Places to visit and stay in County Wexford

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

2026 Diary of Irish Historic Houses (section 482 properties)

To purchase an A5 size 2026 Diary of Historic Houses (opening times and days are not listed so the calendar is for use for recording appointments and not as a reference for opening times) send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €10 for the A5 size calendar, so I would appreciate a donation toward the postage – you can click on the donation link.

€20.00

donation

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

€15.00

Wexford:

1. Ballyhack Castle, Co. Wexford – open to public OPW

2. Ballymore, Camolin, Co Wexford – museum 

3. Berkeley Forest House, County Wexford

4. Clougheast Cottage, Carne, Co. Wexford – section 482

5. Enniscorthy Castle, County Wexford

6. Ferns Castle, Wexford – open to public, OPW

7. Johnstown Castle, County Wexford maintained by the Irish Heritage Trust

8. Kilcarbry Mill Engine House, Sweetfarm, Enniscorthy, Co Wexford – section 482

9. Kilmokea Country Manor & Gardens, Great Island, Campile, New Ross, Co. Wexford – section 482, gardens open

10. Newtownbarry House, Wexford

11. Sigginstown Castle, Sigginstown, Tacumshane, Co. Wexford – section 482

12. Tintern Abbey, Ballycullane, County Wexford – concessionary entrance to IGS members, OPW

13. Wells House, County Wexford

Places to Stay, County Wexford

1. Artramon House, Castlebridge, Co Wexford – B&B 

2. Ballytrent House, Broadway, Co Wexford – B&B

3. Bellfry at Old Boley, County Wexford – self catering

4. Butlerstown Castle, Tomhaggard, Co Wexford – A ruin, coach house accommodation  

5. Clonganny House, Wexford – accommodation 

6. Dunbrody Park, Arthurstown, County Wexford – accommodation

7. Fruit Hill Cottages, Fruit Hill House, Campile, New Ross, County Wexford

8. Glendine House hotel, New Ross, County Wexford 

9. Killiane Castle, County Wexford – B&B and self-catering

10. Kilmokea Country Manor & Gardens, Kilmokea, Great Island, Campile, New Ross, Co. Wexford  – accommodation 

11. Marlfield, Gorey, Co Wexford – accommodation 

12. Monart, Enniscorthy, Co Wexford – 5* hotel 

13. The Gate Lodge, Mount Congreve – self catering accommodation

14. Rathaspeck Manor “doll’s house” gate lodge, County Wexford and the Manor B&B

15. Riverbank House Hotel, The Bridge, Wexford, Ireland Y35 AH33

16. Rosegarland House, Wellingtonbridge, County Wexford – courtyard accommodation 

17. Wells House, County Wexford – self catering cottages

18. Wilton castle, Enniscorthy, Co Wexford – B&B

19. Woodbrook, Killane, Co Wexford – B&B

20. Woodlands Country House, Killinierin, County Wexford – B&B

Whole House rental County Wexford:

1. Ballinkeele, County Wexford – whole house rental (sleeps up to 19 people)

2. Horetown House, County Wexford – whole house rental (wedding venue, up to 24 people in house, plus shepherd’s huts)

Places to visit in County Wexford:

1. Ballyhack Castle, Co. Wexford – open to public OPW

see my OPW write-up https://irishhistorichouses.com/2022/02/07/office-of-public-works-properties-leinster-laois-longford-louth-meath-offaly-westmeath-wexford-wicklow/

2. Ballymore, Camolin, Co Wexford – museum 

http://www.ballymorehistoricfeatures.com

The website tells us:

Ballymore is an old family property located away from main routes in a particularly scenic part of North Wexford. It retains many features which have survived from past periods of occupation in an attractive setting of mature trees, ordered landscape and views of the surrounding countryside.

It is a country house erected by Richard Donovan (1697-1763). The National Inventory tells us it is:

an estate having long-standing connections with the Donovan family including Richard Donovan (1752-1816); Richard Donovan (1781-1849) ‘of Ballymore’ (cf. 15612001); Richard Donovan (1819-84) ‘late of Ballymore Camolin County Wexford’ (Calendars of Wills and Administrations 1885, 217); Richard Donovan JP DL (1858-1916), ‘Gentleman late of Ballymore County Wexford’ (Calendars of Wills and Administrations 1916, 172); Richard Charlie Donovan (1898-1952); and Richard Alexander Donovan (1927-2005).

Ballymore, photograph courtesy of National Inventory of Architectural Heritage. The house itself is not open to the public. The house was built in 1721.

A large scale map indicates the route visitors are requested to follow. This route allows a leisurely ramble around several interesting features including the tea room, the museum, art gallery and display of old farming equipment in part of the farmyard. The residence itself is private and not open to the public.

In the surrounding grounds you will find the church and ancient graveyard, holy well, former site of a 1798 rebel camp and the 14th century Norman castle ruins, which now is a simple labyrinth.

The present church was built in 1869 on the site of a medieval building, of which nothing now survives except a carved wooden door lintel which can be seen at the museum.

The holy well is covered completely by a large boulder. This was done some centuries ago to discourage its continued use for prayer and devotion.

Ballymore, photograph courtesy of National Inventory of Architectural Heritage.

The castle mound is all that remains of the 14th century motte built by Norman settlers. The ruins of the stone-built tower were pulled down in the 19th century.

The large reconstructed greenhouse is the setting for the tea room. Its design copies the original greenhouse built around 1820, along with the walled garden behind it.

The museum and display area open out from the small courtyard. The museum itself is in a large converted hayloft in a period farmyard building. The contents of the museum are from the family home and farmyard. They illustrate many different aspects of earlier occupation and activity. Another feature is the old water wheel now on display in the same farm building.

The old dairy room will take you back in time. It adjoins the 1798 Room, containing a display of items from this period and from the house and family records. The further display area includes pieces of older farm equipment and hand tools used when the horse was the only source of motive power.

Ballymore, photograph courtesy of National Inventory of Architectural Heritage – the house is not open to the public.

The art gallery is located below the museum in what was the farm stables. It displays a selection of paintings and drawings of local scenes and activities by the much admired artist Phoebe Donovan.

Take one of our exclusive tours, which encompasses many features including the museum of local and family history spanning over 300 years, dairy and farming display, 1798 memorabilia room and the Phoebe Donovan art gallery.

Venture out into the surrounding grounds and you will find the ruins of a Norman castle dating back to the 14th century, Ballymore Church and graveyard (1869), and a former 1798 rebel camp site. You may even spot a buzzard or some of the other varied wildlife in the area.

Finally, relax and enjoy a beverage in our greenhouse tea room. Ballymore Historic Features is also part of the Wexford Heritage Trail.”

3. Berkeley Forest House, County Wexford

http://berkeleyforesthouse.com

Berkeley Forest House, photograph courtesy of the house’s website.

This website tells us:

Berkeley Forest is unusual as a period house as it has a bright and uncluttered look with a strong Scandinavian flavour -painted floors, hand stencilled wallpaper and bedcoverings designed by artist Ann Griffin-Bernstorff who lives and works here during part of the year.

The house offers a beguiling experience. With a beautiful faded brick walled garden with a terrace, summer house and an outdoor fireplace, it is a delight throughout the day.

In easy reach of the Wexford beaches to the South and East and the picturesque villages of Inistioge, Thomastown and Graiguenamanagh, the cities of Kilkenny (Medieval) and Waterford (Viking) are also nearby. Just off the N30, less than 2 hours from Dublin Airport, 45 mins from Kilkenny, 20 mins from Wexford or Waterford, the house is perfectly situated to visit a host of interesting historical, cultural or sporting amenities, or to hide away in complete peace and quiet.

The house was once the home of the family of 18th century philosopher George Berkeley.
It also houses a 19th Costume museum which was created by Ann Griffin-Bernstorff and is available to costume and fashion students on request (her original 18th century Costume Collection is now to be seen at Rathfarnham Castle in Dublin) She is also the designer of the internationally acclaimed Ros Tapestry.

Berkeley Forest House, photograph courtesy of the house’s website.
Berkeley Forest House, photograph courtesy of the house’s website.

The property consists of the main house, lawns and gardens; beyond that are pasture and woodland, some mature, some more recently planted; as well as original farm buildings. All of which ideal for exploring and wandering. There is a beautifully proportioned upper drawing room (28ftx18ft) which is suitable for music rehearsal, fine dining and specialist conferences.”

Berkeley Forest House, photograph courtesy of the house’s website.
George Berkeley (1685-1753), Philosopher; Bishop of Cloyne, by John Smibert 1730 courtesy of National Portrait Gallery NPG 653.

4. Clougheast Cottage, Carne, Co. Wexford – section 482

Open dates in 2026: Jan 11-31, May 1-31, August 15-23, 9am-1pm

Fee: €5

5. Enniscorthy Castle, County Wexford

http://enniscorthycastle.ie

Enniscorthy castle, Co Wexford_Courtesy Patrick Brown 2014, for Tourism Ireland, Ireland’s Content Pool. [1]

The website tells us:

Enniscorthy Castle, in the heart of Enniscorthy town, was originally built in the 13th century, and has been ‘home’ to Norman knights, English armies, Irish rebels and prisoners, and local  merchant families.  Why not visit our dungeon to see the rare medieval wall art –The Swordsman, or our battlements at the top of the castle to marvel at the amazing views of Vinegar Hill Battlefield, Enniscorthy town, and the sights, flora and  fauna of the  surrounding countryside. Enniscorthy Castle explores the development of the Castle and town from its earliest Anglo-Norman origins, with a special focus on the Castle as a family home. Visitors can also view the ‘Enniscorthy Industries ‘exhibition on the ground floor from the early 1600’s onwards when Enniscorthy began to grow and prosper as a market town. Visitors can explore the work of the renowned Irish furniture designer and architect Eileen Gray (born in 1878 just outside the town). The roof of the castle is also accessible, with spectacular views of the surrounding buildings, Vinegar Hill, and countryside. Note that access to the roof is only possible when accompanied by a staff member. Tours of the Castle are self guided. Last admission is 30 minutes before closing. Our facilities include: craft and gift shop, toilets and baby changing area, wheelchair access to all floors (including roof) , and visitor information point (tourist office for town). We look forward to welcoming you to our town’s most public ‘home’.

Enniscorthy castle, Co Wexford_Courtesy Patrick Brown 2014, for Tourism Ireland, Ireland’s Content Pool. [1]

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

p. 121. “(Wallop, Portsmouth, E/IFR) A C13 four-towered keep, like the ruined castles at Carlow and Ferns, restored at various dates and rising above the surrounding rooftops of the town of Enniscorthy like a French chateau-fort, with its near row of tourelles. Once the home of Edmund Spenser, the poet. Now a museum.” [2]

The National Inventory of Architectural Heritage tells us that it is a two-bay three-stage over basement castle, built 1588, on a rectangular plan with single-bay full-height engaged drum towers to corners on circular plans. [3]

Enniscorthy, Co Wexford_Courtesy Celtic Routes 2019, for Tourism Ireland, Ireland’s Content Pool. (see [1])
Enniscorthy, Co Wexford_Courtesy Celtic Routes 2020, for Tourism Ireland, Ireland’s Content Pool. (see [1])

The website tells us more about the history of the castle:

Maud de Quency (granddaughter of the famous Strongbow) marries Philip de Prendergast (son of Anglo-Norman Knight Maurice de Prendergast) and they reside at Enniscorthy Castle from 1190 to his death in 1229. From then until the 1370’s, their descendants, and other Anglo-Norman families rule the Duffry and reside in Enniscorthy Castle.

“In 1375: The fief (a defined area of land or territory) of the Duffry  and Enniscorthy Castle are forcefully retaken by Art MacMurrough Kavanagh who regains his ancestral lands. This marks a time of Gaelic Irish revival. The MacMurrough Kavanagh dynasty rule until they eventually surrender the Castle and lands to Lord Leonard Grey in 1536. At this time Enniscorthy Castle is reported be in a ruined condition.

Enniscorthy, Co Wexford_Courtesy Celtic Routes 2020, for Tourism Ireland, Ireland’s Content Pool. (see [1])

“In 1569, The Butlers of Kilkenny and the Earl of Kildare lead a raid on Enniscorthy town on a fair day, killing numerous civilians and burning the castle. In 1581, The poet Edmund Spenser leases the Castle but never lives in it. Historians speculate that this was because Spenser feared the MacMurrough Kavanaghs.

“In 1585, Henry Wallop receives ownership of the Duffry by Royal Appointment. He exploits the dense forests (the Duffry, An Dubh Tír in Irish, meaning “The Black Country”) surrounding Enniscorthy which brings considerable wealth to the town, and funds the rebuilding of Enniscorthy Castle which we see standing today. Enniscorthy begins to rapidly develop as a plantation town.

“1649: Oliver Cromwell arrives in Co. Wexford. Enniscorthy Castle is beseiged by his forces; its defenders surrender, leaving it intact. In December of the same year the Castle once again fell to the Irish (under Captain Daniel Farrell), but two months later Colonel Cooke, the Governor of Wexford, reoccupied the castle.

“1898: The Castle is leased by Patrick J. Roche from the Earl of Portsmouth. P.J. Roche restores and extends the Castle making it into a residence for his son Henry J. Roche.

“1951: Roche family leaves.

“1962: Castle opens as Wexford County Museum.

Enniscorthy, Co Wexford_Courtesy Celtic Routes 2020, for Tourism Ireland, Ireland’s Content Pool. (see [1])

6. Ferns Castle, Wexford – open to public, OPW

see my OPW entry: https://irishhistorichouses.com/2022/02/07/office-of-public-works-properties-leinster-laois-longford-louth-meath-offaly-westmeath-wexford-wicklow/ 

Ferns Castle, County Wexford, photograph by Robert French, Lawrence Photograph Collection, National Library of Ireland.

7. Johnstown Castle, County Wexford maintained by the Irish Heritage Trust

Johnstown Castle, County Wexford. The house was designed by Daniel Robertson (d. 1849). It envelops a seventeenth-century house (perhaps by Thomas Hopper) [4] remodelled (1810-4) by James Pain (1779-1877) of Limerick. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

https://johnstowncastle.ie/

See my entry https://irishhistorichouses.com/2023/09/30/a-heritage-trust-property-johnstown-castle-county-wexford/

The Principal Drawing Room in Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Walled garden, Johnstown Castle, County Wexford, November 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stable Complex, Johnstown Castle, County Wexford, November 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

8. Kilcarbry Mill Engine House, Sweetfarm, Enniscorthy, Co Wexford – section 482

Open dates in 2026: Feb 4-5, 8-11, Mar 11-12, 16-19, May 10-11, 22-31, July 4-5, 13-14, Aug 3-30, Dec 19-22 12 noon-4pm

Fee: adult €10, student/OAP €5, child free

9. Kilmokea Country Manor & Gardens, Great Island, Campile, New Ross, Co. Wexford Y34 TH58 – section 482, gardens open to public

The main lawn at the rear of the house at Kilmokea – surrounded by perenniel borders – and some fine topiary, photograph 2014 by George Munday/Tourism Ireland. (see [1])

www.kilmokea.com
Tourist Accommodation Facility

Gardens Open in 2026: April 3 -Sept 27, 11am-5pm

Fee: adult €9, OAP €7, student €6, child €5, family €25

We visited in 2023 – see my entry https://irishhistorichouses.com/2023/10/12/kilmokea-country-manor-gardens-kilmokea-great-island-campile-new-ross-co-wexford-y34-th58/

10. Newtownbarry House, Wexford – gardens open to the public

https://www.gardensofireland.org/directory/52/

Newtownbarry House, County Wexford, photograph from National Inventory of Architectural Heritage.
Newtownbarry House, County Wexford, photograph from National Inventory of Architectural Heritage.

Contact: Clody and Alice Norton 

Tel: +353 (0) 53 937 6383 

Email: clodynorton@gmail.com 

Mark Bence-Jones writes (1988): p. 225. “(Barry/IFR; Maxwell, Farnham, B/PB; Hall-Dare;IFR) The estate of Newtownbarry originally belonged to a branch of the Barrys; passed to the Farnhams with the marriage of Judith Barry to John Maxwell, afterwards 1st Lord Farnham, 1719. Subsequently acquired by the Hall-Dare family, who built the present house 1860s, to the design of Sir Charles Lanyon. It is in a rather restrained Classical style, of rough ashlar; the windows have surrounds of smooth ashlar, with blocking. Two storey; asymmetrical entrance front, with two bays projecting at one end; against this projection is set a balustraded open porch. Lower two storey service wing. Eaved roof on plain cornice. Impressive staircase.”

Newtownbarry House, County Wexford, photograph from National Inventory of Architectural Heritage.

The National Inventory tells us that it is a five-bay (five-bay deep) two-storey country house, built 1863-9, on an L-shaped plan off-centred on single-bay single-storey flat-roofed projecting porch to ground floor abutting two-bay two-storey projecting end bay; eight-bay two-storey rear (south) elevation. It continues:

Newtownbarry House, County Wexford, photograph from National Inventory of Architectural Heritage.
Newtownbarry House, County Wexford, photograph from National Inventory of Architectural Heritage.

A country house erected for Robert Westley Hall-Dare JP DL (1840-76) to a design by Lanyon, Lynn and Lanyon (formed 1860) of Belfast and Dublin (Dublin Builder 1864, 66) representing an important component of the mid nineteenth-century domestic built heritage of County Wexford with the architectural value of the composition, one succeeding the eighteenth-century ‘Woodfield…[a] mansion of long standing and of cottage-like character in the Grecian style of architecture’ (Lacy 1863, 485), confirmed by such attributes as the deliberate alignment maximising on panoramic vistas overlooking the meandering River Slaney with its mountainous backdrop in the near distance; the asymmetrical footprint off-centred on an Italianate porch; the construction in a rough cut granite offset by silver-grey dressings not only demonstrating good quality workmanship, but also providing an interplay of light and shade in an otherwise monochrome palette; and the slight diminishing in scale of the openings on each floor producing a feint graduated visual impression. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior arranged around a top-lit staircase hall recalling the Lanyon, Lynn and Lanyon-designed Stradbally Hall (1866-7), County Laois, where contemporary joinery; Classical-style chimneypieces; and plasterwork enrichments, all highlight the considerable artistic potential of the composition. Furthermore, adjacent outbuildings; walled gardens; all continue to contribute positively to the group and setting values of an estate having historic connections with the Hall-Dare family including Captain Robert Westley Hall-Dare JP DL (1866-1939), one-time High Sheriff of County Wexford (fl. 1891); and Robert Westley Hall-Dare (1899-1972).”

11. Sigginstown Castle, Sigginstown, Tacumshane, Co. Wexford, Y35 XK7D – section 482

Sigginstown Castle, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

www.sigginstowncastle.com

Open dates in 2026: Mar 13-15, 20-22, 27-29, April 3-6, 10-12, 24-26, May 1-4, 8-10, 15-17, 22-24, June 4-7, 11-14, 25-28, July 2-5, 9-12, 16-19, 23-28, Aug 1-3, 6-9, 13-23, 27-30, Sept 4-6, 11-13, 18-20, 25-27, 12noon-5pm

Fee: adult €12, child/OAP/student €10, groups of 6 or more €10 per person

We visited in 2023 – see my entry https://irishhistorichouses.com/2023/11/16/sigginstown-castle-tacumshane-co-wexford-y35-xk7d/

Sigginstown Castle, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com.

12. Tintern Abbey, Ballycullane, County Wexford – concessionary entrance to IGS members, OPW

see my entry https://irishhistorichouses.com/2025/04/07/tintern-abbey-county-wexford-an-opw-property/

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

13. Wells House, County Wexford – open for tours

Wells House, County Wexford, from myhome.ie

See my entry https://irishhistorichouses.com/2025/05/29/wells-house-and-gardens-county-wexford-open-for-tours/

Web: www.wellshouse.ie 

Wells House has a stunning Victorian Terrace garden, parterre garden and arboretum designed by the renowned architect and landscape designer, Daniel Robertson. 

The terraced gardens which have been restored to their former glory sit beautifully into the large setting of his vast parkland design which spans for acres in the stunning Co. Wexford landscape. 

With two woodland walks, a craft courtyard, adventure playground, restaurant and a busy calendar of events this is a perfect day out for all the family. 

and “Discover the 400-year-old history of Wells House & Gardens by taking a guided exploration of the house. Our living house tour and expert guide in Victorian dress will bring you back to a time. To a time when the magnificent ground floor and bedrooms witnessed the stories of Cromwell, Rebellions and the Famine. Uncover the everyday lives of the wealthy, powerful families who lived in the estate and their famed architect Daniel Robertson. All giving you a unique insight into the life of previous generations all the way up until the current owners of Wells House.

Places to Stay, County Wexford

1. Artramon House, Castlebridge, Co Wexford – B&B 

Artramon House, County Wexford, photograph from National Inventory of Architectural Heritage.
Artramon House, County Wexford, photograph from Artramon website.

https://www.artramon-farm.com/english/welcome

Mark Bence-Jones writes: p. 12. “(Le Hunte/LGI 1912; Neave, Bt/Pb) A late C18 house, remodelled after being burnt 1923. 2 storey; entrance front with pediment of which the peak is level with the coping of the parapet, and the base is well below the level of the main cornice. In the breakfront central feature below the pediment are two windows and a tripartite Venetian doorway; two bays on either side of the central feature.” 

Artramon – by Ulrike von Walderdorff in Wexford / Ireland

The National Inventory tells us it is a five-bay two-storey country house, rebuilt 1928-32, on an L-shaped plan centred on single-bay two-storey pedimented breakfront; seven-bay two-storey side (west) elevation… “A country house erected for Richard “Dick” Richards (Wexford County Council 17th June 1927) to a design by Patrick Joseph Brady (d. 1936) of Ballyhaise, County Cavan (Irish Builder 1928, 602), representing an important component of the domestic built heritage of County Wexford with the architectural value of the composition, one retaining at least the footings of an eighteenth-century house destroyed (1923) during “The Troubles” (1919-23), confirmed by such attributes as the deliberate alignment maximising on scenic vistas overlooking gently rolling grounds with ‘fine views of the estuary, harbour and town of Wexford’ as a backdrop (Fraser 1844, 118); the symmetrical frontage centred on a curiously compressed breakfront; the diminishing in scale of the openings on each floor producing a graduated visual impression; and the monolithic parapeted roofline. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior where contemporary joinery; reclaimed Classical-style chimneypieces; and sleek plasterwork refinements, all highlight the artistic potential of the composition. Furthermore, adjacent outbuildings (extant 1840); and a substantial walled garden (extant 1840), all continue to contribute positively to the group and setting values of an estate having historic connections with the Le Hunte family including Captain George Le Hunte (d. 1799); William Augustus Le Hunte (1774-1820), one-time High Sheriff of County Wexford (fl. 1817); George Le Hunte (1814-91), ‘late of Artramont [sic] County Waterford [sic]’ (Calendars of Wills and Administrations (1892, 481); and the largely absentee Sir George Ruthven Le Hunte KCMG (1852-1925), one-time Governor and Commander-in-Chief of Trinidad and Tobago (fl. 1908-15); and Major Sir Arundell Thomas Clifton Neave (1916-92), sixth Baronet.

2. Ballytrent House, Broadway, Co Wexford – one wing rental.

http://ballytrenthouse.com 

Ballytrent House, courtesy of their website.

Mark Bence-Jones writes of Ballytrent (1988):

p. 28. “Redmond/Hughes. A two storey Georgian house, 5 bays, projecting ends, each with a Wyatt window in both storeys. Adamesque plasterwork. Home of John Redmond MP, leader of Irish Parliamentary Party.” 

The website tells us:

Welcome to the Ballytrent website. Visitors to Wexford seeking a quiet, secluded location,could not choose a better location than Ballytrent. Ballytrent is a magnificent 18th century heritage house set in extensive grounds overlooking the sea towards Tuskar Rock Lighthouse. 

In the grounds of the house is located a Ráth or earthen mound dating back to prechristian times and, measuring 650 yards in circumference, is reputed to be the largest in Europe. The grounds also contain a large flag pole that was once the tallest mast in the British Isles. The Rath garden is a haven for songbirds & a visit, either early morning or late evening, is pure magic! 

Ballytrent is tranquil and secluded. The garden & lawns cover three acres and include some rare plants. Our farm is a mix of cattle, cereals and root crops. We extend a warm welcome to those interested in visiting the farm. We are fortunate in having the best weather in Ireland – the annual rainfall is approximately 35 inches and each year the Weather Station at Rosslare records the highest mean sunshine hours. We are indeed the Sunny South East! 

Ballytrent House, 
Ballytrent, 
Rosslare Harbour, 
Co. Wexford, 
Ireland. 

Telephone/Fax: 053 91 31147 
Email: jepryan@eircom.net 

Situated in St Helen’s E.D., Ballytrent, with its double ringed ráth, is an 18th century  home set in extensive ground. The history of Ballytrent is a collection of works and illustrations put together after several years  of research by Mary Stratton Ryan, wife of the present owner, James Power Ryan. 

A brief look at this work could keep the most avid historian content for quite a while. It is from this book that the following list of names and facts are taken,  all having connections to Ballytrent. 

  • Aymer De Valance; Earl of Pembroke, buried in Westminster Abbey, London. 
  • Robert Fitzstephens; Ballytrent bestowed on him by Strongbow. 
  • John le Boteller (Butler); Constable of the Kings Castle at Ballytrent. 
  • John Sinnot; Listed as a Juror of the Inquisition at Wexford (c1420). 
  • Patrick Synnot; In a 1656 Curl Survey of Ireland shown as owner of 96 acres 24 perches at Ballytrent. 
  • Abraham Deane; Given Ballytrent by Cromwell. 
  • Sarah Hughes; Daughter of Abraham Deane. 
  • Walter Redmond; Purchased Ballytrent from Henry Hughes. 
  • William Archer Redmond MP; Father of John and William – both also MP’s. 
John Redmond (1856-1918) by Harry Jones Thaddeus, 1901, National Gallery of Ireland NGI889.
  • John Edward Redmond MP; Represented North Wexford, succeeded Parnell as leader of the Nationalist Party. 
  • William Hoey Kearney Redmond MP; MP for Wexford and Fermanagh. 
  • John H. Talbot (the younger);  Inherited Ballytrent from his sister Matilda Seagrave. 
  • William Ryan; Grandson of Sir James Power. Purchased Ballytrent from Emily Talbot (nee Considine). 
  • James Edward Power Ryan; Present owner and grandson of William Ryan. 

This clearly illustrates the influence and power that is part of the documented history of Ballytrent, without even considering the possibilities of the time when the ráth was in its prime.”

3. Bellfry at Old Boley, County Wexford – self catering

http://oldboleywexford.com

4. Butlerstown Castle, Tomhaggard, Co Wexford – A ruin, coach house accommodation  

http://www.butlerstowncastle.com/  

5. Clonganny House, Wexford – accommodation 

https://clonganny.com/

Clonganny House, County Wexford.

The website tells us: “Clonganny House is a fine country Georgian residence originally erected for Hawtry White (1758-1837) and sympathetically restored in the late twentieth century. Retaining many original features, Clonganny is a fine example of late Georgian architecture. Set in eight acres embracing gently rolling lawns, serene woodland, and a stunning walled garden, Clonganny House is only a short drive to a beautiful, award winning coastline and miles of golden sandy beaches.

6. Dunbrody Park, Arthurstown, County Wexford – accommodation 

WWW.DUNBRODYHOUSE.COM 

Dunbrody House, courtesy of their website.

Mark Bence-Jones writes (1988): p. 114. “(Chichester, Templemore, B/PB; and Donegall, M/PB) A pleasant, comfortable unassuming house of ca 1860 which from its appearance might be a C20 house of vaguely Queen Anne flavour. Two storey, five bay centre, with middle bay breaking forward and three-sided single-storey central bow; two bay projecting ends. Moderately high roof on bracket cornice; windows with cambered heads and astragals. Wyatt windows in side elevation.” 

Dunbrody House, courtesy of their website.
Dunbrody House, courtesy of their website.

The National Inventory tells us:

nine-bay two-storey country house with dormer attic, extant 1819, on an E-shaped plan with two-bay two-storey advanced end bays centred on single-bay two-storey breakfront originally single-bay three-storey on a rectangular plan. “Improved”, 1909-10, producing present composition…A country house erected by Lord Spencer Stanley Chichester (1775-1819) representing an integral component of the domestic built heritage of south County Wexford with the architectural value of the composition, one sometimes known as “Dunbrody Park” (Lacy 1863, 516) or “Harriet’s Lodge” after Lady Anne Harriet Chichester (née Stewart) (c.1770-1850), suggested by such attributes as the deliberate alignment maximising on scenic vistas overlooking gently rolling grounds with Waterford Harbour as a backdrop; the near-symmetrical frontage centred on a truncated breakfront; the diminishing in scale of the openings on each floor producing a graduated visual impression; and the decorative timber work embellishing the roofline: meanwhile, a photograph (30th August 1910) by A.H. Poole of Waterford captures recent “improvements” to the country house with those works ‘[presenting the] appearance [of] a twentieth-century house of vaguely “Queen Anne” flavour’ (Bence-Jones 1978, 114). Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original or sympathetically replicated fabric, both to the exterior and to the interior where contemporary joinery; Classical-style chimneypieces; and sleek plasterwork refinements, all highlight the artistic potential of the composition. Furthermore, adjacent outbuildings (extant 1840); a private burial ground; and distant gate lodges, all continue to contribute positively to the group and setting values of an estate having historic connections with the Barons Templemore including Henry “Harry” Spencer Chichester (1821-1906), second Baron Templemore ‘late of Great Cumberland-place Middlesex’ (Calendars of Wills and Administrations 1907, 508); Arthur Henry Chichester (1854-1924), third Baron Templemore; Arthur Claud Spencer Chichester (1880-1953), fourth Baron Templemore; and Dermot Richard Claud Chichester (1916-2007), fifth Baron Templemore.

7. Fruit Hill Cottages, Fruit Hill House, Campile, New Ross, County Wexford

https://www.fruithillcottages.com/

Set in the landscaped grounds of 18th Century Fruit Hill House, these traditional self-catering farm cottages make an ideal base for touring South-East Ireland.

9. Killiane Castle, County Wexford – B&B and self-catering

Killiane Castle, courtesy of their website.

https://killianecastle.com/

The website tells us: “The castle history is a remarkable tale of survival. Killiane Castle, a landmark in this cornerstone of Ireland’s Ancient East, has been in the Mernagh family for over one hundred years. However, its origins date back to medieval times to the Norman conquests and possibly even further to the early Irish settlers 500 years ago. 

The name ‘Killiane’ derives from ‘Cill Liadhaine’ in Gaelic, meaning the church of St Leonard which lies within the grounds of the Castle. 

Killiane Castle, courtesy of their website.

Medieval Times 

Pre-dating the castle history, it is likely that there was some form of native Irish settlement here before the Normans. However, the first recorded owner of the lands was Richard de Hay in the 13th century. Richard de Hay came over with Fitzstephen in the first Norman invasion. 

The Norman tower house is approximately 50ft high and measures 39ft x 27ft externally. The walls are between 4ft and 9ft in thick. The Normans built the tower around 1470. It is most likely one of the “£10 castles”.  King Henry VIII awarded a grant of £10 for the building of fortresses in his kingdom that became known as the “£10 castles”.  In recent years, an Australian visitor brought us a photo of the original deeds for Killiane Castle signed by King Henry VIII no less! 

Thomas Hay, a descendant of Richard, probably built the tower in the late 15th century c.1470. The present castle and surrounding walls bear testimony to the building genius of the Normans, over 500 years old and quite sound!  Built in a prominent position, the tower most likely overlooked a harbour. However, in the intervening years, reclaimed land replaced the harbour.  The surrounding lands feature a canal, slob lands and slightly further down the coast, Rosslare strand. 

Local Legend… 

Legend has it that below the ground floor underneath the stair way is a dungeon leading to a passageway to a doorway that no longer exists. 

“In the early 16th century c.1520, Killiane passed to the Cheevers family by marriage. They continued to fortify the site. By 1543 one Howard Cheevers held Killiane, 2000 acres of land and the office of Mayor of Wexford. The ‘Laughing Cheevers’, as they were then known, held prominence in Wexford for another 100 years until the great rebellion. They built the house sometime in the early 17th century. 

The 17th century was a tumultuous part of the castle history. George Cheevers took part in the Irish Rebellion of 1641. He played a role in both the Siege of Duncannon, and the Confederation of Kilkenny. Following the Sacking of Wexford, Cromwell dispossessed him for his part in these rebellions. Georges son, Didicus, was a blind Franciscan monk. Infamously, several clergy were murdered in Wexford town’s Bullring at this time. Didicus was one of them. Sent to Connaught by Cromwell, the Cheevers family left Killiane. Just a few remained as tenants. The last of the them, an old man, who died in 1849. 

Nearby stands the ruins of the small medieval church of Saint Helen which was in ruins by 1835. Enclosed by a wall is the adjoining cemetery. It is reputed to be the burial place of the Cheevers family.” 

Killiane Castle, courtesy of their website.
Killiane Castle, courtesy of their website.

Cromwell’s Rule 

In 1656 the property, along with 1500 acres, was granted to one of Cromwell’s soldiers, a Colonel Bunbury.  He sold it on to his friends, the Harveys of Lyme Regis. The first of these, Francis Harvey, became MP for Clonmines and Mayor of Wexford, positions his son John also held.  A famous beauty known as the Rose of Killiane, a daughter of the Harveys, married the Dean of Dublin in 1809. 

Victorian Times 

As time went by, the Harveys increasingly became absentee landlords. They leased the land to their tenants. Both the condition of the castle and the size of the estate materially diminished during this dark time in the castle hsitory. 

Throughout the 19th century there are references to tenants ‘Aylward’, ‘Elard’ and ‘Ellard’, possibly all the one family. By this time, the Harveys overwintered in their townhouse in Wexford at 38 Selskar Street. The family considered Killiane Castle too damp to stay at in winter. 

In 1908 Crown Solicitor, Kennan Cooper, bought the property for £1515. Cooper, a renowned character, kept racehorses and the 1911 census shows Killiane occupied by his tenant, George Grant and family. The census records Grant’s occupation as a ‘Horse trainer/jockey’. 

In 1920 John Mernagh, father of Jack the present owner, bought Killiane with 230 acres for £2000. At that time there was no roof on the tower-house. Ivy covered it. John re-roofed it and used it to store grain and potatoes.  Today the castle is home to Jack & Kathleen Mernagh who run the property along with their son Paul & his wife Patrycja and their family. 

The Structure of the Building  

Original Norman Features  

The castle still contains one original window that dates from the 15th century.  The original window is an ogee style window featuring two lights. Over the years, incumbents replaced the other windows. The main entrance to the castle was originally on the east side. It provided an adjoining door to the house at one time. The original door is bricked-up. On the south side of the tower a new door has been opened. 

Murder Holes! 

Looking at the front of the castle. There are murder holes over each of the doors on the ground floor. Perfectly located to pour hot tar over any unwelcome visitors!  This practice, we assure you, is not in place today! 

The third floor contains a fine granite fireplace. Small smooth stones from the beach line the chimney rising on the outer wall. Also in evidence on this floor, is a cupboard recess. 

Corrugated iron replaced the original slate roof. The parapet consists of large sloping slabs. The battlements are of the steeply stepped type. There is a square turret on each corner. On the outside of the southern turret is a carved head. 

The large bawn has a round tower on the south east corner and a square tower on the south west corner, castle occupying the north west corner. The north east tower has been removed. In order to accommodate the facade of the house, the northern apron wall was taken down. 

Original 17th Century House 

The original 17th century house consisted of two storeys with a garret on top. The incumbents raised the roof at a date unknown to us.  This action incorporated the original dormer windows of the garrets,converting it into a third storey. Furthermore, they also reduced the great slant on the original 17th-century roof. The staircase of the house is of a simple very wide design, typical of the 17th century. 

9. Kilmokea Country Manor & Gardens, Kilmokea, Great Island, Campile, New Ross, Co. Wexford  – accommodation

The main lawn at the rear of the house at Kilmokea – surrounded by perenniel borders – and some fine topiary, photograph 2014 by George Munday/Tourism Ireland. (see [1])

www.kilmokea.com
Tourist Accommodation Facility

Gardens Open in 2026: April 3 -Sept 27, 11am-5pm

Fee: adult €9, OAP €7, student €6, child €5, family €25

We visited in 2023 – see my entry https://irishhistorichouses.com/2023/10/12/kilmokea-country-manor-gardens-kilmokea-great-island-campile-new-ross-co-wexford-y34-th58/

10. Marlfield, Gorey, Co Wexford – accommodation 

WWW.MARLFIELDHOUSE.COM 

Marlfield House, photograph courtesy of the website.

The website tells us:

Marlfield House is renowned for its hospitality and service, welcoming guests for over 40 years, and is recognised as one of the most luxurious boutique hotels in Wexford, Ireland with the focus on environmentally sustainable practices. All rooms and suites at Marlfield House luxury hotel in County Wexford, Ireland are styled to provide you with elegant, comfortable interiors, furnished with antiques and paintings. Set in 36 acres of woodland, ornamental lake, rose, vegetable and herb gardens, it is a haven of tranquillity, with peacocks, hens, dogs and ponies waiting to greet you on your garden walk.

Marlfield House, photograph courtesy of the website.
Marlfield House, photograph courtesy of the website.
Marlfield House, photograph courtesy of the website.

The house is set in 40 acres of manicured gardens, encompassing a large kitchen garden, woodland walks, lake and fowl reserve, lawns and herbaceous borders. The interior bears all the signs of a much loved house filled with fresh flowers, gleaming antiques and mirrors, blazing fires and period paintings.

Marlfield House, photograph courtesy of the website.

Mark Bence-Jones writes of Marlfield (1988):

Supplement 

P. 299. (Stopford, Courtown, E/PB) “A three storey Regency house of random stone with brick facings; four bay front with two bay breakfront centre, eaved roof on bracket cornice, massive chimneystacks. Originally the dower house of the [Stopford] Earls of Courtown, it eventually replaced Courtown House as their Irish seat. Sold in 1979 to Mary Bowe, who has opened it as an hotel. As an extension to the dining room, a veranda and an elegant curvilinear conservatory were added to the front of the house 1983; the architects of this addition being Messrs Cochrane, Flynn-Rogers and Williams.” 

Marlfield House, photograph courtesy of the website.
Marlfield House, photograph courtesy of the website.

The National Inventory tells us it is a four-bay (two-bay deep) three-storey land agent’s house, built 1852, on a T-shaped plan; four-bay three-storey rear (south) elevation centred on two-bay full-height breakfront. Occupied, 1901; 1911. In occasional use, 1916-75. Vacated, 1975. Sold, 1977. Modified, 1989, producing present composition to accommodate continued alternative use… “A land agent’s house erected by James Thomas Stopford (1794-1858), fourth Earl of Courtown (Walsh 1996, 68), representing an important component of the mid nineteenth-century domestic built heritage of the outskirts of Gorey with the architectural value of the composition, one succeeding an adjacent house occupied by Reverend James Bentley Gordon (1750-1819), author of “History of the Rebellion in Ireland in the Year 1798” (1803), confirmed by such attributes as the compact plan form centred on a much-modified doorcase; the construction in an ochre-coloured fieldstone offset by vibrant red brick dressings producing a mild polychromatic palette; the diminishing in scale of the openings on each floor producing a graduated visual impression; and the monolithic timber work embellishing the roofline. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior, including some crown or cylinder glazing panels in hornless sash frames: meanwhile, contemporary joinery; Classical-style chimneypieces; and the decorative plasterwork enrichments, all highlight the artistic potential of the composition. Furthermore, adjacent outbuildings (extant 1904); a walled garden (extant 1904); and a nearby gate lodge (see 15700718), all continue to contribute positively to the group and setting values of a self-contained estate having historic connections with Colonel Robert Owen (1784-1867) and Charlotte Owen (1796-1853) ‘late of Marlfield County Wexford’ (Calendars of Wills and Administrations 1870, 447); and the Stopford family following the sale (1947) and demolition (1948-9) of Courtown House (see 15701216) including James Walter Milles Stopford (1853-1933), sixth Earl of Courtown; Major James Richard Neville Stopford DL OBE (1877-1957), seventh Earl of Courtown; and Brevet Colonel James Montagu Burgoyne Stopford OBE (1908-75), eighth Earl of Courtown.

Marlfield House, photograph courtesy of the website.
Marlfield House, photograph courtesy of the website.
Marlfield House, photograph courtesy of the website.
Marlfield House, photograph courtesy of the website.
Marlfield House, photograph courtesy of the website.

11. Monart, Enniscorthy, Co Wexford – 5* hotel 

https://www.monart.ie/

Monart Spa Wexford Annica Jansson 2016, for Tourism Ireland, Ireland’s Content Pool.

Nestled in over 100 acres of lush countryside in County Wexford, Monart offers two types of accommodation, 68 deluxe bedrooms with lake or woodland views and two luxurious suites located in the 18th century Monart House.

Mark Bence-Jones writes (1988): p. 208. “Cookman/IFR) A three storey mid-C18 house of sandstone and limestone dressings Five bay front with breakfront centre; Venetian windows in centre of middle storey, with Diocletian windows over it; modified Gibbsian doorcase. Later additions.”

The National Inventory tells us:

A country house erected by Edward Cookman JP (d. 1774), one-time High Sheriff of County Wexford (fl. 1763), representing an important component of the eighteenth-century domestic built heritage of County Wexford with the architectural value of the composition, ‘a handsome mansion pleasantly situated on a gentle eminence above the Urrin [River] in a highly improved and richly wooded demesne’ (Lewis 1837 II, 385), confirmed by such attributes as the neo-Palladian plan form centred on a Classically-detailed breakfront; the construction in an ochre-coloured fieldstone offset by silver-grey granite dressings not only demonstrating good quality workmanship, but also producing a mild polychromatic palette; the diminishing in scale of the openings on each floor producing a graduated visual impression; and the parapeted roofline. Having been sympathetically restored following a prolonged period of unoccupancy in the later twentieth century, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior, including crown or cylinder glazing panels in hornless sash frames: meanwhile, contemporary joinery; Classical-style chimneypieces; and “bas-relief” plasterwork enrichments, all highlight the artistic potential of a country house having historic connections with the Cookman family including Nathaniel Cookman (—-); Edward Rogers Cookman JP (1788-1865) ‘late of Monart House in the County of Wexford’ (Calendars of Wills and Administrations 1865, 70); Nathaniel Narcissus Cookman JP DL (1827-1908), ‘Country Gentleman late of Monart House Enniscorthy County Wexford’ (Calendars of Wills and Administrations 1908, 96; cf. 15701922); and Captain Nathaniel Edward Rogers Cookman JP DL (1894-1983); and a succession of tenants including Lowry Cliffe Tottenham (1858-1937), ‘Gentleman [and] District Inspector of Royal Irish Constabulary’ (NA 1911).” 

12. The Gate Lodge, Mount Congreve – accommodation

https://mountcongreve.com/gate-lodge/

Located in the heart of the lush Waterford countryside, on the grounds of the historic 18th-century Mount Congreve estate, this tastefully restored gate lodge is the perfect choice if you’re looking for a luxury self-catering stay in Ireland.

Originally built in 1775, the newly renovated Gate Lodge at Mount Congreve is home to a fully fitted galley kitchen with marble countertops, a living room with a 19th-century French walnut fold-out day bed, two mustard wingback armchairs, Smart TV, an antique bio-ethanol stove, and a bathroom complete with a walk-in shower.”Originally built in 1775, the newly renovated Gate Lodge at Mount Congreve is home to a fully fitted galley kitchen with marble countertops, a living room with a 19th-century French walnut fold-out day bed, two mustard wingback armchairs, Smart TV, an antique bio-ethanol stove, and a bathroom complete with a walk-in shower.

With two cosy double bedrooms (sleeping up to four adults*), the Gate Lodge is the perfect choice if you’re looking for a luxury self-catering stay in Ireland.

13. Rathaspeck Manor “doll’s house” gate lodge, County Wexford and the Manor B&B

https://www.airbnb.ie/rooms/18288598?source_impression_id=p3_1646906004_9dSSY0tDTw%2FmQ8TE

The delightful Rathaspeck gate lodge, County Wexford, available for accommodatino on airbnb. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

and Manor https://www.rathaspeckmanor.ie

The website tells us:

Rathaspeck Manor Georgian House Wexford was built between 1680-1720 by the Codd Family who came to Ireland circa 1169. William Codd’s son Sir Osborne Codd settled at Rathaspeck and erected a castle there in 1351. 

A descendant Loftus Codd was succeeded by daughters, one of whom, Jane Codd, married Thomas Richards. The Richards Family came to Ireland in 1570 approx. It was this marriage which placed Rathaspeck in the Richards Family. 

Jane and Thomas had 6 sons and 2 daughters. The eldest son Thomas, born 1722 had a Family of two daughters, the oldest Martha married Count Willimsdorf from the Kingdom of Hannover in 1802. This couple had one son, Thomas William Fredrick Von Preberton Willimsdorf who died in 1834 unmarried. There were also three daughters, one of whom Elizabeth, born in 1778, died in 1863 in Holland. 

Elizabeth married Count Von Leinburg Slirrin on April 15th 1802 and they proceeded to have a Family of ten children born between 1803 and 1820 . It is believed that sometime after this the family moved to Holland. Rathaspeck was in the hands of an English Family called Moody after this until the early 1900’s. The Moody built the present gate lodge – or “Doll’s House” in 1900. 

The Meyler Family came to Rathaspeck in 1911 when it was offered for sale and it was from the Meyler Family that the Manor passed to the Cuddihy Family. 

The site of the original Castle is unknown, but it is considered that the present Rathaspeck Manor Georgian Country Home, Ireland is built on the site. 

“Rath” means Fort , so the name of Rathaspeck stems from the Gaelic Ratheasbuig , meaning “Fort of the Bishop”. 

14. Riverbank House Hotel, The Bridge, Wexford, Ireland Y35 AH33

https://www.riverbankhousehotel.com

15. Rosegarland House, Wellingtonbridge, County Wexford – courtyard accommodation

https://rosegarlandestate.ie/

Rosegarland Estate offers visitors a unique opportunity to stay on an extremely old and unspoilt country estate. It allows you to step back in time when you walk along the avenues, woodland paths and old bridle paths which pass through the ancient woodlands and beside the River Corach.

Relax and unwind in one of our luxury self-catering cottages in Rosegarland Estate. Our four cottages are registered with Failte Ireland (the Irish Tourist Board) and have been awarded a 4 star rating.  Old world charm has been combined with modern day luxury in the cottages which are set in a picturesque courtyard. A welcome basket of home baked goodies will greet you when you arrive.

All the cottages have complimentary WiFi and satellite television channels which can be enjoyed in front of a Waterford Stanley wood burning stove.

Rosegarland Estate, courtesy of website.
Rosegarland Estate, courtesy of website.

Mark Bence-Jones writes (1988):

p. 245. “(Synnott/IFR; Leigh/IFR) An early C18 house of two storeys over a high basement was built by Leigh family, close to an old tower house of the Synnotts, the original owners of the estate. Later in C18, a larger two storey gable-ended range was added at right angles to the earlier building, giving the house a new seven bay front, with a very elegant columned and fanlighted doorway, in which the delicately leaded fanlight extends over the door and the sidelights. There is resemblance between this doorway and that of William Morris’s town house in Waterford (now the Chamber of Commerce) which is attributed to the Waterford architect, John  Roberts; the fact is that it is also possible to see a resemblance between the gracefully curving and cantilevered top-lit staircase at Rosegarland – which is separated from the entrance hall by a doorway with an internal fanlight – and the staircase of the Morris house, would suggest that the newer range at Rosegarland and the Morris house are by the same architect. At the back of the house, the two ranges form a corner of a large and impressive office courtyard, one side of which has a pediment and a Venetian window. In another corner of the courtyard stands the old Synnott tower house, which, in C19, was decorated with little battlemented turrets and a tall and slender turret like a folly tower, with battlements and rectangular and pointed openings; this fantasy rises above the front of the house. The early C18 range contains a contemporary stair of good joinery, with panelling curved to reflect the curve of the handrail. The drawing room, in the later range, has a cornice of early C19 plasterowrk and an elaborately carved chimneypiece of white marble. The dining room, also in this range, was redecorated ca 1874, and given a timber ceiling and a carved oak chimneypiece.” 

Rosegarland House, courtesy of National Inventory of Architectural Heritage.

The National Inventory tells us:

A country house erected by Robert Leigh MP (1729-1803) representing an important component of the eighteenth-century domestic built heritage of south County Wexford with the architectural value of the composition, one attributable with near certainty to John Roberts (1712-96) of Waterford, confirmed by such attributes as the deliberate alignment maximising on scenic vistas overlooking gently rolling grounds and the meandering Corock River; the symmetrical footprint centred on a Classically-detailed doorcase not only demonstrating good quality workmanship, but also showing a pretty fanlight; and the diminishing in scale of the openings on each floor producing a graduated visual impression. A prolonged period of unoccupancy notwithstanding, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior including not only crown or cylinder glazing panels in hornless sash frames, but also a partial slate hung surface finish widely regarded as an increasingly endangered hallmark of the architectural heritage of County Wexford: meanwhile, contemporary joinery; ‘elaborately carved chimneypieces of white marble’ (Bence-Jones 1978, 246); plasterwork enrichments; and a top-lit staircase recalling the Roberts-designed Morris House [Chamber of Commerce] in neighbouring Waterford (Craig and Garner 1975, 68), all highlight the considerable artistic potential of the composition. Furthermore, an adjacent stable complex (see 15704041); a walled garden (see 15704042); a nearby farmyard complex (extant 1902; coordinates 685132,615236); and a distant gate lodge (extant 1840; coordinates 685381,616928), all continue to contribute positively to the group and setting values of an estate having long-standing connections with the Leigh family including Francis Robert Leigh MP (1758-1839); Francis Augustine Leigh (1822-1900), ‘late of Rosegarland County Wexford’ (Calendars of Wills and Administrations 1900, 277); Francis Robert Leigh DL (1853-1916), ‘late of Rosegarland Wellington Bridge County Wexford’ (Calendars of Wills and Administrations 1916, 371); Francis Edward Leigh (1907-2003); and Robert Edward Francis Leigh (1937-2005).

16. Wells House, County Wexfordself-catering cottage accommodation, see above

https://wellshouse.ie/self-catering-accommodation-wexford 

17. Wilton Castle, Bree, Enniscorthy, Co. Wexford Y21 V9P9 – section 482 accommodation

www.wiltoncastleireland.com
Open for accommodation: all year

See my write-up: www.irishhistorichouses.com/2022/02/04/wilton-castle-bree-enniscorthy-co-wexford-and-a-trip-to-johnstown-castle/

Wilton Castle, County Wexford.

18. Woodbrook House, Killanne, Enniscorthy, Co. Wexford – B&B

See my entnry https://irishhistorichouses.com/2025/03/13/woodbrook-killanne-enniscorthy-co-wexford-y21-tp-92-section-482-accommodation/

Woodbrook, County Wexford, courtesy Hidden Ireland.

The Historic Houses of Ireland website tells us:

Nestling beneath the Backstairs Mountains near Enniscorthy in County Wexford, Woodbrook, which was first built in the 1770s, was occupied by a group of local rebels during the 1798 rebellion. Allegedly the leader was John Kelly, the ‘giant with the gold curling hair’ in the well known song ‘The Boy from Killanne’. It is said that Kelly made a will leaving Woodbrook to his sons but he was hanged on Wexford bridge, along with many others after the rebels defeat at Vinegar Hill. He was later given an imposing monument in nearby Killanne cemetery. 

Arthur Jacob, who originally came from Enniscorthy and became Archdeacon of Armagh, built Woodbrook for his daughter Susan, who had married Captain William Blacker, a younger son of the family at Carrigblacker near Portadown. The house was badly knocked about by the rebels and substantially rebuilt in about 1820 as a regular three storey Regency pile with overhanging eaves, a correct Ionic porch surmounted by a balcony and three bays of unusually large Wyatt windows on each floor of the facade.

Woodbrook House, photograph courtesy of Woodbrook website.
Woodbrook House, photograph courtesy of Woodbrook website.

Woodbrook lay empty for some years after E. C. Blacker’s death in 1932. The house was occupied by the Irish army during the Second World War and was then extensively modernised when his nephew Robert moved back to County Wexford with his wife and family after the sale of Carrickblacker in the 1950s. Eventually sold in the mid 1990s, Woodbrook and the remains of a once substantial estate was bought by Giles and Alexandra FitzHerbert in 1998. They continue to live in the house with their family today.https://www.ihh.ie/index.cfm/houses/house/name/Woodbrook

19. Woodlands Country House, Killinierin, County Wexford B&B

https://www.woodlandscountryhouse.com

Relax in comfortable old world charm in the heart of the Wexford Countryside at Woodlands Country House, a magnificently well preserved Georgian House with beautiful antiques. It is a charming and intimate place to relax, where fine food and furnishings are matched by warm and impeccable service that says you are special.

Woodlands Country House Bed & Breakfast is ideally situated near the market town of Gorey and the picturesque seaside resort of Courtown Harbour on the Wexford/Wicklow border in South East Ireland. The Country House B&B is only 1 hour from Dublin off the M11 making it an ideal location for touring the South East of Ireland.

Whole House rental County Wexford:

1. Ballinkeele, whole house rental (sleeps up to 19 people)

www.ballinkeele.ie

Ballinkeele House, photograph courtesy of website.
Ballinkeele House, photograph courtesy of website.

The website says:

Make yourselves comfortable in your grand home from home. This Irish country house was built to entertain and is perfect for gathering family & friends together for a holiday, a special birthday or anniversary. With 7 bedrooms and dining table for 19 guests – there’s space for everyone. You’ll be the hero for booking Ballinkeele!

Built in the 1840s by your host’s family, it’s a the perfect blend of modern and antique with a bespoke modern kitchen, WiFi and (Joy of Joys!) a modern heating system!”

Ballinkeele House, photograph courtesy of website.

The Historic Houses of Ireland website tells us:

In the first quarter of the 19th century the Maher family, who were famous for their hunting and racing exploits in County Tipperary, moved to County Wexford. They purchased Ballinkeele, near Enniscorthy, from the Hay family, one of whose members had been hanged for rebellion on Wexford bridge in 1798. John Maher, MP for County Wexford, began work on a new house in 1840 and Ballinkeele is one of Daniel Robertson’s few houses in the classical taste. The other was Lord Carew’s magnificent Castleboro, on the opposite side of the River Slaney, sadly burnt by the IRA in 1922 and now a spectacular ruin.   

The house is comprised of a ground floor and a single upper storey, with a long, slightly lower, service wing to one side in lieu of a basement. The facades are rendered with cut-granite decoration, including a grandiose central porch, supported by six Tuscan columns and surmounted by an elaborate balustrade, which projects to form a porte cochère.”

Ballinkeele House, photograph courtesy of website.

The garden front has a central breakfront with a shallow bow, flanked by wide piers of rusticated granite. These are repeated at each corner as coigns.

The interior is classical, with baroque overtones, and is largely unaltered with most of its original contents. The hall runs from left to right and is consequently lit from one side, with a screen of scagliola Corinthian columns at one end and an elaborate cast-iron stove at the other.

The library and drawing room both have splendid chimneypieces of inlaid marble in the manner of Pietro Bossi, while the fine suite of interconnecting rooms on the garden front open onto a raised terrace.” 

Ballinkeele House, photograph courtesy of website.

“The staircase hall has a spectacularly cantilevered stone staircase, with decorative metal balusters. As it approaches the ground floor the swooping mahogany handrail wraps itself around a Tuscan column supporting a bronze statue of Mercury, in a style that anticipates Art Nouveau by more than forty years.

Outside, two avenues approach the house, one which provides a glimpse of a ruined keep reflected in an artificial lake, while both entrances were built to Robertson’s designs.

The present owners are Valentine and Laura Maher who live at Ballinkeele with their children.

[ https://www.ihh.ie/index.cfm/houses/house/name/Ballinkeele ]

Ballinkeele House, photograph courtesy of website.
Ballinkeele House, photograph courtesy of website.
Ballinkeele House, photograph courtesy of website.
Ballinkeele House, photograph courtesy of website.
Ballinkeele House, photograph courtesy of website.

2. Horetown House, County Wexford (wedding venue, up to 24 people in house, plus shepherd’s huts)

https://www.horetownhouse.ie/

The website tells us:

Horetown House, photograph courtesy of website.

Horetown House is a private country house wedding venue in County Wexford in the South-East corner of Ireland. Situated among rolling hills in the heart of rural Wexford, Horetown House is the perfect venue for a stylish, laid back wedding. Our charming country house is yours exclusively for the duration of your stay with us.

Family owned and run, we can take care of everything from delicious food, bedrooms and Shepherds huts, to a fully licensed pub in the cellar. Horetown House is perfect for couples looking for something a little bit different, your very own country house to create your dream wedding.

Mark Bence-Jones writes (1988): p. 155. “(Davis-Goff, Bt/PB) A three storey Georgian house. Front with two bays on either side of a recessed centre. Triple windows in centre and pillared portico joining the two projections.” 

The National Inventory tells us it is:

A country house erected to designs signed (1843) by Martin Day (d. 1861) of Gallagh (DIA; NLI) representing an important component of the mid nineteenth-century domestic built heritage of County Wexford with the architectural value of the composition, one succeeding a seventeenth-century house (1693) annotated as “Hoarstown [of] Goff Esquire” by Taylor and Skinner (1778 pl. 149), confirmed by such attributes as the deliberate alignment maximising on panoramic vistas overlooking gently rolling grounds; the symmetrical frontage centred on a pillared portico demonstrating good quality workmanship in a silver-grey granite; the diminishing in scale of the openings on each floor producing a graduated visual impression; and the parapeted roofline. Having been well maintained, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior where contemporary joinery; restrained chimneypieces; and decorative plasterwork enrichments, all highlight the artistic potential of the composition. Furthermore, a nearby quadrangle erected (1846) by ‘S.D. Goff Esq Architect [and] Johnson Builder’ continues to contribute positively to the group and setting values of an estate having historic connections with the Goff family including Strangman Davis Goff (né Davis) (1810-83) ‘late of Horetown House County Wexford’ (Calendars of Wills and Administration 1883, 318); and Sir William Goff Davis Goff (1838-1918) of Glenville, County Waterford; a succession of tenants including Joseph Russell Morris (NA 1901) and Edward Naim Townsend (NA 1911); and Major Michael Lawrence Lakin DSO (1881-1960) and Kathleen Lakin (née FitzGerald) (1892-30) of Johnstown Castle.”

https://www.newbayhouse.ie

A stunning period house set on its own 16 acres of gardens and woodland on the outskirts of Wexford Town and within 2 hours from Dublin.

Newbay House has been lovingly restored to blend its historic past with a dash of contemporary elegance. Once through the doors, it shares its elegant character and friendly hospitable atmosphere that combines informality with quality.

In addition to boasting the most intimate of atmospheres and dedication to traditional hospitality and service, this cherished period house is sure to capture your heart.

History:

According to Hore’s History of Wexford there was a township called ‘Newbane’ consisting of a castle and 60 acres of land  in the tenure of Patrick Roche and belonging to the Prioy of Selskar situated at what we now call Newbay. Around 1641 198 acreas of land at Newbane was owned by John Roche but ended up forfeited to Cromwell and was given to one of his officers Colonel Thomas Scott who still had possession up to 1674. In 1715 Henry Hatton, a former Mayor of Wexford, owned Newbay and it remained in the Hatton family for the next century.

Newbay House as it is now was the product of Architect John Meason whom worked on the house for Henry Hatton between June 29th 1822 and November 13th 1824. Notable additions during this time were the present front avenue and gatelodge. However by 1853 it was now owned by the Dowager Countess of Donoghmore and consisted of 138 acres leased to four tenants with Henry Lyster residing in the big house. The Countess herself lived at Belmont.

Thomas Jefferies of Carne House purchased the house, offices and land at Newbay on Friday 16th July 1869 when he paid £1030 for it at a public auction in the Landed Estates Court in Dublin. He officially gained ownership on November 1st 1869. Jeffries added a wing to the house circa 1886. Jefferies daughter Annie Elizabeth married George Arthur French in 1899 and it was via this matrimony that the house and lands now passed to the French family.

Circa 1952 the porch was taken down and the door was replaced by the existing front facing window. The present porch was built from the doors and windows of the old one and the same granite steps.

Also around this time mains electricity was brought to the house and it was in 1955 that drinking water was provided from a well dug in the garden. (Prior to this it had been brought by pony and cart to Newbay from Clonard Hill).

In 1959 a flat was made for Mrs French who was the first member of the French family to be born in Newbay – on March 11th 1870. She died September 3rd 1963.

Mrs French was the last surviving member of the family of seven. Mrs French was described as “one of the most beautiful women in County Wexford in the last century and she retained her lovely looks right up to the end of her long and very Christian life” in her obituary in The Free Press (September 6th 1963). Mrs French’s last surviving son, Lieutenant-Colonel George French died at Newbay in 1979. Four years later his two son’s Dominic and Arthur sold the house to Paul Drumm from Dublin. Drumm opened the house and began accommodating guests and tourists.

In 1996 Jane Coyle purchased and refurbished Newbay House, reopening its doors as a country house hotel in 1999.

donation

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

€15.00

[1] 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] https://www.buildingsofireland.ie/buildings-search/building/15603115/enniscorthy-castle-castle-hill-enniscorthy-enniscorthy-wexford

[4] https://www.archiseek.com/2014/johnstown-castle-county-wexford/

[5] https://www.buildingsofireland.ie/buildings-search/building/15704226/johnstown-castle-johnstown-fo-by-wexford

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

The Casino at Marino, Dublin, an Office of Public Works property

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

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

2026 Diary of Irish Historic Houses (section 482 properties)

To purchase an A5 size 2026 Diary of Historic Houses (opening times and days are not listed so the calendar is for use for recording appointments and not as a reference for opening times) send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €10 for the A5 size calendar, so I would appreciate a donation toward the postage – you can click on the donation link.

€20.00

donation

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

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

From the website:

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

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

The Casino at Marino, Dublin, August 2009. At the front of the building stand Ceres and Bacchus, and at the back are Apollo and Venus. These represented the enjoyment and abundance that was intended for the Casino. The urns on the roof (disguised chimneys) can also be seen from this angle. The lions that guard each corner are Egyptian in style. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Casino at Marino, Dublin, August 2009. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
In these pictures we can see the situation of the Casino, and a picture of Lord Charlemont’s nearby residence. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lord Charlemont’s residence.
Original gates to Lord Charlemont’s estate.

The Casino website tells us that the plan of the Casino is in the shape of a Greek cross, and it is only fifty feet square. There are three floors containing sixteen rooms. Although small, they are entirely habitable, with service rooms in the basement, reception rooms on the main floor, and sleeping quarters on the upper floor. There is, however, no evidence of any long term occupation of the building. The exterior of the building is that of a one-room Greek temple, so the complexity of the interior was achieved by remarkable architectural design. This includes faux windows, gib doors, hollow columns, and disguised chimneys. Only half of the great front door actually swings open to admit entrance.

The Casino at Marino, Dublin, August 2009. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Casino, August 5th 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
James Caulfeild, 1st Earl of Charlemont Date 1790 by Martin Ferdinand Quadal, Moravian, 1736-1808.

Very little is known about how the inside of the building originally looked. There are brief descriptions surviving in Charlemont’s own correspondence or in that of visitors, or rare mentions in sales catalogues. The exterior of the building is heavily decorated. Four statues adorn the attic storey; Bacchus, Ceres, Venus, and Apollo declare the abundance and love of good living that inspired the creation of the Casino. Around the chimney-urns curve mermaids and mermen. The ‘ceilings’ of the outside porches are densely carved to create a stucco effect. Four large Egyptian-style lions guard the corners. [1] Service tunnels underground surround the building, lit from above by grilles.

The Egyptian style lion, one of which guards each corner of the Casino in Marino, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Casino, August 5th 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Casino, August 5th 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Casino, August 5th 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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

“… in the form of a Roman Doric temple, … built over the years 1758-76. It is one of the most exquisite miniature C18 buildings in Europe; within an exterior that appears to be sculptured rather than built are a number of little rooms, each of them perfectly proportioned and finished; with plasterwork ceilings, doorcases and inlaid floors. Sir Sacheverell Sitwell compares them to the little rooms in the Petit Trianon, and indeed the Casino shows considerable French influence, both inside and out. Among those who worked on the Casino was Simon Vierpyl, the sculptor and builder from Rome, and Joseph Wilton, the sculptor. The house [Marino] has long been demolished, but the Casino is maintained as a National Monument and has been restored by Mr Austin Dunphy of O’Neill Flanagan and Partners, in conjunction with the Office of Public Works.” [1]

James Caulfeild, 1st Earl of Charlemont, in the vestibule of the Casino. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website of the Casino educates us about the family who owned the Casino. James Caulfeild succeeded to the titles 8th Lord Caulfeild, Baron of Charlemont and 4th Viscount Charlemont on the death of his father in 1734. It was not until 1763 that he was created 1st Earl of Charlemont, as recognition for keeping the peace in the Armagh/ Tyrone area. He was well-known for his love of the arts, and spent a record nine years on Grand Tour through Europe, Turkey, and Egypt. With the help of his stepfather, Thomas Adderley, he established himself at Marino on his return to Ireland in 1755. Here he began the improvements to his Marino estate, one of which was the celebrated Casino.

The painting is a portrait by William Hogarth of the 1st Earl of Charlemont, James Caulfeild (1728-1799) aged 13, with his mother, Elizabeth Bernard (portrait painted in 1741). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

He was a leader in many different areas of eighteenth-century Irish society. Instrumental in setting up the Royal Irish Academy, he was also its first President. He was a member of the Royal Dublin Society, and a supporter of Grattan’s parliament. He was also a founding member of the Irish Volunteers (formed to protect Ireland from invasion while British troops served in the American Revolutionary War). His contribution to Irish culture was significant and lasting. [3]

The website tells us that while James was on his Grand Tour in Rome, he had become acquainted with those he would eventually hire to create his estate at Marino. This included William Chambers, Simon Vierpyl, Johann Heinrich Müntz, and Giovanni Battista Cipriani. Charlemont’s heavy involvement in the composition of the buildings at Marino, as well as his house in Rutland Square, is clear from the correspondence that has survived. In many ways, what he created at Marino was a living testament to the different cultures and styles he had experienced while travelling, and his buildings there were fitting exhibition spaces to the huge number of souvenirs and collectable items he brought home.

William Chambers in the style of Joshua Reynolds, courtesy of Adam’s auction 13 Oct 2015.
The Casino, August 5th 2023: this diorama shows what the estate looked like when in its glory, with a large pentagon shaped garden.
The Crescent at Clontarf and Lord Charlemount’s house from the North Wall in Dublin 1812.
The light from the mobile phone is shining on the location of Lord Charlemont’s residence.

The website tells us of Lord Charlemont’s ancestor who came to Ireland:

Toby Caulfeild was born in Oxfordshire, England, the son of Alexander Caulfeild (c. 1520 – c. 1581; also known as Alexander Calfhill). A military man, he was sent to Fort Charlemont on the border of Tyrone and Armagh in 1601 by Queen Elizabeth. For his services to the Crown, James I granted him over 25,000 acres of land in Northern Ireland over the next twenty years. This included land from the old O’Neill estates in Tyrone, the confiscation of which he supervised from 1607-10. It was on these lands that he build Castle Caulfeild, now in ruins. He died in Dublin and is buried at Christchurch Cathedral there.

The website also tells us about his mother Elizabeth Bernard:

Elizabeth Caulfeild (née Bernard), Viscountess Charlemont (21 February 1703 – 20 May 1743):

Elizabeth Bernard, from Castle Mahon, Co. Cork, married James Caulfeild, 3rd Viscount Charlemont (1682 – 1734), in 1723 when she was twenty years old. They lived in Jervis St, Dublin, where he attended parliament as MP for Charlemont in Armagh. Elizabeth and James had at least six children together before he died eleven years later; three survived beyond infancy. These were Francis, Alice, and James. On the death of his father, James became 4th Viscount Charlemont.

Six years after the death of her husband, Elizabeth married Thomas Adderley (1713 – 1791) from Innishannon in Cork. They lived in Dublin, and had one child together; Elizabeth Adderley. Thomas Adderley was an active and involved stepfather to James Caulfeild, providing advice and help to him throughout his transition to adulthood and after. He was buried in St Mary’s Church on Mary St in Dublin; today his gravestone can been seen among those leaning against the back wall of what is now Wolfe Tone Park.

The website also tells us more about the architect of the Casino, William Chambers:

Born in Sweden to a Scottish father in 1723, he spent the first few years of his working life travelling to and from China as an agent of the Swedish East India Company. At the age of twenty-six, he began training as an architect in Paris, later living in Rome, where he was a member of Charlemont’s circle. He moved to London to establish his practice in the same year that Charlemont returned to Dublin (1755). He achieved great success in England, with much employment from King George III and his mother, the Dowager Princess Augusta. His Treatise on Civil Architecture, published in 1759, was a huge influence on Palladian neoclassicism in Britain. The Casino appeared in this Treatise as a plate illustration (image below). Chambers would go on to count James Gandon as one of his students.

As well as the Casino at Marino, Chambers completed designs for Charlemont House and Trinity College, and for modifications to Rathfarnham Castle, Castletown House, and Leinster House, among others. He never, however, visited Ireland in person. His projects with Charlemont were discussed at great length, over two decades, in numerous letters; many of these can be read today in the Royal Irish Academy. One of his original drawings for the Casino is on display in the building.”

Photograph of the Casino taken 1951, Dublin City Library archives. [see 3]

It was London-born Simon Vierpyl who oversaw the building work. The website tells us:

He was an accomplished sculptor and builder, who was living in Rome at the same time as Charlemont and Chambers. Impressed with his work on a commission of terracotta copies of statues and busts (now in the Royal Irish Academy), Charlemont invited him to come to Ireland. Vierpyl arrived in 1756, and supervised work on the Casino, something he was complimented for in Chambers’ Treatise. He stayed in Ireland for the rest of his life, working as a builder or developer on many central Dublin sites. He married twice, and died in Athy, Co. Kildare in 1810 at the age of around eighty-five.”

It was hard to take this photograph due to light, but you can just about make out the interior plan of the Casino.

The website also tells us about Giovanni Battista Cipriani, an Italian painter:

He was another member of Charlemont’s circle in the early 1750s in Rome; in 1755, he also left the city, and travelled in England in the company of Joseph Wilton. Wilton was a sculptor whose work is represented at the Casino in the four lions which guard it. Cipriani’s contribution was the design of the four attic statues, and the dragon gates that formed the entrance to the estate. Copies of his original sketches for the four statues, as well as a revised sketch of Venus, can be seen on display in the State Bedroom today. The gods represented (Ceres, Bacchus, Venus, and Apollo) were chosen by Charlemont and Chambers, designed by Cipriani, and then sculpted by either Wilton or Vierpyl on site.

The fireplace in the bookstore inside the Casino. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
James Caulfeild, 1st Earl of Charlemont (1728-1799) by Richard Livesay, British, 1753-1826.

James Caulfeild married Mary Hickman (d. 1807). The website tells us about her:

Mary Hickman was from Brickhill in Co. Clare, and married James Caulfeild in 1768, when James was forty years of age. It was rumoured that James had left bachelorhood reluctantly, and only because he wanted to block his brother from inheriting his estate at Marino (Francis had differing architectural taste). However, James and Mary seem to have had a happy marriage; a letter describes how she read works of scholarship aloud to him after his eyesight had become weak with age.

They had four children: Elizabeth, Francis, James, and Henry. On the death of his father in 1799, Francis became the 2nd Earl of Charlemont. After her husband’s death, Mary continued to live at Marino, until her own death in 1807. She is buried with her husband in Armagh Cathedral.

The website gives us an “online tour.” The first room is the Vestibule. The website tells us:

The entrance hall is known as the vestibule. The surprise in this room is the small rosewood mahogany front door. Outside, the front door is made of Irish oak and much larger in scale. Chambers stipulated the oak door should never be treated so it will eventually blend in with the Portland stone of the building. The reason for the deceptively large door outside is to give the impression the building is a one-roomed, one-storey Greek temple. As with all the rooms on the ground floor, below the faux bois (fake wood) floor covering, the parquet floors include many different types of wood (American black walnut, ebony, boxwood, Indian laurel, mahogany and maple) some now in danger (camwood and fustic). Each room features a different geometrical shape in the parquetry.

The floor in the vestibule. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Above the three doors on the curved wall to the south of the vestibule is a semi-circular apse. This recalls the full domed ceiling of the Pantheon in Rome with the same coffers (panels). The coffers give us the illusion of height in a room that is actually quite small, though perfectly proportioned.

The Vestibule, Marino Casino. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A ceiling in the Casino at Marino: In the Vestibule, above the three doors on the curved wall to the south of the vestibule is a semi-circular apse. This recalls the full domed ceiling of the Pantheon in Rome with the same coffers (panels). The coffers give us the illusion of height in a room that is actually quite small, though perfectly proportioned. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Vestibule of the Casino. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The higher, rectangular section of the ceiling holds a trophy which includes the lyre of Apollo at its centre surrounded by laurel leaves which appear throughout the building. We believe a statue of Apollo may have stood in one of the two niches. Just below the ceiling, in the frieze, you will notice many classical motifs representing Charlemont’s ideals. From north to south you have motifs musical instruments, the east shows agricultural tools and the west has carpentry tools, a a celebration of culture and agriculture. Other decorative details in this room, echoed throughout the building, are the waterleaf, the dentil mouldings (looking like large square teeth) and the egg and dart. The egg is the symbol of fertility and life and the dart is the symbol of death. In this room you also have the Vitruvian scroll in the chair rail and above which you have the Greek key, a symbol of eternity as the pattern is supposed to have no beginning, no middle and no end.

A ceiling in the Casino at Marino. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The oldest item in the building can be found in this room. It is under the window and is a Greek Stele, a headstone Lord Charlemont sent back from his Grand Tour which he found in Greece. It is from 350 BC. During his Grand Tour many antiquities were sent back and would have been on show around the estate or perhaps even in the tunnels, off the light-well, surrounding the basement.

The Casino, August 5th 2023: a Greek Stele, a headstone Lord Charlemont sent back from his Grand Tour which he found in Greece. It is from 350 BC. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Blue Saloon, which was the main reception room, was sparsely furnished. Originally, there was a magnificent fireplace designed by Francis Harwood, made of white marble, featuring a life-size ram’s head and lapis lazuli inserts. The fireplace was balanced on the opposite side of the room by an equally elaborate table in marble with lapis lazuli inserts (by Joseph Wilton). Both had since been removed. The current fireplace with its smaller ram’s heads came from Marino House. The ram’s head was a signature trademark of Sir William Chambers and in the each corner of the room there are more 4 rams’ heads. The curved white ceiling set with octagonal coffers surrounds a single compartment representing a blue sky with Apollo’s head emerging from a sunburst. Apollo is the God of the sun. Below the curved ceiling in the carved mouldings are a series of pine cones. The ancient Romans associated pine cones with Venus, the goddess of love. Pine cones symbolise human enlightenment, resurrection, eternal life, regeneration and fertility.

The Blue Saloon. In the background is a painting from the exhibition Person Presence Perception, “Sail Away” by Connor Maguire. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Apollo ceiling in the Blue Saloon. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The colour scheme of the room was related to the ornaments it once displayed – primarily the white marble and blue lapis lazuli of the fireplace and table. In 1769, Charlemont wrote to Chambers and recommended that “…the Entablature, doorcase etc of the room should be dead white touched with blue and that the cove parts of the ceiling… be of a more brilliant white.” The blue silk wall hangings were possibly broken up with paintings. In the original design for this room, there were five wooden doors. The main entrance door, two doors giving access to rooms on each side and two more false doors to create symmetry. However, Lord Charlemont made alterations to simplify this space by removing the two fake doors and making the two other doors jib doors (hidden doors).

In the background, “Strong women and the sea: Grace” by Sile Walsh. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A Daniel Havell print, A view of Part of Dublin Bay and City of Dublin from Marino, 1817. “A Daniel Havell print, A view of Part of Dublin Bay and City of Dublin from Marino, 1817, sits under the window at the southern end of the room. This image depicts the nineteenth-century view of the rolling parkland landscape and sailing ships, with Dublin’s industrial city sprawling eastward and the Dublin and Wicklow mountains on the horizon. Charlemont liked to imagine he was looking across the Bay of Naples with the Sugarloaf standing in for Mount Vesuvius.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The fireplace in the Blue Saloon. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fireplace detail in the Blue Saloon. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The corners of the ceiling of the Blue Saloon have rams heads. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The floor of the Blue Saloon. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The jib door in the Blue Saloon. In the background is Change of Season by Carol Graham. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Zodiac Room is accessed from the Blue Saloon via hidden or jib doors. One of the first things to notice in this room is that the window appears to only have twelve panes of glass. However, on the outside, the same window has thirty panes of glass. This is due to the Zodiac Room sharing its space with the lower and upper stairwell next door, therefore the window is also shared between the three spaces. The trick used to distract the visitor from this deception is the form of the glass itself. Outside, the glass panes are convex in shape, reflecting more of what you see behind you than what is going on inside. In this room, a sense of space and height is created by the domed ceiling that provides an optical illusion, making it almost impossible to tell if the height is one inch, one meter or three metres. Resting perfectly below this dome are the twelve signs of the zodiac which is the reason this room gets its name. Apart from the zodiac mouldings, this room is highly decorated with egg and dart mouldings which you see on the door frame, the panels/coffers in the door and in the sides/jambs of both the door and the windows. The egg is the symbol of fertility and life and the dart symbolises death.

I found it impossible to capture the entire domed ceiling, which is bordered by signs of the zodiac, in a photograph.

The Zodiac Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Zodiac Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Zodiac Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A letter from George Montagu to Horace Walpole in 1761 said that “I have been to see Lord Charlemont’s collection. He has some charming things that would merit a show even at Strawberry. His medals are very fine, a charming Titian of Borgia, two Carlo Marats, a Claude, two fine vases, a Queen Elizabeth, a lion’s skin of yellow that serves for a veil, a brave collection of books, etc.”

The China Closet, or Boudoir. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The China Closet, originally called the Boudoir, is situated on the western arm of the ground floor. The ground and upper floors are laid out in the shape of a Greek cross while the basement is square in shape which acts as a plinth for the Casino to sit on, making the Casino one of the first sculptural buildings in Ireland. After a fire in the early 19th century, the walls of this room where redecorated by the 2nd Lady Charlemont, Anne Berminghan, who married Francis, the 2nd Earl, son of James Caufeild, in 1802. She was a wealthy heiress, which allowed Francis to maintain the Marino estate after the great debts he had inherited on the death of his father. Anne hung decorative china plates on the walls giving the room the new name of the China Closet.

The magnificent ceiling of the China Closet. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The floor and ceiling details, original to the 18th century, highlight the use of symmetry and harmony in the building with their large lattice rectangles enclosing smaller rectangles and a central oval. In addition, on the floor, in the central oval, we have a geometrical sunburst while the ceiling’s oval is made up of fasces surrounded by laurel leaves which are symbols of excellence stemming back to the early Olympic Games in Greece. The appearance of the fasces bring us back to ancient Rome when soldiers used sticks or rods, tied together with bands, to control the crowd and these were called fasces. However, in times of insurgence, there was a sword or knife hidden within the fasces to kill people. Fasces in the Casino demonstrate authority and power. Everything in the Casino is symbolic, like the agricultural tools above the doorway and over the window including a scythe, fork, rake and shovel, representing Lord Charlemont’s ideals of culture and agriculture.

Detail of China Closet ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The floor of the China Closet. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The recess at the northern end of the China Closet has a hand-painted Chinese wallpaper which came from Rathbeale Hall, in Swords, Co Dublin, installed during the OPW restoration between 1974 and 1984.

The China Closet, with painting Lizzie in Interior by Christopher Banahan. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The decorative plasterwork is full of delightful details like this bow over a doorway. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Upstairs hallway, with painting “Living” by Ciaran Harper. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The landing: “All of the upstairs rooms suffered during the Casino’s period of dereliction, as the flat roof had fallen in. Therefore these rooms may have once been more highly decorated than they appear today. However, at the very top of the staircase, is an exuberant Rococo shell design in eighteenth-century plasterwork, which may give an idea of how the rest of the cornices and covings looked during the building’s original period. There are 5 doors on the landing, to the waiting room, the State Room, the pink room, the servant’s room and to a small stairs behind a cleverly-hinged door which once led to the viewing platform on the roof of the Casino. The roof was a very popular place to visit during the eighteenth and nineteenth centuries, due to the extravagant views it afforded down across the peaceful meadows to the seashore. Lord Charlemont likened this view to the Bay of Naples, and the peak of the Sugarloaf in the distance to Mount Vesuvius.

The State Room:

The first floor is also known as the Attic storey of the Casino or Temple as it is referred to on the maps here on this floor.  Up here, our view our the window has been sacrificed so that no outside viewer could see this floor at all. What is visible from the  windows, is how the floor slopes into a cavity which leads into a hollow column and the drainage system. There are four of these (nearest to each lion) neatly disguising a drainage system. Chambers designed this using engineering he had learned when he was in China.  And it still works today. There are four rooms up on this level. Three of them are plain without stucco or plasterwork and very little decorative features.  The grandest and largest upper room is called the State Room. The Casino is a neoclassical house, usually demonstrating restraint and austerity but here we have bling and ostentatiousness. The colour scheme here is consistent with later 18th century and the style more akin to Rococo or even Regency style.

The State Room in the Casino, August 5th 2023, with painting “Cearbhall” by Eva O’Donovan and Giclée print “Evdokia” by Garry Louglin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The State Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The State Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We have gold painted Ionic fluted (grooved) columns separating the room. These are resplendent with pineapples proudly placed in the centre of the Scrolled Capitals (volutes). In the 19th century, lead from the roof was stolen and there was a lot of water damage particularly to this level of the house. While the hollow timber columns are not structural, they helped save the ceiling timbers from falling (so they were structural in the end). The inlaid floors and ceiling mouldings were mostly restored in the 1974-84 refurbishment by the OPW. It has been suggested that Chambers did not have a hand in its design but that Simon Vierpyl took charge here. There are no documented connections between Chambers and the top floor at all, and it is possible that when he ceased his work on the project (due to late payment of bills), it was intended to have just one floor above the basement level. On display in this room is Chambers’ original drawing for the Casino.

The floor of the State Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Levee Ceremony

On the wall of the small (waiting) room adjacent to the State Room are the remains of a plinth on which a small daybed would have rested (like a chaise lounge). Imagine Lord Charlemont reclining on a bed practicing a Levee Ceremony. Levee, from the French lever – to rise, to get up, had, at the time, become a fashionable trend in aristocratic circles. Noblemen got dressed from their beds while receiving guests to discuss the day’s business. Here, it would have been practiced in a tongue-in-cheek way, much like a performance. Remember, this was a ‘pleasure house’ and a house for fun and entertainment. In any case, the State Room is a ‘show-off’ room and we believe that James Caulfeild, 4th Viscount and 1st Earl of Charlemont, was a bit of a show off.”

Parts of a bed that were in the Casino. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Casino, August 5th 2023. Looking out onto the roof. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
We didn’t get to go up the final set of stairs to the roof. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The webiste continues the history of the family.

Francis William Caulfeild, 2nd Earl of Charlemont (3 January 1775 – 26 December 1863) was the son of James and Mary above, and succeeded to the title of Earl on the death of his father in 1799. Until 1799, he had represented Armagh in the House of Commons. From 1806, he sat in the House of Lords. He had a keen interest in horticulture, and sat on the botany committee of the Royal Dublin Society. His name and that of his head gardener also frequently appeared in newspaper reports, as the winners of prizes for best flowers and fruit in agricultural shows in Dublin.

He maintained and further improved the estate at Marino, as well as the other family residences in Charlemont House on Rutland Square, and Roxborough Castle in Co. Tyrone. It was at the house in Marino that he died in 1863, before being buried in the family crypt in Armagh.

Francis married Anne Caulfeild (née Bermingham), Countess of Charlemont (c. 1780 – 23 November 1876) on the 9th of February, 1802. She was a celebrated beauty in her youth. A bust of her by Joseph Nollekens was exhibited in Windsor Castle; Lord Byron wrote of his intense admiration for the beauty of this work and its muse. He wrote of Lady Charlemont’s beauty in other venues too, leading to speculation about their friendship.

Anne’s sister Mary married Nathaniel Clements, 2nd Earl of Leitrim.

Anne and Francis had four children – James, William, Maria, and Emily – all of whom died before the age of twenty-one. In later life, they seemed to live quite separate lives. On the accession of Queen Victoria, Anne was appointed Lady of the Bedchamber, and lived in London. Her address when she died, at the age of ninety-five, was Grosvenor St. Some watercolours and sketches she made while a young wife in Marino can be viewed in the National Library of Ireland. As Francis died with no living heirs, the title of Earl of Charlemont passed to his nephew, James Molyneux Caulfeild.

In 1876, The 2nd Lady Charlemont (Anne Bermingham) died, after which the 3rd Earl, James Molyneux Caulfeild, son of the second Earl’s brother Henry Caulfeild (1779-1862), MP for County Armagh, and therefore grandson to the 1st Earl, inherited. He inherited the title from his uncle, Francis. He sold the estate lands. James the 3rd Earl married Elizabeth Jane Somerville, daughter of William Meredyth Somerville 1st Baron Athlumney, of Somerville and Dollarstown, Co. Meath

The website tells us: “He was born in Hockley, Armagh, and lived there until he moved to Cambridge for his education as an adult. He was later High Sheriff and MP for Armagh, as well as Lord Lieutenant for Co. Tyrone.

Basing himself wholly in the north of Ireland, James lived at Roxborough Castle which, on the death of the 2nd Earl, he began remodelling and extending with the architect William Barre. Some items from the Dublin residences were transported north and reused in this house. On the death of Anne Caulfeild, he sold the estate (Casino included) at Marino to Cardinal Cullen, who donated most of it to the Christian Brothers. After James Molyneux Caulfeild, the title of Earl of Charlemont did not continue, although the title of Viscount continues down to the present day, the current holder being the 16th Viscount Charlemont.

Cardinal Cullen who kept thirty acres for an orphanage (the O’Brien Institute), and gave the remaining land (over 300 acres) to the Christian Brothers.

The Casino, August 5th 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Casino, August 5th 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Casino, August 5th 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The basement level of the Casino. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The tunnels under the grounds outside the Casino were used for target practice by Michael Collins and his troops. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information about the tunnels.
The tunnels under the grounds outside the Casino were used for target practice by Michael Collins and his troops. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Bits of statuary are stored in the basement niches. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://casinomarino.ie

[2] p. 201, 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] https://casinomarino.ie/the-family/

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

Open House 2023

I had a busy Open House Dublin this year as I made sure to be up and in front of my computer at 9am when booking started, to try to get a place to visit the Provost’s House. I didn’t manage to on the day, but I joined the Irish Architecture Foundation especially to try to see places not normally open to the public, and I was in luck! They later offered some tickets to see the Provost’s House on the Friday morning of Open House this year and I jumped at the chance.

I’m a bit late writing about it, as Stephen and I took a short jaunt to visit Venice for the first time! First of many, I hope, as I loved it. This time we only had time to see the Basilica di San Marco and the Doge’s Palace, and we went on a water bus trip up the Grand Canal.

Basilica di San Marco, Venice. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Museum of the Basilica di San Marco in Venice. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Golden staircase at the Doge’s Palace. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Golden staircase at the Doge’s Palace. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Doge’s Palace, Venice. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Doge’s Palace, surely some of the finest craftsmanship in the world. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It’s not a very fair comparison to segue now to the Provost’s House, the stucco work of which is indeed beautiful!

The Provost’s House, Trinity College, Dublin abt. 1793, after John Cash and Robert Pool.
The dining room of the Provost’s House. Local stuccadores Patrick and John Wall did the plasterwork. The bows and ropes are quite distinctive. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceiling of the salon at the Provost’s House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Provost’s House, Trinity College Dublin, 2023. I felt I certainly deserved a tour, after spending eight years studying in Trinity! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Provost’s House is a five bay two storey over basement house with later built wings, single-storey of seven bays each, which hold offices. It is built to impress, with a carved balustrade along the first floor stringcourse, and a row of Doric pilasters on the first storey facade topped with a frieze of metops and bucrania. The upper storey is limestone but the lower level has rusticated vermiculated stone which absorbs the pollution of the air and has become blackened.

Although Henry Keene is identified as the architect, it is said to copy Richard Boyle 3rd Earl of Burlington’s design for General Wade’s Mayfair house, but George Montague, in a letter to Horace Walpole in 1761, commented ‘The Provost’s House of the university is just finished after the plan of General Wade’s but half of the proportions and symmetry were lost at sea in coming over’.

Henry Keene (1726-1776), architect of the Provost’s House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Anne Keene, wife of Henry, architect of the Provost’s house. She looks rather worried. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory tells us that it was commissioned for Provost Francis Andrews, and “Dr Frederick O’Dwyer has suggested that John Magill, the builder, conspired with Andrews to divert funds from the west front of Parliament Square for its building. Andrews was heavily criticised by contemporaries for removing his lodgings from the main college residences. It was extended in 1775 to designs by Christopher Myers and continued to be augmented and updated into the nineteenth century when John Mallet was paid £326 5s 3½d for plumbing works. According to Casey (2005), the interior is reminiscent of Richard Castle’s country house design for Bellinter in Co Meath, and of Castle’s design for number 85 Stephen’s Green. The octagonal stair supports an iron balustrade by Timothy Turner. The saloon chimneypiece decorative designs are derived from Boucher’s ‘Livres des Arts’. The interior plasterwork is by Patrick and John Wall and the carving by James Robinson and Richard Cranfield.

The rather stark front hall of the Provost’s House, constructed in the early 1760s. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Decorative frieze and cornice in the front hall of the Provost’s house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The inner front hall has groin vaulting. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The front hall and front door of the Provost’s House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stairs of the Provost’s House. The walls look like brick but are of timber, much like in the later Powerscourt townhouse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stairs and overlooking arched window at the Provost’s House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lovely stuccowork in the staircase hall, over a portrait of Hugh Boulter, Protestant Archbishop of Armagh and then Primate of Ireland 1724-1742. He was also Chaplain to King George I. The Dictionary of National Biography tells us that by a statute enacted through Boulter’s influence, Catholics were excluded from the legal profession and disqualified from holding offices connected with the administration of law. Under another act passed through Boulter’s exertions, they were deprived of the right of voting at elections for members of parliament or magistrates—the sole constitutional right which they had been allowed to exercise. He helped to set up the Charter School system and sought to convert Catholics to Protestantism, but did good work trying to alleviate hunger during the Faminethough perhaps he only advocated feeding those who converted to Protestantism! I’m not sure of that though. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The portrait of Hugh Boulter is in an impressively carved frame. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dining room also has an impressive carved chimneypiece. The woodwork in the house is by James Robinson and Richard Cranfield. The painting is in a lovely stuccowork frame. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Chimneypiece detail in the dining room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Plasterwork by the Wall brothers of Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ceiling rose and ceiling of the dining room in the Provost’s House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The cornice of the dining room is very ornate. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There are plasterwork swags and floral motifs. The door frames are of carved timber. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The staircase hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The landing has a lovely lantern dome. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The upper storey landing. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There is a third storey, not visible from the outside as the house appears to have two storeys, so this would be the attic level. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There’s decorative stucco work around the edge of the lantern window in the roof. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Uptairs is a large salon which takes up nearly the entire floor and is perfect for the Provost’s entertaining. Traditionally, Provosts didn’t marry, so the house is not built for a family, it does not have large living quarters.

The Salon of the Provost’s House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Salon of the Provost’s House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Saloon. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Provost who commissioned the building of the new Provost’s House begun in 1759, Frances Andrews, whose portrait by Antonio Maroni hangs in the salon. He was Provost 1758-1774. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carved doorcase with impressive Corinthian fluted columns and stuccowork birds typical of the Dublin school. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The birds in the plasterwork are similar to those of Robert West, such as in 85 St. Stephen’s Green, now the Museum of Literature, MOLI. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Robert West stuccowork, 85/86 St. Stephen’s Green. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A mask design in stucco, flanked by birds’ heads. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
John Russell (1710-1771) 4th Duke of Bedford was Chancellor of the University 1765-1771. The portrait is by Thomas Gainsborough. It’s suitable to include him in this post, as he is not only in the Saloon of the Provost’s House but he commissioned several pieces by Canaletto, famous painter of Venice, Giovanni Antonio Canal (1697 – 1768). Russell was Lord Lieutenant of Ireland in 1756 and resigned in 1761.
The National Inventory tells us that the saloon chimneypiece decorative designs are derived from Boucher’s ‘Livres des Arts’. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Saloon chimneypiece. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Queen Elizabeth I was the founder of Trinity College Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Earlier in the year I’d hoped to have a tour of the Provost’s House in June at an Alumni Garden Party, but we were not brought inside!

The back of the Provost’s House, at the Garden Party in June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Provost’s Garden, at the Garden Party in June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The back of the Provost’s House, at the Garden Party in June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I didn’t see the name of this sculpture or the artist. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

On Saturday Stephen and I went on a tour of Dun Laoghaire’s County Hall, and then to Loughlinstown House. Sunday I went to see a house in the Tenters in Dublin, then for an architect’s tour of the outside of the Royal Hospital Kilmainham. I can’t wait until the inside is open again, now being renovated by the Office of Public Works.

Dun Laoghaire County Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dun Laoghaire County Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dun Laoghaire County Hall. The building reminds me of Trinity College’s Museum Building and is indeed in the same style – a sort of Venetian style, our excellent guide told us – again, suitable for this post! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dun Laoghaire County Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dun Laoghaire County Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dun Laoghaire County Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
John Loftus Robinson, architect of Dun Laoghaire County Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The crest of the Commissioners of Kingstown (as Dun Laoghaire was formerly known, named after the visit of King George IV, when Cobh in Cork was renamed Queenstown), 1880, on the floor. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dun Laoghaire County Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Loughlinstown House, Dublin, extant 1778, erected in two stages succeeding a house occupied by Sir William Domvile (1609-89), one-time Attorney General for Ireland (fl. 1660-86). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Loughlinstown House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Loughlinstown House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Loughlinstown House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I’ll get back to posting about Section 482 properties next week!

Portraits W-X-Y-Z

W

James Wallis (ca. 1570-1661). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Portrait of Frances Walsingham (1567-1633), along with her husband Robert Devereux (1566-1601) 2nd Earl of Essex, and in the small picture, Sir Philip Sydney (1554-1586), her first husband. Her third husband was Richard Bourke (1572-1635) 4th Earl of Clanricarde.
John Wandesford (1725-1784), 1st Earl of Wandesford and Viscount Castlecomer, after Sir Joshua Reynolds (1723-92). This portrait hangs in 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
Susan Frances Elizabeth Wandesford (1754-1830) Duchess of Ormonde. She was the daughter of John Wandesford 1st and last Earl Wandesford and 5th Viscount Castlecomer, and wife of John Butler 17th Earl of Ormonde. Painting by Hugh Douglas Hamilton.
Michael Ward (1683-1759) by Charles Jervas, courtesy of National Trust, Castle Ward.
Anne Hamilton (1692-1760) who married Michael Ward (1683-1759), by Godrey Kneller, courtesy of National Trust, Castle Ward. She was the daughter of James Hamilton (1640-1707) of Bangor and Sophia née Mordaunt.
Anne Hamilton (1692-1760) who married Michael Ward by Charles Jervas, courtesy of National Trust, Castle Ward. She was the daughter of James Hamilton (1640-1707) of Bangor and Sophia née Mordaunt.
Bernard Ward (1719-1781) 1st Viscount Bangor by Francis Cotes, courtesy of National Trust, Castle Ward. He was the son of Michael Ward (1683-1759) and Anne Hamilton.
Sophia Ward (born 1715) who married Arthur Upton (1715-1768), by Charles Jervas, courtesy of National Trust, Castle Ward. She was the sister of Bernard Ward 1st Viscount Bangor.
Edward Ward (1753-1812) by George Romney, courtesy of National Trust, Castle Ward. He was a son of Bernard Ward (1719-1781) 1st Viscount Bangor
Arabella Crosbie (d. 1813) who married Edward Ward (1753-1812), by Anna Maria Frances Blackwood Price, courtesy of National Trust, Castle Ward, County Down. She was the daughter of William Crosbie 1st Earl of Glandore, County Cork.
Edward Ward (1790-1837) 3rd Viscount Bangor by Frederick Richard Say, courtesy of National Trust, Castle Ward.
Harriet Margaret Maxwell (1805-1880) Viscountess Bangor, wife of Edward Southwell Ward (1790-1837) 3rd Viscount Bangor, daughter of Reverend Henry Maxwell, 6th Baron Farnham of Farnham Estate, County Cavan. Painting by Edwin Long, courtesy of National Trust, Castle Ward.
Edward Ward (1827-1881) 4th Viscount Bangor, by Edwin Long, courtesy of National Trust, Castle Ward.
A portrait of Alice Waterhouse (1700-1782), wife of Bishop Jemmett Browne (1703-1782), Bishop of Cork and Archbishop of Tuam. They lived at Riverstown, County Cork. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
John Watson (Master of the Meaths) Print, by Cecil E. Cutler 49.5 x 33.5cm Signed and dated 1904 John Watson (1858-1908)…courtesy Adam’s 23 Oct 2007.
Richard Colley Wellesley (1760-1842), 2nd Earl of Mornington and 1st Marquess Wellesley by John Philip Davis courtesy of National Portrait Gallery in London NPG 846.
Richard Colley Wellesley, 1st Marquess Wellesley (1760-1842), Irish school 19C, Homan Potterton auction at Adam’s 7th Sept 2021.
Hyacinthe Gabrielle Marchioness Wellesley, wife of Richard Colley Wellesley (1760-1842), 2nd Earl of Mornington and 1st Marquess Wellesley, by Hugh Douglas Hamilton courtesy of Christie’s 2006.
William Wellesley-Pole, later 1st Baron Maryborough and 3rd Earl of Mornington (1763-1845) by Thomas Lawrence courtesy of wikipedia and Bonhams.
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). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lady Anne Conolly née Wentworth (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. Painting attributed to Anthony Lee, courtesy of National Gallery of Ireland. She was the mother of Thomas Conolly (1734-1803).
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
Thomas Wentworth, the 1st Earl of Strafford (1593-1641). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
William Wentworth-Fitzwilliam, 4th Earl FitzWilliam (1748-1833), later Lord Lieutenant of Ireland by Engraver Joseph Grozer, British, fl.1784-1797 After Joshua Reynolds, English, 1723-1792courtesy of National Gallery of Ireland.
Garret Wesley 1st Earl of Mornington http://www.tcd.ie/library/manuscripts/blog/2014/02/appointment-of-tcds-first-professor-of-music-1764/©Stratfield Saye Preservation Trust.
Henry Robert Westenra, 3rd Baron Rossmore. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Harriet Murray (1742-1822) married Henry Westenra (1742-1809) of Rossmore Park, County Monaghan, and Hester Westenra: this could be her daughter, 1775-1858 who married Edward Wingfield (1772-1859), son of 3rd Viscount Powerscourt. 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. Rossmore Castle was demolished in 1975. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Thomas “Buck” Whaley (1766-1800), c. 1780.
The sitter’s maiden name was Maria Courtney but for some seven or eight years before her death in 1798 in Douglas, Isle of Man, she was known as Mrs. Whaley. She was the constant companion of a wealthy and dissolute young Irishman, Thomas, or Buck, Whaley, by whom she had four children: Thomas, Richard, Ann, and Sophia Isabella. They lived in a house Buck Whaley built on the Isle of Man, where this portrait may have hung in the dining room. Portrait is attributed to George Chinnery, c. 1795. Picture courtesy of The Met, New York.
Buck Whaley’s Memoirs, courtesy of Fonsie Mealy auction.
Caroline Elizabeth Coote née Whaley courtesy of wikitree, uploaded by Desmond William Kelly Lynch SD
Lady Olivia-Charlotte White, Lady Elizabeth-Mary White and William, 4th Earl of Bantry, with a dog, Irish school c. 1860 courtesy Christies Irish Sale 2004. William Henry Hare Hedges-White (1801-1884) was the son of William Hedges-White, 3rd Earl of Bantry. His sister Olivia Charlotte Hedges-White married Arthur Edward Guinness (1840-1915), Baron Ardilaun, and they lived in Ashford Castle in County Mayo. Elizabeth Mary Gore Hedges-White, another sister, married Egerton Leigh.
Edward Winder (c.1775-1829). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Jane Winder (b. 1773), married William Charles Monck Mason (1775-1859).
Caroline Windham of Dunraven Castle, Wales, who married Henry Windham Wyndham-Quin 2nd Earl of Dunraven, courtesy of The National Library of Wales.
Richard Wingfield (1697-1751) 1st Viscount Powerscourt by Anthony Lee courtesy of Christie’s sale catalogue 1984. He was son of Edward Wingfield (died c. 1728) of Powerscourt and Eleanor daughter of Arthur Gore 1st Baronet of Newtown Gore, County Mayo.
Isabella Wingfield (c. 1701-1764) by John Verelst, 1722, daughter of Edward Wingfield (died c. 1728) of Powerscourt and and Eleanor daughter of Arthur Gore 1st Baronet of Newtown Gore, County Mayo. She was wife of Henry King 3rd Baronet of Boyle Abbey, County Roscommon.
Portrait of a gentleman, traditionally identified as Edward Wingfield (1729-1764) 2nd Viscount Powerscourt, in a brown coat by circle of Francis Cotes, Hugh Douglas Hamilton.
Richard Wingfield (1730-1788) 3rd Viscount Powerscourt. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Richard Wingfield (1815-1844) 6th Viscount Powerscourt. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Richard Wingfield (1815-1844), 6th Viscount Powerscourt photograph courtesy of National Gallery of Ireland.
Elizabeth Jocelyn (1813-1884), Marchioness of Londonderry, formerly Viscountess Powerscourt, by James Rannie Swinton, courtesy of Mount Stewart National Trust. She was married to the 6th Viscount Powerscourt. She was the daughter of Robert Jocelyn 3rd Earl of Roden. After her husband’s death she married Frederick William Robert Stewart, 4th Marquess of Londonderry, of Mount Stewart, County Down.
Mervyn Wingfield, 7th Viscount Powerscourt (1844-1904) by Sarah Henrietta Purser presented to National Gallery of Ireland by Lord Powerscourt in 1904, NGI 561.
Arthur Wolfe, 1st Viscount Kilwarden and his wife Anne by Thomas Hickey, 1769. Courtesy Sothebys.
Lady Mary Wortley Montagu (1718-1794), Wife of John Patrick Crichton Stuart 3rd Earl of Bute, print after Christian Friedrich Zincke, 1830s, courtesy of National Portrait Gallery of London, NPG D34619.
Henry Windham Wyndham-Quin (1782-1850) 2nd Earl of Dunravan by Thomas Phillips, courtesy of National Library of Wales
Caroline Windham of Dunraven Castle, Wales, who married Henry Windham Wyndham-Quin 2nd Earl of Dunraven, courtesy of The National Library of Wales.
Photograph courtesy of Glin castle website: A portrait of Windham Thomas Wyndham-Quin the 4th Earl of Dunraven hangs above the marble mantelpiece in the library. His daughter Rachel Charlotte married the 27th Knight of Glin.
Anna Maria Charlotte Wyndham-Quinn, née Dunraven (1814-1855), courtesy of the National Library of Wales.
Owen John Wynn (d. 1840) of Hazelwood, County Sligo attributed to William Robinson courtesy of National Trust Florence Court.
Maria Susanna Ormbsy by Hugh Douglas Hamilton, she was daughter of William Ormsby (1718-1781) and Hannah Wynne of Hazelwood, County Sligo courtesy of Adams auction 27 March 2018. This excellent portrait, painted after Hamiltons return to Dublin from Rome is not listed by Fintan Cullen. [Oil Paintings of Hugh Douglas Hamilton, Walpole Society Vol. 50 1984] and is a welcome addition to the inventory of Hamiltons extant portraits (1796). It re-emerged from the recent disposal of the Harlech Collection in Wales. The Ormsby-Gores, in spite of a Welsh title and seat, represent two families from the West of Ireland who flourished in the 18th century. The subject of the present lot, Maria Susannah Ormsby was the daughter of William Ormsby M.P for Sligo and Hannah Wynne of Haselwood, County Sligo, the lovely Palladian villa designed by Richard Castle. Her brother, Owen Ormsby married (1777) Margaret Owen who came into a great Welsh estate that had been swollen by the Godolphin inheritance. Their only child and heiress Mary Jane Ormsby married (1815)William Gore, M.P. for Leitrim from a family long influential in Counties Mayo, Sligo and Leitrim. Thereafter the family became Ormsby-Gore and were subsumed into English high society with a title from the Barony of Harlech. Our subject, Maria Susannah Ormsby, died unmarried so this portrait of a charming and artistic woman remained with the Ormsby-Gores. As an observation of mature character it confirms Hugh Douglas Hamiltons place in the top rank of European portraiture.Maria Susanna Ormbsy by Hugh Douglas Hamilton, she was daughter of William Ormsby (1718-1781) and Hannah Wynne of Hazelwood, County Sligo courtesy of Adams auction 27 March 2018. This excellent portrait, painted after Hamiltons return to Dublin from Rome is not listed by Fintan Cullen. [Oil Paintings of Hugh Douglas Hamilton, Walpole Society Vol. 50 1984] and is a welcome addition to the inventory of Hamiltons extant portraits (1796). It re-emerged from the recent disposal of the Harlech Collection in Wales. The Ormsby-Gores, in spite of a Welsh title and seat, represent two families from the West of Ireland who flourished in the 18th century. The subject of the present lot, Maria Susannah Ormsby was the daughter of William Ormsby M.P for Sligo and Hannah Wynne of Haselwood, County Sligo, the lovely Palladian villa designed by Richard Castle. Her brother, Owen Ormsby married (1777) Margaret Owen who came into a great Welsh estate that had been swollen by the Godolphin inheritance. Their only child and heiress Mary Jane Ormsby married (1815)William Gore, M.P. for Leitrim from a family long influential in Counties Mayo, Sligo and Leitrim. Thereafter the family became Ormsby-Gore and were subsumed into English high society with a title from the Barony of Harlech. Our subject, Maria Susannah Ormsby, died unmarried so this portrait of a charming and artistic woman remained with the Ormsby-Gores. As an observation of mature character it confirms Hugh Douglas Hamiltons place in the top rank of European portraiture.

Y

Elizabeth Stuart née Yorke (1789-1867). Lady Stuart de Rothesay, with her daughters Charlotte (1817-1861) and Louisa (1818-1891) by George Hayter, photograph courtesy of UK Government Art Collection. She was the daughter of Philip Yorke, 3rd Duke of Hardwicke, and wife of Charles Stuart 1st and last Baron Stuart de Rothesay. Charlotte married Charles John Canning 1st Viceroy of India, 2nd Viscount, 1st Earl Canning; Louisa married Henry de la Poer Beresford 3rd Marquis of Waterford.
Philip Yorke (1757-1834), 3rd Duke of Hardwicke, former Lord Lieutenant of Ireland, 1836 by engraver William Giller after Thomas Lawrence, courtesy of National Gallery of Ireland.

Áras an Uachtaráin, Phoenix Park, Office of Public Works Dublin

Having recently revisited the wonderful Casino (“little house”) in Marino, my entry for the Dublin Office of Public Works properties is becoming too long so I have to split it up into several entries, starting today with my entry for the Aras an Uachtaráin, the House of the President, in Phoenix Park. I will be publishing my updated Casino entry soon.

I haven’t been visiting Section 482 properties in the past two months, as I was experiencing “burnout.” As lovely as it is to visit historic properties, it is difficult arranging visits with owners. I feel like I am treading on toes, especially because I will be publishing about my visit, which I can understand alarms owners. It is so much easier visiting public properties. I am also still catching up writing about properties which I visited during the year, and sending entries to owners before publication, seeking approval.

Every weekend which passes, however, without a visit to a Section 482 property is an opportunity missed, and I do hope that the properties which I will not have time to visit this year will continue to be on the Section 482 list next year! Already since I started this project in 2019, some properties have dropped off the list and I have missed the chance to visit.

I’m already excited about the 2024 list, and I will be creating my calendars next year for the 2024 Section 482 properties, which will be available to purchase via this website. Unfortunately the Revenue does not publish the list until late February, so I won’t be able to have the calendars ready at the beginning of the new year. However, I have calendars for sale currently which do not list opening dates for the properties but have all of the pictures of the properties, and which can be used in any year. They would make a good Christmas present!

Section 482 any year calendar A5 size

2026 Diary of Irish Historic Houses (section 482 properties)

To purchase an A5 size 2026 Diary of Historic Houses (opening times and days are not listed so the calendar is for use for recording appointments and not as a reference for opening times) send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €10 for the A5 size calendar, so I would appreciate a donation toward the postage – you can click on the donation link.

€20.00

Office of Public Works Properties in Dublin:

1. Áras an Uachtaráin, Phoenix Park, Dublin

2. Arbour Hill Cemetery, Dublin

3. Ashtown Castle, Phoenix Park, Dublin – closed at present

4. The Casino at Marino, Dublin

5. Customs House, Dublin

6. Dublin Castle

7. Farmleigh House, Dublin

8. Garden of Remembrance, Dublin

9. Government Buildings Dublin

10. Grangegorman Military Cemetery, Dublin

11. Irish National War Memorial Gardens, Dublin

12. Iveagh Gardens, Dublin

13. Kilmainham Gaol, Dublin

14. National Botanic Gardens, Dublin

15. Phoenix Park, Dublin

16. Rathfarnham Castle, Dublin

17. Royal Hospital Kilmainham in Dublin – historic rooms closed

18. St. Audoen’s, Dublin

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

20. St. Stephen’s Green, Dublin

donation

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

€15.00

1. Áras an Uachtaráin, Phoenix Park, Dublin 8:

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

general enquiries: (01) 677 0095

phoenixparkvisitorcentre@opw.ie

From the OPW website:

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

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

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

Phoenix Park was originally formed as a royal hunting Park in the 1660s, created by James Butler the Duke of Ormond. A large herd of fallow deer still remain to this day. Since it was a deer park it needed a park ranger. One of the park chief rangers was Nathaniel Clements (1705-1777), who was also an architect, and it was he who built the original house in 1751 which became the Aras. He was appointed as Ranger and Master of the Game by King George II in 1751. Clements was also an MP in the Irish Parliament.

Photograph from the National Library, from when the building was the Vice Regal Lodge. This is the front which faces Chesterfield Avenue. Photograph is by Robert French, and the photograph is part of the Lawrence Photographic Collection, Date: between circa. 1865-1914, NLI Ref: L_ROY_00335
The Vice-Regal Lodge (Lord Lieutenant’s Residence), Phoenix Park, Dublin After John James Barralet, Irish, 1747-1815, photograph courtesy of National Gallery of Ireland.

Clements accumulated much property including Abbotstown in Dublin, and estates in Leitrim and Cavan. In Dublin, he developed property including part of Henrietta Street, where he lived in number 7 from 1734 to 1757. For more about him, see Melanie Hayes’s wonderful book The Best Address in Town: Henrietta Street, Dublin and its First Residents, 1720-80 published by Four Courts Press in 2020. Another house he designed, which is sometimes on the Section 482 list, is Beauparc in County Meath, and another Section 482 property, Lodge Park in County Kildare. Desmond Fitzgerald also attributed Colganstown to him, a house we visited in 2019, though this is not certain. [2]

7 Henrietta Street, recently for sale, photograph courtesy of myhome.ie, built for Nathaniel Clements, who also built the house that has become Aras an Uachtarain.
Number 7 Henrietta Street, from myhome.ie. The interior retains an original double-height open-well staircase and early dog-leg closed-string service stair with original plasterwork and joinery throughout. Laid out by Luke Gardiner in the 1720s, Henrietta Street is a short cul-de-sac containing the finest early Georgian houses in the city, and was named after Henrietta Crofts, the third wife of Charles Paulet, 2nd Duke of Bolton and Lord Lieutenant in 1717-1721.

We attended a few of President Higgins’s summer parties at the Aras. These are open to the public, by booking tickets.

Aras an Uachtarain, July 2012. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aras an Uachtarain, June 2022. © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Entrance Hall of the Áras dates from 1751 from the time of Nathaniel Clements, and features a magnificent barrel-vaulted ceiling with plaster busts in the ceiling coffers.

The Entrance Hall dates from 1751 and features a magnificent barrel-vaulted ceiling with plaster busts in the ceiling coffers. Photograph taken on our visit to the Aras Garden Party in June 2022. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aras an Uachtarain. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aras an Uachtarain. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Bust of President Michael D. Higgins in the Entrance Hall. © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Council of State Room is part of the original 1751 house. The ceiling, installed by Nathaniel Clements in 1757, is by Bartholomew Cramillion and depicts three of Aesop’s Fables – the Fox and the Stork, the Fox and the Crow and the Fox and the Grapes.

A covered ceiling with original mid-C18 plasterwork of Aesop’s fable theme. This beautiful plasterwork is by Bartholomew Cramillion. Another ceiling by him was taken from a house which was demolished, Mespil House in Dublin, and is now in what is called the President’s Study, and depicts Jupiter presiding over the elements and the four season and dates from the late 1750s. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aras an Uachtarain. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aras an Uachtarain. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Maude Gonne, by Sarah Purser, on the right of us in our Bloomsday outfits, in the Council of State Room. On the left is Constance Markievicz, by Szankowski. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The first meeting of the Council of State, January 1940. © Jennifer Winder-Baggot, www.irishhistorichouses.com

The State Drawing Room is also part of the original house and the its rich gilt ceiling dates from then. The walls are lined with green silk.

Myself and Stephen with the President Michael D. Higgins and his wife Sabina in 2012, in the State Drawing Room. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The State Drawing Room. The Louis XVI couch came from the palace of Versailles during the Presidency of Eamon De Valera. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ceiling of the State Drawing Room, part of the 1751 house. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aras an Uachtarain. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The State Drawing Room, June 2022. The chandelier commemorates the 1801 Act of Union with its entwined shamrocks, roses and thistles, and originally hung in Dublin Castle. The wall lights were made from a second similar chandelier. The Louis XIV couch and chairs came from the Palace of Versailles as a gift during Eamon de Valera’s Presidency. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Pianist at the Bloomsday Celebration at the Aras, June 2022, in the State Drawing Room. © Jennifer Winder-Baggot, www.irishhistorichouses.com

The administration of the British Lord Lieutenant bought the house from Nathaniel Clements’ son Robert 1st Earl of Leitrim in 1781, to be the personal residence for the Lord Lieutenant. In 1781 the Viceroy, or Lord Deputy, was Frederick Howard, 5th Earl of Carlisle. The building was rebuilt and named the Viceregal Lodge. At first it served as a summer residence, while the Viceroy stayed in Dublin Castle for the winter. The first “Lord Lieutenant” was his successor, William Henry Cavendish Bentinck, 3rd Duke of Portland.

Wife of the 1st Lord Lieutenant, Dorothy Bentinck Duchess of Portland (1750-1794), nee Cavendish, daughter of the 4th Duke of Devonshire, Vicereine of Ireland 1782, painted by George Romney. © Jennifer Winder-Baggot, www.irishhistorichouses.com

The house was extended when acquired for the Viceroys to reflect its increased ceremonial importance. Mark Bence-Jones tells us that after being bought by the government, the house was altered and enlarged at various times. David Hicks tells us in his Irish Country Houses, A Chronicle of Change that all those who were awarded the position of Lord Lieutenant were from titled backgrounds and accustomed to grand country houses in England, so they found the Viceregal Lodge to be unimpressive. The 3rd Earl of Hardwicke, Philip Yorke, was the first Lord Lieutenant after the Act of Union in 1800, in 1801-1806. Yorke supported Catholic emancipation. In 1802 Yorke employed Robert Woodgate, a Board of Works architect, to make some alterations to the house, adding new wings to the house.

Photograph from the National Library of Ireland. This is the garden side of the house. The double height pedimented portico of four gian Ionic columns was added in 1815 by architect Francis Johnston. Photograph is by Robert French, and the photograph is part of the Lawrence Photographic Collection, Date: between circa. 1865-1914, NLI Ref: L_CAB_02652.
Philip Yorke, 3rd Earl of Hardwicke, (1757-1834), Former Lord Lieutenant of Ireland Date 1836 Engraver William Giller, British, c.1805-after 1868 After Thomas Lawrence, English, 1769-1830, photograh courtesy of National Gallery of Ireland.

Additional work was carried out by Michael Stapleton – who was an architect as well as noted stuccadore – and Francis Johnston. In 1808, when Charles Lennox, 4th Duke of Richmond was Lord Lieutenant, Johnston added a Doric portico to the entrance front, and the single-storey wings were increased in height.

Aras an Uachtarain, June 2022. In 1808 Francis Johnston added a Doric portico to the entrance front. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aras an Uachtarain, June 2022. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charles Lennox, 4th Duke of Richmond, (1764-1819), Soldier and Lord Lieutenant of Ireland, had Francis Johnston work on the property. Engraver Henry Hoppner Meyer, English, 1782-1847 After John Jackson, English, 1778-1831. Photograph courtesy of National Gallery of Ireland.

In 1815, Johnston extended the garden front by five bays projecting forwards, and in the centre of this front he added the pedimented portico of four giant Ionic columns which is the house’s most familiar feature. 

In 1815, Francis Johnston added the pedimented portico of four giant Ionic columns which is the house’s most familiar feature. © Jennifer Winder-Baggot, www.irishhistorichouses.com
At the garden party, © Jennifer Winder-Baggot, www.irishhistorichouses.com

The ballroom/state reception room was also added at this time.

The former ballroom, now the State Reception Room, which features a plaster cast of a Lafrancini ceiling. Photograph taken in June 2022 at the Bloomsday Summer Garden Party. © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was not until the major renovations in the 1820s that the Lodge came to be used regularly by Lord Lieutenants. In the 1820s the Lord Deputy was Richard Wellesley, 1st Marquess Wellesley, 2nd Earl of Mornington, brother of the Duke of Wellington of Waterloo fame. See my footnotes for some portraits of Vicereines and Viceroys who may have lived in the Aras.

Richard Colley Wellesley (1760-1842), 2nd Earl of Mornington and 1st Marquess Wellesley by John Philip Davis courtesy of National Portrait Gallery in London NPG 846.

Maria Phipps née Liddell, Marchioness of Normanby (1798-1882),Vicereine 1835-39, laid out the gardens along with Decimus Burton in 1839-40. Decimus Burton also designed many gardens in London including St. James’s Park, Hyde Park Corner and Regent’s Park. He was also an architect.

Maria Phipps nee Liddell, Marchioness of Normanby (1798-1882) by Sir George Hayter, Vicereine 1835-39, who laid out the gardens along with Decimus Burton. She persuaded Queen Victoria to support Irish weavers and grant them lucrative royal warrants. George Hayter was Queen Victoria’s favourite painter. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The gardens of the Aras, at 2022 garden party. The main parterre forms a pair of ringed Celtic crosses, as laid out by Decimus Burton in conjunction with Maria Phipps nee Liddell, Lady Normanby, wife of the Viceroy in 1838. Decimus Burton also designed many gardens in London including St. James’s Park, Hyde Park Corner and Regent’s Park. He was also an architect. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aras an Uachtarain. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aras an Uachtarain. © Jennifer Winder-Baggot, www.irishhistorichouses.com
At the garden party, © Jennifer Winder-Baggot, www.irishhistorichouses.com

In 1849 the east wing was added, which houses the new State Dining Room. The financing of any royal visit was a matter of concern for Lord Lieutenants as they had to finance any improvements to the Viceregal Lodge. It was during the tenure of George Villiers, 4th Earl of Clarendon (1800-1870), that Queen Victoria visited, with the idea that this would boost morale after the famine.

The State Dining Room at the Aras, July 2013. Jacob Owen, chief architect of the Board of Works, designed the dining room and matching drawing room in 1849. © Jennifer Winder-Baggot, www.irishhistorichouses.com

Jacob Owen, chief architect of the Board of Works, designed the dining room and matching drawing room in 1849.

The State Dining Room, June 2022. © Jennifer Winder-Baggot, www.irishhistorichouses.com

Queen Victoria planted a Wellingtonia Gigantea tree which is still standing (others have planted trees also, including Queen Alexandria and Barak Obama, Charles de Gaulle, John F. Kennedy, Pope John Paul II and King Juan Carlos of Spain).

Queen Victoria planted this Wellingtonia Gigantea (photograph from July 2012). © Jennifer Winder-Baggot, www.irishhistorichouses.com

In 1854 the west wing was added, also designed by Jacob Owen. Queen Victoria visited again in 1853, and at this time the Viceregal Lodge was connected to the public gas supply, in order to illuminate the reception rooms and also to provide public lighting throughout Phoenix Park.

A new part of the West Wing was added for the visit of George V in 1911, during the Lord Lieutenancy of John Campbell Hamilton-Gordon, 1st Marquess of Aberdeen and Temair.

Ishbel nee Marjoribanks Countess of Aberdeen (1857-1939), by Alphonse Jongers. Vicereine 1886 and 1905-1915, she brought about improvements in cottage industries and women’s healthcare, and was a committed advocate of Irish Home Rule. © Jennifer Winder-Baggot, www.irishhistorichouses.com

The office of Lord Lieutenant was abolished in 1922 when the Irish Free State came into being. From 1922 until 1932 it was the residence of the Governor General of the Irish Free State. In 1922 Tim Healy was sworn in as Governor General. Over the following weeks, the former Viceregal Lodge was attacked and came under heavy fire on regular occasions.

The State Dining Room contains furniture by James Hicks of Dublin. The early 19th century fireplaces were originally a gift to Archbishop Murray of Dublin in 1812 “by his flock” for his residence at 44 Mountjoy Square, and were brought to the house in 1923, upon the sale of the house in Mountjoy Square, by the first Governor General of the Irish Free State, Tim Healy.

The early 19th century fireplaces were originally a gift to Archbishop Murray of Dublin, and were brought to the house by the first Governor General, Tim Healy. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The early 19th century fireplaces were originally a gift to Archbishop Murray of Dublin, and were brought to the house by the first Governor General, Tim Healy. © Jennifer Winder-Baggot, www.irishhistorichouses.com

In 1937 when the office of President of Ireland was established, the house became the house of the president. The first President was Douglas Hyde (President of Ireland 1938-1945).

Douglas Hyde, President of Ireland 1938-1945. © Jennifer Winder-Baggot, www.irishhistorichouses.com

During the incumbency of President Sean T. O’Kelly, in 1948, a mid-C18 plasterwork ceiling attributed to Cramillion representing Jupiter and the Four Elements, with figures half covered in clouds, was brought from Mespil House, Dublin, which was then being demolished, and installed in the President’s Study, one of the two smaller rooms in the garden front of the original house, which we did not see.

President Sean T. Kelly, term of office 1945-1959. © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Mespil House ceiling was brought here at the instigation of Dr. C.P. Curran, who was also instrumental in having casts made of the plasterwork by the Francini, or Lafranchini, brothers, at Riverstown House, Co. Cork, which then seemed in danger; and which have been installed in the ballroom and in the adjoining corridor. 

The State Reception Room (formerly the ballroom) features a plaster cast of a Lafranchini panel in the ceiling. The Lafranchini brothers were 18th century Swiss stuccodores who also worked on Carton and Castletown Houses. See my entry about Riverstown House https://irishhistorichouses.com/2022/10/05/__trashed/.

One of the State Rooms in the Aras, 1984, photograph from Dublin City Library and Archives. [3] The handwoven Donegal carpet, designed for the house by Raymond McGrath, includes the riverine heads from the Custom House representing the principal rivers of Ireland, and the phoenix rising from the flames.
The plaster cast of the Lafrancini ceiling in the former ballroom. It features “Time Rescuing Truth from the Assaults of Discord and Envy.” © Jennifer Winder-Baggot, www.irishhistorichouses.com
The original Lafrancini ceiling in Riverstown House, County Cork, photograph taken on our visit to Riverstown in June 2022. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown House, County Cork. The original of the plaster cast, in Riverstown House, County Cork. The owner of Riverstown House, Denis Dooley, cleaned the plasterwork himself, and discovered the castle in the top left hand corner, which is not in the cast, and which, on his visit to Riverstown, Desmond Guinness was astounded to notice! © Jennifer Winder-Baggot, www.irishhistorichouses.com

The State Corridor, also called the Lafranchini Corridor, leads from the Entrance Hall past the State Reception Room. This corridor was originally part of the orchestra pit for the adjoining ballroom. It was created as a corridor in the 1950s. One side of the corridor is lined with bronze busts of Irish Presidents mounted on marble columns and the other side features stucco panels showing classical figures. These too are casts taken from Riverstown House.

The Francini Corridor leads from the Entrance Hall past the State Reception Room. One side of the corridor is lined with bronze busts of Irish Presidents mounted on marble columns and the other side features stucco panels showing classical figures. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The handwoven Donegal carpet, designed for the house by Raymond McGrath, includes the riverine heads from the Custom House representing the principal rivers of Ireland. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Queuing in the Lafrancini Corridor at the June 2022 Garden Party, in order to enter the State Rooms and to meet President Michael D. Higgins and his wife Sabina. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Plaster cast in the Aras. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Original plaster in Riverstown House. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wall plaster cast of Francini plasterwork. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Original plasterwork in Riverstown House. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, County Cork. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Francini corridor, © Jennifer Winder-Baggot, www.irishhistorichouses.com

The State corridor also has a fireplace by 18th century Italian craftsman, Bossi, whose family knew the secret of how to colour marble.

A plaster cast in the Lafrancini Corridor in the Aras, above a Bossi fireplace. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The State Reception Room has a Bossi fireplace, as does the Lafranchini corridor. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Dining Room, which contains portraits of past Presidents of Ireland. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Erskine Hamilton Childers, President of Ireland 1973 until 1974 when he died in office. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Cearbhall Ó Dálaigh, President of Ireland from December 1974 to October 1976. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Patrick Hillery, President of Ireland 1976-1990. © Jennifer Winder-Baggot, www.irishhistorichouses.com
“A breath of fresh air,” by the Keep Well Glass Quilt Project undertaken by members of the Glass Society of Ireland during the third wave of Covid with a twelve week lockdown. Fifty glassmakers made two pieces each. It is on loan to the President. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mary Robinson, President of Ireland 1990-1997. © Jennifer Winder-Baggot, www.irishhistorichouses.com

Later additions to the gardens were carried out by Ninian Niven, who designed Iveagh Gardens in Dublin. The gardens contain many Victorian features including ceremonial trees, an arboretum, wilderness, pleasure grounds, avenues, walks, ornamental lakes and a walled garden, which contains a Turner peach house and which grows the food and flowers organically.

© Jennifer Winder-Baggot, www.irishhistorichouses.com

The walled gardens at the Aras. © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Peach House glasshouse was designed by Richard Turner, constructed between 1836-37. Turner also designed the large palm houses in the Botanic Gardens in Dubln, Belfast and London. The one at the Aras underwent restoration between 2007-2009. © Jennifer Winder-Baggot, www.irishhistorichouses.com
This lovely building is to one side of the main house at the Aras, I’m not sure what it is but it’s very picturesque. Photograph courtesy of Declan Murray.

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

Some of the Viceroys and Vicereines who lived there may include (portraits below are from the 2021 exhibition of Vicereines that took place in Dublin Castle): William Henry Cavendish-Bentinck the 3rd Duke of Portland and his wife Dorothy (Viceroy 1782), George Nugent-Temple-Grenville, 11st Marquess of Buckingham (Viceroy 1782), Charles Manners the 4th Duke of Rutland (1754-1787), Viceroy 1784-87, and his wife Mary Isabella, Charles Lennox the 4th Duke of Richmond and his wife Charlotte (Viceroy 1807-1813), Hugh Percy 3rd Duke of Northumberland and his wife Charlotte Florentia (Viceroy 1829-30), Constantine Henry Phipps 1st Marquess of Normanby and his wife Maria Phipps (Viceroy 1835-39), James Hamilton 1st Duke of Abercorn and his wife Louisa (Viceroy 1866-68 and 1874-76), Thomas de Grey, 2nd Earl de Grey, 3rd Baron Grantham, 6th Baron Lucas and his wife Henrietta Cole from Florence Court, County Fermanagh (Viceroy 1841-1844), Charles Vane-Tempest-Stewart, 6th Marquess of Londonderry and his wife Theresa (Viceroy 1886-89), John Spencer, 5th Earl Spencer (Viceroy 1868-74 and 1882-5), John Hamilton-Gordon, 1st Marquess of Aberdeen and Temair (Viceroy 1886 and 1905-1915)and Ivor Guest, 1st Viscount Wimborne (Viceroy 1915-1918).

Mary Somerset (1665-1733), Duchess of Ormond, wife of James Butler 2nd Duke of Ormond (1665-1745), painted by Michael Dahl. She publicly wore a new Irish-made dress every Monday in Dublin Castle to set a trend so that all ladies of fashion would buy Irish-made clothing. James Butler 2nd Duke became Lord Lieutenant in 1703, so they would have lived in Dublin Castle. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mary Isabella Manners nee Somerset, Duchess of Rutland, Vicereine 1784-87. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charlotte Florentia Percy nee Clive, Duchess of Northumberland (1787-1866), by Martin Cregan, Vicereine 1829-30. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lady Henrietta Cole, Lady Grantham, later Countess de Grey (1784-1848), Vicereine 1841-44, from Florence Court, Fermanagh. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Louisa Hamilton nee Russell Duchess of Abercorn, by Edwin Landseer (Vicereine 1866-68 and 1874-76). © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charlotte Spencer nee Seymour, Countess Spencer (1835-1903) by Sir John Leslie, Vicereine 1868-74 and 1882-5. She supported Home Rule for Ireland, putting her at odds with Queen Victoria. © Jennifer Winder-Baggot, www.irishhistorichouses.com
Theresa Susey Helen Talbot, Marchioness of Londonderry (1856-1919) by John Singer Sargent, Vicereine 1886-89. She worked to develop the craft of lacemaking in counties such as Limerick and Monaghan. © Jennifer Winder-Baggot, www.irishhistorichouses.com
This image has an empty alt attribute; its file name is img_5741.jpeg
Charles Vane-Tempest-Stewart, 6th Marquess of Londonderry, husband of Theresa Susey Helen Talbot (above). © Jennifer Winder-Baggot, www.irishhistorichouses.com
Alice Guest nee Grosvenor Viscountess Wimborne by Sir John Lavery, Vicereine 1915-18. © Jennifer Winder-Baggot, www.irishhistorichouses.com

[2] https://irishhistorichouses.com/2020/05/21/colganstown-house-hazelhatch-road-newcastle-county-dublin/

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

Kilmokea Country Manor & Gardens, Great Island, Campile, New Ross, Co. Wexford Y34 TH58 – section 482 accommodation

www.kilmokea.com

(Tourist Accommodation Facility)

Gardens Open in 2026: April 3 -Sept 27, 11am-5pm

Fee: adult €9, OAP €7, student €6, child €5, family €25

Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Kilmokea is listed under section 482 as Tourist Accommodation. The owners open the gardens to the public for a small fee. The stables and coach house have been converted to self-catering rental.

The main lawn at the rear of the house – surrounded by perenniel borders – and some fine topiary. Photograph created by George Munday, Tourism Ireland, 2014, taken from Ireland’s Content Pool care of Failte Ireland. [1]

Mark Bence-Jones tells us in his A Guide to Irish Country Houses (1988) that it is a former glebe house, that is, it was on the grounds of the church, built in 1794 (the National Inventory says 1806 – the website explains that it was not finished and occupied until the later date). It served as the residence for the Whitechurch parish Church of Ireland rector. The website for the house tells us that it is located on the site of an ancient monastery.

Kilmokea is on Great Island, which is not actually an island, although it is largely surrounded by water. The website tells us that the River Barrow, which converges with the River Nore just upstream from New Ross, forms the “island’s” western boundary, and the inner reaches of Waterford Harbour border Great Island to the South. The Campile River, to the east, also flows into Waterford Harbour, while the connecting isthmus to the ‘mainland’ of County Wexford is largely low-lying and prone to floods, hence the name Great Island. It was previously known as “Hervey’s Island” as it was part of the barony belonging to Anglo-Norman Hervey de Montmorency.

The National Inventory tells us that the composition of the house is attributed to Francis Johnston (1760-1829) “confirmed by such attributes as the deliberate alignment maximising on scenic vistas overlooking landscaped grounds with the meandering River Barrow in the near distance; the near square plan form centred on a restrained doorcase; and the diminishing in scale of the openings on each floor producing a graduated visual impression.”

Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It is a two-storey over basement house, roughly square, with a three-bay facade protected by a later porch. The garden front is of four bays and the rooms at the rear are set high above the lawn and treated as a piano nobile.

Photograph created by Chris Hill, Tourism Ireland, 2014, taken from Ireland’s Content Pool care of Failte Ireland.

The National Inventory lists the rectors who lived here: Reverend Thomas Hancock (d. 1836); Reverend Joseph Miller (d. 1838); Reverend John Keefe Robinson (d. 1862); Reverend Edward Moore (d. 1865); and Reverend Robert Gordon Stowell Greer (1871-1929), ‘Rector of [Whitechurch] Parish for 29 years.’

The gardens were created by previous owners David and Joan Price, from whom the current owners purchased the property. The website tells us that when the Prices purchased the property in 1948 it was dilapidated, and they restored and extended the house, removing the external rendering and stripping and waxing the internal joinery by hand. 

There is a sculpture memorial to David Price in the garden. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The subtropical microclimate allows many rare and tender plants to flourish. The Prices surrounded the house with a series of interconnecting garden ‘rooms’ of varying size. Across the road the garden continues with a reconstructed millpond which feeds a small stream, which winds its way through a woodland garden to the River Barrow.

In 1997 Mark and Emma Hewlett purchased the property. They have extended and enhanced both house and garden, and built a new conservatory. Upstairs was completely renovated.

Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The conservatory, where guests eat breakfast and visitors can have a snack. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The entrance door inside the porch is topped by a spiderweb fanlight, leading to a generous entrance hall. The National Inventory tells us that the carved timber door surrounds, the moulded plasterwork cornice and acanthus ceiling rose are original to the house.

The entrance hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The windows have original timber panelled shutters. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory tells us that the drawing room (north-west) retains a carved timber surround to the door opening framing a timber panelled door, and carved timber surrounds to window openings with framing timber panelled shutters. It retains a cut-black marble Classical-style chimneypiece, and moulded plasterwork cornice to the ceiling centred on “Grape and Vine”-detailed plasterwork ceiling rose.

The doors and carved door frames are original to the house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory tells us that the staircase is on a dog leg plan with replacement turned timber “spindle” balusters supporting a carved timber banister terminating in a volute. The study, now an office, has a cut-white marble Classical-style chimneypiece. It retains a picture railing below a moulded plasterwork cornice to the ceiling which is centred on a plasterwork ceiling rose.

The dining room. The National Inventory tells us the dining room has original timber cut door and window frames and timber panelled door and shutters, a cut limestone monolithic chimneypiece, and moulded plasterwork cornice to ceiling centred on “fan-vaulted” plasterwork ceiling rose. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A lovely oculus window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The guest bedrooms are tastefully decorated. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There’s even a four poster bed for the children!

Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Mark showed us the other bedrooms in the renovated coach house and stables.

The idyllic Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Guest bedrooms in the renovated coach house and stables. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Self-catering accommodation. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Self-catering accommodation in the converted coach house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Double height open space in the converted coach house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The round windows are a lovely touch. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The round window of the self-catering accommodation. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilmokea, May 2023.
Map of the garden at Kilmokea.
One enters the garden through the renovated stables. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The renovations have lovely details, like this timber windowbox and the brick detail. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The beautiful gardens of Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A lovely seating area. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Some topiary in the garden. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The gardens at Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The back of the house at Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wisteria in bloom at Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The hedges create several “rooms.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A walk through the woods, the meandering trail in the gardens of Kilmokea. The woodland garden was created in 1963. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The chickens provide fresh eggs for breakfast. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I believe the panel should read “Colonel Price” instead of “Cornel”!
Gunnera plants by the mill pond. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Mill Pond. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Incredible how old the origins of the mill pond.
The beautiful trees around the mill pond. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Some of the trail is geared toward children, to let imaginations populate the woods.

A quirky wonky bridge. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The woodland trail. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The garden trail at Kilmokea. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilmokea, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There’s a leisure area in a stone building with an indoor heated swimming pool, sauna, jacuzzi, aromatherapy treatments and a gym area. An all weather tennis court and croquet lawn complete these facilities which are for the use of residents.

Kilmokea Country Manor has won numerous awards for its hospitality and fine dining. Kilmokea is also a member of Hidden Ireland and has been recommended by Alastair Sawday’s special places to stay in Ireland, Karen Brown’s Ireland Charming Inns and Itineraries, Georgina Campbell’s guide to Ireland and The Hidden places of Ireland.

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

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

Places to visit and stay in County Down, Northern Ireland

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

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

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

Down:

1. Audley’s Castle, County Down

2. Bangor Castle Park, County Down

3. Castle Ward, County Down 

4. Dundrum Castle, County Down

5. Hillsborough Castle, County Down 

6. Montalto Estate, County Down

7. Mount Stewart, County Down

8. Newry and Mourne Museum, Bagenal’s Castle, County Down

9. Portaferry Castle, County Down

Places to stay, County Down

1. Barr Hall Barns, Portaferry, County Down – self-catering accommodation

2. Castle Ward, County Down – accommodation in Potter’s Cottage in farmyard and Castle Ward bunkhouse

3. Culloden, County Down – hotel 

4. Florida Manor, 22 Florida Road, Killinchy, Newtownards, Co Down, BT23 6RT Northern Ireland – self-catering accommodation

5. Helen’s Tower, Bangor, County Down: Irish Landmark accommodation

6. Kiltariff Hall, County Down – B&B

7. Narrow Water Castle, apartment, Newry Road, Warrenpoint, Down, Northern Ireland, BT34 3LE self catering apartment

8. The Old Inn, Bangor, County Down

9. Slieve Donard hotel and spa, County Down

10. St John’s Point Lighthouse Sloop, Killough, County Down – Irish Landmark accommodation

11. Tullymurry House, Tullymurry road, Donaghmore, Newry, County Down – Irish Landmark accommodation

12. Tyrella, Downpatrick, County Down, BT30 8SUaccommodation

Whole house County Down

1. Ballydugan House, County Down (weddings)

2. Drenagh Estate and Gardens, County Down (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 Down:

1. Audley’s Castle, Castle Ward, County Down

Audley’s Castle, Castle Ward by Bernie Brown for Tourism Ireland 2014.

https://discovernorthernireland.com/things-to-do/audleys-castle-p707501

The castle is named after its late 16th-century owners, the Audleys, an Anglo-Norman family who held land in the area in the 13th century, It was sold, with the surrounding estate, to the Ward family in 1646 and used in 1738 as an eye-catching focus of the long vista along Castle Ward’s artificial lake, Temple Water.

The site comprises of a number of paths to allow you to get to the Castle.

2. Bangor Castle Park, County Down

Bangor Castle, County Down, photograph by Robert French, [between ca. 1865-1914], Lawrence Photograph Collection, National Library of Ireland.

https://discovernorthernireland.com/things-to-do/bangor-castle-town-hall-p676451

This impressive building was built for the Hon Robert Edward Ward [1818-1904] and his family in 1852. It is presently the headquarters of Ards and North Down Borough Council who use the mansions spectacular grand salon as the council chamber. The building is situated in the grounds of Castle Park alongside North Down Museum and is just a short walk from Bangor Castle Walled Garden.

CS Lewis visited North Down on many occasions throughout his life and regularly returned to the area. He enjoyed the beautiful view over Belfast Lough from the grounds of Bangor Castle. As Lewis himself once said “Heaven is Oxford lifted and placed in the middle of County Down”.

Bangor Castle, County Down, photograph courtesy of Glenn Norwood, North Down Brorough Council.

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

p. 30. “(Ward, sub Bangor, V/PB; Bingham, Clanmorris, B/PB) An Elizabethan-Revival and Baronial mansion by William Burn, built 1847 for Robert Ward, a descendant of 1st Viscount Bangor. Mullioned windows; oriels created with strapwork; rather steep gables with finials. At one end, a battlemented tower with a pyramidal-roofed clock turret. Partly curved quoins, very characteristic of Burn. Inherited by Robert Ward’s daughter and heiress, Matilda Catherine, wife of 5th Lord Clanmorris [John George Barry Bingham, 5th Baron Clanmorris of Newbrook, County Mayo]. Featured in Peers and Plebs by Madeleine Bingham. Now owned by the town of Bangor.” 

3. Castle Ward, County Down

Castle Ward, County Down, 13 August 2006 Picture by David Cordner http://www.davidcordner.com :Tourism Northern Ireland (see [1])

https://discovernorthernireland.com/things-to-do/castle-ward-p675331 and https://www.nationaltrust.org.uk/castle-ward

The National Trust website tells us:

The current Castle Ward is a particularly unusual building, famed for having been built with two completely different architectural styles, both inside and out.

One half is built in the classical Palladian style, with the other half which faces out across Strangford lough built in the more elaborate Gothick style.

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

The story told for the reason behind this unusual decorative scheme is that the original builder of the house, Bernard Ward, 1st Viscount Bangor, did not agree with his wife Lady Anne [Anne Bligh (1718-1789, daughter of John Blight 1st Earl of Darnley] on the décor. Bernard was more classical in taste with Lady Anne prefering the fashionable Gothick style, leading them to split the house down the middle. This story is compounded by the fact that they separated not long after the house was finished with Anne leaving Castle Ward for good. This hint of scandal has carried this story through the years, but let us consider instead that Anne and Bernard set out to build the house exactly as it is – not a marriage of compromise, but a triumph of collaboration.

Castle Ward, courtesy of National Trust.
Bernard Ward, 1st Viscount Bangor.

When Bernard and Lady Anne inherited the estate in 1759 they set about building themselves a fine new house, one which would be symbolic of their union and exist as a statement of the Ward family’s bold and forward-thinking place in the world. Castle Ward was completed in 1766 and by 1781 they had been created Viscount and Viscountess Bangor in the Peerage of Ireland.

Lady Anne’s grandfather was the nephew of the Duchess of York – wife of King James II, and a first cousin of Queen Anne. This royal ancestry shows itself in the choice of the Gothick style. The ceiling in the Morning Room is copied from the Henry VII Chapel in Westminster Abbey where Anne’s maternal family were permitted to be buried due to their royal blood. Rather than the house becoming known as an architectural monstrosity, the couple aimed for it to be a masterpiece, striving against convention and rooting the Ward family as bold, modern thinkers with an impressive past.

The unusual combination of styles has long been a point of joy or novelty for guests, having a ‘marmite’ appeal. On a visit to Castle Ward, writer and poet John Betjeman referred to the ceiling in the Boudoir as “like sitting under a cow’s udder”, and the comment has stuck. Others comment on the otherworldly feeling created in the exotic grandeur of the Gothick side.

Please check the homepage for opening times of the mansion house before planning your visit, as they may change seasonally. There is no need to book your visit in advance.

Michael Ward, Father of Bernard Ward of Castle Ward.
Anne Hamilton (1692-1760), mother of Bernard Ward, 1st Viscount Bangor. She was the wife of Michael Ward (1683-1759) and daughter of James Hamilton (1640-1707) and Sophie Mordaunt (1654-1735).
Anne Hamilton (1692-1760) wife of Michael Ward.
Sophia Ward, a sister of Bernard Ward of Castle Ward, she married Arthur Upton (1714/5-1763) of Castle Upton, County Antrim.

The website also tells us more about owner Anne Ward:

Castle Ward – the story of a warring couple, divided in opinion and styles leading to a house with two sides. Perhaps the story is a little more complicated – here we delve deeper into the background of Lady Anne Bligh, co-architect of Castle Ward.

Given that Lady Anne Ward was co-creator of the dichotomous style of Castle Ward, it is surprising how few of her possessions or papers are left in the collection. Hers’ remains a hidden history. Having left Castle Ward and her husband Bernard in 1770 shortly after the completion of the house, she has become a symbol of mystery and speculation, made notorious and unusual because of her independence of mind and spirit.Given that Lady Anne Ward was co-creator of the dichotomous style of Castle Ward, it is surprising how few of her possessions or papers are left in the collection. Hers’ remains a hidden history. Having left Castle Ward and her husband Bernard in 1770 shortly after the completion of the house, she has become a symbol of mystery and speculation, made notorious and unusual because of her independence of mind and spirit.

The public expression of her personal tastes in the Gothick style at Castle Ward, clashed dramatically with her husband’s preferred classical style, and this has resulted in the condemnation of Lady Ann as unusual. History has found it difficult to understand the architectural choice that was reached by Lady Anne and Bernard, seeming as a legacy to their failed marriage. Whilst Bernard is remembered as the maker of the classical side of the house, symbolically representing reason, balance and order, Lady Anne in contrast represents an ‘otherness’ which she expressed in Gothick architecture – seemingly conveying her fantastical, whimsical and unconventional personality.

The Royal blood from her maternal grandparents gave Lady Anne the hauteur and confidence to do as she pleased. Her grandfather, the Earl of Clarendon was the nephew of the Duchess of York, wife of James II, and a first cousin of Queen Anne. Queen Anne was her mother Theodosia’s Godmother, and as such Theodosia was allowed to marry in Westminster Abbey. This was something Lady Ann was keen to highlight in her choice of architecture at Castle Ward, even copying the plasterwork from the Henry VII Chapel and recreating it in the Morning Room as a reminder of her royal connections.

The Earl of Clarendon also prompted perception of the family as “eccentric” by accounts of them acting out their role as Colonial Governor of New York dressed in articles of women’s clothing which challenged social boundaries of the period. Historians have been unable to confirm the accuracy of these accounts nor the motivations behind the Earl’s alleged presentation of gender non-conformity. Whatever the accuracy or reason, contemporaries condemned the Earl and considered it to be a sign of ‘great insanity’, however the Earl remained protected and often handsomely rewarded by their cousin Queen Anne. This connection provided crucial protection from critics.

Elizabeth Hastings, Countess of Moira who knew the family decribed them as having ‘an hereditary malady’. Members were noted as experiencing varied mental health issues. Lady Anne was accused of having ‘a shade of derangement in her intellects’. Her brother, Lord Darnley, was convinced he was a teapot and was reluctant to engage in sexual activity lest ‘his spout would come off in the night’; Lady Anne’s son Nicholas was declared ‘a lunatic’ in 1785 but details about this are scant.

Lady Anne’s relationship with a woman, prior to her two marriages [she was previously married to Robert Hawkins-Magill of Gill Hall, County Down], has also been the source of popular speculation and of academic debate. At 21, Lady Anne embarked on a six year relationship with Letitia Bushe, a woman considered much inferior in status and wealth, but much more experienced in the world with a great intellect and close friend of Mrs Delany. From the surviving correspondence of Letitia Bushe, it is clear that she was besotted with Lady Anne who was some fifteen years her junior, writing in 1740:

‘This Day twelvemonth was the Day I first stay’d with you, the night of which you may remember pass’d very oddly. I cannot forget how I pity’d you and how by that soft road you led me on to love you… that first Sunday at Bray, when you were dressing and I lay down on your Bed – ‘twas then I took first a notion to you’.

Academic research has suggested that this instance of same-sex love and desire provided Lady Anne with ‘an alternative outlet for emotional needs and energies, free of the complex web of economic and social considerations that surrounded relations between men and women of the propertied classes’ at this time.

Sadly none of Lady Anne’s correspondence to Letitia Bushe survives – in true Lady Anne style she remains an enigma, true to herself regardless of tastes or conventions, and a symbol of ‘the three-dimensional complexity of human life’.

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

p.78. Castleward: “Ward, Bangor, V/PB) A grand mid-C18 house of three storeys over basement and seven bays; built 1760/73 by Bernard Ward (afterwards 1st Viscount Bangor), and his wife, Lady Anne, daughter of 1st Earl of Darnley, to replace an earlier house. Probably by an English architect; and faced in Bath stone, brought over from Bristol in Mr Ward’s own ships. It seems that the Wards could not agree on the style of their new house; he wanted it to be Classical; but she was of what Mrs Delany called “whimsical” taste and favoured the fashionable new Strawberry Hill Gothic. The result was a compromise. The entrance front was made Classical, with central feature of a pediment and four engaged Ionic columns rising through the two upper storeys, the bottom storey being rusticated and treated as a basement. The garden front, facing over Strangford Lough, was made Gothic, with a battlemented parapet, pinnacles in the centre, and pointed windows in all its three storeys and seven bays – lancet in the central breakfront, ogee on the other side. All the windows have delightful Strawberry Hill Gothic astragals. This front of Castleward, and Moore Abbey, Co Kildare, are the only two surviving examples of mid-C18 Gothic in major Irish country houses which are not old castles remodelled. The interior of Castleward is remarkable in that the rooms on the Classical side of the house are Classical and those on the Gothic side Gothic; thus the hall – now the music room – has a Doric frieze and a screen of Doric columns; whereas the saloon has a ceiling of fretting and quatrefoils, pointed doors and a Gothic chimneypiece. The dining room, with its grained plaster panelling, is Classical and the sitting room is Gothic with spectacular plaster fan vaulting. Mr Ward, however, managed to be one up on his wife in that the staircase, which is in the middle of the house, is Classical; lit by a Venetian window in one of the end bows. If we believe Lady Anne, this was not the only time when he got his own way at her expense, for, having left him, as it turned out, for good, she wrote accusing him of bullying her. In C19, a porch was added to one of the end bows of the house, making a new entrance under the staircase; so that the hall became the music room. In the grounds there is a four storey tower-house, built at the end of C16 by Nicholas Ward; also a temple modelled on Palladio’s Redentore, dating from ante 1755; it stands on a hill, overlooking an early C18 artificial lake, or canal. On the death of 6th Viscount, 1950, Castleward was handed over in part payment of death duties to the Northern Ireland Government, who gave it, with an endowment, to the National Trust. The house and garden are now open to the public, and the Trust has set up various projects in different parts of the estate.” 

Edward Ward, son of Bernard, 1st Viscount Bangor.
Arabella Crosbie, wife of Edward Ward (1753-1812), daughter of William, 1st Earl of Glandore.
Edward Ward, 3rd Viscount Bangor, son of Edward (1753-1812), nephew of Nicholas, 2nd Viscount Bangor.
Harriet Margaret Maxwell is the wife of the 3rd Viscount Bangor, and daughter of Reverend Henry Maxwell, 6th Baron Farnham of Farnham estate in County Cavan (now a hotel).
Edward Ward, 4th Viscount Bangor, courtesy of National Trust.

4. Dundrum Castle, County Downruins

https://discovernorthernireland.com/things-to-do

Dundrum Castle, courtesy of Ulster Folk Museum.

5. Hillsborough Castle, County Down

Hillsborough Castle & Gardens, Tourism Northern Ireland 2017 (see [1])

https://www.hrp.org.uk/hillsborough-castle

Hillsborough Castle has been a grand family home and is now the official home of the Secretary of State for Northern Ireland, and a royal residence. Members of the Royal Family stay at Hillsborough when visiting Northern Ireland.

Viewed by some as a politically neutral venue, Hillsborough has played an important role in the Peace Process in Northern Ireland since the 1980s.

“In 2014, Historic Royal Palaces took over the running of Hillsborough Castle and Gardens and began an ambitious project to restore the house and gardens to its former glory.

Hillsborough, originally the settlement of Cromlyn (meaning Crooked Glen) in mid-Down, became part of the Hill family estates in the early 1600s. Moyses Hill, the landless second son of an English West Country family, joined the army to seek his fortune in Ireland, where he supported the Earl of Essex, a military leader sent by Elizabeth I. 

At this time, the land was still in the hands of Irish chiefs of the Magennis family. But the defeat of Irish chieftain Hugh O’Neill in 1603 opened the way for men such as Moyses Hill to establish themselves as landowners in Ireland. The Hills bought some 5,000 acres of land, then gradually added to this over the next 20 years until the whole area around the present Hillsborough had passed from the Magennises to the Hills.

Successive generations of this ambitious family began to rise, politically and socially, in Ireland. Within 50 years they were one of the most prominent landowning families in the area; their estates stretched for over 130 miles from Larne, north of Belfast to Dun Laoghaire, south of Dublin, around 115, 000 acres in total.

Wills Hill was the first Marquess of Downshire and his diplomatic skills as a courtier cemented the family’s position in society.

Wills Hill, 1st Earl of Hillsborough, (1718-1793), later 1st Marquess of Downshire, After Hugh Douglas Hamilton, Irish, 1740-1808. Photograph courtesy of National Gallery of Ireland.

From 1768-72 he held the post of Secretary of State for the Colonies. He had grown very powerful in government and served the royal family, for which he was awarded his title in 1789. 

Wills Hill famously hosted American founding father Benjamin Franklin, but contrary to popular myth, when they met at Hillsborough in 1771, the two men got along well together. 

Wills Hill built not only this house but also the Courthouse in The Square. He also built the terraces around The Square and other buildings in the town. 

Hillsborough is unusual for an Irish Big House as it is not a country house around which a town grew; rather it was built as a townhouse, forming one side of a neat Georgian square. 

The road to Moira once passed directly below the windows, and opposite the house were a variety of shops, houses and the Quaker Meeting House.

The 3rd and 4th Marquesses, also commissioned a lot of work on the house, giving it the outward appearance it has today.

Hillsborough Castle & Gardens, Tourism Northern Ireland 2017 (see [1])

When the house was being altered in the 1840s, the family decided to expand the gardens and so rebuilt the road, houses and Quaker Meeting House all further away. The old road was absorbed into the landscaping of the gardens, and the south side of the house was opened out to allow views of the ‘picturesque’ gardens.

Successive generations of the Hill family enjoyed the house as a family home, renovating and redecorating in the latest styles and improving the gardens. 

However, by the end of the 19th century they were spending more time on their estate in England, at Easthampstead Park in Berkshire or their seaside home at Murlough House in County Down. The sixth Marquess’ uncle and guardian, Lord Arthur Hill remained at Hillsborough Castle to look after his nephew’s estate. The family first rented out Hillsborough in 1909, then sold it completely in 1925.

It was bought by the British government, for around £24,000 (equivalent to £1.3m today) to be the residence of the Governor of Northern Ireland. 

Following Partition in 1921, Governors were appointed to represent the monarch in Northern Ireland, replacing the Lord-Lieutenant of Ireland who had previously lived at Dublin Castle. The house became known as Government House, remaining the official residence of the Governors for over 50 years.”

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

p. 152. “(Hill, Downshire, M/PB; Dixon, Glentoran, B/PB) A large, rambling, two storey late-Georgian mansion of a warm, golden-orange ashlar; its elevations rather long for their height. It appears to incorporate a much smaller house of ca 1760, but was mostly built later in C18, to the design of R.F. Brettingham, by Wills Hill, 1st Marquess of Downshire, a prominent member of Lord North’s Cabinet at the time of the American War. The work was not completed until 1797, four years after 1st Marquess’s death. In 1830s and 1840s, the house was enlarged and remodelled, to the design of Thomas Duff, of Newry, and William Sands. The pedimented portico of four giant Ionic columns in the middle of the long seventeen bay garden front – originally the entrance front – which is the principal exterior feature, dates from this period; as does the present appearance of the pedimented front adjoining to the left, with its asymmetrical projecting ends; as well as the treatment of the elevations of the two ranges at right angles to each other which form two sides of the entrance forecourt; one of them having a rather shallow single-storey portico of four pairs of coupled Ionic columns. The forecourt, with its magnificent mid-C18 wrought iron gates and railings, brought here 1936 from Rich Hill, Co Armagh, is on one side of the main square of the charming little town of Hillsborough, which is reminiscent of the Schlossplatz in a small German capital. Although the house backs onto a sizeable demesne, with a lake, the park is on the opposite side of the town. Its chief feature is Hillsborough Fort, a star-shaped fort built by Col Arthur Hill ca 1650. The gatehouse of the fort was rebuilt most delightfully in the Gothic taste ca 1758, perhaps to the design of Sanderson Miller himself. Hillsborough Castle became the official residence of the Governor of Northern Ireland 1925, and consequently became known as Government House; from then, until 1973, when the post of Governor was abolished, it was occupied by successive Governors (all PB); namely, 3rd Duke of Abercorn, 4th Earl Granville, 2nd Lord Wakehurst, Lord Erskine of Rerrick, and Lord Grey of Naunton; during this period, the house was frequently visited by members of the British Royal Family. In 1934 the house was seriously damaged by fire, and in the subsequent rebuilding the principal rooms were done up in a more palatial style, with elaborate plasterwork. The future of the house is now uncertain.” 

6. Montalto Estate, County Down

Montalto House, County Down, © Tourism Ireland created by Lewis McClay 2019 (see [1])

https://discovernorthernireland.com/things-to-do/montalto-estate-p728301

For the first time in its history, this mystical and enchanting estate, set in magnificent natural surroundings, is open to visit.

Nestled in the picturesque County Down countryside, Montalto is a privately-owned demesne steeped in history dating back to the 1600s. It is famously the site of ‘The Battle of Ballynahinch’ which took place during the Irish rebellion in 1798. It is also home to an exotic plant collection initially created by ‘The Father of Irish Gardening’, Sir Arthur Rawdon.

Montalto Estate aims to reconnect visitors with nature through access to a range of captivating gardens and beautiful walks and trails. The visitor experience includes: public access to the estate’s beautiful gardens along with unique and surprising garden features; historic walks and trails; and an exciting play area where children can explore, learn and wonder at their natural surroundings. A purpose built centre, designed in keeping with the look and feel of the estate, includes a welcome area featuring interpretation of the estate’s history; a stylish café offering flavoursome and beautifully presented food; and a shop that offers a mix of estate produce, local craft products and many other unique and exceptionally designed items.

The beautiful gardens include an Alpine Garden, a Winter Garden, a Cutting Garden, a Walled Garden, a Formal Garden and the Orchard situated within a wildflower meadow. Both the Winter Garden and Alpine Garden will always be accessible whilst the other gardens will be accessible whenever possible as they are working gardens. Four champion trees are located around the lake and the pinetum and over the past three years over 30,000 trees have been planted here.

Active families will enjoy the Woodland Trail and low wood. The impressive purpose built tree house, which was handcrafted onsite, features rope bridges, monkey bars and treetop views kids of all ages will enjoy. Mini explorers can enjoy the smaller tree house and natural play area. Everything within this area has been designed to fuel the imagination through exploration and discovery.

For tranquil and picturesque walks you can enjoy the stunning views of The Lake Walk and The Garden Walk. Catch a glimpse of some of the wonderful wildlife that calls Montalto Estate their home or simply take in the beautiful seasonal displays and reconnect with nature.

https://montaltoestate.com

The website tells us:

Montalto, nestled beautifully in the heart of the picturesque Co. Down countryside, is a privately-owned demesne which dates back to the early 1600s.

In pre-plantation times the estate was originally owned by Patrick McCartan. However, due to his involvement in the 1641 Rebellion, his Ballynahinch lands were confiscated, and in 1657 the townland was purchased by Sir George Rawdon [and Patrick McCartan was executed]. Circa 1765, his descendant Sir John Rawdon – First Earl of Moira [1720-1793] – built a mansion property on the estate: this is the house that we now know as Montalto House.

Sir John’s ancestor, Sir Arthur Rawdon – The Father of Irish Gardening – had earlier amassed a large collection of exotic foreign plants at Moira Castle. Many of Sir Arthur’s plants were transferred to Montalto when his grandson Sir John moved onto the estate.

During the Battle of Ballynahinch (part of the 1798 Rebellion), rebels occupying Montalto House are attacked by the militia. The mansion sustains some fire and artillery damage. Francis Rawdon-Hastings – 2nd Earl of Moira and Montalto resident – is a respected British military officer during the American War of Independence. He is a close friend of the Prince Regent, later King George IV. For ten years he is Governor General of India, carrying huge military and political responsibilities. He sells the Montalto Estate soon after the 1798 Rebellion and later becomes 1st Marquess of Hastings in 1816.

John Rawdon 1st Earl of Moira married three times: first to Helena Perceval, daughter of John Perceval 1st Earl of Egmont, Co. Cork; next to Anne Hill, daughter of 1st Viscount Hillsborough, and finally to Elizabeth, daughter of Theophilus Hastings, 9th Earl of Huntingdon, England. His heir is Francis Rawdon-Hastings, 1st Marquess of Hastings.

Francis Rawdon-Hastings, 2nd Earl of Moira, courtesy of Lady Lever Art Gallery.

In 1803 David Ker of Portavo purchased the estate. In 1910 Richard – the last of the Kers to reside at Montalto – is finally forced to sell the estate. In 1912 Arthur, [Arthur Vesey Meade] 5th Earl of Clanwilliam [County Tipperary], purchases Montalto for £20,000.

The Earl fights in the Boer War (where he is badly wounded), and with the Guards in France in WW1. His wife Lady Muriel cares for wounded Allied officers during their convalescence at Montalto.

“In 1979 the house is purchased by the Hogg Corry Partnership. In 1988 Corry withdraws. In 1995 it is purchased by the Wilson family. Working with local architects Hobart and Heron, as well as John O’Connell – a leading conservation architect from Dublin, specialising in Georgian architecture – they set about a programme of works to restore the house, grounds, and outbuildings to their former glory.

The estate has been almost exclusively, a family home since Lord Moira built the first house here. Nowadays Montalto offers visitors the use of 400 acres of rolling Irish countryside, which includes wonderful trails and gardens and a chance to explore this historic demesne and reconnect with nature.“”The estate has been almost exclusively, a family home since Lord Moira built the first house here. Nowadays Montalto offers visitors the use of 400 acres of rolling Irish countryside, which includes wonderful trails and gardens and a chance to explore this historic demesne and reconnect with nature.

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

p. 209. “(Rawdon, Moira, E/DEP; Ker/IFR; Meade, Clanwilliam, E/PB) A large and dignified three storey house of late-Georgian aspet; which, in fact, was built mid-C18 as a two storey house by Sir John Rawdon, 1st Earl of Moira, who probably brought the stuccodore who was working for him at Moira House in Dublin to execute the plasterwork here; for the ceiling which survives in the room known as the Lady’s Sitting Room is pre-1765 and of the very highest quality, closely resembling the work of Robert West; with birds, grapes, roses and arabesques in high relief. There is also a triple niche of plasterwork at one end of the room; though the central relief of a fox riding in a curricle drawn by a cock is much less sophisticated than the rest of the plasterwork and was probably  done by a local man. 2nd Earl, afterwards 1st Marquess of Hastings, who distinguished himself as a soldier in the American War of Independence, and was subsequently Governor-General of India, sold Montalto 1802 to David Ker, who enlarged the windows of the house, in accordance with the prevailing fashion. In 1837, D.G. Ker enlarged the house by carrying out what one would imagine to be a most difficult, not to say hazardous operation; he excavated the rock under the house and round the foundations, thus forming a new lower ground floor; the structure being supported by numerous arches and pillars. It was more than just digging out a basement, as has been done at one or two other houses in Ulster; for the new ground floor is much higher than any basement would be; the operation made the house fully three storeyed. Entrance front of two bays on either side of a central three sided bow; the front also having end bows. Shallow Doric porch at foot of centre bow. Ground floor windows round-headed; those above rectangular, with plain entablatures over the windows of the original ground floor, now the piano nobile. Parapeted roof. The right hand side of the house is of ten bays, plus the end bow of the front; with a pilastered triple window immediately to the right of the bow in the piano nobile, balanced by another at the far end of the elevation. The left-hand side of the house is only of three bays and the bow, with a single triple window’ the elevation being prolonged by a two storey wing with round-headed windows. Various additions were built at the back of the house and at the sides during the course of C19; a ballroom being added by D.S. Ker, grandson of the David Ker who bought the estate. In 1837 ground floor there is an imposing entrance hall, with eight paired Doric columns, flanked by a library and a dining room. A double staircase leads up to the piano nobile, where there is a long gallery running the full width of the house, which may have been the original entrance hall. Also on the piano nobile is the sitting room with the splendid C18 plasterwork. Montalto was bought ca 1910 by 5th Earl of Clanwilliam, whose bridge refused to live at Gill Hall, the family seat a few miles to the west, because of the ghosts there. In 1952, the ballroom and a service wing at the back were demolished.” 

7. Mount Stewart, County Down

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

https://discovernorthernireland.com/things-to-do/mount-stewart-p675341 and https://www.nationaltrust.org.uk/mount-stewart

See my entry https://irishhistorichouses.com/2024/06/06/mount-stewart-county-down-northern-ireland-a-national-trust-property/

Mount Stewart, County Down, June 2023. The porte-cochere was added by the 3rd Marquess of Londonderry, when William Morrison designed enlargement of the house.
Robert Stewart, 1st Viscount Castlereagh, later 2nd Marquess of Londonderry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The man in splendid robes at the end of the room is Arnold Joost van Keppel, 1st Earl of Albemarle, by Godfrey Kneller. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A George Stubbs masterpiece hangs on the west staircase: Hambletonian, Rubbing Down, was painted by Stubbs in 1800. The horse had been owned by Sir Harry Vane Tempest, whose daughter married Charles Stewart (3rd Marquess of Londonderry). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The textile elements of a George III mahogany tester bed, circa 1760. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The bed boasts a coronet. A polychrome painted tester bedstead, English or Irish, circa 1920
With twin painted and gilt panelled heads and ends inset with shaped reserves of blue brocade and surmounted by carved and gilt scrolls with turned vase shaped finials, the backboard covered in red figured silk damask, the side curtains of the same material, trimmed galloon. The domed canopy covered in blue silk trimmed with galloon and appliqued gilt carvings, the front and sides carved with gadrooning and leafage, centering on an armorial panel surmounted by a coronet, the whole raised on a plinth as per Londonderry House image of a figured walnut plinth, with box spring mattress, hair overlay and bedding. The bed was Lady Londonderry’s when she was in Londonderry House and was brought here in 1961 Lady Mairi slept in it in Londonderry House and Lady Rose was born in it in 1943, at Londonderry House.
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

8. Newry and Mourne Museum, Bagenal’s Castle, County Down

https://discovernorthernireland.com/things-to-do/newry-and-mourne-museum-bagenals-castle-p690251

Bagenal’s Castle, County Down, Courtesy of Tourism Northern Ireland, 2010. (see [1])

The Discover Northern Ireland website tells us:

Bagenal’s Castle is a sixteenth century fortified house and adjoining nineteenth century warehouse. It houses Newry and Mourne Museum and Newry Visitor Information Centre.

During restoration work on the Castle many original features were uncovered including fireplaces, windows, doorways, gun loops and a bread oven. These have been interpreted for the visitor and drawings were commissioned to illustrate how the various living quarters of the castle would have functioned in the sixteenth century. Highlights include a restored Banqueting Room which is used throughout the year for seasonal and family events.During restoration work on the Castle many original features were uncovered including fireplaces, windows, doorways, gun loops and a bread oven. These have been interpreted for the visitor and drawings were commissioned to illustrate how the various living quarters of the castle would have functioned in the sixteenth century. Highlights include a restored Banqueting Room which is used throughout the year for seasonal and family events.

The Museum’s diverse collections include material relating to prehistory, Newry’s Cistercian foundations, Ulster’s Gaelic order and the relationship with the English Crown; the building of a merchant town and the first summit level canal in the British Isles. You can also discover the history of the ‘Gap of the North’, the historic mountain pass between Ulster and Leinster located to the south of Newry. One of the key main exhibitions, ‘A Border Town’s Experience of the 20th Century’, examines local attitudes to major political and economic events of the 20th century. There are also permanent exhibitions on farming, fishing and folklore in the Mournes and South Armagh.”

9. Portaferry Castle, County Down

https://discovernorthernireland.com/things-to-do/portaferry-castle-p676311

The website tells us:

Portaferry Castle is a 16th-century tower-house, built by the Savage family and prominently located on the slope overlooking Portaferry harbour within sight of Strangford and Audley’s Castles across the water. Simpler than the earlier ‘gatehouse’ tower house, it is square in plan with one projecting tower to the south where a turret rises an extra storey and contains the entrance and stair from ground floor to first floor. 

There are three storeys and an attic, and like early tower-houses it has spiral stairs. However, like some later tower houses it lacks a stone vault as all floors were originally made of wood. 

***THE CASTLE IS CURRENTLY CLOSED FOR REPAIRS AND WILL NOT OPEN THIS YEAR”

Places to stay, County Down

1. Barr Hall Barns, Portaferry, County Down – self catering

https://www.barrhallbarns.co.uk/

The website tells us:

Barr Hall Barns are 18th Century period cottages in an outstanding tranquil location with panoramic views across Strangford Lough to the Mourne Mountains.

We are based just outside the seaside village of Portaferry, at the very southern tip of the Ards Peninsula, overlooking Barr Hall Bay which is protected by the National Trust.

With idyllic walking routes right at our doorstep, come escape to an area of natural outstanding beauty and enter the truly magical setting of Barr Hall Barns.

2. Castle Ward, County Down – cottage hliday rental

Potter’s Cottage in farmyard:

https://www.nationaltrust.org.uk/holidays/the-potters-cottage-northern-ireland

and Castle Ward bunkhouse: https://www.nationaltrust.org.uk/holidays/castle-ward-bunkhouse-northern-ireland

Sleeps 14 people.

3. Culloden, County Down – hotel

Culloden Estate and Spa, photograph courtesy of Hastings Hotel 2017, Ireland’s Content Pool (see [1])

4. Florida Manor, 22 Florida Road, Killinchy, Newtownards, Co Down, BT23 6RT Northern Irelandself-catering

http://www.floridamanorni.com/cgi-bin/greeting?instanceID=1

and Florida Manor Gambles Patch, Hollow View and Meadow Green.

The website tells us: “Dating back to 1676, Florida Manor, an original Irish Georgian Estate has undergone sympathetic refurbishment. Within the estates original stone perimeter wall lies 200 acres of extensive landscaped grasslands, private lakes, walkways and bridal paths.

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

p. 297. “(Gordon/IFR) A C18 house consisting of a three storey principal block with a recessed centre, linked to lower wings by curved sweeps with balustrades and pilasters. Projecting enclosed porch, also balustraded and with Ionic columns. quoins. Originally the seat of the Crawfords; passed by marriage to the Gordons C18. The house became ruinous in the present century but has been restored as two dwellings.” 

5. Helen’s Tower, Bangor, County Down – Irish Landmark accommodation

https://www.irishlandmark.com/property/helens-tower/

A tower with pepper-pot bartizans rising from a hill at the southern end of the demesne, completed 1862 to a design by William Burn. It was built in honour of his mother, Helen, Lady Dufferin, one of three beautiful and lively sisters who were the granddaughters of Richard Brinsley Sheridan; in a room near the top of the tower, lined with delicate Gothic woodwork, the walls are adorned with poems on bronze tablets expressing the love between mother and son; including a poem written specially for Lord Dufferin by Tennyson: 

Helen’s Tower here I stand 

Dominant over sea and land 

Son’s love built me, and I hold 

Mother’s love in lettered gold.” 

And see Robert O’Byrne’s entry about it at https://theirishaesthete.com/2022/09/05/helens-tower/

Helen’s Tower in County Down, photograph by Robert French, Lawrence Photograph Collection, National Library of Ireland.

6. Kiltariff Hall, County Down – B&B

https://www.kiltariffhall.co.uk 

The website tells us: “Kiltariff Hall is a Victorian Country House on the outskirts of the small market town of Rathfriland. Built by our great-grandfather William Fegan in 1888, the house is set at the end of a short drive and is surrounded by mature oak, sycamore and pine trees. It is run myself, Catherine and my sister Shelagh who grew up in Kiltariff when it was a working farm. We are both passionate and knowledgeable about the Mourne area and believe that providing good locally produced food is key to ensuring guests enjoy their stay.

7. Narrow Water Castle, apartment, Newry Road, Warrenpoint, Down, Northern Ireland, BT34 3LEself catering

http://narrowwatercastle.co.uk

Narrow Water, photograph by Chris Hill 2005 for Tourism Ireland, Ireland’s Content Pool (see[1]).

The website tells us:

Narrow Water Castle is the private home of the Hall family who have lived at Narrow Water since 1670, originally in the Old Narrow Water Keep situated on the shoreline of Carlingford Lough which is now a national monument.

As a private home the castle is not open for public admission. It does however occasionally open its doors for weddings and exclusive events.

In 1816 construction began on the new Castle by Thomas Duff, a well-known Newry architect who also designed the Cathedrals in Newry, Armagh and Dundalk. The Elizabethan revival style castle is made from local granite and built next to the existing house, Mount Hall (1680). It was completed in 1836.

The self catering apartments are located in the original hub of the castle (Mount Hall), dating back to 1680. Mount Hall joins the Elizabethan revival part of the castle to the courtyard.

Number 2: The apartment opens into an elegant open plan, living room and dining room with open fire. We have used several antique pieces of furniture to hint of times gone by. We are happy to provide logs if our guests wish to use the fire.

There are two spacious, beautifully furnished bedrooms, one of which is en-suite.

Number 6: This 2 bedroom luxury apartment is the perfect place to escape and unwind. Both bedrooms are en-suite. There is a grand open plan living /dining area with a unique feature skylight and exposed beams. The living area is adorned with antique furniture has a wood burning stove for cosy nights by the fire. The modern kitchen is fully equipped and the dining area seats six comfortably. A quality sofa bed allows this apartment to accommodate up to six guests. This apartment is on the first floor with access via the original stone staircase dating to the 1680s

8. The Old Inn, Bangor, County Down

https://www.theoldinn.com

Established in 1614!

The Old Inn, Crawfordsburn, Bangor, photograph Courtesy of Alexandra Barfoot 2022 for Tourism Northern Ireland.

9. Slieve Donard hotel and spa, County Down €€

https://www.slievedonardhotel.com

Slieve Donard hotel, Newcastle, County Down, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.

The website tells us: “Slieve Donard was originally built by the Belfast and County Down Railway as an ‘end of the line’ luxury holiday destination. Construction started in 1896 and was completed and officially opened on 24th June 1898 at the cost of £44,000. It was one of the most majestic hotels of its time and was almost self-sufficient with its own bakery, vegetable gardens, pigs, laundry and innovatively a power plant, which also provided electricity for the railway station.

Slieve Donard hotel, Newcastle, County Down, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Slieve Donard hotel hall, Newcastle, County Down, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Slieve Donard hotel staircase, Newcastle, County Down, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.

Slieve Donard typified the idea of Victorian grandeur and luxury with its Drawing Room, Grand Coffee Room, Reading and Writing Room, Smoking Room, Billiard Room and Hairdressing Rooms—you can’t help but conjure up scenes of great style and decadence. ‘One could even partake of seawater baths, douche, spray, needle and Turkish baths all provided by an electric pump straight from the sea.

Slieve Donard hotel drawing room, Newcastle, County Down, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Slieve Donard hotel, Newcastle, County Down, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Slieve Donard hotel dining room, Newcastle, County Down, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.
Slieve Donard hotel billiard room, Newcastle, County Down, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.

In 2021, Adventurous Journeys (AJ) Capital Partners acquired Slieve Donard Resort and Spa, which will become the first Marine & Lawn Hotels & Resorts property in Northern Ireland and the fourth hotel in the collection.

Slieve Donard hotel and spa, courtesy of Hastings Hotel, 2017, Ireland’s Content Pool. (see[1])

9. St John’s Point Lighthouse Sloop, Killough, County Down – Irish Landmark accommodation

St John’s Lighthouse Killough by Bernie Brown 2014 for Tourism Ireland. (see [1])

www.irishlandmark.com

JP Ketch and JP Sloop. Each sleeps four people, From £328 for 2 nights.

10. Tullymurry House, Tullymurry road, Donaghmore, Newry, County Down – Irish Landmark accommodation

https://www.irishlandmark.com/propertytag/cottages-and-houses/?gclid=Cj0KCQiA64GRBhCZARIsAHOLriLIJz7CUUx5wWUI2qTIAf7BmdPnvsPy0gkZeJ3VthNkuoG8mj6PetUaAhcXEALw_wcB

This fabulous period home is a historic Irish country farm house. Set on wonderful gardens including an orchard, Tullymurry House is an ideal base for golf, fishing, hiking, walking, beach, and other outdoor pursuits.

11. Tyrella, Downpatrick, County Down, BT30 8SU – B&B accommodation

https://www.tyrellahouse.com/the-rooms

The website tells us:

Tyrella House is a luxury B&B and wedding venue located in the heart of picturesque County Down, with its necklace of pretty fishing villages. A fine 18th century house surrounded by glorious wooded parkland with its own private beach just a short walk from the house, Tyrella offers a tranquil and relaxing getaway.

Tyrella House has been owned by the Corbett family for over 60 years, and was bought by John Corbett after the Second World War to train race horses. 

His son, David Corbett began running B&B in the 1990s, which continues to this day. In 2020, the day to day running of the B&B was taken over by his son, John and his wife Hannah.

Whole house County Down

1. Ballydugan House, County Down (weddings)

http://ballyduganhouse.com/

At Ballydugan we can provide accommodation and an oasis of relative calm for the Bride’s immediate family.  Also if absolute adherence to tradition is important then we have Ballymote Country House nearby, where we can ensure that the paths of the Bride and Groom will not cross prior to the wedding.

2. Drenagh Estate and Gardens, County Down (wedding venue)

https://drenagh.com/

It tells us “Nestled in beautiful parkland and surrounded by our gardens, you will find our grand Georgian Mansion House which is perfect for weddings, family get togethers, corporate events and much more.

The website tells us the history of the McCausland family who own the property:

The family name McCausland goes back more than 900 years to an O’Cahan named Anselan, son of Kyan, King of Ulster. Anselan was forced to leave Ireland in about 1016 on account of his share in a ‘memorable stratagem where he and other young Irishmen dressed in women’s attire surprised and slaughtered their Danish oppressors’ (The Vikings). When Malcolm II of Scotland heard of Anselans feats he invited him to become his Master of Arms and ‘bestowed ample lands upon him in The Lennox’. 

Twelve generations later, in the 1540s, his descendant Baron Alexander McAuslane returned to Ulster with his brother Andrew and settled in the Strabane area. The first McCausland to live at Drenagh (then called Fruithill) was Robert McCausland, Alexander’s grandson. Robert was bequeathed the Estates when he married the daughter of William Conolly, a wealthy self-made man and speaker of the Irish Parliament. [I don’t think this can be correct as William Conolly didn’t have a daughter]

Robert named his first son Conolly in reverence to his father-in-law; the name is still used in alternate generations to this day. A large painting of Robert and his family now hangs in the dining room at Drenagh. The first Conolly married the heiress Elizabeth Gage from Bellarena (five miles up the coast) and had a son, Conolly, who also formed another lucrative union with Theodosia Mahon from Strokestown House, Co. Roscommon [see my entry on Strokestown].

It was their son Marcus McCausland (1787-1862) who was responsible for commissioning Sir Charles Lanyon to build the present house. The former house (Fruithill) can be seen through a window painted in the portrait of Robert McCausland and his family. Marcus and his wife, Marianne, nee Tyndall from The Fort at Bristol, produced an heir Conolly Thomas(1828-1902). A delightful portrait of him dressed in his Eton cricketing clothes also hangs in the dining room at Drenagh.

Conolly Thomas’s son Maurice Marcus lived through both the best and worst of times at Drenagh as in 1902, through the Irish Land Acts; the Government compulsorily purchased 75% of the Estate.  Drenagh was lucky; many Irish Estates were taken off their owners in their entirety.  Some say this was no bad thing, as landlords the Irish landed gentry could be brutal in their treatment of their tenantry, indeed some were burnt out before they could be bought out.

Conolly Robert, Maurice’s son, fought in the 2nd World War and was so profoundly affected by what he experienced that he changed his Faith to Catholicism.  This he did despite knowing he had signed a codicil to his fathers will barring him from inheriting should he become a Catholic.  The will was contested but it was found that although the codicil applied to Conolly Robert, it did not do so to any of his direct descendants.  So, on his death in 1968, his son Marcus inherited Drenagh.

Sadly four years later in 1972 Marcus was shot dead by the IRA.

Currently Marcus’s son Conolly Patrick lives at Drenagh.

Tullyveery House remains a family home and working farm. The Georgian house, built between 1825 and 1828, was extended between 1867 and 1890.

Thomas Heron (1711-1776), one of the grandsons of a trio of brothers, decided in 1752 to move from his home at Killinchy and rent land and a house in Tullyveery townland, near Killyleagh.

Surviving farm survey maps made in 1760 show a dwelling and a farm of over 100 acres, the majority of which was let out to under-tenants. The family continued to expand and prosper, by growing flax and having it spun into thread in the local area, prior to carting to Belfast.

Thomas had a son, Francis (1750-1810), who was raised at Tullyveery, decided to move his household to an existing and somewhat better quality house at Ardigon townland, about a mile away, leaving Tullyveery as the ‘junior’ house. The Tullyveery freehold was subsequently bought in 1804.

Thomas’s son, James (1785-1839), inherited Tullyveery in 1816 and, as a 31 year old bachelor, then built between 1825-1828 the Georgian house that stands there today. In 1866-1867, his son, also called James, eventually demolished the remains of the single-story thatched house and used the square-cut stone masonry to face the existing courtyard buildings, now being used today to host weddings and events. A large three-story Victorian rear extension was finally added in the 1890s.

More recently, in 1973, the custodianship of Tullyveery passed to Colin Heron, from his father. Colin’s career resulted in him spending extended periods of time away from Tullyveery during which Michael, Colin’s brother, maintained the house and grounds, and operated a working farm. Colin returned to live in Tullyveery permanently in 2000. In 2012 he decided to diversify from farming. After much research and consideration, he decided to offer a private alternative to a hotel wedding and opened the home and grounds to couples for weddings and events. Colin also worked with TV’s Apprentice Nick Hewer as he travelled around Northern Ireland helping farms diversify on the BBC programme ‘The Farm Fixer’, which spurred him on to pursue this new path for Tullyveery.

In 2019 the custodianship of Tullyveery was passed down to the next generation and Charles (Colin’s nephew) is looking forward to taking Tullyveery from strength to strength. However, the vision for, and philosophy of, Tullyveery has not changed and you can be assured of the same high standards, seamless weddings and memorable parties that Tullyveery has become renowned for. 

The latest project at Tullyveery has been to convert our private Orchard Garden into a space suitable for ceremonies, receptions and parties. Charles remembers sneaking into the Orchard as a child to ‘steal’ apples and to go into the fruit cage to pick fresh raspberries and gooseberries. It is fantastic to now be able to share this space with our guests while also adding a much needed covered garden area to the list of spaces available.

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

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

Places to visit and stay in County Derry, Northern Ireland

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

2026 Diary of Irish Historic Houses (section 482 properties)

To purchase an A5 size 2026 Diary of Historic Houses (opening times and days are not listed so the calendar is for use for recording appointments and not as a reference for opening times) send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €10 for the A5 size calendar, so I would appreciate a donation toward the postage – you can click on the donation link.

€20.00

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

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

Derry:

1. Bellaghy Bawn, County Derry 

2. Hezlett House, 107 Sea Road, Castlerock, County Derry, BT51 4TW on Downhill Demesne.

3. Mussenden Temple, Downhill Demesne

4. Springhill House, County Derry

Places to stay, County Derry

1. Ardtara Country House and restaurant, County Derry – B&B

2. Brown Trout Inn, Aghadowey, Nr Coleraine Co. Derry, BT51 4AD

3. Roselick Lodge, County Derry – whole house rental for 8 guests, three nights minuminimum

Whole House Rental, County Derry

1. Ashbrook House, Brookeborough, Northern Ireland, BT94 4GX – whole house rental

2. Beechill House, 32 Ardmore Road, Derry-Londonderry, Northern Ireland BT47 3QP – weddings

3. Drenagh House, County Derrywhole house rental, 22 guests

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 Derry:

1. Bellaghy Bawn, County Derry

https://discovernorthernireland.com/things-to-do/bellaghy-bawn-p675661

Built around 1619 by Sir Baptist Jones, Bellaghy Bawn is a fortified house and bawn (the defensive wall surrounding an Irish tower house). What exists today is a mix of various building styles from different periods with the main house lived in until 1987.” Open on Sundays.

2. Hezlett House, 107 Sea Road, Castlerock, County Derry, BT51 4TW on Downhill Demesne. https://discovernorthernireland.com/things-to-do/hezlett-house-p687301

Hezlett’s picturesque thatched cottage exterior hides a fascinating early timber frame dating from 1690, making it one of the oldest vernacular domestic buildings in Northern Ireland. The story of the house is told through the experiences of the people who lived there.

The house at Liffock became home to the Hezletts in 1766 and stayed within the family for the next 200 years until the National Trust acquired it in 1976. The National Trust website tells us:

Isaac Hezlett (1720-1790) was the first Hezlett to live in the cottage at Liffock. He acquired the dwelling and some land in 1766. At this point in his life he was married to his second wife Esther and had two sons; Samuel from his first marriage with Margaret Kerr and Jack, half-brother to Samuel. When Samuel’s father died, he inherited the farm at the age of 37 and about five years later he married Esther Steel. She was 22 years his junior and they had eight children. Samuel was intimidated by local insurgents to join the United Irishmen; his half-brother Jack was an ardent supporter. He was threatened to be hanged from the Spanish chestnut tree in his own garden. By 1798 the rebellion was at its height and the two brothers were on opposite sides of the war. 30,000 lives were lost when the rebels were finally defeated. Jack escaped to the recently created United States of America while Samuel remained with his family in their home at Liffock until he died in 1821.

Samuel’s eldest son Isaac (1796-1883) married Jane Swan (1805-1896) in 1823. He built a two-storey extension to form a new self-contained unit for his mother and sisters. This extension could be regarded as forerunner of what we call today a ‘granny-flat’. Isaac also increased the acreage farmed at Liffock. Hugh (1825-1906), Samuel and Jane’s eldest son, increased the acreage of the farm once more. By putting his education to good use he made the farm more productive; more cash crops were grown and the herds of dairy cattle and sheep were increased. The outputs from the farm which generated income included the cash crops of flax, barley, potatoes, oats and turnips, in addition to wool, milk, calves, pigs and eggs. Hugh also oversaw an extensive re-modelling of the farmyard and outbuildings. In 1881 the Gladstone Land Act paved the way for further Acts which enabled tenant farmers to buy the land they had hitherto rented. So by the early 20th century the Hezletts were not tenant farmers but owner-occupiers.

In 1976, with funds provided by Ulster Land fund and the Ulster Architectural Heritage Society the National Trust acquired the house from the third Hugh Hezlett (1911-1988).”

3. Mussenden Temple, Downhill Demesne, County Derry

Mussenden Temple by Matthew Woodhouse 2015 for Tourism Ireland.

https://www.nationaltrust.org.uk/mussenden-temple-and-downhill-demesne

Downhill Demesne delves into a life and landscape steeped in history and nature. There’s much to explore as you enter this enchanting estate. Wander around the 18th-century demesne and discover dovecotes and gardens as you stumble upon a spectacular temple.”

Downhill Demesne, County Derry, photograph by Pocket Squares

The house of Downhill is now a ruin.

Downhill House, County Derry, photograph by Pocket Squares

The National Trust website tells us:

2018 marked the 250th anniversary of the arrival of Frederick Augustus Hervey in the Diocese of Derry. He was consecrated as Bishop in St Columb’s Cathedral in March 1768. Frederick was a man of many parts as well as being a cleric he was a scientist with a deep interest in volcanology; he was a collector of art; he travelled extensively and spoke German, French and Italian fluently; he took a keen interest in Irish politics and music; he was a powerful proponent of religious equality; and he was a builder of churches, bridges and roads.

He is remembered by us for his association with the Giant’s Causeway and the creation of the Downhill Demesne. A keen volcanologist, Frederick ‘discovered’ the Giant’s Causeway in the sense that he publicised what was then an isolated, seldom-visited spot and was the first to study it in a wider scientific context and pass on his findings to his learned friends throughout Europe. He also created Downhill House and the Mussenden Temple, Northern Ireland’s most iconic building, as his country retreat.

The Earl Bishop is largely regarded as being his own architect at Downhill but it was the Cork born Michael Shanahan who drew up most of the building plans and was, for most of the time, his buildings works superintendent. The mason James McBlain executed all the decorative carving and much of the subsequent building for the Earl. Italian stuccadores were also employed, chief among whom was Placido Columbani.

Downhill is characterised by a three storey front, facing south and with two long wings at the back of this. Originally these wings terminated in domes topped with ornamental chimney-pots. The wings were continued in ranges of outbuildings, forming inner and outer yards, and ending towards the sea in two immense curving bastions of basalt.

The main house block was faced with freestone from Dungiven quarries, about 30 miles away. The basement is rusticated and the storeys above decorated with pairs of Corinthian pilasters, topped by Vitruvian scroll course, a cornice and parapet.

Sadly the interior of the house shows little of its original character. The house was almost entirely gutted by a fire which broke out on a Sunday in May 1851. The library was completely destroyed and more than 20 pieces of sculpture had been ruined. Most of the paintings were rescued, but a Raphael, The Boar Hunt, was reported destroyed.

In his later years, the Earl Bishop spent very little time in Ireland. His Irish estates were administered by a distant cousin, Henry Hervey Aston Bruce, who succeeded him following his death in 1803.

In 1804 Henry Hervey Aston Bruce was created a baronet and Downhill remained with the Bruce family until at least 1948, though the family rarely lived there after around 1920.

The only other occupation of the house came about during WWII when the site was requisitioned by the RAF. The house was subsequently dismantled after the war and its roof removed in 1950.”

Frederick Augustus Hervey also built Ballyscullion in Derry and Ickworth in Suffolk, England. He built them not only to indulge his love of architecture, but to house his large collection of paintings, furniture and statues. He first encountered his architect, Michael Shanahan, when he was Bishop of Cloyne in Cork. David Hicks tells us in his Irish Country Houses, a Chronicle of Change that Hervey took Shanahan on a trip to Italy between 1770-1772 in order to make sketches of various items of interest that could be incorporated into his home. Shanahan took up residence in the Hervey estate in Derry and acted as the Earl Bishop’s architect in residence.

Mussenden Temple, Downhill Demesne, County Derry, photograph by Pocket Squares

The Bishop created Mussenden Temple in memory of Mrs Frideswide Mussenden, a cousin who died in 1785. Shanahan was the architect. It is believed that the Bishop used it as a private library, and permitted local Catholics to use the ground floor for mass. He left Downhill and Ballyscullion to Mrs Mussenden’s brother, Reverend Henry Aston Bruce. In doing so, he disinherited his wife and son, with whom he had quarrelled.

Frideswide Mussenden was born Frideswide Bruce. Her parents were Henrietta Aston and James Bruce. Henrietta Aston was daughter of Rev. Hon. Henry Hervey-Aston, son of John Hervey, 1st Earl of Bristol, who was the brother of Bishop Frederick Augustus’s father. The Bishop’s heir was therefore only distantly related, quite a blow to the disinherited wife and son.

He was disinherited by his father the 4th Earl of Bristol.

Reverend Bruce who inherited Downhill and Ballyscullion dismantled the latter in 1813, perhaps due to window taxes, and transferred its furniture and art to Downhill. A fire in 1851 destroyed Downhill and much of its contents. The house was rebuilt to some degree to the design of John Lanyon between 1870-74.

Reverend Bruce was created a British Baronet in 1804. His son became 2nd Baronet and grandson, 3rd Baronet of Downhill. It was passed to the 4th, 5th and 6th Baronets. By the 1950s most of the contents of the house has been sold and the house dismantled and surrounding land sold. The estate is now in the care of the National Trust.

4. Springhill House, County Derry

Springhill House and Gardens Courtesy of Tourism Northern Ireland 2007.

https://discovernorthernireland.com/things-to-do/springhill-p675711

Springhill has a beguiling spirit that captures the heart of every visitor.  Described as ‘one of the prettiest houses in Ulster’, its welcoming charm reveals a family home with portraits, furniture and decorative arts that bring to life the many generations of Lenox-Conynghams who lived here from 1680. The old laundry houses one of Springhill’s most popular attractions, the Costume Collection with some exceptionally fine 18th to 20th century pieces.

New Visitor Reception offering a retail and grab and go catering offer. Celebrated collection of costumes, from the 18th century to 1970s. Visit our second-hand bookshop and pick up a bargain. 

Walks:
Beautiful walled gardens and way marked paths through the parkland. Children’s adventure trail play park and natural play area. A variety of events throughout the year.  There are three walks available: Beech Walk, Snowdrop Walk, Sawpit Hill Walk.

Visitor Facilities:
Historic house, garden, shop, refreshments, guided tours.
Suitable for picnics and country walks. Programme of events available.
House: admission by guided tour (last admission 1 hour before closing).
Open Bank Holiday Mondays and all other public holidays in Northern Ireland.
Closed 25 and 26 December.
Visitor Centre has café and shop.
See Information tab for full Opening Times and Prices.
Access for visitors with disability and facilities for families.
Dogs welcome on leads in grounds/garden only.
Available for functions.

Caravan Site 

and https://www.nationaltrust.org.uk/springhill

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

p. 263. “(Lenox-Conyngham/IFR) A low, white-washed, high roofed house with a sense of great age and peace; its nucleus late C17, built ca 1680 by “Good Will” Conyngham [1660-1721], who afterwards played a leading part in the defence of Derry during the Siege. Altered and enlarged at various times; the defensive enclosure or bawn with which it was originally surrounded was taken down, and two single storey free-standing office wings of stone with curvilinear end-gables were built early C18 flaking the entrance front, forming a deep forecourt. Col William Conyngham, MP, added two single-storey wings to the house ca 1765, which was when the entrance front assumed its present appearance: of seven bays, the windows on either side of the centre being narrower than the rest, and with a three sided bow in each of the wings. In the high roof, a single central dormer lighting the attic. The hall has C18 panelling; behind the hall is an early C18 staircase of oak and yew with alternate straight and spiral twisted balusters. The Gun Room has bolection moulded oak panelling which could be late C17 or early C18, though it cannot have been put into this room until much later, for there are remains of C18 wallpaper behind it. The large and lofty drawing room in the right-hand wing is a great contrast after the small, low-ceilinged rooms in the centre of the house; it has a modillion cornice and a handsome black marble chimneypiece. Though essentially a Georgian room, it has been given a Victorian character with a grey and green wallpaper of Victorian pattern. Next to the drawing room, in the garden front, is the dining room, added ca 1850 by William Lenox-Conygham; a large simple room of Georgian character, with a red flock paper and a chimneypiece of yellow marble brought from Herculaneum by the Earl of Bristol Bishop of Derry and presented by him to the family. The garden front, which is irregular, going in and out, facing along an old beech venue to a ruined tower which may originally have been a windmill. Transferred to the Northern Ireland Trust by W.L Lenox-Conygham, HML, shortly before his death in 1957. Springhill is featured in his mother, Mina’s book An Old Ulster Home and is open to the public.” 

William Conyngham (d. 1721), “Good Will”, courtesy of National Trust. Springhill, County Derry.
Ann Upton (1664-1753) wife of William “Goodwill” Conyngham (1660-1721), daughter of Arthur Upton (1623-1706) of Castle Upton, County Antrim, courtesy of National Trust. Springhill, County Derry.

William Conyngham married Ann Upton, daughter of Arthur Upton of Castle Upton, County Antrim (this still exists and is privately owned), MP for County Antrim. Springhill passed to their daughter Anne who married David Butle, a merchant. Their son George took the name Conyngham and inherited Springhill. Although he had sons, Springhill passed through the line of his daughter, Ann (1724-1777) who married Clotworthy Lenox (1707-1785). Their son took the name George Lenox-Conyngham (1752-1816) when he inherited. George married twice: first to Jane Hamilton, and their son William Lenox-Conyngham (1792-1858) added the dining room to Springhill. George married secondly Olivia Irvine of Castle Irvine (also called Necarne; the park around Necarne Castle can freely be visited during daytime. The ruin of the castle itself is boarded up, so its interior can not be visited), County Fermanagh. One of their descendants was Jack Nicholson who inherited Enniscoe in County Mayo.

George Butle Conyngham (d. 1756), courtesy of National Trust. Springhill, County Derry.
Anne Peacocke (d. 1754), Mrs George Butle Conyngham, courtesy of National Trust. Springhill, County Derry.
Called Anne Conyngham (1724-1777) Mrs Clotworthy Lenox, courtesy of National Trust. Springhill, County Derry.
Clotworthy Lenox, courtesy of National Trust. Springhill, County Derry.
George Lenox-Conyngham (1752-1816) courtesy of National Trust. Springhill, County Derry.
William Lenox-Conyngham (1792-1858) courtesy of National Trust. Springhill, County Derry.
Chalotte Melosina Staples (1786-1847), wife of William Lenox-Conyngham (1792-1858), daughter of John Staples (1736-1820) of Lissan, County Tyrone, courtesy of National Trust. Springhill, County Derry.

Springhill passed then from William Lenox-Conyngham (1792-1858) and his wife Charlotte Mesolina Staples of Lissan, County Tyrone, to their son William Fitzwilliam Lenox-Conyngham, and it was his grandson William Lowry Lenox-Conyngham who left it to the Northern Ireland Trust.

Places to stay, County Derry

1. Ardtara Country House and restaurant, County Derry -B&B

 WWW.ARDTARA.COM

Ardtara is over 120 years old, but its story goes back much further. Back to the origins of the linen industry in Northern Ireland. The house was built by Harry Clark as a romantic and lively family home around 1896. Harry was a restless adventurer who was coerced to join his family’s linen business with promises of global travel and the freedom to pursue his ambitions. Clark’s linen business was already over 150 years old at the time and was famous for producing fine linens from Flax using the ancient process of beetling.”

2. Brown Trout Inn, Aghadowey, Nr Coleraine Co. Derry, BT51 4AD

https://www.browntroutinn.com/

The website tells us:

Whether it’s for a drink, dinner, a weekend break or a round of golf we want you to enjoy the Brown Trout experience.

At the Brown Trout Inn we know that relaxing means different things to different people. For some, food and drink is all-important. Our menu offers fresh locally sourced produce ranging from ‘taste of Ulster’ favourites like honey-grilled gammon and buttery champ to slow-roasted lamb shanks and not forgetting fresh fish, including grilled trout of course.

For others, putting their feet up is the closest thing to heaven. Our Courtyard accommodation offers space, comfort and quality – the cottages hold NITB four-star status. All our accommodation is easily accessible for wheelchair users and guests with disabilities and all rooms are dog-friendly. Wifi access is free throughtout the hotel.

3. Roselick Lodge, County Derry – whole house rental for 8 guests, three night minimum

https://www.roselicklodge.co.uk

Dating back to 1830, this sympathetically restored Georgian property offers a tranquil rural setting midway between Portstewart and Portrush. Whilst retaining many of the original features and charm, the open plan extension has been adapted to suit modern living. The accommodation comprises three main reception areas, a Magnificent Family Kitchen /Living and Dining area, a cosy and tastefully decorated Snug with open fire, access to south facing Orangery and large secluded cottage gardens. Upstairs are four well proportioned bedrooms sleeping up to eight guests and a spacious first floor balcony with sea views. Minimum 3 night stay.

Whole House Rental, County Derry

1. Ashbrook House, Brookeborough, Northern Ireland, BT94 4GX – wedding or whole house rental

Weddings or whole house rental: https://www.ashbrookehouse.com

Ashbrook House, County Derry, photograph courtesy of Ashbook House facebook page.

The earliest part of the house was built in 1830 by Sir Henry Brooke Baronet for use by his tenants. It was then enlarged to create the beautiful Georgian dower house that you see today. Generations of the historic Brooke family are woven into the fabric of the house – quite literally, in the case of the exquisite needlepoints created by Christopher’s maternal grandmother that can be found in various rooms. Ashbrooke’s latest custodians are Christopher Brooke and his wife Amanda, whose tireless efforts have restored the historic mansion to full glory.”

2. Beechill House, 32 Ardmore Road, Derry-Londonderry, Northern Ireland BT47 3QPweddings

https://www.beech-hill.com/

Beechill Country House Hotel, Courtesy of Tyrone and Sperrins destination, for Tourism Ireland.

3. Drenagh House, County Derry – whole house rental, 22 guests

https://www.drenagh.com

Nestled in beautiful parkland where you will find our grand Georgian Mansion House which is perfect for weddings, family get togethers, corporate events and much more.

Mark Bence-Jones writes about Drenagh House (formerly Fruit Hill) in A Guide to Irish Country Houses (1988):

p. 107. “(McCausland/IFR) The earliest major country house by Charles Lanyon, built ca 1837 for Marcus McCausland, replacing an early C18 house on a different site. Of significance in the history of C19 Irish domestic architecture in that it is a competent late-Georgian design by an architect whose buildings in the following decade are definitely Victorian. Two storey; o an attractive pinkish sandstone ashlar. Five bay entrance front with the centre bay recessed and a single-storey Ionic portico in which the outer columns aer coupled. Adjoining front of six bays with two bay pedimented breakfront; the duality of the elevation being emphasised rather than resolved by the presence of three giant pilasters, supporting the pediment. Rear elevation of one bay between two three sided bows, with fanlighted tripartite garden door. Lower service wing at side. Balustraded parapet round roof and on portico. Single-storey top-lit central hall with screen of fluted Corinthian columns; graceful double staircase with elegant cast iron balusters rising from behind one of these screens. Rich plasterwork ceilings in hall, over staircase and in drawing room; simpler ceilings in morning room and dining room. At the head of the stairs, a bedroom corridor with a ceiling of plaster vaulting and shallow domes goes round the central court or well, the lower part of which is roofed over to form the hall. Very large and extensive outbuildings. Vista through gap in trees opposite entrance front of house to idyllic landscape far below, the ground falling steeply on this side; straight flight of steps on the axis of this vista leading down to bastion terrace with urns. Chinese garden with circular “moon gate,” laid out by Lady Margaret McCausland 1960s. Gate lodge by Lanyon with pedimented Ionic portico.” 

Charles Lanyon (1813-1889) courtesy of Queen’s University Belfast.

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

Portraits T-U-V

T

Nicholas Taafe, 6th Viscount Taafe, (1677-1769), Lieut.-General in the Austrian Army Date 1763 Engraver John Dixon, Irish, c.1740-1811 After Robert Hunter, Irish, 1715/1720-c.1803.
Richard Talbot (1630-1691), 1st Duke of Tyrconnell, Lord Lieutenant of Ireland for King James II, courtesy of National Gallery of Ireland. Portrait by Francois De Troy, court painter for James II while in exile.
Richard Talbot 1st Duke of Tyrconnel ”Tyrconel, Vice-Roy in Irelande’ courtesy of Adam’s auction 30 April 2013, A late 17th Century engraving.
Frances née Jennings (1647-1730), Vicereine of Ireland 1687-89, Duchess of Tyrconnell. She was married to Richard Talbot, 1st Duke of Tyrconnell (1630-1691). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Richard Talbot (1638-1703) of Malahide, painting attributed to Peter Lely, photograph courtesy of National Gallery of Ireland.
Frances Talbot (c.1670-1718) by Garret Morphy courtesy National Gallery of Ireland NGI 4150. She was the daughter of Robert Talbot, 2nd Baronet of Carton, County Kildare, and wife of Richard Talbot (1638-1703) of Malahide.
Frances Thomasine, Countess Talbot (née Lambart), (1782-1819), Wife of the 3rd Earl Talbot Date 1822 Engraver John Samuel Agar, British, c.1773-1858 After Charles Robertson, Irish, 1759-1821, courtesy of National Gallery of Ireland.
Colonel Richard Wogan Talbot (c. 1766-1849) 2nd Baron Talbot of Malahide, 1840 by Giovanni Battista Canevari, courtesy of National Gallery of Ireland.
James Talbot, 4th Baron Talbot de Malahide (1805-1883) by John Collier courtesy National Gallery of Ireland NGI 4654.
Maria Margaretta Murray (d. 1873), Lady Talbot, married to James 4th Baron Talbot of Malahide, by Thomas Lawrence.
Gertrude Talbot, Daughter of the 18th Earl of Shrewsbury, married 13th Earl of Pembroke in 1874, Adam’s County House Collections auction 12th October 2020.
James Napper Tandy (c. 1740-1819) when a French General, by James Petrie, Scottish, 1750-1819.
James Napper Tandy (1740-1803), United Irishman, by unknown artist, presented to National Gallery of Ireland by Mr. Parker 1872, object number NGI 429

Timothy William Ferres tells us in his wonderful blog [1]:

THE RT HON THOMAS TAYLOR (1662-1736), who was created a baronet, 1704, designated of Kells, County Meath, and sworn of the Privy Council in 1726. Sir Thomas wedded Anne, daughter of Sir Robert Cotton Bt, of Combermere, and had issue, THOMAS (1657-96) his heir;
Robert (Very Rev) (d. 1744), Dean of Clonfert;
Henry;
James (1700-1747);
Henrietta; Salisbury (married first William Fitzgerand, Bishop of Clonfert and second, Brig.-Gen. James Crofts, son of James Scott, 1st and last Duke of Monmouth); Anne.

Sir Thomas was succeeded by his eldest son, THE RT HON SIR THOMAS TAYLOR (1657-96), 2nd Baronet, MP for Maidstone, 1689-96, Privy Counsellor, who married Mary, daughter of John Graham, of Platten, County Meath, and left, with a daughter, Henrietta (who married Richard Moore of Barne, County Tipperary), an only son, 

THE RT HON SIR THOMAS TAYLOR, 3rd Baronet (1724-95), KP, MP for Kells, 1747-60, who wedded, in 1754, Jane, eldest daughter of the Rt Hon Hercules Langford Rowley, by Elizabeth, Viscountess Langford, and had issue,

THOMAS (1757-1829) his successor;
Robert, a general in the army;
Clotworthy (1763-1825) created 1st Baron Langford of Summerhill, he took the surname Rowley when his wife Frances Rowley inherited her uncle Lord Langford’s estate;
Henry Edward, in holy orders;
Henrietta (married Chambré Brabazon Ponsonby-Barker (1762-1834) of Kilcooley Abbey, County Kilkenny).

Sir Thomas was elevated to the peerage, in 1760, in the dignity of Baron Headfort; and advanced to a viscountcy, in 1762,as Viscount Headfort. His lordship was further advanced, in 1766, to the dignity of an earldom, as Earl of Bective.

Thomas Taylour (1724-1795) 1st Earl of Bective wearing the star and sash of the Order of St. Patrick by Gilbert Stuart and studio courtesy of Sotheby’s, Public Domain, https//:commons.wikimedia.org/w/index.php?curid=27947645.jpg
Reverend Henry Edward Taylor of Ardgillan Castle, County Dublin, who was a son of Thomas Taylour (1724-1795) 1st Earl of Bective.

In 1783 he was installed as a Founder Knight of St Patrick (KP), and sworn of the Privy Council of Ireland. His lordship was succeeded by his eldest son, THOMAS, 2nd Earl (1757-1829), who espoused, in 1778, Mary, only daughter and heir of George Quin, of Quinsborough, County Clare, and had issue: THOMAS (1787-1870) his successor;
George;
Mary; Elizabeth Jane.

Thomas Taylour (1757-1829) 1st Marquess of Headfort by Pompeo Batoni courtesy of Google Art Project By Pompeo Batoni – 9QE_ZzFPQzDZiQ at Google Cultural Institute, Public Domain, https//:commons.wikimedia.org/w/index.php?curid=29800995
Mary née Quin (the daughter of George Quin and Caroline Cavendish) The Marchioness of Headfort, wife of Thomas Taylour (1757-1829) 1st Marquess of Headfort, holding her Daughter Mary, 1782, by Pompeo Batoni, Google_Art_Project 6wGvrQuQJ1yERA at Google Cultural Institute, Public Domain, https//:commons.wikimedia.org/w/index.php?curid=29801821.jpg

His lordship was created, in 1800, MARQUESS OF HEADFORT.

The Taylour family became very much involved in the political life of the locality, and several members of the family served as MPs for Kells and the county of Meath. [1]

Captain Edward Richard Taylor of Ardgillan Castle, County Dublin.
Charles Thorpe (1772-1820) by engraver Patrick Maguire, photograph courtesy of National Gallery of Ireland.
Caroline Hamilton née Tighe (1777-1861), photograph courtesy of Hamwood house website.
Mary Tighe née Blachford (1772-1810) as sculpted by Lorenzo Bartolini ca. 1820, photograph courtesy of National Library of Ireland.
Theodosia Blachford née Tighe (c.1780) A self portrait, seated three-quarter length, with her children, Mary (1772-1810) and John (1771-1817) courtesy of Adam’s 2 April 2008. Theodosia was married to William Acton Blachford (1729-1773) of Altidore, County Wicklow, and she was the daughter of William Tighe (1710-1766) of Rosanna, County Wicklow.
William Tighe of Rosanna! Portrait by by Charles Jervas (c.1675-1739), courtesy of Adams auction 19 Oct 2021.
Mrs Sophia Tipping and her Daughter Wilhelmina Salisbury by Philip Hussey.
Theobald Wolfe Tone, courtesy of National Gallery of Ireland.
Charles Tottenham in his Boots (1685-1758), 1731 by James Latham. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charles Tottenham Loftus (1737-1806), 1st Marquess of Ely by Hugh Douglas Hamilton. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Jane Tottenham-Loftus (née Myhill), 1740-1807, Marchioness of Ely. She was the daughter of Robert Myhill of Killarney, Co Kilkenny and she married Charles Tottenham Loftus 1st Marquess of Ely. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Portrait of Mary, daughter of Hamilton Townley, married Blayney Townley (Balfour) of Townley Hall, ENGLISH SCHOOL (MID 18TH CENTURY) courtesy Adam’s 11 Oct 2011.
John Henry Townshend (1827-1869). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lieutenant-Colonel John Townsend, of the 14th Light Dragoons (d. 1845). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Reverend Horace Townsend (1750-1837). He was from the Townshend family of the Castle at Castletownshend, County Cork.
Richard Townsend (1725-1783), served as MP and high sheriff and lived at Castletownshend. He married Elizabeth Fitzgerald. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Elizabeth Townsend née Fitzgerald, wife of Richard Townsend. Elizabeth Fitzgerald was daughter of John Fitzgerald (1706-1741), 15th Knight of Kerry, and married to Richard Townsend (1725-1783). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I think this is a portrait of Henrietta Townsend née Newenham (1764-1848). She married Richard Boyle Townsend and was daughter of John Newenham (1738-1785) of Maryborough, County Cork and Harriet Vereker of Roxborough, County Limerick. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
George Townshend, (1724-1807), later 4th Viscount and 1st Marquess Townshend, also Lord Lieutenant of Ireland Engraver James McArdell, Irish, c.1729-1765 After Thomas Hudson, English, 1701-1779
George Townshend, 1st Marquess Townshend (1724-1807) by George Romney.
Louisa Anne Pakenham née Staples (1770-1833) and her sister Henrietta Margaret Trench née Staples (1770-1847) Countess of Clancarty (c.1770-1847) by Hugh Douglas Hamilton. Louisa was married to Thomas Pakenham (1757-1836) and Henrietta was married to Richard Power Keating Le Poer Trench (1767-1837) 2nd Earl of Clancarty. Their father was John Staples (1736-1820) of County Tyrone, and their mother was Harriet Conolly (1739-1771) of Castletown House, County Kildare. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A portrait of Mr Trench, dated 1920, from Loughton house sale, 2016, Shepphards. I’m not sure which Mr. Trench he is.
William Power Keating Trench (1741-1805) (later first Earl of Clancarty) by Hugh Douglas Hamilton (1739-1808), courtesy Adam’s 28 March 2012. He was the father of Frances Mary, who married Henry Stanley Monck, 2nd Viscount of Ballytrammon, County Wexford and 1st Earl of Rathdowne.
A portrait of Dora Agnes Caroline Trench (1858-1899) née Turnor, wife of Benjamin Bloomfield Trench, from Loughton house sale, 2016, Shepphards.
A portrait of Blanche Trench (1852-1937), from Loughton house sale, 2016, Shepphards. She was a daughter of Henry Trench and Georgiana née Bloomfield.
Frederick Trench (1755-1840) 1st Baron Ashtown from Loughton sale Sept 2016 by Shepphards. He was an uncle of Henry Trench who married Georgiana Bloomfield.
Stephen Trotter, King’s Inn, Blackhall Place. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Richard Turner, from “In Harmony with Nature, The Irish Country House Garden 1600-1900” in the Irish Georgian Society, July 2022, curated by Robert O’Byrne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

U

Colonel Robert Uniacke (1756-1802). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ann Upton (1664-1753) wife of William “Goodwill” Conyngham (1660-1721), daughter of Arthur Upton (1623-1706) of Castle Upton, County Antrim, courtesy of National Trust. Springhill, County Derry.
Sophia Ward, daughter of Michael Ward (1683-1759) of Castle Ward, County Down, who married Arthur Upton (1715-1768), by Charles Jervas, courtesy of National Trust, Castle Ward.
Emilia Olivia née Usher St. George (1759-1798), Duchess of Leinster, wife of 2nd Duke, 1780 engraver William Dickinson after Joshua Reynolds, courtesy of National Gallery of Ireland.
Mary Jenny Ussher (1682-1763), who married Richard Molesworth 3rd Viscount of Swords, Dublin. 14 Henrietta Street, Dublin, 10th September 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
James Ussher (1580-1656) Archbishop of Armagh aged 74 by Peter Lely, courtesy of National Trust Hatchlands.

V

Henry Vane-Tempest (1771–1813), 2nd Bt, the source of much of the Mount Stewart family income, as the 3rd Marquess married his heiress daughter. The portrait is by Peter Edward Stroehling. Courtesy of National Trust Mount Stewart, County Down.
Frances Anne (1800-1865) Marchioness of Londonderry, and her son George Herny (1827-1828) Viscount Seaham, by Thomas Lawrence, courtesy of National Trust, Mount Stewart. She married Charles Stewart later Vane, 3rd Marquess of Londonderry, and she was daughter of Henry Vane-Tempest (1771–1813), 2nd Bt.
Charles William Stewart (later Vane) (1778-1854), later 3rd Marquess of Londonderry, in Garter Robes, by James Godsell Middleton, courtesy of National Trust, Mount Stewart.
Alexandra Octavia Maria Vane (1823-1874), she married John Henry Reuben Dawson-Damer, 3rd Earl of Portarlington, of Emo in County Laois, and was daughter of Charles Willam Vane 3rd Marquess of Londonderry (son of Robert Stewart 1st Marquess of Londonderry) and Frances Anne Emily Vane-Tempest. The portrait is by James Godsell Middleton; courtesy of National Trust, Mount Stewart.
Elizabeth Jocelyn (1813-1884), Marchioness of Londonderry, wife of 4th Marquess of Londonderry, formerly Viscountess Powerscourt, wife of 6th Viscount Powerscourt, by James Rannie Swinton, courtesy of Mount Stewart National Trust.
Oil painting on canvas, Lady Edith Helen Vane-Tempest-Stewart née Chaplin, Marchioness of Londonderry, DBE (1878-1959) in Uniform of the Women’s Army Auxiliary Corps by Philip Alexius de László de Lombos (Budapest 1869 – London 1937), 1918. She was the wife of the 7th Marquess of Londonderry. Mount Stewart, County Down, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Edward Charles Stewart Robert Vane-Tempest-Stewart (1902–1955), Lord Stewart, 8th Marquess of Londonderry, as a Page at the Coronation of George V, 1911, by Philip Alexius de László. Mount Stewart, County Down, June 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charles Vane-Tempest-Stewart (1852-1915), 6th Marquess of Londonderry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Theresa Susey Helen Vane-Tempest-Stewart née Chetwynd-Talbot, Marchioness of Londonderry (1856-1919) by John Singer Sargent, Vicereine 1886-89, wife of Charles Stewart Vane-Tempest-Stewart, 6th Marquess of Londonderry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Possibly a portrait of Hester Van Homreigh (1690-1723), Jonathan Swift’s “Vanessa,” courtesy of National Gallery of Ireland.
Mrs Letitia Pilkington (née Van Lewen), (1712-1750), Adventuress and Author Date: c.1760 Engraver: Richard Purcell, Irish, c.1736-c.1766 After Nathaniel Hone the Elder, Irish, 1718-1784.
Colonel Charles Vereker (1768-1842), Constable of Limerick Castle, later 2nd Viscount Gort, engraver James Heath after John Comerford, courtesy of National Gallery of Ireland.
The Vere Foster Family Date 1907 byWilliam Orpen, Irish, 1878-1931 courtesy of National Gallery of Ireland.
Elizabeth Vesey (1715?-1791) by unknown artist, circa 1770, NPG 3131 © National Portrait Gallery, London.
Portrait of Mrs. George Vesey and Her Daughter Elizabeth Vesey, later Lady Colthurst, 1816 by Jean Auguste Dominique Ingres (1780-1867). Location: Fogg Art Museum at Harvard University Massachusetts USA.
Elizabeth La Touche née Vicars (1756-1842), wife of Peter La Touche, by John Whitaker NPG D18415.
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 Villiers (c.1684 – 1766) 1st Earl Grandison by Alan Ramsay.
Captain A. H. H. Villiers, Fota House, County Cork, August 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rosemarie Villiers and Children, Fota House, County Cork. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] http://lordbelmontinnorthernireland.blogspot.com/2013/07/virginia-park.html

Johnstown Castle, County Wexford, a Heritage Trust property

Maintained by the Irish Heritage Trust

Johnstown Castle, County Wexford. The house was designed by Daniel Robertson (d. 1849). It envelops a seventeenth-century house (perhaps by Thomas Hopper) [1] remodelled (1810-4) by James Pain (1779-1877) of Limerick. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

https://johnstowncastle.ie/

Photograph on display from 1890.

An information board in the museum tells us that Geoffrey and Maurice Esmonde were the estate’s first owners, who arrived as part of the Anglo-Norman invasion in 1169. Geoffrey Esmonde built the original Johnstown Castle, which was a plain and modest tower house. His son Maurice built a second tower house at Rathlannon Castle, the remains of which are on the grounds to this day.

Information board at Johnstown Castle.

Our guide Mary told us that the Esmondes tower house used to stand in front of the current Johnstown Castle, but it was taken down. See below an old photograph – the old tower is the part covered in ivy in the photo.

The original tower house of the Esmondes was the ivy covered one in this photograph. It has since been taken down.
Rathlannon Castle, built by Maurice Esmonde in the 1200s. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Esmondes lived here for 500 years until they lost their lands during the invasion of Oliver Cromwell, as they were Catholics. Our guide Mary told us that Cromwell slaughtered over 3000 people in Wexford.

There is a chapter on the Esmonds of Ballynastragh in The Wexford Gentry by Art Kavanagh and Rory Murphy. They tell us that it is believed that Geoffrey de Estmont was one of the thirty knights who accompanied Robert FitzStephen to Ireland in 1169 when the latter lead the advance force that landed at Bannow in county Wexford. Geoffrey built a motte and baily at Lymbrick in the Barony of Forth in Wexford, and his son Maurice built a castle on the same site. After Maurice’s death in 1225 the castle was abandoned and his son John built a castle on a new site which was called Johnstown Castle. John died in 1261. [2]

James Esmonde, an early Esmonde living at Johnstown Castle, married Isabel Rosseter, daughter of Thomas Rosseter who owned Rathmacknee Castle in County Wexford – this is a tower house that still stands and is a National Monument. It remained occupied until 1760s and in the nineteenth century it was restored by Hamilton Knox Grogan-Morgan who also owned Johnstown Castle.

James’s grandson, Walter or William, married Margaret Furlong, daughter of Michael of Horetown, County Wexford. They had several children. Their younger son Patrick held the office of Sheriff of Carlow in 1627. He married Katherine Gough and their son Laurence (about 1570-1645) was created 1st Lord Esmonde, Baron of Lymbrick, Co. Wexford, for his services to the crown.

Laurence Esmonde converted to Anglicanism and served in the armies of British Queen Elizabeth I and then James I. He is the ancestor of the Esmondes who owned Huntington Castle in County Carlow (see my entry https://irishhistorichouses.com/2019/06/28/huntington-castle-county-carlow/).

Huntington Castle, 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Huntington Castle, 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was an elder son of Walter or William Esmonde and Margaret Furlong, Robert, who inherited the Johnstown estate, which then passed to Robert’s son William. William was MP for Wexford in 1634. However, in the following decades the Esmondes lost the estate.

Lieutenant Colonel John Overstreet was granted Johnstown Castle estate in 1652 in lieu of payment for fighting in Cromwell’s army. When Overstreet died, his wife married another Cromwellian, Edward Withers, who took over the ownership of the castle as Overstreet had no offspring. Withers and his new wife also had no children. Withers and his wife sold the castle to John Reynolds, who had married a niece of John Overstreet, Elizabeth Lacy.

John Reynolds and his wife had three daughters, who were co-heirs to the Johnstown estate. Their daughter Mary married John Grogan (1653-1720), and this is how the property passed into Grogan ownership in 1692. [3]

John Grogan was the son of Cornelius Grogan, a yeoman who brought some property in the town of Wexford. [see 3]

A tower like gate lodge erected to a design (1846) by Martin Day of Gallagh, with an oriel window similar to the Daniel Robertson designed gate lodge at Shankill Castle, County Kilkenny. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Grogan family and their descendants lived at Johnstown Castle until 1945 when it was handed over to the state. Our guide told us that it was given in lieu of death duties. Nearly all of the furniture was sold, but fortunately some has been recovered.

John Grogan (1653-1720) and Mary Reynolds had a son Cornelius (1687-1724). Cornelius’s son John (1717-1783) married an heiress, Catherine Knox of Rathmacknee, County Wexford. Catherine’s father was Andrew Knox, and her mother was Mary Grogan, daughter of John Grogan (1653-1720) who had acquired Johnstown Castle by his wife, Mary Reynolds. Mary Grogan was John’s daughter by his second wife, Anne Livingston.

After Mary’s husband Andrew Knox died, she married a second and third time. Her second husband was William Hore (1680-1745) of Wexford, whose first wife had been Dorothy Ponsonby, daughter of William, 1st Viscount Duncannon. After William Hore died, Mary née Grogan married Charles Tottenham (1685-1758, Tottenham “in his boots” as he was called for once wearing his boots into parliament, since he was running late).

Charles Tottenham “in his Boots”, 1731 by James Latham, National Gallery of Ireland 411. He married Mary née Grogan after her previous husband died. In 1731 a proposal that an Irish tax surplus be given to the British treasury caused consternation, and Tottenham, though ill, rode up to Dublin from County Wexford as he was MP for New Ross and he was anxious to vote on the proposal. A serjeant-at-arms tried to stop Tottenham from entering the Parliament house in his muddy boots but Tottenham strode inside, ever after being given the nickname “Tottenham in his boots.”

Another daughter of John and Anne née Livingston was Sarah (1699-1777). She married William Morgan, Mayor of Waterford. They had a son, Samuel, who left a fortune to a later occupant of Johnstown Castle, as we shall see later.

John Grogan (1717-1783) and Catherine Knox had a son Cornelius (1738-1798) who succeeded to the family estates and served as high sheriff of County Wexford and from 1783-1790, MP for Enniscorthy in the Irish parliament.

Cornelius had a bridge built, Wexford bridge, and charged a toll from those crossing. During the rebellion of 1798 Cornelius joined the insurgents, the United Irishmen and he was beheaded for his treason in 1798 and his head was hung on Wexford bridge, along with two other landlords turned rebels, John Henry Colclough and Bagenal Beauchamp Harvey.

The Johnstown estate was restored to his younger brother, John Knox Grogan (1760-1814), on payment of a heavy fine.

Information board at Johnstown Castle.

The information board tells us that the younger brother John Knox Grogan (1760-1814) set about rebuilding and enlarging the castle, and laying out the ornamental gardens. According to the National Inventory, he hired James Pain (1779-1877) of Limerick and work was carried out from 1810-1814.

John Knox Grogan married Anne Coote, daughter of Chidley Coote of Ash Hill, County Limerick (a section 482 property – see my entry https://irishhistorichouses.com/2023/04/06/ash-hill-kilmallock-co-limerick/). She died in childbirth after giving birth to her daughter Anne.

Second, John Knox Grogan (1760-1814) married Elizabeth Fitzgerald, daughter of James Stephen Fitzgerald of Ballythomas, County Laois.

Following John Knox Grogan’s death, his son Hamilton Knox Grogan (1808-54) continued the building works. He hired Daniel Robertson, who created the castle as we see it today.

In 1827 Hamilton Knox Grogan inherited more land from a cousin of his father, Samuel Morgan (1737-1827) of Ardcandrisk, County Wexford (see above; the house has been demolished). He added Morgan to his surname then, to become Hamilton Knox Grogan-Morgan, becoming the largest landowner without a title in Ireland.

Mark Bence-Jones tells us about Johnstown Castle (1988):

Front of Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

p. 161. “(Esmonde, bt/PB; Grogan-Morgan; LG1863; Forbes, Granard, E/PB; FitzGerald, sub Leinster, D/PB) An old tower house of the Esmondes, engulfed in an impressively turreted, battlemented and machicolated castle of gleaming silver-grey ashlar built ca 1840 for Hamilton Knox Grogan Morgan [1808-54], MP, to the design of Daniel Robertson [d. 1849], of Kilkenny. The entrance front is dominated by a single frowning tower with a porte-cochere projecting at the end of an entrance corridor and a Gothic conservatory at one end.”

The entrance front is dominated by a single frowning tower with a porte-cochere projecting at the end of an entrance corridor and a Gothic conservatory at one end. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance front is dominated by a single frowning tower with a porte-cochere projecting at the end of an entrance corridor and a Gothic conservatory at one end. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside the front arch of Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Gothic conservatory in the middle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Mark Bence-Jones continues: “The garden front has two round turrets, a three-sided central bow with tracery windows. Lower wing with polygonal tower.”

Garden front, Johnstown Castle, County Wexford: The garden front has two round turrets, a three-sided central bow with tracery windows. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory describes it:

Detached three-bay three-storey over basement country house, built 1836-72, on an asymmetrical plan centred on single-bay full-height breakfront with single-bay (four-bay deep) single-storey projecting porch-cum-“porte cochère” to ground floor; five-bay three-storey Garden Front (south) with single-bay four-stage turrets on circular plans centred on single-bay full-height bow on an engaged half-octagonal plan…A country house … enveloping a seventeenth-century house remodelled (1810-4) by James Pain (1779-1877) of Limerick (DIA), confirmed by such attributes as the asymmetrical plan form centred on ‘a splendid porch…formed by beautiful Gothic arches with neat light groinings’ (Lacy 1852, 259); the construction in a blue-green rubble stone offset by glimmering Mount Leinster granite dressings not only demonstrating good quality workmanship, but also producing a sober two-tone palette; the diminishing in scale of the multipartite openings on each floor producing a graduated visual impression with the principal “apartments” defined by a polygonal bow; and the battlemented turrets producing an eye-catching silhouette: meanwhile, aspects of the composition clearly illustrate the continued development or “improvement” of the country house ‘under the munificent and highly-gifted Lady Esmonde who never tires of affording employment to the skilful artisans whom she herself has trained’.”

Hamilton Knox Grogan Morgan married Sophia Maria Rowe (1805-1867), daughter of Ebenezer Radford Rowe of Ballyharty, County Wexford.

Hamilton Knox Grogan-Morgan (1807-1854) and his family. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
You can see the basement on the garden front. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The clock tower side of Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Spectacular doorway arch to one side of Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The doorway arch at Johnstown Castle features a border of carved stone heads. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carved stone heads at Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Window surround detail and tracery at Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A workman at Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We did not get to see the inside of Johnstown Castle when we visited in November 2021 as it was closed that day, but we visited again in May 2023.

The portico corridor, Johnstown Castle, National Inventory of Architectural Heritage tells us: “corridor on a rectangular plan retaining encaustic tiled floor, Gothic-style timber panelled wainscoting supporting carved timber dado rail, clustered colonette-detailed carved timber surrounds to window openings framing Gothic-style timber panelled shutters on Gothic-style timber panelled risers, and groin vaulted ceiling with carved timber ribs on portrait-detailed oak leaf corbels.” [4] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail of carving in the portico corridor. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
More decorative head carvings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tile floor of the corridor, Johnstown Castle, photograph from National Inventory of Architectural Heritage. [4]

Hamilton Knox Grogan Morgan’s daughter Jane inherited the estate. Sophia and Hamilton were not happily married, our guide told us. They had no sons, just two daughters. After Hamilton died his wife remarried in 1856, this time to Thomas Esmonde (1786-1868) 9th Baronet of Ballynastragh, County Wexford.

Sophia Maria Knox Grogan Morgan née Rowe (1805-1867) and her second husband, Thomas Esmonde (1786-1868) 9th Baronet.

Sophia was allowed to remain living in the house, and her husband moved in with her.

There is a story that in order to inherit the estate, the daughters were made to run a race to see who would win, and thus inherit! Jane won the race.

Johnstown Castle. Jane Colclough Grogan-Morgan portrait by Margaret Carpenter, 1846. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The other daughter of Hamilton Knox Grogan Morgan, Elizabeth Geraldine, married Robert Tilson FitzMaurice Deane (1826-1857), son of Matthew Fitzmaurice Deane, 3rd Baron Muskerry of County Cork. In 1854 his name was legally changed to Robert Tilson FitzMaurice Deane-Morgan by Royal Licence.

Jane married George Arthur Forbes (1833-1889), 7th Earl of Granard, County Longford. Jane did not get along well with her mother. Her mother was a Protestant, and Jane and her husband converted to Catholicism. They built a church in Newtown Forbes in Longford. Jane’s mother tried to disinherit her but her new will was signed with an “x” and the judge said it didn’t stand up in court.

Jane Colclough Grogan-Morgan (1834-1872), and next to her picture is George Arthur Forbes (1833-1889) 7th Earl of Granard.

Jane was charitable and on her death there was a headline announcing “death of princess,” our guide told us. The Earl of Granard married a second time after Jane died, and had several more children. He lived in Castle Forbes in County Longford. He married Frances Mary Petre, daughter of William Bernard Petre, 12th Baron Petre of Writtle, Co. Essex in England.

Jane and George Arthur had two daughters, Sophia Maria Elizabeth and Adelaide Jane Frances. Sophia married Henry Christopher Grattan-Bellew, 3rd Baronet Bellew, of Mount Bellew, Co. Galway. Adelaide married Maurice Fitzgerald (1852-1901), son of the 4th Duke of Leinster, of Carton House in County Kildare. They inherited the estate at Johnstown Castle.

Maurice Fitzgerald (1852-1901) and his wife, Adelaide.
Henry Grattan Bellew, 3rd Baronet, b.1860, married Sophia Forbes, daughter of the Earl of Granard, by Dermod O’Brien, courtesy of Adam’s auction 10 Oct 2017. He represented one of the few Catholic aristocratic families who survived Cromwellian deportation to Connaught. Mount Bellow was an architecturally significant house with a fine library of books; the former destroyed, the latter dispersed.
Information board at Johnstown Castle.

Adelaide (1860-1942) converted to Protestantism to marry the Maurice Fitzgerald (1852-1901). Like her mother, she undertook much charity work. She brought the first motorised ambulance to County Wexford.

Adelaide and Maurice had four children: Geraldine (1881-1954), Gerald Hugh (1886-1914), Kathleen (1892-1930) and Marjorie (1896-1899).

Geraldine married Gerald More O’Ferrall (d. 1951) of Lissard House, County Longford (now demolished). Adelaide and Maurice’s son Gerald died in WWI in France. He had married Dorothy Violet Charrington from England. After his death, she remarried, to Thomas William Jefferies of Wexford.

A daughter of Maurice Fitzgerald and Adelaide Jane, Geraldine, married Gerald More O’Ferrall.

Kathleen married Major Michael Lakin (1881-1960) of Horetown House, County Wexford, and it was their son Maurice Victor Lakin (d. 1919) who inherited the estate. His brother Gerald fought in World War II and died in Africa in 1943. Kathleen died tragically in a horse riding accident when she was just 37 years old.

Wedding photograph of Michael Lakin (1881-1960) of Horetown House who married Kathleen Fitzgerald (1892-1930) in 1914. He is next to Inez Charlotte Grace Casberd-Boteler, I presume as she is listed as Lady Henry Fitzgerald, and Henry was another son of Charles William Fitzgerald, 4th Duke of Leinster. She is next to the wife of Maurice Fitzgerald, Adelaide Jane Frances née Forbes, who is next to Captain Gerald Fitzgerald (1851-1893), 5th Duke of Leinster. Is the centre is Captain Michael Lakin’s father, also Michael, 1st Baronet Lakin, of The Cliff, Co. Warwick. He is next to Bell Irvine, best man, who is next to Miss C. Paget (bridesmaid), and Miss. D Charrington. The page is Andrew Horsburgh Porter, and Kathleen the bride is seated.
Horetown House, County Wexford, photograph courtesy of Horetown website.

Maurice Victor Lakin, pictured below, was the last man to privately own the castle and estate before handing it over to the state.

Johnstown Castle, County Wexford.

Maurice Victor Lakin gifted it to the state in 1945.

The Grogan-Morgan family tree.
Explanation of the handover to the state and Department of Agriculture.

After walking through the entrance corridor a room is reached called the “Apostles’ Hall” due to the wooden carvings. The National Inventory continues:

A prolonged period of unoccupancy notwithstanding, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior where encaustic tile work; the so-called “Apostles Hall” with ‘oak panelling and carving of the most costly description’ (Lacy 1852, 268); contemporary joinery ‘by poor Mooney who may be said to have lived and died in the employment of the munificent proprietor [and who was] succeeded by another native genius [named] Sinnott’ (ibid., 269); restrained chimneypieces in contrasting neo-Classical or Egyptian Revival styles; and geometric ceilings recalling the Robertson-designed Wells House (1836-45), all highlight the considerable artistic significance of the composition.

The “Apostles Hall,” Johnstown Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Apostles in the Apostles Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, Apostles Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wood carving in the Apostles Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

From the Apostles Hall you enter a top-lit three storey galleried space. Our guide told us that this used to be a music room. The National Inventory of Architectural Heritage describes it: “top-lit triple-height “Grand Hall” on a square plan retaining tessellated “Asphaltum” tiled floor, clustered colonette-detailed carved timber surrounds to door openings framing Gothic-style timber panelled doors, arcaded galleries (upper floors) with carved timber hand rails, and fan vaulted plasterwork ceiling centred on replacement glass block-filled mass concrete dome.” [4]

The Waterford Crystal chandelier in the former music room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ground floor of the three tiered gallery space. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ground floor of the three tiered gallery space. The table with quatrefoil carving belonged to the Knox Grogan Morgans. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

As well as hosting musical events in this space, tenants would be given Christmas dinner here. Mary told us that the owners were good to their tenants.

Johnstown Castle, ground floor of the three tiered gallery space. This cabinet of birds is original to the castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Top-lighting in the fan vaulted gallery, Johnstown Castle. The guide told us there used to be stained glass here. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The fan vaulted plasterwork has funny heads around the edges. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, first floor and second floor galleries. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A grand staircase was removed, and the balcony remains:

The grand staircase was removed, unfortunately – see this picture with staircase intact.
The balustrade was extended, and the armorial shield added, after the staircase was removed. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The doorway under where the stairs used to be, and the remaining balustrade. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The next room is the: “bow-ended dining room (south) retaining clustered colonette-detailed carved timber surround to door opening framing timber panelled door with clustered colonette-detailed carved timber surrounds to opposing window openings framing Gothic-style timber panelled shutters on Gothic-style timber panelled risers.”

Johnstown Castle, photograph from National Inventory of Architectural Heritage: “bow-ended dining room” [4]
The windows were boarded up for repair when we visited. This room is identified as the dining room in the National Inventory, but holds bookcases so was probably not the dining room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The carving on the window embrasure is very complex. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, detail of ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Bookcases. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The bookcases are beautifully carved. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The bookcases are topped with armorial shields. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Some of the original furniture has been brought back to the castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Gothic style chimneypiece. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory tells us that Armorial panels over the glazed-in carriageway and on the dining room chimneypiece show a coat of arms combining three bears heads couped and muzzled [Forbes] centred on a griffin sergeant [Morgan] representing the marriage of George Arthur Hastings Forbes (1833-89), seventh Earl of Granard, and Jane Colclough Morgan (1840-72) with Order of Saint Patrick motto “QUIS SEPARABIT MDCCLXXXIII [Who Will Separate Us 1783]” recognising the earl’s investment as a Knight of the Order of Saint Patrick (K.P.) in 1857. 

Napolean scowls into the room.
Ceiling detail in Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Grogan bookplates. We see the bookplate of Overstreet Grogan (1762-1814), a son of John Grogan (1716-1783) and his wife Catherine Knox.
Grogan livery buttons.

The next room contains the Hamilton Knox portrait.

Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The painting of Hamilton Knox Grogan Morgan and his family.
The little dog Lady Morgan, who sports a rather unattractive haircut, makes up for it with her gold collar. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The pinecones stops anyone sitting on the original furniture! This couch is the same one as in the painting of Hamilton Knox Grogan Morgan and his family. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was quite a process to situate the newly restored couch into the castle’s room upstairs, as we see in this photograph below:

Moving the couch. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

After giving the property to the state, the Lackin family moved to France. They retained the hunting, fishing and burial rights to the property. Recently Victor Lackin’s grandson visited, and he fished in the lake, and had his photograph taken by his ancestor’s portrait. He is very like Hamilton Knox Grogan-Morgan!

A descendant of Hamilton Knox Grogan-Morgan.
18th Century Irish School “Portrait of John Stratford, 1st Earl of Aldborough,” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Beautiful views of the parkland. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dining room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Coat-of-arms-detailed cut-veined green marble Gothic-style chimneypiece in Gothic-style timber surround, and picture railing below grape-and-vine-detailed cornice to quatrefoil-detailed compartmentalised ceiling in carved timber frame” from National Inventory of Architectural Heritage. [4]
Grape-and-vine-detailed cornice. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A portrait in Johnstown Castle – 18th Century Irish School “Portrait of the 2nd Countess of Aldborough,” a charming three-quarter length study, seated in pink dress, with jewels, and seated by a table with coronet. She was the wife of Edward Augustus Stratford, 2nd Earl of Aldborough.
Beside the Grogan Morgan family portrait is 18th Century Irish School “Portrait of Martha, 1st Countess Aldborough.” She is Martha O’Neale (1707-1796), daughter of Benjamin O’Neale, Archdeacon of Leighlin and Ferns. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, hallway. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail of the carved door frames at Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The principal Drawing Room in Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The next room, the principal Drawing Room, features two huge mirrors brought from Paris at one end of the room, installed in about 1860.

The Principal Drawing Room in Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, our tour guide, Mary. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A photograph of how the room with the large mirrors used to look.
Detail of the ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The principal Drawing Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Jane Colclough Grogan Morgan – who married George Arthur Hastings Forbes and became Countess Granard.
A bedroom in Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The door carvings are magnificent, even into a bathroom. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Chimneypiece detail in Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Another splendid ceiling in Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This room has a fine chimneypiece also, in Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I liked this tabletop mirror with its detailed carvings that remind me of Jacobean furniture carvings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
In this photograph we see the old laboratory that was set up for the agricultural school. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The laboratory room in Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The castle hosted students from the Botanic Gardens from 1949-56. Our guide told us about Tom Walsh, I jotted down a note that he was the first agricultural student in Ireland, who sent students to America. They returned and took soil samples, and now we have the best quality beef and dairy industry in the world, due to the work done with soil. It was another Tom Walsh who started the Wexford Opera Festival.

Information board at Johnstown Castle.
Information board at Johnstown Castle.

After learning about the agricultural work carried out in Johnstown Castle we went to the basement to see the kitchen and servants areas.

Basement of Johnstown Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Servants dining area. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The servants.
Information at Johnstown Castle.
The range in the kitchenit is not the original. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Despite being in the basement, windows let in the light. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The bright basement. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Part of an old vacuum cleaner! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We left the castle through the servants and goods entrance, a tunnel from the basement that is 85 metres long! It is the longest such tunnel in Ireland.

The beginning of the 85 metre servants tunnel. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The tunnel exits through this white door. The tower is called the Meat House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Map of the estate.
Johnstown Castle stands in a lush setting of lawns and exotic trees and shrubs, overlooking a lake with has a Gothic tower rising from its waters and a terrace lined with statues on its far side. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Johnstown Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory continues: “Furthermore, a “Terrace Garden”; a stable complex; folly-like towers and turrets overlooking an artificial lake ; a walled garden; and nearby gate lodges, all continue to contribute positively to the group and setting values of a largely intact estate.

Johnstown Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Walled garden, Johnstown Castle, County Wexford, November 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance to Johnstown Castle estate, County Wexford.
Johnstown Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stable Complex, Johnstown Castle, County Wexford, November 2021.

[1] https://www.archiseek.com/2014/johnstown-castle-county-wexford/

[2] Kavanagh, Art and Rory Murphy, The Wexford Gentry. Published by Irish Family Names, Bunclody, Co Wexford, Ireland, 1994.

[3] Gaul, Liam. Johnstown Castle A History. The History Press, 2014.

[4] https://www.buildingsofireland.ie/buildings-search/building/15704226/johnstown-castle-johnstown-fo-by-wexford

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