Clonskeagh Castle, Dublin – section 482

www.clonskeaghcastle.com

Open dates in 2026: Jan 10-12, 19-20, May 1-3, June 24-30, July 19-26, Aug 15-23, Sept 1-13, Nov 4-8, Dec 1-10, 10am-2pm

Fee: adult €12, student/OAP/groups €8

donation

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

€15.00

Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie

We visited Clonskeagh Castle in December 2023. The name Clonskeagh comes from the Irish “Cluain Sceach” – the meadow of the white thorns. The house was built around 1789 as a country residence (he also had a house in the city) for Henry Jackson (d. 1817), who owned an iron foundry.

The house was built on an elevated site, and originally faced a toward the Dodder River. It was more compact than the “castle” as we see it today as it did not have the porch or the two towers that now stand at the present front of the house. The front door is less impressive than one would expect but this is because it was not the original front. The portico was added around 1886 when the house was inherited by Robert Wade Thompson.

Owner Frank showed us notes written by architect Marc Kilkenny and architectural historian Alastair Rowan, with a photograph of the original arched entrance to the demesne.
A photograph of the house taken at the beginning of the twentieth century, which shows the landscaped gardens.
The front door of Clonskeagh Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The house was purchased by the parents of the current owner in 1992. The house had been converted into flats and the Armstrongs converted it back into use as a family home. They carried out much work on the building, with the benefit of research and guidance of architectural historian, Professor Alistair Rowan. The website tells us:

The recent works [in 2019] have included restoration of the major portions of the parapet roof in accordance with best conservation practice; withdrawal of earth from the curtailage of the building, which had been piled up over at least a century giving rise to dampness in the walls; and restoration of rooms in what had been the servants’ quarters to create a small apartment.

These works have been executed by Rory McArdle, heritage contractor, under the supervision of award-winning architect Marc Kilkenny, with frequent reference to the conservation experts at Dun Laoghaire-Rathdown County Council. Fionan de Barra, architect, also provided valuable consultation at the early stages of the project.

Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie

Frank Armstrong, the owner who showed us around, edits a magazine, https://cassandravoices.com/

In an article in the Irish Times published on October 6th 2022 written by Elizabeth Birdthistle, Marc Kilkenny said: “Working with my father-in-law at Clonskeagh Castle was an immense privilege. This house was like a member of the family and I felt honoured to be entrusted with the works… We reopened the original 18th century entrance to create a new sitting room which reintroduced south light into the entrance hall. We replaced the main roof and rerouted rainwater and transformed part of the basement into a light and spacious apartment with associated garden and steps up to a new terrace by the main kitchen. All works were carried out to the highest conservation standards.” [1]

Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie

The house contains a beautiful curving staircase with iron balusters, and a spacious upstairs lobby with arches and large sash casement windows letting in the light.

Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
The wooden banisters were changed to more decorative cast iron banisters around 1850 and decorative cornicing was added to stair hall and upstairs lobby. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The original owner of the house, Henry Jackson, was the fourth son of Hugh Jackson (1710?–77) of Creeve, Co. Monaghan, and his wife Eleanor (née Gault), who belonged to a family engaged in the linen trade. [2] Hugh Jackson introduced the linen trade to Ballybay, Co. Monaghan, and generally improved the town.

Henry Jackson started in business as an ironmonger in 1766. The Dictionary of Irish Biography tells us that he is listed in the Dublin Directory from 1768 as an ironmonger in Pill Lane, and from 1787 as an iron founder or iron and brass founder in Old Church Street. In 1798 he also had mills for rolling and slitting iron on the quays and for grinding corn in Phoenix Street (both also steam powered) and iron mills at Clonskeagh.

Henry Jackson joined the United Irishmen. He was influenced by the writings of Thomas Paine, the author of The Rights of Man, and Jackson named the house “Fort Paine.” The Society of United Irishmen was formed at a gathering in a Belfast tavern in October 1791. They were influenced by the ideals of the French Revolution, and they wanted to secure “an equal representation of all the people” in a national government. The founders were mostly Presbyterian but they vowed to make common cause with Irish Catholics. Presbyterians as well as Catholics had suffered under the Penal Laws in Ireland, as Presbyterians were “dissenters” from the established Protestant religion. Most of the original United Irishmen were members of the Irish Volunteers, which were local militias set up to keep order and safety when British soldiers were withdrawn from Ireland to fight in the American Revolutionary War (or as those in America call it, the War of Independence).

In Dublin on 4 November 1779, the Volunteers took advantage of the annual commemoration of King William III’s birthday, marching to his statue in College Green and demonstrating for the cause of free trade between Ireland and Great Britain. Previously, under the Navigation Acts, Irish goods had been subject to tariffs upon entering Britain, whereas British goods could pass freely into Ireland.

Painting by Francis Wheatley depicting the Dublin Volunteers on College Green, 1779.

Theobald Wolfe Tone was one of the founders of the United Irishmen. Thomas Russell had invited Tone, as the author of An Argument on behalf of the Catholics of Ireland, to the Belfast gathering in October 1791. By 1798, Tone instigated Rebellion for independence and the formation of a republic in Ireland, and he sought the help of the French. Although Protestant, Tone was secretary to Dublin’s Catholic Committee, a group which had been formed to seek repeal of the Penal Laws. The Catholic Committee was formed in 1757 by Charles O’Conor of Belanagare in County Sligo (see my entry about Clonalis).

Theobald Wolfe Tone, courtesy of National Gallery of Ireland.

In 1786 Henry Jackson, who was from a Presbyterian family, joined his son-in-law Oliver Bond, along with James Napper Tandy and Archibald Hamilton Rowan, to form a Dublin battalion of the Volunteers. He was also a member of the Dublin Society of United Irishmen. He sat on several of its committees, acting as its secretary and later as its treasurer, and was present at what proved to be the final meeting of the society when it was raided by the police (23 May 1794).

James Napper Tandy (1740-1803), United Irishman, by unknown artist, presented to National Gallery of Ireland by Mr. Parker 1872, object number NGI 429.

Henry Jackson of Clonskeagh Castle used his foundry to make pikes for the 1798 Rebellion. The website tells us:

Jackson was involved in preparations for the 1798 Rebellion, and his foundries were engaged to manufacture pikes for combat, and also iron balls of the correct bore to fit French cannons, in anticipation of an expected invasion. His son-in-law Oliver Bond was also heavily implicated in these plans.

In the event, Jackson was arrested before the ill-fated Rebellion, and imprisoned in England. After some time he was released on condition that he went into exile in America. He died in the city of Baltimore, Maryland in 1817.

Frank told us that the lyrics of the song “By the Rising of the Moon” may refer to the foundry in Clonskeagh. The lyrics of the song include:

At the rising of the moon, at the rising of the moon
For the pikes must be together at the rising of the moon
And come tell me Sean O’Farrell, where the gathering is to be
At the old spot by the river quite well known to you and me.

Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie

There are tunnels under the house which were perhaps used by Jackson to store his pikes and cannonballs.

The tunnels under Clonskeagh Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This looks like it could have been an outlet from the tunnels, and faces the original front of the house, toward the Dodder River. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Clonskeagh Castle website continues: “In 1811 the Castle was purchased by George Thompson, a landed proprietor, who had a post in the Irish Treasury, and it remained in the ownership of that family until the early twentieth century. It is interesting to note that whereas Henry Jackson was fired by the objective of Irish independence, the last Thompson family member to occupy the house was vehemently insistent on the preservation of the Union.

Thompson made alterations to the house and made what was formerly the back of the house into the front. The Armstrongs note that the hallway was thus left quite dark, and they did renovation work to allow light to penetrate from the south.

Notes from a report written by Alastair Rowan, with drawings of the original Henry Jackson house, and the George Thompson additions.
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie. We can see that the hall is now made bright by opening up the space to the outside.
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie

The house passed from George Thompson (1769-1860) to his son Thomas Higinbotham Thompson, to his son Robert Wade Thompson (1845-1919). [3] Robert Wade Thompson was a barrister, who married Edith Isabella Jameson, daughter of Reverend William Jameson (1811-1886) and Elizabeth Guinness (1813-1897). Reverend William Jameson was son of John Jameson of Jameson’s Whiskey Company. Elizabeth was the daughter of Arthur Hart Guinness (1768-1855) who was the son of Arthur Guinness (1725-1803), founder of Guinness Brewery.

The house then passed to Robert Wade Thompson’s son Thomas William Thompson in 1919.

The website tells us: “During the War of Independence (1919-1921) the Castle was occupied by the British military, and was used for some time to incarcerate Irish Republicans.

The castle was purchased in 1934 by G&T Crampton, a property development company who later developed the redbrick houses that now stand on the nearby Whitethorn, Whitebeam and Maple Roads.

“Clonskeagh Castle,” held by G. & T. Crampton. © Unknown. Digital content by Assoc. Prof. Joseph Brady, published by UCD Library, University College Dublin.

Frank showed us a couple of books about the area. The house was for sale when we visited. The new owners will be very lucky to own piece of Irish history.

Books that Frank showed us about the area. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
Frank told us that in the large dining room they held musical events. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie
Clonskeagh Castle, photograph courtesy of Sherry Fitzgerald and myhome.ie

[1] https://www.irishtimes.com/property/residential/2022/10/06/clonskeagh-castle-complete-with-tunnel-and-secret-staircases-for-sale-for-295m/

[2] https://www.dib.ie/biography/jackson-henry-a4235

[3] https://www.famousjamesons.com

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

Doneraile Court, County Cork, An Office of Public Works property

Doneraile Court, County Cork, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

General enquiries: 046 942 3175, donerailecourt@opw.ie

https://doneraileestate.ie/

From the website https://heritageireland.ie/visit/places-to-visit/doneraile-wildlife-park/:

Doneraile Court towers majestically over the glorious Doneraile Park, a 160-hectare landscaped parkland and wildlife estate.

The house was built by the St Leger family around 1645 on the site of a ruined castle. By the time it was refurbished in the mid-eighteenth century it had become an outstanding example of Georgian architecture. Its associations range from links to the famous St Leger Stakes in horse racing and literature, with famous Irish writers such as Elizabeth Bowen. [A horse race took place in 1742 in which Edmund Burke and Cornelius O’Callaghan met a bet as to whose horse could cover the distance fastest between the church steeples of Buttevant and Doneraile. This gave rise to the term “steeplechasing.”]

Thirteen generations of the St Leger family lived at Doneraile over three centuries. The family had some extraordinary members. For example, Elizabeth St Leger made history when she became the first woman Freemason in the world in 1712.

Elizabeth Aldworth née St. Leger (1693-1773), https://commons.wikimedia.org/wiki/File:MrsAldworth.jpg#/media/File:MrsAldworth.jpg
Doneraile Court, County Cork, August 2020. Tooled limestone porch with deep entablature, Ionic pilasters and columns, a heavy balustraded parpapet and swan neck doorcase. Oval heraldic motif to centre of parapet has curvilinear, foliate and wreath-swag decorative surround. Frank Keohane tells us that the porch is probably designed by G. R. Pain, added in the 1820s. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Elizabeth (1695-1772) was the daughter of Arthur St. Leger (1656-1727) 1st Viscount Doneraile. He was an active Freemason and sometimes hosted lodge meetings at his home. The story has it that Elizabeth fell asleep in the library, and woke to hear a secret Masonic ceremony taking place. When the Freemasons discovered that she had heard their secret, she had to be sworn in as a member in order to protect their privacy! She remained a member, as can be seen wearing Masonic symbols in portraits. She married Colonel Richard Aldworth, High Sheriff of County Cork.

The house remained in the hands of the St. Leger family until 1969. Following decades of care by the Irish Georgian Society, it passed to the Office of Public Works in 1994.

From the National Inventory of Architectural Heritage:

Detached three-storey over half basement country house, built c. 1730, containing fabric of earlier house, built c. 1645. Possibly also incorporating fabric of medieval castle. Extended 1805, conservatory added 1825, extended 1869, and also incorporating other nineteenth-century additions.

The 1730s work on the house was carried out for Arthur St. Leger, 2nd Viscount Doneraile (1694-1734). Mark Bence-Jones suggests that it was the work of architect Isaac Rothery, but Frank Keohane suggests it could have been Benjamin Crawley. [7] The bow-ended block on the left of the garden front was added 1756-58, payment was made for this to architect Thomas Roberts.

Doneraile Court, County Cork, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doneraile Court, County Cork, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Doneraile Park is associated with the poet Edmund Spenser, who refers to the River Awbeg which flows through the park as the ‘gentle mulla’. The lands were bought by William St. Leger (1586-1642) from the Spensers. William St. Leger was a Privy Counsellor, Lord President of Munster in 1627, and MP for Cork County in 1634. In 1634 he was appointed Sergeant-Major-General in the Army, employed to fight against the rebels in Ireland. His father was Warham St. Leger, who was Commissioner of the Government of Munster in 1599.

Doneraile passed from William St. Leger to his son John (d. 1696). John married Mary, daughter of Arthur Chichester 1st Earl of Donegal. Arthur St. Leger (1656-1727) who became 1st Viscount Doneraile was their son. He too was a privy counsellor in Ireland and he was MP for Doneraile. He married Elizabeth Hayes and one of his sons was named “Hayes” (who eventually became the 4th Viscount Doneraile).

The 1st Viscount’s daughter Elizabeth married Richard Aldworth (1694-1776) and their son St. Leger (d. 1787), born St. Leger Aldworth, took the surname St. Leger to become St. Leger St. Leger and was created 1st Baron Doneraile in 1776. He was created 1st Viscount Doneraile of the 2nd creation in 1785.

Arthur St. Leger 1st Viscount’s son John was killed in a duel in 1741.

His son Arthur (circa 1695-1733/1734) succeeded at 2nd Viscount. The 2nd Viscount married Mary Mohun who gave birth to the 3rd Viscount Doneraile, Arthur Mohun St. Leger (1718-1750). He had no children, so the title passed to his uncle Hayes St. Leger (d. 1767), who became 4th Viscount Doneraile. He also died without issue and the title became extinct, until St. Leger St. Leger was created 1st Viscount Doneraile of the 2nd creation.

Memorial to Lady Elizabeth St Leger, Viscountess Doneraile (d. 1761), in St. Patrick’s Cathedral, Dublin, wife of Hayes St Leger, 4th Viscount Doneraile (1702-1767), daughter of Joseph Dean, Lord Chief Baron of the Court of Exchequer and of Margaret Boyle, daughter of Roger Boyle of Castlemartyr in County Cork. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

St. Leger St. Leger’s son was another Hayes St. Leger (1755-1818), 2nd Viscount Doneraile. He married Charlotte Bernard of Castle Bernard, County Cork.

The bow ends on the front facade were built when improvements were made by the Hayes St. Leger 2nd Viscount of the second creation (1755-1819), between 1804-1808. At this time a new kitchen was added to the back of the house along with a now-lost Gothic conservatory.

Doneraile Court, County Cork, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doneraile Court, County Cork, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doneraile Court, County Cork, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Hayes St. Leger 2nd Viscount of 2nd creation’s daughter Harriet married Richard Smyth (1796-1858) of Ballynatray in County Waterford (see my entry). Hayes’s heir was another Hayes St. Leger (1786-1854) who became 3rd Viscount Doneraile.

National Inventory Appraisal: “The artist who created the ornate plaster work to the interior is unknown, but was clearly highly skilled.

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

The Hall was remodelled in the 1820s, when it was extended into the new porch. It has a screen of paired Ionic pillars, a frieze decorated with rosettes and an acanthus ceiling rose. This would have been in the time of Hayes St. Leger (1786-1854) who became 3rd Viscount Doneraile. He married Charlotte Esther, daughter of Francis Bernard 1st Earl of Bandon, County Cork, and she gave birth to their heir, another Hayes St. Leger (1818-1887), 4th Viscount Doneraile.

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

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

“…On the other side of the house, a wing containing a new dining room was added 1869 by 4th Viscount Doneraile of the later creation. At the back of the hall is an oval late-Georgian staircase hall in which a staircase with slender wooden balusters rises gracefully to the top of the house beneath of ceiling of Adamesque plasterwork. To  the right of the staircase hall is one of the rooms of the original house, with a corner fireplace and fielded panelling; it was possibly in here that, ca 1713, Elizabeth St Leger was initiated as one of the only three women Freemasons in history, after she had been caught spying on a Lodge meeting held by her father. Behind this room was the vast and splendid dining room of 1869 which formerly had an immense mahogany sideboard in a mirrored alcove confronting a full-length portrait of the 4th Viscount with his favourite hunter. He was one of the greatest Victorian hunting men; ironically, he died of rabies through being bitten by a pet fox. The three drawing rooms on the other side of the house are early C19 in character and probably date from the reconstruction after the fire; they have simple but elegant friezes, overdoors with volutes and windows going right down to the floor. The long connection of the St Legers with Doneraile ended when Mary, Viscountess Doneraile died 1975. The garden, which boasts of a Lime Walk and a long “fishpond” or canal surviving from the original C18 layout, is now maintained by the Dept of Lands; as is the park, in which there is still a herd of red deer. The house, after standing empty for several years and becoming almost derelict, is in the process of being restored by the Irish Georgian Society, with a view to finding someone who would be willing to take it on. The 1869 dining room wing has been demolished.” [8]

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

From the National Inventory of Architectural Heritage: “Floating elliptical winder staircase with curved newel post and turned timber banisters. Timber treads with carved timber panels to side. Decorative render roses under stair. Ornate Adam-style ceiling with central ceiling rose and decorative fluted surround to stair ceiling.”

Doneraile Court. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The staircase hall is lit by a tall round-arched window above an elliptical window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ceiling of Adamesque plasterwork, over the elliptical floating staircase (ie. Neoclassical interior design like the work of Scottish architect William Adams and his sons, most famous of whom are Robert and James). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doneraile Court. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Hayes St. Leger (1818-1887), 4th Viscount Doneraile married Mary Ann Grace Louisa Lenox-Conyngham (d. 1907), daughter of George Lenox-Conyngham of Springhill. They had daughters, and the daugher Emily Ursula Clare lived in Doneraile until her death in 1927. She married Bernard Edward Barnaby Fitzpatrick, 2nd Baron Castletown of Upper Ossory, County Laois.

The last member of the St. Leger family to live at Doneraile was Mary, Viscountess Doneraile, who died in 1975. She was the wife of the 5th Viscount, Richard Arthur St. Leger (1825-1891). He was the son of Reverend Richard Thomas Arthur St. Leger (1790-1875), who was the son of Colonel Hon. Richard St. Leger (1756-1840) who was the son of St. Leger St. Leger, 1st Viscount Doneraile of the 2nd creation.

Doneraile Court. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doneraile Court. One of the portraits is Thomas Dancer Eyre (d. 1799). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Captain Thomas Dancer Eyre (1742-1799) of 4th Dragoon Guards, m. Letitia Cole in 1788, courtesy Purcell Auctioneers 2016.

The website tells us: “The fine parklands are designed in the naturalistic style of the famous Capability Brown. They include many beautiful water features, plus a parterre walled garden and gardeners’ cottages. There are numerous pathways and graded walks. Lucky visitors might just spot some of the red deer, fallow deer, sika deer and Kerry cattle that live on the estate.” [1]

“Capability” Launcelot Brown (1716-1783), Landscape gardener, painting by Nathaniel Dance (later Sir Nathaniel Holland, Bt), c. 1773, courtesy of National Portrait Gallery NPG 6049
Doneraile Court. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doneraile Court. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doneraile Court. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The landscape of Doneraile is laid out in “Capability” Brown style, which is characterized by a natural flowing appearance rather than more formally patterned gardens. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doneraile Court. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doneraile Court. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doneraile Court. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] See also https://doneraileestate.ie

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

Lismore Castle, County Waterford – whole castle rental or a visit to the gardens

Lismore Castle from the Pleasure Grounds in the Lower garden, by George Munday/Tourism Ireland 2014 (see [1])

https://www.thehallandlismorecastle.com/lismore-castle/stay/

Lismore Castle’s 800-year history is everywhere you look, from the stained-glass windows and thick stone walls, to the centuries-old gardens and the exceptional artworks by Old Masters and leading contemporary artists. Available for rent, this exclusive use castle in Ireland’s county Waterford is the perfect retreat for you and your guests.

You can’t visit the castle inside but you can visit the beautiful gardens.

www.lismorecastlegardens.com

Photograph courtesy of The Hall and Lismore Castle website.

If anyone wants to give me a present, could you book me in for a week at Lismore Castle?

Lismore Castle Gardens, Co Waterford, photograph Courtesy of Celtic Routes 2019 for Tourism Ireland (see [1])
Lismore Castle Gardens, Co Waterford, photograph Courtesy of Celtic Routes 2019 for Tourism Ireland (see [1])

Mark Bence-Jones writes of Lismore Castle:

p. 186. “(Boyle, Cork and Orrery, E.PB; Cavendish, Devonshire, D/PB)…Now predominantly of early C17 and C19; but incorporating some of the towers of the medieval castle of the Bishops of Lismore which itself took the place of a castle built by King John [around 1185] where there had formerly been a famous monastery founded by St. Carthagh and a university which was a great centre of civilisation and learning in the Dark Ages. The first Protestant Bishop, the notorious Myler McGrath, granted the castle and its lands to Sir Walter Raleigh; who, however, seldom lived here, preferring his house in Youghal, now known as Myrtle Grove.” [2]

Mark Bence-Jones continues the history of the castle: “In 1602, Raleigh sold Lismore and all his Irish estates to Richard Boyle, afterwards 1st Earl of Cork, one of the most remarkable of Elizabethan adventurers; who, having come to Ireland as a penniless young man, ended as one of the richest and most powerful nobles in the kingdom. From ca. 1610 onwards, he rebuilt Lismore Castle as his home, surrounding the castle courtyard with three storey gabled ranges joining the old corner-towers, which were given Jacobean ogival roofs; the principal living rooms being on the side above the Blackwater, the parlour and dining-chamber in a wing projecting outwards to the very edge of the precipice, with an oriel window from which there is a sheer drop to the river far below. On the furthest side from the river Lord Cork built a gatehouse tower, incorporating an old Celtic-Romanesque arch which must have survived from Lismore’s monastic days. He also built a fortified wall – so thick that there is a walk along the top of it – enclosing a garden on this side of the castle; and an outer gatehouse with gabled towers known as the Riding House because it originally sheltered a mounted guard. The garden walls served an important defensive purpose when the castle was besieged by the Confederates 1642, the year before the “Great Earl’s” death. On this occasion the besiegers were repulsed; but in 1645 it fell to another Confederate Army and was sacked.”

Richard Boyle, 1st Earl of Cork (1566-1643) Date c.1630, courtesy of National Gallery of Ireland. He bought Lismore Castle and thousands of acres in Munster having arrived with just £27 in 1588.
Lismore Castle gardens, County Waterford, 20th August 2023.
Display board from exhibition in the Irish Georgian Society, July 2022, The National Inventory of Architectural Heritage is compiling a Garden Survey.
Lismore Castle gardens, County Waterford, 20th August 2023.
Lismore Castle gardens, County Waterford, 20th August 2023.
Lismore Castle gardens, County Waterford, 20th August 2023.
A market is held outside the gardens of Lismore Castle, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle, photograph Courtesy Patrick Brown 2014 for Tourism Ireland (see [1]).
Photograph courtesy of The Hall and Lismore Castle website.

Mark Bence-Jones continues the fascinating history: “It was made habitable again by the 2nd Earl of Cork – James II stayed a night here in 1689 and almost fainted when he looked out of the dining room window and saw the great drop – but it was neglected in C18 and became largely ruinous; the subsequent Earls of Cork, who were also Earls of Burlington, preferring to live on their estates in England.

I’m not sure if it’s this window that nearly made King James II faint! Photograph courtesy of The Hall and Lismore Castle website.
Richard Boyle (1612-1698) 1st Earl of Burlington and 2nd Earl of Cork, possibly after Sir Anthony van Dyck c.1640, NPG 893.
This photograph shows the portrait of Robert Boyle (1627-1691) on the wall, Photograph courtesy of The Hall and Lismore Castle website.
Robert Boyle F. R. S. (1627-1691) by Johann Kerseboom, 1689, courtesy of Science History Institute. He was the brother of the 2nd Earl of Cork.
Oil painting on canvas, Lady Elizabeth Clifford, Countess of Burlington (1621 – 1698) by Sir Anthony Van Dyck (Antwerp 1599 – London 1641). Three-quarter length portrait, profile to left, head facing, wearing wbite satin dress and blue scarf, pointing with her left hand in a landscape. She married Richard Boyle, 2nd Earl of Cork and 1st Earl of Burlington.
Charles Boyle (c. 1662-1704) 3rd Earl of Cork and 2nd Earl of Burlington, by Godfrey Kneller, courtesy of National Trust Hardwick Hall.
Richard Boyle, 3rd Earl of Burlington (1694-1753) by Jonathan Richardson, courtesy of London’s National Portrait Gallery NPG 4818.
Richard Boyle 4th Earl of Cork and 3rd Earl of Burlington and Dorothy Savile attributed to Aikman, William Aikman (1682-1731).
Oil painting on canvas, Possibly Lady Dorothy Savile, Countess of Burlington and Countess of Cork (1699-1758) by Michael Dahl, circa 1720. Inscribed top right in gold: Lady Dorothy Saville / Daughter to the Marquis of Halifax / married to the Earl of Burlington. A half-length portrait of a young woman, facing, wearing white decollete dres with blue ribbon.
Lady Dorothy Savile, Countess of Burlington (1699-1758) with her Daughter Lady Dorothy Boyle, later Countess of Euston (1724-1742) by Michael Dahl (Stockholm 1656/9 ? London 1743), inscribed top right in gold: Lady Burlington / & Lady Dorothy Boyle. Two bust-length portraits, the mother at the right, wearing red, the daughter dressed in white.

Through the marriage of the daughter and heiress of the architect Earl of Burlington [Charlotte Elizabeth Boyle (1731-1754), daughter of Richard Boyle, 3rd Earl of Burlington, 4th Earl of Cork] and Cork to the 4th Duke of Devonshire [William Cavendish (1720-1764)], Lismore passed to the Cavendishes. The 4th and 5th Dukes took no more interest in the castle than the Earls of Burlington had done; but the 6th Duke [William George Spenser Cavendish (1790-1858)] – remembered as the “Bachelor Duke” – began work at Lismore as soon as he succeeded his father 1811.”

William Cavendish (1720-1764) 4th Duke of Devonshire, after Thomas Hudson, briefly Prime Minister between 1756 and 1757.
Charlotte Boyle (1731-1754) daughter of Richard Boyle (1694-1753) 3rd Earl of Burlington 4th Earl of Cork who married William Cavendish (1720-1764) 4th Duke of Devonshire and brought Lismore Castle, County Waterford, into the Cavendish family. Painting after style of George Knapton, courtesy of Chiswick House collection. As the heir of her father, she succeeded to the title of Baroness Clifford of Londesborough suo jure.

We came across the 5th Duke of Devonshire before as he had an affair with and then, after his wife died, married Elizabeth Christina Hervey. Elizabeth Christina had been married to John Thomas Foster (1747-1796), MP for Dunleer, County Louth, of Glyde Court (see my entry on Cabra Castle). After the 5th Duke of Devonshire died, Elizabeth Christina married for a third time, to Valentine Richard Quin 1st Earl of Dunraven and Mount Earl, of Adare Manor in Limerick.

William Cavendish (1748-1811) 5th Duke of Devonshire by John Raphael Smith, after Sir Joshua Reynolds publ. 1776, NPG D1752.
Lady Elizabeth Foster (1759-1824) née Hervey, as the Tiburtine Sibyl c. 1805 by Thomas Lawrence, National Gallery of Ireland NGI788. She married the 5th Duke of Devonshire, who did not spend time at Lismore Castle.
Dorothy Bentinck, née Cavendish, Duchess of Portland (1750-1794) by George Romney, c. 1772daughter of William Cavendish, 4th Duke of Devonshire. She married William Henry Bentinck 3rd Duke of Portland, who added Cavendish to his name to become Cavendish-Bentinck. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The 6th Duke, William George Spenser Cavendish (1790-1858), son of the 5th Duke’s first wife Georgiana née Spencer, began work at Lismore as soon as he succeeded his father 1811.

William George Spencer Cavendish (1790-1858) 6th Duke of Devonshire, the “Bachelor Duke,” by George Edward Madeley, National Portrait Gallery of London D15276.
Photograph courtesy of The Hall and Lismore Castle website, the portrait looks like the 6th Duke of Devonshire.
Lismore Castle gardens, County Waterford, 20th August 2023.
Photograph courtesy of The Hall and Lismore Castle website.

I love the story of the Bachelor Duke: “By 1812 the castle was habitable enough for him to entertain his cousin, Lady Caroline Lamb [nee Ponsonby], her husband William, and her mother, Lady Bessborough, here. Caroline, who had been brought to Ireland in the hope that it would make her forget Byron, was bitterly disappointed by the castle; she had expected “vast apartments full of tattered furniture and gloom”; instead, as Lady Bessborough reported, “Hart handed her into, not a Gothic hall, but two small dapper parlours neatly furnished, in the newest Inn fashion, much like a Cit’s villa at Highgate.” Hart – the Bachelor Duke [He succeeded as the 6th Marquess of Hartington, co. Derby [E., 1694] on 29 July 1811] – had in fact already commissioned the architect William Atkinson to restore the range above the river in a suitably medieval style, and the work actually began in that same year. Battlements replaced the Great Earl of Cork’s gables and the principal rooms – including the dining room with the famous window, which became the drawing room – where given ceilings of simple plaster vaulting.

Lady Caroline Lamb née Ponsonby (1785-1828) by Eliza H. Trotter, NPG 3312.
Lismore Castle, photograph Courtesy Chris Hill 2015 for Tourism Ireland (see [1]).
Lismore Castle, photograph Courtesy Chris Hill 2006 for Tourism Ireland (see [1]).
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph courtesy of The Hall and Lismore Castle website.
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.

From the website, we can see the interiors of the rooms of the Gothic windows we can see from the Lower Garden.

Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.

The Bachelor Duke, who became increasingly attached to Lismore, began a second and more ambitious phase of rebuilding 1850, towards the end of his life. This time his architect was Sir Joseph Paxton, that versatile genius who designed the Crystal Palace and who, having started as the Bachelor Duke’s gardener, became his close friend and right hand man. During the next few years, the three remaining sides of the courtyard were rebuilt in an impressive C19 castle style, with battlemented towers and turrets; all faced in cut-stone shipped over from Derbyshire. The Great Earl’s gatehouse tower, with its pyramidal roof, was however, left as it was, and also the Riding House.

Joseph Paxton(1803-1865).
The Riding House, Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023.
The Riding House, Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Mark Bence-Jones continues: “The ruined chapel of the Bishops, adjoining the range containing the Great Earl’s living rooms, was restored as a banqueting hall or ballroom of ecclesiastical character; with choirstalls, a vast Perpendicular stained glass window at either end, and richly coloured Gothic stencilling on the walls and the timbers of the open roof. The decoration of the room was carried out by John Gregory Crace, some of it being designed by Pugin, including the chimneypiece, which was exhibited in the Medieval Court at the Great Exhibition. The banqueting hall is the only really large room in the castle, the interior of which is on a much more modest and homely scale than might be expected from the great extent of the building; but in fact one side of the courtyard was designed to be a separate house for the agent, and another side to be the estate office. Subsequent Dukes of Devonshire have loved Lismore as much as the Bachelor Duke did, though their English commitments have naturally prevented them from coming here for more than occasional visits. From 1932 until his death 1944, the castle was continuously occupied by Lord Charles Cavendish, younger son of the 9th Duke, and his wife, the former Miss Adele Astaire, the dancer and actress, who still comes here every year. The present Duke and Duchess have carried out many improvements to the garden, which consist of the original upper garden, surrounded by the Great Earl’s fortified walls, and a more naturalistic garden below the approach to the castle; the two being linked in a charming and unexpected way by a staircase in the Riding House.” 

The Dining Room, formerly the chapel, Photograph courtesy of The Hall and Lismore Castle website. The decoration of the room was carried out by John Gregory Crace, some of it being designed by Pugin, including the chimneypiece, which was exhibited in the Medieval Court at the Great Exhibition.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph courtesy of The Hall and Lismore Castle website. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Up on the castle wall you can see a face gargoyle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Display board from exhibition in the Irish Georgian Society, July 2022, The National Inventory of Architectural Heritage is compiling a Garden Survey.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023.
Lismore Castle gardens, County Waterford, 20th August 2023.
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023.
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023.
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This was previously the swimming pool. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Photograph courtesy of The Hall and Lismore Castle website.
Parts of the Berlin wall, Lismore Castle gardens, County Waterford, 20th August 2023.
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lismore Castle gardens, County Waterford, 20th August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph courtesy of The Hall and Lismore Castle website.

[1] https://www.irelandscontentpool.com/en

[2] 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.

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

Kilkenny Castle, County Kilkenny, an Office of Public Works property

The garden front of Kilkenny Castle, photograph by macmillan media 2016 for Tourism Ireland, Ireland’s Content Pool. It sits on the banks of the River Nore. [1]

From the OPW website:

Built in the twelfth century, Kilkenny Castle was the principal seat of the Butlers, earls, marquesses and dukes of Ormond for almost 600 years. Under the powerful Butler family, Kilkenny grew into a thriving and vibrant city. Its lively atmosphere can still be felt today.

The castle, set in extensive parkland, was remodelled in Victorian times. It was formally taken over by the Irish State in 1969 and since then has undergone ambitious restoration works. It now welcomes thousands of visitors a year.

Kilkenny Castle, photograph by unknown 2014 for Failte Ireland, Ireland’s Content Pool. [see 1]

Kilkenny Castle has been standing for over eight hundred years, dominating Kilkenny City and the South East of Ireland. Originally built in the 13th century by William Marshall, 4th Earl of Pembroke as a symbol of Norman control, Kilkenny Castle reflected the fortunes of the powerful Butlers of Ormonde for over six hundred years. [2]

The Butlers fought for the king in Ireland, France and Scotland, and held positions of power including Lord Lieutenant of Ireland, the monarch’s representative in Ireland. Mark Bence-Jones tells us that several monarchs have stayed in Kilkenny Castle during the course of its history, including Richard II, James II, Willam III, Edvard VII and George V. [3]

In 1935 the Ormondes ceased to live in the castle, which for the next thirty years stood empty and deteriorating. In 1967 James Arthur Norman Butler (1893-1971), 6th Marquess and 24th Earl of Ormonde sold the Castle to the Kilkenny Castle Restoration Committee for £50. Two years later it went into state ownership.

William Marshall (about 1146-1219) married Isabel the daughter of “Strongbow” Richard de Clare, 2nd Earl of Pembroke. With the marriage, he gained land and eventually the title Earl of Pembroke. Isabel inherited the title of 4th Countess of Pembroke “suo jure” i.e. herself (her brother, who died a minor, was the 3rd Earl). Hence William Marshall became the 4th Earl through his wife, but then then was created the 1st Earl of Pembroke himself ten years after their marriage. They settled in Ireland, beginning with setting up the town of New Ross and then restoring Kilkenny town and castle – a castle had pre-dated them, according to the Kilkenny Castle website.

The Marriage of Aoife and Strongbow, Richard de Clare 2nd Earl of Pembroke at Waterford in 1170, by Daniel Maclise, in National Gallery of Ireland. Conceived for the decoratino of the Palace of Westminster, the painting is an ambiguous representation of the victorious Normans and the vanquished Irish. Strongbow places his foot upon a fallen Celtic cross, King Dermot looks on in alarm, and an elderly musician slumps of his harp. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The present-day castle is based on the stone fortress that Marshall designed, comprising an irregular rectangular fortress with a drum-shaped tower at each corner. Three of these towers survive to this day.

Kilkenny Castle, County Kilkenny, overhead shot courtesy Air Experience AFTA website.
Kilkenny Castle, photograph by Mark Wesley 2016 for Failte Ireland, Ireland’s Content Pool. [see 1]

There is an introductory film for visitors in the one of the old round towers. Inside, you can see the thickness of the walls.

One of the three ancient corner towers of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

By 1200, Kilkenny was the capital of Norman Leinster and New Ross was its principal port. The Marshalls also founded the Cistercian abbeys at Tintern in County Wexford and Duiske in Graiguenamanagh, County Kilkenny, as well as the castles at Ferns and Enniscorthy. Marshall died and was buried in England. [4]

Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In 1317, the de Clare family sold the Kilkenny castle to Hugh Despenser. The Despensers were absentee landlords. In 1391 the Despensers sold the castle to James Butler, 3rd Earl of Ormond, 9th Chief Butler of Ireland (1360–1405).

The first Butler to come to Ireland was Theobald Walter Le Botiller or Butler (1165–1206), 1st Baron Butler, 1st Chief Butler of Ireland.

In 1185, Prince John landed at Waterford and around this time he granted the hereditary office of Chief Butler of Ireland to Theobald. Before this, there was a Chief Bulter of England, a position Theobald held, but the office of Chief Butler of Ireland was freshly created. The hereditary office was a position of “serjeanty.” Under feudalism in France and England during the Middle Ages, tenure by serjeanty was a form of tenure in return for a specified duty other than standard knight-service. The duty of this serjeanty was to to attend the Kings of England at their coronation and to pour their first cup of wine. [5]

It is said that he was called “Le Botiller” because he received the monopoly of the taxes on wines being imported into Ireland. Timothy William Ferres tells us that it was Theobald, 4th Butler (1242-85) who received the prisage, from King Edward I. As the Chief Butler had to provide the wine, he was given this “prisage” to help perform his role. This privilege only ceased in 1811 when the right was purchased back by the Crown from the Marquess of Ormonde for £216,000. [6]

Theobald the 1st Chief Butler was the first of the family to use the surname Butler. He was involved in the Irish campaigns of King Henry II and King John of England. He built Arklow Castle in County Wicklow. His descendant, the 4th Chief Butler, constructed a stone fortress on the site in the 1280s which became the family’s regional stronghold.

Conjectural reconstruction drawing of Arklow Castle, County Wicklow by Sara Nylund courtesy County Wicklow Heritage.

Over the following centuries, as the Butlers grew into Earls and eventually Dukes of Ormonde centered in Kilkenny, they retained Arklow Castle and the surrounding lands by appointing constables. The 1st Duke of Ormond sold Arklow Castle in 1714 to John Allen of Stillorgan. Today only fragments remain. [see https://surnamearts.com/history/butler/butler-castles-in-ireland/ ]

Theobald died in 1206 and was buried at Wotheney Abbey in Limerick.

He is also said to have built Nenagh Castle.

The OPW website tells us that Nenagh Castle is a fine example of a Norman structure, dating between 1200 – 1220. There are 101 steps in total to reach the top of the tower, and it is five storeys high. The second floor is believed to have once been the main public hall, while the third floor was the lord’s private residence. What stands today is the last remaining tower of three, which were surrounded by a curtain wall. There would have also been a two-towered gatehouse, and it was likely defended by a moat. The castle changed hands multiple times throughout its history, initially acting as the main residence for Theobald Walter, and was the seat of his ancestors, the Butler family, until the mid-14th century. The Mac Ibrien family owned the building in the 15th century, and was returned to the Butler’s in 1533. Photograph by Gramscis Cousin, CC BY-SA 3.0

His son, Theobald le Botiller (1200–1230) 2nd Baron Butler was summoned in 1229 cum equis et armis (Latin: “with horses and arms”) to attend the King in Brittany. He died on 19 July 1230 in Poitou, France, and was buried in the Abbey of Arklow, County Wicklow.

Timothy William Ferres gives us an excellent summary of the Butler genealogy and there are great notes on the Kilkenny Castle website. [6]

The 2nd Baron Butler’s widow was his second wife, Roesia/Rohese de Verdun (c. 1204–1247). She became one of the most powerful women in 13th century Ireland. In 1236 she built Castleroche in County Louth to defend her lands against Irish raiders. The castle was practically impregnable thanks to its position and design.

Castleroche, County Louth, built by Rohese de Verdun, wife of Theobald le Botiller (1200–1230) 2nd Baron Butler. Photograph courtesy of Tourism Ireland.

Theobald Butler 3rd Baron acquired considerable property by marrying Margery, eldest daughter of Richard de Burgh (ancestor of the Earls of Clanricarde). He served as Chief Justiciar of Ireland. His son Theobald (1242-85) succeeded as 4th Baron Butler sat in the Parliament of Ireland. He assisted King Edward I in his wars in Scotland. By his marriage, the 4th Baron acquired considerable land in England.

The 5th and 6th Barons were both sons of the 4th Baron. Theobald’s son Edmond (c.1270-1321) succeeded his brother as 6th Baron and 6th Chief Butler of Ireland in 1299. He was appointed Lord Deputy of Ireland in 1312. He married Joan, the daughter of the 1st Earl of Kildare. In 1315 Edward II granted him the manors of Carrick-on-Suir and Roscrea in Tipperary, with the title of Earl of Carrick. His descendants from his second son, John, later became Earls of Carrick and also Viscounts Ikerrin.

Roscrea Castle, County Tipperary, August 2024. It was granted to the Butlers of Ormond in 1315 who held it until the early 18th Century. The castle as we see it today was built from 1332. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Earl of Carrick’s son James Butler (c. 1305-38) who succeeded as 7th Baron married Eleanor, whose mother was a daughter of King Edward I. In consequence of this alliance, in 1328 King Edward III named James Earl of Ormond.

Probably James Butler (c. 1305-1337), the 1st Earl of Ormond. St. Mary’s church, Gowran, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com.
St. Mary’s church, Gowran, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com.

His son James Butler (1331–1382) 2nd Earl of Ormond was called the Noble Earl due to his links with King Edward I. He served as Lord Justice of Ireland.

James Butler (1360–1405) who succeeded as 3rd Earl of Ormond on his father’s death made Gowran Castle his usual residence so was called Earl of Gowran. The original Gowran Castle was built in the late 14th century by the Earls of Ormonde. Badly damaged in the Cromwellian wars, it was all but a ruin when Charles Agar acquired a lease of it about 1660 and repaired it. After a fire in 1713, his son James Agar rebuilt it. The house was rebuilt for the 2nd Viscount Clifden in 1817-19 to the designs of William Robertson. 

In 1391 James Butler 3rd Earl of Ormond purchased Kilkenny Castle. In 1399 King Richard II stayed in Kilkenny Castle, where he was entertained for fourteen days.

One of the three old towers of Kilkenny Castle, photograph by Finn Richards, 2015 for Failte Ireland, Ireland’s Content Pool. [see 1]
Two of the old corner towers of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carvings on the marble fireplace in the picture gallery of Kilkenny Castle, designed by J. H. Pollen, depict scenes from the history of the Butler family. Starting on the left, the first panel shows the buying the castle by the first Earl of Ormond in 1391 from the Despenser family – money changing hands is shown. The second panel depicts Theobald Fitzwalter acting as Chief Butler to the newly crowned King of England highlighting their ancient royal privilege and upon which their surname of Butler is based. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Marble Fireplace is made of Carrara marble and was designeded by J. H. Pollen in a quasi-medieval style. It was supplied by the firm of Ballyntyne of Dorset Street, Dublin. On the third panel, you see King Richard the Second acting as godfather for James, 4th Earl (1392-1452). The centrepiece is the family crest which can also be seen over the arch and gateway, with the family motto “comme je trouve”- “as I find”, as well as the heraldic shield guarded, the falcon, the griffin (a legendary creature with the body of a lion and the head and wings of an eagle) and the ducal coronet. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

James 3rd Earl was succeeded by his eldest son, James, 4th Earl (1392-1452), who was called The White Earl, and was esteemed for his learning. James was one of the most important figures in Irish politics in the early 15th century. He was Lord Justice of Ireland in 1407, and again in 1440. He died in 1452.

He was succeeded by his eldest son James (1420-61) 5th Earl. He married Avice Stafford in 1438, by whom he inherited substantial lands in the west country of England. After the death of his first wife, he married Eleanor Beaufort, sister of the Duke of Somerset. In 1451, was was made Lord Deputy of Ireland and the next year, Lord Lieutenant of Ireland. He served as Lord High Treasurer in 1455 and was installed a Knight of the Garter.

The Butler Family become embroiled in the War of the Roses in the 15th Century. When the Wars of the Roses gripped England from the 1450s through to 1487, the opposing houses of Lancaster (the red rose) and York (the white rose) were supported by the earls of Ormond and Kildare, respectively. The 5th Earl of Ormond was loyal to the Lancastrians and Henry VI, who made him Earl of Wiltshire in England. The title of Earl of Wiltshire expired when the throne passed into the hands of the Yorkists in 1461, and the 5th Earl was captured and executed at Newcastle in 1461. In England, Richard Plantagenet 3rd Duke of York’s son came to the throne as King Edward IV.

An old corner tower of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

After the execution of his brother the 5th Earl in 1461, John (1422–1477), who succeeded as the 6th Earl, fled to Scotland with the Lancastrians. He attempted a new Lancastrian uprising in Ireland but the revolt ended with the defeat of his kinsmen by the 8th Earl of Desmond at the Battle of Piltown in the summer of 1462. John was not present at the battle. He went into exile in Portugal and France from 1464. He returned to England 1470-71 on the restoration of Henry VI.

Edward IV, of the House of York, was returned to the throne, however, in 1471. Richard III became king in 1473, until he died in 1475, when Henry VII became king. Henry VII of the Lancaster dynasty married Edward IV’s daughter Elizabeth of York, thus uniting the families.

The 6th Earl of Ormond’s brother Thomas (1426-1515), who succeeded as 7th Earl, was attainted as a Lancastrian, but restored by King Henry VII. He was known as ‘Earl of the Wool.’ Under Henry VII he managed to recover the family position in England and his lands were restored. He was appointed Chamberlain to the Queen in 1486 and Ambassador to Brittany in 1491 and Burgundy in 1497.

From the 1490s he faced troubles in Ireland, as he lacked a male heir. His two daughters became co-heiresses who inherited the Butler estates in England. His daughter Margaret Butler (1465–1537) married Sir William Boleyn and they were the grandparents of Anne Boleyn, Queen of England, second wife of Henry VIII.

When the 7th Earl of Ormond died in 1515, the next male in the family line was Piers Butler (1467-1539). Both the 7th Earl and Piers descended from the 3rd Earl of Ormond. Piers Butler was the son James Butler and Sabh Kavanagh. He was the great grandnephew of James, the 3rd Earl. Before the 7th Earl’s death, Piers’s father laid claims to the Ormond land and title, as the 7th Earl lived mostly abroad.

Someone else could claim to be heir of the 7th Earl of Ormond. James Butler 6th Earl had illegitimate children, though he never married. His son James was called James Ormond, or James Dubh Butler. He was the 7th Earl’s agent in Ireland while the 7th Earl lived in England. Piers Butler murdered him, but was pardoneed for the murder.

Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Butler genealogy.

In 1485 Piers Butler married Margaret Fitzgerald, daughter of the 8th Earl of Kildare – a political marriage to merge the two dynasties.

In 1498, he and Margaret had seized Kilkenny Castle and made it their chief residence. Through her considerable efforts, the standard of living inside the castle was greatly improved.

Margaret was sometimes styled the “Great Countess of Ormond.” She signed herself “Margaret Fitzgerald of the Geraldines,” and occupied herself in legal matters regarding her family and the Ormond estates. She worked with Piers to develop the estate, expanding and rebuilding manor houses. She also established Kilkenny Grammar School. She urged Piers to bring over skilled weavers and artificers from Flanders and helped establish industries for the production of carpets, tapestries and diapers (a type of cloth). Margaret and her husband commissioned significant additions to the castles of Granagh, and rebuilt Gowran Castle, which had been originally constructed in 1385 by James Butler, 3rd Earl of Ormond. She is also said to have built Ballyragget Castle in County Kilkenny.

Ballyragget castle, County Kilkenny, by Gabriel Berenger, courtesy Royal Irish Academy MS 3 C 30/54.

As Anne Boleyn grew in King Henry VIII’s favour, so did her father Thomas. In 1529, the King persuaded Piers Butler to relinquish the title Earl of Ormond, and the king gave this title to Thomas Boleyn, Viscount Rochford. Piers was created, instead, Earl of Ossory. The king hoped Piers would improve the Crown’s grip over southern Ireland. Piers gained much from Crown.

Thomas Boleyn, Earl of Ormond, died without issue in 1539 and the King restored Piers Butler Earl of Ossory to his original title of Ormond. Piers succeeded as the 8th Earl of Ormond.

Piers is buried in St Canice’s Cathedral, Kilkenny with his wife.

St. Canice’s Cathedral, Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
St. Canice’s Cathedral, Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Piers Butler (1467-1539) Earl of Ossory, 8th Earl of Ormond, and his wife Margaret Fitzgerald (d. 1542), St. Canice’s Cathedral, Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Piers Butler (1467-1539) Earl of Ossory, 8th Earl of Ormond, St. Canice’s Cathedral, Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Piers Butler (1467-1539) Earl of Ossory, 8th Earl of Ormond, St. Canice’s Cathedral, Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A dog, symbol of loyalty, at the feet of Piers Butler (1467-1539) Earl of Ossory, 8th Earl of Ormond, St. Canice’s Cathedral, Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Margaret Fitzgerald (d. 1542) wife of Piers Butler, Earl of Ossory, 8th Earl of Ormond. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Piers and Margaret’s daughters married well, continuing to build ties with other powerful families. They had daughters Ellen (d. 1597) who married Donough O’Brien (d. 1553) 1st Earl of Thomond; Margaret married Barnaby FitzPatrick, 1st Baron of Upper Ossory; Joan married James Butler, 10th Baron Dunboyne; Eleanor married Thomas Butler 1st Baron Caher; Katherine married Richard Power, 1st Baron le Power and Coroghmore first and secondly, James FitzJohn FitzGerald, 13th Earl of Desmond; Ellice married Gerald FitzJohn FitzGerald (d. 1553, father of 1st Viscount Decies).

Piers’s eldest son James (1496–1546) succeeded him in 1539 as 9th Earl of Ormond, 15th Chief Butler, and 2nd Earl of Ossory. Piers’s second son, Richard (d.1571), was created 1st Viscount Mountgarret in 1550. Another son, John Butler (d. 1570) who lived in Kilcash, County Tipperary, was father of Walter (1569-1632) 11th Earl of Ormond.

James Butler (1504-1564), Soldier, 9th Earl of Ormond and Ossory by Francesco Bartolozzi, published by John Chamberlaine, after Hans Holbein the Younger publ. 1797, courtesy of National Portrait Gallery NPG D39383.

In 1520 there was a plan to marry the eldest son James to a daughter of Thomas Boleyn in an effort to end the controversy over the earldom – but nothing came of it. James married Joan Fitzgerald, daughter of James Fitzgerald, 11th Earl of Desmond.

James was nicknamed ‘The Lame’ because of a limp he acquired in the 1513 invasion of France as part of Henry VII’s army. He had been reared at the Court of Henry VIII and he was created Viscount of Thurles during the lifetime of his father. Henry VIII appointed him Lord Treasurer of Ireland (1532) and he was given seven religious houses on the dissolution of the Monasteries. He was held in high regard by Henry, with the decline of the Geraldines. He died 1546, aged 42, of food poisoning, eleven days after attending a supper at Ely House, Holborn. He and the seventeen of his household who died with him may have been deliberately poisoned. His host, John Dudley, 1st Duke of Northumberland had no motive as he had no quarrel with Ormond. Historian James Murray suggests that Anthony St Leger, Lord Deputy of Ireland, may have been invovled. [8]

James Butler (d. 1546) 9th Earl of Ormond, 2nd Earl of Ossory. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A dog, symbol of loyalty, at the feet of James Butler (d. 1546) 9th Earl of Ormond, 2nd Earl of Ossory, St. Canice’s Cathedral, Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

As well as his heir, Thomas, the 9th Earl also had a son Edmond (d. 1602) who lived in Cloughgrenan, County Carlow, who gave rise to the Baronets of Cloughgrenan.

As a young boy, Thomas Butler (c.1531-1614), later 10th Earl of Ormond, was fostered with Rory O’More, son of the lord of Laois before being sent to London to be educated with the future Edward VI. He was the first member of the Butler family to be brought up in the protestant faith. In 1546, he inherited the Ormond earldom following the sudden death of his father.

Thomas Butler 10th Earl of Ormond by Steven Van der Meulen. He is holding a wheelcock pistol with his coat of arms in the upper left corner.

Thomas Butler was highly regarded by Queen Elizabeth, to whom he was related through her mother Anne Boleyn. Anne Boleyn was the granddaughter of the 7th Earl of Ormond making Elizabeth and Thomas cousins. Due to his dark hair, he was called “Black Tom,” and the Queen called him “her dark husband” and it is even rumoured that she had a son with him.

Queen Elizabeth promoted him to Lord Treasurer of Ireland in 1559.

Thomas Butler (c.1531-1614), 10th Earl of Ormond, artist unknown. Thomas married three times but left no heir and was succeeded by his nephew Walter Butler 11th Earl of Ormond. He died in 1614 and was buried in St Canice’s cathedral, Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The OPW website tells us that after the death of his mother, Joan Fitzgerald, the old feud between the Butlers and the Fitzgeralds broke out again and Black Tom defeated the Earl of Desmond at Affane (1565), the last pitched battle in Britain or Ireland.

He was made Knight of the Garter in 1588 and Earl Marshal of England in 1591.

See my entry about the Ormond Castle at Carrick-on-Suir for more on “Black Tom.” https://irishhistorichouses.com/2024/09/05/ormond-castle-carrick-on-suir-county-tipperary-an-opw-property/

Carrick-On-Suir, Co Tipperary Courtesy Tipperary Tourism photo by Kerry Kissane All Around Ireland 2021

The Desmond Rebellions in Munster in 1569–1573 and 1579–1583 were motivated primarily by the desire to maintain the independence of feudal lords from the English monarch but also had an element of religious antagonism between Catholic Geraldines (Fitzgeralds, Earls of Desmond) and the Protestant English state. Some of Thomas the 10th Earl’s brothers supported the Fitzgeralds in their rebellion: Edmund Butler (1534-1602) of Cloghgrennan, County Carlow, Edward and Piers (1541-1601). Edmund, Edward and Piers were attainted in April 1570. That meant that Edmund ceased to be Ormond’s heir presumptive and the next brother, John Butler of Kilcash, took his place. However, John predeceased Thomas, in 1570, and John’s eldest son Walter Butler (1559–1633) became heir presumptive. 

Kilcash Castle, County Tipperary, photograph by Mike Searle.

Thomas married three times but left no direct male heir. He died in 1614 and was buried in St Canice’s cathedral, Kilkenny. He had a daughter, Elizabeth. She married her cousin, Theobald Butler (1565-1614), 1st Viscount Tulleophelim, who was the son of Black Tom’s brother Edmund (1534-1602) of Cloghgrennan, County Carlow. He died, however, the same year as Black Tom.

King James then orchestrated the marriage of Elizabeth Butler to his Scottish favourite Richard Preston (1589-1628) 1st Baron Dingwall. James I made sure that Black Tom’s daughter Elizabeth (1590-1628) inherited most of the Ormond estate.

Although he did not inherit the majority of the land, Walter Butler (1559–1633) inherited the title and became the 11th Earl of Ormond. Unlike his uncle, who had been raised at Court and reared a Protestant, Walter was Catholic. Because of his devotion to his faith, he was called Walter of the Beads.

Walter Butler’s claim to the family estates was blocked by King James I. Walter he spent much time and money in litigation opposing the King’s decision and was imprisoned for eight years in the Fleet, London, as a result. He was released 1625. The King gave Richard Preston the title Earl of Desmond, as the Fitzgeralds had lost the title of Earl of Desmond due to their rebellion.

The Butler genealogy.

Walter’s son Thomas, Viscount Thurles, predeceased him, so when he died his nine-year-old grandson James (1610-1688) became the heir to the titles. The estates, including Kilkenny Castle, had passed to Elizabeth and her husband Richard Preston Baron Dingwall. Before he died, Walter arranged a marriage between his heir James and Elizabeth and Richard Preston’s daughter in order to unite the estates with the Earl of Ormond title. In 1629 James married his cousin Elizabeth Preston and reunited the Ormond estates.

Elizabeth Poyntz (1588-1673), mother of the 1st Duke of Ormond, painted by John Michael Wright, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

James Butler (1610-88) 12th Earl of Ormond (later 1st Duke of Ormond) was the eldest son of Thomas Butler, Viscount Thurles, and his wife Elizabeth Poyntz. Following his father’s death in 1619, 9-year-old James was made a royal ward, and was educated at Lambeth Palace under the tutelage of George Abbot, Archbishop of Canterbury.

James Butler (1610-1688) 1st Duke of Ormonde by Willem Wissing circa 1680-1685, courtesy of National Portrait Gallery NPG 5559.
Elizabeth Preston, (1616-1684) Baroness Dingwall, Countess of Ormond, later Duchess of Ormond, with her son Thomas, Lord Ossory (1634-1680), attributed to David des Granges (1611-1671/72), courtesy Office of Public Works. She was the daughter of Richard Preston, Baron Dingwall, Earl of Desmond and his wife Elizabeth Butler, only daughter and heiress of Thomas Butler, 10th Earl of Ormond. On the death of her parents in 1628, Elizabeth was made a royal ward and the rights of her marriage were granted to the Earl of Holland, who sold it for £15,000. She married her cousin James Butler, Viscount Thurles, later 1st Duke of Ormond in 1629, thus reuniting the Ormond titles and properties.
In the long gallery of Kilkenny Castle: James Butler 1st Duke of Ormond painted by John Michael Wright (1617-1694); in centre, Elizabeth Poyntz (1588-1673), mother of the 1st Duke of Ormond, painted by John Michael Wright; and Elizabeth Preston (1615-1684), wife of the 1st Duke of Ormond, with her son Thomas, who became the 6th Earl of Ossory. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The marriage took place on Christmas 1629. In 1630, James and his wife Elizabeth lived in the castle in Carrick-on-Suir.

James succeeded to the Ormond titles in 1633 on the death of his grandfather, Walter Butler, 11th Earl of Ormond. James and Elizabeth Butler’s estates in Ireland consisted of close to 300,000 acres, spread over seven counties, mostly in Counties Kilkenny and Tipperary. However, both he and his wife inherited debts. Debt was to plague James all his life.

James Butler 1st Duke of Ormond painted by John Michael Wright (1617-1694), Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Marble Fireplace of the picture gallery of Kilkenny Castle. In the fifth panel, the 1st Duke of Ormond can be seen entering the Irish House of Lords still bearing his sword. Indeed, he refused to hand his weapon over as were the protocols in case it was used inside during an argument; this became known as The Act of Defiance. The sixth panel next to this symbolizes the charity of the Butler family showing Lady Ormonde giving alms to the poor. Finally, the sixth and last panel portrays the First Duke of Ormond’s triumphant return to Dublin from exile on the Restoration of Charles the Second in 1662, when he also established the Royal Hospital in Kilmainham and founded the Phoenix Park. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

James 12th Earl of Ormond and Elizabeth had eight sons and two daughters but only three of those sons survived infancy: Thomas, later Earl of Ossory, born in 1634, John, later Earl of Gowran, also born in 1634, and Richard, later 1st Earl of Arran in 1639. Their daughters were Mary, born in 1640, later Duchess of Devonshire and Elizabeth, born in 1646, later Countess of Chesterfield.

James 12th Earl of Ormond remained loyal to the monarchy and to King Charles I at the time of the 1641 Rebellion and the Civil War. He was appointed commander-in-chief of the army in Ireland in 1641. The family was living at Carrick when the 1641 rebellion broke out. The earl went to Dublin to command the army and Elizabeth and her children moved to Kilkenny Castle.

King Charles I (1600-49), attributed to James Gandy after Sir Anthony van Dyck (1619-89), this portrait hangs in the long gallery of Kilkenny Castle. Charles had been a notable patron of the arts, and was responsible for commissioning works from artists such as Sir Peter Paul Rubens, and for bringing Sir Anthony van Dyck to England. A full length portrait wearing robes of state, this is a very close copy of the portrait painted by Van Dyke (c.1636) now in the Royal Collection. The portrait is attributed to James Gandy on the grounds that it is a seventeenth century work and that he is said to have made many copies of portraits after van Dyck during the time he was employed by the Duke of Ormond. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Queen Henrietta Maria (1609-69), attributed to James Gandy after Sir Anthony van Dyck (1619-89). Daughter of Henri IV of France and Marie De Medici. Wife of Charles I of England and mother to Charles II and James II of England. This portrait hangs in the long gallery of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The five eldest children of King Charles I, after Sir Anthony van Dyck. The children include the future Kings Charles II and James II. The painting hangs in Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Sir Peter Paul Rubens (1577-1640), after a self-portrait by Rubens of c. 1625 which was painted for Charles, Prince of Wales. A crude copy, the artist is unknown, probably a nineteenth century copy. This portrait hangs in the long gallery of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Sir Anthony van Dyck (1599-1641), after Sir Anthony van Dyck. The head in this portrait would seem to be derived from van Dyck’s Self Portrait with Endymion Porter (Prado, Madrid) although the costume is different; in fact, it is closer to that used in van Dyck’s self portrait with Sunflower. Probably a nineteenth century copy, it also hangs in the long gallery of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Diorama and information in St. Canice’s Cathedral, Kilkenny, how the city of Kilkenny looked in 1642. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Diorama and information in St. Canice’s Cathedral, Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Catholic Confederacy, an alliance of Catholics and Anglo-Irish, made Kilkenny their base. James the 12th Earl negotiated on behalf of the king with the Catholic Confederacy. However, Cromwell came to Ireland in 1649 and captured Kilkenny. He ransacked the Cathedral, and attacked Kilkenny Castle.

The castle now forms a “u” shape, because in the time of Oliver Cromwell’s invasion, the fourth wall fell. [7]

Kilkenny Castle, photograph by unknown 2014 for Failte Ireland, Ireland’s Content Pool. [see 1] The castle now forms a “u” shape, because in the time of Oliver Cromwell’s invasion, the fourth wall fell.
Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

James Butler served as Lord Lieutenant of Ireland from 1648-1650, the first of three periods as Lord Lieutenant. Following the defeat of the monarchy, he went into exile, moving around Europe with the exiled court of Charles II.

King Charles II (1630-85) attributed to John Michael Wright (1617-1694). This portrait hangs in the Tapestry Room in Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Queen Henrietta Maria (1609-69), after Sir Anthony van Dyck. Henrietta Maria was the daughter of Henri IV of France and Marie de Medici. She was the wife of Charles I of England and mother of Charles II and James II. This painting was formerly called “Duchess of Orleans”. This is a copy, with slight variations, after an original portrait by van Dyck, painted in 1632. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Lady Ormond was highly regarded at Court and was godmother to Princess Mary, daughter of King James II, later Queen Mary. The Kilkenny Castle website tells us that Elizabeth is author of the largest body of extant correspondence of any woman from 17th century Ireland.

Lady Ormond spent a short period in exile with her husband and family in France during the early 1650s. By August 1652, poverty forced her to travel to England to plead with Cromwell for permission to live with her children on a portion of her Irish estates. She argued that it was she who inherited the estates and not her husband. Permission was granted in February 1653 on condition that she ceased all communication with her husband. They reunited later. She returned to her house at Dunmore, Co. Kilkenny.

After the restoration of the monarchy, James Butler was given an Irish Dukedom as Duke of Ormond, in 1661. He was raised to a dukedom in the English peerage in 1682.

This image has an empty alt attribute; its file name is 20181014_151119.jpeg
James Butler 1st Duke of Ormond. Artist: Sir Peter Lely (1618-1680). He is wearing robes of the Order of the Garter and holds the wand of office of Lord Steward of the Household in his right hand. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Kilkenny castle website continues: “After the restoration of the monarchy in England, Ormond was rewarded with a dukedom and several high offices by a grateful king. Though he enjoyed the king’s favour, Ormond had enemies at court and as a result of the machinations of the Cabal, which included powerful figures such as the Earl of Shaftesbury, he was dismissed from his post as Lord Lieutenant in 1669.

Note that the “Cabal” was the term used to refer to the clique around the king. The term comes from an acronym of their names, Sir Thomas Clifford 1st Baron Clifford, Henry Benet 1st Earl of Arlington, George Villiers 2nd Duke of Buckingham, Anthony Ashley Cooper, Lord Ashley 1st Earl of Shaftesbury and John Maitland, 1st Duke and 2nd Earl of Lauderdale.

Ormond served his last term as Lord Lieutenant from 1677-1685. During this time he founded the Royal Hospital in Kilmainham in Dublin for old soldiers. William Robinson served as Surveyor General and architect of the Royal Hospital. He also worked on Kilkenny Castle. As Lord Lieutenant, the Duke lived in Dublin Castle’s State Apartments, and he had work carried out there also.

William Robinson, Royal Hospital Kilmainham.

Mark Bence-Jones describes the Duke’s renovations of Kilkenny Castle:

The Great Duke transformed the castle from a medieval fortress into a pleasant country house, rather like the chateau or schloss of contemporary European princeling; with high-pitched roofs and cupolas surmounted by vanes and gilded ducal coronets on the old round towers. Outworks gave place to gardens with terraces, a “waterhouse” a fountain probably carved by William de Keyser, and statues copied from those in Charles II’s Privy Gardens. The Duchess seems to have been the prime mover in the work, in which William (afterwards Sir William) Robinson, Surveyor-General and architect of the Royal Hospital, Kilmainham, was probably involved, supervising the construction of the Presence Chamber 1679.” [see 3]

A rather amusing article in the Dublin Penny Journal in September 1832 criticises the Duke of Ormond’s renovation “in the bad style of architecture then prevailing on the Continent, a taste for which had probably been imbibed by the Duke in his repeated visits to France. It retained, however, three of the ancient towers, but changed in character and disfigured by fantastic decorations to make them harmonize in style with the newer portions of the building.” The article tells us that the building has been put to right again by the present owner, the Marquess of Ormond, by architect Robertson of Kilkenny.

Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilkenny Castle in Kilkenny, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance to inside Kilkenny Castle, the rounded arched door. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The hoppers on the top of the drain pipes depict an eagle, and each has a different date written on it, each a significant year to the Ormondes and Kilkenny Castle. This one says 1682. This was during the time of James Butler (1665-1745) who became the 2nd Duke of Ormonde, and is a date between when his father died in 1680 and when his grandfather the 1st Duke of Ormond died in 1688. Perhaps it was the time when renovations took place on the castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

You can take an online tour of the castle on the website https://kilkennycastle.ie/about/explore-the-castle-new/

There has been an entrance hall here at least since the 17th century rebuilding of the castle. The black and white stone floor is laid with Kilkenny Black Marble and local sandstone, laid in the 19th century. The north doorway through the massive curtain wall was remodelled on two occasions in the 19th century. This room has been redecorated using organic naturally pigmented copper green paint. This colour is based on two Edwardian Irish Country house schemes; the Entrance Hall at Beaulieu, Co. Louth and the Saloon at Headford, Co. Meath.

The Entrance Hall, Kilkenny Castle. Photograph courtesy of Kilkenny Castle website. There has been an entrance hall here at least since the 17th century rebuilding of the castle. The black and white stone floor is laid with Kilkenny Black Marble and local sandstone, laid in the 19th century.
Notice board in the entrance hall. It tells us that the portraits, from the family collection, were purchased by the Irish government from the family estate in 1995. The hall table also belonged to the Ormondes, and was too heavy to move so was not sold in the auction of 1935.
The Entrance Hall, Kilkenny Castle. James Butler (1610-88), 1st Duke of Ormond, 12th Earl of Ormond, in the style of John Michael Wright (1617-1694). There was no fewer than 28 swords and daggers displayed in the Entrance Hall prior to the 1935 auction. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
James Butler (1610-88), 1st Duke of Ormond, 12th Earl of Ormond, in the style of John Michael Wright (1617-1694). Ormond is clad in armour, holding the baton of command, and wearing the blue ribbon of the Order of the Garter. A plumed helmet is to the sitter’s right. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Description of swords.
The Entrance Hall, Kilkenny Castle. Portraits of Thomas Butler (c.1531-1614), 10th Earl of Ormond, artist unknown, and James Butler (1665-1745), 2nd Duke of Ormonde, 13th Earl of Ormonde, artist unknown. A fine set of Irish elk antlers, dug from a Leitrim bog in the 19th century, are displayed over the fireplace. The Irish elk (Megaloceros giganteus) also called the giant deer or Irish deer, is an extinct species of prehistoric deer which lived during the Ice Age about 2,580,000 to 11,700 years ago. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Entrance Hall, Kilkenny Castle. Italian marble table. This large grey marble table is original to Kilkenny Castle and dates to the late 17th century. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

When Ormond retired to England in 1682, the duchess accompanied him and they settled at Kingston House (Kingston Lacy) in Dorset. She died two years later at their town house, Ormonde House, in St. James’s Square, London. Sir Peter Lely painted the duchess but no portrait of her by the artist has been traced. A portrait of her by Henri Gascars is recorded in seventeenth-century Ormonde inventories.

Kingston Lacy, which belonged to James Butler Duke of Ormond, photograph by Vauxhall,  licensed under the Creative Commons Attribution-Share Alike 4.0 International license.

The last decade of the Duke’s life was marked by tragedy: all three of his sons as well as his wife died. His daughter Elizabeth, who had married Philip Stanhope, 2nd Earl of Chesterfield, had already died at the young age of 25 in 1665. She was Stanhope’s second wife. Stanhope was one of the lovers of the notorious Barbara Villiers, mistress of King Charles II. Her portrait is in the stair hall of Kilkenny Castle.

Barbara Villiers (c.1641-1709), Duchess of Cleveland & Countess of Castlemaine, attributed to Sir Peter Lely (1618-1680) and his studio. Daughter of Lord Grandison. After an affair with Philip Stanhope, 2nd Earl of Chesterfield, in 1659, she married Roger Palmer, Earl of Castlemaine. Established as Charles II’s mistress during the Restoration in 1660, she bore him at least six children and was created Duchess of Cleveland in her own right in 1670. When she was granted lands in Dublin by the king, the grant was opposed by Ormond. The duchess was no friend of the Butler family because of her notorious affair with Lord Chesterfield, husband of Ormond’s daughter Elizabeth. A heavily restored picture shows the sitter in shepherdess’s costume with a crook and lamb, it is said to have been commissioned from Lely in order to insult the queen, Catherine of Braganza, who had been painted in a similar pose by Jacob Huysmans. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

John, 1st and last Earl of Gowran, died in 1677. Thomas 6th Earl of Ossory died in 1680. His wife Elizabeth died in 1684, and Richard, 1st and last Earl of Arran, in 1686. He himself died in 1688 at Kingston Lacy and was buried in Westminster Abbey.

Thomas Butler (1634-1680) 6th Earl of Ossory, studio of Sir Peter Lely, circa 1678, courtesy of National Portrait Gallery NPG 371. He was the second son of the Duke and Duchess of Ormond and father of 2nd Duke of Ormonde.
Richard Butler (1639-1685) 1st Earl of Arran, son of the Duke of Ormonde, by Godfrey Kneller, courtesy of National Trust Hardwick Hall.
Daughter of the 1st Earl of Ormond, Elizabeth Stanhope née Butler Countess of Chesterfield By Peter Lely – http://www.thepeerage.com/p951.htm#i9503, Public Domain, https://commons.wikimedia.org

His daughter Mary (1646-1710) married William Cavendish, 1st Duke of Devonshire.

Daughter of the 1st Earl of Ormond, Mary Butler (1646-1710) Duchess of Devonshire in the style of Willem Wissing courtesy of National Trust Hardwick Hall. She married William Cavendish, 1st Duke of Devonshire.

Thomas Butler (1634-1682) 6th Earl of Ossory was the father of the 2nd Duke of Ormond. Thomas was a soldier and Naval Commander, known as ‘Gallant Ossory.’ Born at Kilkenny Castle in 1634, his childhood was spent at Kilkenny until he went with his father and brother Richard to England in 1647. They then went to France, where he was educated at Caen and Paris at Monsieur de Camps’ Academy. In Holland he married Amelia of Nassau, daughter of Lodewyk van Nassau, Heer van Beverweerd, a natural son of Prince Maurice of Nassau. 

Thomas Butler (1634-1680, Earl of Ossory, Lord Butler of Moore Park, Lord Deputy of Ireland, studio of Sir Peter Lely (1618-80). Ossory was a witness when James, Duke of York secretly married Anne Hyde in 1660. He died suddenly in 1680, possibly from food poisoning, at Arlington House in London. He was buried in Westminster Abbey. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Thomas enjoyed the favour and support of both King Charles II and his queen. Because of his wife’s Dutch connections he was frequently sent on royal missions to Holland. In 1661 Thomas Butler became a member of both the English and Irish houses of Commons, representing Bristol in the former and Dublin University in the latter House. In 1665 he was appointed lieutenant-general of the army in Ireland and in 1666 was created an English peer as Lord Butler.

Having proven himself as an expert military strategist, and whilst visiting France in 1672, he rejected the liberal offers made by Louis XIV to induce him to enter the service of France, and returning to England he added to his high reputation by his conduct during the Battle of Texel in August 1673. From 1677 until 1679, he served alongside his father as a Lord of the Admiralty.

In 1670 he conducted William of Orange to England. In 1677 he joined the allied army in the Netherlands, commanding the British section and winning great fame at the siege of Mons in 1678. He acted as deputy for his father, who was lord-lieutenant of Ireland, and in parliament he defended Ormonde’s Irish administration with great vigour. In 1680 he was appointed governor of English Tangier, but his death prevented him from taking up his new duties.

Elizabeth Butler (d.1717) Countess of Derby by William Wissing (1656-87). Daughter of Thomas Butler, Earl of Ossory and his wife Amelia, she married William George, 9th Earl of Derby in 1673. It was an unhappy marriage, her husband’s behaviour being a cause for much concern and comment on the part of her grandparents, the 1st Duke and Duchess of Ormonde. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
King William III (1650-1702), studio of Sir Godfrey Kneller (1646-1723). This portrait in the picture gallery at Kilkenny Castle is a copy of the ‘official approved likeness’ first painted by Sir Godfrey Kneller in 1690, with a companion piece of Queen Mary II. The king is depicted waring the robes of state. Both originals are in the Royal Collection.William was born in The Hague, he was the posthumous and only child of Stadholder William II and Princess Mary, Princess Royal of England, eldest daughter of Charles I and Queen Henriette Maria [see painting: The Children of Charles I]. After the crisis precipitated by the birth of an heir [Prince James Francis Stuart] to his cousin, the Catholic James II, in 1688, William came to England at the invitation of several leading men to defend the Protestant cause. James left England, first to France to seek aid from Louis XIV, another cousin, and thence to Ireland, where he launched a military campaign to win over the country. Meanwhile William, his son-in law, landed at Carrickfergus in June 1690. He then marched south, and defeated James and his forces at the Battle of the Boyne. Both kings stayed at Kilkenny Castle during their visit to Ireland. James Butler, 2nd Duke of Ormonde, was a firm supporter of King William at the Boyne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Queen Mary II (1662-1694), studio of Sir Godfrey Kneller (1646-1723), in the picture gallery of Kilkenny Castle. Eldest daughter of James Duke of York (later James II) and Anne Hyde, she married, at the age of 15, her cousin, William, Prince of Orange, in Holland. The Duchess of Ormond was Godmother to Princess Mary, at her birth in London. Mary took an active role in the dispute with her father James II. William and Mary ruled as king and queen regnant. Under the terms of the succession, William would administer the government in both their names. The Crown would descend in the first instance to the heirs of her body, then to any heirs he might have after her death, and then to any heirs her sister Anne, Princess of Denmark (later Queen Anne).Mary was a popular monarch, and this helped compensate for her husband’s rather taciturn nature. She died prematurely at the age of 32, leaving William to reign alone for another eight years. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

John Evelyn, the diarist, was a close friend and referred to him as ‘a good natured, generous and perfectly obliging friend’. He died suddenly in 1680, possibly from food poisoning, at Arlington House in London. He was buried in Westminster Abbey

Ossory had eleven children, including James Butler (1665-1745), the eldest surviving son of Thomas the 6th Earl of Ossory, who became the 2nd Duke of Ormonde. 

Following his father’s death in 1680, James became the heir to his grandfather, James Butler, 1st Duke of Ormond, whom he succeeded in 1688. James Butler 2nd Duke of Ormonde (the ‘e’ was added to the name around this time) inherited all of the Ormonde properties and titles, from both his grandfather and grandmother including her Dingwall title.

James Butler (1665-1745) 2nd Duke of Ormonde courtesy of National Maritime Museum, Greenwich, London.
Oil painting on canvas, James Butler, 2nd Duke of Ormonde (1665-1745) by Sir Godfrey Kneller (Lubeck 1646/9 – London 1723). A three-quarter length portrait, turned slightly to the right, facing, gazing at spectator, wearing armour, blue sash and white jabot, a baton in his right hand, his left on his hip, his helmet placed at the left; cavalry in the distance, right.

James the 2nd Duke married twice: first to Anne Hyde, daughter of Laurence, 1st Earl of Rochester, and a niece Anne Hyde the wife of the duke of York, the future James II. After she died, he married Mary Somerset, a daughter of Henry Somerset, 1st Duke of Beaufort. She married James, then Lord Ossory in 1685 as his second wife. They had one son and five daughters. Only two daughters survived infancy: Lady Elizabeth, unmarried (d.1750) and Lady Mary (d.1713) who married John, Lord Ashburnham in 1710.

Anne Hyde (1669-1685) Countess of Ossory by William Wissing and his studio (1656-87), first wife of James Butler, 2nd Duke of Ormonde, hanging in the picture gallery of Kilkenny Castle. She was the daughter of Lawrence Hyde, 1st Earl of Rochester. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Anne Hyde (1637-1671), Duchess of York, a well painted version of an original painted by Sir Peter Lely in c. 1662. Daughter of Edward Hyde, 1st Earl of Clarendon (a close friend & confidant to the 1st Duke of Ormond), and first wife of James, Duke of York ( later James II). She was mother to princesses Mary and Anne, future Queens of England, and aunt of Anne Hyde, Lady Ossory, first wife of the 2nd Duke of Ormonde. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mary Somerset (1665-1733), 2nd Duchess of Ormonde, by follower of Michael Dahl (1659-1743). This hangs in the picture gallery of Kilkenny Castle. Daughter of Henry, 1st Duke of Beaufort and wife of James Butler, 2nd Duke of Ormonde. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The duchess Mary was delighted with the reception she received on her first visit to Ireland. During this visit, she wrote to John Ellis telling him, ‘I have been received with as much respect as the greatest woman in the world could have been both by civil, military and clerical…’

Queen Anne appointed her Lady of the Bedchamber (1702-14). John Dryden dedicated his work Palamon and Arcite to her. The duchess did not join her husband in exile in France but that did not spare her from the humiliation of having her pew in St. James’s Church taken from her at Christmas in 1715. On this occasion she wrote to Ellis complaining that ‘this treatment appears to me very extraordinary, that before anybody has made out their title to the House in the parish I should be turned out of the church after living 30 years myself in the Parish…’ From 1720 until her death in 1733, she lived at Paradise Row in Chelsea, London. She was buried in Westminster Abbey, London.

Mary Butler née Somerset (1665-1733) Duchess of Ormonde and her son Thomas Earl of Ossory by John Smith, after Sir Godfrey Kneller, Bt., courtesy of National Portrait Gallery, NPG D31316.
Lady Mary Somerset, Duchess of Ormonde (1665-1733) by Michael Dahl, 1690s. Three-quarter-length portrait, of a young woman, seated, full front, her head three-quarters left. She is wearing a deep brown-gold dress, blue lined and is holding a rose in her right hand. A bottle green curtain is to the right and an arcade in the left background. Courtesy of National Trust Petworth.
Top left: James Butler 2nd Duke of Ormonde (1665-1745), Lord Lieutenant of Ireland, son of Thomas Butler, Earl of Ossory. First married Anne Hyde and then Mary Somerset; below him, Mary Somerset (1665-1733), daughter of the Duke of Beaufort. In middle, Thomas Butler (1634-1680), 6th Earl of Ossory, second son of the Duke and Duchess of Ormond and father of 2nd Duke of Ormonde. Mary Somerset’s father top right, Henry Somerset (1629-1700), 1st Duke of Beaufort; below Anne Hyde (1669-1685), the 2nd Duke’s first wife, daughter of Lawrence Hyde, 1st Earl of Rochester, artist: William Wissing (1656-87). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Henry Somerset (1629-1700), 1st Duke of Beaufort 3rd Marquess of Worcester, studio of Sir Godfrey Kneller (1646-1723), hanging in the picture gallery of Kilkenny Castle. Father of Mary Somerset, 2nd Duchess of Ormonde. A staunch Tory, he refused to take the Oath of Allegiance to King William III. Created Duke of Beaufort in 1682. In 1657, he married Mary, daughter of Arthur Capel, 1st Lord Capel and sister of Arthur, Earl of Essex, Lord Lieutenant of Ireland. Henry Somerset died in 1700 and by virtue of his claim to Royal blood through his descent from John of Gaunt, Duke of Lancaster, son of Edward III, he was buried in the Beaufort Chapel at St. George’s in Windsor. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Henry Somerset (1629-1700) 1st Duke of Beaufort by Robert White, after Sir Godfrey Kneller, Bt, NPG D28194.

James 2nd Earl was appointed a Lord of the Bedchamber in 1685; and serving in the army, participated in the victory over the Duke of Monmouth, at Sedgemore. [see 6]

James Butler (1665-1745) 2nd Duke of Ormond, studio of Michael Dahl, oil on canvas, circa 1713 courtesy of National Portrait Gallery NPG 78.

The 2nd Duke carried out more work on Kilkenny Castle. Bence-Jones continues: “[William] Robinson is also believed to have designed the magnificent entrance gateway of Portland and Caen stone with a pediment, Corinthian pilasters and swags which the second Duke erected on the street front of the castle ca 1709. Not much else was done to the castle in C18, for the Ormondes suffered a period of eclipse following the attainder and exile of the 2nd Duke, who became a Jacobite after the accession of George I.” [3]

Kilkenny Castle, photograph by unknown 2014 for Failte Ireland, Ireland’s Content Pool. [see 1]
Kilkenny Castle in Kilkenny, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
A drawing for the entrance of Kilkenny Castle, very different from what we see today.
The classical frontispiece was designed for James Butler, Second Duke of Ormonde possibly to designs prepared by Sir William Robinson. Kilkenny Castle. It has full height Corinthian pilasters and a large arched entry, with niches either side. The moulded surrounds of the entrance and niches have keystones. A decorative frieze of swags sits above the entrance arch. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
At the top of the entrance door is the Butler coat of arms and their motto, Comme le Trouve, “As I find.” Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside of the entrance gate, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside of the entrance gate, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside of the entrance gate, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
James Butler (1665-1745), 2nd Duke of Ormonde, 13th Earl of Ormonde, artist unknown, formerly attributed to William Dobson (British, 1611-1646). James was the eldest surviving son of Thomas Butler, Earl Ossory, and his wife Amelia Nassau.
Following his father’s death in 1680, James became the heir to his grandfather, James Butler, 1st Duke of Ormond, whom he succeeded in 1688. James is wearing Garter robes. This is a crudely painted piece. The head is similar to that used in portraits by Dahl.

Although he was later a Jacobite, favouring the return of James III to the throne rather than George I, James 2nd Duke favoured William III over James II. He took up arms under William Prince of Orange. He was present at the Boyne, and during William’s stay in Ireland entertained the king in extravagant style at Kilkenny castle. 

Lots of stone carved heads decorate the exterior of the castle. I’m not sure when they were added, but if they were there at the time of King William’s visit the military headgear of some was bound to impress.

Lots of stone carved heads decorate the exterior of the castle. Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One of the stone heads next to an entrance of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One of the stone heads next to an entrance of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One of the stone heads next to an entrance of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One of the stone heads next to an entrance of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There are also stone heads inside the front corridor. I think the corridor’s inner wall was originally an external wall of the castle. The heads inside are regal, not militant.

The front corridor of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A carved stone head inside the front corridor Kilkenny Castle, at the end of hood moulding over a door. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A carved stone head inside the front corridor Kilkenny Castle, at the end of hood moulding over a door. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stephen speaks to a guide in the front corridor of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stephen in the front corridor of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A drawing inside Kilkenny Castle shows a slightly different South front, with a portico around the entrance door. Now the whole ground floor has been extended out from the rest of the building into a corridor.
The entrance to inside Kilkenny Castle, the rounded arched door. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Once William and Mary were established on the throne of England, he began to reap the rewards of his allegiance. He attended the coronation of the new king and queen as lord high constable of England, and was named as a gentleman of the king’s bedchamber. Later he became a privy councillor in both Ireland and England. The dictionary of national biography tells us that if Ormond had prospered in William’s reign, he was to reach new heights of favour under Queen Anne. In February 1703 Ormond was appointed lord lieutenant of Ireland.

However, his fortunes went downhill, and instead of supporting the accession of George I, he became a Jacobite. He was a supporter of James II’s son James Francis Stuart (1688-1766) and his son Charles Edward Stuart, “Bonnie Prince Charlie.”

Prince James Francis Stuart (1688-1766), after Antonio David (1698–1750), this hangs in the long gallery of Kilkenny Castle. Son of King James II and his second wife Maria d’Este, ‘Mary of Modena,’ his birth in 1688 precipitated what became known as ‘The Glorious Revolution’ in England. Throughout his life he remained a focus of the Jacobite cause, culminating in the Battle of Culloden in 1745, when his son, Prince Charles Edward Stuart, ‘Bonnie Prince Charlie,’ led the Highland Scots and other Jacobites to their final defeat. The 2nd Duke of Ormonde was a close confidant and supporter to both princes.
Possibly James Butler (1665-1745) 2nd Duke or Ormonde,13th Earl of Ormonde, attributed to Adriaen van der Werff (1659-1722). This hangs in the picture gallery of Kilkenny Castle. Ormonde, like his grandfather sat to most of the fashionable portrait painters of his day. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Following his involvement in a Jacobite rising, a Bill of Attainder was passed against him. He was impeached for high treason. His English and Scottish honours, including the order of the Garter, and his English estates were seized. Timothy William Ferres tells us that Parliament passed an act which annulled the regalities and liberties of the County Palatine of Tipperary, vested his lands in the Crown, and proclaimed a reward of £10,000 for his apprehension, should he attempt to land in Ireland. [see 6] He fled to France in 1715. 

The crown administered his estates until 1721, when parliament passed an act to enable the Duke’s brother, Charles to repurchase the estates.

The 2nd Earl lived out his life in exile, and died at Avignon in France. Despite this, he was buried in 1746 in Westminster Abbey.

James Butler (1665-1745), 2nd Duke of Ormonde, 13th Earl of Ormonde, after Michael Dahl (1659-1743). Following his support of the Jacobite rising, he was impeached and fled to France. He lived out his life in exile, died in Avignon in France in 1745 and was buried in 1746 at Westminster Abbey. Wearing armour with the blue ribbon of the Garter with the lesser George (a term used to describe the medal associated with the Order of the Garter), and a sash about his waist, Ormonde holds in his right hand a baton of command. A cavalry skirmish and buildings are to his left. The portrait appears to have been executed in the 1690s; the pose is similar to that used by both Sir Godfrey Kneller and Michael Dahl. An original portrait by Dahl which is very similar is in the Devonshire collection at Hardwick Hall. A portrait by Kneller is in the National Gallery of Ireland. This portrait hangs in the Tapestry Room of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The attainder on the 2nd Duke’s estate did not cause the forfeiture of the Irish titles or estates. At the time of forfeiture, it was supposed that the Duke’s honours were all forfeited under the act of attainder passed by Parliament, but it was subsequently decided that no proceeding of the English legislature could affect Irish dignities. James the 2nd Duke had no son, so his brother Charles Butler (1671-1758) succeeded him as 14th Earl of Ormonde and de jure 3rd Duke of Ormonde in the peerage of Ireland. However, Timothy William Ferres tells us that in 1683, Charles had been created Baron Butler, and in 1693, Baron Cloughgrenan, Viscount Tullogh, and Earl of Arran, but he never assumed or was aware of possessing the English and Irish Dukedom or Marquessate.

Charles Butler, 1st Earl of Arran (1671-1758), 14th Earl of Ormond, by James Thornhill. He was the brother of the 2nd Duke of Ormond http://www.odl.ox.ac.uk/oxfordportraits

The Kilkenny Castle website tells us that Charles attended the University of Oxford and took the Grand tour of Europe. Charles reaped rewards and titles in his support for William III, becoming Baron Butler of Weston in the English Peerage (1694) and Earl of Arran in the Irish Peerage (1694). He rose through the ranks in the British Army. He succeeded his brother as High Steward of Westminster and Chancellor of Oxford University, two posts he held until his death. He was fifty years old when he was able to repurchase the Ormonde estates. He lived in St. James’s Place and Grosvenor St. in London, and a country house in Bagshot Park, Surrey. Upon his death in 1758, the Dukedom and Marquisate became extinct.

He had no children, however, so the title passed to a cousin.

The Entrance Hall, Kilkenny Castle. Portrait is of James Wandesforde Butler (1774-1838), 1st Marquess of Ormonde (3rd creation), 19th Earl of Ormonde, by Richard Rothwell (1800-1868). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Since there is the portrait of James Wandesforde Butler (1774-1838), 1st Marquess of Ormonde (3rd creation), 19th Earl of Ormonde in the front hall, let’s continue with the genealogy of the Ormondes before we continue further into the castle.

After the childless 14th Earl of Ormonde, the successor was a cousin, John Butler (d. 1766) of Kilcash and Garryricken. His father was Thomas Butler of Kilcash (d. 1738), a grandson of Richard Butler (d. 1701) of Kilcash, a brother of the 1st Duke of Ormond.

Family tree of the Butlers, showing the genealogy of the 15th Earl of Ormonde.
Colonel Thomas Butler (d. 1738) of Kilcash and Garryricken by James Latham. Thomas was the father of the 15th Earl of Ormonde, John Butler (d. 1766) of Kilcash and Garryricken.

Colonel Thomas Butler (d. 1738) of Kilcash and Garryricken, father of the 15th Earl of Ormonde, had a brother who became a Catholic Archbishop of Cashel and Emly. Their portraits, by James Latham, hang in the picture gallery of Kilkenny Castle.

Thomas (d. 1738) inherited Kilcash from his grandfather Richard Butler (d. 1701) of Kilcash. A Colonel of a Regiment of Foot in the army of King James II, Thomas married Margaret Bourke, widow of 5th Viscount Iveagh and daughter of William, 7th Earl of Clanricarde. They had three sons: Richard (d.1711), Walter who died in Paris and John Butler of Kilcash, who succeeded to the Ormonde titles as de jure 15th Earl in 1758 on the death of his cousin Amelia, sister of James Butler, 2nd Duke of Ormonde. The couple also had five daughters: one, Honora married Valentine Brown, Lord Kenmare.

Christopher Butler (d. 1758?) Catholic Archbishop of Cashel and Emly, by James Latham. Christopher Butler was Catholic archbishop of Cashel and Emly, son of Walter Butler of Garryricken and brother of Colonel Thomas Butler of Kilcash.
In the picture gallery of Kilkenny Castle: Christopher Butler (d. 1758?), Catholic archbishop of Cashel and Emly, son of Walter Butler of Garryricken and brother of Colonel Thomas Butler of Kilcash, portrait by James Latham (1696-1747); Charles Butler (1671-1758) 2nd Earl of Arran, youngest son of Thomas Butler Earl of Ossory and brother of the 2nd Duke of Ormonde; Colonel Thomas Butler of Kilcash (d. 1738) by James Latham. He was the son of Walter Butler and Garryricken and Mary Plunket. He inherited Kilcash from his grandfather Richard, youngest brother of the Duke of Ormond. His wife was Margaret Burke. Portrait attributed to Hans Hysing (1678-1753). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The 15th Earl had no children so the title then passed to a cousin, Walter Butler (1703-1783), another of the Garryricken branch, who also became the 9th Earl of Ossory. He was the only son and heir of John Butler of Garricken and Frances, daughter of George Butler of Ballyragget. Walter inherited the Ormonde titles in 1766 which he did not assume, so is called the “de jure” 16th Earl. “De jure” describes practices that are officially recognised by laws or other formal norms, regardless of whether the practice exists in reality.

Walter Butler (1703-1783) De jure 16th Earl of Ormonde, by Robert Hunter. This portrait hangs in the drawing room of Kilkenny Castle. Walter Butler is shown seated with his dog in a formal garden landscape, with a small temple and another building in the background. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In 1732 he married Eleanor Morres (1711-1793), the daughter of Nicholas Morres of Seapark Court, Co. Dublin, and of Lateragh, Co. Tipperary.

Eleanor Morres (1711-1793) by Robert Hunter (1715-1720, died after 1803). This portrait hangs in the drawing room of Kilkenny Castle. Eleanor was the daughter of Nicholas Morres of Seapark Court, Co. Dublin, and of Lateragh, Co. Tipperary, and of Susanna, daughter of Richard Talbot of Malahide Castle. She married Walter Butler, de jure 16th Earl of Ormonde, in 1732. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duelling pistols. In 1760 Kilkenny Castle was raided for its silver plate by highwaymen. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information about duels.
Blunderbuss.

Walter succeeded to the family estates on 1766 on the death of the 15th Earl and thus moved from Garryricken House to Kilkenny Castle. Walter de jure 16th Earl was a Catholic so was unable to exercise a political role. He undertook the restoration of the Castle, decorating some of the rooms with simple late eighteenth century plasterwork, and also built the stable block across the road from the Castle, today the Design Centre and National Craft Centre. He also built the Dower House, now a hotel called Butler House.

Butler House, the dower house to Kilkenny Castle, built for Walter Butler (1703-1783) de jure 16th Earl of Ormonde. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

After Walter’s death in 1783, Eleanor moved into the Dower House. His youngest daughter, Eleanor, is known as one of the ‘Ladies of Llangollen,’ who moved with her female partner to a home in Wales.

In 1768 the thirteen-year-old Sarah Ponsonby arrived in Kilkenny to attend a local school. Following her visit to the Butler family at Kilkenny castle, and despite the difference in age, the two formed an immediate friendship and corresponded secretly. In their first attempt to flee in March 1778, they left for Waterford disguised as men and wielding pistols, but their families managed to catch up with them.

The Ladies of Llangollen, Sarah Ponsonby and Charlotte Eleanor Butler, by Richard James Lane, printed by Jérémie Graf, after Lady Mary Leighton (née Parker) courtesy of National Portrait Gallery NPG D32504.

Eleanor was then sent to the home of her brother-in-law Thomas ‘Monarch’ Kavanagh of Borris, Co. Carlow, but made a second, successful attempt and ran away to find Sarah in Woodstock, County Kilkenny. Her persistence won out when both families finally capitulated and accepted their plans to live together.

Walter and Eleanor’s son John (1740-1795) became known as “Jack of the Castle” and was the 17th Earl. Jack’s sister Susannah married Thomas Kavanagh of Borris House in County Carlow (see my entry about Borris House https://irishhistorichouses.com/2020/10/04/borris-house-county-carlow/).

Jack married Anne Wandesford, becoming a Protestant in order to marry her. This allowed him to stand as a member of Parliament. Their sons Her sons Walter and James became 18th and 19th Earls of Ormonde while a younger son Charles inherited the Wandesforde estates and took the name Wandesforde. The Kilkenny Castle website tells us that Anne placed a strong emphasis on health. In Castlecomer she had organised a fever hospital, dispensary and infirmary during the difficult period of the nineteenth century.

Susan Frances Elizabeth (Anne) Wandesford (1754-1830) Countess of Ormonde by Hugh Douglas Hamilton (1739-1808), hanging in the picture gallery of Kilkenny Castle. Daughter of John, Earl Wandesford and his wife Agnes Elizabeth Southwell of Enniscouch, Co. Limerick. In 1769, Anne married John Butler, 17th Earl of Ormonde, who claimed the Irish titles in 1783 and had them confirmed in 1791. They had four sons: Walter, later 18th Earl of Ormonde, John, who died unmarried and James. The youngest, Charles Howard Butler was heir to his mother’s estates and also inherited her brother Walter Clarke’s estates. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
John Wandesford (1725-1784), 1st Earl of Wandesford and Viscount Castlecomer, after Sir Joshua Reynolds (1723-92), hanging in the picture gallery of Kilkenny Castle. Father of Susan Frances Elizabeth (Anne) Wandesford, Marchioness of Ormonde, he was created Earl of Wandesford in 1758. When he died in 1884, the title became extinct. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
John Wandesford (1725-1784), Earl of Wandesford, father of Anne; below, Susan Frances Elizabeth (Anne) Wandesford (1754-1830), Countess of Ormonde, wife of 17th Earl of Ormonde and mother of 18th Earl, Artist: Hugh Douglas Hamilton (1739-1808); Landscape with Waterfall from the Italian school of 18th century and below, Before the Hunt. To right, Gilbert Clarke (d. 1725), by Sir Godffrey Kneller (1646-1723) and below, possibly Susanna nee Boun, wife of Gilbert Clarke. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Jack and Anne’s son Walter (1770-1820) was given the title Viscount Thurles in 1791. When his father died in 1795 he became the 18th Earl and 1st Marquess of Ormonde. He was made Knight of the Order of St. Patrick in1798 and in 1801 he was created Baron Butler of Lanthony, Co. Monmouth.

Walter Butler (1770-1820) 1st Marquess of Ormonde (2nd creation), 18th Earl of Ormonde by Sir William Beechey, hanging in the picture gallery of Kilkenny Castle. Son of John Butler and Anne Wandesford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

After voting for the Act of Union in 1800, Walter took his seat in the House of Lords. He was said to haven a profligate spender, moving in the circle of the Regent, Prince George (later George IV).

In 1805, he married a wealthy heiress, Anna Maria Catherine Price-Clarke (1789-1817).

Anna Maria Catherine Price-Clarke (1789-1817) Marchioness of Ormonde by Sir William Beechey (1753-1839), hanging in the picture gallery of Kilkenny Castle. Heiress to her brother Godfrey TR Price-Clarke, she was the only daughter and heir of Job Hart Price-Clarke (formerly Price) of Sutton Hall, Derby, and his wife Sarah, sister and heiress of Godfrey Bagnal Clarke of Sutton Hall. She was married to Walter Butler, 1st Marquess of Ormonde (2nd creation). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

His Irish estates were worth £22,000 per annum in 1799. In 1811, probably needing money, he negotiated the sale of the presage of wines granted to his ancestor in 1327, and Parliament granted him £216,000 as compensation. He was created Marquess of Ormonde in 1816.

 Walter Butler (1770-1820) 1st Marquess of Ormonde (2nd creation), 18th Earl of Ormonde, in the manner of William Beechy.

The walls of the Chinese Withdrawing Room have remnants of hand painted Chinese wallpaper original to the room, with the monochrome grey and white infill carried out by the studio of David Skinner. This delicate paper was probably ordered as part of the redecorations done to the castle by Walter Butler (1770-1820) 1st Marquess of Ormonde (2nd creation), 18th Earl of Ormonde. Walter had three rooms decorated with Chinese Paper in 1801 of which only fragments of one survive. Walter belonged to the circle of the Prince Regent and the paper in Kilkenny is similar to that chosen by the future king for the saloon at the Royal Pavilion, Brighton, and to another set which the regent presented to the owners of Temple Newsam, Leeds.

During the 19th century ladies withdrew here from the dining room leaving the men to enjoy their port and cigars after dinner, as was the social convention.

The Chinese Withdrawing Room, Kilkenny Castle. Walter Butler belonged to the circle of the Prince Regent and the paper in Kilkenny is similar to that chosen by the future king for the saloon at the Royal Pavilion, Brighton, and to another set which the regent presented to the owners of Temple Newsam, Leeds. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Chinese Withdrawing Room, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Chinese Withdrawing Room, Kilkenny Castle. Recreated to its original 18th century proportions. The room has a late 19th century Ushak rug. Ushak Carpets are handwoven in the city of Uşak in Turkey. Uşak was a major centre of rug production from the early days of the Ottoman Empire. There was a renewed appreciation for Persian rugs in the 19th century and the Ushak rugs became highly fashionable. Ushak rugs are generally woven in a method known as the Ghiordes knot or the Turkish knot: where coloured weft yarn passes over the two warp yarns and is then pulled through between them and then cut to form the pile. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Chinese Withdrawing Room, Kilkenny Castle. Recreated to its original 18th century proportions. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board about the Chinese Withdrawing Room in Kilkenny Castle.
The Chinese Withdrawing Room. On the walls are remnants of hand painted Chinese wallpaper original to the room with monochrome infill carried out by the studio of David Skinner. This delicate paper was probably ordered as part of the redecorations done to the castle by the 18th Earl, Walter Butler. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Chinese Withdrawing Room, Kilkenny Castle. Walter Butler had three rooms decorated with Chinese Paper in 1801 of which only fragments of one survive. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Chinese Withdrawing Room, Kilkenny Castle. The Crowded design includes water fowl, fruit and flower laden trees, ornate balustrades and fences supporting urns of various sizes and forms. More vases hang from the trees, where pheasants perch and smaller birds fly in pursuit of butterflies and insects. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Chinese Withdrawing Room. A tulipiére is an ornate vessel in which to grow tulips. They are typically constructed to accommodate one bulb per spout with a larger common water reservoir base. It is usually made of hand crafted pottery, classically delftware. This tulipiére was hand-made in Delft in 2009 as a one off. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

When Walter the 18th Earl died, the Marquessate of Ormonde and the Barony of Butler of Lanthony became extinct. He was described by Barrington in his Personal Sketches ‘as engaging a person, as many manly qualities, and to the full as much intellectual promise, as any young man of his country,’ but these were ‘either blunted by dissipation or absorbed in the licentious influence of fashionable connection’.

The Kilkenny Castle website identified this portrait that hangs in the long gallery of Kilkenny Castle as James Butler (1774-1838) 1st Marquess of Ormonde (3rd creation) and 19th Earl of Ormonde, by John Saunders (1750-1825). However it looks to me like Walter Butler (1770-1820) 1st Marquess of Ormonde (2nd creation), 18th Earl of Ormonde. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The 18th Earl had no sons so his brother James Wandesford Butler (1774-1838) succeeded him. Upon his death, it was found that Walter’s estate was massively bankrupt. It was left to his successor James, the next Earl of Ormond and his younger brother Charles to bring order to the families’ financial affairs.

James Butler (1774-1838), 1st Marquess of Ormonde, 19th Earl of Ormonde, unknown artist. This portrait hangs in the library of Kilkenny Castle. James Butler was born at Kilkenny Castle the 15th July 1774, third son of John Butler, 17th Earl of Ormonde and Lady Frances Susannah Anne Wandesforde. He was educated at Eton and succeeded his brother Walter as Earl of Ormonde in 1820 becoming one of the largest landowners of Ireland. He and his younger brother Charles Harward were friends of the Prince of Wales. He married Grace Louisa Staples in 1807.

James Butler (1774-1838) was born at Kilkenny Castle the 15th July 1774, third son of John Butler, 17th Earl of Ormonde and Lady Frances Susannah Anne Wandesforde. He was educated at Eton.

After the Act of Union in 1800, James Wandesford Butler (1774-1838) took his seat in London as MP for Kilkenny (1801-20). In 1807 he married Grace Louisa Staples. They had ten children.

Grace Louisa Staples (1779-1860) Marchioness of Ormonde by John Saunders (1750-1825) hanging in the picture gallery of Kilkenny Castle. Daughter of the Rt Hon John Stapes of Lissan, near Dungannon and Henrietta, fourth daughter of Richard, 3rd Viscount Molesworth, she married James Butler, 19th Earl and 1st Marquess of Ormonde (3rd creation) in 1807.

James succeeded his brother in 1820 and because the English honours had become extinct at Walter’s death, it was not until 1821 that he was created Baron Ormonde of Lanthony, Knight of St. Patrick, in the same year. Four years later he was created 1st Marquess of Ormonde (of the 3rd creation). 

He officiated as Chief Butler of Ireland at the Coronation of George IV.

He was Vice Admiral of Leinster, Lord Lieutenant of Co. Kilkenny (1831-38) and Militia ADC to King William IV and to Queen Victoria from 1837 until his death. 

James Wandesforde Butler (1774-1838), 1st Marquess of Ormonde (3rd creation), 19th Earl of Ormonde, by Richard Rothwell (1800-1868), the portrait hangs in the Hall of Kilkenny Castle. He succeeded his brother Walter as Earl of Ormonde in 1820, becoming one of the largest landowners in Ireland with an estate worth more than £20,000 a year. He was created Marquess of Ormonde in 1825 and officiated as Chief Butler of Ireland at the Coronation of George IV. He married Grace Louisa Staples in 1807, they had ten children. He died in Dublin in 1838 and was succeeded by his eldest son John. In this portrait, the marquess is depicted wearing a dark coat with the blue ribbon of the Order of St Patrick. Rothwell, an Irish artist who had worked as Sir Thomas Lawrence’s chief assistant, was a highly regarded portrait painter.
Marquess James Butler, Ormonde (1774 – 1838), 1830, After John Comerford (around 1762 Kilkenny – 1832 Dublin).

It was during James Wandesford Butler the 19th Earl and 1st Marquess’ time that major reconstruction work was carried out at Kilkenny Castle, around 1816 by William Robertson.

After some refurbishment had been carried out at Butler House, the family moved to live there for some years during the reconstruction work of the late 1830s and the 1840s. Robertson, an architect from Kilkenny, practically rebuilt the castle, except the three old towers and the outer walls. The front entrance by the 2nd Duke remains. Robertson swept away the 1st Duke’s embellishments.

The picture gallery of Kilkenny Castle has a wonderful drawing by William Robertson around 1816 of the castle.

Robertson replaced one of two missing sides of the courtyard with a new wing containing an immense picture gallery. The original gallery, on the top floor of the principal range, had been divided into bedrooms.

William Robertson (1770-1850) also designed a Section 482 property which I have yet to visit, Lismacue in County Tipperary (see my entry https://irishhistorichouses.com/2025/02/10/lismacue-house-bansha-co-tipperary-section-482-accommodation/ ).

Lismacue House, County Tipperary, photograph courtesy of website.
Kilkenny Castle, photograph by Chris Hill 2014 for Failte Ireland, Ireland’s Content Pool. [see 1] The National inventory describes the newer picture gallery wing. It was renovated a second time in 1858-62, with eight-bay two-storey range to north-east reconstructed having canted oriel windows to first floor, and pair of single-bay single-stage corner turrets on octagonal plans. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Mark Bence-Jones describes the renovations:

Ca. 1826, the Kilkenny architect, William Robertson, when walking in the castle courtyard with the Lady Ormonde of the day, noticed that a main wall was out of true and consequently unsafe. One suspects it may have been wishful thinking on his part, for it landed him the commission to rebuild the castle, which he did so thoroughly that virtually nothing remains from before his time except for the three old towers, the outer walls and – fortunately – the 2nd Duke’s gateway. Apart from the latter, the exterior of the castle became uncompromisingly C19 feudal; all the 1st Duke’s charming features being swept away. Robertson also replaced one of two missing sides of the courtyard with a new wing containing an immense picture gallery; the original gallery, on the top floor of the principal range, having been divided into bedrooms. Robertson left the interior of the castle extremely dull, with plain or monotonously ribbed ceilings and unvarying Louis Quinze style chimneypieces.” [see 3]

The long gallery wing of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inner corner of the south front of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inner corner of the south front of Kilkenny Castle. The hoppers on the top of the drain pipes depict an eagle, and each has a different date written on it, each a significant year to the Ormondes and Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The view from the south front of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

On the ground floor of the castle, along with the Entrance Hall are the Chinese Withdrawing Room and the State Dining Room. In a corridor there is a plan of the different floors – I don’t know when it was made, but maybe around 1826 at the time of Willliam Robertsons’s renovation.

Kilkenny Castle: this shows the ground floor with the hall, dining room and withdrawing room, and the Tapestry room in a round tower.
Kilkenny Castle.

The ground floor also contains the State Dining Room. The website tells us that this was the formal dining room in the 1860’s. Historic evidence shows that this room was hung in the late 19th century with a red flock paper when it was a billiard room. The strong blue on the walls echoes the colour in the original 19th century-stained glass windows and provides a backdrop for the Langrishe family portraits, which originated in Knocktopher Abbey, Kilkenny, and are now in the care of the State.

Knocktopher Abbey in County Kilkenny, a house incorporating the remains of the first Carmelite friary in Ireland, rebuilt for Lieutenant-Colonel Sir James Langrishe JP DL (1832-1910) after a fire. It was rebuilt around 1866 in High Victorian Gothic to the design of John McCurdy. The paintings on display are part of a generous bequest to Kilkenny Castle from Lady Grania Langrishe in July of 2012. See my footnotes for a description of the portraits of the Langrishe family which are on display. [9]

John Langrishe  (1660-1735), son of Hercules Langrishe (the first member of the family who settled in Ireland), became proprietor of the borough of Knocktopher, County Kilkenny. 

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

Most large estate houses would have had both a formal and informal Dining Room. The collection of silverware contains some pieces from the original 18th century collection, purchased by Walter Butler, the 18th Earl, after his marriage to the wealthy heiress Anna Maria Price Clarke.

The State Dining Room, Kilkenny Castle. This was the formal dining room in the 1860’s. Historic evidence shows that this room was hung in the late 19th century with a red flock paper when it was a billiard room. The strong blue on the walls echoes the colour in the original 19th century-stained glass windows and provides a backdrop for the Langrishe family portraits, which originated in Knocktopher Abbey, Kilkenny, and are now in the care of the State. Portrait of Rev. Sir Hercules Richard Langrishe (1782-1862), 3rd Baronet of Knocktopher County Kilkenny, artist unknown, in the corner. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The State Dining Room, Kilkenny Castle. Portrait of Sir Robert Langrishe (1756–1835), 2nd Baronet Knockopher, artist unknown, over the door. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The State Dining Room, Kilkenny Castle. Reflection of oil portrait of an unknown gentleman possibly Sir Robert Langrishe 2nd Baronet. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The State Dining Room, Kilkenny Castle. Portraits, from left to right: Robert Langrishe 2nd Baronet; an unknown gentleman perhaps John Langrishe (1660-1735); Robert Langrishe (1696-1769), artist unknown; Hercules Langrishe (1859–1943), 5th Baronet Knocktopher, Artist unknown and Hercules Langrishe (1731-1811), 1st Baronet Knocktopher, artist unknown. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilkenny Castle dining room, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
View from the dining room onto the garden of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Garden front of Kilkenny Castle, photograph by Roselinde Bon 2016 for Failte Ireland, Ireland’s Content Pool. [see 1]
Planning sketch for the garden of Kilkenny Castle.
Kilkenny Castle in Kilkenny, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.

The 19th century mahogany staircase was designed and made by the local firm of Furniss & Son, Kilkenny and leads to the Tapestry Room and first floor. The use of mahogany in domestic furniture, which is so synonymous with the Grand House, is virtually unknown before the 18th century. Most of the wood imported came from the Jamaican Plantations which were cleared in order to plant sugar cane and cotton. During the 19th century this staircase was hung with several beautiful tapestries from the Decius Mus suite, some of which are now housed in the Tapestry Room.

Photograph courtesy of Kilkenny Castle website, The Grand Staircase.
At the top of the stairs is a portrait of Mrs Nott (Knott) (d.1711), possibly Susan, granddaughter of Sir Thomas Nott, Gentleman Usher of the Privy Chamber to Charles II, studio of William Wissing (1656-87). Brewer describes the sitter as a possible mistress of one of the dukes of Ormonde. The portrait also resembles that of Amelia of Nassau, wife of Thomas, Earl of Ossory, in similar costume, and may have been acquired for that reason. A signed portrait by Wissing of Mrs. Knott is in the Royal Collection, as is a portrait of Amelia. Millar dates the original portrait to ‘perhaps c. 1680-85.’ Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The other portrait at the top of the stairs is John Bligh (1683-1728), Earl of Darnley, Viscount Darnely and Baron Clifton, attributed to Charles Stoppelaer (fl. 1703-45). Bligh was MP for Trim (1709-13) and for Athboy (1713-21). His father, Thomas, had obtained large grants of land in Ireland under the Acts of Settlement 1668. He was created Baron Clifton of Rathmore, Co Meath in 1721 in consequence of his marriage in 1713 to Theodosia Hyde, suo jure Baroness Clifton, sister and heir of Edward, Lord Clifton, Viscount Cornbury. She was a wealthy heiress with royal connections. Bligh is depicted wearing a buff-coloured coat with drapery. it was painted c.1723, as the coronet is that of a viscount. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Grand Staircase, Kilkenny Castle. This 19th century mahogany staircase was designed and made by the local firm of Furniss & Son, Kilkenny and leads to the Tapestry Room and first floor. Most of the wood imported came from the Jamaican Plantations which were cleared in order to plant sugar cane and cotton. During the 19th century this staircase was hung with several beautiful tapestries from the Decius Mus suite, some of which are now housed in the Tapestry Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Grand Staircase, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Grand Staircase, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Unknown Gentleman by Philip Hussey (1713-1783). Said to be a member of a Fitzgerald/Fitzmaurice family from the Cork area. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Unknown lady by Philip Hussey (1713-1783). The basic details of the costume are identical to that worn by Mrs Sophia Tipping in the double portrait, Mrs Sophia Tipping with her daughter, Wilhelmina Salisbury, also painted by Hussey. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mrs Sophia Tipping and her Daughter Wilhelmina Salisbury by Philip Hussey.
An allegory of Avarice by Jan de Herdt (fl.1646-72). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The stair hall, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

On the first floor we can visit the Tapestry Room, and then a suite of rooms, the Anteroom, Library and Drawing Room.

The first floor of Kilkenny Castle, with the Tapestry Room then the suite of rooms containing the anteroom, library and drawing room.

The Tapestry Room in the North Tower shows how the medieval castle was transformed in the 17th century to become a magnificent baroque ducal palace. This room was called the Great Chamber in the 17th century and the walls were decorated with embossed and gilded leather hangings on the walls; a fragment of a late 17th/ early 18th century leather has been hung beside the door to give an impression of how rich the room must have been. In the 18th century, they were replaced by a set of tapestries. There are two tapestries from the “Decius” suite in the Tapestry room. The tapestries are attributed to the workshop of Jan Raes, after designs by Sir Peter Paul Rubens.

The ‘Decius’ suite had been in the ownership of the Ormonde family for over 300 years and was displayed in several of their residences before being acquired by OPW for display in Kilkenny Castle. Tapestries were an important feature of the interior decoration of large houses in Europe during the 16th and 17th centuries and helped provide interior interest, warmth, and colour. There area more of this series of tapestries in the picture gallery of the castle.

The Gothic block wallpaper that goes halfway up the walls is a reproduction of an eighteenth century Irish wallpaper, reproduced by David Skinner.

The ceiling outlines the keyhole shape of this room, created by the addition of a square tower to the circular medieval tower during the 15th century.

The Tapestry Room in Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Desius Mus and Manlius Torquatus leave to fight the Latins. There are two tapestries from the “Decius” suite in the Tapestry room. The tapestries are attributed to the workshop of Jan Raes, after designs by Sir Peter Paul Rubens. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The obsequies of Decius Mus. The Story of ‘Decius Mus’ is a heroic tale of a Roman Consul who foretold his own death at the Battle of Veseris (Vesuvius) in the Latin War (340BC). You can read more about these tapestries on the Kilkenny Castle website. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information about the tapestries.
Information about the tapestries.
Japanese chest. A fine early black lacquer and chinoiserie decorated lift-top chest, with large engraved brass lock place, on a stand with short square legs. This travelling chest belonged to the Duke of Ormond and is an important remnant of the late 17th century furnishing of Kilkenny Castle. The Gothic style hand blocked wallpaper was reproduced by David Skinner from Malahide Castle, one of the very few examples of Irish produced wallpaper from the 18th century. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Tapestry Room, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Tapestry Room in Kilkenny Castle. The ceiling outlines the keyhole shape of this room, created by the addition of a square tower to the circular medieval tower during the 15th century. One one side is the portrait of James Butler (1610-1688), 1st Duke of Ormond, 12th Earl of Ormond, Lord Lieutenant of Ireland, by Peter Lely. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
James Butler (1610-1688), 1st Duke of Ormond, 12th Earl of Ormond, Lord Lieutenant of Ireland, by Peter Lely (1618-1680). Wearing robes of the Order of the Garter, Ormond holds the wand of office of Lord Steward of the Household in his right hand. The portrait is probably that referred to in a series of letters written by Ormond’s agents, John Buck in England and Sir George Lane in Ireland, during the years 1662 to 1663. In a letter dated May 1663, John Buck wrote: ‘…the latter end of this month I shall send from hence a most excellent picture of My Lord Duke’s, I think you saw the face done before you went; by that time I am promised the Queen’s for my Lady Duchess to send along with it: Mr. Lilly tells me there is one very good at cappeinge [copying?] in Dublin, if not pray let me receive your farther commands; Mr. Lilly will presently part with the Duchess’ pictures for you, if you can procure any to bring directions from Her Highness to him for it.’ [HMC Ormonde Mss, iii, 55]. This is the finest extant portrait of the duke. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Tapestry Room in Kilkenny Castle is in the North Tower with its 12 ft thick walls. Portrait of Honora Bourke (1675-1698), Countess of Lucan and Duchess of Berwick, French School 17th century. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Honora Bourke (1675-1698), Countess of Lucan and Duchess of Berwick. French School 17th century. She was the daughter of William Bourke, 7th Earl of Clanricarde and Lady Helen MacCarty. Honora’s sister was Margaret, Lady Iveagh, wife of Thomas Butler of Kilcash. She married, firstly, General Patrick Sarsfield, 1st Earl of Lucan, son of Patrick Sarsfield, circa 9 January 1689/90 and secondly, James FitzJames, 1st Duke of Berwick-Upon-Tweed, son of James II Stuart, King of Great Britain and Arabella Churchill, on 26 March 1695 at Saint-Germain-en-Laye, Île-de-France, France. Honora died aged 22 at Pesenas in France. Both her sons inherited their father’s titles. Oval, 1/2 length portrait. Sitter wears a yellow dress with a blue ermine-trimmed, blue wrap. It was possibly taken from a portrait painted on the occasion of her marriage to the Duke of Berwick at St-Germain-en-Laye. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Tapestry Room in Kilkenny Castle is in the North Tower with its 12 ft thick walls. This room was called the Great Chamber in the 17th century and the walls were decorated with embossed and gilded leather hangings on the walls. Portraits of James Butler (1665-1745), 2nd Duke of Ormonde, 13th Earl of Ormonde, after Michael Dahl (1659-1743), and Thomas Wentworth (1593-1641), 1st Earl of Stafford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Thomas Wentworth (1593-1641), 1st Earl of Stafford, Lord Deputy General, Lord lieutenant of Ireland, after Anthony van Dyck (1599-1641). In the late 1620s, Wentworth was MP in opposition to the Crown, but was to become one of Charles I’s principal supporters from 1629 until his death. During his time in Ireland as Lord Lieutenant, Strafford sought to further royal interest, and in so doing he also managed to enrich himself. As a result of his manoeuvres and his own self-aggrandisement, he made many powerful enemies. His final effort on the King’s behalf-the formation of a standing army in Ireland to defend royal’s interest- was to lead to his ultimate downfall in 1640. Rumours spread that the army was to be used to invade England. He was committed to the Tower of London, and in January 1641 was impeached for high treason. The King signed his death warrant, and he was executed on Tower Hill in May 1641. Head and shoulders in armour, after a portrait by Sir Anthony van Dick painted in 1636. Van Dyck painted two portraits of the sitter in armour, one a full-length, the other a three-quarter-length. Numerous smaller copies were also made by studio assistants. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board about the Tapestry Room.
The Tapestry Room in Kilkenny Castle, with the portrait of King Charles II in the background. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Tapestry Room in Kilkenny Castle. The colour orange is an early 19th century burnt Sienna distemper known as Malahide Orange, which was also found at Malahide Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
State chair, Original of Kilkenny Castle, a Charles II walnut state chair covered with both early 18th and possibly 17th century leather with very colourful decorations on back. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

From the website: “Today the first floor space is occupied by three rooms: Anteroom, Library and Drawing Room, as it was in the 19th century. The processional lay out of the rooms, each opening into the next is characteristic of the Baroque style of the 17th century and was know as an ‘enfilade’ suite of rooms. Baroque protocol dictated that visitors of lower rank than their host would be escorted by servants down the enfilade to the nearest room that their status allowed.

In the 16th and 17th century the State Rooms were situated on this floor. 17th century history records that it was in these state apartments that James Butler 1st Duke of Ormonde received the Papal Nuncio Giovanni Battista Rinuccini during the Irish Confederate Wars of that century.

James Butler, 1st Duke of Ormonde (1610–1688) after John Michael Wright courtesy of National Trust images.

The Kilkenny castle website continues: “An Anteroom was a small room used as a waiting room, that leads into a larger and more important room. The Anteroom and the room below, today the Serving Room, were constructed in the area where an earlier stone staircase was situated.” The anteroom features a reproduction poplin wallpaper and bronze figurines in niches.

The Ante Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Anteroom, Kilkenny Castle. Pair of large cast bronze art nouveau female figures, holding torches, suitable for conversion to electricity, as lamp holders. Semi-clad and standing on a circular base, the female figures hold a torch as a lamp holder in their hands, signed E. Rossi. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The anteroom leads to the library. “The interior decoration is a faithful recreation of the furnishing style of the mid to late 19th century. Thanks to a salvaged fabric remnant found behind a skirting board, it was possible to commission the French silk poplin on the walls in its original pattern and colour from the firm of Prelle in Lyons in France. The claret silk damask curtains are also based on the originals were made in Ireland.

For identification of the portraits in this room, see my footnotes. [10] Not all of the sitters seem to be immediately connected to the Ormonde family.

The Library. Briefly, the portraits on the wall over the door are, from the left, an unknown lady; possibly Rachel Russell the wife of William, 2nd Duke of Devonshire. Rachel was related by marriage to the Ormonde family, her husband was the son of Mary Butler, 1st Duchess of Devonshire; James Butler (1774-1838), 1st Marquess of Ormonde, 19th Earl of Ormonde; Elizabeth Jones (1665-1758), after William Wissing. Wife of John Fitzgerald, 18th Earl of Kildare; and an unknown lady. Photograph courtesy of Kilkenny Castle website.

One of the nine massive curtain pelmets is original and an Irish firm of Master Gilders faithfully reproduced matching gilt reproductions. The bookcases were also reproduced based on one original bookcase acquired by the OPW in the 1980s, this original with its 19th century glass stands in the right end corner of the library. The matching pair of pier mirrors over the mantelpieces was conserved and re gilded.”

The Library, Kilkenny Castle. The claret silk damask curtains are also based on the originals were made in Ireland. One of the nine massive curtain pelmets is original and an Irish firm of Master Gilders faithfully reproduced matching gilt reproductions. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Library, Kilkenny Castle. The claret silk damask curtains are also based on the originals were made in Ireland. One of the nine massive curtain pelmets is original and an Irish firm of Master Gilders faithfully reproduced matching gilt reproductions. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Library, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Berber style rugs were designed and woven for this room by the firm of Woodward Grosvenor in the 1990s. The restoration team were fortunate in finding the original receipt for the carpet in the family papers, and were able to trace the original company who had retained the design records. The design is based on patterns adapted from Izmir motifs. The Woodward Grosvenor company was based in Kidderminster, England. The town has been a centre of weaving for many centuries, and in the mid – late 18th century began to specialize in new forms of carpet weaving, earning the title of Carpet Capital of Britain. The company was founded in 1790 by Henry Woodward. in 1855 with his partner Benjamin Grosvenor, he build the Stour valley Mill, the first steam-powered carpet mill in Britain.

Information board about the library in Kilkenny Castle.
The Library, Kilkenny Castle. The matching pair of pier mirrors over the mantelpieces was conserved and re gilded. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Grace Louisa Staples (1779-1860) by John Comerford (1773-1835). Daughter of the Rt Hon John Staples of Lissan, near Dungannon, and Henrietta, fourth daughter of Richard, 3rd Viscount Molesworth, she married James Butler, 19th earl and 1st Marquess of Ormonde, in 1807. This small, half-length portrait is a variation on the full-length portrait of the sitter by John Saunders displayed in the Picture Gallery. Then Louisa Anne Molesworth (1749-1824), Lady Ponsonby, and later Countess Fitzwilliam, by Hugh Douglas Hamilton (ca.1739-1808). The fourth daughter of the 3rd Viscount Molesworth and his second wife Mary Usher, she married William Brabazon (later Baron) Ponsonby of Imokillly, Co. Cork, in 1769. Secondly, in 1823, she married Earl Fitzwilliam when he was 75 and she 73. Then Inscribed on the back: “Anastasie de Crussol, daughter to the dear friend of Mary Countess of Harcourt who lived during the time of the Emigration of the French principally at St Leonards, she died soon after the birth of her daughter. Her mother was daughter to the Duc de Montilmar.” Bottom, Charles Robert Moore (1848-1869), unknown artist, Inscribed on the back: “My beloved uncle [as a] child Charles Robt Moore he died at Alexandria aged 21 in 1869. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
James Butler (1774-1838), 1st Marquess of Ormonde, 19th Earl of Ormonde, by John Comerford (1773-1835). This small, half-length portrait is a variation on the full-length portrait of the sitter by John Saunders displayed in the Picture Gallery. Then Hon Henrietta Molesworth (d. 1813) by Hugh Douglas Hamilton (1740-1808). Eldest daughter of the 3rd Viscount Molesworth and his second wife Mary Usher, she married the Rt Hon John Staples of Lissan, Co Tyrone, in 1774. Their daughter, Grace Louisa Staples married James Butler, 19th Earl and 1st Marquis of Ormonde. Then Mrs Ross, attributed to Adam Buck (1759-1833). Isabella Barbara Evelyn was the daughter of Sir Gunning Bart and Ann Sutton. She married General Alexander Ross (1742-1827) in 1795. Bottom, Lady Flora Hastings (1806-1839), attributed to Adam Buck. Eldest child of Francis Rawdon Hastings, 1st Marquess of Hastings and Flora Mure Campbell, Countess of Loudown. In 1834 the unmarried Flora was appointed lady-in-waiting to future Queen Victoria’s mother, the Duchess of Kent. She was the innocent centre of a scandal that rocked court and government and caused Victoria’s popularity to plummet.
The Library, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Library, Kilkenny Castle. A Pillar Zogroscope or Optical device was popular during the latter half of the 18th century as parlour amusements. The zogroscope was designed to magnify prints so they could be seen more easily with enhanced depth. It has a convex lens mounted in a square wooden frame that, in turn, is supported on a pedestal. A second frame, hinged at the top, holds a mirror that can be held out at any desired angle. The form came into use in the eighteenth century and remained popular throughout the nineteenth century. It was also known as an optical diagonal machine or cosmorama. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Georgian folding table. An intricately inlayed walnut table in the Georgian breakfast style. The Georgian period saw an increase in formality in dining and furniture design becomes ever more elaborate and status defining. This table is thought to date from c.1800 at the time of the Act of union with the emblems of Ireland (shamrock), Scotland (thistle) and England (rose) displayed within the decoration. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Library, Kilkenny Castle.

The Drawing Room is typically the room in a house where guests and visitors are entertained. Drawing rooms were previously known as ‘withdrawing rooms’ or ‘withdrawing chambers’ which originated in sixteenth century.

The fabrics in this room are vintage glazed and block printed English and French chintzes and have been chosen to recreate the style of the rooms as they appeared in the 19th century family photographs. The Drawing Room picture hang reflects the Edward Ledwich description in his 1789 “Antiquities of Ireland!” when this room was the Presence Chamber or Alcove.

The Drawing Room, courtesy of Kilkenny Castle website. On the back wall is the painting of the five eldest children of King Charles I, after Sir Anthony van Dyck, and by the same artist, a portrait of Queen Henrietta Maria (1609-69).
The Drawing Room, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Drawing Room, Kilkenny Castle. One either side of the fireplace are portraits of Eleanor Morres (1711-1793) by Robert Hunter, she married Walter Butler, de jure 16th Earl of Ormonde, in 1732, and of her husband Walter Butler (1703-1783) De jure 16th Earl of Ormonde, also by Robert Hunter. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Drawing Room, Kilkenny Castle. One either side of the fireplace are portraits of Eleanor Morres (1711-1793) by Robert Hunter, she married Walter Butler, de jure 16th Earl of Ormonde, in 1732, and of her husband Walter Butler (1703-1783) De jure 16th Earl of Ormonde, also by Robert Hunter. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board about the Drawing Room of Kilkenny Castle.
Kilkenny Castle drawing room, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Kilkenny Castle drawing room, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Kilkenny Castle drawing room, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.

We went up another winding stone cantilevered staircase to the floor with the the blue corridor, with the bedrooms and nursery.

Private staircase, Kilkenny Castle. This elegant late Georgian style staircase from the early 1800s leads to the bedroom corridor of the same period. The holes where the brass stair rods to hold the carpet can still be seen in places. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Private staircase, Kilkenny Castle. This elegant late Georgian style staircase from the early 1800s leads to the bedroom corridor of the same period. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Blue corridor, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Blue Bedroom, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Blue Bedroom, Kilkenny Castle. Fragments have this restful all-over floral pattern was found in this bedroom during the restoraion work. It probably dates from the late 19th century. It is likely to have been designed and block-printed in Ireland, although the name of the maker is not known. The two-dimensional form and lack of modelling reflect the ideas of the Design Reform movement, while the organic vitality of the lines suggests the influence of the English designer William Morris. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The watercolours on display were painted by Anne Wynne née Butler, daughter of John Wandesford Butler, 1st Marquess, and his wife Grace Louisa Staples. Grace herself painted and exhibited her paintings, and she made sure that all of her children learned to paint. Anne married J.A. Wynne of Hazelwood House in County Sligo in 1838.

The Blue Bedroom, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Blue Bedroom, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Blue Bedroom, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Blue Bedroom, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The view from the Blue Room bedroom.

The photograph shows how much work the OPW had to do to make the bedroom fit for visitors.

The Blue Bedroom, Kilkenny Castle.

James 1st Marquess of 3rd creation died in Dublin in 1838 and was succeeded by his eldest son John Butler (1808-1854), who became 2nd Marquess, 20th Earl of Ormonde, Earl of Ossory and Viscount Thurles, Baron Ormonde of Lanthony, and Chief Butler of Ireland. John Butler travelled extensively. His Journals, now in the National Library of Ireland, record his many journeys across Europe to Italy and Sicily. He published an account of his travels, Autumn in Sicily, and he also wrote an account of the life of St. Canice, based on a Latin manuscript in the Burgundian library in Brussels.

John Butler (1808-1854) 2nd Marquess (3rd creation), 20th Earl of Ormonde, by Henry Weigall, Jr. (1829-1925). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

He married Frances Jane Paget in 1843. He continued the work of rebuilding Kilkenny castle that was started by his father. The castle website tells us that his journals show him to have a deep interest in art, and there are careful descriptions of several of the great galleries in Italy to be found in his writing.

Frances Jane Paget (1817-1903) Marchioness of Ormonde with her son James, Earl of Ossory by Richard Buckner (fl.1820-79). Daughter of General Edward Paget, GCB and his second wife Harriet daughter of George Legge, 3rd Earl of Dartmouth. Wife of John Butler, 2nd Marquess of Ormonde. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Although he continued to write in his journals during the years 1847 to 1850, no mention of the Irish famine is made.

He died while bathing in the sea near Loftus hall on Hook Head, Co. Wexford. A marble tomb was erected in his memory in St. Canice’s Cathedral, Kilkenny.

The Blue Bedroom, Kilkenny Castle. Top: Wedding of John Butler 2nd Marquess of Ormonde & Frances Jane Paget, 1843
Artist Edmund Fitzpatrick (fl. 1848-1883) The wedding procession in front of Kilkenny Castle, with groups of local people in the streets as the couple are recieved at the Gates. Below: Funeral of John Butler 2nd Marquess of Ormonde, 1854, Artist Edmund Fitzpatrick. The funeral procession in front of Kilkenny Castle, groups of local people in the streets.

The children were still young when their father died in 1854. Frances Jane looked after the Ormonde estates and continued the rebuilding of Kilkenny castle. During the early years of her marriage (1844-1849), she was the Lady of the bedchamber to the Queen Dowager, Adelaide.

Frances Jane Paget (1817-1903) Marchioness of Ormonde, Artist Unknown. Frances married in 1843, and so her children were still young when their father died in 1854. She looked after the Ormonde estates, and continued the rebuilding of Kilkenny castle. During the early years of her marriage(1844-1849), she was the Lady of the bedchamber to the Queen Dowager, Adelaide. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The picture gallery of Kilkenny Castle: John Butler (1808-1854), 2nd Marquess of the 3rd creation, 20th Earl of Ormonde, Earl of Ossory and Viscount Thurles, Baron Ormonde of Lanthony, Chief Butler of Ireland; Frances Jane Paget in middle (1817-1903), with her son James, Earl of Ossory. On top of the three,  over her father and uncle, is Frances Jane Paget again, with her dog. Below is her father General the Honourable Edward Paget (1775-1849), soldier and Governor of Ceylon. He was second in command under the Duke of Wellington in the Napoleonic Wards. He lost his right arm in Spain. Below him is Field Marshall Henry William Paget (1768-1854), 1st Marquis of Anglesey, Lord Lieutenant of Ireland, brother of Edward, above. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
General the Honourable Edward Paget (1775-1849), soldier and Governor of Ceylon, attributed to Sir Martin Archer Shee (1769-1850). He was the father of Frances Jane Paget, wife of the 2nd Marquess. He was second in command under the Duke of Wellington in the Napoleonic Wards. He lost his right arm in Spain. He is seated wearing the red ribbon of the knight of the Grand Cross of the order of the Bath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Another bedroom is the Chinese Bedroom, connected to the blue bedroom by double doors. This bedroom is decorated with a modern reproduction of a hand painted Chinese wallpaper, part of the Chinoiserie theme of the room. The wallpaper was based on a design from Lissan House in County Tyrone, owned by the Staples family, Grace Louisa Staples became Marchioness of Ormonde when she married James Butler, 19th Earl, 1st Marquess of Ormonde in 1807.

The Chinese Bedroom, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Chinese Bedroom, Kilkenny Castle. A large early black lacquered and chinoiserie decorated Chinese Cabinet and two doors with engraved gilt metal mounts enclosing an arrangement of ten drawers, on a stand with cabriole legs and scroll feet. A rare antique Chinese eight fold lacquered screen, profusely carved and decorated with figures by pavilions, various mythical and domestic animals, birds, flowers and emblems on one side, and the other side inscribed all over. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I particularly love the eagle holding up the drapery of the bed!

The Chinese Bedroom, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The nursery is also off the blue corridor.

The Nursery. Boys were usually sent away to boarding school in England at a young age. The Butlers traditionally sent their sons to Harrow. Girls however generally received less formal education at home including sewing, drawing, etiquette and instruction on running a household. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The nursery, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The nursery, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The nursery, Kilkenny Castle. Noah’s Arks have been made at least since the 1700s and were one of the most popular wooden toys of the nineteenth century. Nearly every well to do Victorian family had one. Due to their biblical theme, Noah’s Arks were often the only toy children were permitted to play with on Sundays. During the 19th century most arks were made in Germany where entire families would carve and paint the animals. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The nursery, Kilkenny Castle. Pictured is a Zoetrope. The Kilkenny castle website tells us that from first scientific toys that used animated images to modern movies, retinal persistence has been fundamental to fooling the mind into believing that a series of static images are in motion. In 1834, the English mathematician George Horner proposed a practical apparatus based on the phenakistoscope of Plateau and Stampfer (1830). It eliminated the need for a mirror and it enabled several people at the same time to view the moving pictures – an advance over the single spectator of the earlier toy. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Praxinoscope: This scientific toy with animated images also relies on retinal persistence to make us believe we are seeing images in motion. The praxinoscope was patented by the Frenchman Emile Reynaud in 1877, who was looking to overcome the deficiencies of the zoetrope, the most popular at the time. His apparatus was the first to eliminate the distorted view of the images in movement caused by insufficient light passing through the small slots of the zoetrope. This improvement in the quality of the image resulted in its immediate popularity. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Nursery, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The son of the 2nd Marquess, James Edward William Theobald Butler became the 3rd Marquess in 1854.

James Edward Theobald Wandesford Butler (1844-1919) 3rd Marquess of Ormonde (3rd creation), 21st Earl of Ormonde by Hon Henry Richard Graves (fl.1846-81). This hangs in the picture gallery of Kilkenny Castle. Son of John and Frances Jane, he is the little boy seated in his mother’s lap in the portrait by Buckner. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Elizabeth Harriet Grosvernor (1856-1928) Marchioness of Ormonde, by Hon Henry Richard Graves (fl.1846-81). This hangs in the picture gallery of Kilkenny Castle. Eldest Daughter of the 1st Duke of Westminster, she married James 3rd Marquess of Ormonde in 1876. They had two daughters famed for their beauty. Lady Beatrice Pole-Carew and lady Constance Butler. A noted beauty of her day, the marchioness wearing a long cream dress, stands in a landscape. A good example of a fashionable society portrait of of the period. The portrait was painted as a pendant to that of her husband. The portrait is based on Gainsborough’s portrait, the Hon. Mrs. Thomas Graham ( Nat. Gal. Scotland); it is another example of ‘borrowing’ poses for portraiture. Sir John Millias also painted the marchioness, a portrait engraved F Jenkins, Paris. A watercolour portrait of her with Kilkenny castle in the background by Edward Clifford is also known. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Educated at Harrow, the 3rd Marquess served as Captain for ten years with the First Life Gaurds and was appointed Lord Lieutenant of Co. Kilkenny in 1878, a post he held until his death. During the marquess’s time, a number of royal visitors came to Kilkenny Castle; these included the Duke and Duchess of York in 1899, followed in 1904 by King Edward VII and Queen Alexandria.

From the Poole photographic collection, National Library of Ireland. Royal visitors to the Picture Gallery of Kilkenny Castle: the Duke and Duchess of York (later King George V and Queen Mary with James Butler the 3rd Marquess of Ormond and his wife Elizabeth Grosvenor, also Two other Ormondes (likely the Marquess’ daughter & brother), Marshal & Lady Roberts (Frederick Roberts & Nora Bews), 4th Viscount & Viscountess De Vesci (John Vesey & Evelyn Charteris), Lady Eva Dugdale (later Lady of the Bedchamber), Earl of Ava (Hamilton-Temple-Blackwood d.1900), Sir Charles Leopold Cust (baronet), Sir Francis De Winton, Mr J. T Seigne JP (officer of Ormonde’s estate – we came across him when we visited Kilfane, as he lived in the house there), and “Mr Moncrieffe” 
James Edward William Theobald Butler (1844-1919) 3rd Marquess of Ormonde by Walter Stoneman 1917, courtesy of National Portrait Gallery NPG x43817.
James Edward William Theobald Butler (1844-1919) 3rd Marquess of Ormonde, probably with his wife.

James 3rd Marquess was an Officer of the Life Guards and a Knight of the Order of St. Patrick.

Swords and scabbards once owned by James Edward William Theobald Butler (1844-1919) 3rd Marquess of Ormonde. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information about the swords.

It was during the 3rd Marquess’s time that changes were made to the rather plain picture gallery block created by William Robertson. It was built on earlier foundations, primarily to house the Butler Family’s collection of paintings. Initially the gallery was built with a flat roof that had begun to cause problems shortly after its completion.

Kilkenny Castle picture gallery wing. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The architectural firm of Deane and Woodward was called in during the 1860s to make changes to the overall design of the picture gallery block and corrections to Robertson’s work. These changes included the insertions of four oriels in the west wall and the blocking up of the eight windows, while another oriel added to the east wall.

Kilkenny Castle picture gallery wing. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Plan for an oriel window at Kilkenny Castle. I’m not sure if this was made, as it is different from the oriel windows in the gallery wing of the castle.
End of the picture gallery wing Kilkenny Castle . Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Sketches of the south end of the picture gallery, Kilkenny Castle.
Sketches of the picture gallery wing, Kilkenny Castle.
The drawing for the river front of Kilkenny Castle.
Blocked up windows by Woodward and Deane in the picture gallery on the river side of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Woodward and Deane also built the fantastical Moorish staircase to give better access to the picture gallery. Charles Harrison (1835-1903), the stone carver, is credited with the carved naturalistic foliage and small animals which adorn the stairs.

The Moorish Staircase, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Moorish Staircase, Kilkenny Castle. Created by the architects Woodward & Deane to allow better access to the Picture Gallery and provide another staircase in this awkwardly shaped building. It is a rising half-turn stairs around a sky-lit well.
Charles Harrison (1835-1903), the stone carver, is credited with the carved naturalistic foliage and small animals which adorn the stairs
. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Moorish Staircase: Created by the architects Woodward & Deane to allow better access to the Picture Gallery and provide another staircase in this awkwardly shaped building. It is a rising half-turn stairs around a sky-lit well. Charles Harrison (1835-1903), the stone carver, is credited with the carved naturalistic foliage and small animals which adorn the stairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilkenny Castle Moorish staircase, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Information about the Moorish Staircase.
The Moorish Staircase, Kilkenny Castle. Created by the architects Woodward & Deane to allow better access to the Picture Gallery and provide another staircase in this awkwardly shaped building. It is a rising half-turn stairs around a sky-lit well. Charles Harrison (1835-1903), the stone carver, is credited with the carved naturalistic foliage and small animals which adorn the stairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Moorish Staircase, Kilkenny Castle.
The Moorish Staircase, Kilkenny Castle.
The Moorish Staircase, Kilkenny Castle. Charles Harrison (1835-1903), the stone carver, is credited with the carved naturalistic foliage and small animals which adorn the stairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Moorish Staircase, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Moorish Staircase, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The magnificent Picture Gallery is situated in the east wing of Kilkenny Castle. Deane and Woodward changed the flat roof to a toplit one with impressive wooden beams.

The hammer beam roof structure by Deane and Woodward is supported on carved stone corbels, carved by the O’Shea brothers from Kilkenny. The ceiling was hand painted by John Hungerford Pollen (1820-1902), Professor of Fine Arts at Newman College in Dublin. The decoration is from the quasi-medieval and pre-Raphaelite, and reminds me of Seán Leslie’s painting on beams in Castle Leslie. The cross beams of the gallery feature gilded animal and bird heads. It has taken me several visits to Kilkenny Castle to take it all in!

The Picture Gallery in Kilkenny Castle was built during the early nineteenth century building programme carried out by the architect William Robertson. It was constructed on earlier foundations. Robertston’s Picture Gallery, in keeping with his work on the rest of the castle, was in a Castellated Baronial style. Initially the gallery was built with a flat roof that had begun to cause problems shortly after its completion. The distinguished architectural firm of Deane and Woodward was called in during the 1860s to make changes to the overall design of the Picture Gallery block, and other corrections to Robertson’s work. These changes included the insertions of four oriels in the west wall and the blocking up of the eight windows, while another oriel added to the east wall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The picture gallery, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information about the picture gallery of Kilkenny Castle.
Kilkenny Castle picture gallery, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Picture Gallery, Kilkenny Castle.
Kilkenny Castle picture gallery, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
The Picture Gallery in Kilkenny Castle. A pitched roof was put in place of the leaking flat one, with top lighting; that originally had green glass. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Picture Gallery in Kilkenny Castle. A pitched roof was put in place of the leaking flat one, with top lighting; that originally had green glass. The hammer beam roof structure by Deane and Woodward is supported on carved stone corbels, carved by the O’Shea brothers from Kilkenny. The entire ceiling was hand painted by John Hungerford Pollen (1820-1902), then Professor of Fine Arts at Newman College, Dublin, using a combination of motifs ranging from the quasi-medieval to the pre-Raphaelite, with interlace, gilded animal and bird heads on the cross beam. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Picture Gallery in Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Picture Gallery in Kilkenny Castle. The entire ceiling was hand painted by John Hungerford Pollen (1820-1902), then Professor of Fine Arts at Newman College, Dublin, using a combination of motifs ranging from the quasi-medieval to the pre-Raphaelite, with interlace, gilded animal and bird heads on the cross beam. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The hammer beam roof structure by Deane and Woodward is supported on carved stone corbels, carved by the O’Shea brothers from Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Picture Gallery in Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information about the painted roof of the picture gallery in Kilkenny Castle.
The Picture Gallery in Kilkenny Castle. It’s worth looking at all of the different pre-Raphaelite style paintings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Picture Gallery in Kilkenny Castle. It’s worth looking at all of the different pre-Raphaelite style paintings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Picture Gallery in Kilkenny Castle. It’s worth looking at all of the different pre-Raphaelite style paintings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Picture Gallery in Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Picture Gallery in Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information about the paintings in the picture gallery of Kilkenny Castle. Some date from the 17th century, and others from 18th and 19th. In the 19th cnetury, there were 200 paintings in the gallery.
Henrietta Maria Stanley (1687-1718) & her sister Elizabeth (d.1714), English school 18th century. This hangs in the picture gallery of Kilkenny Castle. Daughters of William, 9th Earl of Derby and his wife Elizabeth Butler, daughter of Thomas Butler, Earl of Ossory, they would been nieces of the 2nd Duke of Ormonde. Henrietta was married to the Earl of Anglesea in 1706 ad then to John, 1st Earl of Ashburnham in 1714. She has been identified from other portraits of her painted during the first two decades of the eighteenth century. Ashburnham had previously been married to Mary, her first cousin, daughter of the 2nd Duke of Ormonde. Henrietta died in 1718 aged 31 years. Elizabeth Stanley died unmarried in 1714. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There are more of the Decius tapestries in the picture gallery.

There are three tapestries from the “Decius” suite in the Picture Gallery: Desius Mus preparing for death; The dismissal of the lictors; The death of Decius Mus. The tapestries are attributed to the workshop of Jan Raes, after designs by Sir Peter Paul Rubens. This one is the Dismissal of the lictors. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information about the tapestry in the picture gallery of Kilkenny Castle.
Stephen studies The Death of Decius. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information about the tapestries in the picture gallery of Kilkenny Castle.

The large marble fireplace is also designed by John Hungerford Pollen. It was supplied by the firm of Ballyntyne of Dorset Street, Dublin. Foliage carving attributed to Charles Harrison covers the chimneypiece and a frieze beneath is decorated with seven panels, showing the family coat of arms and significant episodes from the family’s long history.

The Marble Fireplace is made of Carrara marble and was designed by J. H. Pollen also in a quasi-medieval style.
It was supplied by the firm of Ballyntyne of Dorset Street, Dublin. Foliage carving attributed to Charles Harrison covers the chimneypiece and a frieze beneath is decorated with seven panels, showing the family coat of arms and significant episodes from the family’s long history.
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Starting on the left, the first panel shows the buying the castle by the first Earl of Ormond in 1391 from the Despenser family – money changing hands is shown. The second panel depicts Theobald Fitzwalter acting as Chief Butler to the newly crowned King of England highlighting their ancient royal privilege and upon which their surname of Butler is based. On the third panel, you see King Richard the Second acting as godfather for one of the infants of the Butler family in 1391. The centrepiece is the family crest which can also be seen over the arch and gateway, with the family motto “comme je trouve”- “as I find”, as well as the heraldic shield guarded, the falcon, the griffin (a legendary creature with the body of a lion and the head and wings of an eagle) and the ducal coronet. In the fifth panel, the 1st Duke of Ormond can be seen entering the Irish House of Lords still bearing his sword. Indeed, he refused to hand his weapon over as were the protocols in case it was used inside during an argument; this became known as The Act of Defiance. The sixth panel next to this symbolizes the charity of the Butler family showing Lady Ormonde giving alms to the poor. Finally, the sixth and last panel portrays the First Duke of Ormond’s triumphant return to Dublin from exile on the Restoration of Charles the Second in 1662, when he also established the Royal Hospital in Kilmainham and founded the Phoenix Park.”
The castle website tells us that this is a Mahogany side table c.1740 with green marble tops (most likely Connemara) in the style of William. Kent. The apron has lion mask against stylised acanthus under a frieze of egg and dart. The tables show the influence of William Kent (1684-1748) in the realistic and bold detail and are either English or Irish, the slight punching on the apron possibly indicating the latter. There is eye-catching detail in the lion’s mane and the legs are especially hairy and vivid. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A hopper commemorates the date 1877, so perhaps some of the building work on Kilkenny Castle was completed in that year.

James was the last marquess to live at Kilkenny Castle. He died there and is buried in the private family cemetery. The 3rd Marquess’s brother James Arthur Wellington Foley Butler (1849-1943) became 4th Marquess (and 22nd Earl) of Ormonde in 1919. James’ principal home was at Gennings, Kent where he died in 1943. It seems such a pity his father had improved the picture gallery and he didn’t live there!

James Arthur Wellington Foley Butler (1849-1943) 4th Marquess, 22nd Earl of Ormonde, by Philip de Laszlo (1869 – 1937). This portrain hangs in the Hall of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

He was educated at Harrow and joined the army becoming a lieutenant in the 1st Life Guards. He was state steward to the Earl of Carnarvon when Lord Lieutenant of Ireland. In 1887 he married Ellen Stager, daughter of American General Anson Stager.

Lord and Lady Arthur Butler purchased Gennings Park in Kent in 1901. The purchase of country estate after fourteen years of marriage was reportedly made following the death of Lord Arthur’s cousin George O’Callaghan, 2nd Viscount Lismore in 1899; Lord Lismore had reportedly informed his family that, following the deaths of his two sons, Lord Arthur Butler would be the heir to his estates (a 47,000-acre estate in Ireland centred on Shanbally Castle worth £18,435 annually). [11] Following Lord Lismore’s death in 1898, his Will revealed that he had instead named Lord Arthur’s nieces Lady Beatrice and Lady Constance Butler as the beneficiaries of his estate. [12]

Shanbally Castle, County Tipperary, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.

Gennings Park remained the home of Ellen, Lady Arthur Butler (later Marchioness of Ormonde) until her death in 1951. Her son was James George Anson Butler, 23rd Earl, 5th Marquess, 24th Chief Butler (1890–1959). George was educated at Harrow and Sandhurst. In 1915 he married Sybil Fellowes, daughter of 2nd Lord de Ramsey and Winston Churchill’s first cousin. They had two children, Moira and Anthony. George and Sybil were in residence at Kilkenny Castle in 1922 when the building was occupied by Republicans and besieged by troops of the Free State.

He oversaw the 1935 auction of contents at Kilkenny Castle. His younger brother succeeded him, James Arthur Norman Butler, 24th Earl, 6th Marquess, 30th Chief Butler (1893–1971). Arthur was educated at Harrow and Sandhurst. He pursued a military career and served in both world wars. From 1945 onwards, Arthur lived at Gennings Park in Kent with his widowed mother Ellen. In 1955, after her death, he moved with his wife to Cantley Farm, Wokingham, Berkshire. In 1967 he sold the Castle to the Kilkenny Castle Restoration Committee for £50. Two years later it went into state ownership.

As I mentioned earlier, it was James Arthur Norman Butler (1893-1971), 6th Marquess and 24th Earl of Ormonde, youngest son of James Arthur, 4th Marquess of Ormonde, who in 1967 sold the Castle.

The next Earl was a cousin, James Hubert Theobald Charles Butler, 25th Earl, 7th Marquess, 31st Chief Butler (1899–1997). He was a grandson of James Butler, 21st Earl of Ormonde and a cousin of the 23rd and 24th Earls of Ormonde. Upon his death, the Marquessate of Ormonde became extinct and the Earldoms of Ormonde and Ossory and the Viscountcy of Thurles became dormant.

It is now a wonderful place to visit, and has fifty acres of rolling parkland, a terraced rose garden, playground, tearoom and man-made lake, for visitors to enjoy. We enjoyed a delicious moist slice of fruitcake in the vaulted café, which must have been the kitchen, before heading out for a walk around the park.

The café is in the old kitchen of Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kitchen, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kitchen, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Service bells in the Kitchen, Kilkenny Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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

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

[2] https://kilkennycastle.ie/about/explore-the-castle-new/

[3] p. 167. Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.

[4] https://kilkennycastle.ie/about/characters-of-kilkenny-castle/

[5] p. 67, Otway-Ruthven, A. J. A History of Medieval Ireland New York: Barnes & Noble 1993.

[6] https://lordbelmontinnorthernireland.blogspot.com/2014/09/kilkenny-castle.html

[7] http://www.stevenroyedwards.com/kilkennycastle-timeline.html

[8] p. 192. Murray, James (2009). Enforcing the English Reformation in Ireland. Cambridge: Cambridge University Press, “Whether Ormond’s death was directly attributable to the viceroy’s actions, or simply a remarkable coincidence, is now impossible to determine.”

[9] Knocktopher Abbey in County Kilkenny, a house incorporating the remains of the first Carmelite friary in Ireland, rebuilt for Lieutenant-Colonel Sir James Langrishe JP DL (1832-1910) after a fire. It was rebuilt around 1866 in High Victorian Gothic to the design of John McCurdy. The paintings on display are part of a generous bequest to Kilkenny Castle from Lady Grania Langrishe in July of 2012.

John Langrishe  (1660-1735), son of Hercules Langrishe (the first member of the family who settled in Ireland), became proprietor of the borough of Knocktopher, County Kilkenny. 

Knocktopher Abbey, Knocktopher, Co. Kilkenny, for sale courtesy DNG Country Homes & Estates, November 2024.
Portrait of an unknown gentleman perhaps John Langrishe (1660-1735), the first of the family to arrive in Knocktopher, father of Robert. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Mr Langrishe, High Sheriff of County Kilkenny, 1696, married firstly, Alicia, second daughter of Harry, 2nd Baron Blayney, and widow of Thomas Sandford, of Sandford Court; and secondly, Miss Sandford, daughter of Colonel Sandford; but had issue by neither of those ladies. 

He wedded thirdly, Mary, daughter of Robert Grace, feudal baron of Courtstown, and had an only son, his successor, Robert Langrishe  (c.1696-1769).

Robert Langrishe (1696-1769), artist unknown. He held the office of High Sheriff in 1740 and completed the outright purchase of the fee simple of the Knocktopher lands of over 800 acres in 1757 according to William Nolan and Kevin Phelan in Kilkenny, History and Society 1990. His son Hercules was to become first Baronet of Knocktopher. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Robert served as High Sheriff of County Kilkenny in 1740 amd Gentleman Usher of the Black Rod in Ireland 1745-9. His son and heir Hercules Langrishe (1731-1811) served as MP for Knocktopher 1761-1800. Hercules was created a baronet in 1777, denominated  of Knocktopher Abbey, County Kilkenny. 

Right Hon. Sir Hercules Langrishe (1731-1811), 1st Baronet Knocktopher, artist unknown. The Langrishe Baronetcy of Knocktopher Abbey in the County of Kilkenny is a title in the Baronetage of Ireland. It was created on 19 February 1777 for Sir Hercules Langrishe, who represented Knocktopher in the Irish House of Commons. The Langrishe family were part the social world of the Butlers. They were present at many social occasions in Kilkenny Castle including the Royal Visits to the Castle. The family seat from 1679 to 1981 was Knocktopher Abbey, County Kilkenny. The 1st Baronet was MP for Knocktopher for 40 years until the Act of union in 1801. It is said he bought up lands in Knocktopher and leased it to Catholic residents. He was created 1st Baronet in 1777. Best remembered for his pro Catholic Relief stance and his exchange of views with his friend Edmund Burke. He introduced the Catholic Relief Bill in 1792 and The Catholic Enfranchisement Act which passed in 1793. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sir Hercules, who was a member of the Privy Council, represented the borough of Knocktopher in the Irish parliament for forty years, during which period he ranked amongst the most distinguished of its members, and was the first who advocated and obtained a partial relaxation of the most atrocious code of laws which oppressed the Roman Catholics of Ireland, a code that consigned 80% of the population to unmitigated and grinding slavery, and reduced the whole of the state to semi-barbarism. He was Commissioner of Excise and Revenue.

In 1755 he married Hannah, daughter and co-heir of Robert Myhill, of Killarney, County Kilkenny, and sister of Jane, wife of Charles, 1st Marquess of Ely. His successor was his son Robert Langrishe, 2nd Baronet (1756-1835).

Sir Robert Langrishe (1756–1835), 2nd Baronet Knockopher, artist unknown. MP for Knocktopher 1783-1796, he graduated as a barrister from Kings Inn and both father and son sat in Parliament at the same time. He was heavily involved in the theatre and was Revenue Commissioner in 1796. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Oil portrait of an unknown gentleman possibly Sir Robert Langrishe 2nd Baronet. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In 1782 Robert married Anne, daugher of Bellingham Boyle.

Bellingham Boyle (1709-1771), unknown artist. His daughter married Sir Robt Langrishe 2nd Bt. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

His son was his successor, Hercules Richard 3rd Baronet (1782-1862), who joined the clergy.

Rev. Sir Hercules Richard Langrishe (1782-1862), 3rd Baronet of Knocktopher County Kilkenny, artist unknown. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sir Hercules was succeeded by his eldest son, James Langrishe (1832-1905), 4th Baronet Knocktopher.

James Langrishe (1832-1905), 4th Baronet Knocktopher, artist unknown. Married twice, he was a Lt. Col in the army and High Sheriff of Kilkenny 1866. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

He was succeeded by his son Hercules Langrishe (1859–1943), 5th Baronet Knocktopher.

Hercules Langrishe (1859–1943), 5th Baronet Knocktopher, Artist unknown. He gained the rank of Captain in the service of the Army Motor Reserve, of Captain and Honorary Major in the service of the 3rd Battalion, Oxfordshire Light Infantry and of Temporary Commander in the service of the Royal Naval Volunteer Reserve. He fought in the First World War, in the Mediterranean and Russia. He succeeded to the title of 5th Baronet on 20 August 1910. He held the office of Justice of the Peace for County Kilkenny, of High Sheriff of County Kilkenny and the office of Deputy Lieutenant of County Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There is a portrait of the 5th Baronet’s son, Hercules Ralph Langrishe (1888-1917), also.

Hercules Ralph Langrishe (1888-1917), artist unknown. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[10] The Library and Drawing Room portraits:

Half-length portrait, said to be of Mr Martin Shee (d.1783), father of the artist Sir Martin Archer Shee P.R.A. The costume details would indicate a date of c. 1815. Shee’s father was known to be blind, and it is noticeable that the eyes in this portrait are unfocused. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Portrait of unknown lady, possibly member of Shee Family Artist Irish school, eighteenth century. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Catherine Morres (d.1851) 1st Viscountess Frankfort de Montmorency. Artist John Comerford (1773-1835) Catherine Morres was the second wife of the Viscount Frankfort de Montmorency, and daughter of George White of Castlebellingham.
The family of Morres changed their name to de Montmorency in 1815, claiming descent from the Norman Geoffry de Marisco.
The claim has been dismissed in the following terms: ‘This cock and bull pedigree or genealogical nightmare, which for sheer topsy-turveydom, has, I venture to assert, never been surpassed.’ The sitter is wearing a large muslin bonnet of a type which was fashionable and worn by married ladies during the early years of the nineteenth century.
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Catherine Vigors (1794-1820) by Robert Lawrence (1794-1820). Catherine was the daughter of Soloman Richards of Solborough, Co Wexford.She married Nicholas Aylward Vigors of Old Leighlin and Belmont, Co Carlow, in 1781. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Bellingham Boyle (1709-1771), unknown artist. His daughter married Sir Robt Langrishe 2nd Bt. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[11] O’Donnell, Michael (2010). Fethard County Tipperary 1200–2000. Dublin: Geography Publications. p. 142, 158. 

[12] The Lady’s Realm. Vol. 6. Hutchinson. 1899. p. 520. 

Grenane House, Tipperary, Co. Tipperary E34 EP22 – section 482

www.hfhtours.ie

Open dates in 2026: May 1-31 closed Sundays, Aug 15-23, Sept 1-30, closed Sundays, 2pm-6pm,

Tours: booking essential for National Heritage Week

Fee: adult €20, OAP €10, child €10 over 12 years and under 18 years

donation

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

€15.00

Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Historic Family Home Tours is a company which brings visitors to three historic houses: twelfth century Castlegarde in County Limerick with its 1820s extension by the Pain brothers, Grenane House, and Lismacue in County Tipperary, https://www.hfhtours.ie/

Unfortunately the tours are for groups, but I’d love to see the other two houses as well some time. However, you can visit Grenane house separately as it is listed on Revenue Section 482.

The house at Grenane in County Tipperary was built by and is still owned by members of the Mansergh family. It was lovely to meet the current owner, Philippa, who is very knowledgeable about the history of the house and her family.

Before the house was built there was a castle on the property. The Civil Survey of 1654 mentions the Grenane property in the parish of Templenoe, recorded as consisting of “the castle and town of Grenane and Ballyhosty” (Ballyhusty) and 660 plantation acres. The castle is described as a garrisoned castle, with thirty thatched cabins and houses nearby, forming the “town.” [1] There is a still a field which is called the “castle field” but the castle was pulled down to build the new house.

The house was probably built between 1700-1710, in time of Daniel and Mary Mansergh, from the stones of the castle. The main house, a three-bay Georgian house of middle size, dates from around 1730. [2] Philippa told us that the house had three storeys originally but the third was removed when the west wing was built, around 1740.

Grenane House, County Tipperary, August 2023 – the front window has gone for repair. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The name “Grenane,” the owner told us, is from “An Grianan,” meaning Our Lady’s Bower.

The view from Grenane House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Grenane House, County Tipperary, August 2023 – the front window has gone for repair. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Art Kavanagh and William Hayes tell us that three brothers, Brian, James and Robert Mansergh, came to Ireland from Westmoreland in northwest England, with their uncle Daniel Redman, around 1650. [3]

They became involved in the Cromwellian campaign. However, in 1659, after Cromwell’s death, Daniel Redman entered into secret negotiations with the restored Charles II and was formally pardoned for his support of Cromwell. By 1688, Kavanagh and Hayes tell us, Redman was owner of nearly 13,000 acres in Kilkenny. In the land settlement of 1661, James Mansergh received a grant of Macrony Castle in County Cork. This is still occupied today. Brian and Robert Mansergh settled near their uncle in Kilkenny. Brian acquired Ballybur Castle in County Kilkenny, which is now also a Section 482 property, which we have yet to visit. Redman’s daughter Eleanor married James Butler, 3rd Viscount Ikerrin, and his daughter Elizabeth married John Meade, 1st Baronet of Ballintubber, County Cork. [4]

Brian served as High Sheriff and Justice of the Peace for County Kilkenny. He had a son, Daniel (1664-1735). It was through Daniel’s marriage that Grenane came into the ownership of the Mansergh family. Daniel also inherited Macrony Castle from his uncle Colonel James Mansergh, as James’s son George had no children.

Colonel James’s daughter Eleanor married into the Grenane lands in 1684 when she married Nicholas Southcote. Her daughter and heiress Mary Southcote married Daniel Mansergh and brought with her the Grenane property. It was probably in Daniel and Mary’s time that the current house at Grenane was built.

Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In The Tipperary Gentry, Kavanagh and Hayes tell us the interesting history of the area. Before coming into Mansergh ownership, the land at Grenane was leased to Hardress Waller (1604-1666). He was from a wealthy family from Kent in England, but moved to Ireland after he married an heiress to Irish property, Elizabeth, daughter and coheir of John Dowdall of Kilfinny, Co. Limerick. [5] He served as MP for Askeaton, County Limerick, in the Irish Parliament. At first he supported the Catholic “Old English” who did not want plantation of Protestant settlers in Munster.

However, with the outbreak of the Catholic rebellion in 1641, Waller turned against the “Confederates.” The Confederates were mostly Catholic and many were “Old English” who had settled in Ireland, who wanted to retain their lands despite retaining their Catholic faith. They asserted their loyalty to the King along with their right to keep their faith and their land. The Duke of Ormond James Butler tried to navigate a peaceful means for them to obtain their rights while maintaining loyalty to King Charles I.

The Catholic church became involved in the person of Cardinal Rinuccini, acting on behalf of Pope Innocent X. He came to Ireland in 1645 and brought with him arms and ammunition. The Confederate cause was split, with the emphasis upon the Catholic faith trumping the interest of the Old English who wanted to keep their land and maintain loyalty to the Crown and to King Charles I.

Rosary beans given to the owners of Ballybur Castle by Cardinal Rinuccini, at Rothe House, County Kilkenny, May 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was a complicated time politically. The Dictionary of Irish Biography tells us that during the summer of 1643 Waller became increasingly critical of the king.

In the spring of 1645 Hardress Waller was serving in the west of Ireland in the Parliamentarian army, possibly under his cousin, William Waller. By April he had taken the solemn league and covenant, and was then appointed as a colonel in the recently formed New Model Army. The Dictionary of Irish Biography continues, telling us that in January 1649 Waller was chosen as a commissioner for the high court of justice to try the king. He attended the trial proceedings as many times as Cromwell, and, on 29 January, signed the king’s death warrant – the only Irish Protestant to do so. After the reinstatement of the Stuart monarchy with King Charles II, Waller was sentenced to death, but the sentence was commuted to life imprisonment on the island of Jersey, where he died.

Waller’s daughter, Elizabeth, married William Petty, author of the Civil Survey of 1654. Another daughter married Nicholas Southcote, a Royalist from Devon.

Nicholas Southcote and Elizabeth had a son, also named Nicholas, who in 1684 married Eleanor Mansergh, daughter of Captain James Mansergh of Macrony Castle, County Cork. The name “Southcote” has been used as an added Christian name in later Mansergh generations.

It was Nicholas and Eleanor Southcote’s daughter and heiress Mary who married her cousin Daniel Mansergh (1664-1735) of Macrony Castle.

Garden at Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Philippa brought us inside and we were shown into the library and sitting room. The drawing room has a Wedgewood frieze around the room and a Bossi fireplace.

The second son of Daniel and Mary, Nicholas Southcote Mansergh (d. 1768), inherited Grenane in 1735, Kavanagh and Hayes tell us. His elder brother James (d. 1774) inherited Macrony Castle. James married Mary St. George and his son Richard inherited the St. George estates and added St. George to his surname.

Richard Mansergh St. George (1756/9-1798) at his wife’s tomb by Hugh Douglas Hamilton courtesy of National Gallery of Ireland ID 8757. The portrait is misleading as it shows him with a full head of hair, whereas in reality he fought in the British army during the American War of Independence and was shot in the head. Miraculously he survived and part of his skull was replaced by a silver plate, and from then on, he wore a cap to cover his head. He is also interesting as he was a friend of artist Henry Fuseli, who was beloved of Mary Wollestonecraft. He inherited the Headfort estate in County Galway, and was murdered by rebels in 1798.
Richard Mansergh St. George’s wife Anne St. George née Stepney of Durrow Abbey County Offaly, and Child, 1971, by George Romney courtesy of August Heckscher Collection 1959.147
English School c.1828 Headford Castle, Co. Galway (now a ruin), Watercolour, inscribed in pencil, Headford Castle, Co. Galway, Ireland Richard St George Esq. courtesy of The History Sale Adams April 2018.

Nicholas Southcote Mansergh owned Grenane for 33 years. He married Elizabeth, daughter of Richard Lockwood of Castle Leake (Castlelake), Cashel, in 1750. His two eldest sons, Nicholas Southcote (d. 1818) and Daniel (d. 1823) continued the Tipperary branches of the family.

In 1770 Nicholas married Elizabeth, daughter of John Carden of Templemore, County Tipperary and sister of John Craven Carden, 1st Baronet of Templemore. It was during their time in Grenane House that the top storey was removed and the south wing, a long two-storey structure, was built.

John Craven Carden, 1st Baronet of Templemore, County Tipperary, by Robert Hunter courtesy of Country House Collections at Slane Castle 13th October 2015.

Nicholas Mansergh the second owned Grenane for around fifty years, outliving his eldest son John Southcote, JP, who died in 1817. John had married Mary, daughter of Richard Martin of Clifford, Co Cork. The Christian name Martin came to be used subsequently in the Mansergh family. 

Grenane passed to their son, Richard Martin Southcote Mansergh (1800-1876). A younger son, Charles Carden Mansergh, married Elizabeth Bland, daughter of Captain Loftus Otway Bland. Charles Mansergh and Elizabeth Bland’s daughter Georgiana Constance Antoinette Mansergh married Robert St. John Cole Bowen, of Bowen’s Court in County Cork, and was the grandmother of the writer Elizabeth Bowen – whose short stories I am currently reading!

Richard Martin Southcote inherited Grenane at the age of 18. He married Jane Rosetta, daughter of Robert Bomford and Maria Massy-Dawson of Rahinston, County Meath. He owned Grenane House and estate for about 60 years. He served as a local magistrate.

Richard Mansergh was chairman of the jury in the trial of William Smith O’Brien (1803-1864), a Young Irelander, in 1848. William Smith O’Brien was a politician and served as a member of parliament. Young Irelanders sought Irish independence. O’Brien was arrested at Thurles railway station shortly after his abortive Young Ireland rising which fizzled out at the Widow McCormack’s farmhouse at Ballingarry in July 1848. At the subsequent trial before a jury, O’Brien was found guilty of high treason. Richard Mansergh as chairman of the jury had to announce the verdict. In association with the jury he made a plea for O’Brien’s life in the following terms: “We earnestly recommend the prisoner to the merciful consideration of the government, being unanimous of the opinion that, for many reasons, his life should be spared.” 

William Smith O’Brien (1803-1864) by George Francis Mulvaney, courtesy of National Gallery of Ireland P1934.

The jury also included Southcote Mansergh of Grallagh Castle, County Tipperary, a former property of a junior branch of the Butlers. Smith O’Brien, whom Mansergh regarded as a good friend, was transported to Tasmania, and pardoned six years later. 

Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In The Tipperary Gentry, we are told: “Richard Mansergh was a member of the Select Vestry of Tipperary Church of Ireland parish, which approved of the building of the new parish church in the town in 1829. He paid £300 for the family box pew. He always drove by himself to church, and according to family tradition, after going into his family pew he spread a handkerchief over his face and went to sleep. On other outings as magistrate he drove in a coach and four with two postillions dressed in the family livery of buff with scarlet edging.

He did not employ a land agent. On the occasions on the Spring and Autumn gale days, the days on which the rents were due, it was his custom to sit at a table under a lime tree at the corner of the avenue, receiving the rent from his seventy or so tenants, listening to whatever complaints they were brave enough to voice, and “dispensing justice as he thought fit.” His eldest son and heir, John Southcote [1823-1899], popularly called Colonel Johnny, stood beside him, “and sometimes helped to soften the decision.

Philippa told us that during the Famine, nobody at Grenane died nor emigrated. The walled garden was built and trees were planted, as ways of providing employment and pay. Kavanagh and Hayes tell us that:

During the years of the Great Famine, Colonel Johnny was chairman of the Tipperary Town Relief Committee, the function of which was to submit orders for Indian meal, raise subscriptions, apply for matching government grants and supervise public works. The main works undertaken were whitewashing the poorer houses, putting in sewers and footpaths to try to reduce the risk of fever, and leveling and draining number of roads leading out of the town.”

Gardens at Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Colonel Johnny also gave practical help by allowing a sewing project for women on the estate in the late 1840s.

He married Sissy Wyatt of Flintstone, but only about six months after his father’s death in 1876 he and Sissy moved to London where they continued to live until their death. It was at that stage that Grenane became heavily mortgaged and was let.

Johnny had a brother, Richard St. George Mansergh (1832-1897). The house passed eventually to his son, Philip St. George Mansergh (1863-1928).

Philip’s elder brother, Richard Southcote Mansergh who had succeeded to Grenane, went to live in Friarsfield House, built by the family as a dower house around 1860. [6] This is now occupied by former senator Martin Mansergh, a cousin of the current owner of Grenane, Philippa Mansergh-Wallace. They are both grandchildren of Philip St. George Mansergh.

Philip St. George Mansergh (1863-1928) had been sent to Australia at the age of 18 with only £40 in his pocket and his passage. He had trained as an engineer. Kavanagh and Hayes tell us that he was involved with construction of railway lines in Queensland, Australia, in New Zealand and in Africa on the “Cape to Cairo” railway. His descendant Philippa, current resident of Grenane, has wonderful photographs from this period. Philip married his cousin Ethel Marguerite Otway Louise Mansergh. They had two sons.

Philip returned from his railway engineering career in Africa in 1906, by which time the estate was reduced to its demesne lands. [7] Much land was dispersed in the Land Purchase Acts.

Martin Mansergh’s father (Philip) Nicholas Seton Mansergh (1910–91) was a historian who wrote many books about Ireland including The Irish Free State: its government and politics (1934), The government of Northern Ireland: a study in devolution (1936) and Ireland in the age of reform and revolution, published in 1940 (and in a revised edition as The Irish question, 1840–1921 in 1975). The unresolved question: the Anglo-Irish settlement and its undoing, 1912–72 (1991) was published after his death, as were two volumes of essays, edited by his widow, Diana: Nationalism and independence: selected Irish papers (1997), and Independence years: the selected Indian and commonwealth papers of Nicholas Mansergh (1999). [7]

There is a charming playroom in Grenane house which has every surface covered by gorgeous painting by Marion McDonnell of Tipperary depicting “The Mice of Brambley Hedge.” This took two years to paint. I could have looked at it for hours, it is so detailed and wonderful.

The playroom completely hand painted by Marion McDonnell of Tipperary depicting “The Mice of Brambley Hedge,” courtesy of Grenane House website.

Philippa then brought us outside to see the garden. These feature a hazelnut walk, the only one in Ireland. There is a summerhouse in the shape of an old 50 pence. The terraces were laid out around 1860 by a great aunt, Charlotte Mansergh. Philippa has planted a forest of trees. Unfortunately it was starting to rain so we didn’t linger as long as we would have liked. It was a lovely visit.

Gardens at Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Gardens at Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fairy door, Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Grotto at Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Gardens at Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Gardens at Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Garden at Grenane House, County Tipperary, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] p. 127. Kavanagh, Art and William Hayes. The Tipperary Gentry. By William Hayes and Art Kavanagh. Published by Irish Family Names, c/o Eneclann, Unit 1, The Trinity Enterprise Centre, Pearse St, Dublin 2, 11 Emerald Cottages, Grand Canal St, Dublin 4 and Market Square, Bunclody, Co Wexford, Ireland. 2003. 

p. 127 refers to R.S. Simington, ed. Civil Survey of Ireland, Co Tipperary, Vol. 2, p. 42, 1934.

[2] p. 128, The Tipperary Gentry.

[3] p. 127, The Tipperary Gentry.

[4] Mosley, Charles, editor. Burke’s Peerage, Baronetage & Knightage, 107th edition, 3 volumes. Wilmington, Delaware, U.S.A.: Burke’s Peerage (Genealogical Books) Ltd, 2003.

[5] https://www.dib.ie/biography/waller-sir-hardress-a8861

[5] p. 128, The Tipperary Gentry.

[6] p. 124, The Tipperary Gentry.

[7] https://www.dib.ie/biography/mansergh-philip-nicholas-seton-a5440

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

Cahir Castle, County Tipperary, an Office of Public Works property

Cahir Castle, photograph from Ireland’s Content pool, by Brian Morrison 2014 for Failte Ireland. [see 1]
Cahir Castle, June 2022. The geese are particularly picturesque! The outer walls are called the Barbican. When breached, the attacking force gains entry to this area and are vulnerable to missiles fired by defenders and it would be difficult to retreat, due to the enclosed nature of the barbican. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

General information: 052 744 1011, cahircastle@opw.ie

Stephen and I visited Cahir Castle in June 2022, and I was very impressed. I had no idea that we have such an old castle in Ireland with so much intact.

From the OPW website https://heritageireland.ie/visit/places-to-visit/cahir-castle/:

Cahir Castle is one of Ireland’s largest and best-preserved castles. It stands proudly on a rocky island on the River Suir.

The castle was was built in the thirteenth century and served as the stronghold of the powerful Butler family. [The Archiseek website tells us it was built in 1142 by Conor O’Brien, Prince of Thomond] So effective was its design that it was believed to be impregnable, but it finally fell to the earl of Essex in 1599 when heavy artillery was used against it for the first time. During the Irish Confederate Wars it was besieged twice more.

At the time of building, Cahir Castle was at the cutting edge of defensive castle design and much of the original structure remains.

Cahir Castle, photograph from Ireland’s Content pool, by George Munday 2014 for Failte Ireland. [see 1] Barbican wall, courtyard, and gate with overhead machicolation, and the castle keep.
Cahir Caste, County Tipperary, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Our tour guide took us through the castle as if we were invaders and showed us all of the protective methods used. We were free then to roam the castle ourselves.

The name derives from the Irish ‘an Chathair Dhun Iascaigh’ meaning stone fort of the earthen fort of the fish.

Cahir Caste, County Tipperary, June 2022. The view of the castle from the parkland beyond. See how it seems to grow out of the rocks! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Cahir Caste, County Tipperary, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Cahir Caste, County Tipperary, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Cahir Castle, photograph from Ireland’s Content pool, by Liam Murphy 2016 for Failte Ireland. [see 1] The large square tower in the foreground was built later than the keep, for housing prisoners.
Cahir Castle, June 2022.

The information leaflet tells us that the area was owned by the O’Briens of Thomond in 1169 at the time of the Anglo-Norman invasion. The area around Cahir was granted to Phillip of Worcester in 1192 by John, Lord of Ireland, who later became King John. His nephew William was his heir – I’m not sure of his surname! But then his great-granddaughter, Basilia, married Milo (or Meiler) de Bermingham (he died in 1263). They lived in Athenry and their son was the 1st Lord Athenry, Piers Bermingham (died 1307).

Edward III (1312-1377) granted the castle to the James Butler 3rd Earl of Ormond in 1357 and also awarded him the title of Baron of Cahir in recognition of his loyalty. The 3rd Earl of Ormond purchased Kilkenny Castle in c. 1392. Cahir Castle passed to his illegitimate son James Gallda Butler. James Gallda was loyal to his mother’s family, the Desmonds, who were rivals to his father’s family, the Butlers.

Cahir Castle, June 2022.
The first entrance gates, to the bawn (walled courtyard or outer enclosure) of Cahir Castle. Above the door on the top of the wall an eagle is perched, symbol of power. Below that is the crest of the Butlers of Cahir. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Cahir Castle, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In their book The Tipperary Gentry, William Hayes and Art Kavanagh tell us that the rivalry between the Butlers of Ormond and the Fitzgeralds of Desmond turned to enmity when the War of the Roses broke out in England, with the Ormonds supporting the House of Lancaster and the Desmonds the House of York. The enmity found expression in the battle at Pilltown in 1462. The enmity continued for over a century, and the last private battle between the Ormonds and the Desmonds was the Battle of Affane, County Waterford, in 1565. [2]

A descendant of James Gallda Butler, Thomas Butler (d. 1558) was elevated to the peerage of Ireland, on 10 November 1543, by the title of Baron of Caher (of the second creation). He married Eleanor, a daughter of Piers Butler, 8th Earl of Ormond (d. 1539) and Margaret Fitzgerald, daughter of Gerald FitzGerald, 8th Earl of Kildare (d. 1513). His son Edmund became the 2nd Baron (d. 1560) but as there were no legitimate male heirs the title died out.

It was Piers Rua Butler, the 8th Earl of Ormond (c. 1467–1539), who brought peace between the warring factions of Fitzgeralds of Desmond and the Butlers of Ormond. He married Margaret Fitzgerald, daughter of Gerald (or Garret) Fitzgerald (1455-1513) 8th Earl of Kildare. His efforts culminated in a treaty called the Composition of Clonmel. It stated that Edmund Butler of Cahir should receive the manor of Cahir on condition that he and all his heirs “shall be in all things faithful to the Earl [of Ormond] and his heirs.” The Barons of Cahir were not allowed to keep their own private army nor to exact forced labour for the building or repair of their castle or houses. (see [2]).

Cahir Castle, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The brother of Thomas 1st Baron Caher, Piers Butler (d. after February 1567/68) had a son Theobald (d. 1596) who was then created 1st Baron Caher (Ireland, of the 3rd creation) in 1583. [3]

There’s an excellent history of Cahir on the Cahir Social and Historical Website:

Throughout the reigns of Elizabeth I and Charles I, Cahir Castle appears as a frequent and important scene in the melancholy drama of which Ireland was a stage. The Castle was taken and re-taken, but rarely damaged and through it all remained in the hands of the Roman Catholic Butlers of Cahir. By this time Cahir had become a great centre of learning for poets and musicians. Theobald, Lord Cahir [I assume this was 1st Baron Cahir of second creation who died in 1596] was said by the Four Masters “to be a man of great benevolence and bounty, with the greatest collection of poems of any of the Normans in Ireland”. [4]

Cahir Castle, June 2022.

This storyboard tells us that Ireland was dramatically different from Renaissance England in its language, customs, religion, costume and law. It was divided into 90 or so individual “lordships” of which about 60 were ruled by independent Gaelic chieftains. The rest were ruled by Anglo-Irish lords. Queen Elizabeth saw Ireland as a source of much-needed revenue. She did not have sufficient resources nor a strong enough army to conquer Ireland so she encouraged her authorities in Dublin to form alliances between the crown and any local chieftains who would submit to her authority. Many chieftains who submitted did so in order to assist them in their own power struggles against their neighbours. Elizabeth especially needed this support in order to ensure that if Spain invaded Ireland she would be able to quell rebellion.

Walter Devereux (1541-1576) 1st Earl of Essex, courtesy of National Portrait Gallery, London.

Walter Devereux, 1st Earl of Essex, travelled to Ireland to subjugate Ulster and Shane O’Neill (“The O’Neill) in 1573. He failed, and had to sell of much of his land in England to pay debts accrued from raising an army. He died in Dublin of typhoid in 1576.

His son, the 2nd Earl of Essex came to Ireland to quell a rebellion which included the rise of Hugh O’Neill, 2nd Earl of Tyrone (1550-1616), cousin of Shane O’Neill.

Cahir Castle, June 2022.
Cahir Castle, June 2022.

The storyboard tells us that Hugh O’Neill fought alongside the 1st Earl of Essex in Ulster between 1573 and 1575. He also fought for Queen Elizabeth in 1580 against the rebel Gerald Fitzgerald, 14th Earl of Desmond (circa 1533, d. 11 November 1583), and as thanks he was made Earl of Tyrone. However, he turned against the crown in 1594 and formed an alliance with Red Hugh O’Donnell to fight against the Queen’s troops, in the Nine Years War.

The ties between the Earls of Essex and Queen Elizabeth I are complicated. When Walter Devereux the 1st Earl died in Ireland, his wife, Lettice Knollys, remarried. She and Queen Elizabeth’s favourite, Robert Dudley Earl of Leicester, married secretly, a fact which enraged the disappointed Queen. It was Robert Dudley who introduced his stepson Robert Devereux 2nd Earl of Essex to Elizabeth and he subsequently became her favourite, alongside Walter Raleigh. However, Elizabeth was to be angered again when this next favourite, Devereux, also secretly married, this time to Frances Walsingham, who was the widow of Sir Philip Sidney. We came across her before when we visited Portumna Castle as she later married Richard Bourke 4th Earl of Clanricarde. Philip Sidney was the son of Henry Sidney (or Sydney) who had been Lord Deputy of Ireland.

Lord Deputy Henry Sidney is shown crossing a moat leaving Dublin Castle, setting out on a campaign. Above the gate are a number of severed heads!
The submission of Turlough Luineach O’Neill to Lord Deputy Sir Henry Sidney in 1575.
Sir Henry Sidney (1529-1586), Lord Deputy of Ireland, after painter Arnold Van Brounkhorst, courtesy of National Gallery of Ireland.
Portrait of Frances Walsingham, along with her husband Robert Devereux, 2nd Earl of Essex, and in the small picture, Sir Philip Sydney, from information board in Portumna Castle.

Robert Devereux the 2nd Earl of Essex sought to re-win courtly favour by going to fight in Ireland, following the footsteps of his father, and persuaded Elizabeth to name him Lord Lieutenant of Ireland.

In May 1599, Essex and his troops besieged Cahir Castle. He arrived with around two to three thousand men, a cannon and a culverin, a smaller and more accurate piece of heavy artillery.

Thomas Butler the 10th Earl of Ormond, who owned the castle in Carrick-on-Suir and was another favourite of the Queen, as he had grown up with her in the English court. However, the storyboards tell us that he at first rebelled, alongside Thomas Butler 2nd Baron Cahir (or Caher – they seem to be spelled interchangeably in historical records) and Edmond Butler, 2nd Viscount Mountgarret (1540-1602), another titled branch of the Butler family.

Thomas Butler 10th Earl of Ormond by Steven Van der Meulen. He is holding a wheelcock pistol with his coat of arms in the upper left corner.

By the time of the 1599 siege, the Earl of Ormond was fighting alongside Essex, and Cahir Castle was held by rebels, including Thomas Butler’s brother James Gallada Butler (not to be confused with the earlier James Galda Butler who died in 1434). Thomas Butler 2nd Baron Cahir travelled with Essex toward the castle. Baron Cahir sent messengers to ask his brother to surrender the castle but the rebels refused. Thomas Butler 2nd Baron Cahir was suspected of being involved with the rebels. Thomas was convicted of treason but received a full pardon in 1601 and occupied Cahir Castle until his death in 1627. James Gallada Butler claimed that he had been forced by the rebels to fight against Essex. Essex and his men managed to capture the castle.

During the three days of the siege, the castle incurred little damage, mostly because the larger cannon broke down on the first day! Eighty of the defenders of the castle were killed, but James Gallada Butler and a few others escaped by swimming under the water mill. This siege was to be the only time that castle was taken by force. James Gallada recaptured the castle the following year and held it for some months. The Butlers regained possession of the castle in 1601.

Cahir Castle taken by the 2nd Earl of Essex in 1599.
Cahir Castle, June 2022.

Inside the castle in one room was a wonderful diorama of this siege of Cahir Castle, with terrifically informative information boards.

The Diorama of the 1599 Siege.
The Diorama of the 1599 Siege.
The Diorama of the 1599 Siege. The siege map and diorama show the wall of the barbican extending further than it does now, to the bridge across to the island. The plan also shows a number of buildings in the inner ward that no longer exist. The shape of the islands and riverbanks changed following construction of a weir.
The Diorama of the 1599 Siege.
Someone must have had great fun setting up the little toy soldiers in their fight formations in the diorama.
The Diorama of the 1599 Siege.
The Diorama of the 1599 Siege.

Failing to win in his battles in Ireland, however, Essex made an unauthorised truce with Hugh O’Neill. This made him a traitor. The Queen did not accept the truce and forbid Essex from returning from Ireland. He summoned the Irish Council in September 1599, put the Earl of Ormond in command of the army, and went to England. He tried to raise followers to oust his enemies at Elizabeth’s court but in doing so, he brought a small army to court and was found guilty of treason and executed.

The Cahir Social and Historical Website continues:

A study of the Butler Family in Cahir in the sixteenth and seventeenth centuries reveals the rise and fall of one of the minor branches of the House of Ormond. At the end of the fifteenth century, they possessed extensive powers, good territorial possessions and a tenuous link with the main branch of the Butler family. During the sixteenth century, their possession was strengthened by the grant of the title of Baron of Cahir with subsequent further acquisition of land, but they came under closer central government control.”

The Cahir website continues: “A complete reversal in their relations with the Earls of Ormond occurred, strengthened by various marriage alliances. They also participated in political action, both in the Liberty of Tipperary and at National Level. In the late sixteenth and early seventeenth centuries their position was affected by their adherence to Roman Catholicism, which resulted in their revolt during the Nine Years War, and subsequent exclusion from power by the Central Administration. They formed part of the Old English Group and as such, suffered from the discriminatory politics practiced by the Government. From 1641 they became minor landowners keeping their lands by virtue of the favour of their relative, the Duke of Ormond. In 1647 the Castle was surrendered to Lord Inchiquin for Parliament but re-taken in 1650 by Cromwell himself, whose letter describing acceptable terms of surrender still survives.

Murrough O’Brien (1614-1674) 1st Earl of Inchiquin by John Michael Wright courtesy of Manchester Art Gallery.

Murrough O’Brien fought on the side of the Crown – his ancestor Murrough O’Brien was created 1st Baron Inchiquin in 1543 by the Crown in return for converting to Protestantism and pledging allegiance to the King (Henry VIII). Since he took the castle for the crown, it implies that at this time Lord Caher fought against the crown again – and since the information boards tell us that the 1599 siege was the only time it was taken by force, force must not have been used at this later time.

Round flaking towers are positioned at the outside corners acting as guard towers, accessed by wall walks that surmount the walls surrounding the courtyard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Once over the surrounding moat and river, and through the outer gate into the inner courtyard or bawn, one has another gate to go through, which is protected by a machicolation above the gate, through which things could be dropped on the invader, such as rocks, boiling water or hot sand. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Once one gets through the second gate, the invader would have to get through the portcullis, pictured here. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The portcullis, from the other side. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The mechanism for working the portcullis. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Once invaders get through the portcullis they are trapped in a small area, where defenders can fire arrows and stones at them. The walls of this area slope outwards towards the bottom, known as a base batter, so falling rocks bounce off them to hit the invaders.

The core of the castle is the keep.

The square central keep of Cahir Castle, with watch tower, and river as moat, and entrance gate topped by eagle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Cahir Castle, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Castle Keep. The door is protected by a machicolation, and through the door you can see a cross shaped gun loop so the defenders can shoot invaders. Inside the door is the spiral staircase. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Oliver Cromwell took the castle in 1650 and the occupants, under the 4th Baron Caher Piers Butler (d. 1676), surrendered peacefully.

The Butlers of Ormond also had to forfeit their land in the time of Oliver Cromwell’s Protectorate. Both branches of the Butlers had their lands restored with the restoration of the monarchy with Charles II in 1662.

The Cahir website continues: “At the restoration of Charles II, in 1660, George Matthews, (as Warden of Cahir Castle and half-brother to the Duke of Ormond), retained the Cahir lands for the Lord Cahir, then a minor.” [4] George Matthew (or “Mathew,” 1645-1735) was married to Eleanor Butler, daughter of Edmond Butler, 3rd/13th Baron Dunboyne. She seems to have married twice: first to Edmond Butler son of 3rd Baron Cahir, then to to George Matthew. Her son was Piers Butler, 4th Baron Cahir, who was just seven when his father died.

Piers Butler 4th Baron Cahir (1641-1676) married George Mathew’s niece, Elizabeth Mathew (1647-1704). They had no male issue, but two daughters. His daughter Margaret married Theobald Butler, 5th Baron Cahir (d. 1700), great-grandson of the 1st Baron Cahir.

Margaret Butler daughter of the 4th Baron Cahir was the 5th Baron Cahir’s second wife. His first wife, Mary Everard, gave birth to his heir, Thomas (1680-1744), 6th Baron Cahir. Thomas had several sons, who became 7th (d. 1786) and 8th Barons Cahir (d. 1788), but they did not have children, so that title went to a cousin, James Butler (d. 1788), who became 9th Baron Cahir.

Prisoners’ tower at Cahir Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Cahir Castle, June 2022.
Cahir Castle, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside the barbican walls, Cahir Castle. Cahir Cottage was built by the Butler family in the 19th century. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Cahir website tells us: “Despite embracing the Jacobite Cause in the Williamite Wars, the Cahir estate remained relatively intact. However, the Butlers never again lived at Cahir Castle but rather at their country manor, Rehill House, where they lived in peace and seclusion from the mid-seventeenth century, when not living abroad in England and France.

“…By 1700 a sizeable town had grown around the Castle, although hardly any other buildings survive from this period. Agriculture, milling and a wide range of trades would have brought quite a bustle to the muddy precursors of our present streets. At this time, the Castle was quite dilapidated and was let to the Quaker William Fennell, who resided and kept a number of wool combers at work there.” [4]

The castle layout was changed considerably and enlarged during work to repair some of the damage caused by the battles, but was then left abandoned until 1840 when the partial rebuilding of the Great Hall took place. [4]

Female member of Butler family, Cahir Castle, courtesy of Fonsie Mealy auction.

The Cahir website tells us: “On the completion of Cahir House [in the town, now Cahir House Hotel] in the later 1770’s, Fennell rented Rehill House from Lord Cahir and lived there over half a century. [The Barons moved to Cahir House.] A strong Roman Catholic middle class emerged. James [d. 1788], 9th Lord Cahir [d. 1788], practiced his religion openly. He maintained strong links with Jacobite France, and paid regular visits to England. While not a permanent resident, he kept his Cahir Estates in impeccable order and was largely responsible for the general layout of the Town of Cahir. Under his patronage, some of the more prominent buildings such as Cahir House, the Market House and the Inn were built during the late 1770s and early 1780s. In addition, the Quakers built the Manor Mills on the Bridge of Cahir, the Suir Mills (Cahir Bakery), and the Cahir Abbey Mills in the period 1775-90.” [4]

The son of the 9th Baron Cahir, Richard (1775-1819), became 10th Baron and 1st Earl of Glengall. It was he and his wife who had the Swiss Cottage built outside Cahir.

Swiss Cottage, County Tipperary. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

… The young Lord Cahir married Miss Emily Jeffereys of Blarney Castle and together they led Cahir through the most colourful period of its development…Richard, Lord Cahir, sat in The House of Lords as one of the Irish Representative Peers, and in 1816 was created Earl of Glengall, a title he enjoyed for just 3 years. He died at Cahir House of typhus in January 1819, at the age of 43 years. Richard, Viscount Caher, (now 2nd Earl of Glengall), had already taken his place in political circles while his mother, Emily, ran the Estate with an iron fist.” [4]

Richard Butler (1794-1858) 2nd Earl of Glengall, by Richard James Lane, lithograph, 1854, National Portrait Gallery of London D22384.
Margaret Lauretta Butler (née Mellish), Countess of Glengall, wife of the 2nd Earl of Glengall by Richard James Lane courtesy of National Portrait Gallery London NPG D22383.
Harriet Anne née Butler (1799-1860) Countess of Belfast, wife of George Hamilton Chichester 3rd Marquess of Donegal and daughter of Richard Butler, 1st Earl of Glengall.
Cahir Castle 1943, photograph from Dublin City Library archives. [5]

During the Great Famine (1846-51), Lord and Lady Glengall did much for the relief of the poor and the starving. Lord Glengall’s town improvement plan was shelved in 1847 due to a resulting lack of funds and his wife’s fortune being tied up in a Trust Fund. The Cahir Estates were sold in 1853, the largest portion being purchased by the Trustees of Lady Glengall. This sale came about due to Lord Glengall being declared bankrupt. The Grubbs had by now become the most important Quaker family in the district and bought parts of the Cahir Estate during the 1853 sale...

In the interim, Lady Margaret Butler (elder daughter and heir of Lord Glengall) had married Lieut. Col. Hon. Richard Charteris, 2nd son of the 9th Earl of Wemyss & March. Using a combination of her mother’s Trust and Charteris funds, Cahir Town and Kilcommon Demesne were repurchased.  

Lady Margaret, although an absentee landlord, resident in London, kept a close watch on her Cahir Estates through two excellent managers, Major Hutchinson and his successor William Rochfort… Her son, Richard Butler Charteris took over her role in 1915 and remained resident in Cahir from 1916 until his death in 1961. In 1962, the House, and circa 750 acre estate core (within the walls of Cahir Park and Kilcommon Demesne) were auctioned…And so ended the direct line of Butler ownership in Cahir, almost 600 years. [4]

The castle became the property of the state after the death of Lord Cahir in 1961; it was classified as a national monument and taken into the care of the Office of Public Works. [6]

Cahir Castle, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The great hall, and adjoining guest accommodation in the northwest tower. This 13th century building was attached to the keep, but in 1840 it was shortened, leaving the original fireplace in the open outside. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Great Hall and northwest tower of Cahir Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The end of the Great Hall, with its stepped gable. It was originally attached to the keep, pictured on the left. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This is the exposed fireplace, which was in the now foreshortened Great Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Our tour guide took us through the outside of the castle, showing us its defenses. Our tour ended inside the Great Hall, or dining hall.

The Great Hall, with giant Irish elk antlers. The fireplace is not genuine – it is made of papier mache and was installed for the filming of a movie. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com p.s. we saw a movie recently filmed in Cahir Castle, “The Last Duel” with Matt Damon, Adam Driver and Jodie Comer, and it was brilliant! I highly recommend it.

The dining hall has a magnificent ceiling. The building would have originally been of two storeys, and taller. The appearance today owes much to restoratation work carried out by William Tinsley in 1840, when the building was converted into a private chapel for the Butler family. The hammer-beam roof and the south and east wall belong to this period. The external wall dates from the 13th century.

Ceiling of the Great Hall, Cahir Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside the northwest tower of Cahir Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Upstairs in the northwest tower. It is fitted with fifteenth century windows and has a Tudor fireplace inserted where the original portcullis machinery was housed. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The stairs to the upper level of the northwest tower are spiral. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I love the passageways between the walls of the castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Top floor of the northwest tower. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Next we explore the keep building.

Cahir Castle, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One can descend these steps and up again on the other side for a view over the river. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://www.irelandscontentpool.com/en

[2] p. 58. Hayes, William and Art Kavanagh, The Tipperary Gentry volume 1 published by Irish Family Names, c/o Eneclann, Unit 1, The Trinity Enterprise Centre, Pearse Street, Dublin 2, 2003.

[3] http://www.thepeerage.com/index.htm and G.E. Cokayne; with Vicary Gibbs, H.A. Doubleday, Geoffrey H. White, Duncan Warrand and Lord Howard de Walden, editors, The Complete Peerage of England, Scotland, Ireland, Great Britain and the United Kingdom, Extant, Extinct or Dormant, new ed., 13 volumes in 14 (1910-1959; reprint in 6 volumes, Gloucester, U.K.: Alan Sutton Publishing, 2000), volume IX, page 440.

[4] http://www.cahirhistoricalsociety.com/articles/cahirhistory.html

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

[6] http://www.britainirelandcastles.com/Ireland/County-Tipperary/Cahir-Castle.html

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

Castle Coole, County Fermanagh – a National Trust property

https://www.nationaltrust.org.uk/castle-coole

Castle Coole (pronounced cool) is a late-eighteenth-century neo-classical mansion situated in Enniskillen, County Fermanagh, Northern Ireland. Set in a 1200 acre (5 km²) wooded estate, Castle Coole was constructed between 1789 and 1798 as the summer retreat of Armar Lowry-Corry, the 1st Earl of Belmore. Photo by Brian Morrison, Tourism Northern Ireland 2008. [1]
Castle Coole, County Fermanagh, March 2022, built to impress by the first Earl of Belmore by Amar Lowry-Corry, 1st Earl Belmore (1740-1802) and furnished largely by Somerset Lowry Corry, 2nd Earl (1774-1841). It was designed by James Wyatt. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website tells us:

Castle Coole is one of the greatest neo-classical country houses in Ireland. Home to the Earls of Belmore, it was commissioned and built to impress by the first Earl of Belmore by Amar Lowry Corry, 1st Earl Belmore (1740-1802) and furnished largely by Somerset Lowry Corry, 2nd Earl (1774-1841).” 

Armar Lowry-Corry (1740-1802) 1st Earl Belmore.

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

p. 64. “(Lowry-Corry, Belmore, E/PB) The most palatial late C18 house in Ireland, built 1790-98 by 1st Earl Belmore to the design of James Wyatt, who adapted earlier designs by Richard Johnston, and also showed himself to be much influenced by Stuart and Revett’s Antiquities of Athens, so that the house is an unusually perfect example of late C18 Hellenism, massive and unrestrained; yet keeping certain Palladian features such as Venetian windows and a balustraded roof parapet; and following the traditional Palladian plan of a centre block and wings.” [2]

James Wyatt (1746-1813) was an English architect who, despite living in England, had a flourishing country house practice in Ireland from the early 1770s until his appointment as Surveyor General of the King’s Works in England in 1796. [3] He designed Abbeyleix House in County Laois around 1772. We came across work by Wyatt at Slane Castle in County Meath and at Curraghmore in County Waterford.

The property came into ownership of the Lowry-Corry family in 1655 when it was purchased by John Corry, a merchant from Scotland, from one of the settlers who came to Ireland during the Ulster Plantation. He filled the office of High Sheriff of County Fermanagh.

His son James was a supporter of William of Orange, and a castle at Coole was burned down during the fighting between Williamites and Jacobites. James also acted as High Sheriff for County Fermanagh, as well as for County Monaghan, and was Member of Parliament (M.P.) for County Fermanagh between 1692 and 1718. He died in 1718.

James married Sarah Anketell, daughter of Oliver Anketell of Anketell Grove in County Monaghan. They had a son, John (1666-1726). He too served in the role of High Sheriff and of MP for County Fermanagh.

Colonel John Corry, MP (1666–1726), courtesy of National Trust Castle Coole.

The Castle Coole website tells us that a replacement habitation was built around 1707. This building was of brick, with sash windows and tall chimneys, which indicate that the inhabitants did not expect an attack as the building was not fortified.

John Corry married Sarah Leslie. They had several children, and named their son Leslie (1712-1741). Leslie inherited the estate of Castle Coole in 1726 when he was still a minor. The estate was managed by his cousin, Margetson Armar, who married Leslie’s sister Mary in 1736. Sarah Leslie’s sister Martha married Reverend William Armar, Archdeacon of Connor and Margetson Armar was their son.

Leslie died unmarried.

John Corry and Sarah Leslie’s other children were all daughters. Only one of the daughters, Sarah, went on to have children of her own, so the property passed to her offspring. Sarah married Galbraith Lowry (1706-1769). Due to the fact that she brought an inheritance with her to the marriage, Galbraith added Corry to his surname to become Lowry-Corry. He came from County Tyrone, and served as High Sheriff for County Tyrone and also for County Monaghan, and was MP for County Tyrone. His wife gave birth to their heir, Armar Lowry-Corry (1740-1802) who built Castle Coole. A daughter, Anne, married William Willoughby Cole, 1st Earl of Enniskillen, of Florence Court in County Fermanagh.

Sarah née Corry (1709-1779) who married Galbraith Lowry (1706-1779) who added Corry to his surname.
Galbraith Lowry (1706-1779) who added Corry to his surname.

The website continues: “Through marriages and connections, the combined estates of the Lowry, Corry and Armar families (amounting to over 70,000 acres of tenanted land by 1779) were all inherited by Armar Lowry Corry in 1779. Armar, MP for Tyrone, was raised to the peerage as Lord Belmore in 1780 (and earl in 1797) and began to plan a new house, more suited to contemporary taste and his position in society. Architect Richard Johnston from Dublin was employed in 1789 but Belmore switched to James Wyatt, then at the height of his career and particularly skilled in the neoclassical style. Wyatt never visited the site, sending all his drawings from England. Much of the building work was carried out by skilled Irish builders and craftsmen and some of the furniture designed by Wyatt was made by the Irish joiners, including a great mahogany sideboard, and a large wine cooler for the dining room. The house is faced with Portland limestone from England; specialist plasterers under Joseph Rose created the decoration to the ceilings and walls; marble chimneypieces were commissioned from Richard Westmacott and Domenico Bartoli created scagliola columns and pilasters.

Castle Coole, County Fermanagh, March 2022: the entrance front has four giant Ionic columns, and the centre block of two storeys and nine bays. On the entrance front, the wings are single storey and consist of deep colonnades of fluted Doric columns ending in small Doric pavilions. The basement is completely hidden from view. Attic windows are also not visible, as they are behind the balustrade. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Armar had the house built in a new location, at the top of the hill, since he suffered from rheumatism so wanted to avoid damp. The old house burned down in 1797 while the new house was being built.

Mark Bence-Jones writes: “The centre block is of two storeys and nine bays, with a pedimented portico of four giant Ionic columns on the entrance front, and a curved central bow lined with giant fluted Ionic columns on the garden front; the wings single storey and consisting, on the entrance front, of deep colonnades of fluted Doric columns ending in small Doric pavilions, and on the garden front of five bay links and end pavilions with Venetian windows. The ends of the wings have central features of four fluted Doric columns and are as perfectly finished as the major elevations; all being of beautifully cut masonry in a pale silvery Portland stone which was brought here at great expense, being shipped to Ballyshannon, taken overland to Lough Erne, shipped to Enniskillen and taken the last two miles in bullock carts.” [see 2]

The Park Front has a curved central bow lined with giant fluted Ionic columns, and the wings on the garden front are of five bay links and end pavilions with Venetian windows. The Park front overlooks Lough Coole. The ground floor sash windows in the bow extend down to to floor to allow direct access from the Saloon to the park. [4] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance front of Castle Coole. The windows are severe by design and have no moulding of any kind. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance front of Castle Coole. The capitals of the columns are unusal as they are set at 45 degree angle to the facade. The pediment above is plain. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance front of Castle Coole. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Doric baseless fluted columns of the wing of the entrance front. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The side of an end pavilion of Castle Coole. The Doric columns continue on the pavilions and they too are topped with balustrades. The semicircular niches on the ends of the pavilions have always been empty. [4] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The park front of Castle Coole. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The park front of Castle Coole. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wing of the park front of Castle Coole. The side pavilions have Venetian windows with medallions above and niches on either side. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Garden front of pavilion of Castle Coole. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues: “Castle Coole boasts some of the finest neoclassical architecture, interiors, furniture and Regency furnishings in Ireland. Original drawings by the architects, the building records, inventories and invoices recording the daily work of the joiners, plasterers and painters in the 1790s and the furnishing of the house 1807 to 1821 helped guide the restoration of Castle Coole in the 1980s. This combination of place, collection and archival record must be unique in Ireland where so many records and collections have been dispersed. It speaks of careful husbandry by generations of the family who cherished the past.

The website continues its description of Castle Coole: “The ground floor of the central block contains the principal receptions rooms. The wings and first floor bedrooms were the family’s private quarters. The vast basement contains service rooms with separate areas governed by Housekeeper, Butler and Cook, who could come and go via a large service tunnel that connected the basement to the service yards.

One is not allowed to photograph inside, because the furnishings are owned by the present 8th Earl. You can see photographs of the sumptuous interiors on the website. The house was handed to the National Trust by the 7th Earl in 1951 but the family still occupy a wing.

Bence-Jones continues: “it seems that the austerity of the interior plasterwork was to some degree for reasons of economy; though in fact it is entirely suited to the Grecian purity of the house. The single-storey hall is of great depth and dramatic simplicity, its only adornments being a Doric frieze, a pair of small Doric chimneypieces by Westmacott facing each other on either side and a screen of Doric columns in porphyry scagliola at the inner end.

Castle Coole, Fermanagh, Tourism Northern Ireland 2018 (see [1]). It has a wonderfully large front hall, intended to resemble a Roman atrium, with scagliola (imitation marble, the recipe for scagliola died with the man who created it) Doric columns and lovely plasterwork, which matches the Carrara marble fireplace. Specialist plasterers under Joseph Rose created the decoration to the ceilings and walls; marble chimneypieces were commissioned from Richard Westmacott and Domenico Bartoli created scagliola columns and pilasters. The rosettes in the frieze are from an old Corry coat of arms, and chalices are from the Lowry coat of arms.

For more about the wonderful interior of the house, of which one can take a tour, see the website. The tour takes in the centre block. It includes the library, drawing room, dining room, morning breakfast room, and the round impressive Saloon with its bow front.

Mark Bence-Jones writes: “The splendour is reserved for the oval saloon in the middle of the garden front, which is lined with grey scagliola Corinthian pilasters and has a frieze of swags and delicate ornament on the flat of the ceiling; it is flanked by the drawing room and the dining room, forming a magnificent enfilade. The library, which has its original delicately moulded bookcases, is on one side of the hall, separated from the drawing room by the staircase hall, which contains a double stone staircase of great length, leading up to a landing with a screen of yellow and brown scagliola Doric columns.”

The Library, which has a particularly impressive pelmet which end with what our guide told us have been called griffin heads but she thinks, and I agree, that they look more like camels, reflecting the 2nd Earl’s passion for travel. He travelled extensively in Egypt, travelling up the Nile, and he sponsored excavations and began a collection of Egyptian antiquities. He sold some of these later to the British Museum in 1842 to pay off debts. The unusual tentlike ceiling of the kitchens is made of a special fireproof material as it is underneath the room where the 2nd Earl stored his treasures.

The stair hall has a staircase that breaks into two, to create a “floating” imperial staircase, with iron balusters that contain gilded rosettes, with a slim mahogany handrail. At the bottom of the stairs is a table with many lamps for the residents and guests to bring up to their room at night.

Bence-Jones describes: “The first floor lobby, lit by glass domes, rises into an attic storey which is not visible from the outside of the house; and is surrounded by a gallery with a colonnade probably inspired by the interiors of the Parthenon and the Temple of Poseidon at Paestuum. In 1797, just before the present house was completed, the earlier house, which was small, built 1709 and with a rather heavy pediment, was burnt to the ground. The earlier family pictures and furniture were probably lost in this fire, which would explain why the house contains comparatively few portraits, making for large stretches of unrelieved wall, again very much in keeping with the Grecian simplicity. As a contrast, however, there is the sumptuous gilt Regency furniture in the saloon, introduced by 2nd Earl, and the bed, festooned with flame silk, in the state bedroom, said to have been decorated for George IV, who, however, never slept here. The garden front of the house overlooks a lake on which there is the oldest nonmigratory flock of greylag geese in the British Isles; it is said that if ever they go, the Belmores will also go. There are some wonderful trees in the park, and fine stables by Sir Richard Morrison. Castlecoole has been maintained by the Northern Ireland National Trust since 1951 and is open to the public.” 

Upstairs above the saloon is the bow room, decorated with Chinese style wallpaper, curtains and covered furniture. This room was used by the ladies during the day for sewing, reading and playing cards. Also upstairs is a lovely double-height lobby that has more pretty plasterwork, and the state bedroom decorated for King George IV, with a particularly beautiful tester bed with gorgeous folded swags of curtains, original tassels and fringes, pleated sunburst lining and a generous rosette of scarlet silk above the bed inside the curtains. Bed steps flank the bed, like the ones we came across and used during our stay in “Norman’s Room” in Castle Leslie, and the bed is topped with gold coronets and gilt poles), as we have come across before in other houses (Charleville in County Wicklow and Loughton in Offaly). The lobby is lit by an impressive oval skylight and two further circular skylights. On the upper, attic, floor, that one can see from the lobby, are more Doric columns painted to look like marble, and a iron balustrade that matches the staircase. Doors off the lobby lead to the bow room and the state room, and two doors either side lead to the four principal bedrooms in the corners.

Armar Lowry-Corry served as MP and High Sheriff for County Tyrone and after he inherited Castle Coole, High Sheriff of County Fermanagh. He married Margaret Butler, daughter of Somerset Butler, the 1st Earl of Carrick, County Tipperary.

Armar Lowry-Corry was married to Margaret Butler (1748-1775) daughter of Somerset Hamilton Butler, 8th Viscount Ikerrin, 1st Earl of Carrick, County Tipperary.
Allegorical scene with Juliana, Countess of Carrick as Wisdom directing her younger daughters, Lady Henrietta Butler and Lady Margaret Butler/Lowry-Corry, as Beauty and Virtue, by Richard Cosway, courtesy of National Trust Castle Coole.

They had a son, Somerset (1774-1841) who became the 2nd Earl of Belmore. Margaret died young, and Armar remarried, this time to Lady Henrietta Hobart, the daughter of the Earl of Buckinghamshire, who was Lord Lieutenant at the time. Henrietta however was not happy at Castle Coole and was twenty two years younger than her husband so they divorced, which would have been unusual at the time. He married a third time, this time to Mary Anne Caldwell, in 1794, from nearby Castle Caldwell in County Fermanagh (now a ruin).

Somerset Lowry-Corry, 2nd Earl of Belmore by Hugh Douglas Hamilton, courtesy of National Trust Castle Coole.

Somerset held the office of Member of Parliament (M.P.) (Tory) for Tyrone between 1797 and 1802. In 1800 he married Juliana Butler, daughter of Henry Thomas Butler, 2nd Earl of Carrick

The website continues: “The 2nd Earl [Somerset (1774-1841)] had campaigned fiercely against the Act of Union of 1800 which led to the abolition of the independent Irish parliament. He lost his parliamentary seat, only becoming a representative peer in the British House of Lords in 1819. In the meantime, he concentrated on the furnishing of Castle Coole, commissioning John and Nathaniel Preston of Dublin to supply complete rooms of furniture from 1807 onwards. Inspired no doubt by the interiors he saw in London where he had a house, Castle Coole was as lavishly furnished as the greatest Regency interiors. 

To add to the splendour the Second Earl of Belmore commissioned furniture from Preston’s of Dublin in 1807, in lavish French Empire style. Preston’s also made the most extravagant piece of furniture in the house, the State bed, which was commissioned for the visit of George IV in 1821, although in the end he never visited Castle Coole meaning the ornate decoration has stayed in perfect condition.

Perhaps to escape creditors, Somerset took his family away for a 4-year tour of the Mediterranean in 1816, visiting Malta, Egypt and the Holy Land. He acquired a paid position as Governor of Jamaica [appointed by his friend the Duke of Wellington, who was prime minister at the time] in 1828 finding himself in the middle of a highly volatile situation. Leading up to the abolition of slavery, the British government sought to improve the living conditions of the [300,000] enslaved people, but this was resented by the plantation owners who dominated the local assembly [in Jamaica]. Belmore’s attempts at moderation were not welcomed by either side. In December 1831 many of the enslaved people rebelled, martial law declared, and the leaders executed. Belmore was blamed for mis-handling the situation and recalled to London. His conduct was subsequently vindicated, but it must have been a bitter end to his posting.

Somerset’s son Armar Lowry-Corry (1801-1845) became the 3rd Earl of Belmore but died a few years after his father and his brother Somerset (1835-1913) succeeded as the 4th Earl.

Henry Thomas Lowry-Corry (1803-1873) by and published by William Walker 1867, NPG Ax15852. He was the son of Somerset Lowry-Corry (1774-1841) 2nd Earl of Belmore and Juliana née Butler, daughter of Henry Thomas Butler (1746-1813) 2nd Earl of Carrick.

The website continues: “The 4th Earl, Somerset (1835-1913), rescued the family’s finances by selling land, reducing the estate to some 20,000 acres, enabling a partial redecoration of Castle Coole. In 1867 Somerset was appointed Governor General of New South Wales, where he supported the development of the railways. The 5thEarl never married but lived on modestly at Castle Coole with five unmarried siblings [one of whom was his brother Cecil the 6th Earl]. By the time the 7thEarl [a great nephew of the 4th Earl, grandson of the 3rd Earl, Major Galbraith Lowry-Corry (1913-1960)] inherited in 1949, the burden of taxes and the expense of maintaining the house led to the house and 70 acres of land being transferred to the National Trust with a grant from the Ulster Land Fund, the contents remaining on loan.

Somerset Richard Lowry-Corry 4th Earl of Belmore by Stephen Pearse courtesy of National Trust Castle Coole.

The present 8th Earl lives nearby and continues to take an active interest in the house and demesne.

Castle Coole, Fermanagh, Tourism Northern Ireland 2018 (see [1]).

The house is very cleverly surrounded by tunnels for the servants, which run along the basement level outside the house. The tunnels allow light to reach down to the tall sash windows of the basement. There is a special entrance for horse riders, where they can enter the tunnels after their hunt to go into the basement of the house where a special area for changing and washing was created in the basement with a unique Roman bath-style plunge pool down a few steps for the home owners and their guests, which would be filled by the servants with heated water. The changing area is beautifully designed and the tunnels are covered with grills which let in the light, so that the basement lets in the sunlight.

The basement level tunnels for servants or horseriders. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The basement level tunnels for servants or horseriders. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Another underground tunnel leads down to the Grand Yard. It was created in order to avoid a servants’ entrance at ground level. Deliveries could be made by driving up the tunnel to a back door into the basement area.

The delivery tunnel. It has rooms off the sides, where turf and coal were stored. It leads from the basement of the house down to the Grand Yard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Grill covered holes let in the light to the tunnels. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The stable yard of Castle Coole, designed by Richard Morrison, commissioned by the Somerset, 2nd Earl of Belmore, in 1810. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Castle Coole website tells us: “The Grand Yard was designed by Richard Morrison for the 2nd Earl of Belmore in 1817. The area was used for several purposes including dairy, stables, laundry house, candle factory and servants accommodation quarters [including the Steward’s House, which is still owned by Lord Belmore, as well as the farm yard]

The Grand Yard is surrounded by stables and coach houses. The stables and coach houses not only housed the family’s work horses, coach horses and coaches but also had space available to accommodate visitor’s horses and coaches – Strangers Stables and Coachhouses as they were referred to on plans.

The stable yard of Castle Coole, designed by Richard Morrison. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Stables were on the ground floor of the yard and the stable hands and feed above. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The stable yard of Castle Coole, designed by Richard Morrison. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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

[2] 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.

[3] Dictionary of Irish Architects, https://www.dia.ie/architects/view/5104/WYATT%2C+JAMES+%23

[4] Castle Coole, County Fermanagh, booklet published by the National Trust, originally written by Peter Marlow, revised by Oliver Garnett, with a forward by the 8th Earl of Belmore, 2013.

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

Places to visit and stay in County Longford, Leinster

On the map above:

blue: places to visit that are not section 482

purple: section 482 properties

red: accommodation

yellow: less expensive accommodation for two

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

green: gardens to visit

grey: ruins

Places to visit in County Longford:

1. Castlecor House, County Longford, open by previous arrangement.

2. Maria Edgeworth Visitor Centre, Longford, County Longford.

3. Moorhill House, Castlenugent, Lisryan, Co. Longford – section 482

Places to stay, County Longford:

1. Castlecor House, County Longford – accommodation

2. Newcastle House Hotel, Ballymahon, County Longford

3. Viewmount House, Longford – accommodation and weddings

donation

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

€15.00

Places to visit in County Longford:

1. Castlecor House, County Longford, open by previous arrangement:

https://castlecorhouse.com/

Castlecor House, County Longford, photograph from the National Inventory of Architectural Heritage [1]

I’ve been looking forward to staying in Castlecor house, after seeing a photograph of its incredible octagonal room.

Castlecor House, County Longford, photograph from the National Inventory of Architectural Heritage [1]

The website tells us:

The construction of this magnificent residence, as it stands today, spanned 300 years, originally built in the mid 1700’s as a Hunting Lodge with additions in the 19th & 20th century.

The website continues: “It was built by the Very Revd. Cutts Harman (1706 – 1784), son of the important Harman family of nearby Newcastle House [which offers accommodation]. He was Dean of Waterford cathedral from 1759 and was married to Bridget Gore (1723-1762) from Tashinny [Tennalick, now a ruin, which passed from the Sankey family to the Gore family by the marriage of Bridget’s mother Bridget Sankey to George Gore, son of Sir Arthur Gore, 1st Baronet of Newtown Gore, County Mayo] in c. 1740.

The National Inventory of Architectural Heritage (www.buildingsofIreland.ie) gives the building an unusually long appraisal which explains the unusual building:

It was originally built as a symmetrical two-storey block on octagonal-plan with short (single-room) projecting wings to four sides (in cross pattern on alternating sides), and with tall round-headed window openings between to the remaining four walls. The single wide room to the octagon at first floor level has an extraordinary central chimneypiece (on square-plan) with marble fireplaces to its four faces; which are framed by Corinthian columns that support richly-detailed marble entablatures over. The marble fireplaces themselves are delicately detailed with egg-and-dart mouldings and are probably original. This room must rank as one of the most unusual and interesting rooms built anywhere in Ireland during the eighteenth-century.

Castlecor House, County Longford, photograph from the National Inventory of Architectural Heritage: “The single wide room to the octagon at first floor level has an extraordinary central chimneypiece (on square-plan) with marble fireplaces to its four faces; which are framed by Corinthian columns that support richly-detailed marble entablatures over. The marble fireplaces themselves are delicately detailed with egg-and-dart mouldings and are probably original.” [1]
Castlecor House, County Longford, photograph from the National Inventory of Architectural Heritage: “The walls of the octagonal room are decorated with Neo-Egyptian artwork.” [1]
Castlecor House, County Longford, photograph from the National Inventory of Architectural Heritage [1]

The National Inventory continues: “The walls of the octagonal room are decorated with Neo-Egyptian artwork, which may have been inspired by illustrations in Owen Jones’ book ‘Decoration’, published in 1856. The inspiration for this distinctive octagonal block is not known. Some sources suggest an Italian inspiration, such as the pattern books of the noted architect Sebastiano Serlio (1475 – 1554) [Mark Bence-Jones suggests this [2]], or that it was based on the designs of the much larger hunting lodge (Palazzina di caccia of Stupinigi) that was built for the Duke of Savoy, near Turin, between 1729 and c. 1731 (The later seems a highly fanciful idea but there are some similarities in plan, albeit on a much larger scale at Stupinigi); while Craig (1977, 15) suggests that the ‘inspiration is clearly the hunting lodge at Clemenswerth in Lower Saxony, Germany’, which was constructed between 1737 – 1747 to designs by Johann Conrad Schlaun for Prince Clemens August, a structure that Castlecor resembles in terms of scale and plan. However, it may be that the plan of this building was inspired by William Halfpenny (died 1755), an English Palladian architect who created a number of unexecuted designs for Waterford Church of Ireland cathedral and for an associated bishop’s palace from c. 1739. Interestingly, a number of these unexecuted plans for the bishop’s palace included a central octagonal block with projecting wings, while a number of the church plans included an unusual separate baptismal building attached to the nave, which is also on an octagonal-plan. The Very Revd. Cutts Harman may well have been aware of Halfpenny’s unexecuted designs, being Dean of the cathedral from 1759 and was probably associated with the diocese from an earlier date, and perhaps he used these as his inspiration for the designs of Castlecor. The central four-sided chimneypiece is reminiscent of the centerpiece of the Rotunda of Ranelagh Gardens, London, (built to designs by William Jones 1741 – 2; demolished c. 1803) albeit on a much reduced scale at Castlecor. The plan of Castlecor is also similar to a number of buildings (some not executed) in Scotland, including Hamilton Parish Church (built c. 1733 to designs by William Adam (1698 – 1748) and the designs for a small Neoclassical villa prepared by James Adam (1732 – 92), c. 1765, for Sir Thomas Kennedy. The exact construction date of Castlecor is not known, however the traditional building date is usual given as c. 1765. The architectural detailing to the interior of the original block, and perhaps the personal life of Very Revd. Cutts Harman (married in 1751 to a daughter of Lord Annaly of Tennalick 13402348; his duties at Waterford cathedral from 1759; Cutts Harmon leased out a number of plots of land in Longford from c. 1768) would suggest an earlier date of, perhaps, the 1740s. The architect is also unknown although it is possible that Harman designed the house himself (perhaps inspired by a pattern book or by Halfpenny’s unexecuted designs); while Craig (1977) suggest that the architect may have been Davis Ducart (Daviso de Arcort; died 1780/1), an Italian or French architect and engineer who worked extensively in Ireland (particularly the southern half of the island) during the 1760s and 1770s.” We saw Ducart’s work at Kilshannig in County Cork, another section 482 property, see my entry [3].

Castlecor House, County Longford, see the octagonal Great Hall in the centre of the house. photograph from the National Inventory of Architectural Heritage [1].
Castlecor House, County Longford, photograph from the National Inventory of Architectural Heritage [1]
Castlecor House, County Longford, photograph from the National Inventory of Architectural Heritage [1]

The website tells us:”The Rev. Cutts Harman who had Castlecor built died without issue, it was inherited by his niece’s son [or was it his sister Anne’s son? If so, it was her son Lawrence Harman Parsons (1749-1807); she married Laurence Parsons, 3rd Baronet of Birr Castle. Her son added Harman to his surname when he inherited Castlecor from his uncle], Laurence Harman- Harman, later Lord Oxmantown, and finally Earl of Rosse. Peyton Johnston, the Earl’s nephew, rented the house during this time. Captain Thomas Hussey, Royal Marines; purchased Castlecor in c.I820. There is very little documentary evidence relative to Captain Hussey’s occupancy. He resided there from 1832/3 to 1856 and was High Sheriff of Longford.

Mark Bence-Jones adds: “To make the house more habitable, a conventional two storey front was built onto it early in C19, either by Peyton Johnston, who rented the house after it had been inherited by the Earl of Rosse, or by Thomas Hussey, the subsequent tenant who bought the property ante 1825. This front joins two of the wings so that its ends and theirs form obtuse angles. In the space between it and the octagon is a top-lit stair. Early in the present century, a wider front of two storeys and three bays in C18 manner, with a tripartite pedimented doorway, was built onto the front of the early C19 front. Castlecor subsequently passed to a branch of the Bonds, and was eventually inherited by Mrs C. J. Clerk (nee Bond).”

Castlecor House, County Longford, photograph from the National Inventory of Architectural Heritage [1]

The National Inventory continues to tell us the history of the house: “The building was extended c. 1850 (the house appears on its original plan on the Ordnance Survey first edition six-inch map 1838) by the construction of a two-storey block to the northeast corner of the house, between two of the wings of the original structure. The earlier wing to the west may have been extended at this time also. The lion’s head motifs to the rainwater goods throughout the building (built around and before c. 1850) are very similar to those found at the gate lodge serving Castlecor to the northwest, built c. 1855, suggesting that the house was altered at this time, possibly as part of wider program of works at the estate.”

The lion’s head motifs to the rainwater goods throughout the building: Castlecor House, County Longford, photograph from the National Inventory of Architectural Heritage [1]

The National Inventory continues: “The projection to the south wing having the box bay window also looks of mid-to-late nineteenth century date and may also have been added at this time. The Castlecor estate was bought by the Hussey family during the late-eighteenth century following the death of Cutts Harman, and the first series of works may have been carried out when Capt. Thomas Hussey (1777 – 1866), High Sheriff of Longford from 1840 – 44, was in residence. However, the Castlecor estate was offered for sale by Commissioners of Incumbered Estates in 1855 when it was bought by a branch of the Bond family and, perhaps, the house was extended just after this date by the new owners. The Bonds were an important landed family in Longford at the time, and owned a number of estates to the centre of the county, to the north of Castlecor, and a branch also lived at adjacent Moygh/Moigh House (13402606) [still standing and in private hands] during the second half of the nineteenth century. Thomas Bond (1786 – 1869) [of Edgeworthstown] was probably the first Bond in residence at Castlecor. A John Bond, later of Castlecor, was High Sheriff of Longford in 1856. The last Bond owner/resident was probably a Mrs Clerk (nee Bond) [Emily Constance Smyth Bond] who was in residence in 1920. She married a Charles James Clerk (J.P. and High Sheriff of Longford in 1906) in 1901/2, and he was responsible for the three-bay two-storey block that now forms the main entrance, built c. 1913. This block was built to designs by A. G. C. Millar, an architect based on Kildare Street, Dublin. This block is built in a style that is reminiscent of a mid-eighteenth century house, having a central pedimented tripartite doorcase and a rigid symmetry to the front elevation. The house became a convent (Ladies of Mary) sometime after 1925 until c. 1980, and was later in use as a nursing home until c. 2007. This building, particularly the original block, is one of the more eccentric and interesting elements of the built heritage of Longford, and forms the centrepiece of a group of related structures.” [1]

The website tells us that the four wings adjoining the original octagonal hunting lodge align with the four cardinal compass points.

In 2009, the current owners Loretta Grogan and Brian Ginty set about purchasing the house, with the aspiration to restore Castlecor House, its grounds, native woodland and walled garden with pond and orchard to its former glory, opening it to the public by appointment and also welcoming guests.

2. Maria Edgeworth Visitor Centre, Longford, County Longford.

https://www.discoverireland.ie/longford/the-maria-edgeworth-visitor-centre

Maria Edgeworth Visitors Centre, Edgeworthstown, Co Longford, photo by Dympna Reilly 2020 ©Longford County Council, Ireland’s Content Pool (see [15])

The Maria Edgeworth Centre, in County Longford, is located in one of Ireland’s oldest school buildings that opened in 1841. Using a combination of audio, imagery and interactive displays, the centre tells the story of the Edgeworth family and the origins of the National School system. You will also learn about the role the family played in the educational, scientific, political and cultural life in Ireland. Maria Edgeworth was a notable pioneer of literature and education, a feminist and a social commentator of her time. Audios and displays are available in seven languages.”

3. Moorhill House, Castlenugent, Lisryan, Co. Longford – section 482

Open dates in 2026: Aug 1-31, Sept 1-29, 9.30am-1.30pm
Fee: adult/OAP/student/child €8

Moorhill House, photograph from the National Inventory of Architectural Heritage.[4]

The National Inventory describes it:

Detached three-bay two-storey over basement house on L-shaped plan, built c. 1815, having two-storey-storey return to rear (northwest) with pitched slate roof. Two-storey extension attached to the northwest end of rear return. Recently renovated. Possibly incorporating fabric of earlier building/structure. …This appealing and well-proportioned middle-sized house, of early nineteenth-century appearance, retains its early form, character and fabric. Its form is typical of houses of its type and date in rural Ireland, with a three-bay two-storey main elevation, hipped natural slate roof with a pair of centralised chimneystacks, and central round-headed door opening with fanlight. The influence of classicism can be seen in the tall ground floor window openings and the rigid symmetry to the front facade. The simple doorcase with the delicate petal fanlight over provides a central focus and enlivens the plain front elevation. The return to the rear has unusually thick walls and a relative dearth of openings, possibly indicating that it contains earlier fabric. This house forms an interesting group with the entrance gates to the southeast, the outbuildings (13401509) and walled garden to the rear, and the highly ornate railings to the southwest side featuring a sinuous vine leaf motif. The quality of these railings is such that their appearance is equally fine from both sides, the vine leaves being cast in three dimensions. They are notable examples of their type and date, and add substantial to the setting of this fine composition, which is an important element of the built heritage of the local area. Moorhill was the home of a R. (Robert or Richard) Blackall, Esq. in 1837 (Lewis). The Blackalls were an important family in the locality and built nearby Coolamber Manor c. 1837 [built for Major Samuel Wesley Blackhall (1809 – 1871)…to designs by the eminent architect John Hargrave (c. 1788 – 1833). Hargrave worked extensively in County Longford during the 1820s and was responsible for the designs for the governor’s house at Longford Town Jail in 1824; works at Ardagh House in 1826; the rebuilding of St. Paul’s Church of Ireland church at Newtown-Forbes; the remodelling of Castle Forbes, nearby Farragh/Farraghroe House (demolished); Doory Hall now ruinous; St. Paul’s Church of Ireland church, Ballinalee; and possibly for the designs of St. Catherine’s Church of Ireland church at nearby Killoe. …and [Coolamber Manor] may have replaced an earlier house associated with the Blackall family at Coolamber (a Robert Blackall (1764 – 1855), father of the above, lived in Longford in the late-eighteenth century)].

Moorhill House “was possibly the home of Robert Blackall, the father of Samuel Wensley, who was responsible for the construction of Coolamber Manor and later served as M.P. (1847 – 51) for the county before serving as Governor of Queensland, Australia from 1868 until his death in 1871. Moorhill may have been the residence of a Francis Taylor in 1894 (Slater’s Directory).”

Places to stay, County Longford:

1. Castlecor House, County Longford – see above

https://castlecorhouse.com/

2. Newcastle House Hotel, Ballymahon, County Longford

https://www.newcastlehousehotel.ie

Newcastle House (now a hotel), County Longford, photograph from Newcastlehousehotel.ie
photograph from the Newcastlehousehotel.ie

Newcastle House is a 300-year-old manor house, set on the banks of the River Inny near Ballymahon, in Co. Longford.

The website tells us; “Standing on 44 acres of mature parkland and surrounded by 900 acres of forest, Newcastle House is only one and half hour’s drive from Dublin, making it an excellent base to see, explore and enjoy the natural wonders of Ireland. So whether you are looking for a peaceful place to stay (to get away from it all) or perhaps need a location to hold an event, or that most important wedding, give us a call.”

Newcastle House (now a hotel), County Longford, photograph from the National Inventory of Architectural Heritage. [5]

The website previously included a brief history of the inhabitants of Newcastle:

Newcastle Wood was once part of Newcastle Demesne, an estate of some 11,000 hectares run by the King- Harman family in the 1800’s. The beautiful, historic nearby Newcastle House was where the King- Harmans lived and there are many features and place names in the woodland which refer back to that time.

We came across Lawrence Harman Parsons (1749-1807) who became the 1st Earl of Rosse, and who added Harman to his surname to become Lawrence Harman Parsons Harman, when he inherited Castlecor in County Longford. He married Jane King, daughter of Edward Thomas King, 1st Earl of Kingston, from Boyle, County Roscommon. They had a daughter, Frances Parsons-Harmon, who married Robert Edward King (1773-1854), 1st Viscount Lorton of Boyle, County Roscommon. Their second son, Lawrence Harman King assumed the additional name of Harman to become Lawrence Harman King-Harman (1816-1875). It was his family who lived at Newcastle Wood.

The old website continued: “The King- Harmans were generally regarded as good landlords by the local populace. They employed many local people in all sorts of trades. The last of the King- Harmans died in 1949. King- Harman sold lands to the Forestry Department in 1934 and over the following two years it was planted with a mixture of coniferous and broadleaf trees.

Then National Inventory describes the house:

Detached double-pile seven-bay three-storey over basement former country house, built c. 1730 and altered and extended at various dates throughout the eighteenth and nineteenth century, having curvilinear Dutch-type gable to the central bay and later gable-fronted single-bay single-storey entrance porch with matching curvilinear Dutch-type gable to the centre of the main block (southeast elevation), built c. 1820. Advanced three-bay single-storey over basement wing flanking main block to northeast, and advanced four-bay two-storey over basement wing flanking main block to southwest, both built c. 1785. Recessed single-bay single-storey over basement Tudor Gothic style addition attached to northeast elevation having gable-fronted rear elevation and chamfered corners at ground floor level having dressed ashlar limestone masonry , built c. 1850, and two-storey extension to southwest, built c. 1880. Possibly incorporating the fabric of earlier house(s) to site c. 1660. Later in use as a convent and now in use as a hotel…Round-headed door opening to front face of porch (southeast) having carved limestone surround with architrave, square-headed timber battened door with decorative cast-iron hinge motifs, wrought-iron overlight, and having moulded render label moulding over.Painted stuccoed ceilings and ceiling cornices, some with a neoclassical character, a number of early panelled timber doors and marble fireplaces survive to interior...” [5]

Newcastle House, photograph from National Inventory of Architectural Heritage: “Round-headed door opening to front face of porch (southeast) having carved limestone surround with architrave, square-headed timber battened door with decorative cast-iron hinge motifs, wrought-iron overlight, and having moulded render label moulding over.” The Inventory tells us that the carved coat of arms is probably of the King family. [5]
Newcastle House, photograph from Newcastlehousehotel.ie: “Painted stuccoed ceilings and ceiling cornices, some with a neoclassical character.” [5]
photograph from the Newcastlehousehotel.ie

Before belonging to the King-Harman family, Newcastle belonged to the Sheppard family. It came to the King-Harman family through the marriage of Frances Sheppard (d. 1766) daughter of Anthony Sheppard of Newcastle to Wentworth Harman (d. 1714) of Moyle, County Longford.

The National Inventory adds:

The lands and house at Newcastle were successively in the possession of the Chappoyne/Chappayne/Choppin, the Sheppard, the Harman and the King-Harman families. The earliest mention of the estate is references to an Anthony Chappoyne at Newcastle in 1660, although this may have been the site of an earlier ‘castle’ from as early as the fourteenth century (as the placename suggests). In 1680 a Robert Choppayne appears to have purchased/consolidated the lands of Newcastle from Gerald Fitzgerald, 17th Earl of Kildare. Dowdall (1682) describes the site as ‘..on the southside of the river is Newcastle, the antient Estate of the Earl of Kildare now the estate and habitation of Robert Choppin Esqr where he hath lately built a fair house and a wooden bridge over said river’. The estate passed into the ownership of Anthony Sheppard (born 1668 – 1738), heir (son?) of Robert Chappoyne, c. 1693, who served as High Sheriff of County Longford in 1698. His son, also Anthony, was M.P. for Longford in 1727. The estate later passed by marriage into the ownership into the Harman family at the very end of the seventeenth century. Robert Harman (1699 – 1765; M.P. for Longford c. 1760 -5) [son of Wentworth Harman and Frances Sheppard] was in possession of the estate of much of the middle of the eighteenth century and it is likely that he was responsible for much of the early work on the house. The Very Revd. Cutts Harman, who built the quirky hunting/fishing lodge at nearby Castlecor, inherited the house c. 1765 following the death of his brother Robert. The estate later passed into the ownership of Lawrence Parsons-Harman (1749 – 1807) in 1784 (M.P. for Longford 1776 – 1792; Baron Oxmantown in 1792; Viscount Oxmantown in 1795; Earl of Rosse 1806; sat was one of the original Irish Representative Peers in the British House of Lords) and he greatly increased the Newcastle estate, and by his death (1807) its size had doubled to approximately 31,000 acres in size. It is likely that he was responsible for the construction of the side wings to the main block and general improvements to the house from 1784. The estate passed into the ownership of his wife Jane, Countess of Rosse (who partially funded the construction of a number of Church of Ireland churches and funded a number of schools in County Longford during the first half of the nineteenth century), who left the estate to her grandson Laurence King-Harman (1816 – 1878) after falling out with her son. Laurence King-Harman has probably responsible for the vaguely Tudor Gothic extension to the northeast elevation. The brick chimneystacks also look of mid-nineteenth century date and may have been added around the same time this wing was constructed. The King family had extensive estates in Ireland during the nineteenth century, owning the magnificent Rockingham House (demolished) and King House [also a Section 482 property which I hope to visit later this year], Boyle, both in County Roscommon; as well as Mitchelstown Castle in County Cork, burnt in 1922 (memorial plaques and carved stone heads from Mitchelstown Castle were built into the northeast elevation of Newcastle House c. 1925, but have been removed and returned to Cork in recent years). The estate reached its largest extent in 1888, some 38,616 acres in size, when Wentworth Henry King-Harman was in residence. The estate was described in 1900 as ‘a master-piece of smooth and intricate organisation, with walled gardens and glasshouses, its diary, its laundry, its carpenters, masons and handymen of all estate crafts, the home farm, the gamekeepers and retrievers kennels, its saw-mill and paint shop and deer park for the provision of venison. The place is self supporting to a much greater degree than most country houses in England’. The estate went in to decline during the first decades of the twentieth century, and with dwindled in size to 800 acres by 1911. The house and estate remained in the ownership of the King-Harman family until c. 1951, when Capt. Robert Douglas King-Harman sold the house to an order of African Missionary nuns (house and contents sold for £11,000). It was later in use as a hotel from c. 1980.” [5]

photograph from the Newcastlehousehotel.ie

3. Viewmount House, Longford

http://www.viewmounthouse.com

Viewmount House, photograph from National Inventory of Architectural Heritage. [6]

The website tells us:

Discover this boutique gem, a secret tucked away in the heart of Ireland. This magnificent 17th century manor is complemented by its incredible countryside surroundings, and by the four acres of meticulously-maintained garden that surround it. Within the manor you’ll find a place of character, with open fires, beautiful furniture, fresh flowers and Irish literature. The manor retains its stately, historic charm, and blends it with thoughtful renovation that incorporates modern comfort.

Here, you will unwind into the exceptionally relaxing atmosphere, a restful world where all you hear is peace, quiet and birdsong.

This house was advertised for sale in recent years. The National Inventory describes it:

Detached three-bay three-storey house, built c. 1750 and remodeled c. 1860, having single-bay single-storey porch with flat roof to the centre of the front elevation (north). Renovated c. 1994. Formerly in use as a Church of Ireland charter school (c. 1753 – 1826)…This elegant mid-sized Georgian house is a fine example of the language of classical architecture reduced to its essential elements. It retains its early character and form despite recent alterations….Set in extensive mature grounds, this fine structure is a worthy addition to the architectural heritage of County Longford….This house was the home of the Cuffe family during the first half of the eighteenth century. It was later inherited by Thomas Pakenham (later [1st] Baron Longford [of Pakenham Hall, or Tullynally, County Westmeath, another section 482 property, see my entry]) following his marriage to Elizabeth Cuffe (1714-94) in 1739 or 1740. It is possible that Viewmount House was constructed shortly after this date and it may have replaced an earlier Cuffe family house on or close to the present site. The house was never lived in by the Pakenham family but it was used by their agent to administer the Longford estate, c. 1860. It was apparently in use as a charter school from 1753 until 1826, originally founded under the patronage of Thomas Pakenham. There is a ‘charter school’ indicated here (or close to here) on the Taylor and Skinner map (from Maps of the Roads of Ireland) of the area, dated between 1777 – 1783. A ‘free charter school’ at Knockahaw, Longford Town, with 32 boys, is mentioned in an Irish Education Board Report, dated 1826 – 7 (Ir. Educ. Rept 2, 692 – 3).” [6]

[1] https://www.buildingsofireland.ie/buildings-search/building/13402608/castlecor-house-castlecore-longford

[2] p. 66. 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.

[3] www.irishhistorichouses.com/2020/12/10/kilshannig-house-rathcormac-county-cork/

[4] https://www.buildingsofireland.ie/buildings-search/building/13401508/moorhill-house-castlenugent-longford

[5] https://www.buildingsofireland.ie/buildings-search/building/13402709/newcastle-house-newcastle-newcastle-demesne-longford

[6] https://www.buildingsofireland.ie/buildings-search/building/13007038/viewmount-house-knockahaw-longford

Castletown House and Parklands, Celbridge, County Kildare, an Office of Public Works property

Castletown House, County Kildare, Photo by Mark Wesley 2016, Tourism Ireland, from Ireland’s Content Pool. [see 1]

General Information: castletown@opw.ie

https://castletown.ie

From the OPW website:

Castletown is set amongst beautiful eighteenth-century parklands on the banks of the Liffey in Celbridge, County Kildare.

The house was built around 1722 for the speaker of the Irish House of Commons, William Conolly, to designs by several renowned architects. It was intended to reflect Conolly’s power and to serve as a venue for political entertaining on a grand scale. At the time Castletown was built, commentators expected it to be ‘the epitome of the Kingdom, and all the rarities she can afford’.

The estate flourished under William Conolly’s great-nephew Thomas and his wife, Lady Louisa, who devoted much of her life to improving her home.

Today, Castletown is home to a significant collection of paintings, furnishings and objets d’art. Highlights include three eighteenth-century Murano-glass chandeliers and the only fully intact eighteenth-century print room in the country.

It is still the most splendid Palladian-style country house in Ireland.

This photo was taken probably by Robert French, chief photographer of William Lawrence Photographic Studios of Dublin, National Library of Ireland flickr constant commons.

The Conolly family sold Castletown in 1965. Mark Bence-Jones tells us that the estate was bought for development and for two years the house stood empty and deteriorating. In 1967, Hon Desmond Guinness courageously bought the house with 120 acres, to be the headquarters of the Irish Georgian Society, and in order to save it for posterity. Since then the house has been restored and it now contains an appropriate collection of furniture, pictures and objects, which has either been bought for the house, presented to it by benefactors, or loaned. It is now maintained by the Office of Public Works and the Castletown Trust.

Castletown Gates, built in 1783 by Lady Louisa Conolly, by John Coates of Maynooth. They are mounted with sphinxes. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown Gates, built in 1783 by Lady Louisa Conolly, by John Coates of Maynooth. They are mounted with sphinxes. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

William Conolly (1662-1729) rose from modest beginnings to be the richest man in Ireland in his day. He was a lawyer from Ballyshannon, County Donegal, who made an enormous fortune out of land transactions in the unsettled period after the Williamite wars.

William Conolly had property on Capel Street in Dublin, before moving to Celbridge. Conolly’s house was on the corner of Capel Street and Little Britain Street and was demolished around 1770. [2] The Kildare Local History webpage gives us an excellent description of William Conolly’s rise to wealth:

William Conolly (1662-1729) in his robes as Speaker of the Irish House of Commons, by Stephen Catterson Smith the Elder (1806-1872), portrait in Hall of Castletown. The portrait was donated by Mr and Mrs Galen Weston. This posthumous portrait was based on Jervas’s portrait of the Speaker in the Green Drawing Room.

In November 1688, William Conolly was one of the Protestants who fled Dublin to join the Williamites in Chester alongside his late Celbridge neighbour Bartholomew Van Homrigh.

On the victory of William III, he acquired a central role dealing in estates forfeited by supporters of James II, commencing his rise to fortune with the forfeited estates of the McDonnells of Antrim.

In 1691 he purchased Rodanstown outside Kilcock, which became his country residence until he purchased Castletown in 1709.

A dowry of £2,300 came his way in 1694 when he married Katherine Conyngham, daughter of Albert Conyngham, a Williamite General who had been killed in the war at Collooney in 1691.

He was appointed Collector and Receiver of Revenue for the towns of Derry and Coleraine on May 2nd 1698.

Conolly was the largest purchaser of forfeited estates in the period 1699–1703, acquiring also 20,000 acres spread over five counties at a cost of just £7,000.” [3]

William Conolly purchased land in County Kildare which had been owned by Thomas Dongan (1634-1715), 2nd Earl of Limerick, in 1709. Dongan’s estate had been confiscated as he was a Jacobite supporter of James II (he became first governor of the Duke of York’s province of New York! The Earldom ended at his death). Dongan’s mother was the daughter of William Talbot, 1st Baronet of Carton (see my entry about Carton, County Kildare, under Places to stay in County Kildare https://irishhistorichouses.com/2023/06/08/places-to-visit-and-stay-in-county-kildare/ ).

Conolly rose to become Speaker of the House of Commons in the Irish Parliament. He married Katherine Conyngham of Mount Charles, County Donegal, whose brother purchased Slane Castle in County Meath (see my entry https://irishhistorichouses.com/2019/07/19/slane-castle-county-meath/). As well as earning money himself, his wife brought a large dowry.

Statue taken from the funeral monument of Speaker William Conolly, of him reclining next to his wife, by Thomas Carter. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Funerary monument with William and Katherine Conolly. The Latin inscription reads: “William Conolly who attained as the reward of his medit the highest honours, was for about twenty years a Commissioner of the revenue in the reign of Queen Anne and George I, was a Privy Councillor in the reign of George II. He was twice unanimously elected Speaker of the House of Commons in the Parliament of this realm and then ten times held the Office of Lord Justice of Ireland, being the first to whom both the Sovereign and the people entrusted at the same time of their privileges with the happiest result. As a subject, he was loyal, as a citizen, patriotic. In perilous times he not once or twice proved that he served his King without forgetting his duty to his country. Firm, resolute, just, wise, formed by nature for the ilfe of a statesman, his administration of affairs was crowned with success to the greater advantage of the Commonwealth. He made a modest, though splendid use of the great riches he had honestly acquired, distinguished as he was alike for the courtesy, integrity and munificence of his disposition. Kind-hearted towards all men, he was loyal to his friends, whom he bound to himself in great numbers – retained their friendship when once he had gained it. Wishing to do good even after his death, he gave directions by his will that a building should be erected on the adjacent lands for the maintenance and education of the children of the poor and he endowed it forever with large revenues. Having lived long enough to satisfy the claims of nature and his fame, he died October 1729 in the 67th year of his life. Cath of the Conyngham family has erected this monument to her worthy husband.”
Katherine Conyngham, wife of William Conolly, also from the funeral monument. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Katherine Conyngham (c. 1662-1752) who married William Conolly, with her great-niece Molly Burton. Portrait by Charles Jervas. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I’m not sure but the top portrait looks like Katherine Conyngham to me. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Archiseek website tells us about the design of Castletown House:

“Soon after the project got underway Conolly met Alessandro Galilei (1691-1737), an Italian architect, who had been employed in Ireland by Lord Molesworth in 1718 [John Molesworth, 2nd Viscount, who had been British envoy to Florence]. He designed the façade of the main block in the style of a 16th century Italian town palace. He returned to Italy in 1719 and was not associated with the actual construction of the house which began in 1722. Sir Edward Lovett Pearce (died 1733), a young Irish architect, on his Italian grand tour became acquainted with Galilei in Florence and through this connection he was employed by the Speaker to complete Castletown when he returned to Ireland in 1724. Pearce had first hand knowledge of the work of the Italian architect Andrea Palladio (1508-1580) and his annotated copy of Palladio’s Quattro libri dell’architettura survives. It was Pearce who added the Palladian colonnades and the terminating pavillions. This layout was the first major Palladian scheme in Ireland and soon had many imitators.” [4]

Alessandro Gallilei (1691-1737). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown House, County Kildare, Photograph from macmillan media for Tourism Ireland 2015, Ireland’s Content Pool. [see 1] Started in 1722 to the designs of Alessandro Gallilei, it was continued by Edward Lovett Pearce, who was influenced by Italian architect Andrea Palladio. Pearce designed the colonnades and pavilions. In the wings on the left (west wing) are the kitchens and on the right, the stables (east wing).

Mark Bence-Jones describes Castletown in his  A Guide to Irish Country Houses. The centre block is of three storeys over basement, and has two almost identical thirteen bay fronts “reminiscent of the façade of an Italian Renaissance town palazzo; with no pediment or central feature and no ornamentation except for doorcase, entablatures over the ground floor windows, alternate segmental and triangular pediments over the windows of the storey above and a balustraded roof parapet. Despite the many windows and the lack of a central feature, there is no sense of monotony or heaviness; the effect being one of great beauty  and serenity.” [5] The centre block is made of Edenderry limestone, and is topped by cornice and balustrade. On the ground floor the windows have frieze, cornice and lugged architrave, and on the first floor, alternating triangular and segmental pediments.

On the ground floor the windows have frieze, cornice and lugged architrave, and on the first floor, alternating triangular and segmental pediments. The upper floor is half size. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The doorcase is gracefully tall and is framed by Ionic columns, and is reached by a sweeping set of steps. Photograph by Swire Chin, Toronto, May 2013, from flickr constant commons.

Pearce added the curved Ionic colonnades and two two-storey seven bay wings. He also designed the impressive two-storey entrance hall inside.

Back of Castletown House, Celbridge, Co Kildare, photograph by Sonder Visuals2022 for Failte Ireland, Ireland’s Content Pool.
Colonnade by Edward Lovett Pearce, October 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The East Wing. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The east side of Castletown, and the back of east wing. The back of the curved colonnade can be seen. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Sensory Garden and the side and back of the West Wing. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The East side of the house. The West Wing houses the Café. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Café in the West Wing. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Side of the West Wing, October 2022. Extending the facade of the house are pedimented gateways to the kitchen yard and stable yard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

William died in 1729 aged just 67, so he had only a few years to enjoy his house. His wife Katherine lived on in the house another twenty-three years until her death at the age of 90 in 1752. William and Katherine had no children, so his estate passed to his nephew William James Conolly (1712-1754), son of William’s brother Patrick. We came across William James Conolly before in Leixlip Castle (another Section 482 property), which he also inherited. William James married Lady Anne Wentworth, the daughter of the Earl of Strafford. Her father, Thomas Wentworth 1st Earl of Strafford is not the more famous Thomas Wentworth 1st Earl of Strafford who was executed (of whom there is at least one portrait in Castletown) but a later one, of the second creation. William James died just two years after Katherine Conolly, so the estate then passed to his son Thomas Conolly (1738-1803).

William Conolly, M.P. (d.1754) by Anthony Lee c. 1727 courtesy of National Gallery of Ireland NGI 421
Lady Anne Conolly (née Wentworth) (1713-1797) Attributed to Anthony Lee, Irish, fl.1724-1767. Photograph courtesy of National Gallery of Ireland. She was the wife of William Conolly, M.P. (d.1754).
Lady Anne Conolly (born Wentworth (1712/1713-1797), daughter of Thomas Wentworth (1672-1739) 1st Earl of Strafford). She was married to William James Conolly (1712-1754), of Castletown, County Kildare. She was the mother of Thomas Conolly (1734-1803).
Thomas Conolly (1738-1803) by Anton Raphael Mengs, painted 1758. The German painter Mengs captured Conolly as a 19 year old on his Grand Tour. He is shown posting in front of a Roman sarcophagus, the “Relief of the Muses,” now in the Louvre. He is wearing a rich satin suit with gilt braid, portraying a young cultured aristocrat. In reality he displayed little interest in ancient civilisation, and brought back no souvenirs from Rome save for this portrait. Portrait in the National Gallery of Ireland.
Thomas Conolly. He was the son and heir of William James Conolly (d.1754) of Castletown House, by his wife Lady Anne Wentworth. Thomas Conolly married Lady Louisa Lennox, a daughter of Charles Lennox, the 2nd Duke of Richmond.
Caroline Conolly, Countess of Buckinghamshire (c.1755 – 1817) by Thomas Gainsborough RA (Sudbury 1727 – London 1788), 1784. She was a daughter of William James Conolly (1712-1754), and the second wife of the 2nd Earl of Buckinghamshire, painted in white court dress and gold sash, with gilt embroidered skirt, and white train, with her right elbow resting on state robes of red velvet ermine-trimmed cloak and coronet behind her. Two black wristbands, black shoes, pearl necklace. Grey powdered hair. Green curtain with tassels behind her with landscape in background.
Portrait called The Honourable Harriet Molesworth (1745-1812), wife of John Staples (1736-1820) (probably Harriet Conolly, d. 1771), a daughter of William James Conolly, by Francis Cotes, courtesy of National Trust. Springhill, County Derry.

Thomas married Louisa Lennox in 1758, one of five Lennox sisters, daughters of the Charles Lennox, 2nd Duke of Richmond. From the age of eight she had lived at nearby Carton with her sister Emily, who was married to James Fitzgerald, the 20th Earl of Kildare (who became the 1st Duke of Leinster). At Carton, Louisa was exposed to the fashionable ideas of the day in architecture, decoration, horticulture and landscaping. [6] Louisa loved Castletown and continually planned improvements, planting trees, designing the lake and building bridges.

Louisa Lennox who married Thomas Conolly. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
In the dining room, over the fireplace, half-length portrait of Charles Lennox (1701–1750), 2nd Duke of Richmond and 2nd Duke of Lennox, by Jean-Baptiste Van Loo, wearing armour with the ribbon of the Order of the Garter, in a contemporary frame in the manner of William Kent.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carton House, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Archiseek continues: “The Castletown papers, estate records and account books, together with Lady Louisa’s [i.e. Louisa Lennox, wife of Tom Conolly] diaries and correspondence with her sisters, provide a valuable record of life at Castletown and also of the reorganisation of the house. Lady Louisa’s letters from the 1750s onwards are revealing of the fashions in costume design, fabric patterns and furniture. She played an important part in the alteration and redecoration of Castletown during the 1760s and 1770s. As no single architect was responsible for all of the work carried out, she supervised most of it herself. Much of the redecoration of the house was done to the published designs of the English architect Sir William Chambers (1723-1796) who never came to Ireland himself. Chambers also worked for Lady Louisa’s brother, the 3rd Duke of Richmond, at Goodwood in Sussex. In a letter, written in July 1759, Lady Louisa mentions instructions given by Chambers to his assistant Simon Vierpyl who supervised the work at Castletown.” (see [6])

Description of the Hall, from Archiseek: “This impressive two-storeyed room with a black and white chequered floor, was designed by Sir Edward Lovett Pearce. The Ionic order on the lower storey is similar to that of the colonnades outside and at gallery level there are tapering pilasters with baskets of flowers and fruit carved in wood. The coved ceiling has a central moulding comprising a square Greek key patterned frame and central roundel with shell decoration.” [see 6]

Great Hall, photograph by Swire Chin, Toronto, May 2013 flickr constant commons.
The Gallery of the Great Hall. Photograph by Swire Chin, Toronto, May 2013 flickr constant commons.
Photograph by Swire Chin, Toronto, May 2013 flickr constant commons.

The polished limestone floor with its chequered design and the Kilkenny marble fireplace reflect William Conolly’s desire to build the house solely of native Irish materials. Unfortunately when we visited in October 2022, the hall was half hidden with a large two storey curtain, as the windows are all being repaired. As we can see in the photograph, the room has an Ionic colonnade to the rear, and a gallery at first floor level, and the stair hall is through an archway in the east wall.

Hall of Castletown, with picture of Leixlip Castle by Joseph Tudor over the black Kilkenny marble fireplace, and portrait of William Conolly 1662-1729, by Stephen Catterson Smith the Elder. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Picture of Leixlip Castle, which was also owned by William Conolly and by Desmond Guinness. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

When the owners were selling off the items in the house, they tried to sell the picture of Leixlip Castle that is in the front hall over the fireplace. It turned out to be painted on to the wall, so had to remain in the house! See my entry about Leixlip Castle https://irishhistorichouses.com/2020/09/04/leixlip-castle-county-kildare-desmond-guinnesss-jewelbox-of-treasures/

The Ionic order on the lower storey is similar to that of the colonnades outside and at gallery level there are tapering pilasters with baskets of flowers and fruit carved in wood. The large curtain, in October 2022, is protecting the room from where the windows are being repaired. Instead of capitals, the cloumns in the upper storey are topped with baskets of fruit. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Great Hall, Castletown House, Celbridge, Co Kildare, photograph by Sonder Visuals 2022 for Failte Ireland.
The coved ceiling of the Hall has a central moulding comprising a square Greek key patterned frame, modillion cornice and central roundel with shell decoration. A modillion cornice is a cornice of the Corinthian order, made up of modillions, or ornamented brackets, frequently used as the cornice of a ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceiling of Great Hall, Castletown House, June 2015. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph from the album of Henry Shaw, of the Entrance Hall, in the time of that later Thomas Conolly (1823-1876) and his wife Sarah Eliza.
Photograph from the album of Henry Shaw, of the Entrance Hall, in the time of that later Thomas Conolly (1823-1876) and his wife Sarah Eliza.

From the entrance hall, one enters the magnificent Stair Hall. The Castletown website describes the stair hall:

The Portland stone staircase at Castletown is one of the largest cantilevered staircases in Ireland. It was built in 1759 under the direction of the master builder Simon Vierpyl (c.1725–1811). Prior to this the space was a shell, although a plan attributed to Edward Lovett Pearce suggests that a circular staircase was previously intended.

The solid brass balustrade was installed by Anthony King, later Lord Mayor of Dublin. He signed and dated three of the banisters, ‘A. King Dublin 1760’. The opulent rococo plasterwork was created by the Swiss-Italian stuccadore Filippo Lafranchini, who, with his older brother Paolo, had worked at Carton and Leinster House for Lady Lousia’s brother-in-law, the first Duke of Leinster, as well as at Russborough in Co. Wicklow. Shells, cornucopias, dragons and masks feature in the light-hearted decoration which represents the final development of the Lafranchini style. Family portraits are also included with Tom Conolly at the foot of the stairs and Louisa above to his right. The four seasons are represented on the piers and on either side of the arched screen.

The staircase at Castletown House. Pub Orig Country Life 22/08/1936 
Image Number: 873959  Publication Date: 22/08/1936  
Country Life Volume: LXXX Page: 196 
Photographer: A.E.Henson.

 
Photograph by Swire Chin, Toronto, May 2013 flickr constant commons.
Stair Hall, Castletown House, Celbridge, Co Kildare, photograph by Sonder Visuals 2022 for Failte Ireland.
The Portland stone staircase at Castletown is one of the largest cantilevered staircases in Ireland. It was built in 1759 under the direction of the master builder Simon Vierpyl (c.1725–1811). The plasterwork is by Lafranchini brothers. In the stair hall, in the rococo plasterwork, Tom and Louisa Conolly are represented in plaster, along with shells, masks and flowers.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The solid brass balustrade was installed by Anthony King, later Lord Mayor of Dublin. He signed and dated three of the banisters, ‘A. King Dublin 1760’. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Thomas Conolly, who inherited the estate, in stucco on stairs of Castletown, and his wife Louisa is further up on his right. Her sister Emily, who lived at Carton nearby, is also pictured in the plasterwork. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Thomas Conolly, grand-nephew of William Conolly. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lady Louisa Conolly, photograph by Swire Chin, Toronto, May 2013 flickr constant commons.
Castletown, County Kildare. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceiling of Stair Hall, Castletown House, June 2015. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown House, a copy of ‘The Bear Hunt’ by 17th century Flemish painter Paul de Vos (1596-1678) is framed by Lafranchini plasterwork. It was cut down at some stage on the right side to fit into the central plaster recess above the cantilevered staircase, which would indicate that the painting was not commissioned for the space. Our guide told us that men would bet on how quickly the dogs would kill the bear. What a dreadful past-time! The Conollys imported a bear, and kept it in the dog kennels but it died, and they had it stuffed and put in the nursery! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
In this old photograph of the nursery on the second floor, we see not only the stuffed bear but the skin and head of another. The photograph is one from an album of photographs on display at Castletown, belonging to Chris Shaw. His father Henry was the brother of Sarah Eliza Shaw who married Thomas Conolly (1823-1876), who inherited Castletown.
Castletown House, June 2015. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The staircase in the 1950s, prior to the sale of the house and the auction of two of the three large canvases above the stairs, photograph by Hugh Doran.

Mark Bence-Jones continues:

In the following year, Tom Conolly and Lady Louisa employed the Francini to decorate the walls of the staircase hall with rococo stuccowork; and in 1760 the grand staircase itself – of cantilevered stone, with a noble balustrade of brass columns – was installed; the work beign carried out by Simon Vierpyl, a protégé of Sir William Chambers. The principal reception rooms, which form an enfilade along the garden front and were mostly decorated at this time, are believed to be by Chambers himself; they have ceilings of geometrical plasterwork, very characteristic of him. Also in this style is the dining room, to the left of the entrance hall. It was here that, according to the story, Tom Conolly found himself giving supper to the Devil, whom he had met out hunting and invited back, believing him to be merely a dark stranger; but had realised the truth when his guest’s boots were removed, revealing him to have unusually hairy feet. He therefore sent for the priest, who threw his breviary at the unwelcome guest, which missed him and cracked a mirror. This, however, was enough to scare the Devil, who vanished through the hearthstone. Whatever the truth of this story, the hearthstone in the dining room is shattered, and one of the mirrors is cracked.

In the dining room, the Cranfield Mirror, the work of the Dublin carver Richard Cranfield (1713-1809). There are three of these mirrors, and one is cracked. I took this photograph when our friend Mark was visiting Ireland in 2017. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The cracked Cranfield mirror, cracked by a Bible which the local prelate had thrown at the Devil! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Dining Room, description from Archiseek:

This room dates from the 1760s redecoration of Castletown undertaken by Lady Louisa Conolly and reflects the mid-eighteenth century fashion for separate dining rooms. Originally, there were two smaller panelled rooms here. It was reconstructed to designs by Sir William Chambers, with a compartmentalised ceiling similar to one by Inigo Jones in the Queen’s House at Greenwich. The chimney-piece and door cases are in the manner of Chambers. Of the four doors, two are false. 

Furniture original to Castletown includes the two eighteenth-century giltwood side tables. Their frieze is decorated with berried laurel foliage similar to the door entablatures in the Red and Green Drawing Rooms. The three elaborate pier glasses are original to the Dining Room. The frames are carved fruiting vines, symbols of Bacchus and festivity. These are probably the work of the Dublin carver Richard Cranfield (1713-1809) who, with the firm of Thomas Jackson of Essex Bridge, Dublin, was paid large sums for carving and gilding throughout the house.

My Dad Desmond and Stephen in the Dining Room of Castletown House, June 2015. Note the vase on the side table, one of a pair of large Meissen gilt and white two-handled campana vases with everted rims and entwined scrolling serpent and acanthus handles. This pair of vases is reputed to have been given to Thomas Conolly (1823–1876) as a gift by the future French Emperor, Napoleon III. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dining room, 2017. The portrait over the fireplace in the dining room is a half-length portrait of Charles Lennox (1701–1750), 2nd Duke of Richmond and 2nd Duke of Lennox, wearing armour with the ribbon of the Order of the Garter, in a contemporary frame in the manner of William Kent. Furniture original to Castletown includes the two eighteenth-century giltwood side tables, which are also attributed to Richard Cranfield. Their frieze is decorated with berried laurel foliage similar to the door entablatures in the Red and Green Drawing Rooms. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The frieze on the giltwood side tables in the Dining Room is decorated with berried laurel foliage similar to the door entablatures in the Red and Green Drawing Rooms. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Dining Room, October 2022, with the giltwood side table, Meissen vase, and portrait of Katherine Conyngham with her niece. Portraits over the landscape painting are of Harriet Murray (1742-1822) who married Henry Westenra (1742-1809) and Hester Westenra – this portrait could be of Harriet Murray’s daughter Hester (1775-1858) who married Edward Wingfield (1772-1859). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Harriet Murray (1742-1822) married Henry Westenra (1742-1809) and Hester Westenra – this portrait could be of Harriet Murray’s daughter Hester (1775-1858) who married Edward Wingfield (1772-1859). There are many portraits of the Westenra family currently in Castletown House. I don’t know if there is any connection between the Westenra family and Castletown – perhaps the portraits belong to the Office of Public Works and are used to suitably furnish Castletown. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Anne Murray (1734-1827), sister of Harriet in the photograph above. Anne married Theophilus Jones (1725-1811). Perhaps the man in the portrait is Theophilus Jones. Anne was second wife of Theophilus Jones, who had previously married Catherine Beresford of Curraghmore, daughter of Marcus Beresford 1st Earl of Tyrone. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Josephine Lloyd (1827-1912) who married Henry Robert Westenra, 2nd (UK) and 3rd Baron (Ireland) Rossmore of Monaghan. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One of a pair of large Meissen gilt and white two-handled campana vases with everted rims and entwined scrolling serpent and acanthus handles. This pair of vases is reputed to have been given to Thomas Conolly (1823–1876) as a gift by the future French Emperor, Napoleon III. I don’t know who is featured in this portrait – I’ll have to find out! It’s very beautiful. Tell me if you can identify our lovely lady in white and blue. To me she looks like Anne Hyde (1637-1671), Duchess of York, wife of King James II. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Between the front of the house, with its Entrance Hall, Stair Hall and Dining Room is a corridor, or rather, two corridors, one to the west and one to the east of the Entrance Hall. This corridor is on every storey, including the basement. To the rear (north) of the house on the ground floor is an enfilade of rooms: the Brown Study to the west end, next to another staircase, then the Red Drawing Room, the Green Drawing Room, the Print Room, the State Bedroom, and then small rooms called the Healy Room and the Map Room.

One of the corridors between the front and back of the house on the ground floor, October 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The high ceilinged corridors end in large windows. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The corridors now hold paintings and art works, and one has a cabinet of Meissen porcelain.

Meissen porcelain pieces were created specially for clients, with favourite symbols and objects. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown House, County Kildare. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
King George III.
Queen Charlotte, wife of King George III.
Queen Victoria.

Next to the Dining Room at the front of the house is the Butler’s Pantry, which contains photographs of the servants of Castletown, and a portrait of a housekeeper, Mrs Parnel Moore (1649–1761). It’s unusual to have a portrait of a housekeeper but perhaps someone painted her because she was a beloved member of the household, as she lived to be at least 112 years! This is a very old portrait dating back to the 1700s.

The Castletown website tells us about the Butler’s Pantry: “The Butler’s Pantry dates from the 1760s and connected the newly created Dining Room with the kitchens in the West Wing. Food was carried in from the kitchens through the colonnade passageway and then reheated in the pantry before being served. The great kitchens were on the ground floor of the west wing, with servants’ quarters upstairs. Upwards of 80 servants would have been employed in the house and kitchens in the late eighteenth century under the direction of the Butler and the Housekeeper.”

A house like Castletown relied on an army of servants and this portrait of former housekeeper Mrs Parnel Moore – aged 112 according to the inscription – dates back to the beginnings of Castletown and is one of the oldest original items in the collection.
English servants of Castletown, photograph in Butler’s Pantry of Castletown.
Irish servants of Castletown, photograph in Butler’s Pantry of Castletown.
Enfilade of rooms on the north side, photograph by Swire Chin, Toronto, May 2013 flickr constant commons.

The Red Drawing Room, description from Archiseek:

It is one of a series of State Rooms that form an enfilade and were used on important occasions in the eighteenth century. This room was redesigned in the mid 1760s in the manner of Sir William Chambers. The chimney-piece, ceiling and pier glasses are typical of his designs. 

The walls are covered in red damask which is probably French and dates from the 1820s. Lady Shelburne recorded in her journal seeing a four coloured damask, predominently red, in this room. The Aubusson carpet dates from about 1850 and may have been made for the room. Much of the furniture has always been in the house and Lady Louisa Conolly paid 11/2 guineas for each of the Chinese Chippendale armchairs which she considered very expensive. The chairs and settee were made in Dublin and they are displayed in a formal arrangement against the walls as they would have been in the eighteenth century. The bureau was made for Lady Louisa in the 1760s.

The neoclassical ceiling, which replaced the vaulted original, is based on published designs by the Italian Renaissance architect, Sebastiano Serlio, and is modelled after one in Leinster House (belonging to Lady Louisa’s sister’s husband the Earl of Kildare). The white Carrara chimney-piece came to the house in 1768.

The Red Drawing Room in Castletown House, June 2015. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A Chinese gilt and polychrome lacquer cabinet on Irish stand, with a pair of doors later painted with vignettes of romantic landscapes and birds on floral sprays. The landscapes on this lacquered cabinet are said to have been painted by Katherine Conolly as a gift for her great-niece, Molly Burton, in about 1725. Katherine, who had no children herself, looked after Molly after her father died. [9] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Red Drawing Room in October 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Red Drawing Room in October 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The white Carrara chimney-piece came to the house in 1768. Andrew Tierney tells us in Buildings of Ireland: Central Leinster. The Counties of Kildare, Laois and Offaly that it is by John Devall & Son and based on Isaac Ware’s Designs of Inigo Jones (1731). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The neoclassical ceiling, which replaced the vaulted original, is based on published designs by the Italian Renaissance architect, Sebastiano Serlio. There is also a modillion cornice and a Rococo frieze. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The wallpaper has been specially recreated from original material, and the curtains have been made to match. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Chinese Chippendale sofas, Irish, c.1770, photograph from 2015. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Green Drawing Room, description from Archiseek:

The Conollys formally received important visitors to the house in the Green Drawing Room which was the saloon or principal reception room. The room was redecorated in the 1760s and like the other state rooms reflects the neo-classical taste of the architect Sir William Chambers. The Greek key decoration on the ceiling is repeated on the pier glasses and the chimney-piece. Originally these were pier tables with a Greek key frieze and copies of these may be made in the future. The chimney-piece is similar to one designed by Chambers for Lord Charlemont’s Casino at Marino.”

The Castletown website tells us: “The Green Drawing Room was the main reception room or saloon on the ground floor. Visitors could enter from the Entrance Hall or the garden front. Like the other state rooms it was extensively remodelled between 1764 and 1768. The influence of the published designs of Serlio and the leading British architect Isaac Ware can be seen in the neo-classical ceiling, door cases and chimney-piece...The walls were first lined with a pale green silk damask in the 1760s. Fragments of this silk, which was replaced by a dark green mid-nineteenth century silk, survived and the present silk was woven as a direct colour match in 1985 by Prelle et Cie in Lyon, France.”

The Green Drawing Room, Castletown House, June 2015. Portrait of the woman and child is Mrs Katherine Conolly with Miss Molly Burton, by Charles Jervas. The man on the other side of the door is Speaker William Conolly. The door to the entrance hall is gilded and pedimented and is by Richard Cranfield of Dublin (after that by Ware in the saloon of Leinster House), with “pulvinated” (i.e. having the shape of a cushion) bay-leaf frieze. The chimeypiece replicates the key pattern on the ceilng. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Our guide showed us how the Green Drawing Room opens into the Great Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Green Drawing Room, October 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charles Lennox 2nd Duke of Richmond (1701-1750). I’m not sure if this is his wife Sarah Cadogen beside him. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I think this is a portrait of Louisa’s brother Charles, 3rd Duke of Richmond.
King Charles I, and below, a mistress of King Charles II, Louise Renée de Penancoët de Kérouaille, Duchess of Portsmouth, who was the mother of Charles Lennox, 1st Duke of Richmond. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Thomas Wentworth 1st Earl of Strafford (1593-1641), Lord Deputy of Ireland 1632-1640 for King Charles I. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The website tells us about this Musical Clock by Charles Clay c.1730. “Katherine and William Conolly are credited with bringing this important musical clock to Castletown. It was made by Charles Clay, official clock-maker to His Majesty’s Board of Works in London. It is the only clock of its kind known to be in Ireland and its sweet chime can be heard throughout the enfilade.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Brown Study is at one end of this enfilade of rooms. The website describes it:

The Brown Study with its wood-panelled walls, tall oak doors, corner chimney-piece, built-in desk and vaulted ceiling is decorated as it was in the 1720s when the house was first built. This room was used as a bedroom in the late nineteenth century and then as a breakfast parlour in the early twentieth century.

Between the windows is a piece of the ‘Volunteer fabric’. Printed on a mixture of linen and cotton in Harpur’s Mills in nearby Leixlip, it depicts the review of the Leinster Volunteers in the Phoenix Park in 1782. Thomas Conolly was active in the Volunteer leadership in both Counties Derry and Kildare. The Volunteers were a local militia force established during the American War of Independence to defend Ireland from possible French invasion while the regular troops were in America. They were later linked to the Patriot party in the Irish House of Commons led by Henry Grattan and to their campaigns for political reform.

Brown Study, Castletown House, Celbridge, Co Kildare, photograph by Sonder Visuals 2022 for Failte Ireland.
The Brown Study. Jonathan Swift portrait, and King William III. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ‘Volunteer fabric’. Printed on a mixture of linen and cotton in Harpur’s Mills in nearby Leixlip, it depicts the review of the Leinster Volunteers in the Phoenix Park in 1782. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dublin Volunteers on College Green, 1779, by Francis Wheatley.
Key to the Dublin Volunteers on College Green, 1779 by Francis Wheatley. In the centre facing forward is the Duke of Leinster. I found it odd to see that James Napper Tandy is one of the Volunteers pictured, since I know he is famous for being a rebel, along with Edward FitzGerald. It turns out that James Napper Tandy was expelled from the Irish Volunteers in 1780 because he proposed the expulsion of the Duke of Leinster! Tandy went on to help to form the United Irishmen, along with Theobald Wolf Tone.
Edward Fitzgerald (1763-1798). He fought with the British side in the American War of Independence but was injured and as he recuperated with the help of his servant, his sympathies turned to those fighting for Independence from the British. He continued this fight in Ireland, joining the United Irishmen. He was imprisoned and died in prison, his last visitor being his aunt Louisa Conolly.
Our guide showed us a photograph of the Brown study in the time of the Conolly Carew family, when they struggled with the upkeep of the house.

Mark Bence-Jones continues: “The doing-up of the house was largely supervised by Lady Louisa, and two of the rooms bear her especial stamp: the print room, which she and her sister, Lady Sarah Napier made ca. 1775; and the splendid long gallery on the first floor, which she had decorated with wall paintings in the Pompeian manner by Thomas Riley 1776.

The website tells us about the Print Room, completed in 1769: “More than any other room in Castletown, the Print Room bears the imprint of Lady Louisa, who assiduously collected, cut out, and arranged individual prints, frames and decorations. The prints were glued on panels of off-white painted paper which was later attached to the walls on battens covered with cloth. Lady Louisa thus created an intimate, highly individual room which has survived changing tastes and fashions and is now the only fully intact eighteenth-century print room in Ireland.”

The Print Room, Castletown House, June 2015. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Print rooms were fashionable in the 18th century – ladies would collect their favourite prints and paste the walls with them. Prints featured include Le Bas, Rembrandt and Teniers, the actor David Garrick and Sarah Cibber, Louisa’s sister Sarah, Charles I and Charles II as a boy, with whom Louisa shared a bloodline.

The room was later used as a billiards room, and this helped inadvertedly to save the prints, as our guide told us, as the smoke from their pipes helped to protect against silverfish insects which eat wallpaper.

The print room, central picture of Louisa’s sister Sarah Lennox, who married first Thomas Charles Bunbury 6th Baronet, then George Napier. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Sarah Lennox was at first expected to marry King George III. His advisors dissuaded him, and so she married Thomas Charles Bunbury 6th Baronet. However, she left him to elope with a lover, Wililam Gordon with whom she had a daughter. He abandoned her, however, and she was left in disgrace, moving to her brother’s family home. She was finally allowed to divorce, and she married George Napier, and they moved to Celbridge. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown House, County Kildare. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Many of the prints reflect fashionable cultural figures at the time that Louisa made the print room. Above the chimneypiece is David Garrick, an English actor, playwright and theatre manager. Louisa loved the theatre. A small temple in the grounds of Castletown is dedicated to actress Sarah Siddons. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Next to the Print Room is the State Bedroom. The website tells us:

In the 1720s, when the house was first laid out, this room, along with the rooms either side, probably formed William Conolly’s bedroom suite. It was intended that he would receive guests in the morning while sitting up in bed or being dressed in the manner of the French court at Versailles. In the nineteenth century, the room was converted into a library and the mock leather Victorian wall paper dates from this time. Sadly, the Castletown library was dispersed in the 1960s and today the furniture reflects the room’s original use.

The library at Castletown House. Pub Orig Country Life 22/08/1936 
Image Number: 873961  Publication Date: 22/08/1936  Volume: LXXXPage: 196 
Photographer: A.E. Henson.
The State Bedroom, Castletown House, June 2015. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
State Bedroom, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Harriet St. Lawrence (d. 1830), daughter of William 2nd Earl of Howth. She married Arthur French St. George (1780-1844). Olivia Emily Ussher-St. George married William Robert Fitzgerald, 2nd Duke of Leinster, the son of Emily, Louisa’s sister. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Next to the State Bedroom is The Healy Room: “This room originally served as a dressing room or closet attached to the adjoining State Bedroom. It was used as a small sitting room and later became Major Edward Conolly’s bedroom in the mid-twentieth century, as it was one of the few rooms that could be kept warm in winter. It is now known as the Healy room after the pictures of the Castletown horses by the Irish artist Robert Healy (d.1771).”

Upstairs has more bedrooms, and the beautiful Long Gallery. A corridor overlooks the Great Hall.

Castletown, County Kildare.
The door on the left enters the Long Gallery. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

To one side of the Stair Hall upstairs is Lady Kildare’s Room, named after Lady Louisa’s sister Emily, Countess of Kildare and later Duchess of Leinster, who had raised Louisa and the two younger sisters Sarah and Cecilia at nearby Carton House after their parents’ death. Currently being renovated, in the past the room housed the Berkeley Costume Collection. Made in France, Italy, and England, the dresses on display consist of rich embroidered bodices and full skirts made from silk and gold thread.

Costumes from the Berkeley Costume Collection, in Lady Kildare’s Room, 2017. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Across the upstairs East Corridor from Lady Kildare’s room is the Blue Bedroom. The website tells us that the Blue Bedroom provides a fine example of an early Victorian bedroom. Like the Boudoir, it forms part of an apartment with two adjoining dressing rooms, one of which was upgraded into a bathroom with sink and bathtub. The principal bedrooms, used by the family and honoured guests, were on this floor. Bedrooms on the second floor were also used for guests and for children, while the servants slept in the basement. This room has a lovely pink canopied bed, but we did not see the room when we visited in 2022.

At the front of the house on the other side of the Great Hall upstairs are the Boudoir, and Lady Louisa’s Bedroom, and across the West Corridor upstairs, the Pastel Room. The website tells us:

The Boudoir and the adjoining two rooms formed Lady Louisa’s personal apartment. The Boudoir served as a private sitting room for Louisa and subsequent ladies of the house. The painted ceiling, dado rail and window shutters possibly date from the late eighteenth century and were restored in the 1970s by artist Philippa Garner. The wall panels, or grotesques, after Raphael date from the early nineteenth century and formerly hung in the Long Gallery. Amongst the items inside the built-in glass cabinet are pieces of glass and china featuring the Conolly crest.

In the adjoining room, Lady Louisa’s Bedroom, OPW’s conservation architects have left exposed the walls to offer visitors a glimpse of the different historic layers in the room, from the original brick walls, supported by trusses, to wooden panelling to fragments of whimsical printed wall paper that once embellished the room.

The Boudoir, October 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Boudoir, Castletown House, July 2017. The website tells us about the writing bureau, Irish-made around 1760: A George III mahogany cabinet with dentilled-scrolled broken pediment carved with rosettes. Throughout her life, Lady Louisa maintained a regular correspondence with her sisters and brothers in Ireland and England, and it is easy to picture her writing her epistles at this bureau and filing the letters she received in the initialled pigeonholes and drawers. A handwritten transcription of her letters to her siblings can be accessed in the OPW-Maynooth University Archive and Research Centre in Castletown. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The writing bureau has no “J” or “U” as they are not in the Latin alphabet. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Boudoir, October 2022. In this photograph we can see the false door, with glass panels, which had previously been covered by Lady Louisa’s writing bureau. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown House, County Kildare. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The wall panels, or grotesques, after Raphael date from the early nineteenth century and formerly hung in the Long Gallery. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The painted ceiling, dado rail and window shutters possibly date from the late eighteenth century and were restored in the 1970s by artist Philippa Garner. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown House, June 2015. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
From the photograph album of Henry Shaw.
Castletown House, June 2015, Lady Louisa’s Bedroom, OPW’s conservation architects have left exposed the walls to offer visitors a glimpse of the different historic layers in the room, from the original brick walls, supported by trusses, to wooden panelling to fragments of whimsical printed wall paper that once embellished the room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown House, July 2017. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
In 2022, Louisa’s bedroom now features a tremendous bed. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown House, County Kildare: This bed, or one with drapery the same, was from Killadoon house in County Kildare, as seen in Ancestral Interiors, Photographs of the Irish Country House by Patrick Prendergast, with an introduction by William Laffan and forward by the Knight of Glin, published by the Irish Architectural Archive, Dublin, 2010.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown House, County Kildare. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I have yet to identify this portrait. It looks remarkably similar to Lady Anne Conolly (née Wentworth) (1713-1797) Attributed to Anthony Lee, Irish, fl.1724-1767, and she is even wearing the same dress. Maybe the artist did two portraits. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Across the West Corridor upstairs is the Pastel Room. The Corridor has more portraits.

Charles I and Henrietta Maria. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
William Robert FitzGerald (1748-1804), 2nd Duke of Leinster, son of Louisa’s sister Emily.

The Pastel Room, the website tells us, was originally an anteroom to the adjoining Long Gallery. It was used as a school room in the nineteenth century and is now known as the Pastel Room because of the fine collection of pastel portraits. The smaller pastels surrounding the fireplace include a pair of portraits of Thomas and Louisa Conolly by the leading Irish pastel artist of the eighteenth century, Hugh Douglas Hamilton.

The small medallion in the centre is Lady Louisa by Hugh Douglas Hamilton. The one of the two girls on the right is of Louisa Staples and her sister, by Hugh Douglas Hamilton. William James Conolly (1712-1754) was the nephew of William Conolly who built Castletown, and he inherited the estate. He was the father of Thomas Conolly (1734-1803). Thomas’s sister Harriet married John Staples, and their daughter was Louisa Staples. Louisa married Thomas Pakenham (1757-1836). It was their son, Edward Michael (1786-1849) who inherited Castletown, and added Conolly to his surname, to become Pakenham Conolly.
The pastel on the top left is Thomas Conolly (1734-1803), Louisa’s husband.
Thomas Connolly of Castletown by Hugh Douglas Hamilton (1739-1808), courtesy Adam’s auction 28 March 2012.
The parents of Louisa and Emily: Sarah Cadogen (1705-1751) and Charles Lennox (1701-1750) 2nd Duke of Richmond.
Pastel of Lady Louisa Lennox, from the circle of Geoge Knapton, c.1747, it depicts Lady Louisa at the tender age of four. Louisa was the daughter of Charles Lennox, 2nd Duke of Richmond, and his wife, Lady Sarah Cadogan. Her parents died when she was eight years old, and both she and her two younger sisters, Sarah and Cecilia, went to live with their older sister Emily, Countess of Kildare, in Ireland.
Charlotte Lennox née Gordon (1768-1842), Duchess of Richmond, Vicereine 1807-1813, wife of Charles Lennox, 4th Duke of Richmond.

From the Pastel Room, we enter the Long Gallery. The website tells us about this room:

Originally laid out as a picture gallery with portraits of William Conolly’s patrons on display, its function and layout changed under Lady Louisa. In 1760, she had the original doorways to the upper east and west corridors removed, replacing them with the central doorway above the Entrance Hall. The new doorcases as well as new fireplaces at either end were designed by leading English architect, Sir William Chambers, while the actual execution was overseen by Simon Vierpyl. The Pompeian style decoration on the walls dates from the 1770s and was inspired by Montfaucon’s publications on the excavations at Pompeii and Herculaneum and by Raphael’s designs for the Vatican. The murals were the work of an English artist and engraver Charles Ruben Riley (1752–98). The Long Gallery became a space for informal entertaining and was full of life and activity as the following excerpt from one of Louisa’s letters suggests: “Our gallery was in great vogue, and really is a charming room for there is such a variety of occupations in it, that people cannot be formal in it. Lord Harcourt was writing, some of us played at whist, others at billiards, Mrs Gardiner at the harpsichord, others at chess, others at reading and supper at one end. I have seldom seen twenty people in a room so easily disposed of.”

Upstairs, The Long Gallery, Castletown House, June 2015. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The gallery at Castletown House, as decorated for Lady Louisa Conolly circa 1790. Pub Orig Country Life 22/08/1936 Image Number: 873951  Publication Date: 22/08/1936  Volume: LXXX Page: 196 
Photographer: A.E. Henson.
The Long Gallery in the 1880s, photograph from the album of Henry Shaw.

The Long Gallery, description from Archiseek:

“…measuring almost 80 by 23 feet, with its heavy ceiling compartments and frieze dates from the 1720s. Originally there were four doors in the room and the walls were panelled in stucco similar to the entrance Hall. In 1776 the plaster panels and swags were removed but traces of them were found behind the painted canvas panels when they were taken down for cleaning during recent conservation work.” 

The Long Gallery: its heavy ceiling compartments and frieze dates from the 1720s and is by Edward Lovett Pearce. It was painted and gilded in the 1770s. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Archiseek continues: “In the mid 1770s the room was redecorated in the Pompeian manner by two English artists, Charles Reuben Riley (c.1752-1798) and Thomas Ryder (1746-1810). Tom and Louisa’s portraits are at either end of the room over the chimney-pieces and the end piers are decorated with cyphers of the initals of their families: The portrait of Lady Louisa is after Reynolds (the original is in the Fogg Art Museum, Harvard) and that of Tom after Anton Raphael Mengs (the original is in the National Gallery of Ireland).

The portrait of Lady Louisa is after Reynolds (the original is in the Fogg Art Museum, Harvard). The fireplaces installed by Louisa at either end of the room were designed by leading English architect, Sir William Chambers, while the actual execution was overseen by Simon Vierpyl. It contains a Wedgewood encaustic centrepiece. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The portrait of Tom is in the style of Anton Raphael Mengs (the original is in the National Gallery of Ireland). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The new doorcases were designed by leading English architect, Sir William Chambers, while the actual execution was overseen by Simon Vierpyl. Thomas Conolly imported the statue, a seventeenth century statue of Diana, in the centre, supposedly smuggling it home in a coffin! Above is a lunette of Aurora, the godess of the dawn, derived from a ceiling decoration by Guido Reni, the seventeenth century Bolognese painter.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Archiseek tells us: “The subjects of the wall paintings were mostly taken from engraving in d’Hancarville’s Antiquites Etrusques, Greques, et Romaines (1766-67) and de Montfaucon’s L’antiquite expliquee et representee en figures (1719). The busts of the poets and philosophers are placed on gilded brackets designed by Chambers. In the central niche stands a seventeenth-century statue of Diana. Above is a lunette of Aurora, the godess of the dawn, derived from a ceiling decoration by Guido Reni, the seventeenth century Bolognese painter. 

The three glass chandeliers were made for the room in Venice and the four large sheets of mirrored glass came from France. In the 1770s the Long Gallery was used as a living room and was filled with exquisite furniture. Originally in the room, there were a pair of side tables attributed to John Linnell, with marble tops attributed to Bossi, a pair of commodes by Pierre Langlois, that were purchased in London for Lady Louisa by Lady Caroline Fox and a pair of bookcases at either end of the room. 

“In 1989 major conservation work was carried out on the Long Gallery. The wall paintings that had been flaking for many years were conserved. The original eighteenth-century gilding has been cleaned and the chandeliers restored. The project was funded by the American Ireland Fund, the Irish Georgian Society and by private donations.

Castletown House, County Kildare. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown House, County Kildare.
Castletown House, County Kildare. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A set of three 18th-century Venetian coloured and plain glass 24-light chandeliers, decorated with flower heads and moulded finials. These three Murano glass chandeliers are unique in Ireland and rare even in Italy. It is believed that Lady Louisa ordered them from Venice between 1775 and 1778 for the redecorated Long Gallery. The chandeliers were wired for electricity in the mid-1990s; they were cleaned and restored by a Venetian firm of historic glass-makers in 2009.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Mark Bence-Jones tells us: “The gallery, and the other rooms on the garden front, face along a two mile vista to the Conolly Folly, an obelisk raised on arches which was built by Speaker Conolly’s widow 1740, probably to the design of Richard Castle. The ground on which it stands did not then belong to the Conollys, but to their neighbour, the Earl of Kildare, whose seat, Carton, is nearby. The folly continued to be a part of the Carton estate until 1968, when it was bought by an American benefactress and presented to Castletown. At the end of another vista, the Speaker’s widow built a remarkable corkscrew-shaped structure for storing grain, known as the Wonderful Barn. One of the entrances to the demesne has a Gothic lodge, from a design published by Batty Langley 1741. The principal entrance gates are from a design by Chambers.

The Obelisk, or Conolly Folly, was reputedly built to give employment during an episode of famine. It was restored by the Irish Georgian Society in 1960.

Obelisk, Castletown, attributed to Richard Castle, March 2022. Desmond Guinness’s wife Mariga, who played a great role in the Irish Georgian Society, is buried below. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Obelisk, Castletown, March 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Obelisk, Castletown, March 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Wonderful Barn, Castletown by Robert French, Lawrence Photographic Collection NLI, flickr constant commons.
The Wonderful Barn, March 2022, created in 1743. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Wonderful Barn, March 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Wonderful Barn, March 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
When we went to find the Wonderful Barn, we discovered there is not just one but in fact three Wonderful Barns! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The smaller Wonderful Barn. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

As Bence-Jones tells us, Castletown was inherited by Tom Conolly’s nephew, Edward Michael Pakenham, who took the name of Conolly, to become Pakenham Conolly. Thomas and Louisa had no children, and Thomas’s sister Harriet married John Staples, and their daughter was Louisa Staples. Louisa married Thomas Pakenham (1757-1836). It was their son, Edward Michael (1786-1849) who inherited Castletown.

The house then passed to his son, another Thomas Conolly (1823-1876). He was an adventourous character who travelled widely and kept a diary. Stephen and I recently attended a viewing of portraits of Thomas and his wife Sarah Eliza, which are to be sold by Bonhams. His diary of his trip to the United States during the time of the Civil War is being published.

Thomas Conolly (1823-1876), painting by William Osbourne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Sarah Eliza Conolly, wife of Thomas. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sarah Eliza was the daughter of a prosperous Celbridge paper mill owner, Joseph Shaw. Her substantial dowry helped to fund her husband’s adventurous lifestyle! A photograph album which belonged to her brother Henry Shaw, of a visit to Castletown, was rescued from the rubble of his home in London when it was destroyed by a German bomb in 1944. Sadly, he died in the bombing. The photograph album is on display in Castletown.

Thomas Conolly (1823-1876) and his wife Sarah Eliza.

Sarah Eliza and Thomas had four children. Thomas, born in 1870, died in the Boer War in 1900. William died at the age of 22. Edward Michael (Ted), born in 1874, lived until his death in Castletown, in 1956. Their daughter Catherine married Gerald Shapland Carew, 5th Baron Carew, the grandson of Robert Carew, 1st Baron Carew of Castleboro House, County Wexford (today an impressive ruin), and son of Shapland Francis Carew and his wife Hester Georgiana Browne, daughter of Howe Peter Browne, 2nd Marquess of Sligo.

Sarah Eliza sits reading while her daughter Catherine descends the stairs.
Photographs of the Conolly family. Thomas Conolly who died in the Boer War is pictured on the left in the striped cap.
View of Castletown House from the meadow from Henry Shaw’s album.
Sarah Eliza with Catherine and her children seated at the table in the Dining Room. William Francis in foreground.

Catherine’s son, William Francis Conolly-Carew (1905-1994), 6th Baron Carew, inherited Castletown, and added Conolly to his surname.

Lord William Francis Conolly-Carew relaxing in the Green Drawing Room in the 1950s.
Castletown House, County Kildare.
The grounds around Castletown are beautiful and one can walk along the Liffey. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
In front is a photograph of William Francis Conolly-Carew, 6th Baron Carew.
Castletown House, County Kildare.
The Round House and the Gate Lodge (below) at the gates of Castletown can be rented for accommodation from the Irish Landmark Trust – see my Places to visit and stay in County Kildare page https://irishhistorichouses.com/2022/04/27/places-to-visit-and-to-stay-leinster-kildare-kilkenny-laois/. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Gate Lodge, Castletown, available for accommodation. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Batty Langley lodge, County Kildare, also available for accommodation. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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

[2] p. xiii, Jennings, Marie-Louise and Gabrielle M. Ashford (eds.), The Letters of Katherine Conolly, 1707-1747. Irish Manuscripts Commission 2018. The editors reference TCD, MS 3974/121-125; Capel Street and environs, draft architectural conservation area (Dublin City Council) and Olwyn James, Capel Street, a study of the past, a vision of the future (Dublin, 2001), pp. 9, 13, 15-17.

[3] http://kildarelocalhistory.ie/celbridge

[4] https://archiseek.com/2011/1770s-castletown-house-celbridge-co-kildare/

[5] p. 75. Bence-Jones, Mark. A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.

[6] p. 129. Great Irish Houses. Forewards by Desmond FitzGerald, Desmond Guinness. IMAGE Publications, 2008. 

[3] p. 8, Living Legacies: Ireland’s National Historic Properties in the Care of the OPW. Government Publications, Dublin 2, 2018.

[9] https://castletown.ie/collection-highlights/

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

Fota House and Gardens, County Cork, a Heritage Trust property with OPW gardens

I published this entry as part of my “Places to visit and stay in County Cork” page, but as that page is so long, I am publishing it as a separate entry. Also, Stephen and I are still busy looking for a small place in the country to buy, so I can grow our own fruit and vegetables – and maybe keep chickens! – so we have not had time to visit more historic houses. I am still working on my write-up about our visit to Grenane House in County Tipperary during Heritage Week last year, and I still have to write up about Clonskeagh Castle in Dublin and Gravelmount.

Fota House is maintained by the Irish Heritage Trust, and the gardens by the Office of Public Works.

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

General enquiries: (021) 481 5543 https://fotahouse.com/

fota.arboretum@opw.ie

From the OPW website: https://heritageireland.ie/visit/places-to-visit/fota-arboretum-and-gardens/

Fota House was designed by 19th century architects Richard and William Morrison. From the beautifully proportioned rooms with exquisite plasterwork, to the preserved service wing and kitchens, Fota House offers visitors an intimate look at how life was lived in the past, for the cooks, butlers, footmen and maids who supported the lavish lifestyle of the gentry. Our painting collection is considered to be one of the finest collections of landscape painting outside the National Gallery of Ireland and includes works by William Ashford PRHA, Robert Carver, Jonathan Fisher and Thomas Roberts.” [1]

Front porch of Fota House. Fluted baseless Green Doric columns support a weighty entablature in which wreaths alternate with the Barry crest in the metopes. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board and map of Fota House and Gardens.

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

(Smith-Barry (now Villiers)/IFR) After Barry’s Court had been abandoned by the Barrymores, a hunting box was built on the nearby Fota Island, in Cork Harbour, by Hon John Smith-Barry [1725-1784], a younger son of 4th Earl of Barrymore, to whom Fota and some of the other Barrymore estates were given 1714.” [2]

John Smith-Barry, born John Barry (1725-1784) of Fota, County Cork.

John Barry (1725-1784), who added the name Smith to his surname after his marriage to a wealthy heiress, was the son of James Barry, 4th Earl of Barrymore, of Castlelyons, County Cork, and Barry’s third wife, Anne Chichester, daughter of Arthur Chichester, 3rd Earl of Donegall (it was spelled with two ‘l’s in the title, unlike the county).

James Barry, 4th Earl of Barrymore (1667-1748) (Lieutenant-General), Studio of Sir Godfrey Knellercourtesy of Sothebys 2013 collection l13304 lot 95.
James Barry, 4th Earl of Barrymore, (1667-1747), portrait in Fota House.

James Barry 4th Earl of Barrymore had first married Elizabeth Boyle, daughter of Charles Boyle 2nd Baron Clifford of Lanesborough, son of Richard, 1st Earl Burlington, 2nd Earl of Cork.

Second, after the death of his first wife, James Barry 4th Earl married Elizabeth Savage, daughter of Richard, 4th Earl Rivers.

Elizabeth Barry née Savage (d. 1714) wife of James Barry 4th Earl of Barrymore, daughter and heir of Richard Savage 4th Earl Rivers and Penelope Downes, seated with her daughter Penelope. This painting is attributed by Sotheby’s to Thomas Worldige.
Elizabeth Barry née Savage (d. 1714), 2nd wife of James 4th Earl of Barrymore. She and the 4th Earl had three daughters, and a son who died in his first year.

Thirdly, he married Anne Chichester.

Anne née Chichester, (1697-1753) Countess of Barrymore, 3rd wife of the 4th Earl of Barrymore, mother of John Smith-Barry (1725-1784) of Fota. This portrait is in Fota House.
Lady Anne Chichester, Countess of Barrymore (d. 1753) Attributed to Philip Hussey, she was daughter of Major-General Arthur Chichester, 3rd Earl of Donegall (1666-1706) and his wife Lady Catherine Forbes (d. 1743), and she married James Barry 4th Earl of Barrymore, and was the mother of James Smith-Barry.
Arthur Barry (1723-1770) by Francis Cotes courtesy of Sotheby’s L11304. This portrait belonged to the Smith-Barry family and was sold in an auction at Sotheby’s in 2013. Arthur was another son of James Barry, 4th Earl of Barrymore, he died unmarried and his property went to the Smith-Barry family.
Captain the Hon. Richard Barry R.N. (1721-1787), with his spaniel by John Lewis, second son of James Barry 4th Earl of Barrymore. This portrait is also courtesy of Sotheby’s L11304. This portrait belonged to the Smith-Barry family and was sold in an auction at Sotheby’s in 2013. We can see it in the old photograph of the library.

John Barry was a younger son so inherited no land. His brother James became the 5th Earl of Barrymore. However, he married Dorothy Smith, daughter of Hugh Smith of Weald Hall, Essex, and John added Smith to his surname. He and his wife lived at Marbury Hall in Cheshire, England, and he built Fota as a hunting lodge.

Dorothy née Smith (1727-1756) wife of John Hugh Smith Barry (1725-1784).
Hugh Smith of Weald Hall, father of Dorothy who married John Hugh Smith Barry (1725-1784).
Dorothy Smith née Barrett, Mrs. Smith of Weald Hall, mother of Dorothy.

John and Dorothy’s oldest son and heir was James Hugh Smith-Barry (1746-1801). He never married, but had several children. He inherited from two uncles, his father’s brothers, as well as from his father.

James Hugh Smith-Barry (1746-1801), who never married but had several children.
James Hugh Smith-Barry by William Orpen 1904, courtesy of Fonsie Mealy auction 2022.

The Landed Families website tells us:

Through the deaths without surviving issue of Arthur Barry in 1770 and Capt. Richard Barry in 1787, and the death of his father in 1784, James Hugh Smith-Barry inherited almost all the extensive property held by the three brothers, but if it made him rich it does not seem to have made him happy. As a young man he had racketed around Europe and the Near East with a group of friends on an extended Grand Tour, and amassed a large collection of art and antiques. On his return, however, he did not marry and settle down to raise a family, but became increasingly reclusive, perhaps as a result of depression. In about 1790 he bought Swerford Park in Oxfordshire and established a mistress called Ann Tanner there, by whom he eventually had five children. They appear not to have lived together since Ann stayed at Swerford and James lived increasingly at Fota; the children were brought up at Swerford. The children were all acknowledged and the elder son, John Smith-Barry (1793-1837) became James’ principal heir, but they were all quite young when James died in 1801. He left Ann the Swerford estate for life, and an annuity of £500 a year, and clearly envisaged that she would remain there and bring up the children to adulthood, even if she subsequently married. However, when she did marry in 1802, James’ trustees saw fit to take the children away from their mother and place them in the guardianship of relatives in Ireland (probably the Courtenays at Ballyedmond, as Robert Courtenay was one of the trustees). Ann remained at Swerford until about 1805 but then moved away, and Swerford was eventually sold in about 1820.” [3]

Frank Keohane tells us that John Smith-Barry (1783-1837), son of James Hugh Smith-Barry (1746-1801) settled here after his marriage to Eliza Courtenay of Ballyedmond, Midleton, County Cork. He was illegitimate, so perhaps he built the home to establish his reputation. [4] He wanted to claim the title of Earl of Barrymore when the last Earl, Henry Barry, 8th Earl of Barrymore died in 1823, but the crown would not allow it.

John Smith-Barry (1783-1837), who hired the Morrisons to enlarge the house.
Eliza Mary née Courtenay (1797-1828) who married John Smith-Barry. She was the daughter of Robert Courteney of Ballyedmond in County Cork.

Other children of James Hugh Smith-Barry (1746-1801) were Narcissa, who married George William Massy, son of Hugh, 3rd Baron of Duntrileague, County Limerick; James, who lived at Lota Lodge in County Cork (it is now the Vienna Woods Hotel); Caroline who married George Courtenay; and Louisa, who married Thomas Berry Cusack-Smith, son of William, 2nd Baronet Smith, of Newton, King’s County.

John Smith-Barry (1783-1837), who hired the Morrisons to enlarge the house.
I think this is probably also Eliza Mary née Courtenay (1797-1828) who married John Smith-Barry.
Portrait Of A Lady traditionally identified as Caroline Courtenay Née Smith-Barry, courtesy of Whyte’s Sept 2007, daughter of James Smith-Barry (1746-1801) of Fota House, County Cork, she married George Courtenay of Ballyedmond House, County Cork (no longer exists).

John Smith-Barry (1783-1837) hired Richard and William Vitruvius Morrison to enlarge the hunting lodge which had been built by his grandfather. He also built sea walls around the island and re-routed the public road to form a deer park and carriage drives around the shore.

Fota House, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fota House, County Cork, photograph by Robert French, Lawrence Photograph Collection, National Library of Ireland.

Bence-Jones continues: “This house, of three storeys and seven bays, was greatly enlarged ca. 1820 by John Smith-Barry [1783-1837, grandson of his earlier namesake] to the design of Sir Richard Morrison, so that it became a wide-spreading Regency mansion of stucco with stone dressings. The original house, given a single-storey Doric portico with fluted columns and acroteria beneath a pedimented Wyatt window, remained the centre of the composition; flanked by two storey projecting wings with pedimented ends on the entrance front and curved bows on the garden front. A long two storey service range was added at one side. In 1856, a billiard room wing, in the same style as the Morrison wings but of one storey only, was added on the entrance front, projecting from the end of the service range. The space between this and the main building was filled in ca 1900 by Arthur Smith-Barry, 1st (and last) Lord Barrymore of a new creation [(1843-1925), grandson of John Smith-Barry], with a single-storey range containing a long gallery.” (see [2]) The long gallery was designed by William H. Hill.

Fota House facing onto the Pleasure Garden, photo by George Munday, 2014, Ireland’s Content Pool.
Fota House, County Cork, photograph by Robert French, Lawrence Photograph Collection, National Library of Ireland.
Billiard room with its lantern ceiling, added in 1856, Fota House Cork. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance area of the house is the most recent part of the house: the space between the 1856 bililard room and the main building was filled in ca. 1900 by Arthur Smith-Barry, 1st (and last) Lord Barrymore of a new creation [(1843-1925), grandson of John Smith-Barry], with a single-storey range containing a long gallery. It has a magnificent plasterwork crest over a large wood-carved fireplace. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Bence-Jones continues:“The exterior simplicity of Fota is a foil to the splendours within; for the interior has that richness which Sir Richard Morrison and his son, William Vitruvius, were so well able to create. The hall, which runs the entire length of the front of the original house, is divided by screens of paired Ionic columns with yellow scagliola.

The hall, which runs the entire length of the front of the original house, is divided by screens of paired Ionic columns with yellow scagliola. The floor is paved with Portland stone with inset iron grilles that served the old central-heating system. The entablatures of plasterwork have the repeating pattern of wreaths and Smith-Barry crests the same as on the porch. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The central compartment of ceiling plasterwork has heavy swagged laurel garlands and lyres. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The central compartment of ceiling plasterwork has heavy swagged laurel garlands and lyres. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Hall, designed by the Morrisons. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Hall, designed by the Morrisons. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Hall, designed by the Morrisons. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One of the Carrera marble busts is of Henry Grattan, by Peter Turnerelli. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ceiling rose in the long hall, with oak leaf wreath entwined with snakes. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ceiling rose in the long hall, with oak leaf wreath entwined with snakes. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

To the right of the long hall are the Drawing Room and Library. The Drawing Room is entered via a small ante-room.

The ante-room at Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ante-room at Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ante-room at Fota, with stencilwork by Sibthorpe & Son of Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Drawing Room Ceiling has deep borders with floral wreaths containing doves, alternating with lozenges of bay leaf containing Apollonian trophies of musical and hunting instruments. The drawing room and ante-room ceilings were added to in the 1890s with stencilwork and gilding by Sibthorpe & Son of Dublin.

The Drawing Room, Fota, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Drawing Room, Fota, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There are also magnificent pelmets over the curtains.

The Drawing Room, Fota. The ceiling of the drawing room, which entends into one of the bows on the garden front, has a surrounding of foliage, birds and trophies in high relief, similar to that in the library, and late C19 stencilled decoration and panels of pictorial paper in the centre. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceiling detail in Drawing room of Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Drawing Room at Fota, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Drawing Room, Fota. The fireplaces throughout Fota are of Neoclassical statuary marble, with Ionic columns and friezes enriched with wreaths and garlands. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The fireplaces throughout Fota are of Neoclassical statuary marble, with Ionic columns and friezes enriched with wreaths and garlands. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Drawing Room, Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Drawing Room, Fota: the Mirrors are slightly titled to reflect the ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Drawing Room, Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ceiling of the drawing room, which entends into one of the bows on the garden front, has a surrounding of foliage, birds and trophies in high relief, similar to that in the library, and late C19 stencilled decoration and panels of pictorial paper in the centre. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Drawing Room, Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The library, Fota, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The library August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A photograph of how the library looked previously. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A photograph of how the library looked previously, prior to discovery of hidden windows. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The library August 2023: the previously hidden windows. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A photograph of how the library looked previously, in 1950. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Arthur Barry (1723-1770) by Francis Cotes courtesy of Sotheby’s L11304. This portrait belonged to the Smith-Barry family and was sold in an auction at Sotheby’s in 2013. Arthur was another son of James Barry, 4th Earl of Barrymore, he died unmarried and his property went to the Smith-Barry family.
Captain the Hon. Richard Barry R.N. (1721-1787), with his spaniel by John Lewis, second son of James Barry 4th Earl of Barrymore. This portrait is also courtesy of Sotheby’s L11304. This portrait belonged to the Smith-Barry family and was sold in an auction at Sotheby’s in 2013. We can see it in the old photograph of the library.
The library August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The magnificent ceiling of the library, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail of the library ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

To the left of the hall is the Dining Room. It has a screen of grey scagliola Corinthian columns at the sideboard end, and rich plasterwork with a ceiling border of vines on a trellis ground and a frieze of bucrania draped with garlands.

Dining Room, August 2020. There are elaborate plasterwork ceilings in the library and dining room, which are in the Morrison wings, at either end of the hall; the dining room has a screen of grey marble Corinthian columns. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dining room, August 2023, with portrait of Anne née Chichester, (1697-1753) Countess of Barrymore, 3rd wife of the 4th Earl of Barrymore, mother of John Smith-Barry (1725-1784) of Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dining room, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail of dining room ceiling and columns. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dining room Fota, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fota, County Cork. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The chimneypiece in the dining room is garlanded with vines and flowers. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
David Barry (1605-1642) 6th Viscount Buttevant and 1st Earl of Barrymore, ancestor of the Smith-Barrys, portrait in Fota House. He married Lady Alice Boyle (1607-1667) in 1631, the second child of Richard Boyle, 1st Earl of Cork (1566-1643) and his second wife Catherine Fenton.
Dining Room, Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dorothy née Barry (1670-1748), daughter of the 2nd Earl of Barrymore, who married John Jacob 3rd Bt of Bromley, Essex. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
John Jacob 3rd Bt of Bromley, Essex.
Dining Room, Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Fota website tells us: “Also on display in the main reception rooms is a fine collection of art work described as the most significant of its type outside the National Gallery of Ireland.  Masterpieces of the eighteenth-century Irish Landscape School include works by William Ashford (1746-1824); George Barret (1730-84); Robert Carver (c.1730-91); and Thomas Roberts (1748-78). Nineteenth-century art is represented by Daniel Maclise (1806-70); Erskine Nicol (1825-1904); and James Arthur O’Connor (1792-1841).  An entire room is dedicated to Irish watercolours and features the work of Mildred Anne Butler (1858-1941); Hugh Douglas Hamilton (c.1740-1808); and George Petrie (1790-1866).” [6]

At the back of the house is the study, which extends into one of the bows. It has a simple frieze of wreaths.

The Study, Fota, August 2020. Over the fireplace is a portrait of John Smith-Barry (1783-1837), who hired the Morrisons to enlarge the house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

John and his wife Eliza née Courtenay had several children. A younger son, Captain Richard Hugh Smith-Barry, inherited Ballyedmond, County Cork, from his mother’s brother John Courtenay.

Captain Richard Hugh Smith-Barry (1823-1894).

The oldest son, James Hugh Smith-Barry (1816-1856), inherited Fota and also Marbury Hall in Cheshire. He served as Deputy Lieutenant, Justice of the Peace and High Sheriff of County Cork. He married Elizabeth Jacson of Cheshire. After her husband died, she married George Fleming Warren, 2nd Baron de Tabley of Tabley House, County Chester.

Arthur Hugh Smith-Barry (1843-1925), the oldest son of James and Elizabeth, inherited Fota and also Marbury Hall. He too served as Deputy Lieutenant, Justice of the Peace and High Sheriff of County Cork as well as Member of Parliament (M.P.) (Conservative) for County Cork between 1867 and 1874. He held the office of Member of Parliament (M.P.) (Conservative) for South Huntingdonshire in England between 1886 and 1900. In 1902 he was created 1st (and last) Baron Barrymore of County Cork.

Arthur Hugh Smith-Barry (1843-1925), 1st Baron Barrymore. He added the long hallway conntecting the billiard room to the rest of the house in 1900.
Irish Deputy Lieutenant uniform belonging to Arthur Smith-Barry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Arthur’s younger brother James Hugh Smith-Barry (1845-1927) married Charlotte June Cole, daughter of William Willoughby Cole, 3rd Earl of Enniskillen, of Florence Court, County Fermanagh (see my entry for places to see in County Fermanagh). A daughter, Geraldine, married Colonel Henry Verney, 18th Lord Willoughby de Broke, and Maude married Richard Alexander Oswald.

The Study, Fota, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Arthur married twice. First he married Mary Frances Wyndham-Quin in 1868, daughter of Edwin Richard Wyndham-Quin, 3rd Earl of Dunraven and Mount-Earl, of Adare Manor in County Limerick. She died in 1884 and their only son died when less than one year old. Arthur married secondly Elizabeth Wadsworth, widow of Arthur Post, daughter of an American General James Samuel Wadsworth.

They had a daughter, Dorothy (1894-1975), who purchased Fota. The Landed Families website tells us:

As the elder son, Arthur inherited the Marbury and Fota estates, and also had a town house in London. As a largely absentee landlord and politician in the forefront of resistance to land reform, his estates became a particular focus for agitation by the National League, and his agents were threatened with physical violence. He had two daughters but no surviving son, so the peerage died with him and the Fota and Marbury estates passed under an entail to his younger brother’s son, Col. Robert Raymond Smith-Barry (1886-1949). Col. Smith-Barry, who made a notable contribution to air warfare during the First World War by establish a system for the rigorous training of pilots, also inherited property in Wiltshire from his father. He sold Marbury Hall in 1932 for conversion into a country club, and in 1939 he sold Fota and the family’s Huntingdonshire estate to Lord Barrymore’s younger daughter, Mrs. Dorothy Bell (1894-1975). After the Second World War he moved to South Africa, where he died in 1949. Mrs Bell remained the enthusiastic custodian of Fota until her death in 1975, when her heirs sold the estate to University College, Cork.

A painting at Fota.

Bence-Jones continues: “A doorway opposite the entrance door leads into the staircase hall, which is of modest size, being the staircase hall of the original house; but it has been greatly enriched with plasterwork. The ceiling is domed, with wreaths on the pendentives and eagles in the lunettes; there is a frieze of wreaths and at the head of the stairs two fluted Tower of Winds columns frame an enchanting vista to a second and smaller staircase, leading up to the top storey.” The stairs are of cantilevered Portland stone, with brass balusters and a mahogany handrail.

The staircase hall in August 2020, which is of modest size, being the staircase hall of the original house; but it has been greatly enriched with plasterwork. The ceiling is domed, with wreaths on the pendentives and eagles in the lunettes; there is a frieze of wreaths and at the head of the stairs two fluted Tower of Winds columns frame an enchanting vista to a second and smaller staircase, leading up to the top storey.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Stair Hall ceiling, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Stair Hall ceiling, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Stair Hall ceiling, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

At the top of the stairs is a small recess, leading up to the secondary stair, with a pair of shell-headed niches, a Greek-key border and a pair of Tower of the Winds columns.

The Stair Hall, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Stair Hall, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The stair hall, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I’m not sure who these are.

A cross-corridor gives access to the bedrooms, the differing levels resulting in various little lobbies and landings.

The differing levels resulting in various little lobbies and landings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The differing levels resulting in various little lobbies and landings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The differing levels resulting in various little lobbies and landings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The principal bedroom suite is placed over the Dining Room and communicates directly with nurseries in the service wing. The suite contains a boudoir with barrel-vaulted ceiling and a half-dome decorated with doves trailing garlands. Plaster drapery fills the lunette to the vault with a little top-lit skylight at the apex of the dome with amber and blue coloured glazing.

The Boudoir. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The boudoir. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Boudoir. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Boudoir ceiling detail. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Boudoir. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wallpaper information.
The Boudoir, Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Boudoir, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Boudoir, August 2023, ceiling detail. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Boudoir, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fota, County Cork, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fota, County Cork, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I’m not sure which Lady Barrymore this is. She would be a wife of Arthur Hugh Smith-Barry, who was created 1st Baron Barrymore, of Barrymore, Co. Cork [U.K.] in 1902. He married twice, first he wed Mary Frances Wyndham Quin from Adare Manor, and second, Elizabeth Wadsworth.
The marriage of Dorothy and William Bertram Bell.
I’m not sure who these are: probably Elizabeth née Wadsworth and her daughter Dorothy.
Fota, County Cork. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Next we went to the man of the house’s bedroom.

The man of the house’s bedroom, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The man of the house’s bedroom, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A daughter of the family, Geraldine Smith-Barry (1869-1957), painted in 1895 by George Elgar Hicks. I think the tour guide said she was born deaf. She was the daughter of Arthur Hugh Smith-Barry and Mary Frances Wyndham-Quin.

Dorothy (1894-1975), the last of the clan to live on the Barry estates, was the daughter of Arthur Hugh Smith-Barry, 1st and last Baron Barrymore. She married Major William Bertram Bell. They had three daughters.

Major William Bertram Bell (1881-1971).

Their daughter Rosemary Elizabeth (1924-2011) married Captain Anthony Henry Heber Villiers (1821-2004).

Captain A.H.H. Villiers.
Rosemarie Villiers and Children, Fota House, County Cork.

Fota was sold to University College Cork and in 1983, Richard Wood took a lease of the house and restored it with John O’Connell as architect, to display his collection of Irish art to the public. It was then sold and the pictures removed, and in 1991 the house and arboretum passed to the Fota Trust and in 1999 extensive conservation work was carried out under the direction of John Cahill of the Office of Public Works. [7]

Fota, County Cork, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fota, County Cork, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Unfortunately I don’t know who this is yet.
Unfortunately I don’t know who this is yet.
Fota, County Cork. This study has lots of portraits and I haven’t identified the sitters yet.
I think this is somebody Boyle – I can’t make out the writing on the portrait, though it might say “son of Earl of Shannon.” I think it is Robert Boyle, 2nd son of Henry the 1st Earl of Shannon. Robert (1736-1780) was in the Navy. His great-grandfather Roger Boyle, 1st Earl of Orrery had married Lady Margaret, daughter of Theophilus Howard, 2nd Earl of Suffolk; another daughter Lady Anne married Thomas Walsingham. Robert Boyle eventually succeeded to the estate of the Walsinghams’ daughter Elizabeth, Lady Osborne (died 1733), and adopted the name Walsingham, to become Robert Boyle-Walsingham. He served as MP of Dungarvan, County Waterford, from 1758-1768 and in the British House of Commons for Knaresborough and Fowey. There’s another portrait of him by Nathanial Hone the Elder, painted in 1760.
Unidentified sitter – I hope I can find out who it is.
Fota, County Cork. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Unfortunately I don’t know who this is yet.
The study August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The study August 2023. The large portrait could be of James Barry 4th Earl of Barrymore. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The large portrait could be of James Barry 4th Earl of Barrymore.
James Barry (1667-1747) Lieutenant Colonel and 4th Earl of Barrymore, National Trust, Public domain, via Wikimedia Commons.
Richard Boyle, 4th Earl of Shannon painted by a relatively little-known mid-19th century artist, the Hon Henry Richard Graves. (see https://theirishaesthete.com/tag/earl-of-shannon/ )
Unfortunately I don’t know who this is yet.
Unfortunately I don’t know who this is yet.
Our guide identified this as Robert Boyle (1627-1691).

The nursery has lovely wallpaper, reconstructed by David Skinner.

The Nursery, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Nursery, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This was instructive for the servants and children. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fota, County Cork, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Nursery, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Nursery, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

To pass from the family’s quarters to the servants’ quarters, one passes through a tradition “green baize door,” baize being the material used on billiards tables, probably used on doors to suppress the sound from travelling.

This doorway was the “green baize door” between family and servants’ quarters. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The servant’s bedroom.
Corridors upstairs in Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fota, County Cork.
The servants’ area. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Corridors upstairs in Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Another servant bedroom. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A servant bedroom. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Next we headed to kitchen and basement. There’s a wet “larder” and a dry pantry.

Part of the basement is vaulted. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Kitchen. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The kitchen. Notice the air vent in the top corner. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Although it is in the basement, windows in the kitchen let in plenty of light. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A half door to the kitchen keeps the other servants out, and the cook liked to hear the serving boys whistling on their way up the hall so she knew they weren’t sampling the dinners they carried. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The game store larder. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There’s an air vent on top to the game larder. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fota, County Cork, bells outside the Butler’s pantry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The back stairs in Fota. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Bence-Jones writes: “In mid-C19, James Hugh Smith-Barry laid out formal gardens behind the house, with lawns and hedges, wrought-iron gates and rusticated piers, a temple and an orangery. He also began to plant the arboretum, which has since become world-famous. The planting was continued for more than a century after his death by his son, [Arthur Hugh Smith-Barry (1843-1925)] Lord Barrymore [1st Baron Barrymore], and by Lord Barrymore’s son-in-law and daughter, Major [William Bertram] and Hon Mrs [Dorothy] Bell; in the mild climate of Fota many rare and tender species flourish. The demesne of Fota extends over the entire island, which is skirted by the road and railway from Cork to Cobh; there are impressive Classical entrance gates by Morrison similar to those at Ballyfin, Co Laois and Killruddery, Co Wicklow. On the point of the island is an early C19 castellated turret, by John Hargrave of Cork. Fota was sold 1975 to University College Cork.” 

The gardens at Fota, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The gardens at Fota, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The OPW website tells us:

The arboretum and gardens on Fota Island, just 16 kilometres from Cork city centre, are an essential destination for any one of a horticultural bent.

The arboretum extends over 11 hectares and contains one of the finest collections of rare, tender trees and shrubs grown outdoors in Europe. The unique conditions at Fota – its warm soil and sheltered location – enable many excellent examples of exotics from the southern hemisphere to flourish.

The gardens include such stunning features as the ornamental pond, formal pleasure gardens, orangery and sun temple. James Hugh Smith-Barry laid them out in the first half of the nineteenth century. Fota House, the Smith-Barrys’ ancestral home, still stands. The house, arboretum and gardens share the island with a hotel and golf resort and a wildlife park. [8]

The gardens at Fota, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The gardens at Fota, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The gardens at Fota, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The gardens at Fota, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] fotahouse.com

[2] p. 127. 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.

[3] https://landedfamilies.blogspot.com/2020/06/421-smith-barry-of-marbury-hall-belmont.html

[4] p. 412. Keohane, Frank. Buildings of Ireland: Cork City and County, Yale University Press, New Haven and London, 2020.

[5] https://www.irelandscontentpool.com/en/media-assets/media/44873

[6] http://www.buildingsofireland.ie/PlacesToSee/Cork/

[7] p. 412. Keohane, Frank. Buildings of Ireland: Cork City and County, Yale University Press, New Haven and London, 2020.

[8] https://heritageireland.ie/visit/places-to-visit/fota-arboretum-and-gardens/

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