Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 169. “(Bourke/LGI1904) The Palace of the C of I Bishops of Killala, a tall plain three storey “L” shaped building with a gable-ended tower-like block at the end of one of its arms. The entrance door, near the angle of the two arms, was fanlighted, with some blocking, and flanked by two small side-lights. The castle was said to be ruinous 1787, but some repairs to it were arried out 1796 when, presumably, one of the arms was given its Wyatt windows. Soon afterwards the scholarly Bishop Joseph Stock came into residence, and a few months later (August 1798) the French landed at Killala. The castle was occupied by General Humbert and 300 French troops in 1798; but they treated the Bishop and his family with courtesy and consideration, leaving them undisturbed on the top floor, where the Bishop’s library and three principal bedrooms were situated. When Bishop James Verschoyle died 1834, the See of Killala was joined to that of Tuam, and Killala Castle ceased to be the episcopal residence (for the present residence, see Knockglass, Co Mayo); it then became a warehouse, and was demolished 1950 to make room for a housing estate.”
Letters from Georgian Ireland: The Correspondence of Mary Delany 1731-68.
Ed. Angelique Day, foreward by Sybil Connolly. The Friar’s Bush Press, Belfast, UK, 1991.
p. 125. 21 June 1732, “Killala is a very pretty spot of ground; the house old, and indifferent enough, the sea so near us, that we can see it out of our window; the garden, which is laid out entirely for use, is pretty – a great many shady walks and full-grown forest trees. The Bishop has added a field, and planted it in very good taste; there are abundance of green hills on one side of the garden, on the other a fine view of the Bay, and main ocean behind it, and several pleasant islands.
One day Miss Don, Miss Forth, Mr Crofton, Mr Lloyd, and your Penny [her own nickname], mounted their horses to take the air! We rode very pleasantly for a mile by a sweet river, were caught in a smart shower of rain, took shelter in a cabin as I described to you some time ago. The master of it, the greatest bear that ever walked erect on two legs, his wife little better and that man is absolutely worth two thousand pounds a year; “muck is his darling”; poor miserable wretch! But, however, he had hospitality to receive us as civilly as his sort of manners would allow, made a good fire, and his wife gave us tea; the sky cleared, we took our leave, and returned home wisely moralising all the way and condemning the sordidness of the wretch we left behind us….. Monday we made visits to some of the townspeople. Tuesday we had a very clever expedition, the Bishop and I in a chaise, Mrs Clayton, Phill, and Miss Forth on [p. 126] horseback…. We went to a place about five miles off where the salmon fishery is [river Moy], the house put me in mind of Redgate [on the Fowey river near Liskeard] in Cornwall… We saw the river drawn as we stood in the garden, and a whole net full caught of salmon and trout. It was very good sport, but what was best of all, those salmon were dressed for our dinner, and we reglated very plentifully…Today we dined at Mr Palmer’s [Carrowmore House], a gentleman that lives a mile off, the only very agreeable neighbour we have; he is a very good sort of man, has a handsome fortune, his wife a civil, gentle, agreeable woman; they are very fond of one another, but both very melancholy in their dispositions; they were married some time and had no children, at last she had one son, which is so great a darling and so much spoiled, that I believe she’ll repent of her wishing so earnestly as she did for a son….” [they work in Killala on a shell grotto]. [she also writes in an entertaining manner of Killala fair day.]
[note that the Bishop is Robert Clayton, relative of Mary Delany’s friend Anne Donnellan. P. 24, Ed.Robert Clayton became bishop of Killala and Achonry in 1730, commissioned Richard Cassels to build a mansion in 1730 on the south side of Stephen’s Green. Note,
Listed in Vanishing Country Houses of Ireland by The Knight of Glin, David J. Griffin and Nicholas K. Robinson, published by The Irish Architectural Archive and The Irish Georgian Society, 1988.
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 83. “(Denny, Bt, of Castle Moyle/PB) A C18 house with a central breakfront and a curved bow at back.”
Church Hill House, GLEBE (TR. BY.) BALLYNAHAGLISH ED, County Kerry
Church hill House, County Kerry courtesy National Inventory.
Detached five-bay two-storey over basement house, built c. 1760, with single-bay full-height breakfront having single-bay full-height bowed projecting bay to south elevation. Renovated and extended, 1832, with two-bay single-storey lateral wings. Subsequently in use as monastery, c. 1910. Now in private residential use. Pitched and hipped slate roof with lead ridge rolls and rendered chimneystacks. Painted and rendered walls. Timber six-over-nine and six-over-six pane sliding sash windows with limestone sills. Tripartite window above entrance. Round-headed doorway having painted Ionic doorcase, engaged columns in 1830’s style, decorative iron fanlight, timber panelled door, brass bell pull and limestone threshold. Stable complex, built c. 1760, to west. Gateway, built c. 1760, to east comprising pair of limestone ashlar piers with ovoid finials having cast-iron gates.
At the time of Griffith’s Valuation, Rev. Henry Denny was leasing Church Hill from Sir Edward Denny when it was valued at £27. According to Bary the house was in the hands of the Denny family for much of the eighteenth and nineteenth centuries until it passed to the Neligans, possibly in the 1880s. In 1906 it was owned by William Neligan and valued at £27. It is still extant and occupied.
featured in Great Irish Houses. Forewards by Desmond FitzGerald, Desmond Guinness. IMAGE Publications, 2008. p. 140. “For two decades an architectural phenomenon has been going on in a quiet and scenic corner of County Kerry overlooking Tralee Bay. A modest Irish country dwelling has been turned into one of Ireland’s hidden treasures by an American industrialist, Fred Krehbiel, who opened a factory in Shannon in 1970, married Kay, from nearby Ballyduff, and started his search for an Irish country house. With its view of the bays and framed by the Slieve Mish mountains and the picturesque village of Fenit, it was Churchill that caught their eye. It is hardly surprising the prehistoric Irish also chose the site as a settlement given its strategic positioning and commanding vista.
With two storeys over basement, the structure at Churchill is typical of the glebe tradition of 18th and 19th century Ireland. They often contained three bays but Churchill has five, a hopped roof and a pair of chimneystacks close together. The uniformity of design with other glebe buildings – there is a church on the property’s doorstep – owes much to the house’s ecclesiastical function as a residence for members of the nearby clergy.
Churchill though, is an amalgamation of two separate buildings – the first was erected in 1741 and has a bow on the garden front. In the 18th century the house was said to have been one floor over basement, while in the 19th century another floor and a bow were added to the back. By 1832 it had fallen into disrepair and was turned into a double house or two-storey dwelling. The house was now the property of the Denny family, and much of the interior, such as moulded panels and door architraves, dates from the mid 19th century. The Denny family made several additions to the house.
The house passed from the Denny family shortly before 1884. It was bought by Sir John Chute Neligan, a County Court judge, who left the property to his son, Captain William John Neligan of the Kerry Militia, whose initials appear on the carved chimneypiece in the study. Following a battle with alcoholism, William died and left the house to the Dominicans in Tralee, who occupied Churchill until 1920. In the 20th century the house changed hands three times before the Krehbeils secured it in 1983 and began the process of careful restoration and renewal.
When the Krebiehls first bought the property Churchill was close to ruin. Most of the plasterwork was in need of immediate repair, dry rot was evident, the plumbing and wiring needed attention, and just one toilet and one sink worked in the main house, while both baths were unusable. “For the next ten years we discovered one disaster after another,” Fred Krehbiel recalls.
The Krehbiels wanted to create a country house experience on a modest scale that was still rugged enough to perform as a family home. In the early days they had 27 nieces and nephews to stay and Churchill was certainly more functional than stylish. Yet as the family grew up and the finances recovered after saving the fabric of the building, they drew up plans for the interiors and the gardens.
The conservation architect John O’Connell has directed the project at all stages, including the addition of the library, pavilion and barn, using mostly Irish craftsmen. Throughout the property, where possible, the furnishings are Irish. The interior design was collaboration between Imogen Taylor and Pierre Serrurier of Colefax and Fowler and Kay Krehbiel, and the team used the natural flora at Churchill, such as the plentiful fuschia, to inform their patterns to great effect.
Very few Kerry houses remain and only one of them, Tarbert House, has managed to retain its Irish furnishings and so the project at Churchill is particularly important. Desmond FitzGerald, Knight of Glin, gave his advice and put the Krehbiels in touch with Irish furniture dealers in Dublin. Furnishings of note at Churchill include a pair of mid-18th century armchair and an 1830s wine cooler, again with paw feet.
The Irish feel is clear. In the drawing room, which has a large window opening onto the front garden, an Irish table bought from a Dublin dealer stands in one corner. A landscape by Paul Henry entitled Peat Ditches – one of the first paintings the Krehbiels bought – hangs to the side of the chimneypiece. They saw the picture when passing Pyms Gallery in London and bought it because they were struck by the uncanny resemblance to the views from Churchill.
The purchase sparked a lifelong affinity with Irish art and the Krehbiels have acquired one of the finest private collections in the country with pieces from the 16th century up to the present, put together with the help of art historian William Laffan. When wall space started to run out, the Krehbiels commissioned O’Connell to convert a barn into elegant Georgian and Victorian style rooms. The gallery tells the story of Irish art from the earliest period to about 1880; more recently a gallery of modern and contemporary art has been built.
The chimneypiece in the drawing room is original to the house, while the Irish mirror overhead was brought in from London. An Irish peat bucket sits by the fireside, a Flemish tapestry hangs on a facing wall, while the wall furnishing is completed by a William Orpen painting Woman at the Window and a large Killarney scene by John Henry Campbell. Two porcelain vases from the early 1800s stand either side of the tapestry.
In the library, the initials of William Neligan, dated 1887, on the chimneypiece are in fine condition. Most of the pictures [p. 144] date to the 18th or 19th century, including works by Orpen and Lavery.
In the dining room a traditional Irish wake dining table takes centre place while an Irish sideboard is set to one side. All the chairs in the room are Irish. Wonderful lion head woodwork is found on the walls. The Cup the Cheers by Henry Jones Thaddeus, one of the owner’s favourite paintings that depicts Irish rural bachelorhood, sets the scene on the left wall. The rest of the walls are taken up with prints in the 18th century style that now add uniformity to the room. The chandeliers were bought for the Krehbiel’s US property and imported.
A small kitchen that was originally in the basement has been removed allowing for a larger traditional Irish kitchen on the ground floor, adjacent to a new conservatory wing. Bucking the trend, the table and chairs are early 20th century American, and the family find themselves [p. 147] spending most of the tiem in this area of the house.
As well as restoring and rectifying the house’s structural issues, the Krehbiels set about recovering some of the surrounding land as the estate had been reduced to just five acres. By the 19th century, farmland had consumed the kitchen gardens, orchards and pleasure grounds and many of the trees. Today, Churchill stands proudly in more than 200 acres. In 1993, the project to restore the gardens began. Jim Reynolds and his design team have magnificently recaptured the spirit of the place. The linear driveway was returned to its circular origins, which were revealed when the flowerbeds were dug, the walled gardens were created and stable buildings converted.
A more recent building added to the grounds is Kay’s Cottage. Fred Krehbiel takes up its story: “Kay had said [p. 148] that Churchill was turning out to e a lot more work than expectd, and that in fact she only wanted a small cottage for summer visits and not another house requiring constant maintenance. So I built her a cottage as a present, but she has yet to make the move!”
Major work at Churchill is now complete and the Krehbiels have turned their attention to Ballyfin in County Laois, with plans to open a 24 room country house hotel by 2010. An early 19th century Richard and William Morrison designed house, it was originally built for Sir Charles Coote. Fred Krehbiel expands on plans for the house: “Ballyfin is being turned into a small hotel which we hope will offer the finest possible service in a wonderful country house environment with an emphasis on comfort and country pursuits. The house and demesne has undergone a careful restoration and is being furnished with period antiques and Irish paintings from the 17th, 18th and 19th centuries.”
Churchill, though, continues to delight the visitor with its wonderful main house, the romantic splendour of Kay’s cottage, the simplicity and elegance of the pavilion, and the sheer delight of the gardens and surrounding scenery. It is a national treasure reborn that can face the future with renewed sense of purpose and panache.”
[photo credit p. 147: A Pietro Bossi chimneypiece in the Chinese painted room in the pavilion with blue decorated rococo chairs made for David Garrick by Thomas Chippendale. Another Bossi chimneypiece in the main gallery. The bedroom is furnished with Viennese painted furniture of around 1800.]
[Kay’s cottage ornee, modelled on the cottage at Kilfane, County Kilkenny.”
Mark Bence-Jones. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 276. “The Palace of the C of I Archbishops (afterwards Bishops) of Tuam; built between 1716 and 1741 by Archbishop Edward Synge. Described 1787 by Rev Daniel Beaufort as old-fashioned and ill-contrived. Improvements carried out early c19, competed 1823, so that the papace was described (1837) as “large and handsomely built, though not possessing much architectural embellishment.”
Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 97. “A gabled Victorian house with a battlemented tower at one corner.”
Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 273. “(Westby/IFR) An attractive late-Georgian Glebe house of two storeys over basement, possibly based on a design by Richard (afterwards Sir Richard) Morrison. Three bay front, with simple entablature over doorase, joined by screen wall with archway to outbuilding; three bay side, with Wyatt windows on either side of the centre in the lower storey. Eaved roof on simple bracket cornice. Earlier this century, when it was still a rectory, the house was occupied for many years by Rev Canon L.R. Fleming, father of the writer and journalist Lionel Fleming, who describes it in Head or Harp.
Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 84. “The Palace of the (C of I) Bishops of Killaloe, a late C18 block of three storeys over a basement in a demesne by the River Shannon outside the town. Built 1774-78 by Bishop Robert Fowler. Five bay front; triple window with unusually narrow sidelights in centre, above tripartite Doric doorcase with pedimented porch on two columns; steps with curving iron railings up to hall door. C19 eaved roof on bracket cornice. Three bay side.”
Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 94. (Becher/IFR; Wrixon-Becher, Bt/PB; Harold-Barry) A pleasant Regency house of two storeys over basement, built ca. 1820. Entrance front with a single deep semi-circular bow and one bay; fanlighted doorway beneath trellised porch; a second bow is said to have been intended, but never built. Side elevation of three bays and a three sided bow. Eaved roof. Curving staircase, with slender wooden balusters; drawing room extending into the semi-circular bow, dining room in the three-sided bow. Delightful gardens laid out by the present owner, Mr P.J. Harold-Barry, extending to the shore of the estuary and along the banks of a mill-race and millpond, with the ruined mill providing a folly-like “object.”
The Buildings of Ireland. Cork City and County. Frank Keohane. Yale University Press: New Haven and London. 2020.
p. 24. Ducart’s origins are a mystery…He made use of certain distinctive details such as vermiculated rustication, straight quoins, architraves with upward breaks and concave weatherings, and lunette-shaped basement windows, all of which look more to the Continent than to English Palladianism.
25. It was Ducart who popularized in Cork the Palladian format of a central block connected to wings, although his plans are often more complex than those of Pearce and Castle. Kishannig is unquestionably the county’s finest C18 house: a central block with the proportions of a villa, standing two storeys over basement, and linked to L-plan wings by quadrant screen walls which enclose compact courts. On the garden front the wings are connected to the centre by straight arcades which terminate in domed pavilions. A similar pattern was employed at Castletown Cox, and in Cork in a modified form at The Island (demolished). By contrast, at Coole Abbey House (Castlelyons) and Lota (Tivoli), Ducart used straight screen walls to connect the central block to service wings which themselves enclose a yard at the back of the house. It was this pattern which found most favour in Cork, providing a compact economical and efficient layout with a modicum of grandeur. Later C18 examples include Mount Massy (Macroom), Dunkathel (Dunkettle) and Gortigrenane (Minane Bridge), and on a smaller scale the glebe houses and Creagh and Kilmalooda.
Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 70. “(Becher/IFR) A house built 1826 as a Rectory. Main block of two storeys and four bays, extended by a slighly lower range also of two storeys and four bays. Porch with fanlighted doorway at end of house. Many improvements carried out by Brig F. R. Becher, who bought the house ca 1947 and sold it 1972.”
Detached two-bay two-storey over basement former rectory, built c.1810, having four-bay side elevations, flat roofed porch addition to entrance (north) and five-bay two-storey wing addition to south. Now in use as private house. Hipped slate, asphalt and copper alloy roofs with rendered chimneystack, timber eaves course and cast-iron and uPVC rainwater goods. Roughcast and smooth rendered walls having plinth, with platband and concrete moulding to porch. Square-headed and round-headed openings with six-over-six timber sliding sash and fixed pane windows with concrete sills, raised rendered surrounds and internal shutters. Round-headed door opening with timber panelled door having fluted panels, spoked fanlight and raised rendered surround. Located in extensive landscaped grounds with dry stone boundary walls. Entrance comprising roughcast rendered walls, cut block sandstone piers, capstones and wrought-iron gates.
Set on an elevated site overlooking the sea, this former rectory is a notable addition to the local architectural heritage. It is curious for its deceptively small scale entrance front, which hides a surprisingly substantial house. The asymmetrical entrance is also unusual, as typically rectories and other middle sized houses of this date would adhere to the classical rules of regular proportion.
Bishop’s Palace, Cork, County Cork, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.
p. 92. “The palace of the C if I Bishops of Cork; a compact three storey block with a fanlighted doorway, built between 1772 and 1789 by Bishop Mann on the site of the earlier palace, a rambling building said to have dated from C16 and shown in an illustration of a French map of 1650 to have had a tower and cupola. Handsome entrance gates.”
Three-bay three-storey over basement detached house, c. 1782, with single-bay breakfront. Hipped roof with pair of rendered chimney stacks. Parapet with copper coping and moulded limestone cornice. Plain and painted render finish, coursed limestone with cut limestone plinth course to basement. Square headed openings, windows having cills, shouldered architraves to basement. Limestone plat band between ground floor and first floor, except to rear elevation which is plain. Limestone architrave to central opening of first floor façade, having frieze, cornice, scrolled ends and date plaque (MDCCLXXXII). Windows are timber sliding sash nine over six pane to ground floor, six over six pane to first floor, three over three pane to second floor. Two storey extension to north elevation having timber sliding sash single pane and Wyatt windows. String courses to first and second floor cill levels of north elevation. Round headed window to half landing on south elevation. Round-headed limestone Doric doorcase with pilasters, columns, decorative fanlight, multipane side lights and simple timber panelled entrance door. Open basement area with limestone capped low wall. Limestone pillars to entrance gates. Landscaped gardens with gravel drive.
Appraisal
Fine example of a well maintained late-eighteenth century house. The building retains its scale and form virtually unaltered. Significant in its own right, but also as the residence of the Church of Ireland Bishop to Cork, whose seat, St. Finbar’s Cathedral, is on the other side of Bishop Street. A highly important building on a key historical site in Cork City.
We’ve been living in this house for 15 years, but bishops have lived here since the late 18th century. We have all the portraits from all the bishops hanging up in the dining room.
“The house was built in 1782 and the architect was Thomas Ivory. Originally, this was the town house and the main residence was in Bishopstown. It’s not our house – we are required to live in it as part of the job. Georgian living is very sensible and the light is one of my favourite things about it. The morning light comes in at the front and it moves to the rooms you move to as the day progresses.
“My study on the top floor is my favourite room. It looks straight across to the cathedral and has views of the city.
“On the ground floor there is a hall way and three main rooms and a small kitchen. We use five bedrooms, and there is a small chapel at the top and a basement, which we don’t use, but which would have been used by staff previously.
“I guess the drawback of the house is that on retirement we have to find somewhere to live for the first time on our own. So, you have to plan and that is one of the big challenges of living in a tithe house.
“When we move, my guess is we will go back to the sort of house I grew up in, in suburbia, which is a semi or detached home among other houses.
“Because the ceilings are so high here, the rooms are very hard to heat, and window cleaning is a challenge in a house so tall. Maintenance is a big challenge and the heating system is 60 years old and it is being surveyed with view to replacing it. It’s not the same thing as replacing the heating in an ordinary suburban house unfortunately.
“One of the things I love about here is the location. It is opposite St Fin Barre’s Cathedral, right bang in the middle of the city, within walking distance of everything. There are about four acres of gardens with it, which is rare in a house so central.
Space for thinking “There was some pressure to sell it in the 1970s and early 1980s, and while these things are under review from time to time, we have spent a lot of money getting this house up to spec. We do use the house for public functions and it is ideal for that and works very well when you have a big group in.
“I really like the dining room. All the ground floor rooms are lovely. They are comfortable and bright and there is space for thinking. The house is a perfect cube and each floor gets sequentially smaller in height. So, for example, on the ground floor windows we have five levels of glass, and then on the next floor there are four, ending up in two levels on the top floor.
“It has always been called the Bishop’s Palace. As a social media user, when I check in on Foursquare, that’s the name that comes up. It’s more of an honour name though. It’s not like we live in something akin to Versailles.
“There are very few houses like this that have been continuously used for the same purpose since their foundation. It will be a very hard house to let go of.”
“The beautiful Kilmahon House, built in 1780, is a fully restored Georgian Country House offering elegant Bed & Breakfast accommodation. The house is also available for smaller events on special request. Just 30 minutes from Cork airport and the Historic city of Cork, Kilmahon is situated in the East Cork Village of Shanagarry. It is only a short walk to Ballymaloe Cookery School and the blueflag beaches along Ballycotton Bay.
“Kilmahon is an impressive listed Glebe Heritage House of Ireland and has been lovingly restored over a number of years. The result is a seamless blend of original period features and modern facilities, set within the idyllic coastal surroundings of County Cork’s nature.
“Spending a few days in this secluded ancient environment offers a chance to rejuvenate in comfort and peace. Weather with a good book in front of a warm fire or a stroll through the old gardens, you will find yourself uplifted and reset from the stresses of everyday life.
THE GROUNDS
“While the house was restored so too were the gardens surrounding it. The walled rose garden has been brought back to life and is a feast of colour through the summer months; a perfect and private space for guests to relax in. An expansive lawn to the front provides a large open space and stunning views over fields toward the ocean, while old stone walls and mature trees in abundance maintain the sense of privacy at Kilmahon.
THE RECEPTION ROOMS “Period fireplaces with log fires set a welcoming tone in each of the elegant reception rooms in Kilmahon House. Rooms are tastefully furnished with antiques and original art work effortlessly combining style and comfort. Large Georgian windows provide idyllic views onto the formal gardens below and Ballycotton Bay beyond.
THE BEDROOMS
“A wonderful nights rest in one of the six individually designed en-suite bedrooms awaits guests at Kilmahon House. Recent restorations allow for the inclusion of modern power showers and super-king beds whilst still enjoying the ambience of antique furniture, sumptuous furnishings and spectacular scenic views.
BOOKING YOUR STAY
“Kilmahon offers guests luxury Bed & Breakfast accommodation or the house also can be taken for exclusive rental where guests can enjoy staying in this outstanding Georgian house and its beautiful surroundings. Julia will be happy to organise with you any catering requirements you have. Kilmahon House is an ideal setting for family breaks. Contact the house directly to check availability.“
Irish Historic Houses 