Heywood (daughter of a Drogheda merchant). He was an amateur architect, and designed the parish church of Swords, as well as an addition to the Rotunda in Dublin.  The garden, set within a 250 acre demesne, is, Andrew Tierney claims, the best of its kind in Ireland: a blend of the Arcadian and the Picturesque, above which Edwin Lutyens later erected his walled terraces and enclosures.  One of the follies is a window from nearby Aghaboe Abbey (my grandfather had owned this property until the land was bought by compulsory purchase by the Land Commission in 1977).
Heywood House was inherited by the Domvile family in the mid 19th century (Michael Frederick’s daughter Helena married Comptom Pocklington Domvile, 1st Baronet Domvile, of Templeogue and Santry, Dublin), and later enlarged by Lt-Col William Hutchison-Poë, 1st Baronet Hutchison-Poë, in 1875, who had married Helena’s granddaughter Mary Adelaide Domvile. It was then bought by the Salesian Fathers in 1923. It was transferred to State ownership in November 1993 from the Salesian Fathers.
It was only in around 1906 that Lutyens added to the gardens. Sean O’Reilly describes his addition:
“Lutyens worked on the gardens from about 1906. He complemented the strong architectural framework with an informal planting style, following the same combination of structure and nature developed at Lambay and made popular with his associate – and Country Life author – Gertrude Jekyll. Laying out the garden in a series of terraces and stepped passageways exploding east and west from the falling southern terraces of the house itself, the architect shaped these spaces with a bewildering variety of retaining walls – vertical and battered, stepped and sheer – screen walls – straight and curved, large and dwarf – columns, steps and architectural artifacts.” 
Tierney describes the garden: The gardens stretch from the principal gates for almost a kilometer and a half, incorporating a sequence of three adjoining lakes and a fourth, further east, and areas of rolling parkland skirted by woodlands. Trench named each part of his garden after Alpine scenery. Trench’s Gothic follies include the Abbeyleix gate, an arrangement of octagonal towers joined by a Tudor-arched gateway. The Trench coat of arms is visible to the right of the gateway arch. From this gate the winding drive opens to Trench’s valley. Nearby, marking a split in the road, is the Spire, a shaft raised in memory of Trench’s friend Andrew Caldwell. Further along is a sham castle. High up behind that isa bridge, and a ruin, on the other side, with the Aghaboe windows. Up the pathway is the Gothic Greenhouse, a brick construction with five lancets with hood mouldings. On the east side of the lake is a grotto or bath house. On the east side of the demesne is the Trench mausoleum. [see 10]
The Lutyens garden descends to a sunken garden, with terraced borders leading down to a pool surrounded by bronze tortoises perched on stone balls. On the east side of the pond Luytens created a Pavilion with Portland stone dressings, terracotta tiled roof and saucer-domed interior, containing two Corinthian capitals rescued by Trench from the Parliament House in Dublin, which he was involved in remodelling. The north wall had busts of philosphers in oval niches, now replaced by urns.
For more on the gardens, see the blog of the Irish Aesthete, Robert O’Byrne. 
31.Corlea Trackway Visitor Centre, Kenagh, County Longford:
General enquiries: 043 332 2386, email@example.com
From the OPW website:
“Hidden away in the boglands of Longford, not far from Kenagh village, is an inspiring relic of prehistory: a togher – an Iron Age road – built in 148 BC. Known locally as the Danes’ Road, it is the largest of its kind to have been uncovered in Europe.
Historians agree that it was part of a routeway of great importance. It may have been a section of a ceremonial highway connecting the Hill of Uisneach, the ritual centre of Ireland, and the royal site of Rathcroghan.
The trackway was built from heavy planks of oak, which sank into the peat after a short time. This made it unusable, of course, but also ensured it remained perfectly preserved in the bog for the next two millennia.
Inside the interpretive centre, an 18-metre stretch of the ancient wooden structure is on permanent display in a hall specially designed to preserve it. Don’t miss this amazing remnant of our ancient past.“
32. Carlingford Castle, County Louth:
From the OPW website:
“Carlingford lies in the shade of Slieve Foye, a mountain that in legend takes its form from the body of the sleeping giant Finn MacCumhaill. The castle dominates the town and overlooks the lough harbour. It was a vital point of defence for the area for centuries.
Carlingford Castle was built around 1190, most likely by the Norman baron Hugh de Lacy. By this time Hugh’s family had grown powerful enough to make King John of England uneasy. John forced them into rebellion and seized their property in 1210. He reputedly stayed in his new castle himself. It is still known as King John’s Castle.
The Jacobites fired on the castle in 1689; William of Orange is said to have accommodated his wounded soldiers there following the Battle of the Boyne.
Carlingford Lough Heritage Trust provides excellent guided tours of this historic Castle from March to October.“
By 1778 the building was ruinous. The task of repair and preservation was begun by the Henry Paget the 1st Marquess of Anglesey in the later nineteenth century (he served as Lord Lieutenant of Ireland from 1848, and as Master General of the Ordinance), and has been continued by the OPW. 
33. Old Mellifont Abbey, Tullyallen, Drogheda, County Louth:
General enquiries: 041 982 6459, firstname.lastname@example.org. Mellifont means “fountain of honey.”
From the OPW website:
“Mellifont Abbey was the first Cistercian monastery in Ireland. St Malachy of Armagh created it in 1142 with the help of a small number of monks sent by St Bernard from Clairvaux [and with the aid of Donough O’Carroll, King of Oriel – see 14]. The monks did not take well to Ireland and soon returned to France, but the abbey was completed anyway and duly consecrated with great pomp.
It has several extraordinary architectural features, the foremost of which is the two-storey octagonal lavabo [the monk’s washroom].
The monks at Mellifont hosted a critical synod in 1152. The abbey was central to the history of later centuries, too, even though it was in private hands by then. The Treaty of Mellifont, which ended the Nine Years War, was signed here in 1603, and William of Orange used the abbey as his headquarters during the momentous Battle of the Boyne.“
The ruins contain the medieval gatehouse, parish church, chapter house and lavabo. The octagonal lavabo was designed as a freestanding structure of two storeys, with an octagonal cistern to supply the water located at the upper level over the wash room. Wash basins were arranged around a central pier, now gone, which supported the weight of the water above.  The entire monastery was surrounded by a defensive wall. After the dissolution of the monasteries, Mellifont was acquired in 1540 by William Brabazon (died 1552), Vice Treasurer of Ireland, and passed later to Edward Moore (Brabazon’s wife Elizabeth Clifford remarried three times after Brabazon’s death, and one of her husbands was Edward Moore), who established a fortified house within the ruins around 1560. His descendents (Viscounts of Drogheda) lived there until 1727 (until the time of Edward Moore, 5th Earl of Drogheda), after which the house, like the abbey, fell into disrepair.
Garret Moore, 1st Viscount of Drogheda, hosted the negotiations which led to the Treaty of Mellifont in 1603.
34. Battle of the Boyne site and visitor centre, Oldbridge House, County Meath.
General Enquiries: 041 980 9950, email@example.com
The Battle of the Boyne museum is housed in Oldbridge Hall, which is built on the site where the Battle of the Boyne took place.
From the website:
“Oldbridge House was built in the 1740’s by either John Coddington or his nephew Dixie Coddington. [John Coddington purchased the land in 1724 from Henry Moore the 4th Earl of Drogheda.]
It is believed to have been designed by George Darley, a local mason architect who also designed the renovated Dunboyne Castle, Dowth House and The Tholsel in Drogheda, Co. Louth.
To the left of the house there is a cobble stone stable yard with fine cut stable block. This originally contained coach houses, stables, tack and feed rooms.
To the right of the house is a small enclosed courtyard which contains the former butler’s house which is not open to the public.” 
Oldbridge House was purchased by the state in 2000, and renovation began.
Oldbridge House is a three storey house with a plain ashlar frontage of seven bays, with the centre three widely spaced and set somewhat advanced from the rest of the facade. Quadrant walls link the house to its park, with rusticated doors. The house is of two dates. Originally, in around 1750 it was a three bay, three storey block with low single-storey wings, and in around 1832, two floors were added to each wing, said to be by Frederick Darley. Similarity to nearby Dowth Hall suggests the involvement of the earlier and related George Darley in the original design.  It has a centrally located tripartite doorcase with pilasters surmounted by a closed pediment, which holds a canonball from the fields of the Battle of the Boyne. It has a string course between ground and first floors and sill course to first floor, and three central windows on first floor with stone architraves. 
An ancestor of Stephen’s, Elizabeth Coddington (1774-1857), grew up in Oldbridge House! She married Edward Winder (1775-1829). The son of John Coddington who purchased the land predeceased his father so John’s nephew, Dixie (1725-1794), son of his brother Nicholas, inherited. Dixie in turn had no sons, so the estate passed to his brother Henry. Dixie is also associated with Tankardstown House, a section 482 property. Henry Coddington (1734-1816) was father to Stephen’s ancestor Elizabeth. Henry was a barrister, and served as MP for Dunleer, County Louth, and he married Elizabeth Blacker from Ratheskar, County Louth.
The Battle of the Boyne was just one of several battles that took place in Ireland when the rule of King James II was challenged by his son-in-law, a Dutch Protestant Prince, William of Orange. James II was Catholic, and he attempted to introduce freedom of religion, but this threatened families who had made gains under the reformed Protestant church. When James’s wife gave birth to a male heir in 1688, many feared a permanent return to Catholic monarchy and government. In November 1688, seven English lords invited William of Orange to challenge the monarchy of James II. William landed in England at the head of an army and King James feld to France and then to Ireland. William followed him over to Ireland in June 1690.
“On 1 July 1690 (Old Style), King William III clashed with his father-in-law, King James II, on the River Boyne at Oldbridge, County Meath.
Both kings commanded their armies in person. There were 36,000 men on the Williamite side and 25,000 on the Jacobite side. It was the largest number of troops ever deployed on an Irish battlefield. English, Scottish, Dutch, Danes and Huguenots (French Protestants) made up William’s army (Williamites), while James’ men (Jacobites) were mainly Irish Catholics, reinforced by 6,500 French troops sent by King Louis XIV. At stake were the British throne, French Dominance in Europe and religious power in Ireland.
William’s camp was on the north side of the river. James’s was on the south side with the two armies facing each other. William’s battle plan was to trap the Jacobite army in a pincer movement. He sent 10,000 men towards Slane which drew the bulk of the Jacobities upstream in response. With 1,300 Jacobites posted in Drogheda, only 6,000 were left at Oldbridge to confront 26,000 Williamites. All the fighting took place on the south side of the river, as the vastly outnumbered Jacobites defended their position against the advancing Williamites. William himself crossed at Drybridge with 3,500 mounted troops.
The pincer movement failed. King James’s army retreated across the River Nanny at Duleek and regrouped west of the Shannon to carry on the war.
Approximately 1,500 soldiers were killed at the Boyne.” 
After winning the battle, William gained control of Dublin and the east of Ireland. However, the war continued until the Battle of Aughrim in July 1691, which led to the surrender at Limerick the following autumn. The surrender terms promised limited guarantees to Irish Catholics and allowed the soldiers to return home or to go to France. The Irish Parliament however then enacted the Penal Laws, which ran contrary to the treaty of Limerick and which William first resisted, as he had no wish to offend his European Catholic allies.
The gardens of Oldbridge House have been resotred, with an unusual sunken octagonal garden, peach house, orchard and herbaceous borders, with a tearoom in the old stable block. Throughout the year outdoor theatre, workshops and events such a cavalry displays and musket demonstrations help to recreate a sense of what it might have been like on that day in July 1690.
35.Loughcrew Cairns, Corstown, Oldcastle, County Meath:
general enquiries: 087 052 4975, firstname.lastname@example.org
From the OPW website:
“The Loughcrew cairns, also known as the Hills of the Witch, are a group of Neolithic passage tombs near Oldcastle in County Meath. Spread over four undulating peaks, the tombs are of great antiquity, dating to 3000 BC.
Cairn T is one of the largest tombs in the complex. Inside it lies a cruciform chamber, a corbelled roof and some of the most beautiful examples of Neolithic art in Ireland. The cairn is aligned to sunrise at the spring and autumn equinoxes and at these times people gather there to greet the first rays of the sun.“
36. Bru na Boinne Visitor Centre, Newgrange and Knowth, County Meath.
General Information: 041 988 0300, email@example.com
From the website:
“The World Heritage Site of Brú na Bóinne is Ireland’s richest archaeological landscape and is situated within a bend in the River Boyne. Brú na Bóinne is famous for the spectacular prehistoric passage tombs of Knowth, Newgrange and Dowth which were built circa 3200BC. These ceremonial structures are among the most important Neolithic sites in the world and contain the largest collection of megalithic art in Western Europe.“
37.Hill of Tara, Navan, County Meath:
General information: 046 902 5903, firstname.lastname@example.org
From the OPW website:
“The Hill of Tara has been important since the late Stone Age, when a passage tomb was built there. However, the site became truly significant in the Iron Age (600 BC to 400 AD) and into the Early Christian Period when it rose to supreme prominence – as the seat of the high kings of Ireland. All old Irish roads lead to this critical site.
St Patrick himself went there in the fifth century. As Christianity achieved dominance over the following centuries, Tara’s importance became symbolic. Its halls and palaces have now disappeared and only earthworks remain.
There are still remarkable sights to be seen, however. Just one example is the Lia Fáil – the great coronation stone and one of the four legendary treasures of the Tuatha Dé Danann – which stands proudly on the monument known as An Forradh.
Guided tours of the site will help you understand the regal history of this exceptional place and imagine its former splendour.“
38.Trim Castle, County Meath:
General information: 046 943 8619, email@example.com
From the OPW website:
“Few places in Ireland contain more medieval buildings than the heritage town of Trim. Trim Castle is foremost among those buildings.
In fact, the castle is the largest Anglo-Norman fortification in Ireland. Hugh de Lacy and his successors took 30 years to build it.
The central fortification is a monumental three-storey keep. This massive 20-sided tower, which is cruciform in shape, was all but impregnable in its day. It was protected by a ditch, curtain wall and water-filled moat.
Modern walkways now allow you to look down over the interior of the keep – a chance to appreciate the sheer size and thickness of the mighty castle walls.
The castle is often called King John’s Castle although when he visited the town he preferred to stay in his tent on the other side of the river. Richard II visited Trim in 1399 and left Prince Hal later Henry V as a prisoner in the castle.” I never knew we had such a link to King Henry V and Shakespeare’s play, Henry IV!
Patrick Comerford gives an excellent history of Trim Castle in his blog.  The castle stands within a three acre bailey, surrounded by a defensive perimeter wall. The curtain wall of the castle is fortified by a series of semicircular open-back towers. There were two entrances to Trim Castle, one, beside the car park, is flanked by a gatehouse, and the second is a barbican gate and tower. 
We visited in May 2022, after visiting St. Mary’s Abbey (also called Talbot’s Castle) – more on that soon. We were late entering so the entry to inside the castle was closed, unfortunately – we shall have to visit again!
The information board tells us that in 1182 when Hugh de Lacy was granted the Liberty of Meath, he occupied this site bounded by the River Boyne to the north and marshy ground to the south. By 1175 his original wooden fortification had been replaced by this unusual keep, later surrounded by curtain walls with a simple gate to the north and a bridge across the moat. The south curtain wall with its D shaped buildings was completed by 1200, when new siege tactics forced a change in the design of castles. Later, the forebuildings and plinth were built, protecting the entrance and base of the keep.
Sometime before 1180, Hugh de Lacy replaced the timber palisade fence enclosing the keep with a stone enclosure. The fore-court enclosed stables and stores and protected the stairway and door to the keep. The new entrance was on the north side of the enclosure and had a drawbridge over the deepened ditch.
With the development of the curtain walls, the inner enclosure became obsolete.
The ditch was filled and three defensive towers – two survive – were built on its site. The drawbridge was replaced by a stone causeway leading to an arched gate and entrance stairway. A reception hall was built to accommodate visitors before they entered the Keep.
As the town and approach roads developed, the barbican gate provided a new entrance from the south. After the siege of 1224, the north curtain walls, towers and Trim gate required major repairs. During a period of prosperity in the second half of the 13th century, the great hall and solar were constructed on the site of the north curtain wall and tower. Trim and its abbeys and the Cathedral and borough of Newtown developed in the security of the castle.
The Boyne was used for transport of goods to the river gate. Stores, workshops and kitchens were built in the castle yard.
Though the castle buildings were often adapted to suit changing military and domestic needs, much of the fabric of Trim Castle has remained unchanged since the height of Anglo-Norman power in Ireland.
The information board tells us that courts, parliaments, feasts and all issues relating to the management of the Lordship were discussed at meetings in the Great Hall. After 1250, the great public rooms in the Keep were considered unsuitable for such gatherings, so this hall was built, lit by large windows with a view of the harbour and the Abbey of St. Mary’s across the river. The hall had a high seat at the west end, with kitchens and undercroft cellars to the east. Ornate oak columns rising from stone bases supported the great span of the roof.
The hall was heated from a central hearth and vented by a lantern-like louvre in the roof.
Early in the 13th century the weirs were completed on the Boyne, allowing the moat to be flooded, and the Leper River was channelled along the south curtain wall. A new gate was constructed guarding the southern approaches to the castle. This gatehouse, of a rare design, was built as a single cylindrical tower with a “barbican,” defences of a forward tower adn bridge. An elaborate system of lifting bridges, gates and overhead traps gave the garrison great control over those entering the castle. The arrangement of plunging loops demonstrates the builders’ knowledge of the military requirements of defending archers.
By the middle of the 13th century, the design of castle gates was further developed and a twin tower gatehouse with a passage between the two towers became standard.
39. Clonmacnoise, County Offaly:
General information: 090 9674195, firstname.lastname@example.org
From the OPW website:
“St Ciarán founded his monastery on the banks of the River Shannon in the 6th Century. The monastery flourished and became a great seat of learning, a University of its time with students from all over Europe.
The ruins include a Cathedral, two round Towers, three high crosses, nine Churches and over 700 Early Christian graveslabs.
The original high crosses, including the magnificent 10th century Cross of the Scriptures area on display in a purpose built visitor centre adjacent the monastic enclosure.
An audiovisual presentation will give you an insight into the history of this hallowed space.“
45. Fore Abbey in County Westmeath:
“Fore” comes from the Irish “fobhar” meaning well or spring.
From the OPW website:
“In a tranquil valley in the village of Fore, about a 30-minute drive from Mullingar in County Westmeath, you can visit the spot where St Feichin founded a Christian monastery in the seventh century AD.
It is believed that, before Feichin’s death, 300 monks lived in the community. Among the remains on the site is a church built around AD 900. There are also the 18 Fore crosses, which are spread out over 10 kilometres on roadways and in fields.
Seven particular features of the site – the so-called ‘Seven Wonders of Fore’ – have acquired legendary status. They include: the monastery built on a bog; the mill without a race (the saint is said to have thrust his crozier into the ground and caused water to flow); and the lintel stone raised by St Feichin’s prayers.
St Feichin’s Way, a looped walk around the site, provides an excellent base from which to explore these fabled places.“
The Benedictine Priory was founded around 1180 by Hugh de Lacy, the first Viceroy of Ireland. Before this there was a monastery in Fore, founded by Feichin in the seventh century. The Benedictines had a link with France and its first monks came from France. The Priory sufffered plundering attacks so needed defensive towers and fortification. It was built around a Cloister or courtyard.
The “columbarium” mentioned in the diagram is a house for keeping pigeons – we saw one previously at Moone Abbey tower, and there is one at Fore.
The monastery founded at Fore in the seventh century by St Feichin, a Sligo-born holy man who travelled widely in Ireland, was large and prosperous but was superceded by Fore Abbey, the nearby Benedictive abbey founded by the Norman deLacys. The remaining building of St Feichins is the church, which was built in the tenth century. A new chancel was added around 1200, and the arch leading to this was re-erected in 1934. The east window was inserted in the 15th century.
The Anchorite’s Cell is a small tower with attached chapel. The tower had two storeys and on the top floor lived a number of Anchorites, or hermits. The chapel has a vault below, the crypt of the Nugent family of nearby Castle Delvin and Clonyn Castle, Earls of Westmeath. Delvin, or Castletown-Delvin, was granted by Hugh de Lacy to his son-in-law Gilbert de Nugent. The 1st Earl of Westmeath was Richard Nugent (1583-1642). His father was Christopher Nugent, 5th Baron Delvin.
46.Ballyhack Castle, Arthurstown, County Wexford
General enquiries: 051 398 468, email@example.com
from the OPW website:
“Ballyhack Castle commands an imperious position on a steep-sided valley overlooking Waterford Estuary. It is thought that the Knights Hospitallers of St John, one of the two mighty military orders founded at the time of the Crusades, built this sturdy tower house around 1450.
The tower is five stories tall and the walls survive complete to the wall walk. Built into the north-east wall of the second floor is a small chapel complete with a piscina, aumbry and altar. The entrance to the castle is protected externally by a machicolation and internally by a murder hole – that is, an opening through which defenders could throw rocks or pour boiling water, hot sand or boiling oil, on anyone foolish enough to attack.
Currently on display at Ballyhack Castle are assorted items of replica armour relating to the Crusades and the Normans – guaranteed to ignite the imagination!“
47. Ferns Castle, County Wexford:
General information: 053 9366411, firstname.lastname@example.org
From the OPW website:
“Before the coming of the Normans, Ferns was the political base of Diarmait Mac Murchada, king of Leinster. William, Earl Marshall built the castle around 1200. Since then it has had many owners, of diverse political and military colours.
Originally, the castle formed a square, with large corner towers. Only half of the castle now stands, although what remains is most impressive. The most complete tower contains a beautiful circular chapel, several original fireplaces and a vaulted basement. There is a magnificent view from the top.
There is an extraordinary artefact to be seen in the visitor centre. The Ferns Tapestry showcases the pre-Norman history of the town via the thousand-year-old art of crewel wool embroidery. Stitched by members of the local community, the 15-metre-long tapestry comprises 25 panels of remarkable accomplishment and beauty.“
48.John F. Kennedy Arboretum, County Wexford:
General Information: 046 9423490, email@example.com
When John F. Kennedy died, a number of Irish-American societies expressed the wish to establish a tribute to him in Ireland. The Irish government suggested a national arboretum, and secured 192 acres surrounding Ballysop House, just six kilometres from the Kennedy ancestral home at Dunganstown, County Wexford. The arborterum is planted in two interwoven botanical circuits: one of broadleaves and the other of conifers. The Arboretum was formally opened on 29th May 1968.
From the OPW website:
“Dedicated to the memory of John F. Kennedy, whose great-grandfather, Patrick, was born in the nearby village of Dunganstown, this arboretum near New Ross, County Wexford, contains a plant collection of presidential proportions.
It covers a massive 252 hectares on the summit and southern slopes of Slieve Coillte and contains 4,500 types of trees and shrubs from all temperate regions of the world. There are 200 forest plots grouped by continent. Of special note is an ericaceous garden with 500 different rhododendrons and many varieties of azalea and heather, dwarf conifers and climbing plants.
The lake is perhaps the most picturesque part of the arboretum and is a haven for waterfowl. There are amazing panoramic views from the summit of the hill, 271 metres above sea level. A visitor centre houses engaging exhibitions on JFK and on the Arboretum itself.“
Along the northern perimeter of the site are some 200 forest plots. Each covers an area of one acre and comprises a single species of forestry tree. These provide information on the performance of different types of plantation species in the Irish climate.
Through the garden are a number of trails, and a miniature train runs during the summer, and there is a cafe.
49.Tintern Abbey, County Wexford:
General information: 051 562650, firstname.lastname@example.org
From the OPW website:
“This Cistercian monastery was founded c. 1200 by William, Earl Marshal on lands held through his marriage to the Irish heiress, Isabella de Clare [daughter of Strongbow]. This abbey, founded as a daughter-house of Tintern Major in Wales is often referred to as Tintern de Voto.
The nave, chancel, tower, chapel and cloister still stand. In the 16th century the old abbey was granted to the Colclough family [Anthony Colclough (d. 1584) was a soldier and the land was granted to him after the dissolution of the monasteries] and soon after the church was partly converted into living quarters and further adapted over the centuries. The Colcloughs occupied the abbey from the sixteenth century until the mid-twentieth.”
The Colclough (pronounced Coakley) family lived there until 1958, when it was presented to the state by Lucy Biddulph-Colclough. Anthony’s son Thomas married Martha Loftus, daughter of Adam Loftus, Lord Archbishop of Dublin, who built Rathfarnham Castle in Dublin. Their son Adam Colclough became 1st Baronet of Tintern Abbey, County Wexford. The 3rd Baronet had no heir so the title expired and the lands passed to his sister Margaret. She married firstly, in 1673, Robert Leigh, of Rosegarland, who thereupon assumed the surname of Colclough; and secondly, in 1696, John Pigott, of Kilfinney, County Limerick, who also assumed the surname of Colclough. She was succeeded by a relative, Caesar Colclough (1696-1766), eldest son of Dudley Colclough, of Duffrey Hall. The property passed through generations until it was donated to the state.
The website continues: “Conservation works have included special measures to protect the local bat colonies. The abbey is set in a special area of conservation and is surrounded by woodland within which are walking trails. Not to be missed is the restored Colclough Walled Garden situated within the old estate.“
Following the donation of Tintern Abbey to the Irish State in 1959 the walled garden was abandoned to nature and became overgrown. The gradual restoration of the walled garden by a team of volunteers began in 2010 and the 1830s layout shown on the Ordnance Survey was reinstated. The restored garden, which opened to the public in 2012, is divided into two sections: the Ornamental Garden and the Kitchen Garden.
50. Dwyer McAllister Cottage, County Wicklow:
From the OPW website:
“This thatched and whitewashed cottage nestles in the shade of Keadeen Mountain off the Donard to Rathdangan road in County Wicklow.
Today, it seems like an unlikely site of conflict. However, in the winter of 1799 it was a different story. It was from this cottage that the famed rebel Michael Dwyer fought the encircling British. One of Dwyer’s compatriots, Samuel McAllister, drew fire upon himself and was killed. This allowed Dwyer to make good his escape over the snow-covered mountains.
The cottage was later destroyed by fire and lay in ruins for almost 150 years. It was restored to its original form in the twentieth century. Now, it contains various items of the period – both those that characterised everyday life, such a roasting spit and a churn, and those that only appeared in the throes of combat, such as deadly pikes.“
51.Glendalough, County Wicklow:
General information: 0404 45352, email@example.com
From the OPW website:
“In a stunning glaciated valley in County Wicklow, in the sixth century, one of Ireland’s most revered saints founded a monastery. The foundation of St Kevin at Glendalough became one of the most famous religious centres in Europe.
The remains of this ‘Monastic City’, which are dotted across the glen, include a superb round tower, numerous medieval stone churches and some decorated crosses. Of particular note is St Kevin’s Bed, a small man-made cave in the cliff face above the Upper Lake. It is said that St Kevin lived and prayed there, but it may actually be a prehistoric burial place that far predates him.“
52. National Botanic Gardens Kilmacurragh, County Wicklow:
General Information: 0404 48844, firstname.lastname@example.org
Kilmacurragh House was home to seven generations of the Acton family. It was built in 1697 by Thomas Acton, whose father came to Ireland as part of Oliver Cromwell’s army, for which he was granted the lands surrounding the ruined abbey of St. Mochorog. The five bay Queen Anne house is thought to be the work of Sir William Robinson, who is better known today for his work at Marsh’s Library in Dublin, the Royal Hospital Kilmainham, Dublin Castle and Charles Fort, Kinsale, County Kerry. 
From the OPW website:
“There was a monastery at Kilmacurragh, in this tranquil corner of County Wicklow, in the seventh century, and a religious foundation remained right up until the dissolution of the monasteries. After Cromwell invaded the land passed to the Acton family.
By the time the estate came to Thomas Acton in 1854, an unprecedented period of botanical and geographical exploration was afoot. In collaboration with the curators of the National Botanic Gardens, Acton built a new and pioneering garden.
In 1996, a 21-hectare portion of the old demesne officially became part of the National Botanic Gardens of Ireland. The following ten years were spent giving the estate’s rare and beautiful plants a new lease of life.
Kilmacurragh is now part of the National Botanic Gardens, providing a complementary collection of plants to its parent garden at Glasnevin. Arrive in spring to witness the transformation of the walks, as fallen rhododendron blossoms form a stunning magenta carpet.“
“The Gardens lies within an estate developed extensively during the nineteeth century by Thomas Acton in conjunction with David Moore and his son Sir Frederick Moore, Curators of the National Botanic Gardens at that time. It was a period of great botanical and geographical explorations with numerous plant species from around the world being introduced to Ireland for the first time. The different soil and climatic conditions at Kilmacurragh resulted in many of these specimens succeeding there while struggling or failing at Glasnevin. Kilmacurragh is particularly famous for its conifer and rhododendron collections.” 
Thomas Acton’s son William married Jane Parsons of Birr Castle. Their son Thomas Acton inherited, then his son Lt Col William and then his son Thomas (1826-1908). Along with his sister Janet, he had a passion for collecting plants. They travelled to the Americas and Asia in search of plants, and established one of the finest arboreta in Ireland, and formed a friendship with David Moore, curator of the National Botanic Gardens in Dublin. Thomas died unmarried in 1908 and Kilmacurragh was inhierted by his nephew, Captain Charles Annesley Acton, who had been born in Peshawar. However, he was killed fighting in World War I as was his brother Reginald. Thus in eight years, three consecutive owners of Kilmacurragh had died, inflicting death duties amounting to 120% of the value of the property. The Actons were forced to sell the estate. The house fell into ruin and the arboretum became overgrown. The state acquired Kilmacurragh in 1996 and have restored the arboretum, making it part of the National Botanic Gardens.
 p. 336. Tierney, Andrew. The Buildings of Ireland: Central Leinster: Kildare, Laois and Offaly. Yale University Press, New Haven and London, 2019.
 p. 119. Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988, Constable and Company Ltd, London.
I have 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 email@example.com and should be able to assist you with your query.“
Well, I have another email to write! I’ll keep you posted…
1. Aras an Uachtarain, Phoenix Park, Dublin
2. Arbour Hill Cemetery, Dublin
3. Ashtown Castle, Phoenix Park, Dublin – closed at present
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
1. Aras an Uachtarain, Phoenix Park, Dublin 8:
general enquiries: (01) 677 0095
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.” 
We attended a few of President Higgins’s summer parties at the Aras. These are open to the public, by booking tickets.
Phoenix Park was originally formed as a royal hunting Park in the 1660s, created by James Butler the Duke of Ormond. A large herd of fallow deer still remain to this day. Since it was a deer park it needed a park ranger. One of the park chief rangers was Nathaniel Clements (1705-1777), who was also an architect, and it was he who built the original house in 1751 which became the Aras. Clements was also an MP in the Irish Parliament. He accumulated much property including Abbotstown in Dublin, and estates in Leitrim and Cavan. In Dublin, he developed property including part of Henrietta Street, where he lived in number 7 from 1734 to 1757. Another house he designed, which is sometimes on the Section 482 list, is Beauparc in County Meath, and another Section 482 property, Lodge Park in County Kildare. I hope to visit both this year! Desmond Fitzgerald also attributed Colganstown to him, though this is not certain, a house we visited in 2019. 
The administration of the British Lord Lieutenant bought the house from Nathaniel Clements’ son Robert 1st Earl of Leitrim in 1781, to be the personal residence for the Lord Lieutenant. In 1781 the Viceroy, or Lord Deputy, was Frederick Howard, 5th Earl of Carlisle. At first it served as a summer residence. The building was rebuilt and named the Viceregal Lodge.
The Entrance Hall dates from 1751 from the time of Nathaniel Clements, and features a magnificent barrel-vaulted ceiling with plaster busts in the ceiling coffers.
The house was extended when acquired for the Vice Regents to reflect its increased ceremonial importance. Mark Bence-Jones tells us that after being bought by the government, the house was altered and enlarged at various times. In 1802 Robert Woodgate made some alterations to the house.
Additional work was carried out by Michael Stapleton – who was an architect as well as noted stuccadore – and Francis Johnston. An extra storey was added to the wings and in 1815 Johnston extended the garden front by 5 bays projecting forwards, and in the centre of this front he added the pedimented portico of four giant Ionic columns which is the house’s most familiar feature. The ballroom/state reception room was added at this time.
It was not until the major renovations in the 1820s that the Lodge came to be used regularly by Viceroys. See my footnotes for some portraits of Vicereines and Viceroys who may have lived in the Aras. In the 1820s the Lord Deputy was Richard Wellesley, 1st Marquess Wellesley, 2nd Earl of Mornington, brother of the Duke of Wellington of Waterloo fame.
In 1840 Decimus Burton laid out the formal gardens.
The office of Lord Lieutenant was abolished in 1922 when the Irish Free State came into being. From 1922 until 1932 it was the residence of the Governor-General of the Irish Free State. In 1937 when the office of President of Ireland was established, the house became the house of the president.
The State Reception Room (formerly the ballroom) features a plaster cast of a Lafranchini panel in the ceiling. The original ceiling from which the plaster cast was taken is in a house we visited in June 2022 in Cork, which is a section 482 property and which I will be writing about: Riverstown House. The Lafranchini brothers were 18th century Swiss stuccodores who also worked on Carton and Castletown Houses.
During the incumbency of President Sean T. O’Kelly in 1948, a mid-C18 plasterwork ceiling attributed to Cramillion representing Jupiter and the Four Elements, with figures half covered in clouds, was brought from Mespil House, Dublin, which was then being demolished, and installed in the President’s Study, one of the two smaller rooms in the garden front of the original house, which we did not see. The Mespil House ceiling was brought here at the instigation of Dr. C.P. Curran, who was also instrumental in having casts made of the plasterwork by the Francini at Riverstown House, Co. Cork, which then seemed in danger; and which have been installed in the ballroom and in the adjoining corridor.
The State Corridor, also called the Lafranchini Corridor, leads from the Entrance Hall past the State Reception Room. This corridor was originally part of the orchtestra pit for the adjoining ballroom. One side of the corridor is lined with bronze busts of Irish Presidents mounted on marble columns and the other side features stucco panels showing classical figures. These too are casts taken from Riverstown House. The State corridor also had a fireplace by 18th century Italian craftsman, Bossi, whose family knew the secret of how to colour marble.
The Council of State Room is part of the original 1751 house. The ceiling depicts three of Aesop’s Fables – the Fox and the Stork, the Fox and the Crow and the Fox and the Grapes.
The State Drawing Room is also part of the original house and the its rich gilt ceiling dates from then.
The East Wing was added in 1849 for a visit of Queen Victoria. Jacob Owen designed the dining room and matching drawing room in 1849. George Villiers, 4th Earl of Clarendon would have been Viceroy at that time (1800-1870). The Queen planted a Wellingtonia Gigantea tree which is still standing (others have planted trees also, including Queen Alexandria and Barak Obama, Charles de Gaulle, John F. Kennedy, Pope John Paul II and King Juan Carlos of Spain).
The State Dining Room contains furniture by James Hicks of Dublin, and portraits of past Presidents. The early 19th century fireplaces were originally a gift to Archbishop Murray of Dublin in 1812 “by his flock” for his residence at 44 Mountjoy Square, and were brought to the house in 1923, upon the sale of the house in Mountjoy Square, by the first Governor General of the Irish Free State, Tim Healy.
A new part of the West Wing was added for the visit of George V in 1911. The gardens were created in 1840 by Decimus Burton with later additions by Ninian Niven, who designed Iveagh Gardens in Dublin. Decimus Burton also designed many gardens in London including St. James’s Park, Hyde Park Corner and Regent’s Park. He was also an architect. The gardens contain many Victorian features including ceremonial trees, an arboretum, wilderness, pleasure grounds, avenues, walks, ornamental lakes and a walled garden, which contains a Turner peach house and which grows the food and flowers organically.
2. Arbour Hill Cemetery, Dublin 7:
General enquiries: (01) 821 3021, firstname.lastname@example.org
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. 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.”
The National Inventory tells us:
“The castle was dated to the early seventeenth century on the basis of surviving fragments of a roof truss found in the wall during the restoration project in the early 1990s. There is in the stonework some suggestion of a further wing to the north, but no archaeological evidence was found, leaving this section unresolved. The builder is unknown, but in 1641 the estate was in the ownership of John Connell, a distant ancestor of Daniel O’Connell. Curiously the Civil Survey, 1654, lists him as a Protestant. Stone from a quarry at Pelletstown owned by Connell was used in the building of the original wall of the Park. The castle and its lands were purchased for the crown by the Duke of Ormonde in 1663 and it became the official residence of the second Keeper of the Park, Sir William Flower, who assigned it to a subordinate. The building was extended to become the Under Secretary’s residence in the late eighteenth century. After Independence it served as the residence of the Papal Nuncio. The later extension was demolished in the 1980s and the site was briefly considered for an official Taoiseach’s residence, the brief requiring the restoration of the castle. Although heavily restored, it is a rare surviving example of a fortified tower house close to the capital city.“
The land at Ashtown was granted to the Hospital of St. John the Baptist in the 12th century by Hugh Tyrrell, 1st Baron of Castleknock. Restoration of the castle began in 1989.
4. The Casino at Marino, Cherrymount Crescent, Malahide Road, Marino, Dublin 3
General enquiries (01) 833 1618, email@example.com
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.“
The Casino website tells us that the plan of the Casino is in the shape of a Greek cross, and it is only fifty feet square. There are three floors containing sixteen rooms. Although small, they are entirely habitable, with service rooms in the basement, reception rooms on the main floor, and sleeping quarters on the upper floor. There is, however, no evidence of any long term occupation of the building. The exterior of the building is that of a one-room Greek temple, so the complexity of the interior was achieved by remarkable architectural design. This includes faux windows, gib doors, hollow columns, and disguised chimneys. Only half of the great front door actually swings open to admit entrance.
Very little is known about how the inside of the building originally looked. There are brief descriptions surviving in Charlemont’s own correspondence or in that of visitors, or rare mentions in sales catalogues. The exterior of the building is heavily decorated. Four statues adorn the attic storey; Bacchus, Ceres, Venus, and Apollo declare the abundance and love of good living that inspired the creation of the Casino. Around the chimney-urns curve mermaids and mermen. The ‘ceilings’ of the outside porches are densely carved to create a stucco effect. Four large Egyptian-style lions guard the corners.  Service tunnels underground surround the building, lit from above by grilles.
Mark Bence-Jones writes in his Guide to Irish Country Houses:
“… in the form of a Roman Doric temple, … built over the years 1758-76. It is one of the most exquisite miniature C18 buildings in Europe; within an exterior that appears to be sculptured rather than built are a number of little rooms, each of them perfectly proportioned and finished; with plasterwork ceilings, doorcases and inlaid floors. Sir Sacheverell Sitwell compares them to the little rooms in the Petit Trianon, and indeed the Casino shows considerable French influence, both inside and out. Among those who worked on the Casino was Simon Vierpyl, the sculptor and builder from Rome, and Joseph Wilton, the sculptor. The house [Marino] has long been demolished, but the Casino is maintained as a National Monument and has been restored by Mr Austin Dunphy of O’Neill Flanagan and Partners, in conjunction with the Office of Public Works.” 
The website of the Casino educates us about the family who owned the Casino. James Caulfeild succeeded to the titles 8th Lord Caulfeild, Baron of Charlemont and 4th Viscount Charlemont on the death of his father in 1734. It was not until 1763 that he was created 1st Earl of Charlemont, as recognition for keeping the peace in the Armagh/ Tyrone area. He was well-known for his love of the arts, and spent a record nine years on Grand Tour through Europe, Turkey, and Egypt. With the help of his stepfather, Thomas Adderley, he established himself at Marino on his return to Ireland in 1755. Here he began the improvements to his Marino estate, one of which was the celebrated Casino.
He was a leader in many different areas of eighteenth-century Irish society. Instrumental in setting up the Royal Irish Academy, he was also its first President. He was a member of the Royal Dublin Society, and a supporter of Grattan’s parliament. He was also a founding member of the Irish Volunteers (formed to protect Ireland from invasion while British troops served in the American Revolutionary War). His contribution to Irish culture was significant and lasting. 
The website tells us that while James was on his Grand Tour in Rome, he had become acquainted with those he would eventually hire to create his estate at Marino. This included William Chambers, Simon Vierpyl, Johann Heinrich Müntz, and Giovanni Battista Cipriani. Charlemont’s heavy involvement in the composition of the buildings at Marino, as well as his house in Rutland Square, is clear from the correspondence that has survived. In many ways, what he created at Marino was a living testament to the different cultures and styles he had experienced while travelling, and his buildings there were fitting exhibition spaces to the huge number of souvenirs and collectable items he brought home.
The website also tells us more about William Chambers:
“Born in Sweden to a Scottish father in 1723, he spent the first few years of his working life travelling to and from China as an agent of the Swedish East India Company. At the age of twenty-six, he began training as an architect in Paris, later living in Rome, where he was a member of Charlemont’s circle. He moved to London to establish his practice in the same year that Charlemont returned to Dublin (1755). He achieved great success in England, with much employment from King George III and his mother, the Dowager Princess Augusta. His Treatise on Civil Architecture, published in 1759, was a huge influence on Palladian neoclassicism in Britain. The Casino appeared in this Treatise as a plate illustration (image below). Chambers would go on to count James Gandon as one of his students.
As well as the Casino at Marino, Chambers completed designs for Charlemont House and Trinity College, and for modifications to Rathfarnham Castle, Castletown House, and Leinster House, among others. He never, however, visited Ireland in person. His projects with Charlemont were discussed at great length, over two decades, in numerous letters; many of these can be read today in the Royal Irish Academy. One of his original drawings for the Casino is on display in the building.”
It was London-born Simon Vierpyl who oversaw the building work. The website tells us:
“He was an accomplished sculptor and builder, who was living in Rome at the same time as Charlemont and Chambers. Impressed with his work on a commission of terracotta copies of statues and busts (now in the Royal Irish Academy), Charlemont invited him to come to Ireland. Vierpyl arrived in 1756, and supervised work on the Casino, something he was complimented for in Chambers’ Treatise. He stayed in Ireland for the rest of his life, working as a builder or developer on many central Dublin sites. He married twice, and died in Athy, Co. Kildare in 1810 at the age of around eighty-five.”
The website also tells us about Giovanni Battista Cipriani, an Italian painter:
“He was another member of Charlemont’s circle in the early 1750s in Rome; in 1755, he also left the city, and travelled in England in the company of Joseph Wilton. Wilton was a sculptor whose work is represented at the Casino in the four lions which guard it. Cipriani’s contribution was the design of the four attic statues, and the dragon gates that formed the entrance to the estate. Copies of his original sketches for the four statues, as well as a revised sketch of Venus, can be seen on display in the State Bedroom today. The gods represented (Ceres, Bacchus, Venus, and Apollo) were chosen by Charlemont and Chambers, designed by Cipriani, and then sculpted by either Wilton or Vierpyl on site.”
In 1876, The 2nd Lady Charlemont (Anne Bermingham) died, after which the 3rd Earl [James Molyneux Caulfeild, son of Henry Caulfeild, and therefore grandson to the 1st Earl. He inherited the title from his uncle, Francis] sold the estate lands [James lived at Roxborough Castle in Northern Ireland]. It was bought on behalf of Cardinal Cullen, who kept thirty acres for an orphanage (the O’Brien Institute), and gave the remaining land (over 300 acres) to the Christian Brothers.
5. Custom House, Dublin:
General enquiries: 086 606 2729, firstname.lastname@example.org
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.“
A previous Custom House was located further up the river at Essex Quay, built in 1707. By 1780 it was judged to be unsafe and a new building was required. The Right Honourable 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.
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.
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. 
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.
6.Dublin Castle, Dame Street, Dublin:
General Enquiries: 01 645 8813, email@example.com
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.”
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.
The first Lord Deputy (also called Lord Lieutenant or Viceroy) to make his residence here was Sir Henry Sidney (1529-1586) in 1565. He was brought up at the Royal Court as a companion to Prince Edward, afterwards King Edward VI. He served under both Queen Mary and Queen Elizabeth I. He spent much of his time in Ireland expanding English administration over Ireland, which had reduced before his time to the Pale and a few outlying areas.
In 1684 a fire in the Viceregal quarters destroyed part of the building. The Viceroy at the time would have been James Butler, 1st Duke of Ormond. He moved temporarily to the new building of the Royal Hospital Kilmainham. New designs by the Surveyor General Sir William Robinson were constructed by October 1688, who also designed the Royal Hospital Kilmainham. He designed the State Apartments, originally to be living accommodation for the Lord Lieutenant (later known as the Viceroy), the representative for the British monarch in Ireland.  Balls and other events were held for fashionable society in the Castle. The State Apartments are now used for State occasions such as the Inauguration of the President. The Castle was formally handed over to General Michael Collins on 16th January 1922, and the Centenary of this event was commemorated in January 2022.
The Bedford Tower was constructed around 1750 along with its flanking gateways to the city. The clock tower is named after the 4th Duke of Bedford John Russell who was Lord Lieutenant at the time.
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. The exterior is decorated with over 100 carved stone heads by Edward Smyth, who did the river heads on Dublin’s Custom House, and by his son John. They are carved in Tullamore limestone, and represent a variety of kings, queens, archbishops and ‘grotesques’. A carving of Queen Elizabeth I is on the north façade and Saint Peter and Jonathan Swift above the main entrance. The interior of the chapel has plasterwork by George Stapleton and wood carving by Richard Stewart. What looks like carved stone is actually limestone ashlar facing on a structure of timber, covered in painted plaster. Plasterwork fan vaulting, inspired by Henry VII’s chapel at Westminster Abbey, is by George Stapleton (1777-1841) while a host of modelled plasterwork heads are by the Smyths, likely the work of John (the younger) after the death of his father in 1812.  The Arms of all the Viceroys from 1172-1922 are on display.
The Viceroy at the time of Francis Johnston’s work on the chapel would have been Charles Lennox, 4th Duke of Richmond.
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 State Corridor on the first floor of the State Apartments is by Edward Lovett Pearce in 1758.
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 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.
Next to the Throne Room is the Portrait Gallery, where formal banquets took place at the time of the Viceroys.
There are many other important rooms, including the Wedgwood Room, an oval room decorated in Wedgwood Blue with details in white, which was used as a Billiards Room in the 19th century. It dates from 1777.
Beyond the Wedgwood Room is the Gothic Room, and then St. Patrick’s Hall. It has two galleries, one at each end, initially intended as one for musicians and one for spectators. There are hanging banners of the arms of the members of the Order of St Patrick, the Irish version of the Knight of the Garter: they first met here in 1783. The room is in a gold and white colour scheme with Corinthian columns. The painted ceiling, commissioned and paid for by the viceroy George Nugent-Temple-Grenville, 1st Marquess of Buckingham in 1788, is by Vincenzo Valdre (c. 1742-1814), an Italian who was brought to Ireland by his patron the Marquess of Buckingham. In the central panel, George III is between Hibernia and Brittania, with Liberty and Justice. Other panels depict St. Patrick, and Henry II receiving the surrender of Irish chieftains.
The hall was built originally as a ballroom in the 1740s but was damaged by an explosion in 1764, remodelled in 1769, and redecorated in the 1780s in honour of the Order of St Patrick.
Located around the castle within the castle grounds are the Coach House Gallery, Garda Museum, the Revenue Museum, the Hibernia Conference Centre and the Chester Beatty Museum and Dubh Linn Gardens, which are located on the original “dubh linn” or black pool of Dublin.
7. Farmleigh House, Phoenix Park, Dublin, July 2015:
General enquiries: (01) 815 5914, firstname.lastname@example.org
Farmleigh was originally a two storey Georgian house, belonging first to the Coote family and then to the Trenches, then bought by the 1st Earl of Iveagh in 1870. He enlarged it and added a third storey, using designs first by James Franklin Fuller and later by William Young.
From the website:
“Farmleigh is a 78-acre estate inside Dublin’s Phoenix Park. The government bought it in June 1999 to provide accommodation for high-level meetings and visiting guests of the nation.
Farmleigh is a unique representation of its heyday, the Edwardian period. Edward Cecil Guinness [(1847-1927) 1st Earl of Iveagh], great-grandson of Arthur Guinness (founder of the brewery), constructed Farmleigh around a smaller Georgian house in the 1880s. According to his tastes, the new building merged a variety of architectural styles.
Many of the artworks and furnishings that Guinness collected remain in the house. There is a stunning collection of rare books and manuscripts in the library. The extensive pleasure-grounds contain wonderful Victorian and Edwardian ornamental features, with walled and sunken gardens and scenic lakeside walks. The estate also boasts a working farm with a herd of Kerry cows.” 
One is not allowed to take photographs inside the house but you can see pictures of the house and take an online tour on the website. It operates as the official residence for guests of the Irish state, which is why photography is not allowed inside.
“Farmleigh was purchased by Edward Cecil Guinness (1847-1927) on his marriage to his cousin, Adelaide Guinness, in 1873. A great-grandson of Arthur Guinness, founder of the eponymous brewery, Edward Cecil became the first Earl of Iveagh in 1919. The first major building programme was undertaken in 1881-84 to designs by Irish architect James Franklin Fuller (1832-1925), who extended the House to the west, refurbished the existing house, and added a third storey. In 1896 the Ballroom wing was added, designed by the Scottish architect William Young (1843-1900).
With the addition of a new Conservatory adjoining the Ballroom in 1901, and increased planting of broadleaves and exotics in the gardens, Farmleigh had, by the early years of the twentieth century, all the requisites for gracious living and stylish entertainment. Its great charm lies in the eclecticism of its interior decoration ranging from the classical style to Jacobean, Louis XV, Louis XVI and Georgian.
Farmleigh was purchased from the Guinness family by the Irish Government in 1999 for €29.2m. The house has been carefully refurbished by the Office of Public Works as the premier accommodation for visiting dignitaries and guests of the nation, for high level Government meetings, and for public enjoyment.” 
“Edward’s main residence at the time was 80 St. Stephen’s Green (now Iveagh House, the headquarters of the Department of Foreign Affairs – see my entry under places visited at Open House) and he viewed Farmleigh as ‘a rustic retreat’. In 1886 Edward Cecil Guinness floated the brewery on the Stock Exchange increasing his wealth and social standing and this reflected in an extensive rebuild of Farmleigh. Despite this work, Edward and his wife Adelaide spent relatively little time there. Their primary residence was in London, but when in Dublin, they stayed mostly at 80 St. Stephen’s Green. The family only stayed in Farmleigh for short periods of a couple of weeks, mainly in the spring and summer months.
After Edward Cecil’s death in 1927, his eldest son, Rupert, became the second Earl of Iveagh and inherited Farmleigh and 80 St Stephen’s Green. The latter he presented the Irish State in 1939. Rupert, who was a British MP for Southend at the time, ceased to be an MP when he succeeded to his father’s earldom. His wife The Countess of Iveagh, Gwendolen Guinness, won the Southend by-election in November 1927 to replace her husband as MP. She served until her retirement in 1935.
Rupert gave Farmleigh to his grandson and heir, Benjamin (Rupert’s eldest son and Benjamin’s father, Arthur, was killed in WWII). Farmleigh became a family home for Benjamin (3rd Earl of Iveagh) and Miranda Guinness, and their children. Benjamin became a keen bibliophile and collector of rare books, parliamentary and early bindings, as well as first editions of the modern poets and playwrights. The library in Farmleigh in now dedicated to Benjamin Iveagh and his wonderful collection of books.
Benjamin died in 1993 in London and in 1999, his son Arthur Guinness (4th Earl of Iveagh), sold Farmleigh to the Irish State.” 
Connemara marble dominates the Entrance Hall. The immediate front hallwas is toplit by roundels set in the ceiling of the hallway/porte cochere. The stairwell is toplit also. The Dining Room panelling was designed by decorators Charles Mellier & Co to incorporate four late seventeenth century Italian tapestries which once belonged to Queen Maria Christina of Spain. One of the former drawing rooms is now called the “Noble Room” and honours the memory of Ireland’s four Nobel Laureates for literature: George Bernard Shaw, William Butler Yeats, Samuel Beckett and Seamus Heaney.
The suite for state guests, which is not included in the house tour, is inspired by designs of Irish modernist Eileen Gray (you can see examples of her work in the Museum at Collins Barracks in Dublin).
The house also contains the Benjamin Iveagh Library, donated by the Guinness family to Dublin’s Marsh’s Library and on permanent display in Farmleigh. Scholars can access material from the collection by arrangement.
The grounds contain a clock tower, a large classical fountain in the Pleasure Grounds, an ornamental dairy, garden temple and four acre walled garden and sunken garden. The outbuildings have been adapted to house an art gallery and a theatre and a courtyard for additional state accommodation. The Boathouse now houses a cafe overlooking the lake.
“Sunken gardens in various formal styles were popular in the early twentieth century… This one is in the Dutch of Early English style and was created some time after 1907, probably by Edward Cecil Guinness. The design has some similarities with the sunken pond garden at Hampton Court, which dates from the original Early English period, and may relate to his connections with the British Royal family.
An ornamental gate leads into the rectangular garden, which was designed with three descending brick terraces leading to an oval pool in the centre, with a marble fountain of carved putti figures. The fountain has been restored under the direction of OPW and the Carrara marble exposed. Fine topiary peacocks and spirals surround this fountain on two levels. A brick wall enclosing the garden is paralleled by a high yew hedge, which leads the eye to the two conifers framing the view to the small apple orchard beyond.” 
“The Walled Garden covers about four acres and is sloped ideally towards the south. A fine pair of highly decorative wrought iron gates lead into a diagonal walk with double herbaceous borders backed by high yew hedges. South of the main crosswalk is a small orchard and potager, while north of it there is a small rose and lavender garden. The Walled Garden dates from the early nineteenth century, when Charles Trench owned Farmleigh; it is shown on the 1837 Ordnance Survey map as having a diagonal layout with seven squares and glasshouse. Later that century it had an extensive range of glasshouses on the south wall for many plants grown in typical Victorian fashion to support large-scale bedding schemes as well as producing exotic fruit and flowers and foliage, particularly orchids and ferns, for year round display in the house.
Among the additions made by Edward Cecil Guinness were the small Victorian fernery under glass and grotto nearby with two old ogee windows from St Patrick’s Cathedral in the end wall of the garden. He also erected a number of glasshouses, including a fine three quarter span cast-iron vinery behind the high yew hedge, the potting shed, and the gardener’s house and pump house which were built in the Arts and Crafts style. His daughter in-law, Gwendolen, Lady Iveagh, subsequently created a compartmentalised layout, which was fashionable in the early twentieth century along with renewed interest in old style garden plants and herbaceous borders. A new traditional path led from the wrought iron gateway connecting the Walled Garden to the broad walk at the back of the house. This new axis of the garden was reinforced by tall yew hedges backing the long double herbaceous borders which she also planted.
A stone temple was created as a focal point of the garden by Benjamin and Miranda Guinness in 1971: it has six antique columns of Portland with a copper roof and ornamental weather vane. The main cross path either side of the temple has metal structures designed by Lanning Roper for climbing roses and wisteria similar to those in the famous Bagatelle Garden in Paris. A paved rose garden was laid out to the north east of the temple backed by a yew hedge and looking across a lawn to the small orchard and potage. Lanning Roper suggested planting a quince, a mulberry, a catalpa, and a magnolia, to complete what he described as a Carolingian Quartet on this lawn. Lady Iveagh subsequently planted the double herbaceous borders, which include yuccas, phormiums, paeonies, astilbe and euphorbias.” 
8.Garden of Remembrance, Parnell Square, Dublin 1:
General enquiries: (01) 821 3021, email@example.com
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.’
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.“
“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, thesegardens 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.” 
“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.” 
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
9.Government Buildings Dublin:
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 and Sir Thomas Manley Dean, from Cork.
The College of Science was incorporated into University College Dublin in 1926 and it vacated the premises in 1989.
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.
10. Grangegorman Military Cemetery, Blackhorse Avenue, Dublin 7:
General enquiries: (01) 821 3021, firstname.lastname@example.org
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.” 
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:
General enquiries: (01) 475 7816, email@example.com
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.“
“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.” 
12.Iveagh Gardens, Clonmel Street, Dublin 2:
General Enquiries: 01 475 7816, firstname.lastname@example.org
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.“
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.
“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…“
“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.
“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.” 
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:
General Enquiries: 01 453 5984, email@example.com
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.
“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.” 
14.National Botanic Gardens, Glasnevin, Dublin 9:
General enquiries: (01) 804 0300, firstname.lastname@example.org
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.“
“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.” 
The gardens include an extensive arboretum as well as rockery, herbaceous border, alpine house, rose garden and woodland garden.
15.Phoenix Park, Dublin:
General Enquiries: 01 821 3021, email@example.com
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.”
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.”
“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.” 
and the 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.“
16.Rathfarnham Castle, Dublin:
General Enquiries: 01 493 9462, firstname.lastname@example.org
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.
“Loftus wanted the Castle to be a grand and impressive home which would reflect his high status in Irish society. He also needed it to be easily defended against attack from hostile Irish families such as the O’Byrnes based in the mountains to the south. The design was radically modern for the time and based on recent continental thinking about defensive architecture. The angled bastion towers located at each corner of the building were equipped with musket loops which allowed a garrison of soldiers to defend all approaches to the castle.” He married Jane Purdon. He was also the Provost of Trinity College Dublin, and Lord Chancellor of Ireland. They had many children, who married very well.
His son Dudley (1561-1616) married Anne Bagenal, daughter of Nicholas Henry Bagenal, Marshal of Ireland. The castle passed to his son, Adam Loftus (1590-1666), who married Jane Vaughan of Golden Grove, County Offaly. Their son Arthur Loftus (1616-1659) married Dorothy Boyle, daughter of Richard Boyle the 1st Earl of Cork. They had a son, Adam Loftus (1632-1691) who became the 1st and last Viscount Lisburne. His only son died in infancy. Viscount Loftus was killed at the Seige of Limerick.
Another son of Dudley and Anne Bagenal was Nicholas Loftus (1592-1666), the ancestor of Henry Loftus, the Earl of Ely. Nicholas’s second son Henry (1636-1716) lived in Loftus Hall in County Wexford, and was the father of Nicholas Loftus, 1st Viscount Loftus of Ely. He married Anne Ponsonby, daughter of William Ponsonby, 1st Viscount Duncannon, and they had, first, the son Nicholas Loftus (1708-1766), who became the 1st Earl of Ely, and who added Hume to his surname after marrying Mary Hume, daughter of Gustavus Hume, 3rd Baronet of Castle Hume, County Fermanagh.
Nicholas Loftus 1st Earl of Ely and his wife Mary Hume gave birth to Nicholas Loftus Hume, 2nd Earl of Ely (1738-1769).
Henry Loftus (1709-1783) pictured below. He married first, Frances Monroe of Roe’s Hall, County Down, (pictured below), who died in 1774, then married secondly Anne Bonfoy. He purchased Ely House in Dublin (built 1770) from Sir Gustavus Hume, 3rd Baronet.
Rathfarnham Castle remained in the hands of the Loftus family and their heirs until it was purchased in 1723 by Speaker William Conolly of Castletown, Co Kildare, for £62,000. It returned to ownership of the Loftus family in 1767 when it was purchased by Nicholas Hume-Loftus.
Speaker Conolly never resided at Rathfarnham, leasing it instead to Joan Hoady, Archbishop of Dublin, from 1730-1742, who began the series of alterations that were to transform the castle into a modern country residence. He gave it to his son-in-law Bellingham Boyle.
The castle returned to the ownership of the Loftus family in 1767 when it was purchased by Nicholas Hume-Loftus. Nicholas never married and on his death in 1769 the Castle passed to his uncle, Henry Loftus (created Earl of Ely in 1771). Henry continued the remodelling of the castle and the works were completed by the time of his death in 1783.
Henry Loftus (1709-1783) commissioned Sir William Chambers to remodel and redecorate Rathfarnham Castle. There are also several rooms which are attributed to architect and designer James “Athenian” Stuart. Much of the neo-classical design of the Castle today can be attributed to these two architects. Externally, the window openings were enlarged, and a new stone Tuscan entrance portico added, probably to the designs of William Chambers. The original battlements were removed and the new parapet was embellished with ball finials and urns some of which also serve as chimneys. On the south front new garden steps were added, while on the east front a three bay bow had been added by 1774. Most of the main interiors can now be attributed with certainty to James Stuart, whose best work in Ireland is the Temple of the Winds at Mount Stewart, County Down, and Sir William Champbers. Stuart was employed at Rathfarnham from at least 1769 and was responsible for the design of the ground floor gallery and two rooms above it. He was also involved in the decoration of some interiors at the family townhouse, Ely House, Dublin. Chambers was responsible for the small drawing room ceiling, back staircase lobby, the ante room and ballroom above, the entrance hall on the first floor, and the octagonal room in one of the towers.
Henry Loftus was succeeded by his nephew Charles Tottenham who did little beyond the erection in 1790 of the Gothic or Back Gate, now almost competely demolished to make way for a road.
“The Loftus family left Rathfarnham Castle in the 19th century and it was ultimately sold to the Blackburne family in 1852 (Francis Blackburne 1782-1867) who lived there until 1911. Coincidentally almost in the footsteps of Adam Loftus who built Rathfarnham Castle, Francis Blackburne became Vice-Chancellor of Trinity College. The Society of Jesus then acquired the building and for much of the remainder of the 20th century it was used as a Retreat House for lay visitors as well as accommodation for seminarians attending college in the city. Following the departure of the Jesuits in 1985, the Castle came into the care of the state and a great deal of restoration work has been carried out. Most of the rooms have been restored to their 18th century state and several are furnished with a collection of fine eighteen and nineteenth century pieces from continental Europe, Britain and Ireland.”
“This room is believed to have been built to a design by the influential architect Sir William Chambers (1723-1796). Despite never visiting Ireland, Chambers left a significant mark on Dublin where he also designed the Casino at Marino, Charlemont House on Parnell Square, and much of Front Square in Trinity College. The floor and free standing Doric columns are in Portland stone. The painted glass panels featuring fruit and flowers are believed to be by the Dublin Huguenot artist Thomas Jervais (d. 1799). The marble relief busts on the walls depict well known figures from the Classical and Renaissance past, including the Egyptian queen Cleopatra and Italian poet Dante. These sculptures seem to have been acquired in Italy and would have been incorporated into the design of the Entrance Hall to signal the taste and refinement and learning of the Loftus family. The original eighteenth century marble fireplace was replaced with a painted timber one in around 1913. It was one of several of the original fireplaces which were removed and sold when the Blackburne family left the castle in 1911.“
The Dining Room. “This room remains unrestored which allows us to see the changes and alternations which were made to the building over the years. The door on the left-hand (northern) wall is typically eighteenth century in style and decoration. However to the left of it a trace of the original Elizabethan doorway is visible. It was blocked up during the 18th century refurbishments. The bow extension to the eastern side of the building is another change dating to that period which added space and brought more light into these rooms. The 18th century timber wall panelling and lining paper survives in this room. It is likely that the walls were covered with silk. Although designed as a dining room, in the 20th century the Jesuits used this room as a library.“