Office of Public Works Properties Dublin

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

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

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

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

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

Dublin:

1. Aras an Uachtarain, Phoenix Park, Dublin

2. Arbour Hill Cemetery, Dublin

3. Ashtown Castle, Phoenix Park, Dublin

4. The Casino at Marino, Dublin

5. Customs House, Dublin

6. Dublin Castle

7. Farmleigh House, Dublin

8. Garden of Remembrance, Dublin

9. Government Buildings Dublin

10. Grangegorman Military Cemetery, Dublin

11. Irish National War Memorial Gardens, Dublin

12. Iveagh Gardens, Dublin

13. Kilmainham Gaol, Dublin

14. National Botanic Gardens, Dublin

15. Phoenix Park, Dublin

16. Rathfarnham Castle, Dublin

17. Royal Hospital Kilmainham in Dublin – historic rooms closed

18. St. Audoen’s, Dublin

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

20. St. Stephen’s Green, Dublin

donation

Help me to pay the entrance fee to one of the houses on this website. This site is created purely out of love for the subject and I receive no payment so any donation is appreciated!

€15.00

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

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

general enquiries: (01) 677 0095

phoenixparkvisitorcentre@opw.ie

From the OPW website:

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

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

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

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

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

2. Arbour Hill Cemetery, Dublin 7:

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

From the OPW website:

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

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

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

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

3. Ashtown Castle, Phoenix Park, Dublin:

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

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

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

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

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

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

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

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

From the website:

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

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

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

5. Custom House, Dublin:

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

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

From the website:

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

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

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

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

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

John Beresford, (1738-1805), First Commissioner of Revenue in Ireland G. Cowen, Dublin and at T. Macklin’s, London, 1st November 1790, Engraver Charles Howard Hodges, English, 1764-1837 After Gilbert Stuart, American, 1755-1828. Photograph courtesy of National Gallery of Ireland.
Barbara Montgomery (?1757-1788), second wife of John Beresford (1738-1805) by Hugh Douglas Hamilton, courtesy of National Gallery of Ireland P5547. His first wife was Anne Constantia Ligondes.
Montgomery sisters, Barbara, Elizabeth and Anne, as Three Ladies Adorning a Term of Hymen, 1773 by Joshua Reynolds courtesy of Tate Gallery, London. Elizabeth married Luke Gardiner 1st Viscount Mountjoy.
John Beresford was related to Luke Gardiner who developed the Gardiner estate.

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

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

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

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

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

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

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

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

6. Dublin Castle, Dame Street, Dublin:

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

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

From the website:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From the OPW website:

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

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

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

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

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

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

and

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

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

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

Commemorated by the Garden of Remembrance are:

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

9. Government Buildings Dublin:

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

General Inquiries: 01 645 8813

From the OPW website:

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

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

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

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

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

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

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

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

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

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

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

From the OPW website:

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

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

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

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

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

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

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

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

From the OPW website:

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

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

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

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

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

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

12. Iveagh Gardens, Clonmel Street, Dublin 2:

Iveagh Gardens, Dublin, October 2021.

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

From the OPW website:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

13. Kilmainham Gaol, Dublin:

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

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

from OPW website:

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

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

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

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

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

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

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

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

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

14. National Botanic Gardens, Glasnevin, Dublin 9:

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

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

From the OPW website:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

15. Phoenix Park, Dublin:

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

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

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

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

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

From the OPW website:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

16. Rathfarnham Castle, Dublin:

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

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

From the OPW website:

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

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

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

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

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

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

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

From the OPW website:

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

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

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

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

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

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

18. St. Audoen’s, Dublin

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

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

From the OPW website:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The OPW arcticle continues:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From the OPW website:

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

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

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

and

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

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

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

The website continues:

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

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

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

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

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

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

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

20. St. Stephens Green, Dublin:

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

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

from the OPW website:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[18] https://iveaghgardens.ie/

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

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

[21] https://phoenixpark.ie/

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

William Robinson also built Marsh’s Library in Dublin.

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

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

The bibliography for this article is:

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

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

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

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

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

Markree Castle, Collooney, Co Sligo F91 AE81 (hotel) – section 482

www.markreecastle.ie
Open in 2025, but check in advance due to events and weddings: July, Aug, Sept 12 noon-4pm 
Fee: Free to visit.

donation

Help me to pay the entrance fee to one of the houses on this website. This site is created purely out of love for the subject and I receive no payment so any donation is appreciated!

€15.00

Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castellated three-bay ashlar stone gate lodge, built around 1835 to the designs of Francis Goodwin (who also designed Lissadell in County Sligo). Central two-storey tower with integral carriage arch flanked by single-storey wings. Arched windows in the wings, and hood mouldings. [1] Unfortunately we did not find the other gate lodge entrance, reputed to be even more impressive. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

During Heritage Week in 2021, Stephen and I went to County Sligo. We stayed in wonderful B&B accommodation in a historic house, Annaghmore, near Collooney, owned by the O’Haras, who have owned the estate in County Sligo for centuries.

Annaghmore, Colooney, County Sligo, where we stayed during Heritage Week 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We learned that the O’Haras and the Coopers, who own Coopershill, another section 482 property which we visited during Heritage Week, are related, and Coopers also owned Markree Castle until very recently. In 1989, Charles Cooper, having worked in the hotel business all his life, came back to Markree to renovate the castle and run it as a hotel. In 2015, the Corscadden family purchased the castle and undertook further renovations. This is the same Corscadden family who own Cabra Castle in County Cavan, who so generously upgraded Stephen and me to the honeymoon suite when we stayed! The Corscaddens also own Ballyseede Castle hotel in Tralee, County Kerry (also section 482) and Bellingham Castle in County Louth, which is available as a venue for weddings and events, with accommodation. Unfortunately Markree Castle is too expensive for us to stay in, except perhaps as a very luxurious treat, but I contacted the hotel and we made a date for my visit. When we arrived, however, we were told that they were in the middle of an event and we were asked to return in an hour or two. We took the time to explore the outside, although we were unable to access the gardens, which seem to be only accessible through the castle.

The west side of the castle, which overlooks the car park. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We wandered across the Unsin River to the stable complex, which has also been renovated for rental accommodation. We learned later that this accommodation is not part of Markree Castle hotel. In Mark Bence-Jones’s entry in his A Guide to Irish Country Houses (published in 1988), he writes in the supplement that Edward Cooper and his wife moved into a new Georgian style house in the yard. The stables are now called Markree Homefarm Apartments and are available for rental accommodation. [2]

The Unshin River, which served in the past to partially moat the castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance to stone stable yard, built 1771. Two storey house added in about 1990. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Homefarm accommodation. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The castle replaced an earlier residence, which the Landed Estates website of National University of Ireland Galway tells us was called Mercury. [3] The first Cooper to own the property was Edward Cooper (died 1676), an officer in Lord Collooney Richard Coote’s regiment in Oliver Cromwell’s army. He was given the land at Markree, previously owned by the McDonaghs, as payment for his soldiering. He married the widow of an O’Brien killed by Cromwell’s army. She was called Mary “Rua” (Red Mary), and she probably married Cooper in order to protect her sons from the Cromwellians. According to the history board outside the castle, Red Mary and Edward Cooper lived first in Luimneach Castle (Luimneach is the Irish for Limerick), which one of her sons inherited, while the other inherited Markree. In his online blog, Patrick Comerford identifies Mary Rua’s husband as Conor O’Brien, and writes that it was Dromoland Castle that Mary Rua’s son inherited. [4] In the family tree on the information boards, Edward Cooper also married Margaret Mahon, from County Roscommon. This accords with The Peerage website, but according to that website, Arthur, Edward’s son who inherited Markree, was Margaret Mahon’s son and not the son of Red Mary. According to The Peerage, Edward’s son Richard lived in Knocklong, County Limerick. [5]

During the Williamite wars at the end of the 17th century, Markree Castle was occupied by the army of James II. The Coopers returned after William III’s victory at the Battle of the Boyne in 1690.

The Coopers intermarried with other prominent local families, including the Cootes, Wynnes and Synges, and by the 1720s, Joshua Cooper (1694-1757) was one of the largest landowners in Co Sligo, with over 40,000 acres.

Arthur Cooper, who inherited Markree from his father Edward who fought in Cromwell’s army, had a daughter named Anne who married John Perceval (1700-1743) of Temple House in County Sligo, another Section 482 property, which unfortunately we did not get to visit this year. I hope to be able to visit next year! In 1881 Alexander Perceval of Temple House married Charlotte Jane O’Hara of Annaghmore, so the owners of our accommodation are cousins of the owners of Temple House. Furthermore, we visited two other Section 482 properties in Sligo during Heritage Week: Coopershill and Newpark, both of which are also owned by cousins of the O’Haras of Annaghmore!

An information board outside the hotel gives a history of Markree Castle.
According to this family tree on the information board outside Markree Castle, Edward Cooper married Maire Rua O’Brien and also Margaret Mahon.
Markree Castle hotel, 2021.
Máire Rua O’Brien née McMahon (1615/1616 – 1686) daughter of Turlough Roe McMahon Baronet, wearing Felemish bobbin lace with O’Brien coat of arms. She married first Colonel Neylan, then in 1639, Colonel Conor O’Brien of Lemeneagh, ancestor of Barons Inchiquin, but he was slain in battle in 1651. The Markree Castle information board says she married Edward Cooper then, but Irish Portraits 1660-1860 by Anne Crookshank and the Knight of Glin, published by the Paul Mellon Foundation for British Art 1969, say she then married, to keep the family property, Captain John Cooper of Ireton’s army, whom she is said to have murdered! It’s a rare example of a portrait almost certainly painted in Ireland in the first half of the seventeenth century – see Irish Portraits 1660-1860 by Anne Crookshank and the Knight of Glin, published by the Paul Mellon Foundation for British Art 1969.

It was Arthur’s great-great-grandson Joshua Edward Cooper (about 1759-1837) who built the castle in 1802 around an earlier structure. Arthur’s son Joshua (1694-1757) married Mary Bingham from Newbrook, County Mayo. His son, another Joshua (1730-1800), was MP for County Sligo and opposed the Act of Union, which abolished the Irish Parliament, so that Ireland was run by the Parliament in London. He married Alicia Synge, daughter and heiress of Edward Synge, Bishop of Elphin, and she brought him a large fortune. [6]

His son Joshua Edward Cooper (about 1759-1837) was also MP for County Sligo in the Irish House of Commons, and after the Act of Union he sat in the House of Commons in London until 1806. According to the Dictionary of Irish Biography, he replaced Catholic leaseholders with Protestants to acquire more voting power, which caused considerable resentment and which may have been the reason that his house was sacked in 1798 during the Rebellion. This may be why he commissioned Francis Johnston to enlarge Markree in 1802, to make it into a castle – it may have needed repair. We came across the work of Francis Johnston (1760-1829) when we visited Rokeby in County Louth. Johnston had been a pupil of the architect Thomas Cooley. At the time when he was commissioned by Joshua Edward Cooper, Johnston had been working on Townley Hall in County Louth, which I was lucky enough to visit recently during the annual Adams auction viewing that is held in the house. It has an amazing staircase and domed rotunda.

The impressive elegant staircase by Francis Johnston in Townley Hall, County Louth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The impressive elegant staircase by Francis Johnston in Townley Hall, County Louth. My photographs could not capture the extent of its full sweep, captured in the photographs from Country Life magazine, below. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Image from Country Life. The spiral of the staircase in the central domed rotunda at Townley Hall. Pub Orig CL 23/07/1948 
Image Number: 
 535673  
Publication Date: 
 23/07/1948  

Johnston also Gothicized Tullynally Castle in County Westmeath, 1801-1806, and enlarged Killeen Castle in County Meath 1802-1813. He also designed Ballynegall House (1808-1816) in County Westmeath, sadly now just a ruin, and Ballycurry House, County Wicklow (1807), along with many ecclesiastical and civic buildings, including the General Post Office on O’Connell Street in Dublin, in 1814.

The castle is a stone twelve-bay, three-storey over raised basement mansion which contains parts of earlier houses. [7] The bays are easier to count at the back (i.e. the garden front) of the castle. According to Mark Bence-Jones, the original seventeenth century house was rebuilt in the eighteenth century as a three storey block, with a five bay front and a three bay breakfront, and a garden front of one bay on either side of a curved bow. The castle was enlarged in 1802 to a design by Francis Johnston, and then in 1866 enlarged again, to a design by James Maitland Wardrop of Edinburgh. I found it impossible to work out what part of the castle was built when, so I defer to Mark Bence-Jones:

In 1802, Joshua Cooper commissioned Francis Johnston to enlarge this house and transform it into a castle of the early, symmetrical kind. Johnston extended the front of the house to more than twice its original length to form a new garden front with a central curved and Irish battlemented tower; the end bay of the original front and the corresponding bay at the end of Johnston’s addition being raised to give the impression of square corner-towers. The entrance was in the adjoining front, where Johnston added a porch; the garden front, with its bow, was not altered as far as its plan went; but an office wing was built at one side of it, joined to it by a canted link. In 1866, the castle was further enlarged and remodelled by Lt-Col. E.H. Cooper, MP, to the design of Wardrop, of Edinburgh. The garden front bow was replaced by a massive battlemented and machiocolated square tower, increasing the side of the dining room; a new entrance was made at this side of the castle, under a porte-cochere at the end of a 2 storey wing with Gothic windows which was built jutting out from this front. Johnston’s porch was replaced by a 2 storey battlemented oriel, and mullioned windows to match were put in on this and the new entrance front. A Gothic chapel was built where Johnston’s office wing had been. [8]

The large square tower with two-storey square-profile oriel window, and on the west front, the two-storey canted bay window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The garden front of Markree Castle, with its central curved bow. The ornamental doorway was added in 1896. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
An old photograph on display inside the castle of the garden front.
Another old photograph of Markree (I assume) that is on display inside – I can’t work out what part of the old castle this is.
I think this photograph is of Cabra Castle, also owned by the Corscaddens.
I think this photograph is also of Cabra Castle, also owned by the Corscaddens.
Markree Castle hotel, 2021.
The 1870 addition, “a new entrance was made at this side of the castle, under a porte-cochere at the end of a 2 storey wing with Gothic windows which was built jutting out from this front.This is next to another addition from this period, the large square tower with two-storey square-profile oriel window. To the side, or west front, is two-storey canted bay window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance door under the porte-cochere. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

One enters through the arched doorway in the battlemented vaulted stone portico. The doorway leads to a straight flight of stone stairs leading up to the main floor, under an impressive vaulted ceiling.

Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The two storey wing with Gothic windows that was added by the architect Wardrop, leading to the porte-cochere. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The two storey wing with Gothic windows that was added by the architect Wardrop, leading to the porte-cochere. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Joshua Edward Cooper (1761-1837) became unwell and his brother Edward Synge Cooper (1762-1830) took over the running of the estate in Sligo and became MP for County Sligo in 1806. Joshua Edward Cooper and his wife Elizabeth Lindsay, daughter of Robert Lindsay, MP, from County Tyrone, had no children, so Edward Synge Cooper’s son, Edward Joshua Cooper (1798-1863), inherited Markree when Joshua Edward Cooper died in 1837. As well as serving in the House of Commons in the UK, Edward Joshua Cooper was an astronomer, who created Markree Observatory. He was influenced by childhood visits to the Armagh Observatory.

Remnant of the Observatory at Markree. Photograph from the National Inventory of Architectural Heritage.

Edward Joshua Cooper (1798-1863) had no son, only daughters, so his nephew Edward Henry Cooper (1827-1902), son of his brother Richard Wordsworth Cooper (1801-1850), inherited Markree. When he inherited, he then put his stamp on the castle by having it further enlarged (the Wardrop enlargement).

The large square tower with two-storey square-profile oriel window, next to the porte-cochere. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The mullioned arched window in the porte-cochere with Gothic tracery and hood moulding, and the glass ceiling in the upper storey. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The top-lit drawing room inside the porte-cochere. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
On the west front, the two-storey canted bay window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The garden, past the two storey canted bay window on the west front. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Wardrop also added the Gothic chapel.

The stained glass window of the Gothic chapel added by Wardrop, and beyond that, the two storey porte-cochere. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Gothic chapel has a lovely external stone staircase up to it. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

At the top of the vaulted entrance staircase one can go through to the main reception, or to the left, to the chapel.

Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The east side of the castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Edward Henry Cooper (1827-1902) was an Irish officer in the British Army, and a Conservative politician in the House of Commons in the UK. He was defeated in the 1868 election by the Liberal candidate Denis Maurice O’Conor from Clonalis in County Roscommon (another section 482 property still owned by its original family). When he died, Markree was inherited by his grandson Bryan Ricco Cooper (1884-1930), who was born in Simla in India. He was an MP for South Country Dublin (1910) at Westminster, and was involved in the Gallipoli landings during World War I. During the Irish Civil War in the 1920s, Markree Castle was occupied briefly by the Irish Free State army. Bryan Ricco Cooper was elected to Dail Eireann after Independence. He sold much of the estate’s land but continued to live at Markree.

The Castle stood empty and derelict for several years after World War II, and featured on the front cover of The Vanishing Country Houses of Ireland in 1988, illustrating the decay of many great houses at the time. Charles Philip Cooper, a grandson of Bryan Ricco, who had worked in the hotel industry, converted Markree into a hotel in 1989.

The reception hall is surrounded by a carved wooden gallery and contains a Victorian double staircase of oak, lit by a heraldic stained glass window illustrating the family tree with portraits of ancestors and monarchs.

Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The hotel reception, in the corner under the heavy wooden gallery. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Top left, King John, middle top, King Henry VIII, top right, Queen Elizabeth I. Bottom left, Bryan Cooper, middle, William Cooper, and Sir Richard of Bingham on bottom right. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

According to Mark Bence-Jones, the great top-lit galleried hall with a timbered roof is located where Johnston’s staircase used to be.

Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was hard to capture it all in photographs, there were so many details!

A long library divided by pairs of grey marble Ionic columns has been formed out of Johnston’s entrance.

Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The large drawing room in Johnston’s round-faced tower in the middle of the garden front, and the ante-room adjoining it, which are now the dining room, were redecorated between 1837 and 1863 by Edward Joshua Cooper, MP, in an ornate Louis Quatorze style, with much gilding and “well-fed” putti in high relief supporting cartouches and trailing swags of flowers and fruits.

Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
We were prevented from fully entering the dining room as staff were preparing it for the next event so I took a photograph from a booklet displaying the room.

Unfortunately nobody could explain the fabric of the building and its stages of renovation and enlargement and the manager was unable to identify the portraits on the walls. However, we asked to see inside a bedroom, and were taken down to the basement to see the honeymoon suite. The basement is the oldest part of the castle.

Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The honeymoon or bridal suite. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The honeymoon or bridal suite. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The honeymoon or bridal suite. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Markree Castle hotel, 2021.

[1] https://www.buildingsofireland.ie/buildings-search/building/32402632/markree-castle-markree-demesne-sligo

[2] http://www.markreehomefarm.ie

[3] http://landedestates.nuigalway.ie/LandedEstates/jsp/property-list.jsp?letter=M

[4] http://www.patrickcomerford.com/search/label/castles

[5] http://thepeerage.com/p37382.htm#i373817

[6] Dictionary of Irish Biography, https://www.dib.ie/biography/cooper-joshua-a2017

[7] https://www.buildingsofireland.ie/buildings-search/building/32402620/markree-castle-markree-demesne-sligo

[8] p. 201. Mark Bence-Jones. A Guide to Irish Country Houses. Originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978; Revised edition 1988 Constable and Company Ltd, London.

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

Tullynally Castle and Gardens, Castlepollard, County Westmeath N91 HV58 – section 482

www.tullynallycastle.com
Open dates in 2025:

Castle, May 1-3, 8-10, 15-17, 22-24, 29-31, June 5-7, 12-14, 19-21, 26-28, July 3-5, 10-12, 17-19, Aug 1-2, 7-9, 14-24, 28-30, Sept 4-6, 11-13, 18-20, 11am-3pm

Garden, Mar 27-Sept 28, Thurs-Sundays, and Bank Holidays, National Heritage Week, Aug 16-24,11am-5pm

Fee: castle adult €16.50, child entry allowed for over 8 years €8.50, garden, adult €8.50, child €4, family ticket (2 adults + 2 children) €23, adult season ticket €56, family season ticket €70, special needs visitor with support carer €4, child 5 years or under is free

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

2025 Diary of Irish Historic Houses (section 482 properties)

To purchase an A5 size 2025 Diary of Historic Houses (opening times and days are not listed so the calendar is for use for recording appointments and not as a reference for opening times) send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €10 for the A5 size calendar, so I would appreciate a donation toward the postage – you can click on the donation link.

€20.00

donation

Help me to pay the entrance fee to one of the houses on this website. This site is created purely out of love for the subject and I receive no payment so any donation is appreciated!

€15.00

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We visited Tullynally Castle and Gardens when we were staying near Castlepollard with friends for the August bank holiday weekend in 2020. Unfortunately the house tour is only given during Heritage Week, but we were able to go on the Below Stairs tour, which is really excellent and well worth the price.

In 2021 I prioritised seeing Tullynally during Heritage Week, and we went on the upstairs tour!

According to Irish Historic Houses, by Kevin O’Connor, Tullynally Castle stretches for nearly a quarter of a mile: “a forest of towers and turrets pierced by a multitude of windows,” and is the largest castle still lived in by a family in Ireland [1]. It has nearly an acre of roof! It has been the seat of the Pakenham family since 1655. I love that it has stayed within the same family, and that they still live there. I was sad to hear of Valerie Pakenham’s death recently – she wrote wonderful books of history and on Irish historic houses.

The Pakenham family tree. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The current incarnation of the Castle is in the romantic Gothic Revival style, and it stands in a large wooded demesne near Lake Derravaragh in County Westmeath.

We stayed for the weekend even closer to Lake Derravaragh, and I swam in it!

In Lake Derravaragh. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The lands of Tullynally, along with land in County Wexford, were granted to Henry Pakenham in 1655 in lieu of pay for his position as Captain of a troop of horse for Oliver Cromwell. [2] [3] His grandfather, Edward (or Edmund) Pakenham, had accompanied Sir Henry Sidney from England to Ireland when Sir Sidney, a cousin of Edward Pakenham, was appointed Lord Deputy of Ireland. [4]

A house existed on the site at the time and parts still exist in the current castle. It was originally a semi-fortified Plantation house. When Henry Pakenham moved to Tullynally the house became known as Pakenham Hall. It is only relatively recently that it reverted to its former name, Tullynally, which means “hill of the swans.”

Tullynally, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Henry was an MP for Navan in 1667. He settled at Tullynally. He married Mary Lill, the daughter of a Justice of the Peace in County Meath and left the property to his oldest son by this marriage, Thomas (1649-1706) who became a member of Parliament and an eminent lawyer. Henry remarried after his first wife died, this time to Anne Pigot and he had at least two more children with her.

Thomas, who held the office of Prime Sergeant-at-law in 1695, married first Mary Nelmes, daughter of an alderman in London. Thomas married a second time in 1696 after his first wife died, Mary Bellingham, daughter of Daniel, 1st Baronet Bellingham, of Dubber, Co. Dublin. His oldest son, by his first wife, Edward (1683-1721), became an MP for County Westmeath between 1714 and 1721. A younger son, Thomas (d. 1722) lived at Craddenstown, County Westmeath.

Edward (1683-1721) married Margaret Bradeston and was succeeded by his son, Thomas Pakenham (1713-1766) [see 3]. After her husband died in 1721, Margaret married Reverend Ossory Medlicott. Edward’s younger son George Edward (1717-1768) became a merchant in Hamburg.

Thomas (1713-1766) married Elizabeth Cuffe (1719-1794), the daughter of Michael Cuffe (1694-1744) of Ballinrobe, County Mayo. Her father was heir to Ambrose Aungier (d. 1704), 2nd and last Earl of Longford (1st creation). Michael Cuffe sat as a Member of Parliament for County Mayo and the Borough of Longford. In 1756 the Longford title held by his wife’s ancestors was revived when Thomas was raised to the peerage as Baron Longford. After his death, his wife Elizabeth was created Countess of Longford in her own right, or “suo jure,” in 1785.

Thomas Pakenham, 1st Baron of Longford (1713-1766), who married Elizabeth Cuffe. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Elizabeth Cuffe (1719-1794) who married Thomas Pakenham, 1st Baron Longford. She became Countess of Longford in her own right, through her father, who was heir to Ambrose Aungier, 2nd and last Earl of Longford (1st creation). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Thomas, Lord Longford (1713-1766) Date c.1756 Credit Line: Presented by Mrs R. Montagu, 1956, photograph courtesy of National Gallery of Ireland.

Michael Cuffe had another daughter, Catherine Anne Cuffe, by the way, who married a Bagot, Captain John Lloyd Bagot (d. 1798). I haven’t found whether my Baggots are related to these Bagots but it would be nice to have such ancestry! Even nicer because his mother, Mary Herbert, came from Durrow Abbey near Tullamore, a very interesting looking house currently standing empty and unloved.

Thomas’s son, Edward Michael Pakenham, 2nd Baron Longford (1743-92) had Pakenham Hall enlarged in 1780 to designs by Graham Myers who in 1789 was appointed architect to Trinity College, Dublin. Myers created a Georgian house. The Buildings of Ireland website tells us that the original five bay house had a third floor added at this time. [5] 

The entrance porch, a wide archway in ashlar stonework with miniature bartizans rising from the corners, was added later, and rebuilt by Richard Morrison. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The south end of the castle, the oldest part. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The south end of the house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The oldest parts still surviving from the improvements carried out around 1780 are some doorcases in the upper rooms and a small study in the northwest corner of the house. We did not see these rooms, but Christine Casey and Alistair Rowan tell us that the study has a dentil cornice and a marble chimneypiece with a keystone of around 1740. [see 2] The oldest part of the castle is at the south end, and still holds the principal rooms.

Edward Michael Pakenham, 2nd Baron Longford, married Catherine Rowley, daughter of Hercules Langford Rowley of Summerhill, County Kilkenny, in 1768. He was in the Royal Navy but retired from the military in 1766, when he succeeded as 2nd Baron Longford. He was appointed Privy Counsellor in Ireland in 1777.

Edward Michael Pakenham, 2nd Baron Longford (1743-1792). His daughter married the Duke of Wellington, Arthur Wellesley. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Admiral Thomas Pakenham (1757-1836), a younger brother of Edward Michael Pakenham, the 2nd Baron Longford, built another house on the Tullynally estate, Coolure House, around 1775, when he married Louisa Anne Staples, daughter of John Staples (1736-1820), MP for County Tyrone and owner of Lissan House in County Tyrone – which can now be visited, https://www.lissanhouse.com/ . Their son Edward Michael Pakenham (1786-1848) inherited Castletown in County Kildare and he legally changed his name to Edward Michael Conolly. Louisa Anne Staples’s mother was Harriet Conolly, daughter of William Conolly (1712-1754) of Castletown, County Kildare.

Coolure House, on the Tullynally estate, built for Admiral Thomas Pakenham around 1775. Photograph from the National Inventory of Architectural Heritage.

Edward Michael Pakenham 2nd Baron Longford and his wife Catherine née Rowley had many children. Their daughter Catherine (1773-1831) married Arthur Wellesley, Duke of Wellington, but it was an unhappy marriage. The daughter of the current occupant of Tullynally Thomas Pakenham and his wife Valerie, Eliza Pakenham, published Tom, Ned and Kitty: An Intimate History of an Irish Family, about the Duke of Wellington and the family’s relation to him. Kitty fell for the local naval man, Arthur Wellesley, but the family refused to let her marry him. He promised her that he would return and marry her. He went off to sea, and she was brokenhearted. He returned as the Duke of Wellington and did indeed marry her. He, however, was not a very nice man, and is reported to have said loudly as she walked up the aisle of the church to marry him, “Goodness, the years have not been kind.”

When Edward died in 1792 his son Thomas (1774-1835) inherited, and became the 3rd Baron Longford. When his grandmother Elizabeth née Cuffe, who had been made the Countess of Longford in her own right, died in 1794, Thomas became 2nd Earl of Longford.

Tullynally was gothicized by Francis Johnston to become a castle.

Thomas the 2nd Earl of Longford (1774-1835). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We came across Francis Johnson (1760-1829) the architect when I learned that he had been a pupil of Thomas Cooley, the architect for Richard Robinson, Archbishop of Armagh (who had Rokeby Hall in County Louth built as his home). Johnston took over Cooley’s projects when Cooley died and went on to become an illustrious architect, who designed the beautiful Townley Hall in County Louth which we visited recently. He also enlarged and gothicized Markree Castle for the Coopers, and Slane Castle for the Conynghams. His best known building is the General Post Office on O’Connell Street in Dublin. We recently saw his house in Dublin on Eccles Street, on a tour with Aaran Henderson of Dublin Decoded.

Thomas the 2nd Earl sat in the British House of Lords as one of the 28 original Irish Representative Peers. Casey and Rowan call Francis Johnston’s work on the house “little more than a Gothic face-lift for the earlier house.” He produced designs for the house from 1794 until 1806. On the south front he added two round towers projecting from the corners of the main block, and battlemented parapets. He added the central porch. To the north, he built a rectangular stable court, behind low battlemented walls. He added thin mouldings over the windows, and added the arched windows on either side of the entrance porch.

Francis Johnston added the porch, which was later altered by Richard Morrison. Johnston also added the arched windows on either side of the entrance porch, as well as the round corner towers. He also added the mouldings above the windows. To the north, Johnston built the rectangular stable court behind low battlemented walls. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The oldest part of the castle, which was made into a Georgian house by Graham Myers in 1780. The towers were added later by Francis Johnston, 1801-1806. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Terence Reeves-Smyth details the enlargement of Tullynally in his Big Irish Houses:

“Johnson designed battlements and label mouldings over the windows, but as work progressed it was felt this treatment was too tame, so between 1805 and 1806 more dramatic features were added, notably round corner turrets and a portcullis entrance, transforming the house with characteristic Irish nomenclature from Pakenham Hall House to Pakenham Hall Castle.”

During the early nineteenth century, a craze for building sham castles spread across Ireland with remarkable speed, undoubtedly provoked by a sense of unease in the aftermath of the 1798 rebellion. Security was certainly a factor in Johnson’s 1801 to 1806 remodelling of Tullynally, otherwise known as Pakenham Hall, where practical defensive features such as a portcullis entrance were included in addition to romantic looking battlements and turrets. Later enlargements during the 1820s and 1830s were also fashioned in the castle style and made Tullynally into one of the largest castellated houses in Ireland – so vast, indeed, that it has been compared to a small fortified town.”

Thomas married Georgiana Emma Charlotte Lygon, daughter of William Lygon, 1st Earl Beauchamp (UK) in 1817. He was created 1st Baron Silchester, County Southampton [U.K.] on 17 July 1821, which gave him and his descendants an automatic seat in the House of Lords.

Georgiana Lygon (1774-1880). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

According to Rowan and Casey it may have been his wife Georgiana Lygon’s “advanced tastes” that led to the decision to make further enlargements in 1820. They chose James Sheil, a former clerk of Francis Johnston, who also did similar work at Killua Castle in County Westmeath, Knockdrin Castle (near Mullingar) and Killeen Castle (near Dunshaughlin, Co. Meath).

At Tullynally Sheil added a broad canted bay window (a bay with a straight front and angled sides) towards the north end of the east front, with bartizan turrets (round or square turrets that are corbelled out from a wall or tower), and wide mullioned windows under label mouldings (or hoodmouldings) in the new bay.

The three storey canted bay window on the garden front was added by James Sheil in 1820, as well as a new round tower to the north. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The gate lodge was designed by James Sheil. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sheil also decorated the interior. We shall now go inside to take a look.

We entered through the big red door in the entrance porch.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Tullynally motto, our tour guide told us, is “Glory in the shadow of virtue.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

One enters into a large double height hall. It is, Terence Reeves-Smyth tells us, 40 feet square and 30 feet high. I found it impossible to capture in a photograph. It has a Gothic fan vaulted ceiling, and is wood panelled all around, with a fireplace on one side and an organ in place of a fireplace on the other side.

Tullynally Castle and Gardens, Castlepollard, Co Westmeath, photograph by Thomas Pakenham for Failte Ireland, 2015.
The Great Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The hall, Casey and Rowan tell us, has a ceiling of “prismatic fan-vaults, angular and overscaled, with the same dowel-like mouldings marking the intersection of the different planes…The hall is indeed in a very curious taste, theatrical like an Italian Gothick stage set, and rendered especially strange by the smooth wooden wainscot which completely encloses the space and originally masked all the doors which opened off it.” [6] As this smooth wainscot and Gothic panelled doors are used throughout the other main rooms of the house and are unusual for Sheil, this is probably a later treatment.

The door leads to the dining room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
“Glory in the shadow of virtue,” the family motto. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Terence Reeves-Smyth describes the front hall:

“Visitors entering the castle will first arrive in the great hall – an enormous room forty-feet square and thirty feet high with no gallery to take away from its impressive sense of space. A central-heating system was designed for this room by Richard Lovell Edgeworth, who earlier in 1794 had fitted up the first semaphore telegraph system in Ireland between Edgeworthstown and Pakenham Hall, a distance of twelve miles. In a letter written in December 1807, his daughter Maria Edgeworth, a frequent visitor to Pakenham Hall, wrote that “the immense hall is so well warmed by hot air that the children play in it from morning to night. Lord L. seemed to take great pleasure in repeating twenty times that he was to thank Mr. Edgeworth for this.” Edgeworth’s heating system was, in fact, so effective that when Sheil remodelled the hall in 1820 he replaced one of the two fireplaces with a built-in organ that visitors can still see. James Sheil was also responsible for the Gothic vaulting of the ceiling, the Gothic niches containing the family crests, the high wood panelling around the base of the walls and the massive cast-iron Gothic fireplace. Other features of the room include a number of attractive early nineteenth century drawings of the castle, a collection of old weapons, family portraits and an Irish elk’s head dug up out of a bog once a familiar feature of Irish country house halls.” [see 1]

Richard Lovell Edgeworth (1744-1817), by Horace Hone 1785, NPG 5069.
Over the fireplace is a large eagle in a niche. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The organ. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There is a long vaulted corridor that runs through the house at first-floor level which Rowan and Casey write is probably attributable to Sheil.

The ground floor of the main house contains Lord Longford’s study, the dining room, library, drawing room, Great Hall, Lady Longford’s sitting room, Plate room and Servant’s Library.

From the Great Hall we entered the dining room, which used to be the staircase room.

The dining room, drawing room and library were all decorated in Sheil’s favoured simple geometrical shaped plasterwork of squares and octagons on the ceiling. [6]

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We can see that the windows in the dining room are in the canted bow which was added by James Shiel. The room is hung with portraits of family members. The ceiling drops at the walls into Gothic decoration of prismatic fan-vaults with dowels similar to those in the Hall, though less detailed.

Tullynally Castle, Castlepollard, Co Westmeath, photograph by Thomas Pakenham for Failte Ireland, 2015.

Georgina née Lygon, wife of the 2nd Earl, was well-read and wealthy. She and her husband were friendly with the Edgeworths of nearby Edgeworthstown. She was responsible for developing the gardens, planting the trees which are now mature, and creating a formal garden. Her husband died in 1835 but she lived another forty-five years, until 1880. She and her husband had at least eight children. Their son Edward Michael Pakenham (1817-1860) succeeded to become 3rd Earl of Longford in 1835 while still a minor.

We then went to the library. The library was started by Elizabeth Cuffe, wife of the the 1st Baron Longford, and continued by Georgiana, wife if the 2nd Earl. Again, it’s hard to capture in a photograph, while also being on a tour.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The portrait over the fireplace in the library is Major General Edward Michael Pakenham (1778-1815), brother of the 2nd Earl of Longford. Major General Pakenham (whose sword in the red sheath is in the front Hall) was killed in the Battle of New Orleans in 1815, between Britain and the United States of America, in the “War of 1812.”

The Portrait over the fireplace in the library is Major General Edward Michael Pakenham (1778-1815), brother of the 2nd Earl of Longford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Major General Edward Michael Pakenham (1778-1815), brother of the 2nd Earl of Longford. He commanded the British forces in the attack on New Orleans where he fell in action. This portrait was in Strokestown Park house in County Roscommon. Robert O’Byrne tells us that for purposes of preservation his body was returned to Ireland in a cask of rum, and since he had been known to have a surly temper, one of his relatives remarked, ‘The General has returned home in better spirits than he left!’ [ see https://theirishaesthete.com/2013/05/06/a-bibliophiles-bliss/ ] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Another brother of the 2nd Earl of Longford was Lieutenant General Hercules Pakenham (1781-1850). He married Emily Stapleton, daughter of Thomas Stapleton, 13th Lord le Despenser, 6th Baronet Stapleton, of the Leeward Islands in the Caribbean. Hercules inherited Langford Lodge in County Antrim, from his mother Catherine Rowley (it no longer exists). Hercules served as MP for Westmeath.

Lieutenant General Hercules Pakenham (1781-1850), portrait in Strokestown Park House, County Roscommon. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The library in Tullynally. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The wonderful bookshelves of Tullynally. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The upper shelves contain busts. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A selection of books by the prolific Pakenham family are on the table in the library.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We next visited the drawing room.

The drawing room, with geometrical shape plain roll moulding on the ceiling, of the type favoured by James Shiel. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The window of the Drawing room looks out the front, and is one of the arched windows added by Francis Johnston on either side of the entrance portico. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doorway into one of Francis Johnston’s round towers. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A photograph of the room in a previous era.
Unfortunately we did not go upstairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

When he reached his majority, the third Earl, Edward Michael, who was called “Fluffy,” along with his mother, made further enlargements from 1839-45 with two enormous wings and a central tower by another fashionable Irish architect, Sir Richard Morrison. The wings linked the house to the stable court which had been built by Francis Johnston. The addition included the large telescoping octagonal tower.

“Fluffy” Edward Michael Pakenham, 3rd Earl of Longford (1817-1860).
A description of the castle, at Tullynally.

Terence Reeves-Smyth writes:

“More substantial additions followed between 1839 and 1846 when Richard Morrison, that other stalwart of the Irish architectural scene, was employed by the Dowager Countess to bring the house up to improved Victorian standards of convenience. Under Morrison’s direction the main house and Johnson’s stable court were linked by two parallel wings both of which were elaborately castellated and faced externally with grey limestone. Following the fashion recently made popular by the great Scottish architect William Burn, one of the new wings contained a private apartment for the family, while the other on the east side of the courtyard contained larger and more exactly differentiated servants’ quarters with elaborate laundries and a splendid kitchen.”

Casey and Rowan describe Morrison’s work: “On the entrance front the new work appears as a Tudoresque family wing, six bays by two storeys, marked off by tall octagonal turrets, with a lower section ending in an octagonal stair tower which joins the stable court. This was refaced and gained a battlemented gateway in the manner of the towers that Morrison had previously built as gatehouses at Borris House, County Carlow [see my entry on Borris House] and Glenarm Castle, County Antrim. The entrance porch, a wide archway in ashlar stonework, with miniature bartizans rising from the corners, was also rebuilt at this time. Though Morrison provided a link between the old house and the family wing by building a tall octagonal tower, very much in the manner of Johnston’s work at Charleville Forest, County Offaly [see my entry Places to visit and stay in County Offaly], the succession of facades from south to north hardly adds up to a coherent whole. The kitchen wing, which forms an extension of the east front, is much more convincingly massed, with a variety of stepped and pointed gables breaking the skyline and a large triple-light, round-headed window to light the kitchen in the middle of the facade.

Picture from the National Inventory of Architectural Heritage, showing the older end, and the Tudoresque family wing, six bays by two storeys, marked off by tall octagonal turrets
Picture from the National Inventory of Architectural Heritage, showing the Tudoresque family wing and further, the battlemented stable courtyard with the red entrance door to the courtyard.
Looking from the front door down toward the stable end of the castle, one can see one of the wings designed by Richard Morrison. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Morrison addition. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The addition included the large telescoping octagonal tower that contains stairs and links the old house to the new wing. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One of the wings, created by Richard Morrison, between the stable yard by Francis Johnston and the main house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

On the tour, our guide told us of the various additions. She told us that “Fluffy” lived with his mother and chose to follow the fashion of living in an apartment in a wing of the house.

Morrison’s wings are part of the courtyards to the left of the plan for the main house in this drawing, see close-up below.
Plan of Morrison’s addition.
The garden side of the house. In this photograph you can see the Morrison addition of the kitchen: the part beyond the round tower, with the stepped gable, and the tripartite arched windows. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Picture from the National Inventory of Architectural Heritage: “The kitchen wing … [has] a variety of stepped and pointed gables breaking the skyline and a large triple-light, round-headed window to light the kitchen in the middle of the facade.”
Picture from the National Inventory of Architectural Heritage, with the “banana shaped” conservatory, and the kitchen wing beyond.
Inside the kitchen, the Morrison windows. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We explored these wings further on the tour of the “downstairs” servants area.

The courtyard created by the Morrison wings is very higgeldy piggeldy.

Inner courtyard, Picture from National Inventory of Architectural Heritage.
The telescoped Octagon tower. The Laundry is on the right side of the courtyard when facing the octagon tower. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The family apartment was in this section, built by Richard Morrison. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside the courtyard created by the Morrison additions. The kitchen is on the left hand side of the courtyard when facing the octagon tower. The servants’ hall was in the basement below. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside Morrison’s courtyard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. The laundry side of the courtyard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

On the “downstairs tour” we toured the wings of the castle that had been added by Fluffy and his mother. A wing was built for the staff, and it was state of the art in the 1840s when Richard Morrison built these additions. Fluffy never married, and unfortunately died in “mysterious circumstances” in a hotel in London.

When Fluffy died his brother William (1819-1887), an army general in the Crimean War and long-serving military man, became the 4th Earl of Longford.

This could be William Lygon Pakenham (1819-1887), the 4th Earl, I think. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Terence Reeves-Smyth continues:“After the third Earl’s death in 1860 his brother succeeded to the title and property and proceeded to modernise the castle with all the latest equipment for supplying water, heat and lighting. Except for a water tower erected in the stable court by the Dublin architect J. Rawson Carroll in the 1860s, these modifications did not involve altering the fabric of the building, which has remained remarkably unchanged to the present day.

The further additions in 1860 are by James Rawson Carroll (d.1911), architect of Classiebawn, Co Sligo, built for Lord Palmerston and eventually Lord Mountbatten’s Irish holiday home in the 1860s.

The 4th Earl married Selina Rice-Trevor from Wales in 1862. Her family, our guide told us, “owned most of Wales.” His letters and a copy of his diary from when he arrived home from the Crimean War are all kept in Tullynally.

Tullynally, County Westmeath.
Tullynally, County Westmeath.

We can even read his proposal to Selina:

Tullynally, County Westmeath.
Tullynally, County Westmeath.

William the 4th Earl installed a new plumbing system. He also developed a gas system, generating gas to light the main hall. The gas was limited, so the rest of the light was provided by candles, and coal and peat fires. His neighbour Richard Lovell Edgeworth provided the heating system.

The next generation was the 5th Earl, son of the 4th Earl, Thomas Pakenham (1864-1915). He was also a military man. He married Mary Julia Child-Villiers, daughter of Victor Albert George Child-Villiers, 7th Earl of Island of Jersey and they had six children.

The family are lucky to have wonderful archives and diaries. Mary Julia Child-Villiers was left a widow with six children when her husband died during World War I in Gallipoli. The downstairs tour shows extracts from the Memoir of Mary Clive, daughter of the 5th Earl of Longford.

Tullynally, County Westmeath.
Tullynally, County Westmeath.

Since 1915 the family have been writers (before that, they were mostly military). Edward the 6th Earl (1902-1961) was a prolific playwright who restored the Gate Theatre in Dublin and taught himself Irish, and with his wife Christine, created the Longford Players theatrical company which toured Ireland in the 30s and 40s. He served as a Senator for the Irish state between 1946 and 1948.

Edward, the 6th Earl of Longford (1902-1961). His portrait hangs in the Great Hall.
Newspaper article before their wedding.
Sculpture and photograph of Christine Trew (1900-1980), wife of Edward, the 6th Earl of Longford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

His sister Violet Georgiana, who married Anthony Dymoke Powell, wrote many books, and her husband was a published writer as well. Another sister, Mary Katherine, who married Major Meysey George Dallas Clive, also wrote and published. Their sister Margaret Pansy Felicia married a painter, Henry Taylor Lamb, and she wrote a biography of King Charles I.

A brother of Edward, Frank (1905-2001), who became the 7th Earl after Edward died in 1961, and his wife Elizabeth née Harman, wrote biographies, as did their children, Antonia Fraser, Rachel Billington and Thomas Pakenham the 8th Earl of Longford. Antonia Fraser, who wrote amongst other things a terrific biography of Marie Antoinette and another wonderful one of King Charles II of England, is one of my favourite writers. She is a sister of the current Earl of Longford, Thomas, who lives in the house. They did not grow up in Tullynally, but in England. Thomas’s wife Valerie has published amongst other books, The Big House in Ireland.

There was a handy chart of the recent family on the wall in the courtyard café:

Tullynally, County Westmeath.

Stephen noted with satisfaction that Thomas Pakenham does not use his title, the 8th Earl of Longford. That makes sense of course since such titles are not recognised in the Republic of Ireland! In fact Stephen’s almost sure that it is against the Irish Constitution to use such titles. This fact corresponds well with the castle’s change in name – it was renamed Tullynally in 1963 to sound more Irish.

When we visited in 2020 we purchased our tickets in the café and had time for some coffee and cake and then a small wander around the courtyard and front of the Castle. One enters the stable courtyard, designed by Francis Johnston, to find the café and ticket office.

The arched gateway is the entrance to the stable courtyard. According to the National Inventory of Architectural Heritage, the entrance is in a: “Single-bay two-storey castellated gate house (on rectangular plan with integral Tudor-pointed carriage arch and a projecting polygonal tower rising a further storey above crenellated parapet over) to north end of complex [gives access to outer courtyard].” This is the courtyard designed by Francis Johnston. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Gate lodge entrance to Francis Johnston’s stable courtyard, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside the stable courtyard, looking back at the arched gateway through which we came. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stephen inside the castellated gate house arch. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside the gateway entrance by Francis Johnston there is a vaulted ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Chimneys and turrets. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This is the rectanguar stable block with turreted walls by Francis Johnston. The historic water pump is in the foreground, and cafe in the back. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Another view of the gate lodge entrance archway to the stable courtyard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I didn’t get to find out what is in every tower and behind every window, and I suspect it’s a place to get to know by degrees!

We entered through this archway to begin the “downstairs” tour with our tour guide. We entered into another, smaller courtyard – that designed by Richard Morrison. Look at all those chimneys! According to the National Inventory: “Inner courtyard accessed through two-storey block (on rectangular plan) having integral segmental-headed carriage with open belfry/clock tower (on hexagonal plan) over having sprocketed natural slate roof and cast-iron weather vane finial.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath: entrance into the courtyard formed by Morrison’s additions. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Behind those blue doors was a shed containing a carriage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Pakenham Coach. It was built by Hoopers of London and brought to Ireland in the 1840s by Dean Henry Pakenham, the brother of Thomas, the 2nd Earl of Longford. The coat of arms on the door [see the photograph below] incorporates three Irish crests: the Pakenham eagle, the Sandford boar’s head (Dean Henry’s wife was Eliza Catherine Sandford), and the Mahon tiger (Dean Henry’s son Henry married Grace Catherine Mahon). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Elizabeth Sandford, mother of Henry Sandford Pakenham, wife of Reverend Henry Pakenham, Dean of St. Patrick’s Cathedral in Dublin. Henry Sandford Pakenham married the heiress Grace Catherine Mahon and changed his surname to Pakenham Mahon. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The coach was passed down to Olive Pakenham-Mahon of Strokestown, Roscommon (another section 482 property, see my entry), who was Dean Henry’s great granddaughter. Olive sold it to her cousin Thomas Pakenham, the present owner of Tullynally. It was restored by Eugene Larkin of Lisburn, and in July 1991 took its first drive in Tullynally for over a hundred years. Family legend has it that the coach would sometimes disappear from the coachhouse for a ghostly drive without horses or coachman! It was most recently used in 1993 for the wedding of Eliza Pakenham, Thomas’s daughter, to Alexander Chisholm.

Tullynally, County Westmeath.

The tour brought us through the arch from the first courtyard containing the café, into a smaller, Morrison courtyard.

Richard Morrison spent more time working on the laundry room than on any other part of the house.

The “state of the art” laundry room. These undergarments would have been for little boys as well as girls, and the boys would wear dresses over the pantaloons. Boys were dressed as girls up to the age of about six years old, so that the fairies would not steal them away, as supposedly fairies favoured boys. The boys would have long hair to that age also. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was at this time that the “dry moat” was built – it was not for fortification purposes but to keep the basements dry.

The dry moat, built to prevent damp and to keep the basement dry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dry moat. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Our guide described the life of a laundress. After the installation of the new laundry, water was collected in a large watertank, and water was piped into the sinks into the laundry.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A laundry girl would earn, in the 1840s (which is during famine time), €12/year for a six day week, and start at about fourteen years of age. A governess would teach those who wanted to learn, to read and write, so that the girls could progress up in the hierarchy of household staff. There was even a servants’ library. This was separate of course from the Pakenham’s library, which is one of the oldest in Ireland. There was status in the village to be working for Lord Longford, as he was considered to be a good employer. His employees were fed, clothed in a uniform, housed, and if they remained long enough, even their funeral was funded. There was a full time carpenter employed on the estate and he made the coffins.

The brick fireplace in the laundry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The laundry girls lived in a world apart from household staff. They ate in the laundry. Their first job in the morning would be to light the fire – you can see the brick fireplace in the first laundry picture above. A massive copper pot would be filled with water, heated, and soap flakes would be grated into the pot. The laundry girls would do the washing not only for their employers but also for all of the household staff – there were about forty staff in 1840. As well as soap they would use lemon juice, boiled milk and ivy leaf to clean – ivy leaves made clothes more black. The Countess managed the staff, with the head housekeeper and butler serving as go-between.

William, the 4th Earl of Longford, had a hunting lodge in England and since he had installed such a modern laundry in Tullynally, he would ship his laundry home to Pakenham Hall be washed!

Next, the washing would be put through the mangle.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Box Mangle, for sheets. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Box Mangle, for sheets. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Box Mangle, invented by Baker of Fore Street, London invented in 1808 and patented: “An important improvement in the construction of the common mangle…by which the otherwise unwieldy heavy box was moved with great facility backwards and forewards, by a continuous motion of the handle in one direction; and by the addition of a fly wheel to equalise the motion, a great amount of muscular exertion is saved to the individual working the machine.” [quoted from the information on the mangle, from The Engineers and Mechanics Encyclopedia, London, 1838]. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The girls might have to bring laundry out to the bleaching green. A tunnel was installed so that the girls avoided the looks and chat of the stable boys, or being seen by the gentry. William also developed a drying room. Hot water ran through pipes to heat the room to dry the clothes.

The drying racks could be pulled out along treads on the floor then pushed back in to the heated area to dry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There was also an ironing room.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The next room was a small museum with more information about the castle and family, and included a receipt for the iron end of a mangle, purchased from Ardee Street Foundry, Brass and Iron Works, Dublin. We live near Ardee Street!

Tullynally, County Westmeath.

This information board tells us details about the staff, as well as giving the layout of the basement:

The basement contained the Bake room, boot room, beer cellar, servant’s hall, brushing room, butler’s pantry, footman’s bedroom, and across the courtyard, the bacon room.

By 1860 Pakenham Castle was run in the high Victorian manner. The Butler and Housekeeper managed a team of footmen, valets, housemaids and laundry maids, whilst Cook controlled kitchen maids, stillroom maid and scullery maids. A stillroom maid was in a distillery room, which was used for distilling potions and medicines, and where she also made jams, chutneys etc. There was also a dairy, brewery and wine cellar. The Coachman supervised grooms and stable boys, while a carpenter worked in the outer yard and a blacksmith in the farmyard. Further information contains extracts from Mrs. Beeton’s Book of Household Management (1859), detailed duties of a housemaid, a laundry-maid, and treatment of servants. The estate was self-sufficient. Staff lived across the courtyard, with separate areas for men and women. There were also farm cottages on the estate. Servants for the higher positions were often recruited by word of mouth, from other gentry houses, and often servants came from Scotland or England, and chefs from France.

Tullynally, County Westmeath.
Tullynally, County Westmeath.
Tullynally, County Westmeath.
Tullynally, County Westmeath.
Tullynally, County Westmeath.

We are also given the figures for servants’ wages in 1860.

Tullynally, County Westmeath.

Next, we headed over toward the kitchen. On the way we passed a water filter system, which was a ceramic jar containing an asbestos and charcoal filter system. However, staff were given beer to drink as it was safer at the time than water. We saw a container used to bring food out to staff in the fields – the food would be wrapped in hay inside the container, which would hold in the heat and even continue to cook the food. We stopped to learn about an ice chest:

The ice box. The wooden casing is insulated with felt and lined with zinc. Ice would be brought up from the ice house in the woods and placed inside the inner casing with fish and any other item that needed to be kept cold. The pewter cannisters were used to make icecream. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The ice chest would be filled with ice from the icehouse. We were also shown the coat of a serving boy, which our tour guide had a boy on the tour don – which just goes to show how young the serving boys were:

Tullynally, County Westmeath.
Note the coronets on the buttons. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A serving boy wearing this uniform would carry dishes from the kitchen to the dining room, which was as far from the kitchen as possible to prevent the various smells emanating from the kitchen from reaching the delicate nostrils of the gentry. The serving boy would turn his back to the table, and watch mirrors to see when his service was needed at the table, under the management of the butler. Later, when the ladies had withdrawn to the Drawing Room, to leave the men to drink their port and talk politics, the serving boy would produce “pee pots” from a sideboard cupboard, and place a pot under each gentleman! Our guide told us that perhaps, though she is not sure about this, men used their cane to direct the stream of urine into the pot. The poor serving boy would then have to collect the used pots to empty them. Women would relieve themselves behind a screen in the Drawing Room.

In the large impressively stocked kitchen, we saw many tools and implements used by the cooks. Richard Morrison ensured that the kitchen was filled with light from a large window.

Tullynally, County Westmeath.
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

This kitchen was used until around 1965. The yellow colour on the walls is meant to deter flies. Often a kitchen is painted in blue either, called “Cook’s blue,” also reputed to deter flies. Because this kitchen remained in continuous use its huge 1875 range was replaced by an Aga in the 1940s.

The huge butter maker. Our guide also pointed out the large mortar and pestle in the wooden press. Sugar came in a loaf and was bashed down in a mortar and pestle.
Heated niches, to keep dishes warm. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The cookware is made of copper, and you can see by the stove a large ceramic vessel topped with muslin for straining jams.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The rusty looking pronged instrument above is a metal torch – rushes were held in the top and dipped in paraffin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Candles were made from whale blubber. Candles made from blubber closer to the whale’s head were of better quality.

The housekeeper would have her own room, which our guide told us, was called the “pug room” due to the, apparently, sour face of of the housekeeper, but also because she often kept a pug dog!

Next we were taken to see Taylor’s room. Taylor was the last Butler of the house. We passed an interesting fire-quenching system on the way.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Taylor’s room, Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Next, the tour guide took us to see the servants’ staircase and set of bells. We passed the mailbox on the way:

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

This would normally be the end of the tour, but since we were such a fascinated, attentive group, the guide took us into the basement to see the old servants’ dining hall.

Basement hall, with what I think is an old fire extinguisher. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I think this was the carpenter’s workshop; unfortunately I didn’t take a picture of the dining hall! See how the basement has vaulted ceilings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This lovely little fellow sat on the ground at the bottom of the stairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The gardens, covering nearly 30 acres, were laid out in the early 19th century and have been restored. They include a walled flower garden, a grotto and two ornamental lakes.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ha ha and castle terraces. The ha ha is a sharp downward slope in a lawn to prevent animals coming too close to the house, or, as we were told in another house, to hide the servants walking past. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The current owner Thomas Packenham has published a five book series on trees that begins with Meetings with Remarkable Trees and the most recent is The Company of Trees.

Here is the description of the gardens, from the Irish Historic Houses website:“The gardens, illustrated by a younger son in the early eighteenth century, originally consisted of a series of cascades and formal avenues to the south of the house. These were later romanticised in the Loudonesque style, with lakes, grottoes and winding paths, by the second Earl and his wife [Thomas (1774-1835) and Georgiana Lygon (1774-1880)]. They have been extensively restored and adapted by the present owners, Thomas and Valerie Pakenham, with flower borders in the old walled gardens and new plantings of magnolias, rhododendron and giant lilies in the woodland gardens, many collected as seed by Thomas while travelling in China and Tibet. He has recently added a Chinese garden, complete with pagoda, while the surrounding park contains a huge collection of fine specimen trees.” [7]

A. Castle Terraces, B. Pleasure Garden or Woodland Garden, C. Grotto, D. Flower Gardens, E. Kitchen Garden, F. Yew Avenue, G. Llama Paddock, H. Queen Victoria’s Summerhouse, I. Upper Lake, J. Tibetan Garden, K. Forest Walk or Stream Garden, L. Chinese Garden, M. Gingerbread House, N. Lower Lake or Swan Pool, O. Viewing Hut, P. Viewing Mound, Q. Magnolia Walk.
Helpful signs explain areas of the garden. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The upper lake 2020. This was originally a bathing place with a bathhouse, now replaced by a small summerhouse. It was extended to the present size in 1884. It originally also served the purpose for water to be released into the millpond to drive the water wheel, and later, turbine, in the farm mill. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The upper lake, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The upper lake, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The lily pond with the “weeping pillar” of eroded limestone. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One of the two sphinxes by the gate leading to the Kitchen Garden which were once part of an 18th century classical entrance gate to the estate. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
llamas! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A lovely little shed. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I befriended the resident cat.

She was so happy to have her tummy rubbed – not like our Bumper – and was so friendly that I wanted to take her home! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A summerhouse copied from an old photograph of Queen Victoria’s summer house in Frogmore, near Windsor. It was built by Antoine Pierson in 1996 for the present owners. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A Fossil Tree: a Dawn Redwood, considered extinct and only known about from fossils from 60 million years ago, until discovered in 1941 in China. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A romantically placed seat. Tullynally, with its various turrets and spires, set in its beautiful gardens, is a great exemplar of the picturesque. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance to Forest Walk, originally formed part of an extended woodland garden created in the 1820s. The path leads to the Chinese garden and to the Lower Lake, reputedly one of the lakes where the Children of Lir stayed as swans. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Another romantic spot. The Chinese Garden was created in 1994 with plants grown from seed by Thomas Pakenham from Yunnan in southern China. The Pagoda was made by local craftsmen. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Note on the garden. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I’m afraid Stephen is a little irreverent in this one. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
On our second visit, we made it to the lower lake, but we were then caught in a heavy downpour! Fortunately there was a gazebo nearby for shelter. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There are still swans on the lake. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
And there’s another generation of swans coming along. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
We could see the castle from our vantage point in the summer hut. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Goodbye Tullynally! I look forward to visiting again.

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

[2] p. 525. Casey, Christine and Alistair Rowan. The Buildings of Ireland: North Leinster. Penguin Books, London, 1993.

[3] p. 135. Great Houses of Ireland. Hugh Montgomery-Massingberd and Christopher Simon Sykes. Laurence King Publishing, London, 1999.

[4] http://lordbelmontinnorthernireland.blogspot.com/2013/10/tullynally-castle.html

[5] https://www.buildingsofireland.ie/buildings-search/building/15400321/tullynally-castle-tullynally-co-westmeath

[6] p. 527. Casey, Christine and Alistair Rowan. The Buildings of Ireland: North Leinster. Penguin Books, London, 1993.

[7] https://www.ihh.ie/index.cfm/houses/house/name/Tullynally%20Castle

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

Historic houses in County Wicklow listed in the National Inventory of Architectural Heritage

I would like to share with you some examples of the houses in Wicklow listed in the National Inventory of Architectural Heritage (photographs are all taken from the National Inventory):

i. Avondale, open to the public. Built in 1779, designs may have been by James Wyatt. It was the home of Charles Stewart Parnell, the Nationalist leader in Ireland.

ii. Avonmore

Avonmore House, built around 1830.

iii. Ballyarthur

Ballyarthur, built in 1680.

iv. Ballycurry

Ballycurry House, built in 1807 to designs by Francis Johnston.

v. Ballykeane

Ballykeane, built around 1780.

vi. Ballymoney

Ballymoney, built around 1800.

vii. Ballynure House

Ballynure House, built around 1800.

viii. Baltiboys

Baltiboys, built around 1840.

ix. Carnew Castle

Carnew Castle, built in the late sixteenth century, re-roofed and remodernised ca. 1817 by 4th Earl Fitzwilliam whose Irish seat, Coolattin, is nearby.

x. Castle Kevin

Castle Kevin, built in 1813.

xi. Clonmannon House (Old)

Clonmannon House (Old), built around 1700.

xii. Cronroe, now Bel Air Hotel

https://www.belairhotelequestrian.com/hotel/

Cronroe, now Bel Air Hotel, built in 1890.

xiii. Donard House

Donard House, built in 1813-14 to the designs of William Vierpyl.

xiv. Fortgranite

Fortgranite, built around 1730.

xv. Glanmore Castle

Glanmore Castle, built around 1804, to designs by Francis Johnston.

xvi. Glenart Castle, was a hotel, now private again, built around 1820.

xvii. Grangecon Parks

Grangecon Parks, built around 1820.

xviii. Hollybrook House

Hollybrook House, built in 1835 incorporating an earlier house, to designs by William Vitruvius Morrison.

xix. Humewood Castle

Humewood Castle, built 1867-70 to designs by William White.

xx. Mount John

Mount John, built around 1800.

xxi. Rathsallagh, now a hotel

https://www.rathsallagh.com/

Rathsallagh, built as stables around 1750, converted to a house in 1798.

xxii. Rosanna House

Rosanna House, built around 1720.

xxiii. Roundwood

Roundwood, built around 1800, remodelled later in the nineteenth century.

xxiv. Slaney Park House

Slaney Park House, built around 1810, reduced by one storey after a fire in 1946.

xxv. Tinakilly House, now a small hotel

Tinakilly House (now a hotel), built around 1876 to designs by James Franklin Fuller.

xxvi. Tinode House (you can visit June Blake’s garden www.juneblake.ie )

Tinode, built in 1864 to designs by W.F. Caldbeck, partly demolished in a fire in 1922 and restored in 1973.

xxvii. Tulfarris – now a hotel https://www.tulfarrishotel.com/

Tulfarris – now a hotel, built in 1760, porch from around 1860.

xxviii. Woodbrook, now a golf course

Woodbrook, now a golf course, built around 1840.

xxix. Woodstock House, now Druid’s Glen Golf Course and hotel

Druid’s Glen hotel, formerly called Woodstock, built around 1770.

Rokeby Hall, Grangebellew, County Louth A92 HX52 – section 482

Rokeby Hall, County Louth, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

www.rokeby.ie
Open dates in 2025: June 1-30, Aug 1-31, 10am-2pm

Fee: adult/OAP €10, child/student €5

donation

Help me to pay the entrance fee to one of the houses on this website. This site is created purely out of love for the subject and I receive no payment so any donation is appreciated!

€15.00

Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Stephen and I visited Rokeby Hall in County Louth on Saturday September 7th, 2019. I texted ahead to alert Jean to our visit. We were lucky to have another beautifully sunny day!

Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We entered the gates and drove up the impressive drive, through lovely fields.

The Observatory at Rokeby. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I paused as we approached the house to take a photograph of the observatory, and of the field near the house with the grazing cattle.

Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There is an excellent website for Rokeby Hall which I read in advance so knew a little bit of information. [1]

“Rokeby Hall is a country house in the Neoclassical style built for Richard Robinson, Archbishop of Armagh.

Initially designed by Thomas Cooley and built c. 1785 by renowned Irish architect Francis Johnston, Rokeby is an elegant building with beautiful exterior and interior detailing which remains largely unchanged to this day.

The house is a testament to the architects and the skilled craftsmen of the Georgian era and is today considered to be one of the most significant historic country houses remaining in Co. Louth.”

Francis Johnston (1760-1829) is best known for building the General Post Office in Dublin, and is the son of another architect, William Johnston. Francis is from Armagh and first practised his architecture there, and then lived in Drogheda from 1786 before moving to Dublin about 1793. It was the archbishop of Armagh, Richard Robinson, who sent Johnston to Dublin to train under Thomas Cooley, having already worked with Cooley to design buildings.

Francis Johnston (1761-1829), Architect, against the General Post Office, Dublin Date 1823 by Engraver Henry Hoppner Meyer, English, 1782-1847 After Thomas Clement Thompson, Northern Irish, c.1780-1857, photograph courtesy of National Gallery of Ireland.
Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Thomas Cooley, who worked first as a carpenter then draughtsman in an architectural office, came from England to Ireland in 1768 when he won a competition to design a new Royal Exchange in Dublin, which is now the City Hall on Dame Street. He built several public buildings in Dublin in the neoclassical style. Together with James Gandon (1743–1823), Cooley was part of a small school of architects influenced by Sir William Chambers (1723–1796). Cooley died in 1784. He worked closely with the Archbishop Richard Robinson and designed many buildings in Armagh, including the Archbishop’s Palace (now the Town Hall) and the library. He also designed the Four Courts in Dublin, and Caledon in County Tyrone.

Cooley designed Rokeby Hall, and it fell to Francis Johnston to finish the project after Cooley’s death. Johnston continued to work with Archbishop Robinson, for whom he went on to build the Armagh Observatory and Armagh Courthouse, and other buildings in Armagh (I think that the observatory in Rokeby was built for the current owner, but I’m sure the Archbishop would have been delighted had he known, since he had the one in Armagh built in 1790 [2]!). Jean Young, the owner of Rokeby, recommended that we also visit another house in Louth designed and built by Francis Johnston, Townley Hall.

Johnston designed more buildings, including the beautiful Chapel Royal in Dublin Castle, and he converted Parliament House in College Green in Dublin into the Bank of Ireland. He also designed Charleville Forest Castle in Tullamore, County Offaly, and probably designed another Section 482 house, Turbotstown in County Westmeath (see my entry). He also helped in the 2nd Earl of Longford to convert Tullynally House into Tullynally Castle (see my entry), completing that work in 1803.

Jean greeted us and invited us inside. We paused in the capacious front hall to look at a portrait while she told us about the man responsible for having the house built, Archbishop Richard Robinson. Robinson named the building after his family home in Yorkshire, England, Rokeby Park.

The columns reminded me of “scagliola” [3] but are actually painted. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Saloon in Caledon was designed in the neoclassical style by Thomas Cooley with columns of yellow scagliola; Copyright Christopher Simon Sykes, The Interior Archive Ltd, CS_GI7_09
Archbishop Richard Robinson (1708-1794) by Angelica Kauffmann or Joshua Reynolds, courtesy of Armagh Robinson Library.

The website tells us about Richard Robinson:

After coming to Ireland as chaplain to the Duke of Dorset in 1751, he eventually rose through the ranks of the church before becoming Archbishop of Armagh in 1765. Prior to Robinson’s appointment, most Archbishops had spent little time in Armagh which in 1759 had been described as ‘an ugly, scattered town’. Primate Robinson is credited with much of Armagh’s transformation to the beautiful Georgian city it is today. His many contributions to the city include the Armagh Robinson Library, the Armagh Observatory, the Gaol, the Armagh Infirmary and the Archbishop’s Palace, Chapel and Palace Stables.

He was created the 1st Baron Rokeby in 1777, choosing the title “Rokeby” as his elder brother Sir Thomas Robinson had by then sold the family estate of Rokeby Park. He purchased land at Marlay in Co. Louth from the Earl of Darby to create a new “Rokeby” estate. On his death, his titles passed to a cousin but he left the Rokeby estate in Louth to the son of his sister Grace. The Reverend John Freind changed his name to his maternal surname “Robinson” and moved from England to Rokeby Hall in 1794.”

Lord Rokeby’s coat of arms on the decorative Neoclassical pediment. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I was surprised to hear that an archbishop was made a Baron, but Jean assured me that this was quite common.

Jean has studied the history of her home, completing a Masters degree in Maynooth, so we thoroughly enjoyed our discussion and she was able to explain the history of ownership of the house as well as architectural details. It is the details of the house which are special.

Rokeby, County Louth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I also asked why Robinson lived here in Rokeby rather than in Armagh, since he was archbishop of Armagh. Jean explained that archbishops had much work to do in Dublin, including taking their place in Parliament, so it was suitable to live in a premises between Dublin and Armagh. The Irish Aesthete Robert O’Byrne has a delightful entry that tells us more about this Archbishop of Armagh, who, according to O’Byrne, “behaved more like a continental prince-bishop.” He extravagantly travelled in a carriage with six horses, attended by three footmen behind. [4]

In Classic Irish Houses of the Middle Size, Maurice Craig writes (p. 152):

The north (entrance) front of the house built for Richard Robinson, Archbishop of Armagh, in the years following 1785, probably by Thomas Cooley (1740-84) and certainly with the participation of Francis Johnston (1760-1829). Both in elevation and in plan it is related to Lucan House, and in plan also to Mount Kennedy. James Wyatt, Michael Stapleton, Richard Johnston and even Sir William Chambers are involved in a complex tale which may never be fully unravelled. Rokeby is more remarkable for the beauty of its detail than for its overall impression…”

The most noteable feature of the house, for me, is the round hallway upstairs, and the second one above that in what seems to be the nursery and children’s area – which we saw after a tour of the first floor rooms.

Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

This is the landing at the top of the staircase. It opens into many bedrooms, a bathroom, another small landing, and one door is purely decorative, to keep symmetry. Note the detailing of the windows, over every second door, which let in light to the hall – all original.

Jean and Jeff had to furnish the house entirely, as unfortunately it was empty when they purchased it and needed repairs. They have done so beautifully.

Rokeby, County Louth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rokeby, County Louth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

These bedrooms contain their original chimneypieces. The Irish Aesthete writes that the upstairs chimneypieces are original to the house but that the downstairs ones are not and were installed later, along with some downstairs doors.

The Youngs have also restored the garden to its former splendour:

Jean and Jeff have done much work, such as planting this formal garden. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Above the round hall at the top of the stairs, is another round hallway, you can see why I found it so surprising and delightful.

Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

One doesn’t expect such detail in an upper level. The rooms leading off on this level were of various sizes, some quite large.

Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The room, although in the attic, contains as much attention to detail as the reception rooms, with curving door and window frames. Outside is the parapet of the house, so the windows have to be set back to allow in maximum light. The Youngs still have work to do to restore the cupola roof. You can see the wear and tear of use on the original stone stairs:

Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Irish Aesthete discusses Rokeby in his blog:

 “The house’s severe limestone façade hides a more inviting interior, of three storeys over basement, since Rokeby contains a particularly generous attic concealed behind the parapet, centred on a circular room lit by glazed dome. A similar circular landing on the first floor provides access to the main bedrooms.

Descendants of the Robinson family remained in possession, although not necessarily in occupation, of Rokeby until the middle of the last century. Thereafter the property passed through a variety of hands often with unfortunate consequences. When the present owners bought the place in 1995, for example, the library had been stripped of its bookcases and divided in two with one half used as a kitchen. Over the past twenty years, a process of reclamation has taken place, driven by the correct balance of enthusiasm, commitment and ongoing research into the house’s history. Most recently the present owners have impeccably restored Rokeby’s mid-19th century conservatory.” [5]

In the article from the Irish Times which originally inspired me to start visiting houses and to write this blog, “Open season: Grand Irish homes that welcome visitors – and get a tax break,” published Sat, Apr 13, 2019, Mary Leland writes that Jean and Jeff worked on the house for ten years, commuting back and forth to California to working in the software industry, before finally moving over in 2006. The tax break enabled them to restore the Richard Turner conservatory. [6]

The conservatory by Richard Turner. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board from “In Harmony with Nature, The Irish Country House Garden 1600-1900” in the Irish Georgian Society, July 2022, curated by Robert O’Byrne.
Rokeby, County Louth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rokeby, County Louth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The complete restoration of this structure took about two years, 2012-2014. The restored conservatory received 1st prize of the Ellison Award for Meath An Taisce in 2014.  A fascinating full description of the restoration is on the Rokeby Hall website. There’s also discussion of the restoration of the Armorial window and the attics.

Rokeby, County Louth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Jean noticed my puzzlement at the crescent dips in the glass at the top of the window, as you can see in the picture above. Her explanation shows just how authentic the restoration work was: in the 1850s, the size of panes of glass was  limited. Therefore glass was laid out in layers. The curved edge ensured that rainwater would move to the middle of the glass before dripping down, thus protecting the window frames.

Richard Robinson, 1st Baron Rokeby (1709-1794), Archbishop of Armagh by Joshua Reynolds.

The archbishop left the house upon his death in 1794 to his sister Grace’s son. Grace Robinson had married the Dean of Canterbury, William Freind. Her son, the Reverend Archdeacon John Freind subsequently changed his surname to Robinson. Reverend John did not stay long in Ireland, however. When his father-in-law, Captain James Spencer of Rathangan House, County Kildare, was killed by rebels during the 1798 rebellion, he fled. Despite no longer living there, Reverend John Robinson was created 1st Baronet of Rokeby Hall in 1819.

The house was subsequently let to tenants, including Viscount Thomas Southwell; Count Jerome de Salis (leased from 29 April 1822 – he had been appointed High Sheriff of Armagh in 1810 – see [7]); and Henry Coddington, Esq (1734-1816). This is the same Henry Coddington whose daughter Elizabeth married Edward Winder (1775-1829), one of my husband Stephen’s ancestors! Henry himself probably did not live in Rokeby, but probably leased the land to farm, as he lived in Oldbridge nearby. The house was left to deteriorate. Robert O’Byrne quotes James Brewer’s The Beauties of Ireland published in 1826, who wrote that the house “is now, we believe, in the hands of a farmer, and the chief apartments are let furnished to casual inmates.”

It was only after the death of John Robinson in 1832 that his son, Richard, returned to Rokeby in 1840. Richard, 2nd Baronet (1787-1847) had married, in 1813, the Lady Eleanor Helena Moore, daughter of Stephen, 2nd Earl Mount Cashell. He died in 1847 and was succeeded by his eldest son Sir John Stephen Robinson. Sir John and his wife were responsible for two significant additions to Rokeby Hall – the Turner conservatory, added in the 1850s, and the armorial window in the main stair hall showing the Robinson family history.

Richard Robinson (1787-1847), Baronet, English School (c.1847) with a depiction of his armorials and campaign medals issued to survivors of the Napoleonic Wars courtesy Adam’s auction 6 Oct 2009. This must be Richard Robinson 2nd Baronet of Rokeby Hall in County Louth. He was the son of John Freind, who married a sister of Richard Robinson Baron of Rokeby, and who took the name of Robinson when he inherited Rokeby.
The armorial window in the main stair hall showing the Robinson family history. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sir John, 3rd Baronet (1816-95), JP DL, High Sheriff of County Louth, 1849, married, in 1841, Sarah, only daughter of Anthony Denny, of Barham Wood, Hertfordshire, and granddaughter of Lord Collingwood, Admiral in the Royal Navy who served alongside Lord Nelson in the Napoleonic Wars. Due to his fame, Sarah’s eldest sons took the name Collingwood. [8]

The Rokeby Hall website continues the history of the Rokeby inhabitants:

Sir John died in 1895 and the estate passed to his son Sir Gerald [William Collingwood] Robinson (4th bart.) who died in 1903. The 5th baronet was Sir John’s younger brother Richard Harcourt Robinson. After his death in 1910 the estate eventually passed to Sir Gerald’s sister Maud who had earlier married Richard Montgomery, the owner of Beaulieu House in Co. Louth.

Richard Harcourt Robinson, died in 1910.

With the Robinsons no longer in residence, the estate was gradually broken up. The house and demesne lands were sold to the Clinton family in 1912. The remaining estate lands were also broken up and sold and the Robinson collection of furniture, art and books were eventually auctioned in 1943. The Clinton family remained at Rokeby until about 1950. Since then the ownership of the house has changed a number of times. The current owners purchased the house in 1995.”

After the tour of the house, Stephen and I went out to explore the gardens.

Rokeby, County Louth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rokeby, County Louth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rokeby, County Louth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rokeby, County Louth. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rokeby, September 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] www.rokeby.ie

[2] https://armagh.space/heritage/

[3] Wikipedia defines scagliola: Scagliola (from the Italian scaglia, meaning “chips”) is a technique for producing stucco columns, sculptures and other architectural elements that resemble inlays in marble and semi-precious stones. The Scagliola technique came into fashion in 17th-century Tuscany as an effective substitute for costly marble inlays, the pietra dura works created for the Medici family in Florence.

Scagliola is a composite substance made from selenite, glue and natural pigments, imitating marble and other hard stones. The material may be veined with colours and applied to a core, or desired pattern may be carved into a previously prepared scagliola matrix. The pattern’s indentations are then filled with the coloured, plaster-like scagliola composite, and then polished with flax oil for brightness, and wax for protection. The combination of materials and technique provides a complex texture, and richness of colour not available in natural veined marbles.

architectural definitions

[4] https://theirishaesthete.com/2013/02/04/building-on-a-prelates-ambition/

[5] https://theirishaesthete.com/2015/09/21/take-three/

[6] https://www.irishtimes.com/life-and-style/homes-and-property/open-season-grand-irish-homes-that-welcome-visitors-and-get-a-tax-break-1.3855641

[7] https://en.wikipedia.org/wiki/Jerome,_4th_Count_de_Salis-Soglio

Jerome de Salis was born in Italy and inherited the title, Count de Salis, a Count of the Holy Roman Empire. He lived in England from the 1790s. He married three times – had one child by each of his first two wives, then after the first two wives’ deaths, married in 1810, Henrietta (or Harriet) Foster, daughter of Right Reverend William Foster, who was chaplain to the Irish House of Commons (1780–89), and then at different times, Bishop of Cork and Ross; Kilmore; and of Clogher. They had a further nine children.

[8] http://lordbelmontinnorthernireland.blogspot.com/search/label/County%20Louth%20Landowners

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

Places to Visit and Stay in County Cavan, Ulster

On the map above:

blue: places to visit that are not section 482

purple: section 482 properties

red: accommodation

yellow: less expensive accommodation for two

orange: “whole house rental” i.e. those properties that are only for large group accommodations or weddings, e.g. 10 or more people.

green: gardens to visit

grey: ruins

The province of Ulster contains counties Antrim, Armagh, Cavan, Derry, Donegal, Down, Fermanagh, Monaghan and Tyrone.

For places to stay, I have made a rough estimate of prices at time of publication:

€ = up to approximately €150 per night for two people sharing (in yellow on map);

€€ – up to approx €250 per night for two;

€€€ – over €250 per night for two.

For a full listing of accommodation in big houses in Ireland, see my accommodation page: https://irishhistorichouses.com/accommodation/

County Cavan

1. Cabra Castle, Kingscourt, Co. Cavan (Hotel) – section 482

2. Castle Saunderson, Co. Cavan – a ruin 

3. Clough Oughter, County Cavan 

4. Corravahan House & Gardens, Drung, Ballyhaise, Co. Cavan – section 482

Places to stay, County Cavan

1. Cabra Castle, on section 482 – hotel €€

and lodges

2. Clover Hill Gate Lodge, Cloverhill, Belturbet, Cavan

3. Farnham Estate, Farnham Estate, Cavanhotel €€

4. Killinagh House, McNean Court, Blacklion, County Cavanwhole house rental and lodge €

5. Lismore House, Co Cavan – was a ruin. Place to stay: Peacock House on the demesne €

6. Olde Post Inn, Cloverhill, County Cavan €€

7. Ross Castle, Co Cavan (address is in Mountnugent, County Meath) whole castle plus self-catering accommodation whole castle €€€ for 2, € for 10 or self-catering accommodation €

Whole house rental County Cavan:

1. Killinagh House, McNean Court, Blacklion, County Cavanwhole house rental 

2. Ross Castle, Co Cavan (address is in Mountnugent, County Meath) whole castle €€€ for 2, € for 10 or self-catering accommodation €

3. Virginia Park Lodge, Co Cavanweddings only

I set out today to do a write up of County Cavan the way I did of Dublin, of all the big houses to visit or that offer accommodation. There are only two listings in Section 482  for County Cavan and one is a hotel. It turns out that, despite multiple beautiful historic houses, there are not many to visit. I researched places to stay in Cavan as Stephen and I travel through there regularly on our way to Donegal where his mum lives.

From my research I have a list of forty historic houses in County Cavan. Of those, at least eleven no longer exist or are in ruins, and most of the rest are private. Ballyhaise House is now an agricultural college. Farnham Estate and Virginia Park’s hunting lodge are now hotels. Owendoon House is now the Jampa Ling Buddhist Centre and Dromkeen is a Loreto College. Kilnacrott House also appears to belong to a religious order.

donation

Help me to pay the entrance fee to one of the houses on this website. This site is created purely out of love for the subject and I receive no payment so any donation is appreciated!

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1. Cabra Castle, Kingscourt, Co. Cavan – section 482

This is a hotel but unlike some heritage house or castle hotels, they do allow visitors to view the building: the website states that they are open between 11am to 4pm for visitors for viewing all year round, except at Christmastime.

Cabra Castle, County Cavan, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

see my write-up:

https://irishhistorichouses.com/2021/03/28/cabra-castle-kingscourt-county-cavan/

www.cabracastle.com
Open in 2025: all year, except Dec 24, 25, 26, 11am-4pm
Fee: Free to visit

2. Castle Saunderson, Co. Cavan – a ruin 

Castle Saunderson, County Cavan, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

See my entry https://irishhistorichouses.com/2026/02/12/castle-saunderson-co-cavan-a-ruin/

https://www.thisiscavan.ie/fun/article/luanch-of-new-heritage-trail-at-castle-saunderson

Mark Bence-Jones writes in his A Guide to Irish Country Houses (1988):

p. 75. “(Saunderson/IFR) A large castellated mansion combining both baronial and Tudor-Revival elements, built ca 1840; from its close stylistic resemlance  to Crom Casle, about five miles away in County Fermanagh, it can be attributed to Edward Blore. Entrance front symmetrical, with a battlemented parapet, square end turrets and a tall central gatehouse tower which is unusual in having the entrance door in its side rather than in its front. The adjoining garden front is more irregular, with a recessed centre between two projecting wings of unequal size and fenestration, each having a Tudor gable; the two wings being joined at ground floor level by a rather fragile Gothic arcade. To the left of this front, a lower “L”-shaped wing with a battlemented parapet and various turrets, ending in a long Gothic conservatory. Castle Saunderson has stood empty for years and is now semi-derelict.” [1]

Castle Saunderson, County Cavan, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castle Saunderson, County Cavan, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castle Saunderson, County Cavan, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castle Saunderson, County Cavan, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castle Saunderson, County Cavan, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castle Saunderson, County Cavan, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

3. Clough Oughter, County Cavan

https://www.discoverireland.ie/Activities-Adventure/clough-oughter-castle/48729

Clough Oughter Castle, County Cavan, photograph by Chris Hill 2018 for Tourism Ireland, from Ireland’s Content Pool. [2]

Clough Oughter Castle is a ruined circular castle, situated on a small island in Lough Oughter, four kilometres east of the town of Killeshandra in County Cavan.

The castle is located in what was once the historic Kingdom of Breifne. In the latter part of the 12th century, it was under the control of the O’Rourkes, but it seems to have come into the hands of the Anglo-Norman William Gorm de Lacy. While the exact date construction began is unknown, it is estimated to have started in the first quarter of the 13th century.  
 
“In 1233, the O’Reilly clan took possession of the area and completed the castle. They retained it for centuries in the midst of their ongoing conflicts with the O’Rourkes and with members of their own clan. It was there that Philip O’Reilly was imprisoned in the 1360s. 
 
Lough Oughter is regarded as the best inland example of a flooded drumlin landscape in Ireland and has rich and varied wildlife. The number of whooper swans which winter in the area represents about 3% of the total European population, while the lake also houses the largest concentration of breeding great crested grebes in the Republic of Ireland. 
 

Lough Oughter is a popular angling lake and is also popular with canoeists and boating enthusiasts. The Lough Oughter complex, along with Killykeen Forest Park, is a designated Natura 2000 habitat, Special Area for Conservation (SAC), and Special Protection Area (SPA) under EU legislation. 
 
Canoes and kayaks are available for hire from Cavan Canoe Centre, which also offers guided boat trips around the lake and out to the castle.” [3]

On the Discover Belturbet website, we are told the history of Clough Oughter:

Clough is the Gaelic word for stone, so literally this is Castle of Stone. The island was made by man, and the castle which sits upon it was also made by man and one can only speculate as to what a marvellous feat of engineering it took to accomplish such a build.  

The castle would have been part of the historical kingdom of Breifne, and specifically a part of  East Breifne, (Roughly speaking the same borders as modern day Cavan).  It is likely that the Crannog itself came sometime before the castle, and in the latter part of the 12th century, it was under the control of the O’Rourke clan, but with the invasion of the Anglo Normans, the crannog came to be controlled by the Anglo-Norman  William Gorm De Lacy. No concrete dates exist for the construction of the castle, but architectural elements from the lower two storeys suggest it was begun during the early 13th century.  

In 1233, the O’Reilly clan gained possession of the castle. They seem to have retained the castle for centuries throughout ongoing conflicts with the O’Rourkes, and indeed with members of their own clan. Philip O’Reilly was imprisoned here in the 1360’s with “no allowance save a sheaf of oats for day and night and a cup of water, so that he was compelled to drink his own urine”.  

After the Ulster Plantation, the castle was given to servitor Hugh Culme. Philip O’Reilly who was a Cavan MP and leader of the rebel forces during the Rebellion of 1641  seized control of the castle and kept it as an island fortress for the next decade. During this period it was mainly used as a prison. Its most notable prisoner would have been the Anglican Bishop of Kilmore, William Bedell, who was held here and is said to have died because of the harsh winter conditions in the prison.  

Clough Oughter castle became the last remaining stronghold for the rebels during the Cromwell era, but sometime in March of 1653 the castle fell to Cromwells canons. The castle walls were breached by the canon and the castle was never rebuilt after this point.  

Visitors will be astounded to note the thickness of the walls which can now be seen because of the canon bombardment. The island and the castle have received considerable refurbishments since 1987, making it safe to visit, and well worth the visit.” [4]

4. Corravahan House & Gardens, Drung, Ballyhaise, Co. Cavan H12 D860 – section 482

Corravahan, County Cavan, photograph from Ian Elliot.

see my write-up:

https://irishhistorichouses.com/2020/08/28/corravahan-house-and-gardens-drung-county-cavan/

www.corravahan.com
Open dates in 2025: Jan 3-4, 10-11, 17-18, 24-25, 31, Feb 7-8, 14-15, 21-22, 28, Mar 1, 7-8, 14, May 8-11, 15-18, 22-25, June 12-15, 19-22, 26-29, Aug 8-10, 15-24, 29-31, 2pm-6pm

Fee: adult €10, OAP/student/child €5

Tours on the hour, or by appointment. Last admission 1 hour before closing time. CCTV in operation

Places to stay, County Cavan

1. Cabra Castle, on section 482 – hotel €€

see above www.cabracastle.com

and lodges

2. Clover Hill Gate Lodge, Cloverhill, Belturbet, Cavan

https://www.airbnb.ie/rooms/4962376?source_impression_id=p3_1646316400_8H59V8wuqVzXlMog

Cloverhill House is now a ruin. Mark Bence-Jones tells us the house was built 1799-1804 for James Saunderson [1763-1842] to the design of Francis Johnston. Robert O’Byrne adds that it was in fact extended in 1799, but built originally in 1758 [thus was built for James’s father Alexander, who married Lucy Madden of the Hilton Park House Madden family, another Section 482 property. A date stone gives us the date of 1758]. [5] Mark Bence-Jones tells us that the house passed by inheritance to the Purdons, and was sold by Major J.N. Purdon ca 1958. The National Inventory of Architectural Heritage tells us that the Sanderson family were instrumental in the development of Cloverhill village with the building of the Church of Ireland church and estate workers’ houses.

The house is featured in Tarquin Blake’s Abandoned Mansions of Ireland, Collins Press, Cork, 2010. 

The house passed down through the Sanderson family until James Sanderson (1763-1842), and then passed down through the female line since the son, also named James, had no heirs. It passed first to Mary Anne, who was unmarried, and then to her sister’s son, Samuel Sanderson Winter (1834-1912), whose parents were Lucy Sanderson and Samuel Winter (1796-1867) of Agher, County Meath. Samuel Sanderson Winter married Ann, daughter of John Armytage Nicholson of Balrath Bury, County Meath (we came across this family as Enniscoe in County Mayo was inherited by Jack Nicholson, of the Balrath Bury family). Samuel Sanderson Winter’s son died young so Cloverhill passed to the son of his sister, Elizabeth Ann Winter, who married George Nugent Purdon (1819-1910). This is how the house passed to the Purdon family.

The house passed to their son, John James Purdon, who died childless so it passed to his nephew, John Nugent Purdon, son of Charles Sanderson Purdon. John Nugent Purdon sold Cloverhill demesne ca 1958 to Mr Thomas Mee. [6] 

3. Farnham Estate, Farnham Estate, Cavan €€

https://www.farnhamestate.ie

Farnham House, photograph from National Library of Ireland, flickr constant commons.

David Hicks tells us in his Irish Country Houses, A Chronicle of Change, that the wing of Farnham House that survives today is the truncated section of a much larger mansion. Dry rot led to demolition of a substantial section of the Maxwell ancestral home. The family’s connection was severed in 2001.

The estate was granted by King James I to the Waldron family in 1613. Henry Waldon named the estate after his wife’s family. The Waldrons built a castle here in 1620.

The website gives us a history of the estate:

“1664- The Waldrons of Dromellan Castle (early name of Farnham House) were forced to sell the estate to settle gambling debts. Bought by Bishop Robert Maxwell, thus beginning the Maxwell family connection that was to continue for more than 330 years (family motto is Je suis prêt – I am ready’).”

Mark Bence-Jones adds in his A Guide to Irish Country Houses (1988, p. 123):

“…A few years later the estate was sold to Robert Maxwell [1598-1672], Bishop of Kilmore, whose cathedral was nearby. The Bishop’s son, John Maxwell, built a new house here ca 1700, which was improved ca 1780 by Barry Maxwell, 3rd Lord Farnham and first Earl of Farnham of 2nd creation, who added a library designed by James Wyatt.

Timothy William Ferres tells us of the Maxwell lineage:

John Maxwell of Farnham, High Sheriff of County Cavan, 1674, who dsp 1713, was succeeded by his nephew, The Reverend Doctor Robert Maxwell; who dsp 1737 and was succeeded by his cousin, John Maxwell (1687-1759), High Sheriff of County Cavan, 1757, MP for County Cavan 1727-56, who was elevated to the peerage, in 1756, in the dignity of Baron Farnham, of Farnham, County Cavan.

In 1719 he married Judith, heiress of James Barry (1660-1725) of Newtownbarry, County Wexford. Their son Robert succeeded as 2nd Baron Maxwell, and he was created Viscount in 1760 and 1st Earl of Farnham in 1763. Robert married Henrietta Cantillon, the widow of William Matthias Stafford-Howard, 3rd Earl of Stafford.

Henrietta Diana née Cantillon (1728–1761), Dowager Countess of Stafford by Allan Ramsay courtesy of Kelvingrove Art Gallery and Museum; http://www.artuk.org/artworks/henrietta-diana-17281761-dowager-countess-of-stafford-85788 She married, first, William Matthias Stafford-Howard, 3rd Earl of Stafford, and after his death, Robert Maxwell, 2nd Baron and 1st Earl of Farnham.

See also the wonderful book by Melanie Hayes, The Best Address in Town: Henrietta Street, Dublin and its First Residents 1720-80, published by Four Courts Press, Dublin 8, 2020. She has a chapter on John Maxwell, (1687-1759) 1st Baron Farnham.

The Farnham Estate website tells us that Robert was a keen agriculturalist and agent of improvement who put the most technologically and scientifically advanced agricultural methods into action. The website tells us:

“In 1777, noted agricultural scientist and topographer Arthur Young said of Farnham; “…upon the whole Farnham is one of the finest places that I have ever seen in Ireland; the water wood and hill are all in great stile and abound in a variety of capabilities. The woodland plantations of Derrygid coupled with the lakes of Farnham and Derrygid were noted by Young who described them as being ‘uncommonly beautiful; extensive and have a shore extremely varied.” In the 1770’s, approximately 100 labourers were employed in maintaining the landscape at Farnham.

Walk on Farnham Estate, Cavan, Sept 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Robert 1st Earl and Henrietta’s daughter Henrietta married Denis Daly of Dunsandle, County Galway.

Denis Daly (1747-1791) of Dunsandle, County Galway, attributed to Joshua Reynolds, courtesy of Christies 2012 Mount Congreve the London Sale.

The first Earl’s son John predeceased him and didn’t marry, so the 1st Earl’s brother Barry succeeded him.

Portrait of Barry Maxwell (1723-1800) 1st Earl Farnham by George Romney courtesy of www.christies.com/en/lot/lot-4507942 He was the son of John Maxwell, 1st Baron Farnham and Judith Barry. When his mother died in 1771 he must have inherited as he changed his name to Barry Barry. Then when his elder brother Robert Maxwell, 1st and last Earl of Farnham, died in 1779, he inherited and his name was changed back to Barry Maxwell, and he succeeded as the 3rd Baron Farnham, of Farnham, Co. Cavan. He was created 1st Earl of Farnham, Co. Cavan [Ireland, of the 2nd creation] on 22 June 1785.

When Robert 1st Earl’s first wife Henrietta died, he married secondly, in 1771, Sarah, only daughter of Pole Cosby, of Stradbally Hall, Queen’s County, and sister of Lord Sydney, but they had no further children. Sarah had been previously married to Arthur Upton (d. 1763) of Castle Upton, County Antrim. After her second marriage she was known as the Countess of Farnham.

The Countess of Farnham, probably Sarah née Cosby, wife of Robert Maxwell, 1st and last Earl of Farnham (of the first creation), painted by Hugh Douglas Hamilton, courtesy of Sothebys 2001.

The first Earl had another brother Most Reverend Henry Maxwell (d. 1798), who became Bishop of Dromore and Bishop of Meath.

Right Reverend Henry Maxwell (d. 1798) Bishop of Meath Irish school courtesy of National Trust Castle Ward

Most Reverend Henry Maxwell married Margaret Foster, daughter of Rt. Hon. Anthony Foster Chief Baron of the Exchequer [Ireland] between 1766 and 1777, who lived in Collon in County Meath. Their sons became respectively John Maxwell Barry Maxwell (1767-1838) 5th Baron Farnham and Reverend Henry Maxwell (d. 1838) 6th Baron Farnham, and the Baronetcy continued to their descendants. The Earldom was recreated for the elder brother Barry, 3rd Baron (1723-1800), who obtained a viscountcy and earldom, in 1780, as Viscount Farnham, and, in 1785, Earl of Farnham (2nd creation).

The three brothers, Robert 1st Earl, Barry 1st Earl of second creation and Reverend Henry had a sister, Anne, who married Owen Wynn (1723-1789) of Hazelwood, County Sligo.

Barry Maxwell, 1st Earl of Farnham served as MP and Privy Counsellor. In 1771 his name was legally changed to Barry Barry, I am not sure why but it must have had to do with inheritance, as his mother Judith Barry died in the same year. In 1779 his name was legally changed back to Barry Maxwell, the year that he became 3rd Baron Farnham, of Farnham, Co. Cavan after his brother Robert died. He married first Margaret King of Drewstown, County Meath, who gave birth to their son and heir John James Maxwell (1759-1823) later 2nd Earl of Farnham. Barry married secondly Grace, daughter of Arthur Burdett. His son did not have children and the Earldom and Viscountcy became extinct on his death.

Photograph of Farnham House from Country Life, A Chinese Chippendale chair in the hall at Farnham House. Pub Orig CL 02/01/2003, volume CXCVII. Photographer Paul Barker. 

The website tells us of the building of Farham:

“In 1795, Earl of Farnham Barry [Barry Maxwell (1723-1800)] asked James Wyatt, one of the most fashionable architects of that time, to draw designs for three ceilings. Although there is no evidence of them being installed at Farnham, these plans are now housed in the Metropolitan Museum of Art in New York. Some work was undertaken by Wyatt though around the 1795 timeframe and to this day, a library case where his design has been noted stands inserted in an alcove on the staircase landing.

In the early 1800s, a coat of arms was incorporated onto the façade of the house. Comprised of the arms of the Maxwell and Barry family, they are supported by two bucks, with a buck’s head on top of the Baron’s coronet as the crest.

The South Front of Farnham House. Photograph from National Inventory of Architectural Heritage.

Barry’s son James John Barry 2nd Earl engaged Francis Johnston to build. The website tells us:

In 1802 Francis Johnston, architect for Dublin’s famous GPO building, was engaged to complete an extension of the existing house to provide an edifice to the southwest garden front. This is the latter day surviving Farnham House, which is now incorporated as the centrepiece of the hotel complex design.

Mark Bence-Jones describes the house as built by Francis Johnston:

“Johnston produced a house consisting of two somewhat conservative three storey ranges at right angles to one another; one of them, which incorporated part of the earlier house, including Wyatt’s library, having a front of eight bays, with a die over a two bay breakfront, and a single-storey Doric portico; the other having a front of nine bays with a three bay pedimented breakfront; prolonged by one bay in the end of the adjoining range. The interior was spacious but restrained, the principal rooms having simple ovolo or dentil cornices. Elliptical staircase hall, with simple geometrical design in the ceiling; stone stair with elegant metal balustrade.

The staircase at Farnham House designed by Francis Johnston. Pub Orig Country Life 02/01/2003, volume CXCVII. Photographer Paul Barker.
Farnham Estate, County Cavan. Photograph from National Inventory of Architectural Heritage.

The website continues: “In the depths of the earth beneath Farnham lies a myriad of passages. These passages were constructed to allow food, supplies and heating fuels to be brought into the mansion house by the servants. Such underground passages kept the servants out of sight from Lords and Ladies Farnham and their guests and no doubt were used by the servants to enjoy some activities of their own, which they would not have wanted Lord and Lady Farnham to witness!

When James John died childless in 1823, a cousin, John Maxwell Barry Maxwell (1767-1838), son of Rt. Rev. Henry Maxwell, became 5th Baron Farnham.

The website tells us: “In 1823, a new system of management for the Farnham estate was introduced, employing persons as inspectors of districts, buildings, bog and land and a moral agent! The main duties of the moral agent were to encourage the tenantry to adhere to the main principles contained in Lord Farnham’s address to them. These included: keeping of the Sabbath, responsibility towards the education of their children, imbuing within their children a strict moral sense and to ensure that they abstained from all evil habits, including cursing and the distillation or consumption of alcohol.

The 5th Baron Farnham died childless in 1838, so his brother Reverend Henry Maxwell became the 6th Baron Farnham. He married Anne Butler, daughter of the 3nd Earl of Carrick. Their son Henry became the 7th Baron Farnham (1799-1868). Their daughter Sarah Juliana married Alexander Saunderson of Castle Saunderson. The other sons Somerset and James became 8th and 9th Baron and then the son of their brother Richard Thomas Maxwell, Somerset Henry Maxwell, became the 10th Baron.

Mark Bence-Jones tells us: “In 1839, 7th Lord Farnham (a distinguished scholar and genealogist who, with his wife, was burnt to death 1868 when the Irish mail train caught fire at Abergele, North Wales), enlarged the house by building new offices in the re-entrant between the two ranges. Also probably at this time the main rooms were changed around; the library becoming the dining room, and losing any Wyatt decoration it might have had; Wyatt’s bookcases being moved to the former drawing room.

The drawing room at Farnham House. The portrait to the right is of thr Rt Hon John, 5th Baron Farnham by Sir Thomas Lawrence. Pub Orig Country Life 02/01/2003, volume CXCVII. Photographer Paul Barker.
Photograph of Farnham House from Country Life, Pub Orig Country Life 02/01/2003, volume CXCVII. Photographer Paul Barker.
Farnham Estate, County Cavan. Photograph from National Inventory of Architectural Heritage.

Somerset Henry Maxwell, 10th Baron, married Florence Jane Taylour, daughter of Thomas Taylour, 3rd Marquess of Headfort. Their son, Arthur Kenlis Maxwell (1879-1957), became 11th Baron in 1900.

The website continues the timeline:

“1911- Records mention a staff of 11: butler, cook, governess, nursery maid, nurse, footman, ladies’ maid and several house and kitchen maids. Some 3,000 of Farnham’s then 24,000 statute acres were sold off.

1914-1918- Lord Farnham rejoined the military; he was captured, imprisoned and released after the Armistice. His political efforts failed to prevent the exclusion of three counties from the jurisdiction of Northern Ireland.

1921-1931- Lord and Lady Farnham left for England. They emptied the house of its furniture, due to widespread burning and looting of country houses. The 1923 Land Act would ultimately end landlordism in Ireland: by 1931, Lord Farnham retained only his demesne lands at Farnham, which he operated in a more intensive fashion in order to increase much-needed revenue.

Arthur Kenlis Maxwell managed to escape from a prisoner of war camp during the first world war. He and his family returned to Farnham estate in 1926 and began to renovate the house. His son and heir died in the second world war aged just 37, and the title passed to his grandson, Barry Owen Somerset Maxwell. Barry Owen’s mother died in a plane crash when he was just 21.

1950- Economic decline had by now affected the demesne. A Farnham Tintorreto ’Christ Washing the Feet of His Disciples’ was sold in 1955; the Canadian National Art Gallery in Ontario paid some $100,000. 1956- Barry Owen Somerset Maxwell, 12th Baron Farnham became the last member of the Maxwell family to reside at Farnham House.

In 1961, dry rot was discovered within the Farnham house and in an attempt to alleviate it, the oldest part of the house looking across the parkland, and the additions made to the house in 1839, were demolished.”

Mark Bence-Jones describes the changes: “Ca 1960, the present Lord Farnham, finding the house to be badly infested with dryrot, demolished the range where the entrance had formerly been situated, as well as the additions of 1839; and remodelled the surviving Johnston range to form a house in itself; being assisted in the work by Mr Philip Cullivan. The pedimented front is still the garden front, as it was formerly; the back of the range being now the entrance front, with the portico re-erected at one end of it; so that the entrance is directly into the staircase hall. The surviving range contains Johnston’s dining room, which has been the drawing room since 19C rearrangement; as well as the boudoir and the former study, now the dining room. One of Wyatt’s bookcases is now in the alcove of the former staircase window. The demesne of Farnham has long been famous for its beauty; a landscape of woods, distant mountain views and lakes, which are part of the great network of loughs and islands stretching southwards from Upper Lough Erne.

The entrance front of Farnham House, as remodelled in 1961. In an attempt to alleviate dry rot, the oldest part of the house was demolished. Pub Orig Country Life 02/01/2003, volume CXCVII. Photographer Paul Barker.
The dining room at Farnham House. Pub Orig Country Life 02/01/2003, volume CXCVII. Photographer Paul Barker. With portrait of Right Reverend Henry Maxwell (d. 1798) Bishop of Meath.
Photograph of Farnham House from Country Life, Pub Orig Country Life 02/01/2003, volume CXCVII. Photographer Paul Barker.
Photograph of Farnham House from Country Life, Pub Orig Country Life 02/01/2003, volume CXCVII. Photographer Paul Barker.
The fireplace in Lady Farnham’s bedroom at Farnham House. The pastels of the family arranged over the chimneypiece are by Hugh Douglas Hamilton and the portrait in the centre is by Sir Francis Grant. Pub Orig Country Life 02/01/2003, volume CXCVII. Photographer Paul Barker.

The website continues:

1995 – 2001 – Lord Farnham abandoned farming and leased the agricultural lands to local farmers. One of his last acts on the Farnham demesne was the planting of a group of trees to mark the New Millennium. Lord Farnham died in March 2001 and his wife, Diana, Baroness Farnham now resides in England where she is a current Lady in Waiting to Queen Elizabeth II. Farnham House estate was sold to a local entrepreneur who developed it into a hotel resort.

Present Day – The resort is owned by Mr. Thomas Röggla and along with his team at the resort, every effort is made to provide genuine hospitality in this new phase in the evolution of this magnificent location. Thus, the indelible-mark made by the Maxwell family, as far back as 1664 on the landscape of Farnham Estate will continue to be appreciated by future generations.”

The multimillion refurbishment and extension was headed by architect Des Mahon of Gilroy McMahon, who had previously worked on the National Museum at Collins Barracks and the Hugh Lane Gallery extension.

Photograph from National Inventory of Architectural Heritage.
The portico that was on the original entrance front was moved to the rear of the garden front to form a new entrance when part of the house was demolished in 1942. It is now incorporated into the interior of Farnham Estate hotel. Photograph from National Inventory of Architectural Heritage.
As former Radisson Blu, Farnham Estate, Cavan 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Farnham estate. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Walk on Farnham Estate, Cavan, Sept 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Farnham estate. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Walk on Farnham Estate, Cavan, Sept 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

4. Killinagh House, McNean Court, Blacklion, County Cavanwhole house rental and a lodge €

Killinagh House, County Cavan, built 1827, a former Glebe House, three-bay two-storey over basement. Photograph from National Inventory of Architectural Heritage.

https://www.discoverireland.ie/accommodation/killinagh-house

and Killinagh Lodge, https://killinaghlodge.com/facilities.html on the grounds of Killinagh House:

Killinagh Lodge is situated within 1 mile from the village of Blacklion in the picturesque grounds of Killinagh House, a former Church of Ireland manse dating back to Georgian times.

Set in the courtyard, Killinagh Lodge offers luxurious, purpose built, self catering accommodation on the shores of Lough MacNean. Boasting its own private access to the Lough, Killinagh Lodge is set in one of the most beautiful and tranquil locations where you can enjoy the grounds of the wider Estate.

The house website tells us:

Killinagh House is a unique, Georgian Country House, situated in the heart of the Marble Arch Global Geo Park, in west County Cavan. The perfect getaway for peace and relaxation. We cater for customer comforts, special requests and reasonable prices.

The perfect retreat to unwind and recharge the batteries. Peaceful and quiet with relaxed garden views. Killinagh House is at the heart of Marble Arch Global Geo Park, ideally located for outdoor pursuits, including golf, fishing and nature walks.”

Killinagh House, County Cavan,Photograph from National Inventory of Architectural Heritage.

The National Inventory further describes it: “Roughcast rendered lime-washed walls with string course above basement. Three-over-six timber sash windows to first floor and six-over-six to ground floor all with stone sills and timber internal window shutters. Front door set in smooth-rendered segmental-arched recess, having four-panelled door in classical surround of slender Doric pilasters, metope frieze and cobweb fanlight above. Basement well to east, north and west side. Stone steps leading to entrance with recent metal railings.

Killinagh House, County Cavan,Photograph from National Inventory of Architectural Heritage.

5. Lismore House, Co Cavan – was a ruin. Place to stay: Peacock House on the demesne

Lismore House, Co Cavan – restored house (believed to have been the agent’s house) and a place to stay, Peacock House, available on airbnb. Of the original Lismore House, attributed to Edward Lovett Pearce (1699-1733), only the two wings and tower survive.

https://www.airbnb.ie/rooms/27674042?source_impression_id=p3_1646316758_vwGIKKMTwiWKK%2FB7

Lismore House, County Cavan, Photograph from National Inventory of Architectural Heritage. The Inventory tells us it is: “Symmetrical pair of detached six-bay two-storey flanking wings to former Lismore House, built c.1730, having advanced outermost end bays to each block, single-bay two-stage flanking tower formerly attached to south corner of house having single-bay extension to north…Rubble stone walls having red brick quoins, eaves course, and string course. Red brick surrounds to oculi at first floor over round-headed ground-floor windows and central segmental-headed door.
Lismore House, County Cavan, Photograph from National Inventory of Architectural Heritage: “Blind lunette and oculus to gables facing former house.”
Lismore House, County Cavan, Photograph from National Inventory of Architectural Heritage: “Tower having mansard slate roof, rubble stone walls with cut-stone platbands, cut-stone surrounds to window openings, round-headed openings with raised keystone and impost blocks to former ground floor, and segmental-headed openings to former basement level.”

The house was restored by Richard and Sonya Beer. [8]

It was probably built for Thomas Nesbitt, (c1672-1750), of Grangemore, County Westmeath, High Sheriff of County Cavan, 1720, MP for Cavan Borough, 1715-50 [7].

Mark Bence-Jones writes about Lismore House in A Guide to Irish Country Houses (1988), p. 186:

Originally the seat of the Nesbitts, passed to the Burrowes through the marriage of Mary [Mary Anne, born 1826, daughter of John Nesbitt and Elizabeth Tatam] Nesbitt to James Burrowes [1820-1860, of Stradone House, County Cavan] in 1854; Lismore passed to the Lucas-Clements family through the marriage of Miss Rosamund Burrowes to the late Major Shuckburgh Lucas-Clements in 1922.

Mary Anne and James had a son, Thomas Cosby Burrowes (1856-1925). He married in 1885 Anna 
Frances, daughter of Richard Thomas Maxwell, and grand-daughter of the sixth Baron Farnham (of Farnham Estate), by whom he has issue two daughters. One daughter, Rosamund Charlotte Cosby Burrowes, of Lismore, married, in 1922, Major Shuckburgh Upton Lucas-Clements in 1922. [9] The main house was vacated c.1870 when the family relocated to Lismore Lodge, formerly the agent’s house. 
 
Mark Bence-Jones continues: “Having stood empty for many years, the house fell into ruin and was demolished ca 1952, with the exception of the “tower” wings. The office wings are now used as farm buildings, and the family now live in the former agent’s house, an early house with a Victorian wing and other additions.” 

Photograph from National Inventory of Architectural Heritage.

6. Olde Post Inn, Cloverhill, County Cavan €€

https://www.theoldepostinn.com

The website tells us: “The Olde Post inn was built in the 1800s. It opened as a post office in 1884, grocery & residence. It had a number of owners and was for some time derelict before it was renovated into a restaurant with accommodation in early 1990s. It has been run as a restaurant since and was taken over by Gearoid & Tara Lynch in November 2002. Since then it has gone under further refurbishment and been extended to include two Hampton Conservatories.

7. Ross Castle, Co Cavan (address is in Mountnugent, County Meath, A82HF89, on the border of Cavan) whole castle plus self-catering accommodation whole castle €€€ for 2, € for 10 or self-catering accommodation €

https://www.ross-castle.com

Whole castle rental, or nearby Castle Cottage, Quarry House or Tea Rose Cottage.

The website tells us:

Ross Castle is situated on the shores of Lough Sheelin in the rolling countryside of County Meath. The Norman Tower House was strategically built in 1520 commanding views of Cavan, Westmeath, Longford, Meath and Lough Sheelin for the Nugent Family. 500 years later Ross Castle has retained its medieval charm while also providing the comforts of today’s world. The Castle is an ideal venue for conferences, small weddings, family get togethers, tour groups and private parties. 
With the new addition of the Great Room and the Bishop’s Suite bedroom at the Castle, combined with our two cottages and Farm House, you now have the option of booking the combined properties for up to 31 guests. Individual property rentals for smaller groups are also possible. While Ross Castle was a Bed & Breakfast in the past, it can now only be booked for groups and events
.”

8. Virginia Park Lodge, Co Cavan

WWW.VIRGINIAPARKLODGE.COM

This was formerly the hunting lodge of the Taylours, Marquess Headfort, who also owned Headfort House in County Meath. It was built for the First Earl of Bective, Thomas Taylour (1724-1795), son of Thomas Taylor 2nd Baronet Taylor, of Kells, co. Meath, who served as MP for Kells and as a Privy Counsellor in Ireland. His mother was Sarah Graham from Platten, County Meath. Thomas the 1st Earl of Bective also served as Privy Counsellor. He married Jane Rowley, from Summerhill, County Meath.

It was their one of their younger sons, Reverend Henry Edward Taylour (1768-1852), who lived at Ardgillan Castle in Dublin. Their son Thomas the second earl became the 1st Marquess of Headfort, and added to Virginia Park Lodge and imported plants to create the parkland surrounding the Lodge. He married Mary Quin, from Quinsborough, County Clare. The Lodge passed through the family to the 4th Marquess, Geoffrey Thomas Taylour, son of the second wife of the 3rd Marquess. He married a music hall star, Rosie Boote, which scandalised society, but they moved to the Lodge and lived happily and had many children.

The Lodge was bought by chef Richard Corrigan in 2014, and he has undertaken much work to restore it to its former glory.

*************************

[1] 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.

[2] Ireland’s Content Pool, https://www.irelandscontentpool.com/en

[3] https://www.discoverireland.ie/Activities-Adventure/clough-oughter-castle/48729 

[4] http://www.discoverbelturbet.ie/unesco-geopark/clough-oughter/

[5] https://theirishaesthete.com/2015/09/09/a-mere-shell/

[6]  see Timothy William Ferres: http://lordbelmontinnorthernireland.blogspot.com/2013/09/cloverhill-house.html

[7] ibid.

[8] https://www.anglocelt.ie/news/roundup/articles/2018/06/17/4157489-bringing-lismore-back-from-the-dead/ 

[9] https://nisbetts.co.uk/archives/nesalx.htm

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

Powerscourt Townhouse, 59 South William Street, Dublin 2 – section 482

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

https://www.powerscourtcentre.ie/
Open in 2025: all year, except New Year’s Day, Christmas Day, 10am-6pm

Fee: Free

This house was built for the 3rd Viscount Powerscourt, Richard Wingfield (1730-1788), in 1771, as his city residence. He already owned the Wicklow estate and grand house of Powerscourt in Enniskerry (see my entry for more about the Wingfield family and the Viscounts Powerscourt). I came across the Wingfield family first on my big house travels in 2019, when Stephen and I visited Salterbridge House in Cappoquin, County Waterford, which is owned by Philip and Susan Wingfield (Philip is the descendent of the 3rd Viscount Powerscourt, by seven generations! [1]).

Richard Wingfield (1730-1788) 3rd Viscount Powerscourt.

Kevin O’Connor writes in his Irish Historic Houses that “The palazzo was originally laid out around an open square. This has now been fitted (and covered) in to provide a centre specialising as a grand emporium for crafts, antiques, shopping and restaurants.”

Inside Powerscourt townhouse, now full of shops. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I am writing this blog during the Covid-19 lockdown in March 2020! I started to take pictures of Powerscourt townhouse last December, when it was in its full glory inside with Christmas decorations, knowing that it is listed in section 482. Today I will write about the history of this house and share my photographs, although I have not yet contacted Mary Larkin, who must manage the Townhouse Centre. Last week before the lockdown, when most of Ireland and the world were already self-isolating and most shops were closed, Stephen and I walked into town. It was a wonderful photographic opportunity as the streets were nearly empty.

Above, by the wall of our favourite pub, Grogans, is the picture of the James Malton engraving (1795) of the neo-Palladian Powerscourt Townhouse. This sign tells us that the house was begun in 1771 and completed in 1774 and cost £8000.

Architectural historian Christine Casey describes Powerscourt Townhouse to be reminiscent of Richard Castle’s country-house practice, although she writes that it was designed by Robert Mack. [3] Mack was an amateur architect and stonemason. The west front of the house, Malton tells us, is faced with native stone from the Wicklow estate, with ornament of the more expensive Portland stone, from England.

Powerscourt Townhouse 1945, photograph from Dublin City Library and Archives. [2]

The house is historically and architecturally one of the most important pre-Union mansions of the Irish nobility. The Wingfields, Viscount Powerscourt and his wife Lady Amelia Stratford (daughter of John, Earl of Aldborough), would have stayed in their townhouse during the “Season,” when Parliament sat, which was in the nearby College Green in what is now a Bank of Ireland, and they would have attended the many balls and banquets held during the Season.

Richard was the younger son of the 1st Viscount Powerscourt, and he inherited the title after his older brother, Edward, died. He was educated in Trinity College, Dublin, and the Middle Temple in London. He served in the Irish House of Commons for Wicklow County from 1761-1764. In 1764 he became 3rd Viscount after the death of his brother, and assumed his seat in the Irish House of Lords.

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

The arch to the left of the house was a gateway leading to the kitchen and other offices and there is a similar gateway on the right, which led to the stables.

The house has four storey over basement frontage to South William Street, with “stunted and unequal niched quadrants” (see this in the photograph above, between the main block of the house, and the gateway) and pedimented rusticated arches. [4][5] Christine Casey describes the nine bay façade as faced with granite, and it has an advanced and pedimented centrepiece crowned by a solid attic storey with enormous volutes like that of Palladio’s Villa Malcontenta [5].

The attic storey housed an observatory. From this level, one could see Dublin Bay.

The ground floor has round-headed windows, while the piano nobile has alternating triangular and “segment-headed” pediments. A “Piano nobile” is Italian for “noble floor” or “noble level”, also sometimes referred to by the corresponding French term, bel étage, and is the principal floor of a large house. This floor contains the principal reception and bedrooms of the house. There is a Venetian window and tripartite window over the doorcase. Mark Bence-Jones tells us a Venetian window had three openings, that in the centre being round-headed and wider than those on either side; it is a very familiar feature of Palladian architecture.

Powerscourt Townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt townhouse.
Plan of front of Powerscourt Townhouse, from a sketch on display at Carton, County Kildare.

The ground floor contained the grand dining room, the parlour, and Lord Powerscourt’s private rooms. Ascending to the first floor up the magnificent mahogany staircase, one entered the rooms for entertaining: the ballroom and drawing room.

Plan of Powerscourt Townhouse, from a sketch on display at Carton, County Kildare.
Powerscourt townhouse.

An information board inside the house quotes the “Article of Agreement” between Lord Powerscourt and the stonemason Robert Mack:

Two shillings for each foot of the moulded window stooles and cornice over the windows, two shillings and eight pence for the Balusters under the windows… three shillings and three pence for the great cornice over the upper storey. Three shillings for each foot of flagging in the Great Hall to be of Portland Stone, and black squares or dolles, one shilling and six pence for each yard of flagging in the kitchen and cellars of mountmellick or black flagges.”

This information board also tells us that the original setting of the house would have been a garden to the rear of the house, laid out in formal lawns with box hedging and gravel walks.

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Powerscourt townhouse.

When one walks up the balustraded granite steps leading to the front door, through the hall and past the mahogany staircase, one enters what was the courtyard of the house.

The entrance hall is now occupied by a flower shop. It has fine ceilings by James McCullagh. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt townhouse 1964, photograph from Dublin City Library and Archives. [see 2]
Information board about Powerscourt townhouse.
The staircase hall plan, Powerscourt Townhouse, from a sketch on display at Carton, County Kildare.
Plan of Powerscourt Townhouse, from a sketch on display at Carton, County Kildare.
There are decorative heads along the top of the doorway leading from the entrance hall into the stair hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt townhouse, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance hall has fine ceilings by James McCullagh. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance hall has fine ceilings by James McCullagh. There are wonderful metopes and panels with urns, buncrania, bows and arrows and baskets of fruit. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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See the “monkey tail” wooden volute at end of stairway. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

You can see the “trompe l’oeil” floor in the entrance hall in the photo below, made up of black Kilkenny marble, grey and white limestone.

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Powerscourt Townhouse, the stair hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Powerscourt townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The mahogany staircase rises in three flights to the first floor. The balusters are probably the most elaborately carved in Ireland, and the handrail ends in a large volute or “monkey’s tail” at the base of the stairs. The woodwork carving is by Ignatius McDonagh. I need to go back to take a better picture of the balustrade. We saw an even larger “monkey tail” volute end of a staircase in Barmeath (another section 482 property, see my entry), more like a dragon’s tail than a monkey, it was so large!

The carved mahogany balusters by Ignatius McDonagh. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Wingfield family descended from Robert, Lord Wingfield of Wingfield Castle in England, near Suffolk. The first member of the family who came from England was Sir Richard Wingfield, who came under the patronage of his uncle, Sir William Fitzwilliam, the Lord Deputy of Ireland from 1561 to 1588. In 1609 King James I granted Richard Wingfield, in reward for his services to the Crown, the lands of Powerscourt in County Wicklow. Richard was a military adventurer, and fought against the Irish, and advanced to the office of Marshal of Ireland. In May 1608 he marched into Ulster during “O’Doherty’s Rebellion” against Sir Cahir O’Doherty, and killed him and dispersed O’Doherty’s followers. For this, he was granted Powerscourt Estate, in 1609. [7]

In 1618 James I raised Richard to the Peerage as Viscount Powerscourt, Baron Wingfield. The family motto is “Fidelite est de Dieu,” faithfulness is from God.

Richard the 3rd Viscount Powerscourt succeeded to the title in 1764. He was not a direct descendant of the 1st Viscount Powerscourt. Richard the 1st Viscount had no children, so the peerage ended with the death of the 1st Viscount.

The Powerscourt estate in Wicklow passed to his cousin, Sir Edward Wingfield, a distinguished soldier under the Earl of Essex (Robert Devereux, 2nd Earl of Essex), and a person of great influence in Ireland. [8] Essex came to Ireland to quell a rebellion that became the Nine Years’ War. Sir Edward Wingfield married Anne, the daughter of Edward, 3rd Baron Cromwell (descendent of Henry VIII’s Thomas Cromwell). [9]  It was this Edward Wingfield’s grandson Folliot (son of Richard Wingfield), who inherited the Powerscourt estates, for whom the Viscountcy was revived, the “second creation,” in 1665. [10]

However, once again the peerage expired as Folliot also had no offspring. Powerscourt Estate passed to his cousin, Edward Wingfield. Edward’s son Richard (1697-1751) of Powerscourt, MP for Boyle, was elevated to the peerage in 1743, by the titles of Baron Wingfield and Viscount Powerscourt (3rd Creation).

This Richard Wingfield was now the 1st Viscount (3rd creation). He married, first, Anne Usher, daughter of Christopher Usher of Usher’s Quay, but they had no children. He married secondly Dorothy, daughter of Hercules Rowley of Summerville, County Meath. Their son, Edward, became the 2nd Viscount. When he died in 1764, Richard, his brother, became 3rd Viscount. Seven years after inheriting the title, Richard 3rd Viscount began the building of Powerscourt Townhouse.

Inside just past the entrance hall, we can still climb the staircase and see the wonderful plasterwork by stuccodores James McCullagh assisted by Michael Reynolds.

The decoration on the upper walls consists of panels decorated with arabesque work interspersed with urns, acanthus scrolls [6], palms and portrait medallions. I haven’t discovered who is pictured in the portraits! Neither Christine Casey nor the Irish Aesthete tell us in their descriptions.

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Powerscourt Townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt Townhouse.
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Powerscourt Townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Powerscourt Townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail of the stair hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail of the drapery in the stuccowork. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Powerscourt Townhouse. Unfortunately the busts are not identified. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One of the many busts in stucco medallions in the stair hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail of the stair hall ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Powerscourt Townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ionic pilasters of the stair hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail of the floral swags in stucco. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Powerscourt townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Ionic pilasters frame two windows high up in the east wall – we can see one in the photograph above. The lower walls are “rusticated in timber to resemble stone,” Casey tells us. I would have assumed that the brickwork was of stone, not of timber.

No expense was spared in furnishing the house. As well as the rococo plasterwork on the stairs there was neo-Classical work by stuccodore Michael Stapleton. According to the information board, much of the more sober neo-Classical work was cast using moulds, no longer created freehand the way the rococo plasterwork was done. The neo-Classical work was called the Adams style and in Powerscourt Townhouse, was created between 1778-1780. Stapleton’s work could have been seen in the Dining Room, Ballroom, Drawing room and Dome Room.

Powerscourt Townhouse.
Powerscourt Townhouse.
Ceiling of the drawing room, by Michael Stapleton. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The former drawing room, with its fine stucco work by Michael Stapleton, looking out onto what was the courtyard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt townhouse.

The ceiling in a room now occupied by The Town Bride, which was the original music room, and the ballroom, now occupied by the Powerscourt Gallery, contain Stapleton’s work.

Powerscourt townhouse, Dublin.
The ceiling of The Town Bride: Minerva, Roman Goddess of Music and the Arts, in the Music Room on the ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ceiling of what is now The Town Bride shop. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I love the stucco work around the top of the walls also, of urns and cherubs and swags. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Dome Room is now behind glass.

Detail on the Dome Room ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail of Dome Room ceiling and the top of the walls. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The items in the dome room are behind glass so I could not get more detail in the photographs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ceiling of another room on the second storey. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This room is on the top floor and is magnificent! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There are lots of frolicking putti on this ceiling and walls. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt townhouse, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt townhouse, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This room, appropriately, houses an art gallery. The window and door frames are magnificent also. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt townhouse, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This room also looks onto the converted courtyard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Looking down into the centre of the shopping area. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Looking down into the centre of the shopping area. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt townhouse, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

To see the Dining Room and Parlour, you must enter through one of the side carriage entrances, to the restaurant Farrier and Draper.

To see the Dining Room and Parlour, you must enter through one of the side carriage entrances, to the restaurant Farrier and Draper. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Originally the Parlour, now part of Farrier and Draper, plasterwork by Michael Stapleton. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt Townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The original Dining Room, with oval and round plaques with swagged garlands set within square and rectangular panels, now part of restaurant Farrier and Draper. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The townhouse website tells us that Richard Wingfield was known as the “French Earl” because he made the Grand Tour in Europe and returned wearing the latest Parisian fashions. He died in 1788 and was laid out in state for two days in his townhouse, where the public were admitted to view him! His son Richard inherited the title and estates.

The garden front is of seven bays rather than nine, and has a broader three-bay advanced centrepiece.

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

After the house was sold by the Powerscourt family the gardens were built over between 1807 and 1815, when the house became the home of the Government Stamp Office. After the Act of Union, when the Irish Parliament was abolished and Ireland was ruled by Parliament in England, many Dublin mansions were sold. In July 1897 Richard 4th Lord Powerscourt petitioned Parliament to be allowed to sell his house to the Commissioner of Stamp Duties. The house was described as black from “floating films of soot” produced by the city’s coal fires. I can remember when Trinity was blackened by soot also before smoky coal was banned from Dublin, and extensive cleaning took place.

Powerscourt townhouse.

Several alterations were made to make the house suitable for its new purpose. This work was carried out by Francis Johnston, architect of the Board of Works, who designed the General Post Office on O’Connell Street. He designed additional buildings to form the courtyard of brown brick in Powerscourt townhouse, which served as offices. This consisted of three ranges of three storeys with sash windows. He also designed the clock tower and bell on Clarendon Street.

Francis Johnston designed the clock and bell tower on Clarendon Street. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In 1835, the Government sold the property to Messrs Ferrier Pollock wholesale drapers, who occupied it for more than one hundred years. It was used as a warehouse. I’m sure the workers in the warehouse enjoyed going up and down the grand staircase!

In 1981 the buildings were converted into a shopping centre, by architect James Toomey, for Power Securities. The courtyard was glazed over to make a roof.

Powerscourt Townhouse.
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Powerscourt Townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Powerscourt Townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Powerscourt townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Powerscourt Townhouse was one of my haunts when I first moved to Dublin in 1986 (after leaving Dublin, where I was born, in 1969, at eight months old). I loved the antique stores with their small silver treasures and I bought an old pocket watch mounted on a strap and wore it as a watch for years. My sister, our friend Kerry and I would go to Hanky Pancakes at the back of the town centre, downstairs, for lemon and sugar coated thin pancakes, watching them cook on the large round griddle, being smoothed with a brush like that used to clean a windshield. For years, it was my favourite place in Dublin. Pictured below is the pianist, an old friend of Stephen’s, Maurice Culligan. My husband bought my engagement ring in one of the antique shops!

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Maurice Culligan playing piano in Powerscourt Townhouse.
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My engagement ring, purchased in Powerscourt Townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Despite the very helpful information boards, I find it impossible to imagine what the original house looked like. I took pictures walking around the outside of the shopping centre.

Powerscourt Townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There’s an art deco feel to the curved middle projection on the upper storey at the side. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Perhaps the detailing to the sides – the inset pillars and medallions – of this side entrance to the shopping centre are by Francis Johnston (who trained under Thomas Cooley, creator of Rokeby Hall, also on Section 482). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt Townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Powerscourt townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The French Connection entrance side is opposite the Westbury Mall.

Opposite Powerscourt townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The grander side is opposite from Grogans, and next to the old Assembly House which is now the headquarters of the Irish Georgian Society. The walkway by Grogans leads down to the wonderful Victorian George’s Arcade buildings.

South City Markets. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
South City Markets. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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South City Markets, by Lockwood & Mawson, 1878-81. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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[1] I traced the genealogy of the owner of Salterbridge, Philip Wingfield. I traced him back to the owners of Powerscourt Townhouse. Richard 4th Viscount Powerscourt (1762-1809) has a son, Reverend Edward Wingfield (his third son) (b. 1792). He marries Louise Joan Jocelyn (by the way, he is not the only Wingfield who marries into the Jocelyn family, the Earls of Roden). They have a son, Captain Edward Ffolliott Wingfield (1823-1865). He marries Frances Emily Rice-Trevor, and they have a son, Edward Rhys Wingfield (1848-1901). He marries Edith Caroline Wood, and they have a son, Captain Cecil John Talbot Rhys Wingfiend. He marries Violet Nita, Lady Paulett, and they have a son, Major Edward William Rhys Wingfield. It is he who buys Salterbridge, along with his wife, Norah Jellicoe. They are the parents of Philip Wingfield.

[2] https://repository.dri.ie/catalog?f%5Broot_collection_id_ssi%5D%5B%5D=pk02rr951&mode=objects&search_field=all_fields&view=grid

[3] Archiseek seems mistaken as identifying the architect to be Richard Castle/Cassells

http://archiseek.com/2010/1774-powerscourt-house-south-william-street-dublin/

[4] Casey, Christine. The Buildings of Ireland: Dublin. The City within the Grand and Royal Canals and the Circular Road with the Phoenix Park. Founding editors: Nikolaus Pevsner and Alistair Rowan. Yale University Press, New Haven and London, 2005.

[6] architectural definitions

pediment: “Originally the low-pitched triangular gable of the roof of a Classical temple, and of the roof of a portico; used as an ornamental feature, generally in the centre of a facade, without any structural purpose.”

portico: “an open porch consisting of a pediment or entablature carried on columns.”

entablature: “a horizontal member, properly consisting of an architrave, frieze and cornice, supported on columns, or on a wall, with or without columns or pilasters.”

architrave: “strictly speaking, the lowest member of the Classical entablature; used loosely to denote the moulded frame of a door or window opening.”

frieze: “strictly speaking, the middle part of an entablature in Classical architecture; used also to denote a band of ornament running round a room immediately below the ceiling.”

cornice: “strictly speaking, the crowning or upper projecting part of the Classical entablature; used to denote any projecting moulding along the top of a building, and in the angle between the walls and the ceiling of a room.”

pilasters: “a flat pillar projecting from a wall, usually with a capital of one of the principal Orders of architecture.”

volute: “a scroll derived from the scroll in the Ionic capital.”

Ionic Order: “the second Order of Classical architecture.”

Acanthus – decoration based on the leaf of the acanthus plant, which forms part of the Corinthian capital

[7]https://en.wikipedia.org/wiki/Richard_Wingfield,_1st_Viscount_Powerscourt_(first_creation)

[8]http://lordbelmontinnorthernireland.blogspot.com/search/label/County%20Wicklow%20Landowners

I did further research in Burke’s Peerage to discover the exact relationship of these cousins. https://ukga.org/cgi-bin/browse.cgi?action=ViewRec&DB=33&bookID=227&page=bp189401283

Lewis Wingfield of Southampton married a Ms. Noon. He had a son Richard who married Christiana Fitzwilliam, and a son George. Richard the 1st Viscount who moved to Ireland is the son of Richard and Christiana. Edward Wingfield, who inherited Powerscourt Estate from Richard 1st Viscount, was the grandson of George (son of Lewis of Southampton), son of Richard Wingfield of Robertstown, County Limerick, who married Honora O’Brien, daughter of Tadh O’Brien (second son of Muragh O’Brien, 1st Lord Inchiquin).

[9] There was much intermarrying between the Cromwells and the Wingfields at this time! 1st Viscount Richard Wingfield, of the first creation, married Frances Rugge (or Repps), daughter of William Rugge (or Repps) and Thomasine Townshend, who was the widow of Edward Cromwell, 3rd Baron Cromwell. Frances Rugge and Edward Cromwell had two daughters, Frances and Anne. Frances Cromwell married Sir John Wingfield of Tickencote, Rutland, and Anne Cromwell married Sir Edward Wingfield of Carnew, County Wicklow. Anne and Edward’s grandson Folliott became the 1st Viscount Powerscourt of the 2ndcreation.

[10] Wikipedia has a different genealogy from Lord Belmont’s blog. Folliott Wingfield, 1st Vt of 2nd creation (1642-1717), according to Wikipedia, is the son of Richard Wingfield and Elizabeth Folliott, rather than the son of Anne Cromwell and Edward Wingfield of Carnew, County Wicklow, as the Lord Belmont blog claims. Burke’s Peerage however, agrees that Folliott Wingfield, 1st Vt 2nd Creation is not the son of Edward Wingfield of Carnew.

According to Burke’s Peerage, Edward Wingfield of Carnew, who married Anne Cromwell, and who inherits Powerscourt Estate, dies in 1638. They have six sons:

I. Richard is his heir;

II. Francis

III. Lewis, of Scurmore, Co Sligo, who married Sidney, daughter of Paul Gore, 1st Bart of Manor Gore, and they have three sons: Edward*, Lewis and Thomas. This Edward inherits Powerscourt Estate.

IV. Anthony, of London

V.  Edward, of Newcastle, Co Wickow, d. 1706

Richard (d. 1644 or 1645), the heir, married Elizabeth Folliott, and is succeeded by his son Folliott Wingfield, who becomes 1st Vt, 2nd Creation. When he dies, the peerage ends again. However, his first cousin, Edward* inherits Powerscourt. Edward Wingfield Esq, of Powerscourt, Barrister-at-Law, marries first Eleanor Gore, daughter of Arthur Gore of Newtown Gore, County Mayo, and by her has a son, Richard. Richard inherited Powerscourt, became an MP and was elevated to the peerage in 1743, and became (1st) Viscount Powerscourt of the 3rd creation.

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

Slane Castle, County Meath – section 482 tourist accommodation

www.slanecastle.ie

(Tourist Accommodation Facility)

Open in 2025: January, February, May, June, July, August, (Mar-Apr, Sept-Dec, Mon-Thurs)

Fee: adult €14, OAP/student €12.50, child €8.40 under 5 years free

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The view of Slane Castle from just inside the gate, driving in. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Today (Saturday 27th April 2019) my husband Stephen and I made our first official blog trip.  We started in the “ancient east,” going to Slane Castle in County Meath. The land around the Boyne River is beautiful, rolling and fertile. It took almost exactly one hour to drive from our home in Dublin, taking the M1 which I find easier than the M2 through the city’s north side, with which I’m less familiar. Our timing was perfect, we arrived at 2:10pm, in time for the 2:15 tour – there are tours every hour on the quarter hour. [1]

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Coming closer to Slane Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Slane Castle, County Meath, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.

The castle is three storeys over basement, in the Gothic Revival style. There is a bow on the back side of the castle, facing the river, and the basement serves as the ground floor on this side due to the steep slope down to the River Boyne. The bow forms a round tower, but you cannot see it as you approach the castle as the river is behind.

Slane Castle, County Meath, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Slane Castle, County Meath, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
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The view over the beautiful River Boyne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Stephen in front of the Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Our guide Matthew told us that the castle was reconstructed and enlarged by William Burton Conyngham (1733-1796). It was built on the foundations of a medieval castle of the Fleming family, replacing an earlier house.

William Burton Conyngham was a classicist and the front hall features Greek columns and key patterns on the walls and many marble Greek sculptures, including a sculpture of King George IV of England, donated by the king himself.

William Burton Conyngham (1733–1796) by Anton Raphael Mengs c. 1754-58, courtesy of wikipedia.

William Burton Conyngham argued with his architects, Matthew told us, so ended up having three architects for his castle: James Gandon, James Wyatt and Francis Johnston. According to Mark Bence-Jones in A Guide to Irish Country Houses, Francis Johnston completed the house for the the second Lord Conyngham’s son, nephew of William Burton Conyngham, Henry (1766-1832), who later became the 1st Marquess Conyngham.

Other architects were consulted at various times, including James Gandon, who most famously designed the Custom House and the Four Courts in Dublin, and Emo in County Laois. Francis Johnston designed the General Post Office in Dublin, and Townley Hall, County Louth. Another architect consulted was a favourite of King George IV, the English Thomas Hopper.

William Burton Conyngham, (1733-1796), Teller of the Irish Exchequer and Treasurer of the Royal Irish Academy Date 1780 Engraver Valentine Green, English, 1739 – 1813 After Hugh Douglas Hamilton, Irish, 1740-1808.

In 1785 the castle was remodelled to the design of James Wyatt (1746 – 1813). Wyatt also designed another house on the section 482 list this year, Curraghmore in County Waterford, and a house not on the list, unfortunately, as I would love to see inside, Abbeyleix House (incidentally, my father grew up in Abbeyleix and we used to enjoy the gardens which used to be open and which were reknowned for the bluebells. Also, coincidentally, according to wikipedia, Wyatt spent six years in Italy, 1762–68, in company with Richard Bagot of Staffordshire, who was Secretary to the Earl of Northampton’s embassy to the Venetian Republic. My family is rumoured to be descended from the Staffordshire Bagots, although I have not found the connection!).

The Conyngham family have owned the castle since 1703.

Slane Castle, County Meath, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.

The Flemings of Slane

The Conynghams bought the land in Slane after it was confiscated from the Flemings. In 1175, Richard Le Fleming built a castle at the western end of Slane hill and, three generations later, Simon Fleming was created Baron of Slane. [4]

The Conynghams did not acquire Slane directly after it was confiscated from the Flemings – Terry Trench of the Slane History and Archaeology Society writes that the estate changed hands, at least on paper, seven times between 1641 and 1703. The estate was taken from the Flemings in 1641, when William Fleming, the 14th Baron Slane, joined the Catholic Irish forces in rebellion against the British. He remained loyal to the king, but objected to the laws that the British parliament passed to make the Irish parliament subservient to the British parliament. The estate was restored to William’s son Randall under the Act of Settlement and Distribution of Charles II’s reign, by decree dated 27th March 1663. [5] Many estates that had been confiscated by Cromwell’s parliament were restored when Charles II was restored to the throne in 1660.

The Flemings had their land confiscated again as Christopher, 17th Baron Slane (1669-1726), backed James II in his battles against William of Orange. He served in the Irish Parliament of King James II in 1689, and as colonel in James’s army in Ireland 1689-91, fighting in both the Battle of the Boyne and in Aughrim, where he was taken prisoner by William’s forces. Released, he emigrated and fought in the French and Portuguese armies, as did many of James II’s followers who were attainted and lost their estates, as they needed to be able to earn a living. He was later reconciled with Queen Anne of England (daughter of James II) and returned to Ireland, to live in Anticur, County Antrim. In 1703, Henry Conyngham purchased the estate of Slane.

The Conynghams of Slane

The Conyngham motto, Over Fork Over, recounts the way Duncan hid from Macbeth (familiar to us from Shakespeare). Matthew told us that Duncan hid in straw in a barn, having it forked over him. After that, he managed to defeat Macbeth and to become king. So the Conynghams are descendants of a Scottish king!

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The Conyngham coat of arms, with its motto, Over Fork Over. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
At Slane, April 2019.

Alexander Conyngham moved from Scotland to Ireland when he was appointed in 1611 to be the first Protestant minister to Enver and Killymardin the diocese of Raphoe, County Donegal. [3] He was appointed dean of Raphoe in 1631.

The Bishop’s Palace at Raphoe, now a ruin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

He settled at Mount Charles, County Donegal, on an estate he leased from John Murray, earl of Annandale, the owner of ‘a vast estate’ in Scotland. Conyngham subsequently acquired the Mount Charles property through his marriage to the earl’s grand-neice, Marian, daughter of John Murray of Broughton, in Scotland (see [3]).

Alexander’s son Albert lived at Mountcharles. [2] Albert had fought with William III’s troops in the Battle of the Boyne, against Fleming and James II’s troops.

Albert Cunningham (d. 1691) first colonel of the 6th (Inniskilling) Dragoons, by Willem Wissing c. 1690, courtesy of British Cavalry Regiments website and wikipedia.

Albert married Mary, daughter of the Right Reverend Robert Leslie, Bishop of Raphoe – this Bishop is the ancestor of the Leslie family of Castle Leslie in County Monaghan, another property on the Section 482 list that I will be visiting. Albert was killed by Irish Royalist rebels, and succeeded by his only surviving son, Henry (1664-1705). 

Henry, a military man who also served as MP for County Donegal, purchased the land in Slane in 1703.

He built himself a residence, which he called Conyngham Hall, on the foundations of an older castle formerly belonging to the Flemings.

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The intertwined “C” is the symbol of the Conyngham family. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Conyngham family tree, on the walls going to the public dining area.

Henry Conyngham (d. 1705) fought first in James II’s army, but then persuaded his regiment to transfer their loyalty to William III.

Henry’s son Henry (1705-1781) inherited the Slane estate. Henry became an Member of the Irish Parliament and was raised to the peerage in 1753 to the title of Baron Conyngham of Mount Charles, and later became Viscount and eventually, Earl. He died without a son so the Barony passed to his nephew, William Burton (his sister Mary had married Francis Burton).

William Burton (1733-1796) took the name of Conyngham upon inheriting the estate in 1781. It was he who rebuilt Slane Castle.

William Burton Conyngham, engraving After GILBERT STUART courtesy of Adams Country House Collections auction Oct 2023.

His brother Francis Pierpoint Burton also who then took the name of Conyngham in 1781 as he inherited the title to become 2nd Baron Conyngham of Mount Charles, Co. Donegal. He died six years later, in 1787. [see 3]. In 1750 he had married Elizabeth, the daughter of amateur architect Nathaniel Clements, whose work we will see later in other houses on the section 482 list of heritage properties. For himself, Nathaniel Clements built what is now the Áras an Uachtaráin, the residence of our President, Michael D. Higgins, in Phoenix Park in Dublin.  

The castle and estate passed to Francis 2nd Baron Conyngham’s son Henry (1766-1832). Henry succeeded as the 3rd Baron Conyngham of Mount Charles, Co. Donegal in 1787. He served as a politician and moved quickly up the ranks of the peerage and was Lord Steward of the Royal household between 1821-30. He married Elizabeth Denison in 1794.

Elizabeth née Denison, Marchioness Conyngham (1769-1861), wife of Henry 1st Marquess.

In 1821 King George IV visited Ireland, and he spent time in the Castle with his lover, Elizabeth, wife of Frances Pierpoint Burton Conyngham. “In return,” as our guide told us, the king made Conyngham a Marquess, although this isn’t quite true as he became Marquess in 1816. [6].

Elizabeth Conyngham (née Denison), Marchioness Conyngham (1769–1861) by George Chinnery, English, 1774-1852.
Elizabeth Conyngham née Denison, wife of Henry 1st Marquess by Thomas Lawrence 1821 courtesy of Calouste Gulbenkian Museum.
Maria Conyngham (died 1843), daughter of 1st Marquess of Slane by Sir Thomas Lawrence courtesy of Metropolitan museum.

One of the rooms of the castle, the Smoking Room, has two cartoons from the period mocking the King and his consort Elizabeth, drawing them as overweight. In one, she aids her son when he has to move from the Castle of Windsor where he was Royal Chamberlain. It was he who announced to Victoria that she was Queen, upon death of the previous monarch. He was let go from his position when he tried to move his lover into his rooms in Windsor. His mother came to fetch him, with several wheelbarrows, the story goes, and she took all the furniture from his rooms. Somehow she brought a grand piano back from Windsor to Slane Castle where it sat in a specially made arbor for music in the Smoking room, until it was destroyed by a fire in Slane Castle in the 1990’s. One of the Punch style cartoons is of Elizabeth with a wheelbarrow fetching her son from Windsor. I can’t quite remember the other – it had King George IV and herself in a carriage. The Irish were very annoyed that when he came to Ireland he spent his entire time at Slane Castle!

Cartoons at Slane Castle Tour, Slane, Co Meath, photograph by Nomos Productions, 2022, Courtesy Failte Ireland.
At Slane, April 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Irish Aesthete writes of the visit:

Neither the king nor his inamorata were in the first flush of youth, and both were equally corpulent. These circumstances however did nothing to dampen their ardour. As was written of them at the time, ‘Tis pleasant at seasons to see how they sit/ First cracking their nuts, and then cracking their wit/ Then quaffing their claret – then mingling their lips/ Or tickling the fat about each other’s hips.’ And according to one contemporary observer, Lady Conyngham ‘lived exclusively with him during the whole time he was in Ireland at the Phoenix Park. When he went to Slane, she received him dressed out as for a drawing-room; he saluted her, and they then retired alone to her apartments.’” [7]

Our tour started with a video of Charles Conyngham, now known as Lord Mount Charles, telling of his childhood in the Castle, growing up in a very old-world upper class manner.  He did not join his parents at the dining table until he was twelve years old, dining until then in the Nursery. His nurse, Margaret Browne, came to the Castle at 16 years old, and he held her in such regard that he named his bar after her.

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The menu in Browne’s Bar, which gives an explanation of the name, telling of the housekeeper.

Lord Mount Charles described how he started out, when he had to take over the Castle, with a restaurant, which is now the Gandon Restaurant. To further fund the Castle maintenance, Lord Mount Charles started concerts at the venue, beginning with Thin Lizzy in 1981. To seal the deal, the next show was the Rolling Stones! With such august imprimateur, the Castle’s concerts became world-famous and featured many top performers including David Bowie, Bob Dylan, Neil Young and Queen.

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Lovely picture of Phil Lynnott of Thin Lizzy carrying a child at Slane.

Henry 1st Marquess Conyngham’s son, Francis Nathaniel Burton Conyngham (1797-1876) inherited the property and the title, to become 2nd Marquess Conyngham. His daughter Frances Caroline Maria married Gustavus William Lambart (1814-1886), who we will come across later as the owner of Beauparc in County Meath, another Section 482 property https://irishhistorichouses.com/2022/07/22/beauparc-house-beau-parc-navan-co-meath/ . The current owner of Slane inherited Beauparc from the Lambarts.

A son, George Henry (1825-1882) became 3rd Marquess Conyngham, and his son, Henry Francis the 4th Marquess. He married the daughter of the 4th Baron Mollens of Ventry, County Kerry. Their son the 5th Marquess died unmarried, so the title passed to his brother, Frederick William Burton, 6th Marquess. The current Marquess is the 8th, who is known as Lord Henry Mount Charles, but is officially 8th Marquess Conyngham since 2009.

A disasterous fire in the castle in 1991 destroyed the roof and one third of the castle.

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Newspaper clippings about the fire, in the entry to pub and restaurant.
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At Slane, April 2019.

The magnificent library with its intricate ceiling and impressive wooden chandelier was saved by two firemen fighting the fire from within the room, battling for nine hours. The smoke was so thick that one couldn’t see the ceiling. I think they deserve a plaque in the room to recognise their effort! Meanwhile the family saved as many priceless historic paintings and antiques as they could, including a huge portrait of King George IV that is now hanging again in the library, by cutting it from its giant gilt frame then taking the frame apart into four pieces in order to get it out through the doors. Lord Mount Charles now suffers with his lungs, probably partially as a result of long exposure to the flames and smoke. It took ten years to reconstruct the castle, but it has been done excellently so traces of the fire barely remain.

Portrait of George IV which was saved from the fire, Slane Castle Tour, Slane, Co Meath, photograph by Nomos Productions, 2022, Courtesy Failte Ireland.

We weren’t allowed to take pictures inside, as usual with these properties. There is a picture of the ornate roof in the library on the wonderful blog of the Irish Aesthete [8].

Mark Bence-Jones describes the room in his 1988 book (published before the fire, but this room remained intact!), A Guide to Irish Country Houses:

“…the great circular ballroom or library which rises through two storeys of the round tower and is undoubtedly the finest Gothic Revival room in Ireland; with a ceiling of Gothic plasterwork so delicate and elaborate that it looks like filigree. Yet this, too, is basically a Classical room; the Gothic ceiling is, in fact, a dome; the deep apses on either side of the fireplace are such as one finds in many of Wyatt’s Classical interiors, except that the arches leading into them are pointed; they are decorated with plasterwork that can be recognised as a very slightly Gothicized version of the familiar Adam and Wyatt fan pattern.

Slane Castle Tour, Slane, Co Meath, photograph by Nomos Productions, 2022, Courtesy Failte Ireland.
Slane Castle Tour, Slane, Co Meath, photograph by Nomos Productions, 2022, Courtesy Failte Ireland.
Slane Castle, Slane, Co Meath, photograph by Nomos Productions, 2022, Courtesy Failte Ireland

Of the tales on the tour, I especially enjoyed the story of the funeral of a soldier’s leg. Apparently it was quite the custom to have funerals for body parts – his leg had to be amputated on the field of battle and the soldier brought it back to be buried with a full-scale military funeral. It must have been to do with the fact that a person’s body is to be resurrected on the Last Day, so it’s good to know where all the parts are! Cremation used to be forbidden in the Catholic church, as somehow it would be too difficult for God to put the ashes back together – never mind a disintegrated body!

We had lunch in the bar after the tour.

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Outer entrance to the bar and Gandon Restaurant. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Entrance to the bar and Gandon Restaurant. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Browne’s Bar. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
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Album covers of musical performers at the Castle, in the bar: Van Morrison, Santana, Bruce Springstein, Neil Young, the Rolling Stones, Chris Rea, Bob Dylan, U2 and Bon Jovi.
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Memorabilia from music events: I think the guitar was signed by Phil Lynott (it was signed, anyway).
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Slane Castle.
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The music theme of Browne’s Bar is reflected in the gramophone horn lampshade. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There is an adjoining distillery in what used to be the stables, and a tour of that can be purchased in combination if desired. Lord Charles’s mother bred horses before the stables were converted. The stables were designed by Capability Brown.

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The stables, designed by Capability Brown, now a whiskey distillery. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

According to the Irish Aesthete:

Henry Conyngham, grandson of General Henry Conyngham who purchased the property, around 1770 invited Capability Brown around 1770 to produce a design both for the landscaping of the parkland at Slane, and also for a new stable block. In the collection of the Irish Architectural Archive in Dublin a drawing survives of Brown’s proposal for the latter. It is not unlike the finished building, but more elaborate than what we see today.” [9]

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I noticed this on the wall on the lower level outside the Castle – I don’t know its origin or age. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I found a blog by the Irish Aesthete on a portrait now in Slane, of Lady Elizabeth wife of the first Marqess’s daughter, Lady Maria Conyngham. Reportedly Lady Elizabeth looked very like her daughter – which one would not guess from the unflattering cartoons of her! [10]

Donation

Help me to fund my creation and update of this website. It is created purely out of love for the subject and I receive no payment so any donation is appreciated! For this entry I paid for petrol and entrance fee for myself and Stephen.

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[1] https://www.slanecastle.ie/tours/castle-tours/

[2] https://www.buildingsofireland.ie/buildings-search/building/40847025/the-hall-hall-demesne-mountcharles-co-donegal

[3] http://lordbelmontinnorthernireland.blogspot.com/2017/11/slane-castle.html

[4] https://www.culturenorthernireland.org/article/1323/the-flemings-barons-of-slane

[5] http://slanehistoryandarchaeologysociety.com/index.php/famous-people/13-the-flemings-and-the-conynghams

[6] https://en.wikipedia.org/wiki/Elizabeth_Conyngham,_Marchioness_Conyngham

“She probably became his [George IV’s] lover in 1819, when he was Prince Regent, but finally supplanted her predecessor, Isabella Seymour-Conway, Marchioness of Hertford, after he became king in 1820. He became besotted with her, constantly “kissing her hand with a look of most devoted submission.” While his wife Caroline of Brunswick was on trial in 1820 as part of efforts to divorce her, the king could not be seen with Lady Conyngham and was consequently “bored and lonely.” During his coronation, George was constantly seen “nodding and winking” at her.
“Lady Conyngham’s liaison with the king benefited her family. Her husband was raised to the rank of a marquess in the Peerage of the United Kingdom and sworn to the Privy Council, in the coronation honours of 1821. He was also given several other offices, including Lord Steward of the Household and the lieutenancy of Windsor Castle. Her second son was made Master of the Robes and First Groom of the Chamber.”

[7] https://theirishaesthete.com/2015/10/12/when-royalty-comes-to-call/

[8] https://theirishaesthete.com/2015/10/24/vaulting-ambition/

[9] https://theirishaesthete.com/2014/10/27/after-the-horses-have-bolted/

[10] https://theirishaesthete.com/2015/03/21/ireland-crossroads-of-art-and-design-vi/

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

Irish Historic Homes