Rathfarnham Castle, Dublin, an Office of Public Works property

Rathfarnham Castle, Dublin

https://heritageireland.ie/places-to-visit/rathfarnham-castle/

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

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

Rathfarnham Castle is a wonderful property to visit and I suspect, much underappreciated! It is one of the oldest surviving residences in Ireland, and has a variety of impressive ceilings. It is also another property which was inhabited by the Jesuits at one time, as was Emo Court in County Laois. Although they no longer own either of these properties, they still run schools in the former Castle Browne in County Kildare (now Clongowes Wood College) and Belvedere House in Dublin. They certainly knew how to pick impressive properties! [1]

Rathfarnham Castle was built around 1583 for Adam Loftus (1533-1605), a clergyman originally from Yorkshire, who rose to the position of Archbishop of Dublin and Lord Chancellor of Ireland. Its position outside the city of Dublin made it vulnerable to attack, so it was built as a fortified house, with four flanker towers shaped to give maximum visibility of the surrounding landscape. The OPW website tells us:

Loftus wanted the Castle to be a grand and impressive home which would reflect his high status in Irish society. He also needed it to be easily defended against attack from hostile Irish families such as the O’Byrnes based in the mountains to the south. The design was radically modern for the time and based on recent continental thinking about defensive architecture. The angled bastion towers located at each corner of the building were equipped with musket loops which allowed a garrison of soldiers to defend all approaches to the castle.”

Archbishop-Chancellor Adam Loftus (1533-1605). The portrait is in Trinity College Dublin, as he was the first Provost. He was also Keeper of the Great Seal of Ireland, and he is here holding the embroidered purse which held the seal.
Adam Loftus (1533-1605), Lord Chancellor, 1619. Painting hangs in Malahide Castle, courtesy of National Museum of Ireland.
This shows the special shape of Rathfarnham Castle’s flanker towers.

Loftus had previously lived in an archiepiscopal palace in Tallaght, and it had been sacked by the O’Byrnes and O’Tooles from the Wicklow mountains, which is why he ensured that his new house in Rathfarnham had strong defenses. The Bishop’s Palace in Raphoe, now a ruin, is similarly shaped.

Ruin of Bishop’s Palace in Raphoe, County Donegal, built for Bishop John Leslie in 1636. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Maurice Craig points out in his The Architecture of Ireland from the earliest times to 1880 that there are a group of similar buildings, built over a period of fifty years or more: Rathfarnham; Kanturk for MacDonagh MacCarthy, built before 1609; Portumna for the Earl of Clanrickarde, before 1618; Manorhamilton for Sir Frederick Hamilton, probably around 1634; Raphoe, for Bishop John Leslie (the “Fighting Bishop” – see my entry on Castle Leslie https://irishhistorichouses.com/2020/08/07/castle-leslie-glaslough-county-monaghan/) in 1636, and Burncourt for Sir Richard Everard before 1650. Manorhamilton is a section 482 ruin (see my entry https://irishhistorichouses.com/2025/02/20/manorhamilton-castle-castle-st-manorhamilton-co-leitrim/) and we visited Portumna in County Galway – see my entry https://irishhistorichouses.com/2022/02/14/office-of-public-works-properties-connacht/. The buildings resemble a fort, such as Mountjoy Fort in County Tyrone built 1600-1605. Killenure, County Tipperary, is similar but has cylindrical flankers, Craig tells us. This last was unroofed by 1793, and it is now (2025) a Section 482 property which I must visit!

Manorhamilton, County Leitrim, August 2022, built for Sir Frederick Hamilton, probably around 1634. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Portumna Castle, County Galway, July 2021, built for the Earl of Clanrickarde, before 1618. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kanturk Castle, built for MacDonagh MacCarthy, built before 1609. Photograph courtesy Breda O’Mullane, photograph licensed under the Creative Commons Attribution-Share Alike 4.0 International license.
Burncourt, County Tipperary, for Sir Richard Everard before 1650. Photograph courtesy Mike Searle, Creative Commons geograph.org.uk -1393348
Killenure Castle, similar but with cylindrical flankers, courtesy of Michael Daniels estate agent. A section 482 property in 2025.

Loftus attended Cambridge, where he took holy orders as a Catholic priest. Upon Queen Elizabeth’s accession to the throne in 1558, he declared himself Anglican. The Dictionary of Irish Biography tells us that a major turning point in Loftus’s life and career occurred in 1560, when he emigrated to Ireland as a chaplain to Thomas Radcliffe, 3rd Earl of Sussex, who had been granted a commission to serve as Lord Lieutenant of Ireland by Queen Elizabeth. On the recommendation of Sussex, Loftus was appointed Archbishop of Armagh, his consecration taking place on 2 March 1563. In January 1565, on account of the poverty of the archbishopric of Armagh, Queen Elizabeth granted Loftus the deanery of St Patrick’s cathedral in Dublin. In 1567 he was made Archbishop of Dublin.

It was Adam Loftus who had Reverend Dermot O’Hurley executed, whom I wrote about a couple of weeks ago in my entry about Doheny & Nesbitt.

The Dictionary of Irish Biography tells us:

He was “a strongly delineated establishment figure whose primary concerns were to serve the crown in Ireland, in whatever capacity the queen and her advisers thought fit; and to build up his own personal affinity, so that he would be in a position to execute the offices that came his way with a measure of genuine political and social authority. Thus, during the periods when the archbishop served as lord chancellor of Ireland (1581–1605), or as acting governor of the country during the periodic absences from Ireland of a serving viceroy (August 1582–June 1584, November 1597–April 1599, September 1599–February 1600), he was also careful to establish a network of connections throughout the country, particularly through the marriage of his children to leading families among the new English protestant elite. Among the families with which Loftus made these connections were the Bagenals of Co. Down, the Dukes of Castlejordan, the Hartpoles of Shrule, the Usshers of Dublin, the Colleys of Castle Carbury, the Berkeleys of Askeaton, and the Warrens of Warrenstown. The social ascent of Loftus and his family was also evident in the archbishop’s decision to proceed with the purchase of the estate of Rathfarnham, Co. Dublin (c.1589–90), on which he built a stately castle.” [2]

Adam Loftus married Jane Purdon. They had twenty children, not all of whom survived to adulthood, and those who did married very well.

  1. Anne Loftus married, first, Henry Colley of Castle Carbury in County Kildare, and second, Edward Blayney, 1st Lord Blayney, Baron of Monaghan.
  2. Martha Loftus (d. 1609) married Thomas Colclough (1564-1624) of Tintern Abbey in Wexford.
  3. Isabelle Loftus (d. 1597) married William Ussher (1561-1659)
  4. Thomas Loftus (d. 1635) married Helen Hartpole of Shrule.
  5. Alice Loftus (d. 1608) married Henry Warren of Warrenstown, County Offaly.
  6. Katherine Loftus married Francis Berkeley of Askeaton, County Limerick.
  7. son Adam died unmarried in 1599.
  8. Margaret Loftus married George Colley of Castle Carbury.
  9. Edward Loftus (d. 1601) married Anne Duke of Castle Jordan, County Meath.
  10. Dudley Loftus (1561-1616) married Anne Bagenal of Newry Castle, County Down, daughter of Nicholas Henry Bagenal, Marshal of Ireland.
  11. Dorothy Loftus (d. 1633) married John Moore (d. 1633)

Adam Loftus was the first Provost of Trinity College Dublin.

The Dictionary of Irish Biography continues:

Although by the early 1590s Loftus had largely reconciled himself to the reality that the task of converting the indigenous community to protestantism, and securing its allegiance to the state church, was beyond him, the queen and her advisers still expected him to discharge his religious duties and press ahead with reforming initiatives on behalf of the state church. To this end, and in the midst of a period of mounting political crisis that culminated in the outbreak of the Nine Years War, Loftus was the prime mover behind the foundation of TCD, which received its royal charter on 3 March 1592. The archbishop also served as the college’s first provost till June 1594.

Adam Loftus died in the old Palace of St. Sepulchre beside St. Patrick’s Cathedral, which until recently was the Garda barracks on Kevin Street, now housed in a new building. I hope they will make something of the historic old archbishop’s palace now, which could be a great museum!

Adam’s son Dudley (1561-1616) sat in the Irish parliament for Newborough in County Wexford. He married Anne Bagenal of Newry Castle, County Down, daughter of Nicholas Henry Bagenal, Marshal of Ireland. The castle passed to their son, Adam Loftus (1590-1666), who married Jane Vaughan of Golden Grove, County Offaly.

Another son of Dudley and Anne Bagenal was Nicholas Loftus (1592-1666), the ancestor of Henry Loftus, the Earl of Ely. Nicholas’s second son Henry (1636-1716) lived in Loftus Hall in County Wexford.

Loftus Hall, County Wexford, for sale April 2025 courtesy Colliers. Formerly named Redmond Hall, it is a three-storey mansion built in 1871, incorporating parts of a previous house here, which was late 17th century or early C18. [3]

Adam Loftus (1590-1666) and Jane née Vaughan’s children also made good marriages. Their son Arthur Loftus (1616-1659) married Dorothy Boyle (1616-1668), daughter of Richard Boyle the 1st Earl of Cork. Arthur also served as MP for County Wexford, as well as Provost Marshall of Ulster.

The castle came under seige in 1641 and in 1642 the house was occupied by Cromwell’s Parliamentary troops. [4] In 1649 it was stormed and taken by Royalist troops under the Marquess of Ormond and all occupants were taken as prisoners. Ormond writes that nobody was killed. [5] Rathfarnham Castle was restored to Adam Loftus (1590-1666) when Charles II was crowned king.

Adam’s son Arthur predeceased him, so the castle passed to Arthur’s wife Dorothy née Boyle. In 1665 she obtained six firelock muskets from the Master of Ordinance to protect the castle.

Arthur Loftus and Dorothy née Boyle had a son Adam Loftus (1632-1691). Adam Loftus was Ranger of the Phoenix Park in Dublin and from 1685, a member of the Irish Privy Council. King James II created him Baron of Rathfarnham and Viscount Lisburne in the Peerage of Ireland. Adam married Lucy Brydges, daughter of George Brydges, 6th Baron Chandos of Sudeley, England.

Lucy Loftus née Brydges (1654-1681), by Peter Lely. She was a renowned Restoration beauty and the first wife of Viscount Adam Loftus. He died at the Siege of Limerick in 1691 and the cannon ball which reputedly killed him hangs in St Patrick’s Cathedral. Lucy is dressed in pseudo-antique clothing against an Arcadian landscape. The parrot in the background is an ambiguous symbol and can refer to a number of characteristics including eloquence, marital obedience or exoticism. Peter Lely was of Dutch origin but spent most of his career in England and became the most influential portrait painter at court following the death of Anthony van Dyck. He successfully navigated the turbulence of the 17th century to paint at the court of Charles I, the Cromwellian Commonwealth and Charles II following the Restoration. Lely was prolific, often only painting the sitter’s head while students and assistants at his studio completed the portraits.

After his wife Lucy died, Adam Loftus married Dorothy, the daughter of Patrick Allen or Alen, of St. Wolstan’s of Celbridge in County Kildare. Adam was a gallant at the court of King Charles II.

Despite earning his peerage from King James II, Adam Viscount Lisburn supported the cause of William III. He died at the Siege of Limerick in 1691 and the cannon ball which reputedly killed him hangs in St Patrick’s Cathedral.

The castle passed to Adam’s daughter Lucy, who married Thomas Wharton, 1st Marquess of Wharton in 1692, who in 1715 was created 1st Earl of Rathfarnham, 1st Marquess of Carlow and 1st Baron of Trim.

Lucy Loftus, Marchioness of Wharton (1670-1717) by Godfrey Kneller.

Lucy and the Marquess of Wharton had a son Philip, who became the Duke of Wharton. He was a Jacobite and supporter of the titular James III, and was subsequently granted many titles. The Peerage website lists the titles. As well as those he inherited from his father, he was created 1st Viscount Winchendon, Co. Buckingham [England] and 1st Marquess of Woodburn, Co. Buckingham [England], 1st Earl of Malmesbury, Co. Wilts [England] on 22 December 1716, Jacobite. 

He was appointed Privy Counsellor (P.C.) in Ireland between 1717 and 1726. He was created 1st Duke of Wharton, Co. Westmorland [Great Britain] on 28 January 1717/18, in an attempt by the authorities to wean him from his Jacobitism and make him a good Whig like his father. Darryl Lundy of The Peerage website tells us that his Dukedom did at least make him for a while speak and vote with the Tories in the House of Lords, for instance in debates on the South Sea Bubble. He lost a fortune from participation in the South Sea Bubble. In June 1725 he left the country. He was Envoy to Vienna in August 1725, for the Jacobite King James III, and then Envoy to Madrid in March 1725/26. 

Philip Wharton Duke of Wharton by Rosalba Carriera – Royal Collection, Public Domain.

Out of money, he took a position in the Jacobite forces and commanded a Spanish detachment at the Siege of Gibraltar in 1727, fighting against the English. On 3 April 1729 he was outlawed and his titles and such estates as he still held in Britain forfeited. 

He had no surviving male issue when he died on 31 May 1731. On his death, all his titles, most forfeited by his treason, expired, except the Barony of Wharton, which was deemed by the House of Lords in 1915 to be descendible to his heirs.

He sold Rathfarnham Castle in 1724. It was purchased by Speaker William Conolly for £62,000. Speaker Conolly never lived in the Castle since he had built Castletown in County Kildare, and he leased Rathfarnham in 1742 to Dr. Hoadley, Archbishop of Armagh.

John Hoadly (1678-1746), Archbishop of Armagh and Primate of All Ireland by Stephen Slaughter; Armagh City, Banbridge & Craigavon Borough Council; http://www.artuk.org/artworks/john-hoadly-16781746-archbishop-of-armagh-and-primate-of-all-ireland-122812

Dr. Hoadley was interested in building, and he had built an Episcopal mansion in Tallaght to replace a medieval castle. He then restored Rathfarnham Castle. It was famed for its excellent agriculture and fruit gardens. [see 5].

Dr. Hoadley’s daughter Sarah married Bellingham Boyle (1709-1772), and they inherited Rathfarnham Castle. Boyle also took an interest in farming and grew the first oats in Ireland. [see 5]. The Hoadley-Boyle tenancy lasted for twenty-five years, and Bellingham Boyle and his wife mixed in high society, entertaining two Lords Lieutenant in the castle: the Duke of Devonshire and the Earl of Harrington. Boyle may be be responsible for installing some of the delicate rococo ceilings in the castle.

“Bellingham Boyle (1709-1772). He inherited Rathfarnham Castle in 1746 from his father-in-law, Archbishop John Hoadley who leased the castle in 1742 by “indented lease renewable forever.” Bellingham Boyle served as an MP, first for Bandon then for Youghal in Cork and was later appointed a Commissioner for the Revenue. Prior to his marriage, Belingham travelled across Europe to Italy where he had his portrait painted by Giorgio Dupra.”

Interestingly, in Aug 1742, Bellingham Boyle was appointed to a commission to investigate the soundness of mind of Jonathan Swift, Dean of St. Patrick’s Cathedral in Dublin. The Writ “De Lunatico Inquirendo,” in the case of Jonathan Swift, D.D. was issued to investigate and ascertain whether the ailing Dean Swift was of unsound mind and memory to safely conduct his own business. Belllingham Boyle was one of 12 commissioned to perform the investigation. Dean Swift was found to be of unsound mind and memory and was placed under the protection of the Court of Chancery. [6]

Boyle’s daughter Anne married Robert Langrishe 2nd Baronet Langrishe, of Knocktopher, Co. Kilkenny.

Knocktopher Abbey, Knocktopher, Co. Kilkenny, for sale November 2024, photograph courtesy DNG Country Homes & Estates.

The castle returned to the ownership of the Loftus family in 1767, to Nicholas Hume Loftus, 2nd Earl of Ely, a descendant of the original owner Adam Loftus. Nicholas never married and on his death in 1769 the Castle passed to his uncle, Henry Loftus (created Earl of Ely in 1771). Henry continued the remodelling of the castle and the works were completed by the time of his death in 1783. 

Let us backtrack now to look at the descendants of the first Adam Loftus. Adam’s grandson Nicholas lived in Fethard, County Wexford, in the precursor to Loftus Hall. His son Henry (1636-1716) of Loftus Hall was the father of Nicholas Loftus (1687-1763) who was created 1st Viscount Loftus of Ely.

Nicholas Loftus, 1st Viscount Ely (1687-1763). Painter unknown. This painting was completed in 1758 to mark the 70th birthday of Nicholas, father of both Nicholas (the 1st Earl of Ely) and Henry Loftus. He sits next to a book entitled The Present State of Ireland. This anonymous work was originally published in 1730 and contained criticism of the amount of money flowing out of Ireland to absentee landlords, no doubt reflecting Nicholas’s concern with the financial state of the kingdom. He is sometimes known as “the Extinguisher” because of his threat to extinguish the Hook lighthouse in Wexford unless the rent he received from it was increased.

Nicholas served as MP for Wexford, and married Anne Ponsonby, daughter of William Ponsonby, 1st Viscount Duncannon. He was first created Baron Loftus of Loftus Hall in 1751, and then assumed a seat in the House of Lords, and became Privy Counsellor of Ireland in 1753. He was created Viscount Loftus of Ely in County Wicklow in 1756.

After Anne died, around 1724, Nicholas Viscount Ely married Letitia Rowley (d. 1765) of Summerhill in County Meath. To make matters more confusing, she had been previously married to Arthur Loftus (1644-1725) 3rd Viscount of Ely!

Summerhill, County Meath, etnrance front, photograph: Maurice Craig, 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.

Viscount Loftus is a title that has been created three times in the Peerage of Ireland for members of the Anglo-Irish Loftus family. The first creation was for Adam Loftus (1568-1643) on 10 May 1622, who served as Lord Chancellor of Ireland in 1619. He is not to be confused the our Adam Loftus (1533-1605) of Rathfarnham Castle. This title became extinct in 1725 upon the death of the third viscount, who had no male heir, despite having married three times. 

Nicholas Viscount Loftus and Anne née Ponsonby had a daughter Elizabeth Loftus (d. June 1747) who married John Tottenham 1st Baronet, MP for New Ross. Another daughter, Mary (1710-1779), married William Alcock (1702-1779) of Wilton Castle in Wexford (see my entry https://irishhistorichouses.com/2022/02/04/wilton-castle-bree-enniscorthy-co-wexford-and-a-trip-to-johnstown-castle/ )

Nicholas and Anne’s son Nicholas Loftus (1708-1766) became the 1st Earl of Ely, and added Hume to his surname after marrying Mary Hume, daughter of Gustavus Hume, 3rd Baronet of Castle Hume, County Fermanagh. As well as Loftus Hall in Wexford, they owned 13 Henrietta Street in Dublin. He became known as the “wicked earl” due to a court hearing about the supposed mental incapacity of his son, also named Nicholas. Young Nicholas’s uncle, George Rochfort (1713-1734), brother of the 1st Earl of Belvedere, sought to have young Nicholas declared incapable of succeeding to the title. George Rochfort was married to another daughter, Alice, of Gustavus Hume, 3rd Baronet of Castle Hume. Family members testified that young Nicholas was of normal intelligence, and that any eccentric behaviour should be blamed on his father’s ill-treatment. The trial lasted for nine years and was even brought to the House of Lords. Poor young Nicholas died before the trial was finished and Rochfort’s case was declared invalid.

Nicholas Hume Loftus, 1st Earl of Ely (1708-1766), unknown artist. It was after Nicholas Loftus (son of the Extinguisher) had married into the wealthy Hume family that the Ely earldom was created for the first time. This depicts Nicholas, the so-called “Wicked Earl” in the doctoral robes of Trinity College Dublin.
Nicholas Hume Loftus, 1st Earl of Ely (1708-1766) by Jacob Ennis. These two portraits depict Nicholas, the so-called “Wicked Earl” at various stages of his life. Nicholas is much older in the Ennis portrait. Jacob Ennis was an Irish historical and portrait painter who spent some time studying in Italy. He was later a Master in the Dublin Society’s Drawing Schools.

Nicholas Loftus Hume officially succeeded as 2nd Earl of Ely (1738-1769). It was through him that Rathfarnham Castle returned to Loftus ownership. Nicholas bequeathed Rathfarnham Castle and the estate to his uncle, Henry Loftus (1709-1783) who became the 1st Earl of Ely of the second creation. Henry was the younger son of Nicholas Loftus (d. 1763) 1st Viscount Loftus and Anne née Ponsonby, brother to the earlier Nicholas Hume Loftus (d. 1766) 1st Earl of Ely, the Wicked Earl.

Henry Loftus, 1st Earl of Ely of the 2nd Creation (1709-1783) by Angelica Kauffman. Henry inherited Rathfarnham Castle and its demesne in 1769 upon the death of Nicholas, his nephew. Nicholas had been the subject of a long running legal case concerning the state of his mind and Henry had supported him throughout. The Swiss artist Angelica Kauffman is known to have spent several months in Dublin in 1771. As well as this portrait which was probably completed to mark Henry’s elevation to the earldom of Ely, this renowned painter also completed a group portrait of Henry and his family (now in the National Gallery) as well as a series of ceiling paintings for the long gallery on the first floor depicting scenes from Greek mythology.

Between 1769 and his death in 1783 Henry funded some of the most substantial 18th century changes to Rathfarnham Castle and the demesne.

He contracted Sir William Chambers to remodel several of the rooms including the Ballroom and Anteroom. Externally, the window openings were enlarged, and a new stone Tuscan entrance portico added, probably to the designs of William Chambers. The original battlements were removed and the new parapet was embellished with ball finials and urns some of which also serve as chimneys. On the south front new garden steps were added, while on the east front a three bay bow had been added by 1774.

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

From the OPW website:

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.

The entrance hall, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

From an information panel in the entrance hall: “This room is believed to have been built to a design by the influential architect Sir William Chambers (1723-1796). Despite never visiting Ireland, Chambers left a significant mark on Dublin where he also designed the Casino at Marino, Charlemont House on Parnell Square, and much of Front Square in Trinity College. The floor and free standing Doric columns are in Portland stone. The painted glass panels featuring fruit and flowers are believed to be by the Dublin Huguenot artist Thomas Jervais (d. 1799). The marble relief busts on the walls depict well known figures from the Classical and Renaissance past, including the Egyptian queen Cleopatra and Italian poet Dante. These sculptures seem to have been acquired in Italy and would have been incorporated into the design of the Entrance Hall to signal the taste and refinement and learning of the Loftus family. The original eighteenth century marble fireplace was replaced with a painted timber one in around 1913. It was one of several of the original fireplaces which were removed and sold when the Blackburne family left the castle in 1911.

The painted glass panels featuring fruit and flowers are believed to be by the Dublin Huguenot artist Thomas Jervais (d. 1799). Designs for windows for the castle were by Joshua Reynolds. [see 5] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance hall, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board, Rathfarnham Castle.
Cleopatra. The asp that killed her can be seen on her shoulder. Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Ante-Room. This served as a reception or waiting room for guests attending the Ball. The Ionic columned Venetian style window is the highlight of this room. The columns are wooden and hollow, and feature intricately carved foliage. The whole window may be referencing the form of a Roman triumphal arch. The wall separating this room from the ballroom was reinstated in the 1990s by the OPW. It had been removed in the 19th century by the then owner, Lord Chancellor Francis Blackburne (1782-1867), to accommodate a large pipe organ. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Ante-Room, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Ballroom. The Ballroom was the principal room for entertainment and dancing and it is believed that the room was designed by Sir William Chambers. The door to the left on entering the room is false. It opens to reveal the wall behind. It was installed to maintain the balance and symmetry of the room. Musicians may have played in the eastern bow at the top of the Ballroom when dancing took place. Later, the Jesuits transformed the room into a chapel placing an altar in the bow with pews arranged down the centre of the room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Ballroom, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Ballroom, Rathfarnham Castle, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board about the Farmily Withdrawing Room in Rathfarnham Castle.
The Farmily Withdrawing Room in Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Farmily Withdrawing Room in Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Farmily Withdrawing Room in Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Farmily Withdrawing Room in Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Henry Loftus (1709-1783) is pictured below. He married first, Frances Monroe of Roe’s Hall, County Down, (pictured below), who died in 1774, then married secondly Anne Bonfoy. He purchased Ely House in Dublin (built 1770) from Sir Gustavus Hume, 3rd Baronet (now owned by the Knights of Columbanus).

Painting by Angelica Kauffman, who spent several months in Dublin in 1771. It shows Henry Loftus 1st Earl of Ely of the 2nd Creation (1709-1783) with his wife Frances, her nieces and an exotic trophy servant, a young Indian page in Oriental dress carrying a cushion with two coronets, symbolising the title the Earl had just received. The older niece, Dolly Monroe, was Classical costume. Her younger sister Frances plays a fashionable aria on the harpsichord.

As well as the ante room and ballroom and the entrance hall on the first floor, Chambers was responsible for the small drawing room ceiling, back staircase lobby, and the octagonal room in one of the towers.

The Octagonal Room. In the 18th century it may have been a withdrawing room where guests could step out of the Ballroom for private conversation or relaxation. It was later used as a sacristy by the Jesuits. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Octagonal Room. This room features an eight sided ceiling and is decorated with ancient Roman symbols of war. The border is made up of bound groups of timber rods (fasces), a symbol of authority and power in the Roman period. Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Octagonal Room. Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This tiny little passageway between the Dining Room and Long Gallery/Saloon was clearly a space of some importance. The passageway looks out onto the garden, and is decorated with very fine plasterwork. A head of Apollo adorns the ceiling, most likely to the design of Sir William Chambers, and on either side of the doorway there are ornamental plaster plaques with classical figures, celebrating wine, music and dance, a feature favoured and used repeatedly by James ‘Athenian’ Stuart. On one side of the passage there is a narrow wooden stairs, with a fanlight and satyr mask. The stairway has decorative niches, and leads all the way from the garden level to the third floor. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
On either side of the doorway there are ornamental plaster plaques with classical figures, celebrating wine, music and dance, a feature favoured and used repeatedly by James ‘Athenian’ Stuart. On one side of the passage there is a narrow wooden stairs, with a fanlight and satyr mask. The stairway has decorative niches, and leads all the way from the garden level to the third floor. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There are also several rooms which are attributed to architect and designer James “Athenian” Stuart, whose best work in Ireland is the Temple of the Winds at Mount Stewart, County Down. Stuart was employed at Rathfarnham from at least 1769 and was responsible for the design of the ground floor gallery and two rooms above it. He was also involved in the decoration of some interiors at the family townhouse, Ely House, Dublin.

This long room would have been used as a saloon or drawing room to entertain guests and perhaps also as a space to display a collection of art works. It is believed the room was designed by James “Athenian” Stuart (1713-1788). The original ceiling paintings were a series of Greek mythological scenes by Angelica Kauffman (1741-1807). These were sold at auction in the early 20th century and are now believed to be in a private collection in the United States. The Jesuits commissioned a new series of ceiling paintings featuring scenes from the life of Christ by Dublin artist Patrick Tuohy (1894-1930). The residents of the Castle had direct access from this room to the lawn, woods and ornamental lake beyond via a double-cantilevered exterior staircase in Portland stone.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Long Room, Rathfarnham Castle, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Long Room, Rathfarnham Castle, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Long Room, Rathfarnham Castle, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Jesuits commissioned a new series of ceiling paintings featuring scenes from the life of Christ by Dublin artist Patrick Tuohy (1894-1930).
The Long Room, Rathfarnham Castle, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Four Seasons Room, Rathfarnham Castle, believed to have been designed by James “Athenian” Stuart. In each corner of the ceiling a cherub represents one of the four seasons while the central painting is that of the goddess of agriculture and the harvest (Demeter in Greek or Ceres in Roman mythology). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Four Seasons Room, Rathfarnham Castle, believed to have been designed by James “Athenian” Stuart. In each corner of the ceiling a cherub represents one of the four seasons while the central painting is that of the goddess of agriculture and the harvest (Demeter in Greek or Ceres in Roman mythology). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Four Seasons Room, Rathfarnham Castle. The mirror is from the late 18th century and constructed from a type of papier-mache treated to give the appearance of gilded wood or metal. The Louis XVI giltwood and tapestry chairs feature scenes from La Fontaine’s fables which were adapted from the classics and published in the late 17th century. They are accompanied by an inlaid George III Pembroke Table. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Four Seasons Room, Rathfarnham Castle. The bureau belonged to Henry Loftus and is of German manufacture (c. 1775). The carpet is a late 19th century Aubusson. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Four Seasons Room, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Gilt Room ceiling, Rathfarnham Castle. A design by James “Athenian” Stuart, features eight rondels containing objects symbolising different Greek gods and goddesses. Facing toward the window and moving clockwise, these symbols are thought to represent Apollo, Hermes, Dionysus, Ares, Aphrodite, Pen, Demeter and Artemis. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Gilt Room ceiling, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Gilt Room ceiling, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Gilt Room, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Henry Loftus was succeeded by his nephew Charles Tottenham (1738-1806), son of Henry’s sister Elizabeth (1720-1747) and her husband John Tottenham (1714-1786) 1st Baronet of Tottenham Green, County Wexford. Charles Tottenham’s name was changed to Charles Loftus in 1783 after the death of Henry Loftus 1st Earl of Ely of the 2nd Creation.

Charles held the office of Member of Parliament (M.P.) for New Ross between 1761 and 1768, M.P. for Bannow between 1768 and 1776, M.P. for New Fethard between 1776 and 1783. and M.P. for County Wexford between 1783 and 1785. He was created 1st Baron Loftus of Loftus Hall, Co. Wexford [Ireland] on 28 June 1785. He succeeded as the 2nd Baronet Tottenham [I., 1780] on 29 December 1786. He was created 1st Viscount Loftus of Ely [Ireland] on 28 December 1789 and 1st Earl of Ely [Ireland] on 2 March 1794. He was created 1st Marquess of Ely [Ireland] on 1 January 1801 and 1st Baron Loftus of Long Loftus, Co. York [U.K.] on 19 January 1801. He was also Privy Counsellor. 

Charles Tottenham Loftus, Marquis of Ely by Hugh Douglas Hamilton. Charles was the nephew of Henry Loftus Earl of Ely and inherited Rathfarnham Castle and the demesne on his death in 1783. The painting shows Charles in the robes of the Irish House of Lords. He is also wearing a chain indicating his membership of the prestigious Order of St Patrick. He was elevated to a Marquis, given a baronetcy in England as well as £45,000 in return for his votes in favour of the Act of Union. Hugh Douglas Hamilton (1740-1808) was born and grew up in Dublin and attended the Dublin Society’s Drawing Schools. He had a long and successful career as an artist and worked in London and Rome as well as Dublin. He is perhaps best known for his work in pastels and left an extensive series of portraits of leading figures in Irish society.

At Rathfarnham, Charles did little beyond the erection in 1790 of the Gothic or Back Gate, now almost competely demolished to make way for a road.

He married Jane Myhill of Killarney, County Kerry. Her sister Hannah married Hercules Langrishe, 1st Baronet of Knocktopher, County Kilkenny.

Jane Tottenham-Loftus (nee Myhill), 1740-1807, Marchioness of Ely, painting after Angelica Kauffman. She was married to Charles Tottenham Loftus, 1st Marquess of Ely, whose portrait hangs in the Ballroom. He was the son of John Tottenham, 1st Baron Tottenham of Ireland, and of Elizabeth Loftus, daughter of Nicholas Loftus, 1st Viscount Loftus of Ely.
The Dining Room, Rathfarnham Castle, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Dining Room. “This room remains unrestored which allows us to see the changes and alternations which were made to the building over the years. The door on the left-hand (northern) wall is typically eighteenth century in style and decoration. However to the left of it a trace of the original Elizabethan doorway is visible. It was blocked up during the 18th century refurbishments. The bow extension to the eastern side of the building is another change dating to that period which added space and brought more light into these rooms. The 18th century timber wall panelling and lining paper survives in this room. It is likely that the walls were covered with silk. Although designed as a dining room, in the 20th century the Jesuits used this room as a library.

The dining room, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dining room, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dining room, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dining room, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dining room, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The door on the left-hand (northern) wall is typically eighteenth century in style and decoration. However to the left of it a trace of the original Elizabethan doorway is visible. It was blocked up during the 18th century refurbishments.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Castle fell into disrepair. From the Parliamentary Gazetteer of Ireland 1846 (vol. iii):
Rathfarnham Castle, situated in a once noble demesne, at the south-east extremity of the village, was not long ago esteemed a magnificent building, and boasted a gorgeous picture-gallery, and superb series of garden and pleasure grounds, but it was allowed to fall into decay in consequence of the prolonged non-residence of its proprietor, the Marquis of Ely, and it now prosaically, though usefully, figures as a diary‘.

At this time, John Loftus (1770-1845) was 2nd Marquess of Ely, who inherited the Castle and lands from his father, Charles Tottenham Loftus. John Loftus rented out the house and surrounding lands, and between 1812 and 1852 the estate was leased to the Roper family. [from the castle’s Instagram page]

Oil painting on canvas, John Loftus, 2nd Marquess of Ely (1770-1845), attributed to Sir Thomas Lawrence (1769-1830). A three-quarter-length portrait, in a brown coat and blue sash. Peer’s robes to the right, red curtain to the background. A picture of the sitter’s wife by Lawrence is in the Art Institute of Chicago. By Studio of Thomas Lawrence – Sothebys, Public Domain, https://commons.wikimedia.org/w/index.php?curid=15266849

Rathfarnham Castle was sold in 1852 to Francis Blackburne (1782-1867), Lord Chancellor of Ireland.

Francis Blackburne (1782-1867), Lord Chancellor of Ireland, 1852 by engraver George Sanders, after Stephen Catterson Smith, courtesy of National Gallery of Ireland.

His family lived there until 1911. Coincidentally almost in the footsteps of Adam Loftus who built Rathfarnham Castle, Francis Blackburne became Vice-Chancellor of Trinity College.

The Society of Jesus then acquired the building and for much of the remainder of the 20th century it was used as a Retreat House for lay visitors as well as accommodation for seminarians attending college in the city. Following the departure of the Jesuits in 1985, the Castle came into the care of the state and a great deal of restoration work has been carried out. Most of the rooms have been restored to their 18th century state and several are furnished with a collection of fine eighteen and nineteenth century pieces from continental Europe, Britain and Ireland.

The Pistol Loop Room: “This room in the south-eastern corner of the Castle reminds us of the orignal defensive function of the building. A blocked-up gun loop is still visible in the corner of the room. These gun loops allowed those defending the Castle to fire their weapons at any approaching attackers. Note also the odd shape of the room which tapers off to the left. This reflects the shape of the angled bastion towers which were designed to allow defending soldiers to protect all approaches to the castle. The plates and wine decanters depicted in the plaster frieze just below the ceiling would suggest that in the eighteenth century this room may have been used as a private or smaller dining room.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Pistol Loop Room, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Pistol Loop Room, Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A model based on 19th century maps, showing Rathfarnham demesne before it was broken up in the following century.
The information board shows surrounding buildings which must have been demolished.

[1] Other Jesuit properties include Emo Court, see my entry, https://irishhistorichouses.com/2024/10/22/emo-court-county-laois-office-of-public-works/

Belvedere House in Dublin, Castle Browne, now Clongowes Wood College, and Manresa House in Clontarf, formerly called Granby Hall and Baymount Castle.

Manresa Jesuit Retreat Centre, Clontarf, photograph courtesy of National Inventory. A three-bay three-storey house over basement, dated 1838, incorporating mid-eighteenth-century fabric. Originally known as Granby Hall, this house was leased by Doctor James Traill, Church of Ireland Bishop of Down and Connor, in 1775. Robert Warren was later granted a lease of the land and house from J.E.V. Vernon in 1838, undertaking to construct new outbuildings, gate lodges, and to repair and improve the house, and renaming it Baymount Castle. 

Clongowes Wood College, County Kildare:

Clongowes Wood College, County Kildare, is a school run by the Jesuits. It was purchased by the Jesuits in 1814. There was a castle here since 1450, built by the Eustace family to protect the area called The Pale. The Pale rampart itself was a six foot high bank surrounded by a double ditch. There are two areas of well preserved Pale on the property of Clongowes Wood. The name comes from a hybrid of Latin and Irish, meaning “the wood of the meadow of the smith.” See https://www.clongowes.net/about-us/clongowes-history/ Photograph by Brian O’Neill, This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

In 1718 Stephen Fitzwilliam Browne (d. 1767) rebuilt Clongowes Wood Castle, creating the western front facade as it appears today, comprising the central keep and two square towers. In 1788 Thomas Wogan Browne (d. 1812) extended and decorated the castle. The extension consists of the eastern facade and two round towers at the back of the castle. Note that this information is from the Clongowes Wood school website, with information from A Short History of Clongowes Wood College by Brendan Cullen.

Clongowes Wood College, photographed during a tour taken in August 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Staff dining room, Clongowes Wood College, photographed during a tour taken in August 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Staff Reading Common Room, Clongowes Wood College. Photograph by Brian O’Neill, This file is licensed under the Creative Commons Attribution-Share Alike 3.0 Unported license.

Belvedere House, 6 Great Denmark Street, Dublin (visited during Open House 2015):

https://www.oreillytheatre.com/belvedere-house.html

Open House 2015, Belvedere House, Belvedere College, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Stephen and I visited Belvedere House during Open House in 2015. We went into three rooms upstairs, up the beautiful staircase. We weren’t allowed photograph on the tour, unfortunately, in the Apollo Room, Venus Room and Jupiter Room.

Belvedere House is a symmetrical five-bay four-storey Georgian townhouse over exposed basement, completed 1786, designed by Robert West who, in addition to being a stuccodore was also an architect and property developer. It was built for George Augustus Rochfort, 2nd Earl of Belvedere. The house was built for £24,000 on what would have been rural green fields with a view of the Custom House, the bay and distant mountains. It is alleged that the house is haunted by Mary Molesworth, the first lady of Belvedere, mother to George Rochfort – we came across her at Belvedere in County Westmeath.

Rochfort was the son of the cruel Robert Rochfort, 1st Earl of Belvedere, who kept his wife under lock and key in the countryside after he believed she had an affair with his brother. Some believe that she was the inspiration for Charlotte Bronte’s “madwoman in the attic.” Robert Rochfort had the summer lodge, Belvedere, built in County Westmeath, now open to the public, which also has fine plasterwork. Robert O’Byrne writes that it was the 1st Earl who bought the property on Great Denmark Street. At first his son attempted to sell the property, but then he finished having the house built. Robert O’Byrne also tells us that it is similar to 86 St Stephen’s Green (Newman House, now housing the Museum of Literature of Ireland (MOLI), which was begun in 1765, and which is also attributed to Robert West.

North Great Georges Street itself was originally laid out in 1774 as a driveway leading to Belvedere House.

In 1841 the house was bought by the Society of Jesus (Jesuits) to accommodate their growing boys school which had started life ten years previously around the corner on Hardwicke Street, now known as Belvedere College.

One of the more outstanding features of the house is the stucco-work of Adamesque style popularised by Robert and James Adam. This can be seen in the ornamental surrounds, wherein pictures are framed in plaster rather than oil.

Dublin stuccodore and designer Michael Stapleton (1740-1801) was responsible for this work and further examples of his craftsmanship include the ceiling in the exam hall in Trinity College as well as some of the plasterwork in Powerscourt House in South William Street in Dublin and the Aras an Uachtarain in Phoenix Park.

Open House, Belvedere House, Belvedere College, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.

It seems odd that a house designed by Robert West would have plasterwork by Michael Stapleton. Robert O’Byrne elucidates this for us:

“In 1967 C.P. Curran’s  Dublin Decorative Plasterwork of the 17th and 18th centuries noted in the collection of drawings left by stuccodore Michael Stapleton several items directly relating to the design of ceilings in Belvedere House. Accordingly, this work was assigned to Stapleton. However, the fact that West was responsible for designing the house complicates matters, and the consensus now appears to be that both he and Stapleton had a hand in the plasterwork. Conor Lucey (in The Stapleton Collection, 2007) suggests that Stapleton may have been apprenticed to, or trained with, West and the fact that he was named the sole executor of the latter’s will in 1790 indicates the two men were close. The source material for the stucco work is diverse, that in the stair hall deriving in part from a plate in Robert Adam’s Works in Architecture, but the first-floor rooms feature a wider range of inspiration, much of it from France and Italy.”

Open House 2015, Belvedere House, Belvedere College, Dublin – excuse the shakey camera – I need to visit again! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.

We were given a leaflet, which tells us:

The ground floor rooms were intended for everyday and business use and therefore are minimally ornamented. However when one ascends they will encounter Stapleton’s stucco-work that depicts scenes from Greek and Roman mythology. On the half-landing the Bacchanalia is celebrated. The left panel depicts Bacchus with his thyrsis and staff, the right panel is Ceres with her cornucopia. The central oval shows Cupid being demoted by the three Graces. The arched window is ornamented with symbols of the authority of ancient Rome. The tall pilasters on each side have the Green anthemion (honeysuckle) motifs.

At the top of the stairs the panel between the two doors on the right show Juno seated on a cloud with her peacock. The panel on the centre wall is Aurora in her chariot pulled by winged horses. Under this plaque “The New Bride” from an ancient marble popular in 18th century Rome. All the five doors have the same over-door: Silenus, the tutor of Bacchus. On the ceiling, Eros is depicted gazing at Psyche as she sleeps. Next is an Apollo head with winged lions and lastly, Cupid with a flower.

The door immediately to the right of the stairs leads to the Apollo Room, named after the featured frieze of Apollo the music-maker holding court with attendent putti playing a variety of instruments. The adjoining Diana Room depicts Diana, patron of the chase, in a chariot drawn by stags. The design is taken directly from Pergolesi, however, Stapleton added the outer circle of flowers.

Finally the Venus Room’s flanking panels have lunettes representing astronomy, architecture and sculpture. Notice the beautiful over-doors in all three rooms, each with the head of the principle subject.”

Venus was taken down by the Jesuits as she was nude, and it is supposedly in the National Gallery.

Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.
Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.
Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.
Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.
Belvedere House, Dublin, photograph from Brendan Merry and Partners website from their conservation and restoration of Belvedere House.

[2] https://www.dib.ie/biography/loftus-adam-a4867

[3] Loftus Hall: Formerly named Redmond Hall, it is a three-storey mansion built in 1871, incorporating parts of a previous house here, which was late 17th century or early C18.

Loftus Hall, County Wexford, for sale April 2025 photograph courtesy Colliers.
Loftus Hall, County Wexford, for sale April 2025 photograph courtesy Colliers.
Loftus Hall, County Wexford, for sale April 2025 photograph courtesy Colliers.
Loftus Hall, County Wexford, for sale April 2025 photograph courtesy Colliers.
Loftus Hall, County Wexford, for sale April 2025 photograph courtesy Colliers.

[4] https://www.archiseek.com/1583-rathfarnham-castle-co-dublin/

[5] “Rathfarnham Castle” by C. Scantlebury, Dublin Historical Record, Vol. 12, No. 1 (Feb., 1951), pp. 20-30. https://www.jstor.org/stable/30080721

[6] https://bellinghamswanhistory.club/descendant-tree-for-bellingham-boyle-mp1690-1771-and-sarah-hoadly-b1720/

Mount Stewart, County Down, Northern Ireland, a National Trust property

We don’t have a National Trust in the Republic of Ireland the way they do in Northern Ireland. We have instead organisations such as the Office of Public Works, The Landmark Trust, Irish Heritage Trust and An Taisce. Sorry to republish this as a separate entry – previously published in my “Places to visit and stay in County Down” entry. I’ve been busy at weekends and not visiting Section 482 properties, but I’ll catch up again with that soon I hope!

Mount Stewart, County Down, by Art Ward for Tourism Northern Ireland, 2016. (see [1])

https://discovernorthernireland.com/things-to-do/mount-stewart-p675341

and https://www.nationaltrust.org.uk/mount-stewart

The National Trust website tells us:

The Stewarts came from Scotland to Donegal as part of the Jacobean Plantation of Ulster. Alexander Stewart [1700-1781] and his wife, Mary Cowan, bought a large area of land in County Down in 1744, part of which became Mount Stewart demesne. Mary had inherited a fortune from her brother, Robert Cowan, who was in the East India Company, and was Governor of Bombay.” Mary and Robert’s father John Cowan was an Alderman of the city of Derry in what is now Northern Ireland. Alexander Stewart was MP for Derry.

Alexander Stewart (1700-1781) by Andrea Soldi, courtesy of National Trust Mount Stewart.
Oil painting on canvas, Mary Cowan, Mrs Alexander Stewart (1713–1788), by Andrea Soldi (Florence c.1703 – London 1771), circa 1737. A three-quarter-length portrait of a woman with fair hair, seated, turned to the left, wearing a blue dress with a pink bow, and white drapery. She rests her left elbow on a table, and points to the left with her right hand. She married Alexander Stewart in 1737. The artist returned from “the Levant” to London in 1736 and painted in Scotland c. 1756-58.

The National Trust website continues: “A modest house on the shore of Strangford Lough was extended in the 1780s into a long low 2-storey house by Alexander’s son, Robert. Robert also built a walled garden and farm buildings further inland, and commissioned James ‘Athenian’ Stuart to design the Temple of the Winds, one of the finest small neo-classical buildings in Ireland. Through his political connections and marriage, Robert rose through the political ranks, becoming earl and subsequently marquess of Londonderry.

Mount Stewart, County Down, June 2023. The porte-cochere was added by the 3rd Marquess of Londonderry, when William Morrison designed enlargement of the house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This portrait was completed Robert’s Grand Tour and is considered one of the finest of only 25 similar portraits completed by Anton Raphael Mengs. Robert built the west of the house at Mount Stewart and the Temple of the Winds, an octagonal building inspired by the Roman temples he had seen during his tour of Italy.
Robert Stewart, 1st Marquess of Londonderry, by John Edward Jones of Dublin, 1855, of Carrara marble. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
An information board from Mount Stewart.
Alexander Stewart (1746-1831) was the brother of Robert, 1st Marquess of Londonderry. He married Mary, daughter of Charles Moore 1st Marquess of Drogheda. He lived in Ards, County Donegal. Portrait by Pompeo Batoni, courtesy of National Trust Mount Stewart.

Robert Stewart (1739-1821) 1st Marquess of Londonderry married, first, Sarah Frances Seymour Conway, and she gave birth to his heir, Robert Stewart (1769-1822) 2nd Marquess of Londonderry, who was later made Viscount Castlereagh.

He then married secondly, Frances Pratt, daughter of Charles Pratt 1st Earl of Camden, Chislehurst, County Kent in England.

Oil painting on paper laid down on canvas, A Conversation Piece with Robert, 1st Marquess of Londonderry (1739-1821), his Second Wife, Frances (1750-1833), their Son Charles William (1778-1854), and their Four Younger Daughters, Selina, Matilda, Emily Jane and Octavia by Thomas Robinson (Windermere before 1770 – Dublin 1810), 1803-08. The daughters shown are Lady Selina Stewart, later Lady Selina Kerr (d.1871), Lady Emily Jane Stewart, Viscountess Hardinge (1789-1865), Lady Octavia Catherine Stewart, later Baroness Ellenborough (d.1819) and Lady Matilda Stewart, later Lady Matilda Ward (d.1842). Their elder three daughters Georgiana (d. 1804), Caroline (1865) and France Anne (1777 – 1810) are not present.

The website tells us: “It was Robert’s son, best known as Viscount Castlereagh, who chose the architect George Dance to design a new wing for Mount Stewart which included a series of fine reception rooms. The west wing was built around 1804–6.

Mount Stewart, County Down, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Robert Stewart (1769-1822), 2nd Marquess of Londonderry, Viscount Castlereagh, by Hugh Douglas Hamilton. He succeeded his father in 1821 only a year before his own death so for most of his working life he was Viscount Castlereagh. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, County Down, by Art Ward for Tourism Northern Ireland, 2016 (see [1])
Mount Stewart, County Down, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, County Down, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, County Down, by Art Ward for Tourism Northern Ireland, 2016.

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

p. 216. “Vane-Tempest-Stewart, Londonderry, M/PB) A long two storey Classical house of 1820s, one end of which is, in fact, a house built 1803-06 by 1st Marquess of Londonderry (father of the statesman, Castlereagh) to the design of George Dance. The seven bay front of 1803-06 house survives as the end elevation of the present house; unchanged, except that its centre bay now breaks forward under a shallow pediment, similar to those on either side of the present entrance front, which are very much of 1820s. The three rooms at this end of the house keep their original ceilings of delicate plasterwork; the centre one, which was formerly the entrance hall, has a ceiling with pendentives, making it an octagon. Behind this former entrance hall is an imperial staircase with a balustrade of elegant ironwork, lit by a dome; this too, is part of the earlier house.

Robert Stewart 2nd Marquess of Londonderry, Viscount Castlereagh.
Amelia Anne Hobart, Viscountess Castlereagh and later Marchioness of Londonderry, courtesy of National Trust Mount Stewart.

The website continues, telling us more about Lord Castlereagh: “Castlereagh is best known in Ireland for his involvement in the repression of the 1798 Rebellion and as one of the architects of the Anglo-Irish Union of 1800, for which he was vilified by many. He was however regarded as a consummate statesman and astute negotiator. 

From 1802 to 1822 he was based in London as Secretary of State for War and Foreign Secretary during the wars with America and France under Napoleon. He was one of the chief negotiators at the Congress of Vienna (1814-15) and his greatest legacy was steering the Congress towards a more equitable balance of power. The Congress was the first multinational European congress; many issues were discussed including the abolition of slavery. Castlereagh became a staunch supporter of abolition, as the trade was ‘repugnant to the principles of humanity and universal morality’.

The Peterloo Massacre of 1819 earned him more criticism, for although he was not personally responsible and was appalled by the outcome, as Home Secretary he had to justify the yeomanry’s actions. In 1822 he suffered a breakdown and took his own life, just a year after becoming the 2nd marquess of Londonderry.

Information board courtesy of National Trust Mount Stewart.
Information board courtesy of National Trust Mount Stewart.
I think Lord Castlereagh is the image of radio dj Dave Fanning!
Information board courtesy of National Trust Mount Stewart.

Castlereagh’s father the 1st Marquess and Frances Pratt went on to have many more children.

Information board courtesy of National Trust Mount Stewart.

It was a son from the second marriage, Charles Stewart (1778-1854) who became the 3rd Marques of Londonderry after his brother killed himself. First he married Catherine Bligh, daughter of John 3rd Earl of Darnley. She had a son, who became Charles’s heir, Frederick William Robert Stewart (1805-1872) 4th Marquess of Londonderry. Frederick married Elizabeth Frances Charlotte Jocelyn, daughter of Robert Jocelyn, 3rd Earl of Roden, County Tipperary, but they had no children. She had been previously married to Richard Wingfield 6th Viscount Powerscourt.

The painting above the archway in the hall is Charles William Stewart (1778-1854) who changed his surname to Vane after his second marriage, who became 3rd Marquess of Londonderry. He wears robe of the Knights of the Garter. The painting is by James Godsell Middleton, 1853/4. The pieces of armour were captured from the French Imperial Guard by General Charles Stewart who fought under Wellington during the Peninsula War.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charles William Stewart, later Vane, courtesy of National Trust Mount Stewart.
Painting by Thomas Lawrence of Catherine Bligh, daughter of 3rd Lord Darnley, with her son Frederick Wililam Robert, who became 4th Marquess of Londonderry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charles Stewart, 3rd Marquess of Londonderry, by Thomas Lawrence. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Above the arch is a painting of Frederick William Robert Stewart (1805–1872), 4th Marquess of Londonderry, KP, PC, as Lord-Lieutenant of County Down. The painting is by James Godsell Middleton., 1856. Frederick was the son of the 3rd Marquess and his first wife, Catherine Bligh. On the wall, a Prussian ‘M. 1809’ brass-mounted black leather crested Cuirassier’s helmet, Early 19th Century. Under the arch, is oil painting on canvas, Lady Alexandrina Octavia Maria Vane, Countess of Portarlington (1823-1874) , by Charles Hancock (Marlborough 1802 – 1877), signed Charles Hancock Pt 1845. Lady Alexandrina Vane, Countess of Portarlington (1823-1874), second daughter of Charles William, 3rd Marquess of Londonderry, and his second wife, Frances Anne Vane-Tempest and Tsar Alexander’s goddaughter is riding side saddle on a white horse in a landscape. Both horse and rider are facing the right. She married Henry Dawson-Damer, 3rd Earl of Portarlington (1822-1889) in 1847. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Elizabeth Jocelyn (1813-1884), Marchioness of Londonderry, formerly Viscountess Powerscourt, by James Rannie Swinton, courtesy of Mount Stewart National Trust. She was wife of the 4th Marquess of Londonderry, but they had no children.

After his first wife’s death, Charles Stewart (1778-1854) married Frances Anne Emily Vane-Tempest in 1819. He changed his surname to Vane. Frances Anne’s mother was Katherine MacDonnell whom we came across at Glenarm, the notorious heiress!

Frances Anne née Vane-Tempest, courtesy of National Turst, Mount Stewart.
Frances Anne, wife of 3rd Marquess of Londonderry, by Thomas Lawrence. The heiress Frances Anne Vane-Tempest, as second wife of 3rd Marquess of Londonderry, who was described by her close friend, Prime Minister Benjamin Disraeli as ‘half ruffian, half real lady’, brought wealth to the Stewart family with her inherited estates, including coal mines in the north-east of England, and County Antrim. She loved opulence and enjoyed an intimate chaste relationship with Tsar Alexander who was godfather to her daughter Alexandrina. But she was also noted for reducing hardships of her tenants and employees and providing their children with schools both in England and Ireland. She was the daughter of Sir Henry Vane-Tempest, 2nd Baronet and through her daughter, Lady Frances Vane, wife of John Churchill, 7th Duke of Marlborough, she was the great-grandmother of Sir Winston Churchill. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Henry Vane-Tempest (1771–1813), 2nd Bt, the source of much of the family income, as the 3rd Marquess married his heiress daughter. The portrait is by Peter Edward Stroehling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Mark Bence-Jones continues: “3rd Marquess, Castlereagh’s younger half-brother, who was far richer than either his father or his brother had ever been, having married the wealthy Durham heiress, Frances Anne Vane Tempest, enlarged the house to its present form ca 1825-28, his architect being William Vitruvius Morrison. A new block was built onto what had been the back of the original house, as wide as the original house was long and long enough to make, with the end of the original house, a new entrance front of 11 bays, with a pedimented porte-cochere of four giant Ionic columns as its main central feature; the three outer bays on either side being treated as pavilions, each with a one bay pedimented breakfront similar to that which was put onto the front of the original house. The outer bays have a balustraded roof parapet, which is carried round the end of the house and along the new garden front. The latter is as long as the entrance front, and has a boldly projecting centre with a pediment and a single-storey portico of coupled Ionic columns; and a curved bow at either end.”

Mount Stewart, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board courtesy of National Trust Mount Stewart.

The website tells us: “Castlereagh’s half-brother, Charles Stewart fought in the Peninsula War under Wellington and became British ambassador at Berlin and then Vienna during the Congress. In 1819 he married the wealthy Frances Anne Vane Tempest who had inherited coal mines and a grand estate in County Durham. They travelled widely and rebuilt Wynyard, County Durham and Londonderry House in London. Charles also extended Mount Stewart in the 1840s. His grandson, the 6th Marquess, was Lord Lieutenant of Ireland in the 1880s. The 6th Marquess was strongly opposed to Home Rule for Ireland; he and his wife were instigators and signatories of the Ulster Covenant in 1912.

Charles and Frances Anne had several children. Their daughter Alexandrina married into Emo Park in County Laois.

Alexandrina Octavia Maria Vane (1823–1874) married John Henry Reuben Dawson-Damer, 3rd Earl of Portarlington, of Emo in County Laois, and was daughter of Charles Willam Vane 3rd Marquess of Londonderry (son of Robert Stewart 1st Marquess of Londonderry) and Frances Anne Emily Vane-Tempest. The portrait is by James Godsell Middleton. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance hall, Mount Stewart, County Down. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A polychrome painted deal occasional table, Netherlands, early 18th century: The hinged shaped oval top painted with scenes from Belshazzar, depicting a scene of a family entertaining a guest to dinner in a grand room with a black and white squared floor, on a turned column and down swept legs. Branded with Londonderry cypher on reverse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Central hall of Mount Stewart. Unfortunately I found it impossible to capture in a photograph. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart.

Mark Bence-Jones continues: “The principal interior feature of the newer building is a vast central hall, consisting of an octagon, top-lit through a balustraded gallery from a dome filled with stained glass, with rectangular extensions so as to form a room much longer than it is wide; with screens of couple painted marble Ionic columns between the octagon and the extensions. Morrison’s reception rooms are spacious and simple; the drawing room has a screen of Ionic colmns at either end. The interior of the house was done up post WWI by 7th Marquess, Secretary of State for Air in 1930s; the central room in the garden front being panelled as a smoking and living room. The 7th Marquess and his wife (the well-known political hostess and friend of Ramsay MacDonald) also laid out an elaborate garden, going down the hillside from the garden front of the house towards Strangford Lough. As well as this noteaable C20 garden, Mount Stewart boasts of one of the finest C18 garden buildings in Ireland, the Temple of the Winds, an octagonal banqueting house built 1780 to the design of “Athenian” Stuart, who based it on the Tower of the Winds in Athens. It has a porch on two of its faces, each with two columns of the same modified Corinthian order as that of the columns of the Tower of the Winds. Mount Stewart was given to the Northern Ireland National Trust by Lady Mairi Bury, daughter of 7th Marquess, ca 1977, and is now open to the public. The Temple of the Winds was given 1962 to the Trust, which has since restored it; the garden was given to the Trust in 1955.” 

You can see pictures and read more about the treasures in the house on the website. The website tells us about the various rooms of the house.

Central hall of Mount Stewart. The sculpture is “Bacchante at the Bath” by Lawrence MacDonald. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Central hall

Soak up the atmosphere of the most impressive space in the house, where you can see life-size sculptures by Lawrence MacDonald, alongside the family collection of silver dating from 1694.

Look down at your feet to take in the original Scrabo stone, which was recently restored after being hidden since the 1960s when it was covered by linoleum.

The Central Hall, Mount Stewart, with an Italian school sculpture of Adonis. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Central Hall of Mount Stewart.
The lamp next to Apollino is of alabaster, so fine the light shines through. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Venus at the Bath by Lawrence MacDonald. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The painting is of Edith Helen Chapman (1878-1959), Marchioness of Londonderry, in the uniform of the Women’s Legion. The halls are a treasure-trove. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

When Frederick died, his brother succeeded as the 5th Marquess of Londonderry, George Henry Robert Charles William Vane-Tempest (1821-1884). Like his father, he joined the military. He married Mary Cornelia Edwards, daughter of John Edwards, 1st and last Baronet Edwards, of Garth, Montgomeryshire.

Their son Charles Stewart Vane-Tempest succeed as the the 6th Marquess of Londonerry in 1884. In 1885 he added Stewart to his surname, to become Vane-Tempest-Stewart. In 1875 he married Theresa Susey Helen Chetwynd-Talbot, daughter of Charles John Chetwynd Chetwynd-Talbot, 19th Earl of Shrewsbury. The 6th Marquess served in many posts, including Lord-Lieutenant of Ireland between 1886 and 1889.

Theresa Susey Helen Talbot, Marchioness of Londonderry (1856-1919) by John Singer Sargent, Vicereine 1886-89. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Their son Charles Stewart Henry Vane-Tempest-Stewart (1878-1949) succeeded as 7th Marquess of Londonderry. He married Edith Helen Chaplin, daughter of Henry Chaplin, 1st Viscount Chaplin.

The website continues: “Charles’s great-grandson, Charles 7th Marquess, served in the First World War, during which his wife Edith founded the Women’s Legion. At the end of the war, Edith began to create the gardens at Mount Stewart and redecorated and furnished the house, processes she thoroughly enjoyed and continued until her death in 1959. Charles served in the new Northern Irish government following the partition of Ireland in 1921. He later became Secretary of State for Air during the early 1930s. The horrors of the First World War and the rise of Communism meant many were anxious to avoid another European war. For Charles, this meant holding a series of meetings with the Nazi leadership, but his actions and intentions were misunderstood and his career and reputation were fatally damaged.

Oil painting on canvas, Lady Edith Helen Chaplin, Marchioness of Londonderry, DBE (1878-1959) in Uniform of the Women’s Army Auxiliary Corps by Philip Alexius de László de Lombos (Budapest 1869 – London 1937), 1918.
Information board courtesy of National Trust Mount Stewart.
Information board courtesy of National Trust Mount Stewart.
Information board courtesy of National Trust Mount Stewart.
“Circe and the Sirens,” Edmond Brock’s group portrait shows Edith, Marchioness of Londonderry and her three youngest daughters Margaret, Helen and Mairi with her pet goat ‘Paddy from Cork’. In the background, the faces of her husband Charles, 7th Marquess (on the left) and the artist himself (on the right) appear in the herms. Edith is shown in the guise of Circe the Sorceress of Homer’s Odyssey who charmed Odysseus and his men to stay on her island before turning them into pigs. As Circe, Edith presided over The Ark, a club she founded during the First World War. She holds the large gold cup that can be seen in the SIlver Display off the Central hall of the house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The “Black and white” hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Various skylights pierce the hall ceiling in different alcoves. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
An early George III carved giltwood rectangular upright mirror with chinoiserie pavilion mirrored cresting with spread foliage, and scrolling foliate mirrored cresting with rocaille, pendant icicles, the divided plate with leaf and fruit-carved divisions with cusped foliate centre, mirrored scrolling sides with pierced rocaille, icicles, pendant flowers and foliage, the mirrored shaped apron with flanking standing figures of musicians, pierced chinoiserie rockwork and central chinoiserie pillared pavilion in the manner of Thomas Johnson.
I was so busy looking around and taking photographs that I didn’t notice these amazing doors at the time. There was just so much detail to see in every direction! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Black and White hall, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Drawing room

Step inside the drawing room which was the social hub of the house, furnished with comfortable armchairs and sofas gathered around the fireplace, as well as a piano for musical entertainment.

At one end of the room stands the Congress of Vienna Desk, brought back by Castlereagh Viscount Castlereagh after the Congress and the Peace of Paris in 1815, for which he was made a Knight of the Garter.  Above it hangs his portrait, by Sir Thomas Lawrence, alongside many others by the same artist.”

The drawing room, Mount Stewart, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
An aunt of Frances Anne née Vane, Mrs Michael Angelo Taylor (1769-1821) as ‘Miranda’ in The Tempest by William Shakespeare, painted by John Hoppner. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lady Amelia (Emily) Anne Hobart, Viscountess Castlereagh, later Marchioness of Londonderry (1772-1829) by Sir Thomas Lawrence. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Portrait by Thomas Lawrence of Robert Stewart (1769–1822), Viscount Castlereagh, Later 2nd Marquess of Londonderry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The lamp in foreground is one of a pair of late 18th century Italian carved giltwood altar sticks, the gilt metal scalloped dished tops on baluster columns, the triangular shaped concave plinths mounted with winged griffin pilasters, fitted for direct and indirect electric lighting with imitation candles and deep bullion fringed vellum shades. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Robert Stewart, 1st Viscount Castlereagh, later 2nd Marquess of Londonderry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Congress of Vienna table: A gilt-bronze mounted mahogany pedestal desk or library table, Vienna, c.1814. The extremely weighty, intricate and highly finished gilt-bronze gallery surrounding the top of the desk is pierced with leaf scrolls enclosing varying florets in a running guilloche pattern. The centre of each side is dominated by a bearded male mask enveloped in foliage. Hinged to the table top, the central section of the front gallery drops down for use of the original green leather writing surface with a gold-tooled border. The three short drawers on both pedestals have simple ring handles surrounding the steel double-turn keyholes, and are flanked by plain pilasters surmounted by gilt-bronze Corinthian capitals, which slide upwards for removal when the table top is lifted off the supporting pedestals. The carcass is apparently of white poplar with oak drawers, and the mahogany is highly figured. The use of poplar in the carcass is foreign to English and French practices and is more typical of Italy. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Dining room

Visit the dining room which was used to entertain famous guests including Winston Churchill and Neville Chamberlain – both of whom later became Prime Ministers of Britain. Along the walls stand the chairs used during the Congress of Vienna (1814–15). Their needlework covers were commissioned by Edith in the 1930s to display the coats of arms of those present at the Congress, and the countries they represented.

The dining room, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Geertruid Johanna de Quirina van der Duyn (d. 1741), Countess of Albemarle, by Godfrey Kneller. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The man in splendid robes at the end of the room is Arnold Joost van Keppel, 1st Earl of Albemarle, by Godfrey Kneller. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The chairs that represent the countries that took part in the Congress of Vienna (1814-1815). They are a set of twenty-two neo-classical chairs traditionally associated with the Congress of Vienna, 1814-15, two of which are later additions made in 1933. All chairs are upholstered and covered with pale yellow wool with silk embroidery, delineating the coat-of-arms of each of the principal delegates to the Congress (on the back) paired with the country, which they represented (on the seat). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board courtesy of National Trust Mount Stewart.
Mount Stewart.

The breakfast room

Stop by the breakfast room, where Charles and Edith enjoyed relaxed family breakfasts, lunches and afternoon teas overlooking the Sunk Garden that Edith created in 1920–21. Edith introduced the large sliding sash window so that they could have direct access to the garden.

In the centre of the room you can see the family’s traditional Irish ‘wake’ or hunting table, whilst a collection of Berlin cabinet plates from 1810–20 are displayed in the cabinets.”

The breakfast room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This room is fascinating as the pattern in the floor duplicates the pattern on the ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceiling in the breakfast room, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
You can really see the pattern on the floor as it is under the table, that reflects the pattern on the ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The marquetry on the doors is a work of art.
Berlin plates in the China cabinet in the breakfast room, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The family collected a large amount of valuable porcelain. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart. Plate, porcelain, from a 59-piece armorial table service, including: twenty-seven notched octagonal plates, twenty-four circular plates and eight straight-sided saucer-dishes, painted in ‘rouge de fer’ (iron-red) and ‘famille rose’ enamels, and gold, diaper band borders and flowering peony sprays on the rim, the centre with the arms of Cowan, China, Jingdezhen, Yongzheng period, circa 1723–25. According to Angela Howard, Heirloom & Howard Ltd, Sir Robert Cowan (d. 1737), initially ordered two services, this service in polychrome for formal dining and an underglaze blue service for common use. Cowan, a merchant and later Governor of Bombay, worked for the East India Company in India from 1719 to 1735. The combination of circular and octagonal plates is unusual and suggests the richness of the original service. Recent research by Edward Owen Teggin, East India company career of Sir Robert Cowen in Bombay and the western Indian ocean, c. 1719-35, Trinity College Dublin. School of Histories & Humanities, 2020, suggests the service was ordered from Surat in April 1722, while Cowan was living in Bombay. The order is recorded in his letter book, addressed to Scattergood, probably John Scattergood, supercargo of a country vessel sailing between Bombay, Madras and Canton, noting instructions for Cowan’s coat of arms to be applied to the service. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The detail on the porcelain plates is amazing: one of a set of twenty-five plates from a Chinese export porcelain part dessert service painted with flowers, insects and Ho-Ho birds in overglaze famille rose enamel colours on a celadon ground. Canton, c.1830-50. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A George Stubbs masterpiece hangs on the west staircase: Hambletonian, Rubbing Down, was painted by Stubbs in 1800. The horse had been owned by Sir Harry Vane Tempest, whose daughter married Charles Stewart (3rd Marquess of Londonderry). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The lantern skylight over the stairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The stair hall, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail in the volute at the end of the stair banister. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Even snails are celebrated in this china: A Majolica pottery dish, Portuguese style, Palissy-type earthenware, circa 1870 – c.1900, as a green glazed cabbage leaf surmounted by a grey snail in brown shell in the centre. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I love this arrangement: there are a pair of Chinese green glazed parrots with red beaks on blue glazed pierced rockwork bases. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We then went upstairs.

The portrait over the red chair is Hazel Lavery by her husband John Lavery. Inside the arch is oil painting on canvas (oval), Maria Cornelia (née Edwards), Marchioness of Londonderry (1826 – 1909), circle of Franz Xaver Winterhalter. A three-quarter-length portrait of the wife of George, 5th Marquess of Londonderry in a brown dress with black embroidery, her right hand raised to her chin.
Lady Hazel Lavery, by John Lavery, Mount Stewart, County Down. John gave her an orchid daily, as can be seen in the picture. Hazel was chosen to be the figure of Ireland on the Republic’s bank note. She and John stayed with the Londonderry family on a number of occasions in the 1920s and 1930s. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Another skylight, this one in the corridor upstairs at Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Edward Charles Stewart Robert Vane-Tempest-Stewart (1902–1955), Lord Stewart, 8th Marquess of Londonderry, as a Page at the Coronation of George V, 1911, by Philip Alexius de László. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The textile elements of a George III mahogany tester bed, circa 1760. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There are even tassels carved into the wood of the bed. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The bed boasts a coronet. A polychrome painted tester bedstead, English or Irish, circa 1920
With twin painted and gilt panelled heads and ends inset with shaped reserves of blue brocade and surmounted by carved and gilt scrolls with turned vase shaped finials, the backboard covered in red figured silk damask, the side curtains of the same material, trimmed galloon. The domed canopy covered in blue silk trimmed with galloon and appliqued gilt carvings, the front and sides carved with gadrooning and leafage, centering on an armorial panel surmounted by a coronet, the whole raised on a plinth as per Londonderry House image of a figured walnut plinth, with box spring mattress, hair overlay and bedding. The bed was Lady Londonderry’s when she was in Londonderry House and was brought here in 1961 Lady Mairi slept in it in Londonderry House and Lady Rose was born in it in 1943, at Londonderry House.
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A gorgeous bed. The portrait is a half-length portrait of Charles Stewart, then Viscount Castlereagh, as a young boy, turned to the left. He wears a pale blue jacket (the colour of the Order of St Patrick), trimmed with white lace, and is dressed as a pageboy, in the costume he wore for his father’s investiture as Viceroy of Ireland. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A bedroom, Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The rich blue and pink lend opulence along with the decorative furniture. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Unfortunately it was raining and we were on our way back to Dublin so we didn’t get to explore the gardens though my hairdresser Shane tells me they are splendid.

Information board courtesy of National Trust Mount Stewart.
From “In Harmony with Nature, The Irish Country House Garden 1600-1900” in the Irish Georgian Society, July 2022, curated by Robert O’Byrne.
Information board courtesy of National Trust Mount Stewart.

We did, however, get to the coach house to see the State Coach.

Called the state coach, it is technically a chariot. A chariot carries just two people, facing the coachman. A coach seats four, two either side inside, facing each other. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board courtesy of National Trust Mount Stewart.
The coach was used at George VI’s coronation.
The coronation robe. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mount Stewart.
Information board courtesy of National Trust Mount Stewart.
Mount Stewart. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board courtesy of National Trust Mount Stewart.

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

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