Birr Castle, County Offaly – section 482

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www.birrcastle.com

Birr Castle, photograph by Chris Hill 2018, for Tourism Ireland, Ireland’s Content Pool. [1]

We visited Birr Castle in June 2019. I am dying to visit again!

The castle has been in the one family since 1620. A castle existed on the site before then, but little remains of the original, as the old O’Carroll keep and the early C17 office ranges were swept away around 1778. However, parts of the auxiliary buildings of the original are incorporated into today’s castle, which was made from the gate tower which led into the castle bawn. The front hall of the original gatehouse is now at basement level. The rest of the castle has been built around this, at various times.

The castle formed part of a chain of fortresses built by the powerful O’Carroll family of Ely, on the borders of Leinster and Munster. In the 1580s the castle was sold to the Ormond Butlers. By 1620 the castle was a ruin, and King James I granted it to Laurence Parsons (d. 1628). [2] It was Laurence who made the current castle originating from the gate tower.

Although still a private residence, it is well set up for tours of the castle, and the demesne is wonderful for walks. The current owner is William Parsons, 7th Earl of Rosse.

The Parsons still live in the castle today and maintain the archives. According to the website: 

The Rosse papers are one of the most important collections of manuscripts in private ownership in Ireland. Extending from the early seventeenth century, when members of the family first established roots in the country, to the present, the core of the family archive is provided by the papers of successive members of the Parsons family. This calendar is essential reading for anyone interested in the history of: seventeenth and eighteenth-century Ireland; science in the nineteenth century; the British navy in the eighteenth century; the evolving story of the surviving families of the Irish landed elite in the nineteenth and twentieth centuries, and in the influence of a particular family that contrived over a number of centuries not only to transform Birr into one of the country’s most elegant small towns, but also to construct and sustain one of the finest country houses and its gardens.Access to the archives is by appointment.” [3]

In Crowned Harp, Memories of the Last Years of the Crown in Ireland, Nora Robertson writes about her ancestor Laurence Parsons:

With the further connivance of his even less admirable brother [less admirable, that is, than Laurence Parson’s kinsman Richard Boyle], Lord Justice William Parsons, Laurence acquired the forfeited estates of the Ely O’Carrolls in Offaly, whither he moved and erected Birr Castle...” [4]

The family history section of the Birr Castle website explains that there were four Parson brothers living in Ireland in the 1620s. They came to Ireland around 1590, and were nephews of Sir Geoffrey Fenton, Secretary of State in Ireland to Queen Elizabeth I. [5] Laurence’s brother William (1570-1649/1650) became Surveyor General of Ireland, 1st Baronet, and founded the elder branch of the Parson family in Bellamont, Dublin. This branch died out at the end of the eighteenth century.

Sir William Parsons (d. 1650), Surveyor-General and Lord Justice of Ireland Date: 1777, Engraver Samuel De Wilde, after unknown artist.

William was known as a “land-hunter”, expropriating land from owners whose titles were deemed defective. William was the progenitor of the first generation of the title of Earl of Rosse. When the last male to hold that title died without heirs, after a time the title passed to the descendants of the first baronet Bellamont’s younger brother, Laurence Parsons of Birr Castle.

Before obtaining land in Offaly, through his connection with Richard Boyle later 1st Earl of Cork (Richard married Catherine Fenton, daughter of Geoffrey Fenton, Secretary of State in Ireland to Queen Elizabeth I), Laurence Parsons acquired Myrtle Grove in Youghal, Co. Cork, previously owned by Walter Raleigh, and succeeded Raleigh as Mayor of Youghal. 

Raleigh, who introduced tobacco to Europe after discovering it on his travels, had a bucket of water thrown over him by a housemaid when he was smoking, as she thought he was on fire! Raleigh is also said to have planted the first potato in Ireland.

Myrtle Grove, Youghal, County Cork, photograph courtesy of Lawrennce Photographic Collecition National Library of Ireland, photographer: Robert French, 1841-1917.
Myrtle Grove, Youghal, County Cork, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Laurence Parsons served as Attorney General of Munster and later, Baron of the Exchequer, and was knighted in 1620. That same year, he ‘swapped’ his interest in a property near Cadamstown in County Wexford with Sir Robert Meredith, who served as Chancellor of the Exchequer in Ireland, for the latter’s 1,000 acres at Birr, Kings County. Parsons was granted letters patent to ‘the Castle, fort and Lands of Birr.’ [see 5]

The castle website states that:

“rather than occupy the tower house of the O’Carrolls, the Parsons decided to turn the Norman gate tower into their ‘English House,’ building on either side and incorporating two flanking towers. Sir Laurence Parsons did a large amount of building and remodelling including the building of the two flanking towers, before his death in 1628. This is all accounted for in our archives.” [6]

Suitably, a room which is now the castle’s Muniments room, which holds the archives, is located inside one of the flanking towers and retains a frieze of early 17thcentury plasterwork.

The group being led by our tour guide, Birr Castle, County Offaly. The entrance is approached by a tall flight of wide steps overshadowed by a massive arch, which gives the impression of passing beneath a medieval portcullis. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Our guide walked a group of us over to the castle, across the moat, which he told us had been created in 1847 when the owners of Birr Castle provided employment to help to stave off the hunger of the famine, along with the enormous walls surrounding the castle demesne as well as the stone stable buildings, which are now the reception courtyard, museum and cafe. 

Birr Castle, County Offaly, photograph by Stuart Smith 2016 on flickr commons.
A photograph of the moat which our guide told us had been created as a famine project in order to pay the workers. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walls around the demesne were created in 1847 when the owners of Birr Castle provided employment to help to stave off the hunger of the famine. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle walls. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle walls. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walls around the demesne were created in 1847 when the owners of Birr Castle provided employment to help to stave off the hunger of the famine. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle entrance, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I was intrigued to hear that the gates had been made by one of the residents of the castle, Lady Mary Field, wife of William Parsons, the third Earl of Rosse. She was an accomplished ironworker! She was also a photographer. She brought a fortune with her to the castle when she married the Earl of Rosse, which enabled him to build his telescope, for which the estate is famous. But more on that later. 

Gates on courtyard entrance made by Lady Rosse, Mary Field (1813-1885), wife of the third Earl of Rosse, with the family motto, “For God and the Land to the Stars.” The motto was originally “For God and King” but, unhappy with the monarch’s response to the famine, the family changed their motto. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Detail of a gate by Mary Field. This is the Parsons crest, the three leopard heads. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Mary Rosse, Countess of Rosse (née Mary Field) (1813-1885), painter unknown, photograph from Birr Archives, courtesy wikimedia commons.

Family crests from families who intermarried with the Parsons of Birr are also worked into the gate. There are similar crests on the ceiling of the front hallway of the castle. 

Birr Castle, County Offaly. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle, County Offaly. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle, County Offaly. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We were not allowed to take photos inside the castle, unfortunately. On the other hand it’s always a relief when I am told I cannot take photos, for it means I can relax and really look, and listen to the tour guide.

With the help of portraits, our guide described the Parson family’s ancestors. The entrance hall, the room over the arch in the original gatehouse, has some portraits and a collection of arms.

Birr Castle, photograph courtesy of Birr Castle website.

The principal staircase is from the 17th century house, and is built of native yew. It was described in 1681 by Thomas Dinely as “the fairest in all Ireland.” It rises through three storeys, and is heavy, with thick turned balusters and a curving carved handrail. The ceiling above the stairs has plaster Gothic vaulting and dates from the reconstruction after a fire in 1832.

The massive seventeenth century yew staircase, photograph from an article in the Irish Times, photographer Laura Slattery.

Sir Laurence’s son Richard succeeded his father in 1628. Richard died in 1634 without an heir so Birr Castle passed to Richard’s brother William (d. 1653). During his time in Birr Castle, William protected the castle from a siege in 1641 during the Catholic uprising. He fought off the forces for fourteen or fifteen months but eventually surrendered in January 1642/43. [Burke’s Peerage and Baronetage p. 1721] The family moved to London, returning at the end of the Cromwellian period.

In his will, William specified that when the Birr estate is worth £1000 per year, his heir should build an alsmhouse in Birr for four aged Protestants, each with a garden and orchard and enough grass for the grazing of two cows. The beneficiaries would be given 12 pence every Sunday, freedom to cut turf for fire, and a red gown with a badge once every two years, which was to be presented by the heir.

William’s heir was his son, Laurence Parsons (d. 1698), who married Lady Frances, youngest daughter and co-heir of William Savage Esquire of Rheban, County Kildare.

This Laurence Parsons has a substantial entry in The Dictionary of Irish Biography. He was created Baronet of Birr Castle in 1677. Under the lord deputyship of Tyrconnell, Irish protestant grew nervous about another Catholic uprising, and Parsons moved his family to England in 1687. He left a tenant and servant of long standing, Heward Oxburgh, in charge of his estate, with instructions to use his rentals to pay certain debts, and to remit payments to him in England.

Oxburgh was a Catholic who had lost land and been transplanted to Connaught, but was a tenant and servant of the Parsons for thirty years by 1692.

When the rental money did not materialise, Parsons returned to Ireland. He found his agent “highly advanced to the dignity of sheriff of the county, who lorded it over his neighbours at a great rate, and was grown and swollen to such a height of pride he scarce owned his master.” (Birr Castle MSS, A/24, ff 1–2). Furthermore, Oxburgh had used the estate’s rental income to raise a regiment of foot soldiers for King James II.

Parsons reoccupied his castle, which was then besieged by Oxburgh’s forces. Under duress he signed articles, only to find himself tried for treason against William III, and sentenced to death. Imprisoned in his castle, he was reprieved from execution several times, and eventually in April 1690 he was moved to Dublin, and was released shortly after the battle of the Boyne.

Oxburgh sat for King’s County in the Irish parliament summoned by James II in 1689, while his son Heward was returned for Philipstown. He died in the Battle of Aughrim in 1691.

Parsons was again appointed high sheriff of King’s County, and returned to Birr to secure the area against Jacobites and tories. He was involved in one notable skirmish on 11 August, before returning to Dublin to meet his wife and children who had travelled from England. Birr was subsequently occupied by Williamite forces.

Laurence Parsons died in 1698 and was succeeded in the baronetcy by his son, William Parsons (d. 1740) 2nd Baronet. William served in the Williamite forces, and was MP for King’s Co. (1692–1741). He married firstly Elizabeth, daughter of a Scottish Baronet, and they had one son. This son William Parsons married Martha Pigott and they had a son, Laurence (1707-1756). William Parsons 2nd Baronet died in 1740 and his grandson Laurence Parsons (1707-1756) succeeded as 3rd Baronet of Birr Castle.

his conduct as supervisor of various plantations outraged the numerous native landowners who were dispossessed by his highly questionable legal machinations: local juries were intimidated into invalidating titles to property, while those dispossessed who sought legal recourse were ruined by expensive and time-consuming counter-suits. From 1611 to 1628 he was heavily involved in the increasingly crude efforts by the government to wrest land in Cosha and Ranelagh, Co. Wicklow, from Phelim McFeagh O’Byrne, which culminated in a failed attempt to frame O’Byrne for murder by torturing witnesses. He also encountered criticism for the manner in which he exercised his office as surveyor of plantation land by deliberately underestimating the extent of plantation land in order to defraud the crown and the church of their revenues. At least twice he had to procure royal pardons for corrupt activities.

By these means, he furthered the crown’s policy of supplanting catholic landowners with more politically reliable protestant ones while personally acquiring prime plantation land in Co. Wexford, Co. Tyrone, and Co. Longford, and in King’s Co. (Offaly) and Queen’s Co. (Laois). Although his grasping nature was widely advertised in Ireland, he escaped royal censure due to his political clout, being a key member of a powerful and tightly knit group of Dublin-based government officials who enriched themselves by obstructing and redirecting royal grants of Irish lands intended for courtiers in London. Reflecting his political influence and widening property interests, he sat as MP for Newcastle Lyons (1613–15), Armagh Co. (1634–5) and Wicklow Co. (1640–41).

Parsons’s fortunes changed when Thomas Wentworth came as Lord Deputy to Ireland. Wentworth believed that the protestant establishment was hopelessly corrupt and had failed in its civilising mission in Ireland. He instigated legal proceedings – designed to recover property for the crown – against a number of prominent protestant landowners.

Thomas Wentworth 1st Earl of Strafford (1593-1641), Lord Deputy of Ireland 1632-1640 for King Charles I.

Parsons managed to keep in favour to an extent with Wentworth, although they did not trust each other, and when Wentworth was subsequently accused in 1640 of corruption and treason, Parsons was appointed Lord Justice of Ireland. Parsons knew he stood on shakey ground, however, due to his complicity with Wentworth.

Parsons’s position deteriorated when the king agreed to make a number of wide-ranging concessions, including a promise to halt the plantation of Connacht. Parsons succeeded in delaying the passage of the king’s concessions into law by pleading with the king not to give so much away without extracting money from parliament. Many then and since believed that, but for Parsons’s delaying tactics, the king’s concessions would have been passed by the Irish parliament, the catholics would have felt more secure, and the subsequent disaster of 1641 would have been averted. 

In February 1642 a royal proclamation arrived in Dublin calling on the rebels to surrender and promising them lenient treatment, after which a number of catholic landowners surrendered voluntarily to the government. Parsons disliked this, and to discourage further submissions, he imprisoned and tortured those who had surrendered and even executed a catholic priest who had saved thirty protestants from being murdered in Athy, Co. Kildare. Similarly, in May he condemned the terms by which the city of Galway had submitted to the government as being too lenient. His actions quickly stemmed the flow of submissions that could have brought a peaceful end to the rising. In the meantime the English Parliament was gaining in power over King Charles I.

The Dictionary of Irish Biography continues:

Parsons declared an official policy of neutrality while privately favouring parliament in every matter. From October 1642 he allowed two parliamentarian representatives to sit at the meetings of the Irish privy council. However, the royalist Ormond had his supporters in the Irish council. The growing factionalism that pervaded the Dublin administration reflected the mistrust between the royalists and parliamentarians in Ireland.

Meanwhile in Ireland the catholics organised their own system of government, the ‘catholic confederation’, and were bolstered militarily by the arrival of experienced officers from the Irish regiments serving in the Spanish Netherlands. The protestant forces, starved of pay and munitions, were pushed back once more. The royalists led by Ormond began courting the disgruntled protestant troops in Ireland. In December army officers presented Parsons and his council with a petition outlining their unhappiness at their lack of pay. Although Parsons maintained his grip on the civil administration, the army increasingly looked to Ormond.” This led to his dismissal from the Irish privy council in July and his arrest in August 1643.

Parsons remained a prisoner in Dublin until autumn 1646. By then parliament had won the English civil war and Parsons was released. He died in 1650.

Richard Parsons, 1st Viscount Rosse married three times. He married, firstly, Anne Walsingham, daughter of Thomas Walsingham, on 27 February 1676/77. He was created 1st Viscount Rosse, Co. Wexford [Ireland] on 2 July 1681. He married, secondly, Catherine Brydges, daughter of George Brydges, 6th Baron Chandos of Sudeley on 14 October 1681.

He married his third wife, Elizabeth Hamilton, daughter of Sir George Hamilton, Comte Hamilton in December 1695, after he’d been imprisoned in the Tower of London in February for high treason, according to Burke’s Peerage, Baronetage & Knightage. I can’t find much information about this.

Viscount Rosse’s father-in-law George Hamilton, Comte Hamilton, was the grandson of the 1st Earl of Abercorn, son of 1st Baronet Hamilton, of Donalong, Co. Tyrone and of Nenagh, Co. Tipperary. George Hamilton travelled to France to fight in the Catholic French army, where he was given the title of Comte, fighting against the British. He married Frances Jenyns, who gave birth to his daughter Elizabeth who married Richard Parsons 1st Viscount Rosse. Frances Jenyns, or Jennings, married a second time, to Richard Talbot, the Duke of Tyrconnell. So we can see the circles in which Richard Parsons mixed, and why it was that he could have been imprisoned for treason.

Frances Jennings, Vicereine of Ireland 1687-89, Duchess of Tyrconnell. She was married to Richard Talbot, 1st Duke of Tyrconnell (1630-1691).

The Viscount must have changed his loyalties, to support William III. The Viscount Rosse’s son by Elizabeth Hamilton, Richard (d. 1741), succeeded as 2nd Viscount Rosse upon his father’s death in 1703. He was raised to the peerage as 1st Earl of Rosse in 1718. He became the Grand Master of the Freemasons and was a founder member of the Hellfire Club which met at Montpelier Hill in a former shooting lodge of William Conolly. The Earl of Rosse’s townhouse on Molesworth Street later became the site of the Masonic Grand Hall. One sees no trace of his supposed Satanic leanings in his portrait in Birr Castle, in which he looks the picture of innocence!

The innocent looking Richard Parsons (d. 1741) 1st Earl of Rosse, one of the founders of the Hellfire Club. Photograph of the portrait courtesy of Birr Castle’s website. Painting by William Gandy.
Henry Clements (1698-1745), Col Henry Ponsonby (1685-1745), Richard St George (d. 1775), Simon Luttrell, Henry Barry 3rd Baron Santry (1680-1735), members of the Hellfire Club, painted by another member, and co-founder, James Worsdale, photograph of portrait in the National Gallery of Ireland.

Richard’s son, also named Richard, succeeded as the 2nd Earl but died childless and the title became extinct. It was then created for a second time for the descendants of Lawrence Parsons of Birr Castle.

Let us go back now to the Parson Baronets of Birr Castle. As I mentioned, Laurence Parsons 3rd Baronet of Birr Castle had a son by his first marriage, William (1731–1791). When Laurence died in 1749, William succeeded as 4th Baronet of Birr Castle.

Laurence’s son by his second marriage, Laurence (1749-1807), who inherited his uncle Cutts Harman’s estate County Longford with the proviso that he take the name Harman, became Laurence Harman Parsons. In 1792 he was raised to the Peerage of Ireland as Baron of Oxmantown, in the County of Dublin and in 1795, Viscount Oxmantown. In 1806 when he was created Earl of Rosse in the Irish peerage, of the second creation.

William Parsons (1731-1791) the 4th Baronet served as M.P. and High Sheriff for County Offaly. William in turn was succeeded in the baronetcy by his son Laurence Parsons (1758-1841). When Laurence the 5th Baronet of Birr Castle’s uncle the 1st Earl of Rosse of the second creation died without a male heir, Laurence became the 2nd Earl of Rosse. He married Alice, daughter of John Lloyd Esquire of Gloster, King’s County.

Gloster, County Offaly, February 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com.

During Heritage Week in 2024, Stephen and I visited Tullynisk house in County Offaly, where Alicia Clement, daughter of the Earl of Rosse, who grew up in Birr Castle, gave a tour of her home. She told us that the Parsons were not as illustrious as the Lloyds, and that Alice Lloyd was considered to be a good catch!

Tullynisk, County Offaly, built for two brothers of the Earl of Rosse. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com.

Laurence Parsons (1758-1841) 2nd Earl of Rosse served as M.P. and opposed the Union and the abolishment of the Irish Parliament. He was a friend of Henry Grattan. He was described by Wolfe Tone in his days as an MP as “one of the very few honest men in the Irish House of Commons.” [7]

The 2nd Earl of Rosse made further alterations to the castle, shortly after 1800. He worked with a little known architect, John Johnson, and they gave the castle its Georgian Gothic style.

The website explains the additions to the castle:

“The castle survived two sieges in the 17th century, leaving the family impoverished at the beginning of the 18th century and little was done to the 17th century house. However, at some time towards the end of that century or at the beginning of the 19th century, the house which had always faced the town, was given a new gothic facade, which now faces the park. The ancient towers and walls on this, now the park side of the castle, were swept away, including the Black Tower (the tower house) of the O’Carrolls, which had stood on the motte. Around 1820 the octagonal Gothic Saloon overlooking the river was cleverly added into the space between the central block and the west flanking tower.”

Birr Castle, photograph by Liam Murphy, 2015, for Tourism Ireland, Ireland’s Content Pool. (see [1])

The entrance we see was previously the back of the house, and most of this facade was added in the additions by the 2nd Earl from 1801 onward. First the two storey porch in the centre of the front, with the giant pointed arch over the entrance door was added and the entire facade faced with ashlar. The third storey which we see was added later, after 1832. The battlements were added as the castle was given a Gothic appearance.

Mark Bence-Jones describes the Castle in his Guide to Irish Country Houses:

“…during the course of C17, the gatehouse was transformed into a dwelling-house, being joined to the two flanking towers, which were originally free-standing, by canted wings; so that it assumed its present shape of a long, narrow building with embracing arms on its principal front, which faces the demesne; its back being turned to the town of Birr and its end rising above the River Camcor. Not much seems to have been done to it during C18, apart from the decoration of some of the rooms and the laying out of the great lawn in front of it, after the old O’Carroll keep and the early C17 office ranges, which formerly stood here, had been swept away ca. 1778. From ca 1801 onwards, Sir Laurence Parsons [1758-1841] (afterwards the 2nd Earl of Rosse), enlarged and remodelled the castle in Gothic, as well as building an impressive Gothic entrance to the demesne. His work on the castle was conservative; being largely limited to facing it in ashlar and giving a unity to its facade which before was doubtless lacking; it kept its original high-pitched roof containing an attic and two C17 towers at either end of the front were not dwarfed by any new towers or turrets; the only new dominant feature being a two storey porch in the centre of the front, with a giant pointed arch over the entrance door. At the end of the castle above the river, 2nd Earl built a single-storey addition on an undercroft, containing a large saloon. He appears to have been largely his own architect in these additions and alterations, helped by a professional named John Johnston (no relation of Francis Johnston). In 1832, after a fire had destroyed the original roof, 2nd Earl added a third storey, with battlements.” [8]

…the only new dominant feature being a two storey porch in the centre of the front, with a giant pointed arch over the entrance door.Birr Castle, photograph by Chris Hill 2018, for Tourism Ireland, Ireland’s Content Pool. (see [1])
St. Brendan’s Church of Ireland, Oxmantown Mall, Birr. Built by the architect John Johnson in 1815, who worked with the 2nd Earl on Birr Castle. The church was extended in 1876 by the architect Thomas Drew, who added a new chancel. Further enhancements included the insertion of the east window, which was commissioned from Charles Kempe by the fourth Earl of Rosse in 1891. Photograph © Jennifer Winder-Baggot, http://www.irishhistorichouses.com

Besides enlarging and remodelling the castle in the Gothic style, the 2nd Earl also built the impressive Gothic entrance to the demesne. [8]

Gothic Entrance gates to Birr Castle. From ca 1801 onwards, Sir Laurence Parsons [1758-1841] (afterwards the 2nd Earl of Rosse), enlarged and remodelled the castle in Gothic, as well as building an impressive Gothic entrance to the demesne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Gothic Entrance gates to Birr Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In the book Irish Houses and Gardens, from the archives of Country Life by Sean O’Reilly, the plaster-vaulted saloon which the 2nd Earl added is described: “With the slim lines of its wall shafts and ribs, the free flow of the window tracery and the curious irregular octagon of its plan, the room possesses all the light, airy mood of the best of later Georgian Gothic, and remains one of Birr’s finest interiors.” [9]

The Saloon, or Music Room, Birr Castle, photograph courtesy of Birr Castle website.

Vaulting fills the castle, even in small hallways.

Laurence Parsons (1758-1841) 2nd Earl of Rosse was succeeded by his son William Parsons (1800-1867), the 6th Baronet and 3rd Earl of Rosse. In 1836 he married Lady Mary, eldest daughter and co-heir of John Wilmer Field Esquire of Heaton Hall, County York. It was this Mary who created the gates which we admired on the way to the Castle.

Portrait of William Parsons, 3rd Earl of Rosse, (1800-1867), photograph courtesy of National Gallery of Ireland.

It was the third Earl, William Parsons (1800-1867), who built the world’s largest telescope for over 70 years, in 1845. He was one of the leading scientists and engineers of his day, and he designed the telescope as well as having it built.

The world’s largest telescope for over 70 years, built in 1845. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

All this work took place in rural Parsonstown at the Birr demesne. Furnaces had to be built and local men trained in manufacture and metal casting, overseen by the 3rd Earl. As we saw earlier, his wife Mary also learned metalwork.

Mary was also an accomplished photographer – the photography dark room of his wife Mary née Field has only been rediscovered in the castle recently, but unfortunately we did not get to see it. Their younger son, Charles Parsons, was a groundbreaking engineering pioneer and the inventor of the steam turbine.

The Birr Castle website continues:“After a fire in the central block in 1836 the centre of the castle was rebuilt, ceilings heightened, a third story added and also the great dining room. In the middle of the 1840s to employ a larger work force during the famine, the old moat and the original Norman motte were also flattened and a new star-shaped moat was designed, with a keep gate. This was financed by Mary, Countess of Rosse. This period of remodelling also overlapped with the building of the Great Telescope, The Leviathan.”

Only one person perished in the 1836 fire, a nanny to the children, who is said to haunt the top floor of the house. There’s a crack in the fireplace of the library from this fire, which was started by a cigarette tossed into a bucket of turf.

Birr Castle dining room, photograph by Chris Hill 2018, for Tourism Ireland, Ireland’s Content Pool. (see [1])
The Dining Room, which contains many family portraits. The sideboard is supported by the Parson family crest. The leopards are the heraldic symbol of the Parsons family. The massive Gothic sideboard of the dining room probably dates from shortly after the marriage in 1836 of the 3rd Earl of Rosse to Mary Wilmer Field. Birr Castle, photograph courtesy of Birr Castle website.

The website tells us that the final work on the castle was done in the 1860s when a square tower at the back of the castle on the East side was added. This now contains nurseries on the top floor which have a view over the town.

I was overwhelmed by the plush interior of the castle. It was the fanciest I had seen to date. The pelmets are huge, curtains heavy, and paintings old and abundant – although several are copies and not originals, placed due to their relevance to the inhabitants of the castle.

In the front hall there are huge tapestries, brought by the wife of the 6th Earl, Anne Messel, which fit the hall perfectly. The ceiling is sculpted in plaster, as are all of the reception rooms which we visited. There is an enormous wardrobe in the hall which can be taken apart so is called a “travel” wardrobe despite its heft, and a lovely walnut clock stood alongside the walnut exterior wardrobe. It is a Dutch clock, and as well as the time, it tells the date, and the phase of the moon, and has a little clockwork scene that is meant to move on the hour, but is no longer functioning. The clock is “haunted,” the guide told us, and is his favourite piece in the castle. It is said to be haunted because of a few odd incidents that occurred before it was brought to the castle. When someone in the family died, the clock stopped. Another time, at the moment someone in the house died, the pendulum of the clock dropped from its mechanics. Finally, when another person died in the house, the entire clock fell forwards onto its front.

Consequently nobody wanted the clock except the daughter of the family, who brought the clock with her when she moved into Birr Castle. For safety, however, she had the freestanding clock firmly affixed to the wall behind.

The website history of the family tells us:

The 19th century saw the castle become a great centre of scientific research when William Parsons, 3rd Earl built the great telescope. (See astronomy).His wife, Mary, whose fortune helped him to build the telescope and make many improvements to the castle, was a pioneer photographer and took many photographs in the 1850s.  Her dark room – a total time capsule which was preserved in the Castle – has now been exactly relocated in the Science Centre.

The website family history continues:

Their son the 4th Earl also continued astronomy at the castle and the great telescope was used up to the beginning of the 2nd world war. His son the 5th Earl was interested in agriculture and visited Denmark in search of more modern and successful methods. Sadly he died of wounds in the 1st world war.

The website continues: “His son, Michael the 6th Earl and his wife Anne created the garden for which Birr is now famous. (see the gardens and trees and plants) Anne, who was the sister of Oliver Messel the stage designer, brought many treasures to Birr from the Messel collection and with her skill in interior decoration and artist’s eye, transformed the castle, giving it the magical beauty that is now apparent to all.  Michael was also much involved in the creation of the National Trust in England after the war.

The Irish Historic Houses website tells us:

The interior is another skilful combination of dates and styles, forming a remarkably harmonious whole for which Anne Rosse, chatelaine of Birr from the 1930s to the 70s, is chiefly responsible [Anne Messel wife of 6th Earl]. She was the sister of Oliver Messel, the artist and stage-designer, and the mother of Lord Snowdon. A talented designer, decorator and gardener in her own right, her arrangement of the family collections is masterly.” [see 2]

The Yellow Drawing Room, created by Anne née Messel, Countess of Rosse. She created the yellow drawing room from two rooms, a renovation that nearly brought the entire ceiling crashing down! Birr Castle, photograph courtesy of Birr Castle website.
Birr Castle, photograph courtesy of Birr Castle website. The portrait is labelled Countess of Rosse b. 1698, but I can’t find which Countess this could be.
Birr Castle, photograph courtesy of Birr Castle website.

Anthony Armstrong-Jones, who married Princess Margaret, is a son from Anne Messel’s first marriage, her second marriage being to the sixth Earl of Rosse, Laurence Michael Parsons. The museum, off the Ticket Office, has a family tree:

The museum, off the Ticket Office, has a family tree of the Parson family.

A sister of Anthony Armstrong-Jones married into the Vesey family of Abbeyleix, who owned the De Vesci estate. My father grew up in Abbeyleix. We used to be able to walk in the grounds of the De Vesci estate but it has since been closed to the public.

The website continues to tell us of the next generation: “Their son Brendan, the present Earl [b. 1936, he succeeded his father as the 7th Earl of Rosse in 1979], spent his career in the United Nations Development Programme, living with his wife Alison and their family in many third world countries.  He returned to Ireland on his father’s death in 1979. Brendan and Alison have also spent much time on the garden, especially collecting and planting rare trees. Their three children are all passionate about Birr and continue to add layers to the story for the future.

Patrick, Lord Oxmantown currently lives in London and is working on plans to bring large scale investment into Birr which will enable him and his family to move back to Ireland.

Alicia Clements managers the Birr Castle Estate and lives in the sibling house of Tullanisk.

Michael Parsons, works in London managing a portfolio of properties for the National Trust and is a board member to The Birr Scientific and Heritage Foundation.”

After our castle tour, we ate our lunch under a tree on a lovely circular bench made of a huge tree trunk, then went to see the telescope.

The “Leviathon” telescope. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The “Leviathon” telescope. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The “Leviathon” telescope. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
6 foot telescope of William Parsons, 3rd Earl of Rosse featuring Lawrence Parsons, 4th Earl of Rosse, by Robert French, Lawrence Collection c. 1880 L_ROY_03237.

The telescope contains a speculum mirror at the bottom of the tube, which is 1.8 metres in diameter. The mirrors were made in a workshop set up by William Parsons, and the speculum had to be taken away and polished up every once in a while, so a second speculum mirror was made. The tube which houses the speculum is 17 metres long and was made near me in the Liberties, in a Foundry on Cork Street. The Earl would look into the telescope via a brass eyepiece in the enormous wooden tube, by climbing up the stairs on the side of the stone walls, to the viewing platform. With the telescope, the Earl could see further into space than anyone had ever seen. He sketched what he saw. According to the information at the site, his sketches were amazingly accurate when compared to modern photographs taken by the Hubble Telescope. The Earl studied “nebulae,” which are clouds of dust and gas in space, and discovered the “Whirlpool Nebulae.” There is now a planting of trees in the grounds of the castle to honour the founding of this M51 nebula. The “whirlpool spiral” of trees is a plantation of lime trees, planted in 1995, marking 150 years since the Earl discovered the nebula.

The “Leviathon” telescope. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The sixth Earl of Rosse, Lawrence Michael Harvey Parsons,  pursued an interest in trees and botany rather than the stars and moon, and created the gardens. We enjoyed the beautifully sunny day, walking around the generous landscape.

Birr Castle Demesne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle Demesne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The spring wildflower meadow has not been ploughed since at least 1620. Grass is let grow long to allow wildflowers, bees and wildlife to flourish.

From “In Harmony with Nature, The Irish Country House Garden 1600-1900” in the Irish Georgian Society, July 2022, curated by Robert O’Byrne.
Birr Castle Demesne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We entered The Fernery, which according to the sign beside it, tells that Ferneries were fashionable in Victorian times. 

Birr Castle Demesne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle Demesne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle Demesne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle Demesne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

This little fountain works by gravity, as the water falls from the lake to the stream. It’s an aspect I love about exploring heritage properties: the clever and sustainable engineering of the times. We have much to learn from our ancestors. I love that they have kitchen gardens and walled gardens and were self-sustaining. 

Birr Castle Demesne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle Demesne. Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Brick Bridge, formerly called the Ivy Bridge, is in County Tipperary, according to our leaflet about the grounds of Birr Castle.

Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle Demesne. Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Above, the Teatro Verde, “Green Theatre,” from which you can see the vista of the castle and demesne. It was inspired by the design of 18th century architect and family member Samuel Chearnley. Dedication to Edward and Caroline on a plaque on the bench, “In Truth we Love, in Love we Grow.”

We didn’t have the energy to explore the entire garden, but followed the map to see a few places such as the Fernery, the Teatro Verde, and the Formal Gardens. Along the way, we passed the box hedges, the tallest in the world! The box hedges are around ten metres tall, and are over 300 years old.

The box hedges are around ten metres tall, and are over 300 years old. Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Formal Gardens were designed by Anne Messel, the 6th Countess of Rosse, to celebrate her marriage to the 6th Earl, Michael, in 1935. There are white seats either end which bear their initials, which she designed. The hornbeam arches are in the form of a cloister complete with “windows”!

Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle gardens, photograph for Tourism Ireland, 2015, Ireland’s Content Pool. (see [1])
The Formal Gardens, Birr Castle, by Alison Rosse.

We headed back to the visitor centre and museum, passing the children’s area, the wonderful Tree House! The current owners, Brendan Parsons, who was director of the Irish House and Gardens Association for eleven years, and his wife Alison, have been leading advocates for finding a new role for country houses in a heritage and educational context.

Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In the museum, we studied the pictures and explanations, but had to ask where it was that the viewer would sit or stand to look through the telescope. There’s a great timeline in the museum – I always find these very useful and informative!

It was interesting also to see some documents from the family archives, including a booklet written by the Earl about management of property, and purchase of the elements that make up the speculum mirror, which is made of metal and not glass – only later did they make mirrors of glass for telescopes.

Birr Castle, County Offaly, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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

[2] http://www.ihh.ie/index.cfm/houses/house/name/Birr%20Castle

[3] During the period 1979-2007, Lord and Lady Rosse facilitated research by Dr. Anthony Malcomson, former director of the Public Record Office of Northern Ireland (PRONI), and latterly sponsored by the Irish Manuscripts Commission, to enable the production of a comprehensive calendar of the Rosse Papers in 2008. The archive is held in the Muniment Room of Birr Castle.

[4] p. 12, Robertson, Nora. Crowned Harp, Memories of the Last Years of the Crown in Ireland, published 1960 by Allen Figgis & Co. Ltd., Dublin.

[5] https://www.tcd.ie/media/tcd/mecheng/pdfs/The_Family_Parsons_of_Parsonstown.pdf

[6] https://birrcastle.com/sharing-our-heritage/

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

[8] 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.

[9] O’Reilly, Sean. Irish Houses and Gardens, from the archives of Country Life, Aurum Press, London: 1998, paperback edition 2008.

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Rathfarnham Castle, Dublin, an Office of Public Works property

Rathfarnham Castle, Dublin

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

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

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

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

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

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

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

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

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

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

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

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

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

The Dictionary of Irish Biography tells us:

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

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

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

Adam Loftus was the first Provost of Trinity College Dublin.

The Dictionary of Irish Biography continues:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Summerhill, County Meath, etnrance front, photograph: Maurice Craig, Vanishing Country Houses of Ireland by The Knight of Glin, David J. Griffin and Nicholas K. Robinson, published by The Irish Architectural Archive and The Irish Georgian Society, 1988.

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

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

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

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

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

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

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

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

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

From the OPW website:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Clongowes Wood College, County Kildare:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We were given a leaflet, which tells us:

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

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

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

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

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

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

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

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

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

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

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

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

Dunguaire Castle, Kinvara, County Clare – open to the public

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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

Dunguaire Castle, Kinvara, County Clare

https://www.dunguairecastle.com/dunguaire-castle/

Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Dunguaire is maintained by Shannon Heritage, which also owns Bunratty Castle, King Johns Castle in Limerick, Craggaunowen folk park, Knappogue Castle in County Clare, Dublin GPO Witness History and Malahide Castle and Gardens in Dublin. Stephen and I visited Dunguaire Castle in July 2021. The website currently tells us that it is temporarily closed.

Dunguaire is a tower house built in 1520 by the O’Hynes clan on the shores of Galway Bay. “Dun Guaire” is from Fort of Guaire; Guaire was King of Connaught in the sixth century. Inland lay forests, bogs and wolves, so people travelled at that time by boat.

Dunguaire Castle, County Clare, July 2021.
Dunguaire Castle, County Clare, July 2021. This information board claims that it was Rory Mor O’Shaughnessy who built Dunguaire, around 1550.
Dunguaire Castle, County Clare, July 2021.

A map in the castle showed us that from Galway in the 17th century, animal hides, tallow from fat, wool and salmon were exported to Spain and France, hare, squirrel, lamb and fox skins imported to Spain, kelp seaweed to France and England, Linen to New York (from flax) and pork and herring to colonies in Jamaica.

Galway would have obtained imports of salt from Portugal (although salt mines were also developed in Ireland), wine from France and Italy, iron, weapons, spices and calico from Spain, flax seed and tobacco from New York, potatoes from Delaware (!), and sugar, cotton and rum from the West Indies.

Another information board tells us that donkeys were brought to Ireland from Spain sometime during the seventeenth century.

The castle retains a small bawn and a second small tower.

Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Richard Martyn, Mayor of Galway in 1643-43, lived here until 1642 and the Martyn family, who also owned Tullira Castle in County Galway, continued to own Dunguaire castle through the eighteenth and nineteenth centuries and on until 1924. Richard Martyn is though to have modernised the building and added glass windows. Chimneys were added in the seventeenth century.

Dunguaire Castle, County Clare, July 2021.
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullira Castle, County Galway, also owned by the Martyn family, photograph by Fennell Photography BNPS from 2013 when the house was for sale. The tower house was built originally in the 15th century and in 1882 Edward Martyn, nationalist and patron of the arts, commissioned the design for the house from architect George Ashlin. 
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
You can see the imprint and remnants of wicker work which held up the ceiling when the mortar vaulting was created. Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In 1924 Dunguaire was bought and repaired by Oliver St. John Gogarty, the famous surgeon and literary figure, who saved it from demolition.  It became the venue for meetings of the literary revivalists such as W.B. Yeats, his patron Lady Gregory, George Bernard Shaw, Edward Martin and J.M. Synge. In 1954 the castle was acquired by Christobel Lady Amptill, who completed the restoration started by Oliver St. John Gogarty.

Oliver St. John Gogarty (1878-1957) painted by William Orpen.

Mark Bence-Jones tells us in his A Guide to Irish Country Houses (1988) that Lady Ampthill’s architect was Donal O’Neill Flanagan, “who carried out a most successful and sympathetic restoration. The only addition to the castle was an unobtrusive two storey wing joining the main tower to the smaller one. The main tower has two large vaulted rooms, one above the other, in its two lower storeys, which keep their original fireplaces; these were made into the dining room and drawing room.” [1]

She must have been a brave character to live in the tower all on her own! She sold it to the Shannon Development company in 1972. It was opened to visitors before that, however, when Lady Christobel owned it, according to another information board telling us that it was opened to visitors in 1962. Banquets began at the castle in 1968 – although I am sure there were many banquets in the castle before that!

Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Banquet Hall, which also has a stage. Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I’m not sure when these stained glass windows were installed, probably by Edward Martyn (d. 1836) who was involved with a stained glass cooperative called An Tur Gloinne with the artist Sarah Purser. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I wonder if these tapestries belonged to Lady Ampthilll, because the hunting scenes reflect her enjoyment of hunting. Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A view from the tower house, looking inland. Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
View from Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The roof of Dunguaire Castle, County Clare, July 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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

p. 115. “(Martyn/LGI1912; Gogarty/IFR; Russell, Ampthill, B/PB) An old tower-house with a bawn and a smaller tower, on a creek of Galway Bay; which was for long roofless, though in other respects well maintained by the Martyn family, of Tulira, who owned it C18 and C19, and which was bought in the present century by Oliver St John Gogarty, the surgeon, writer and wit, to save it from threat of demolition. More recently, it was bought by the late Christabel, Lady Ampthill, and restored by her as her home; her architect, being Donal O’Neill Flanagan, who carried out a most successful and sympathetic restoration. The only addition to the castle was an unobtrusive two storey wing joining the main tower to the smaller one. The main tower has two large vaulted rooms, one above the other, in its two lower storeys, which keep their original fireplaces; these were made into the dining room and drawing room. “Medieval” banquets and entertainments are now held here.” 

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

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

A Confession, The Revenue Section 482 scheme

Donation

Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.

€15.00

Today I do not have a Section 482 property to write about because I find visiting difficult. My regular readers will have noticed that over the past couple of years I have been writing more often about properties that are publicly owned. I do intend to continue visiting and writing. But I realise my blog puts me in a difficult position. Most owners, understandably, do not want their private property written about on a website.

I have mixed feelings about the Revenue Section 482 scheme. The public are deprived of the amount of income tax that Section 482 owners save. Is it value for money? Should the government be urged to consider doing away with the scheme?

It’s not that I disagree about the value of historic houses. I love historic houses! I love to visit them, I love their history, their architecture, their gardens. I love to stay in them when I can. However, inclusion is too broad. I don’t think every property is actually worth visiting.

When I began visiting the properties, I had no idea that Ireland had so many wonderful houses. So I assumed that the few we have are worth saving. When I discovered Mark Bence-Jones’s landmark  A Guide to Irish Country Houses I learned that there are at least 3000 such houses. Perhaps the ones still standing are worth saving, I thought.

After more than five years pursuing my project, I have learned that Mark Bence-Jones only touches the surface. The National Inventory of Architectural Heritage lists thousands more properties. Nearly every week a gorgeous historic property is advertised for sale. Each one could be a Section 482 property. Could every rectory and old farmhouse be included on the Section 482 scheme?

Criteria for inclusion is that the property is of horticultural, scientific, historical, architectural or aesthetic significance. Application of the criteria is sometimes tenuous.

Ostensibly, the scheme helps owners to maintain their historic property because it is worth maintaining. It seems that thousands more properties could be included at little inconvenience to owners (more on this later). With the housing crisis and the ecological impact of building, every building is worth maintaining. If one owner has their income tax reduced by spending on house repairs while another owner does not, there should be a very good reason.

The Scheme requires that the historic properties must be either open to the public for specified periods, or provide tourist accommodation. I have criticised the latter before as there is no limit on what can be charged. I wonder why more B&Bs and hotels don’t apply for section 482 status. Why don’t all castle hotels apply, for example? Is it to do with what sort of ownership meets criteria? The government should definitely do away with the part of the scheme that allows a property to fulfil its obligations by providing tourist accommodation. Most are too expensive for the majority of Irish people. The public does not benefit at all. I suspect this was not originally part of the scheme.

Worst are the houses that only do “whole house” rental. In those cases, we can be grateful that someone is maintaining a wonderful piece of history, but since we will never get to see it, we should not be expected to fund it.

That leaves us with the houses that are open to the public for specified periods. I am sure I am not the only person who arrived to a locked gate, or was told that the open day was not convenient. It’s hard for owners, I understand! I know I couldn’t do it, showing people around my home, having it tidy, being there to open the door, not knowing who would arrive. Fortunately, I think only people who are genuinely interested go to see the properties.

And so, I would hope, only people genuinely interested look at my website. I do have owners who have asked me not to write about their property at all. I understand. But that’s when I return to the value of the scheme. Is it because we value these houses, their beauty, their history? Aren’t owners receiving tax benefits because they are acknowledging the value of their property to the larger public? And if so, can they really ask me not to write about them? By highlighting their aesthetic and historical significance, my website encourages people to believe historic houses are worth maintaining.

I am not saying I am convinced of this, and therein lies my problem. Which is why I have only visited one private section 482 property in the past year or more. I completely understand that an owner does not want me to write about their property. I understand that an owner wishes nobody would visit. So I find it hard to make myself visit. I would love to know others’ experience.

And if you are an owner, please let me know if I am welcome to visit! Because I find it hard to ask.

2026 Diary of Irish Historic Houses (section 482 properties)

To purchase an A5 size 2026 Diary of Historic Houses 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 €11 for the A5 size, so I would appreciate a donation toward the postage – you can click on the donation link.

€20.00

Donation towards accommodation

I receive no funding nor aid to create and maintain this website, it is a labour of love. I travel all over Ireland to visit Section 482 properties and sometimes this entails an overnight stay. A donation would help to fund my accommodation.

€150.00

Doheny & Nesbitt pub, 4/5 Lower Baggot Street, Dublin 2 – section 482

www.dohenyandnesbitts.ie

Open dates in 2025: all year, except Christmas Day, Mon-Wed, 9am-12 midnight, Thurs-Sat, 9am-1.30am, Sun, 9am-12 midnight
Fee: Free

Donation

Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.

€15.00

Doheny & Nesbitt, photograph courtesy of Flickr, “photos by Joe.”

Doheny & Nesbitt, a popular bar on Lower Baggot Street, occupies what was once a residence, built around 1790. Now it holds one of the finest Victorian pubs in Dublin.

Not long before, until 1773, the road had been called Gallows Road, as it led to the Gallow Mount, where criminals were hung. It was not just criminals, however, but also Catholics: Dermot O’Hurley, Archbishop of Cashel, was hung on 20 June 1584, and officially recognised as a Catholic martyr by Pope John Paul II in 1992. I first heard of the painful fate of Dermot O’Hurley when exploring the park of St. Kevins church, where the Archbishop is buried. His feast day, coincidentally, is this week, the 20th June.

A plaque in St. Kevin’s Park in Dublin tells us about Archbishop Dermot O’Hurley, who was hung on the Gallow Mount in 1584 near where Doheny & Nesbitt is located. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Dermot O’Hurley was born in County Tipperary and studied in Louvain in Belgium. Catholics from Ireland had to go abroad to study. He knew that when he was ordained, his life would be that of a fugitive, ministering when possible. When he travelled to Ireland after his appointment, he never reached Cashel . Officials believed that O’Hurley was plotting to overthrow the English in Ireland. He was captured and tortured, including putting his feet into boots filled with boiling pitch and oil.

Richard Verstegen’s depiction of the 1584 torture and execution of Archbishop Dermot O’Hurley. The 1579 hanging of fellow Irish Catholic Martyrs Bishop Patrick O’Hely and Friar Conn Ó Ruairc is shown in the background. Coloured engraving from Richard Verstegan, Theatrum crudelitatum haereticorum nostri temporis, 1587.

Another person executed in the same spot was “Darkey” Dorcas Kelly, a “Madam” who operated the Maiden Tower brothel on Copper Alley, off Fishamble Street in Dublin. She was burnt at the stake in 1761 – not all that long before the Georgian houses were built on Gallows Road.

Doheny & Nesbitt, photograph from the pub’s facebook page.

The pub occupies both numbers 4 and 5, two Georgian houses of two bays and four storeys, fronted in brown brick, with corner quoins. The windows diminish in size from ground to top storey. The Georgian period spans over a century, referring to the four successive reigns of King Georges of the House of Hanover, from the accession of George I to the throne in 1714 to the death of George IV in 1830. 

Dublin Georgian town houses are typically terraced. Dublin Civic Trust’s website tells us that the house facade, including the spacing and shape of windows, is designed in accordance with classical rules of proportion. Servants quarters and kitchens were housed in the basement, while the principal living space was at first floor level, called a ‘piano nobile’ (Italian for main floor). Large windows at this level let in lots of light. Bedrooms, with smaller windows, were on upper storeys.

The National Inventory tells us that the timber pub front is from around 1890. The Inventory describes panelled pilasters over a painted masonry plinth.

Doheny & Nesbitt, photograph from the National Inventory.

A decorative brass sheet reads ‘Tea & Wine Merchant’. 

Doheny & Nesbitt, photograph from the National Inventory.

Wooden oversize scrolled foliate consoles frame the signage. Inside the pub retains its Victorian decor, with its original joinery in the bar, snugs and carved timberwork ceilings (according to the National Inventory). The website tells us that the ceiling is of papier maché, and that it has been restored. There’s a replica Victorian bar in the rear.

Doheny & Nesbitt, photograph from the National Inventory.
Doheny & Nesbitt, photograph from the pub’s facebook page.

The main bar retains the original counter, and almost all of the original fittings date from the 19th century. I think it’s unfortunate the bar has big tvs so that customers can follow sports, as they ruin the old world atmosphere.

Doheny & Nesbitt, 4/5 Lower Baggot Street, Dublin 2. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory tells us that the liquor licence has been held by several owners. It was a grocers as well as a pub. Shaw’s Directory of 1850 records William Burke as the occupant of the premises. The website tells us that it became a pub in the 1840s. Burke ran the pub as ‘Delahuntys’ for almost fifty years.

In 1924, Philip Lynch and James O’Connor took it over for around thirty years, before passing it onto a Felix Connolly. A sign over the bar retains the Connolly name. Ned Doheny and Tom Nesbitt, two Co. Tipperary men, then took over and gave it the current name. It now has newer owners, who retained the name.

Doheny & Nesbitt, 4/5 Lower Baggot Street, Dublin 2. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doheny & Nesbitt, 4/5 Lower Baggot Street, Dublin 2. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The front bar, with mirror and wood divisions, Doheny & Nesbitt, 4/5 Lower Baggot Street, Dublin 2. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A row of old whiskey jugs decorate the top shelf over the bar, Doheny & Nesbitt, 4/5 Lower Baggot Street, Dublin 2. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The pub sells food and tables can be reserved in advance if one wants a meal.

Doheny & Nesbitt, photograph from the pub’s website.

The bar has several rooms, and function rooms upstairs and in the basement, catering for different capacities.

Doheny & Nesbitt, photograph from the pub’s website.
Stephen and Denise in Doheny & Nesbitt in June 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doheny & Nesbitt, photograph from the pub’s website.

Old advertisments and memorabilia line the walls, and the back bar has an unusual panelled barrel ceiling.

Doheny & Nesbitt, photograph from the pub’s facebook page.
Doheny & Nesbitt, 4/5 Lower Baggot Street, Dublin 2. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doheny & Nesbitt, photograph from the pub’s facebook page.
Wall of fame, Doheny & Nesbitt, 4/5 Lower Baggot Street, Dublin 2. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doheny & Nesbitt, photograph from the pub’s website.

There are three rooms available to book for functions: Tom’s Bar, Paul’s Bar and the Marble Bar. There is also a cellar bar.

Doheny & Nesbitt, photograph from the pub’s facebook page.
Doheny & Nesbitt, photograph from the pub’s facebook page.
Doheny & Nesbitt, photograph from the pub’s facebook page.
Doheny & Nesbitt, photograph from the pub’s website.
Doheny & Nesbitt, photograph from the pub’s website.
Doheny & Nesbitt, photograph from the pub’s website.
The smoking area, Doheny & Nesbitt, photograph from the pub’s website.
Doheny & Nesbitt, photograph from the pub’s website.

https://www.buildingsofireland.ie/buildings-search/building/50100456/doheny-nesbitt-4-baggot-street-lower-dublin-2-co-dublin

https://www.buildingsofireland.ie/buildings-search/building/50100457/doheny-nesbitt-5-baggot-street-lower-dublin-2-co-dublin

Donation towards accommodation

I receive no funding nor aid to create and maintain this website, it is a labour of love. I travel all over Ireland to visit Section 482 properties and sometimes this entails an overnight stay. A donation would help to fund my accommodation.

€150.00

2026 Diary of Irish Historic Houses (section 482 properties)

To purchase an A5 size 2026 Diary of Historic Houses 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 €11 for the A5 size, so I would appreciate a donation toward the postage – you can click on the donation link.

€20.00

Donation

Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.

€15.00

The Odeon (formerly Harcourt Street Railway Station), Dublin 2, D02VE22 – Section 482

The Odeon, formerly Harcourt Street Railway Station.

Donation

Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.

€15.00

I have created my 2026 Diary Calendar, which is available to order now. Please note that if you are purchasing from outside Ireland, I would appreciate a donation toward postage, by clicking on the donation button.

2026 Diary of Irish Historic Houses (section 482 properties)

To purchase an A5 size 2026 Diary of Historic Houses 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 €11 for the A5 size, so I would appreciate a donation toward the postage – you can click on the donation link.

€20.00

Donation towards accommodation

I receive no funding nor aid to create and maintain this website, it is a labour of love. I travel all over Ireland to visit Section 482 properties and sometimes this entails an overnight stay. A donation would help to fund my accommodation.

€150.00

The Odeon, 57 Harcourt Street, Dublin 2, D02VE22, formerly the Old Harcourt Street Railway Station, is now a bar and currently a Section 482 property:

Open in 2025: all year Tue-Sat, National Heritage Week, Aug 16-24, 12 noon-12 midnight

Fee: Free

www.odeon.ie

Last week Lisney Real Estate advertised the building for sale for €6,500,000. It’s a beautiful venue for a party.

The Odeon, 1931, from the National Library archives, see flickr constant commons.
The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Railways began in the 1550s as wooden rails used in mines to transport tubs carrying ore. That reminds me of the way Bord na Mona used trains to carry their turf on the bog, and the Guinness brewery also had its own train lines for transporting barrels of stout within the site.

The first public commuter railway system in Ireland launched in 1834 and ran between Dublin and Dún Laoghaire, formerly named Kingstown. [1] The Dublin and Kingstown Railway (D&KR) travelled from Westland Row in Dublin.

The Harcourt Street Station, built in 1859, was the terminus for the Dublin to Bray, County Wicklow train. Passengers could travel to the villages of Dundrum, Stillorgan and Milltown, and the train line helped to develop Bray into a seaside resort. An article in the Irish Independent, “Fascinating story of Harcourt Street line retold,” published 29th February 2012, tells us that two companies vied for the contract to run the train line. One company started building from Harcourt Street, the other from Bray. It was decided that the first to reach Dundrum would win the contract to run the Railway line. William Dargan was the successful contractor. [2]

The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Before trains, public transportation comprised of stagecoaches travelling specified routes between coaching inns and horse-drawn boats carried paying passengers along canals.

The Harcourt-Bray train travelled for a century, ceasing in 1959. Much of the former trackbed remained intact and now carries the Luas, the Dublin light rail, the modern version of the tram. The Luas station ‘furniture’ impedes photography of the building and my attempts to highlight its architectural features!

The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

An entry about Dublin tram history on the Dublin City Public Participation Network tells us that the idea of transporting people along a fixed route within a city began in Nantes, France, around 1823, when Stanislas Baudry opened a bath house outside the city and started a shuttle service that left the town centre on a regular schedule. [3] I’m glad that the first fixed route city public transport system was for bathing and not for work, as I would have expected!

After Baudry realised some passengers used the shuttle to travel to destinations along the route, he created the first urban transit service in 1826 in Nantes, calling his coaches the “Omnibus” (Latin for “for all”). He quickly expanded to Bordeaux, Lyon, and eventually Paris. [see 3]

Architect George Wilkinson (1840-1890) designed the Harcourt Street station. [4] After he built twenty-four workhouses in England, in 1839 the Poor Law Commission in Ireland invited Wilkinson to design 130 workhouses. After eleven years, the Commissioners of the Poor Law decided that they could no longer afford their own full-time architect, and in September 1855 Wilkinson was retired on a pension of £300 per annum. [5]

The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Next, Wilkinson designed railway stations, mostly for the Midland Great Western Railway Company. As he acknowledged, a workhouse had to be “uniform and cheap, durable and unattractive” so that people would be discouraged from applying to them for aid and accommodation. He took pride in his work, however. To underline the painstaking attention he had given to the materials used in the construction of the workhouses, Wilkinson published in 1845 his Practical Geology and Ancient Architecture of Ireland, which included a detailed account of the building materials available in the different counties with tables of the experiments he had conducted on the principal Irish building stones. [see 5] He managed to insert an Italianate tower in the Carlow workhouse.

The Dictionary of Irish Architects tells us that in August 1860 Wilkinson was appointed architect to the Commissioners of Asylums for the Lunatic Poor at a salary of £300 per annum. He designed two identical asylums at Castlebar, Co. Mayo, and Letterkenny, Co. Donegal. He remained in the post until 1886. He appears to have done relatively little private work. A few houses are recorded in Bray and Dalkey and a marble staircase for the Marquess of Sligo at Westport House (1858) but he does not seem to have designed any commercial premises or churches. His last important recorded commission was the new agricultural hall for the Royal Dublin Society at Ballsbridge, built in 1879-80. [see 5]

The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The building is brown brick with granite stone dressing. Two colonnades of Tuscan columns flank the central monumental arch porch which has the entrance doors inside under a further two stone arches. The building is fronted by stone steps as it was built on an embankment.

The central block is double height, topped by an open pediment portico which has ends sitting on a frieze on top of pairs of oversized granite scrolled “corbels.” The large entrance arch is supported on a structure of paired columns.

The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A keystone in the cut granite arch sits under a granite plaque inscribed ‘MDCCCLIX’ (1859).

The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The windows have granite architraves (decorative moulding around a window or door).

I like the added stripes inside the colonnades. The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Odeon, photograph courtesy of Lisney Commercial Real Estate, June 2025.
The building features lovely ovoid windows with wooden crosshatching. Photograph courtesy of Archiseek.

At the rear of Harcourt Street Station at Hatch Street is the curved end wall of the former trainshed. The curved is due to the placement of the former turntable upon which steam locomotives turned to travel in the opposite direction. [6] This engine shed was used at another time as a bonded warehouse.

Curved wall which housed the turntable for turning the trains, photograph courtesy of National Inventory.
The Odeon, the sheds and vaults are of brick and Calp (limestone) to contrast with the main building of brown brick with granite. December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Odeon, December 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The station platforms, photograph courtesy of Archiseek.
The Harcourt Street station, photograph courtesy of The Odeon website.

In 1900 an accident occurred, when a train failed to stop at the station due to the weight of 30 wagonloads of cattle.

The 1900 crash, photograph courtesy of Odeon website
The 1900 crash, photograph courtesy of Odeon website, copyright Ciaran Cooney.

Archiseek describes:

Beneath the station shed are excellent arched vaults originally designed as a bonded spirit store and now housing a wine merchants and one of Dublin’s trendiest nightspots. The main front part of the building has recently been renovated and cleaned and is now an enormous bar which looks and feels bigger that the external dimensions of the station would suggest. The bar design manages to be sympathetic to the original design suggesting a large ‘Gentleman’s Club’ of the Victorian era without descending to pastiche.

The rear of the station has various store buildings which were accessible from a raised ramp off Harcourt Road. Due for redevelopment, these stores are quite large containing many brick archways from area to area and were used by Dunlop for many years.” [4]

The Odeon, photograph courtesy of Lisney Commercial Real Estate, June 2025.
The Odeon, photograph courtesy of Lisney Commercial Real Estate, June 2025.
The Odeon, photograph courtesy of Lisney Commercial Real Estate, June 2025.
The Odeon, photograph courtesy of Lisney Commercial Real Estate, June 2025.
The Odeon, photograph courtesy of Lisney Commercial Real Estate, June 2025.

This entry makes me want to visit the Steam Museum in County Kildare, another Section 482 property! More next week on a different pub, Doheny and Nesbitt.

[1] https://modelrailwaymuseum.ie/history-of-irish-rail/

[2] https://www.independent.ie/regionals/wicklow/news/fascinating-story-of-harcourt-street-line-retold/27868681.html

[3] https://dublincityppn.ie/stories/the-rise-and-fall-of-the-first-dublin-tram-network-part-1-beginnings-to-one-network/

[4] https://www.archiseek.com/2010/1859-former-harcourt-street-station-dublin/

[5] https://www.dia.ie/architects/view/4918/Wilkinson-George

[6] http://eiretrains.com/Photo_Gallery/Railway%20Stations%20H/Harcourt%20Street/IrishRailwayStations.html#

Wells House and Gardens, County Wexford – open for tours

Wells House, County Wexford

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2026 Diary of Irish Historic Houses (section 482 properties)

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www.wellshouse.ie 

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Wells House, although not a Section 482 property, is open to the public for house tours and has 450 acres of woodland and garden to explore. It is one of Wexford’s most popular tourist destinations with some 100,000 visitors each year. Stephen and I visited in May 2025.

The original house was built in the 1600s for John Warren, a Cromwellian soldier who was granted 6000 acres. The house at the time was a simple square manor. The name “Wells” comes from the fact that the land holds several natural springs. In the 1830s Daniel Robertson enlarged and remodelled the house in Tudor-Gothic style.

According to the house’s website, John Warren’s wife predeceased him and he had no children. In his last will and testament, he left his estate, which was then earning him £400 a year, to a cousin, Hugh Warren, on the condition that Hugh pay Samuel Jackson, the executor, £5000, to be divided among John’s other relatives. Alternatively, if Hugh preferred, Wells would be sold, and he would instead be given £500.

Hugh was at Wells in 1693 when John Warren died. He immediately collected up all the valuables in the house, including £1200. He then opted for the £500 legacy rather than having to pay £5000 to inherit the house.

The executor of the will, Samuel Jackson, must have realised that Warren had taken things from the house, so took Hugh to court in England, which resulted in Hugh being imprisoned in 1699.

The House of Lords was asked to delibrate on the case, and two years later Hugh was released from primson but he was ordered to sell the house. [1]

The estate was purchased in 1703 by Robert Doyne (1651-1733). At the time, Robert Doyne was Lord Chief Justice of the Court of Common Pleas in Ireland, having studied in Trinity College Dublin.

Robert Doyne (1651-1733), who purchased Wells property in 1703.

The tour guide, Aileen, told us that Robert Doyne was from an old Irish family from County Laois. He never lived in the seventeenth century house, and nor did his son and heir, Philip (1685-1753). Robert married Jane, widow of Joseph Saunders of Saunders Court in County Wexford and daughter of the wealthy lawyer and politician Henry Whitfield. They had a house in Dublin at Ormond Quay, where he died, and he is buried in St. Nicholas Within in Dublin. [2]

Philip Doyne (1685-1753), courtesy of Wells House.

The son Philip, who served on the Privy Council, married three times. His first wife, Mary, was daughter of Benjamin Burton (1662-1758), MP for Dublin and Lord Mayor of Dublin, who purchased Burton Hall in County Carlow. Mary gave birth to Philip’s heir, Robert (1705-1754) but she died in childbirth.

Philip went on to marry Frances South, with whom he had several children. Their son Charles (d. 1777) held the office of Dean of Leighlin. Frances died in 1712, and Philip married his third wife, Elizabeth, daughter of James Stopford, MP for County Wexford. Elizabeth’s brother was James, 1st Earl of Courtown, County Wexford.

The tour guide told us that it was Robert Doyne’s great grandson who inherited the property when he was just nine years old, another Robert Doyne, who had Wells House rebuilt, designed by Daniel Robertson.

To backtrack to look at the family tree, Philip Doyne and Mary Burton’s son Robert (1705-1754) inherited the estate and old house at Wells. He served as MP for County Wexford and also High Sheriff. He married Deborah Annesley.

Their son Robert (1738-1791) also served as High Sheriff for County Wexford. His elder brother Philip married Joanna, daughter of Arthur Gore 1st Earl of Arran, but he died young and they had no children. Robert married Mary Ram from Ramsfort in County Wexford, whose father Humphreys was also an MP.

Wells House was spared from attack in the 1798 Rebellion thanks to protection by a local man, Thomas Murphy, who claimed to have risked his life to save the house. Tour Guide Aileen showed us a copy of the letter in which he makes this claim, when he sought to be exonerated from his part in the 1798 Rebellion.

1798 letter by Thomas Murphy.

Wells House became a barracks for the troops that were stationed in the area after the fighting of 1798. The house’s website blog tells us:

They occupied it for three years. Once the army left, the house and 393 acres around it were let, on long-term lease, to a man named Charles Craven for £393 a year. Craven carried out repairs to the house, and set about improving the land, but in 1811 Robert Doyne, who had by this time left school in Dublin, moved to England, married and decided he would return to Wells to live. To compensate Charles Craven for the work he had done, he agreed to pay the Cravens £80 a year for as long as Charles or his son should live.

Robert and Mary Ram’s son Robert (1782-1850) married Annette Constantia Beresford in 1805. Before that he’d lived a life of adventure, travelling in Europe with famous dandy Beau Brummell, sailing on a raft down the Rhine. We came across Annette Constantia Beresford when we visited Woodhouse in County Waterford. She had been married to Colonel Robert Uniacke (1756-1802) of Woodhouse, County Waterford (see my entry https://irishhistorichouses.com/2025/03/29/woodhouse-county-waterford-private-house-tourist-accommodation-in-gate-lodge-and-cottages/ ).

Annette Constantia Beresford-Uniacke-Doyne (1768-1836), courtesy of Woodhouse, County Waterford.

It was Robert (1782-1850), probably with wealth from his wife’s first marriage, who commissioned Daniel Robertson to design the Wells House which we see today, building on to the original square residence.

Wells House and Gardens, Ballyedmond, Gorey, Co Wexford_Courtesy Sonder Visuals 2017 for Tourism Ireland, Ireland’s Content Pool.
A portrait of Daniel Robertson that our guide showed us.

Mark Bence-Jones writes (1988):

“(Doyne/IFR) A Tudor-Gothic house of ca 1840 by Daniel Robertson of Kilkenny; built for Robert Doyne, replacing an earlier house which, for nearly three years after the Rebellion of 1798, was used as a military barracks. Gabled front, symmetrical except that there is a three sided oriel at one end of the façade and not at the other, facing along straight avenue of trees to entrance gate. Sold ca 1964.” [3]

Wells House, County Wexford, courtesy DNG Properties 2019.
Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The house is of red brick with granite dressings, and has finial topped gables on the roofline. A crenellated Tudor style entrance porch with arched entrance surrounds the studded timber door. Windows have arched tops, Gothic tracery and hood moulding. The oriel window has crenellation on top.

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rear facade of Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Robertson, our guide told us, was born in America. When living in England he was thrown into debtors prison. He then moved to Ireland, and Wells was one of his first Irish commissions. He lived in Wells House while working on Johnstown Castle nearby (see my entry about Johnstown Castle https://irishhistorichouses.com/2023/09/30/a-heritage-trust-property-johnstown-castle-county-wexford/). He worked for the Doyne family on and off for fourteen years and he designed everything from the house, gardens, window sills down to such detail as the picture frames.

The lakeside facade of Johnstown Castle, County Wexford, built 1836-72 for Hamilton Knox Grogan Morgan (1808-54), MP, also by Daniel Robertson. It envelops a seventeenth-century house (perhaps by Thomas Hopper) remodelled (1810-4) by James Pain (1779-1877) of Limerick. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We came across Daniel Robertson’s architectural work also when we stayed at Wilton Castle in County Wexford (see my entry https://irishhistorichouses.com/2022/02/04/wilton-castle-bree-enniscorthy-co-wexford-and-a-trip-to-johnstown-castle/).

Wilton Castle, County Wexford – the owners have done a marvellous renovation of what was previously a roofless ruin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wilton Castle, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Dictionary of Irish Architects tells us more about Daniel Robertson:

From the early 1830s he did no further work in Britain but received a series of commissions in Ireland, mainly for country house work in the south eastern counties. Most of these houses or additions were in the Tudor style, which, he asserted in a letter to a client, Henry Faulkner, of Castletown, Co. Carlow, was ‘still so new and so little understood in Ireland’. For some of them he used Martin Day as his executant architect.” [4]

Ballydarton House, County Carlow, also designed by Daniel Robertson, in 1830. Photograph from the National Inventory of Architectural Heritage.
Dunleckney Manor, County Carlow, by Daniel Robertson, 1835. Photograph from the National Inventory of Architectural Heritage.

Daniel Robertson introduced a dramatic entrance avenue of oaks in the 1840s, retaining the original U shape directly in front of the house. Some of the original oak trees remain, which are over two hundred years old. Lady Frances planted fifty species of daffodil on the avenue.

Wells House, County Wexford, courtesy DNG Properties 2019.

The avenue is 550 meters in length from the front door to the entrance at the road and this central axis continues through the house and finishes at a lake that is situated in the woodland at the far side of the house.

Along the avenue on the left-hand side, the website tells us, are 25 mature Oak trees, 3 Sycamore, 2 Lime, and one beech tree. Amongst them we have a Champion Oak tree. A champion tree is the largest tree of a species. [5]

Robertson also designed the surrounding garden including the parterre at the back of the house. From the French word meaning ‘on the ground’, a parterre is a formal garden laid out on a level area and made up of enclosed beds, separated by gravel. Parterres often include box hedging surrounding colourful flower beds.

The parterre was first developed in France by garden designer Claude Mollet around 1595 when he introduced compartment-patterned parterres to royal gardens at Saint-Germain-en-Laye and Fontainebleau. The style soon became popular in France and all over Europe. [6]

Rear facade of Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Robert O’Byrne tells us that Daniel Robertson was one of the most influential garden designers to work in Ireland in the second quarter of the 19th century.

From “In Harmony with Nature, The Irish Country House Garden 1600-1900” in the Irish Georgian Society, July 2022, curated by Robert O’Byrne.
Rear facade of Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Gardens by rear facade of Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

From 1842 onwards, the 6th Viscount of Powerscourt employed Daniel Robertson to improve the gardens (see my entry https://irishhistorichouses.com/2020/04/26/powerscourt-house-gardens-enniskerry-county-wicklow/). Robertson created Italian gardens on the terraces, with broad steps and inlaid pavement, balustrades and statues.

Powerscourt County Wicklow, photograph by Jeremy Hylton.
Powerscourt County Wicklow, photograph by Jeremy Hylton.
Powerscourt County Wicklow, photograph by Jeremy Hylton.
Powerscourt, County Wicklow, photograph by Jeremy Hylton.
Powerscourt County Wicklow, photograph by Jeremy Hylton.

The Dictionary of Irish Architects continues in the entry about Robertson: “In spite of his success in attracting commissions, when he was working at Powerscourt in the early 1840s he was, in the words of Lord Powerscourt, ‘always in debt and…used to hide in the domes of the roof of the house’ to escape the Sheriff’s officers who pursued him. By then he was crippled with gout and in an advanced state of alcoholism; at Powerscourt he ‘used to be wheeled out on the terrace in a wheelbarrow with a bottle of sherry, and as long as that lasted he was able to design and direct the workmen, but when the sherry was finished he collapsed and was incapable of working till the drunken fit had evaporated.’ In at least two instances – at Powerscourt and at Lisnavagh – he lived on the premises while work was in progress, and it seems that from the 1830s until the year of his death his wife and family never settled for any time in Ireland… Robertson was overseeing the completion of Lisnavagh, Co. Carlow, where he had been living intermittently since the start of building in 1846, when he fell seriously ill in the spring of 1849” and died in September of that year. [see 4]

Quote above from “In Harmony with Nature, The Irish Country House Garden 1600-1900” in the Irish Georgian Society, July 2022, curated by Robert O’Byrne. See below also.
The parterre at Wells House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The parterre at Wells House. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Our guide brought us through the impressive double door into the entrance hall. The vestibule retains its original encaustic tile floor, and carved timber Classical-style surrounds to door openings and windows with their shutters. [7]

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wells House, County Wexford, courtesy DNG Properties 2019.

Daniel Robertson imported Italian oak for the panelling in the entrance hall. The hall retains its carved timber Classical-style corner chimneypiece, and dentilated cornice to the compartmentalised ceiling.

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The ceiling of the entrance hall has the carved coat of arms of the Doynes, with an eagle representing strength and courage, and the family motto Mullac a boo, “Victory from the hills.”

Coat-of-arms detailed pierced quatrefoil, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There is more carved decoration above the door from the vestibule.

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carved decoration above the door from the vestibule, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Another family crest on the ceiling of the entrance hall.

Robert and Annette Constantia’s son Robert Stephen Doyne (1806-1870) lived at Wells House. He served as High Sheriff of County Wexford and later of County Carlow, and was Deputy Lieutenant and Justice of the Peace. He married Sarah Emily Tynte Pratt (1814-1871), daughter of Joseph Pratt (1775-1863) of Cabra Castle.

Robert Stephen Doyne (1806-1870) of Wells House.
I think this is Robert Stephen Doyne’s wife, Sarah Emily Tynte Pratt (1814-1871).

Robert Stephen Doyne’s son Charles Mervyn Doyne (1839-1924) was heir to the estate. He attended university in Magdalene College in Cambridge, then served, like his father, as High Sheriff of Counties Wexford and Carlow, Justice of the Peace and Deputy Lieutenant.

In Cambridge he met the sons of William Thomas Spencer Wentworth-Fitzwilliam, 6th Earl Fitzwilliam of the grand house Wentworth Woodhouse in England. The family was one of the richest in England, and made their money from mining coal on their 20,000-acre estate near Sheffield in Yorkshire. They also owned Coollattin in County Wicklow, and the 6th Earl served as M.P. for Wicklow between 1847 and 1857.

Charles Mervyn stayed with the family at Coollattin, playing cricket, shooting and fishing, and there met his friends’ sister, his wife-to-be, Lady Frances. He and Lady Frances announced their engagement in September 1867 and married two months later at Wentworth Woodhouse. [8]

Charles Mervyn Doyne (1839-1924) and his wife Frances.

Our tour mostly focussed on the lives of Charles Mervyn and his wife, because they lived in and clearly loved Wells House. They were good landlords and had twelve servants, all of whom could read and write. Interestingly, they gave their daughters rather Irish names: Kathleen, Eveleen and Bridget.

Frances Mary née FitzWilliam.

We passed through a stair hall next to the large entrance hall, which contains the original staircase of the seventeenth century house.

Original staircase of the seventeenth century house, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Original staircase of the seventeenth century house, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Drawing Room is the piéce de resistance of the house with its Versailles style. The room has a cut white marble corner Classic-style chimneypiece with large mirror over, and decorative wall panelling.

Wells House, County Wexford, courtesy DNG Properties 2019.
Corner marble chimneypiece, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

An impressive gilt acanthus leaf ceiling rose with surrounding leaf decoration support a chandelier, and the room has a modillion cornice and a border with acanthus detail.

Versailles style drawing room, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Versailles style drawing room, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A musical decoration indicates that the room was probably used for musical events. The female face in the panel shows that this was the Ladies Drawing Room, with romantic Cupid’s sheaf of arrows.

Music motif, Versailles style drawing room, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The female face in the panel shows that this was the Ladies Drawing Room, with romantic Cupid’s sheaf of arrows. Versailles style drawing room, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The timber panelled door has carved surround matching shutters and window surrounds, and matching pelmets. The door decoration is repeated in the wall panels.

Versailles style drawing room, retaining carved timber surrounds to door openings framing timber panelled doors, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Versailles style drawing room, retaining carved timber surrounds to door openings framing timber panelled doors, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Plan for the drawing room.

The dining room reminded me of Johnstown Castle, with its carved timber geometric ceiling and Gothic-style timber panelled wainscoting.

Wells House, County Wexford, courtesy DNG Properties 2019.
Dining room, Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There are more decorative family crests on the dining room ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A secret room was disovered over one of the doors entering the dining room, where Charles Doyne’s weapons were hidden.

The dining room has what the National Inventory refers to as a “Tudor-headed” buffet niche.

Wells House, County Wexford, courtesy DNG Properties 2019.
Specially designed furniture in the buffet niche, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Aileen showed us the two surprising places where food entered the room – through a trap door in the floor and through a grate in the fireplace! There is a room you can see through the grate where food preparation took place.

Food was passed through the grate in the fireplace. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The study has jib doors hidden within the bookcases, disguised by false books. It has a carved timber Gothic-style corner chimneypiece, and carved timber cornice to the geometric ceiling centred on Gothic-style ceiling rose.

Robert, Charles’s son, started a lending library based on his book collection. Some of the original books that belonged to the Doynes remain in the collection.

Wells House, County Wexford, courtesy DNG Properties 2019.
The Library chimneypiece. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The study, or Fossil Room as it was called, is the cabinet of curiosities of items collected by the family on their travels. The room has another corner marble fireplace and timber cornice with geometric decorative ceiling with armourial shields.

The fossil room, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The fossil room, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Armourial shield on ceiling in fossil room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The fossil room, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Lady Frances painted the pictures that hang on the walls of the fossil room. She died of scarlet fever in 1903, and her husband lived another 21 years but never remarried.

Scenes painted by Frances née Fitzwilliam. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The stair hall introduced in the Robertson renovation has more Gothic timber wainscoting, and cast iron balusters support a carved timber banister which terminates in octagonal newels. The half-landing has the oriel window with stained glass detail and carved shutters. The groin vaulted ceiling has moulded plasterwork ribs centred on octagonal boss. I found it hard to capture the grandeur in one photograph!

Stair hall, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Wells House, County Wexford, courtesy DNG Properties 2019.
I love the purple walls of the stair hall, painted after the property was sold in 2019. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Oriel window, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Groin vaulted ceiling of stair hall, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Groin vaulted ceiling of stair hall, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carved octagonal newel of stairs, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Plans for the stair hall.

We visited two bedrooms upstairs. Our guide explained that the beds were made shorter in those days, because a sleeper slept sitting up in order to breathe better. The fireplace in the room would have absorbed oxygen from the air so it was easier to breathe in an upright position.

Charles’s bedroom, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Electricity wasn’t installed until the 1950s.

When the Butler was ill, Charles Doyle sent for his own doctor. The doctor advised that the Butler take some time off work. When the Butler died just one day after he went home to his family, Charles was heartbroken, our guide told us. The family were good to their servants and tenants. They ran a soup kitchen during the Famine.

Frances enjoyed horseriding, and the house still has her riding habit.

Wells House, County Wexford, May 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lady Frances’s riding habit, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dressing room, between the two bedrooms, with a lovely view of the long drive. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lady Frances’s bedroom, Wells House, County Wexford, courtesy DNG Properties 2019.
The wardrobe is original to the house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Charles and Frances’s son Robert married Mary Diana Lascelles, daughter of Henry Thynne Lascelles, 4th Earl of Harwood. He chose to sell the house. His sister Kathleen, who never married, bought it!

When Kathleen died in 1938, her brother Dermot inherited, and gave the house to his son Charles Hastings Doyne. Charles Hastings sold the house to a German family, who renovated it. It was opened to the public in 2012.

It was for sale again in 2019 and purchased in 2022 by a local man. He renovated the outbuildings for tourist accommodation.

Wells House, County Wexford, courtesy DNG Properties 2019.

The property has a café, playground, woodland walk, a glorious walled garden and small menagerie of animals, and is a working farm.

Wells House, County Wexford, courtesy DNG Properties 2019.
Tourist accommodation in outbuildings at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tourist accommodation in outbuildings at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tourist accommodation in outbuildings at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance to walled gardens, Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The walled garden at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In the menagerie of animals we were especially delighted with the meerkats who had fun sliding down a slide!

The meerkats at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The small menagerie at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The small menagerie at Wells House, County Wexford, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://wellshouse.ie/a-tale-of-betrayal-and-treachery-at-wells

[2] F. Elrington Ball, The Judges in Ireland 1221-1921 published by John Murray, London, 1926.

[3] p. 283, Bence-Jones, Mark.  A Guide to Irish Country Houses (originally published as Burke’s Guide to Country Houses volume 1 Ireland by Burke’s Peerage Ltd. 1978); Revised edition 1988 Constable and Company Ltd, London.

[4] https://www.dia.ie/architects/view/4570/ROBERTSON%2C+DANIEL#tab_biography

[5] https://wellshouse.ie/a-wells-house-country-garden-our-champion-oak

[6] https://www.english-heritage.org.uk/learn/histories/perfect-parterres/

[7] https://www.buildingsofireland.ie/buildings-search/building/15702132/wells-house-wells-co-wexford

[8] https://wellshouse.ie/the-wells-artist-lady-frances

Ashtown Castle, Phoenix Park, Dublin – an OPW property

Donation

Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.

€15.00

Ashtown Castle, Phoenix Park, Dublin:

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

Ashtown Castle is in the Phoenix Park. The Office of Public Works are currently running one tour per day. [1] The tower house had been incorporated into a house in the late 1700s, and the Office of Public Works demolished the house, which had become very dilapidated, to restore the tower house.

Hugh Tyrrell (d. 1199), later 1st Baron of Castleknock, came to Ireland with Strongbow, Richard de Clare, 2nd Earl of Pembroke. Tyrrell, a second cousin of Strongbow, became right hand man to Hugh de Lacy, Lord of Meath. De Lacy conferred the feudal barony of Castleknock to Tyrrell.

The land at Ashtown, now part of the Phoenix Park, was granted by Hugh Tyrrell to the Hospital of St. John the Baptist in the 12th century. The Hospital belonged to the “Crutched Friars” (brothers of the cross) and was one of the earliest city charities.

When the monasteries were dissolved in 1540, Walter Foster was leasing the land, which he in turn sublet to two tenants.

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

It is not known when the tower house was built but a fragment of a wooden roof truss, found in the wall during the restoration project, has been dated by dendrochronology to the early seventeenth century. The OPW website tells us that it could date further back, as early as the fifteenth century.

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

In 1429 a statute was passed by King Henry IV to grant £10 to every man within the Pale who would build a castle of certain minimal dimentions in the following ten years. Ashtown may have been built in this period.

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

On the tour, our tour guide told us the castle was built for a General Lambert in the early 1600s. I am not sure if this is conjecture or fact! General John Lambert (7 September 1619 – 1 March 1684) was an English army officer and politician and he fought in Cromwell’s army for the Parliamentarians. He was also Deputy Lord Lieutenant of Ireland.

Major-General John Lambert, (1619-1683), Parliamentarian, Deputy Lord Lieutenant of Ireland, courtesy of National Gallery of Ireland.

From the OPW website:

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

Ashtown Castle, Dublin, courtesy of Phoenix Park website. The arrangement of the growing hedges outline where the house was, before it was demolished.

Outside, the hedges to one side of the castle form the shape of the house that used to stand there, attached to the old castle.

An aerial picture of the castle that the guide showed us, with the shape of the hedges illustrated. Ashtown Castle, Phoenix Park, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory tells us:

The castle was dated to the early seventeenth century on the basis of surviving fragments of a roof truss found in the wall during the restoration project in the early 1990s. There is in the stonework some suggestion of a further wing to the north, but no archaeological evidence was found, leaving this section unresolved. The builder is unknown, but in 1641 the estate was in the ownership of John Connell, a distant ancestor of Daniel O’Connell. Curiously the Civil Survey, 1654, lists him as a Protestant. Stone from a quarry at Pelletstown owned by Connell was used in the building of the original wall of the Park.”

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

At that time, the estate consisted of 200 acres.

When James Butler 12th Earl of Ormond (who later became 1st Duke of Ormond) was created Lord Lieutenant of Ireland in 1662, he purchased the tower house and lands around it to create a deer park for King Charles II.

In 1668 Marcus Trevor, Viscount Dungannon, was appointed Ranger of the Park. Along with two Keepers, he was responsible for overseeing the Fallow deer imported from England.

The tower house became the official residence of second Keeper of the Park, William Flower, but he assigned it to a subordinate.

In the late eighteenth century the tower house was extended to become the Under Secretary’s residence, and was called Ashtown Lodge.

After Irish Independence, the house served as the residence of the Papal Nuncio. In 1978 the Papal Nuncio moved to a different residence.

The guide showed us what the house used to look like, that had been attached to the castle. For some more photographs, you can visit the Irish Tower House website. [2]

The guide showed us a photograph of a painting of the house as it used to look.
Ashtown Castle, Phoenix Park, with a picture of the castle superimposed onto the house to show its position, although it was not visible. Photograph of photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This is what the house looked like before demolition. The upper storey of the castle had been made into a chapel for the Papal Nuncio when he lived in the house.
Ashtown Castle, Phoenix Park, 6th July 2024, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The extension was demolished in the 1980s, due to poor condition.

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

Restoration started in Autumn 1989. Corbels that carried the floor levels were uncovered, and also portions of fireplaces on the first and second floors and a piece of window jamb on the first floor.

Restoration work including new stonework, insertion of oak floors and roof was carried out by craftsmen attached to the National Monuments depot in the Phoenix Park.

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

The ground floor would have had only small windows and no fireplace. Recesses and niches may have served for cupboard space or lamp shelves.

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

We then went up to the next level, which had been the chapel for the Papal Nuncio after Ireland gained independence from the United Kingdom.

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

[1] https://heritageireland.ie/places-to-visit/phoenix-park-visitor-centre-ashtown-castle/

[2] https://irishtowerhouses.ie/county-dublin/ashtown-castle-co-dublin/

Heywood gardens, Ballinakill, County Laois, Office of Public Works

Donation

Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.

€15.00

General enquiries: 086 810 7916, emocourt@opw.ie

From the OPW website https://heritageireland.ie/visit/places-to-visit/heywood-gardens/:

Heywood House, County Laois.

Heywood House in County Laois burned in an accidental fire in 1950, but the demesne is maintained and open to the public. My father, who grew up in nearby Abbeyleix, was at a musical concert with his mother the night of the fire and saw the house burning! At the time, the house was owned by the Salesian order of priests.

The house was designed by its owner Michael Frederick Trench (1746-1836) in 1770s, with the help of his friend James Gandon who designed, among other buildings, Dublin Custom House. Trench was an amateur architect, and designed the parish church of Swords, as well as an addition to the Rotunda in Dublin. [1]

Michael Frederick Trench (1746-1836) by Hugh Douglas Hamilton, picture courtesy of National Gallery of Ireland, NGI.7773
James Gandon (1743-1823), courtesy of National Gallery of Ireland.

Robert O’Byrne tells us in his blog The Irish Aesthete that: “In the early 18th century, a younger son William Trench settled in Laois and acquired land there which was initially developed by his heir, the Rev. Frederick. The English antiquary Owen Brereton wrote of the property in 1763, describing it as ‘a sweet Habitation’ with ’24 Acres Walld round 10 feet high. The ground naturally in fine Slopes and Rising, large trees properly disperst, a River of very clear Water running through it. Pouring Cascades, upon which I counted near 100 Couple of rabbits & 100 of Brace of Hares which are in this Grounds…very extensive Views.’ Both the habitation and the grounds were enlarged by the Rev. Trench’s son Michael Frederick Trench…” [2]

The house was named after Trench’s mother-in-law, Mary Heywood (daughter of a Drogheda merchant). Michael Frederick Trench married Anna Helena Stewart who was the only daughter of Patrick Stewart and Mary Heywood of Killymoon in Co. Tyrone. 

Mark Bence-Jones describes the house in his Irish Country Houses (1988):

A house consisting of three storey four bay late C18 centre, with mansard roofed Victorian wings of the same height but in a totally different style. The C18 centre built 1773 by M.F. Trench, who is said to have been the only man who ever called a house after his mother-in-law…The dining room was one of the most accomplished interiors of the Adam period in Ireland, with delicate plasterwork on the ceiling and in panels on the walls.

Information board at Heywood, County Laois.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
The dining room at Heywood House, ceiling probably by Michael Stapleton, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.
Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.

After Michael Frederick Trench built the house, he landscaped the area between his house and the village of Ballinakill, apparently moving hills, digging lakes (he made three artificial lakes), planting trees and placing follies. He created a picturesque garden. The idea of the picturesque first emerges as an idea in late Renaissance in Italy where the term pittoresco began to be used in writing about art. It means that the subject, in this case, the landscape, is “like a traditional picture”.  In Holland in the early 17th century a new genre of landscape painting was often referred to as  “painter-like” (schilder-achtig). [3] At roughly the same time, French artists Claude Lorraine and Nicholas Poussin painted Arcadian landscapes with classical elements such as ruined temples and mythological figures. These paintings inspired William Kent (c. 1685 – 12 April 1748), an architect, landscape architect and painter. Kent began a style of “natural” gardening that revolutionised the laying out of gardens and estates. 

There’s a seat in the gardens called “Claud’s Seat” that may be a tribute to Claude Lorraine.

The landscape gardens designed by Lancelot ‘Capability’ Brown (c. 1716-1783) and his followers were considered to be quintessentially picturesque.

“Capability” Launcelot Brown (1716-1783), Landscape gardener, painting by Nathaniel Dance (later Sir Nathaniel Holland, Bt), c. 1773, courtesy of National Portrait Gallery NPG 6049

The demesne includes parkland, woodland, a lake, some architectural features and a formal garden by Edwin Lutyens with a beautiful vista, which takes in seven counties!

Looking over the lake towards the exterior of Heywood House, photograph by A.E. Henson, not used, from archive for Country Life, volume XLV, 1919.
Information board at Heywood Gardens, County Laois.
Parkland of Heywood desmesne, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lovely bluebells in the woodland, Heywood, County Laois, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Heywood, County Laois, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The vista that contains seven counties! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The garden, set within a 250 acre demesne, is, Andrew Tierney claims, the best of its kind in Ireland: a blend of the Arcadian and the Picturesque, above which Edwin Lutyens later erected his walled terraces and enclosures. [4] One of the follies built by the Trenches may contain windows from nearby Aghaboe Abbey. My grandfather purchased property (house and farm) at Aghaboe but the family lost the property when the land was bought by compulsory purchase by the Land Commission in 1977, after my grandfather John Baggot died. I always thought we actually owned the Abbey but that may have been wishful thinking on my Dad’s part.

The Gothic ruin folly, Heywood, County Laois, April 2025. The window may have been taken from Aghaboe Abbey. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey, County Laois, 2018. There are certainly several empty window frames from which a stone medieval tracery window may have been removed! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey, County Laois, 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey, County Laois, 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey, County Laois, 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey, County Laois, 2018. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey in 1985. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey in 1985, with my Dad and sister. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aghaboe Abbey in 1985, with my sister. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The sham ruin at Heywood, County Laois, April 2025. This window does have some teardrop shapes, like the remaining window at Aghaboe. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stephen looks at the beautiful view framed by a Gothic window in the sham ruin at Heywood, County Laois, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board about the sham castle and Gothic ruin follies, Heywood, County Laois.
The sham castle at Heywood, County Laois, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The sham castle at Heywood, County Laois, April 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Michael Frederick’s daughter Helena married Compton Pocklington Domvile, 1st Baronet Domvile, of Templeogue and Santry, Dublin. They had several children, but the house was passed down via their daughter Mary Adelaide, who married Lt-Col William Hutcheson Poë (1848-1934) 1st Baronet.

A son of Michael Frederick Trench, this is Frederick Trench (1775-1859). Inscribed on a label on the back: General Sir Frederick Trench/late of Heywood/A prominent promoter of/The Thames Embankment/& other improvements in London. By Unknown artist circa 1827, courtesy National Portrait Gallery 5505. The panorama of the Thames Quay cascading from Trench’s desk appears to stop at St Paul’s and is therefore intended to represent his A Collection of Papers relating to the Thames Quay, with Hints for some further Improvements, illustrated with lithographs by C. M. Baynes and published in 1825, re-issued in 1827. This followed an unsuccessful Bill in Parliament introduced to obtain Treasury support for the project, but in spite of influential backing the plans were dropped and the Embankment was not begun until five years after Trench’s death, with his elegant colonnades omitted. The furnishing of his room includes on a bracket the marble bust by Matthew Wyatt (1826) of Trench’s patron, the Duchess of Rutland, now at Castle Howard. Manuscripts and a William Kent table point to his various antiquarian interests.

Heywood House was enlarged by Lt-Col William Hutchison-Poë in 1875. Around 1906, William Hutchison-Poë hired Edwin Lutyens to create a garden for Heywood.

Information board about Heywood, County Laois.

The website tell us that “The architect Sir Edwin Lutyens designed the formal gardens, which are the centrepiece of the property. It is likely that renowned designer Gertrude Jekyll landscaped them.

The gardens are composed of elements linked by a terrace that originally ran along the front of the house. (Sadly, the house is no more.) One of the site’s most unusual features is a sunken garden containing an elongated pool, at whose centre stands a grand fountain.

The Lutyens sunken garden at Heywood. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Lutyens designed the National War Memorial Gardens in Islandbridge in Dublin many years later, in the 1930s.

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

Heywood was bought by the Salesian Fathers in 1923, and it was during their time that the fire occurred. It was transferred to State ownership from the Salesian Fathers in November 1993 .

The OPW website tells us “The Heywood experience starts beside the Gate Lodge. Information panels and signage will guide you around the magical Lutyens gardens and the surrounding romantic landscape.

The entrance gates of Heywood, County Laois. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

An information board tells us that the main entrance was on a turnpike road, on which a toll had to be paid.

The entrance gates and gate lodge of Heywood, County Laois. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The entrance gates of Heywood, County Laois.

Tierney describes the garden: “The gardens stretch from the principal gates for almost a kilometer and a half, incorporating a sequence of three adjoining lakes and a fourth, further east, and areas of rolling parkland skirted by woodlands. Trench named each part of his garden after Alpine scenery. Trench’s Gothic follies include the Abbeyleix gate, an arrangement of octagonal towers joined by a Tudor-arched gateway. The Trench coat of arms is visible to the right of the gateway arch. From this gate the winding drive opens to Trench’s valley. Nearby, marking a split in the road, is the Spire, a shaft raised in memory of Trench’s friend Andrew Caldwell. Further along is a sham castle. High up behind that is a bridge, and a ruin, on the other side, with the Aghaboe windows. Up the pathway is the Gothic Greenhouse, a brick construction with five lancets with hood mouldings. On the east side of the lake is a grotto or bath house. On the east side of the demesne is the Trench mausoleum.”. [see 4]

The Obelisk, erected in memory of Andrew Caldwell, Frederick Trench’s friend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board about the Obelisk.
The Obelisk, erected in memory of Andrew Caldwell, Frederick Trench’s friend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The remains of the Orangery, Heywood, County Laois. Ducts on the inner walls would have conveyed heat. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board.

Heading toward the Lutyens sunken garden from the Orangerie displays the stunning view, over a lawn of perfect grass. Below the lawn, toward the river, is a trellised walkway, by Lutyens. The house was above. To the east of the house was an alley of “pleached” limes: pleaching means bending and weaving the branches of a row of trees to form a living wall.

Information board.
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The lawn is held up by a thick retaining wall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sean O’Reilly describes the Lutyens garden addition:

Lutyens worked on the gardens from about 1906. He complemented the strong architectural framework with an informal planting style, following the same combination of structure and nature developed at Lambay and made popular with his associate – and Country Life author – Gertrude Jekyll. Laying out the garden in a series of terraces and stepped passageways exploding east and west from the falling southern terraces of the house itself, the architect shaped these spaces with a bewildering variety of retaining walls – vertical and battered, stepped and sheer – screen walls – straight and curved, large and dwarf – columns, steps and architectural artifacts.” [5]

The pergola is at a lower level than the lawn. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance to the pergola. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The pergola. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The columns of the pergola, Robert O’Byrne tells us, were recycled from a “Temple of the Winds” built by Trench. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Above, at the level of the former house, is a school and what looks like the outbuildings, with an impressive monkey puzzle tree. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Information board.
The north wall of the pleached alley at Heywood House. Photograph by A.E. Henson,Published originally Country Life 04/01/1919.
The Pleached Walk. This had “pleached” limes. Pleaching means bending and weaving the branches of a row of trees to form a living wall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Pleached Walk. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Lutyens garden descends to a sunken garden, with terraced borders leading down to a pool surrounded by bronze tortoises perched on stone balls.

Lutyens’ Sunken Garden, Heywood, County Laois: ox-eye circles in the wall frame views. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Sunken Garden, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Tuatha website tells us that, sadly, in 1920, Poe’s car was set alight by Republicans when he was returning from a dinner party in Ballyroan. Poe left Heywood a month later, never to return. [6] Perhaps the website is incorrect and it was slightly later, which would make sense, as Poe served as a Senator in the Irish Free State from 1922 to 1925. Many senators had their houses burned by anti-Treaty forces, so burning his car may have occurred for that reason.

In 1941, the house and gardens at Heywood were broken up, and the Salesian Brothers purchased the property. The Salesians are a religious institute founded in the late-19th century by Italian priest, Saint Don Bosco, in order to help children suffering from poverty during the industrial revolution. The Salesians set up a novitiate at Heywood to a train aspirants to the priesthood. They utilised the glasshouses created by Poe to grow fruit and vegetables, with tomatoes, nectarines, peach trees and grape vines.

Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Bronze tortoises, Lutyens’ Sunken Garden, Heywood, County Laois,Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Bronze tortoise, Lutyens’ Sunken Garden, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Sunken Garden, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Sunken Garden, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

On the east side of the pond Luytens created a Pavilion with Portland stone dressings, terracotta tiled roof and saucer-domed interior, containing two Corinthian capitals rescued by Trench from the Parliament House in Dublin, which he was involved in remodelling. The north wall had busts of philosphers in oval niches, now replaced by urns.

Lutyens’ Pavilion, Heywood, County Laois,Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Pavilion, Heywood, County Laois,Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Pavilion, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Lutyens’ Pavilion, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aerial view of Lutyens garden, Heywood, courtesy of tuatha.ie
Lutyens’ Sunken Garden, Heywood, County Laois, Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Heywood, County Laois, photograph by A.E. Henson, from Country Life, volume XLV, 1919.

Behind and above the Sunken Garden are a series of “rooms” created by tall hedges and floral planting, stone structures and a suntrap of a seating area.

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

[1] p. 96. Sadleir, Thomas U. and Page L. Dickinson. Georgian Mansions in Ireland with some account of the evolution af Georgian Architecture and Decoration. Dublin University Press, 1915. 

[2] https://theirishaesthete.com/2018/08/27/heywood/

[3] https://thegardenhistory.blog/2024/09/28/what-is-a-picturesque-garden/

[4] p. 356. Tierney, Andrew. The Buildings of Ireland: Central Leinster: Kildare, Laois and Offaly. Yale University Press, New Haven and London, 2019.

[5] p. 61. O’Reilly, Sean. Irish Houses and Gardens. From the Archives of  Country Life. Aurum Press Ltd, London, 1998. 

[6] https://www.tuatha.ie/heywood-gardens/

and https://theirishaesthete.com/2014/05/12/to-smooth-the-lawn-to-decorate-the-dale/

The Castle, Castletownshend, Co Cork – accommodation

Donation

Help me to fund my creation and update of this website. It is my “full time job” and created purely out of love for the subject and I receive no payment so any donation is appreciated! My costs include travelling to our destinations from Dublin, accommodation if we need to stay somewhere nearby, and entrance fees. Your donation could also help with the cost of the occasional book I buy for research (though I mostly use the library – thank you Kevin Street library!). Your donation could also help with my Irish Georgian Society membership or attendance for talks and lectures, or the Historic Houses of Ireland annual conference in Maynooth.

€15.00

http://castle-townshend.com/

Castle Townshend, County Cork, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We visited the Castle of Castletownshend when on holidays in County Cork in June 2022. The Castle is a hidden gem, full of history. We definitely look forward to a return visit, to stay in the Castle, which provides B&B accommodation.

The castle remains in the ownership of the same family, the Townshends, who built it and who have lived here since the 1650s! We came upon the Townshend family of Castletownshed when we visited Drishane House. The Somervilles of Drishane intermarried with their cousins the Townshends who lived down the road. See my write-up:

https://irishhistorichouses.com/2021/03/07/drishane-house-castletownshend-co-cork/

The Castle, Castletownshend: A castellated house, consisting of two battlemented towers joined by a range with dormer gables. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website tells us:

In the picturesque village of Castletownshend, past ‘The Two Trees’ at the bottom of the hill, you’ll find our family-run boutique B&B. Nestled at the edge of a scenic harbour and natural woodlands for you to explore, The Castle is a truly unique place to stay. It has the warm, homely feel of a traditional Irish B&B, but with a few extra special touches.

The gardens and view from Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues: “Steeped in history, The Castle has been home to the Townshend family since the 1650s and has been receiving guests for over 60 years. Inside the old stone walls, you’ll find welcoming faces to greet you, roaring fires to warm you, and comfy beds to sink into. Each room has its own story to tell, with the oak-panelled hall and spacious dining room retaining most of their original features, furniture, and family portraits.

The website explains the family name: “The family name has undergone several changes over the years. The original spelling was Townesend, which later became Townsend. In 1870, the head of the family, Reverend Maurice Fitzgerald Townshend [1791-1872], consulted with the Townshends of Raynham, Norfolk. Following this, it was requested that the whole family add the ‘h’ into the name. However, some families were quite content with the current spelling and refused to adopt the new one. This resulted in various different spellings spread across the branches throughout the UK, Ireland, Australia and Canada.” [1]

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

The centre of the castle is the oldest part, and the two end towers are later additions.

The National Inventory describes: “Square-headed door opening to porch with stone voussoirs, label moulding and timber door with cast-iron studs, strap hinges and door furniture.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website tells us: “The building is in fact a 17th century castellated house, not a defensive castle from earlier times. It was built by Colonel Richard Townesend [1618-1692] towards the end of the 17th century, starting off as a much smaller dwelling. The first castle, known as ‘Bryan’s Fort’ [named after his son Bryan (1648-1726)], was attacked and destroyed by the O’Driscolls in 1690, and its ruins remain in The Castle grounds to this day. Richard then built a second castle, which is thought to be where Swift’s Tower still stands.

A map of the area of Castletownshend.
The map shows us 7. the fort which Colonel Richard Townshend built around 1650, which was probably the first castle of the area. It is now called Bryans Fort after the Colonel’s son Bryan who inherited the Castle Townshend estate in 1722. A second castle was then built, which now probably exists as the ruins called “Swift’s Tower” (8). The centre block of (1) was probably built around 1780, according to Frank Keohane.
“Swift’s Tower,” which may have been part of an earlier house. Jonathan Swift (1667-1745), author and cleric, travelled to the area and his poem “Carberiae Rupes” (Carbery Rocks) is believed to capture the view looking out from the West Cork coastline. One of the guest rooms in the Castle is named in memory of him, The Dean’s Room, as he was Dean of St. Patrick’s Cathedral in Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues “In 1805 the floors were lowered to make the ceilings higher, a decision that left The Castle in ruins. However, instead of rebuilding it, the stone was used to add castellated wings to the dwelling on the waterfront. This became The Castle as you see it today.

Castle Townshend, County Cork.

The inside is a real treat, with wonderful family portraits in the hall of oak and what looks like leather wall covering.

The wood-panelled hall of the Castle in Castletownshend. The portrait of the children is of the children of Reverend Maurice Fitzgerald Townshend (1791-1872): Geraldine, Alice and Henry John. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Colonel Richard Townesend (1618-1692), who was born in England, gained the rank of Officer in the Parliamentary Army in the British Civil War. [2] The Parliament objected to the monarchy of the Stuarts, and they charged the king, Charles I, of treason against the state and ultimately beheaded him. Oliver Cromwell brought troops to Ireland to subdue those loyal to the monarchy. The opposing force to the royalist forces was called the Parliamentary army. Townesend fought in the Battle of Knocknanauss, County Cork in April 1648, where he commanded the main body of the Army under Murrough O’Brien (1614-1674) 1st Earl of Inchiquin. They fought the Irish Confederates, who supported King Charles I in the belief that in reward for their loyalty he would grant them greater self-governance. The Confederate forces were made up of Irish Catholics and “old English” Anglo-Normans who sought to protect their land holding and to end anti-Catholic legislation. The Parliamentarians overcame the Confederates in the battle, and around 3,000 Confederates died at Knocknanauss and up to 1,000 English Parliamentarians.

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

Richard Townesend’s loyalty to the Parliamentarians wavered after this battle and after the death of Charles I. He returned to Ireland, and he was arrested for being involved in a plot to overcome Lord Inchiquin. However, he may have been a “plant” to undermine the opposition. A mutiny in the garrison at Cork however led to his freedom and Cromwell praised him for being an “instrument in the return of Cork and Youghal to their obedience.” He retired from the military and settled in Castletownshend before 1654. [3]

He managed to hold on to his land after the Stuart monarchy was restored to Charles II. The Dictionary of National Biography suggests that this could be due connections between his wife Hildegardis Hyde and the Lord Chancellor of England, Edward Hyde 1st Earl of Clarendon. Richard held the office of Member of Parliament in the Irish Parliament for Baltimore, County Cork in 1661. He held the office of High Sheriff of County Cork in 1671.

In 1690, after the accession of King James II to the throne, Richard’s home in Castetownshend was unsuccessfully beseiged by 500 Irishmen led by the O’Driscolls, a family who had owned the land before Townesend [for more on the O’Driscolls, see my entry on Baltimore Castle, https://irishhistorichouses.com/2023/12/28/dun-na-sead-castle-baltimore-co-cork-981-x968/ ]Townesend died in 1692, leaving seven sons and four daughters. [see 3]

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

Jane O’Hea O’Keeffe tells us of the Castle’s builder, in her Voices from the Great Houses: Cork and Kerry (Mercier Press, Cork, 2013): p. 83. “In the late 1600s Richard Townsend, an officer in the Cromwellian army, acquired lands at Castlehaven in west Cork originally owned by the O’Driscoll clan. Richard Townsend also owned other lands in County Cork totalling over 6,540 acres. It was he who built the castle at Castletownshend, the centre portion of which still remains. The two towers at each corner of the castle today were added in the eighteenth century.” [4]

Although she identifies the centre of the castle to be built by Richard in the 1600s, Frank Keohane describes Castle Townshend in his Buildings of Ireland: Cork City and County and suggests that this part was built in 1780. The castle Richard built is probably the ruin nearby. In fact, An Officer of the Long Parliament (1892) we are told that he lived for some time in Kilbrittan Castle nearby, “a splendid very pile overlooking Courtmacsherry Bay, which had been forfeited by the head of the McCarthies for his participation in the Rebellion of 1641.

Kilbrittain Castle, County Cork, photograph courtesy of Roaringwaterjournal.com A friend’s father, inventor Russell Winn (d. 1980), restored a wing. See also their facebook page https://www.facebook.com/p/Kilbrittain-Castle-in-Ireland-100090029232570/?_rdr
Kilbrittain Castle by Hostynsky Photography.

Richard Townesend’s early house at Castletownshend is described in An Officer of the Long Parliament (1892):

p. 107-08. “It seems to have consisted of a dwelling – house and small courtyard all comprised in a square enclosure with a bastion at each angle, pierced with loopholes for musketry and some embrasures for small cannon. It was built on a well- chosen site of some strength. The dwelling-house consisted of two stories, the upper one overlooking the harbour. The lower one must have been lighted from the court, on the outer side of which was a parapet for defending the wall. It seems to have been hastily built, as the stones are small and not well put together.A larger mansion appears to have been built before long, which was valued at £ 40,000 , when destroyed in the troubles of 1690.”

Richard Townesend’s son Horatio was in the navy and in 1690 carried the Duke of Schomberg, who fought in King William’s army, to Ireland on board his sloop. He married Elizabeth, daughter of the MP for Baltimore, Thomas Becher.

Death of Frederick Duke of Schomberg at the Battle of the Boyne by Benjamin West, National Trust Mount Stewart.

Another son, John, married Catherine Barry, daughter of Richard, 2nd Earl of Barrymore. Son Philip (1664-1735), became a Protestant clergyman and married Helen Galwey of Lota Lodge, Cork.

Colonel Richard Townsend’s son Bryan (1648-1726) was a Commander in the British navy and MP for Clonakilty. He married Mary Synge, daughter of Edward, Bishop of Cork, Cloyne and Ross in 1663 and they had many children. In The Long Parliament, we are told of a portrait of Bryan: “If the very handsome picture at Castletownshend which has always borne his name is truly the portrait of Bryan, it most probably was painted while he was a naval officer, as he wears his own hair and not the voluminous wig in which gentlemen on land used to enshroud themselves.” I must look for this portrait next time we visit! Although it may have been destroyed, along with many papers and letters described in The Long Parliament, by fires in the castle.

Bryan was well-regarded by his neighbours:

The laws made it almost impossible for any but a Protestant to hold land, so many of the Carbery Romanists, especially the O’Heas and O’Donovans, trusting in Bryan’s high character for integrity, gave their properties entirely into his hands, being obliged to do so without any written guarantee 1. At one time he had under his care upwards of £ 80,000 worth of property which he defended at considerable cost to himself, and when it was safe to restore it to the real owners he did so with all the arrears that had accrued while he held it. This fact was ascertained by the research of the late John Sealy Townshend .” [see 1]

Bryan and Mary’s son Richard (1684-1742) inherited Castletownshend , and was a Justice of the peace and high sheriff for County Cork. He married twice, first to another Mary Synge, daughter of Reverend Samuel, Dean of Kildare. His second wife was Elizabeth Becher from Skibbereen, County Cork.

The Townshends tell us in The Long Parliament about Jonathan Swift’s visit:

Richard Townshend, of Castle Townshend, was born July 15, 1684, and succeeded to the estates on the death of his father Bryan, 1727 . It was at this period (*1) that Dean Swift spent some time in West Carbery . He stayed at Myros , but is said to have written his poem Carberiae Rupes in a ruined tower at Castle Townshend , still known as Swift’s Tower . It is also said that letters from the great Dean are still preserved at Castle Townshend , and that he named one of the houses in the village Laputa.” (*2)

The footnotes refer to *1: G. Digby Daunt and *2: Now Glen Barrahane, the seat of Sir J. J. Coghill , Bart .

Jonathan Swift by Charles Jervas circa 1718, National Portrait Gallery 278.

Richard (1684-1742) and Elizabeth Becher’s son Richard (1725-1783) also served as MP and high sheriff. He married Elizabeth Fitzgerald, daughter of John Fitzgerald, the 15th Knight of Kerry (d. 1741). His father was Maurice Fitzgerald, the 14th Knight of Kerry, and Elizabeth’s brother was Maurice the 16th Knight of Kerry – there is a portrait of a Maurice Fitzgerald, Knight of Kerry, in the front hall, but I’m not sure which one is it. Richard’s portrait is in the dining room.

Maurice Fitzgerald, Knight of Kerry – I’m not sure whether it is the 14th or 16th and Countess of Desmond, Katherine Fitzgerald (abt. 1504-1604). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Next to the Knight of Kerry in the hall there is also a portrait of the Countess of Desmond, Katherine Fitzgerald (abt. 1504-1604), who lived to be over one hundred years old (some say she lived to be 140) and went through three sets of teeth. We came across her also in Dromana in County Waterford.

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 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

The Long Parliament describes:

Richard Townshend married in 1752 Elizabeth , only daughter and heiress by survival of John FitzGerald, 15th Knight of Kerry, by whom he had one son and one daughter. Elizabeth FitzGerald’s only brother Maurice, 16th Knight of Kerry, had married his cousin Lady Anne Fitzmaurice, and died leaving no children, but even now he is remembered as ‘ the good Knight.’ He left all the Desmond estates in Kerry to the son of his sister Elizabeth Townshend.”

It may have been Richard Townsend (1725-1783) and his wife, the daughter of the 15th Knight of Kerry, who started to build the castle we see today. Keohane writes of the current castle at Castletownshend:

p. 314. “The Castle. A house of several parts, the seat of the Townshends. The earliest, described as ‘newly built’ in 1780 by the Complete Irish Traveller, is presumably the two-storey, five-bay rubble-stone centre block, with dormers over the upper windows and a two-storey rectilinear porch. Taller three-storey wings with battlements carried on corbelled cornices and twin- and triple-light timber-mullioned windows. The E. wing was perhaps built in the late 1820s; the W wing was added after a fire in 1852. Modest interior. Large low central hall with a beamed ceiling and walls lined with oak panelling and gilded embossed wallpaper. Taller dining room to the r., with a compartmented ceiling; a Neoclassical inlaid fireplace in the manner of Bossi, and a large Jacobean sideboard. C19 staircase with barley-twist type balusters. 

Octagonal three-stage battlemented tower, 60 m west of the castle.” [5]

The Jacobean sideboard in the Dining Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Neoclassical inlaid fireplace in the manner of Bossi. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Jacobean sideboard in the Dining Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The carving on the sideboard is incredible. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Jane O’Hea O’Keeffe continues: “Over the following centuries, members of the Townsend family served as high sheriffs of County Cork. In 1753 Richard Townsend was the office-holder and in 1785 Richard Boyle Townsend [1756-1826] was appointed to the position. In the 1870s Richard M.F. Townsend owned over 7,000 acres near Dingle in County Kerry, inherited from the FitzGerald family, Knights of Kerry. At that time, the estate of the late Rev. Maurice Townshend extended to over 8,000 acres in County Cork...” [4]

Richard Townsend and Elizabeth Fitzgerald’s son Richard Boyle Townsend (1753-1826) inherited Castletownshend. He was educated at Eton and Oxford. He married Henrietta Newenham. There is a fine portrait of their son Lieutenant-Colonel John Townsend, of the 14th Light Dragoons, who held the office of Aide-de-Camp to Queen Victoria.

Lieutenant-Colonel John Townsend (1786-1845), of the 14th Light Dragoons, Aide de Camp to Queen Victoria. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I think this is a portrait of Henrietta Newenham (1764-1848). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Monument in nearby church, memorial to Colonel John Townsend.

Lt-Col John Townsend died in 1845, and the property passed to his brother, Reverend Maurice Townsend (d. 1872). Maurice married Alice Elizabeth Shute, heiress to Chevanage estate in Gloucestershire. Alice Elizabeth Shute was heiress by survival in her uncle Henry Stephens, and assumed his name. Maurice changed his name in 1870 to Maurice FitzGerald Stephens-Townshend (he was the one who added the ‘h’ in the name). She died at Castle Townshend aged only twenty-eight.

They had a son John Henry Townshend (1827-1869), who gained the rank of officer in the 2nd Life Guards. A fire occurred in 1852, during Reverend Maurice’s time in Castletownshend.

John Henry Townshend (1827-1869). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website tells us about the fire: “Disaster struck again in 1852 when the newly built East Wing went up in flames. The blaze was so fierce that the large quantity of silver stored at the top of the wing ran down in molten streams. The family sent a Bristol silversmith to search the ruins and value the silver by the pound, which he did and promptly disappeared to America with a large part of it! The family still have some of that silver, all misshapen from the fire. The East Wing was rebuilt soon after the fire and The Castle has remained unchanged in appearance ever since.

Reverend Maurice’s son predeceased him so Reverend Maurice’s grandson, Maurice Fitzgerald Stephens-Townshend (1865 – 1948) inherited Castletownshend in 1872 when he was still a minor. In the 1890s, the time of the Wyndham Act, 10,000 acres were put up for auction. The current owners still have the auction books. It was purchased by Charles Loftus Townsend (1861-1931).

Nineteenth century staircase with barley-twist type balusters.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Young Maurice married Blanche Lillie Ffolliot. She was an only child and brought money with her marriage, and Maurice was able to buy back the castle. The castle passed to their daughter, Rosemarie Salter-Townshend. She began to rent out holiday homes in Castletownshend. Her husband, William Robert Salter, added Townshend to his surname. It was their daughter Anne who modernised the castle, putting in central heating etc.

We’ll have to book ourselves in for at least a week to browse the books! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues: “Full of character and old-world charm, The Castle offers a welcoming retreat from everyday life. There are lots of things to do in the local area, like whale-watching and kayaking. Or, you can simply rest and recharge your batteries in the unique surroundings. After enjoying a complimentary breakfast, stroll through the winding pathways of our historic grounds, discovering ivy-covered ruins and their stories along the way. Then, as the sun sets, sit out the front with a drink in your hand, watching the boats in the harbour sway gently back and forth.

While you are a guest in our family’s home, the only thing on your To Do list is to relax. We will look after the rest.

I can’t wait to stay here! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletownshend. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] The website adds that much has been written about the Townshend family and The Castle over the years, and this rich history is documented in great detail. An Officer of the Long Parliament, edited by Richard and Dorothea Townsend (London Henry Frowde, Oxford University Press Warehouse, Amen Corner, E.C.,1892) is an account of the life and times of Colonel Richard Townesend and a chronicle of his descendants.

[2] see Montgomery-Massingberd, Hugh. Burke’s Irish Family Records. London, U.K.: Burkes Peerage Ltd, 1976.

[3] p. 1035, volume 19, Stephen, Sir Leslie, ed. Dictionary of National Biography, 1921–1922Volumes 1–22. London, England: Oxford University Press.

[4] O’Hea O’Keeffe, Jane. Voices from the Great Houses: Cork and Kerry (Mercier Press, Cork, 2013).

[5] Keohane, Frank. The Buildings of Ireland: Cork City and County. Yale University Press: New Haven and London, 2020.