Derreen Gardens, Lauragh, Tuosist, Kenmare, Co. Kerry

https://www.derreengarden.com/

Open: all year, 10am-6pm

Fee: adult/OAP/student €9, child €4, family ticket (2 adults and all children under 18 and 2 maps) €25.

2024 Diary of Irish Historic Houses (section 482 properties)

To purchase an A5 size 2024 Diary of Historic Houses (opening times and days are not listed so the calendar is for use for recording appointments and not as a reference for opening times) send your postal address to jennifer.baggot@gmail.com along with €20 via this payment button. The calendar of 84 pages includes space for writing your appointments as well as photographs of the historic houses. The price includes postage within Ireland. Postage to U.S. is a further €10 for the A5 size calendar, so I would appreciate a donation toward the postage – you can click on the donation link.

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Help me to fund my creation and update of this website. It is created purely out of love for the subject and I receive no payment so any donation is appreciated! For this entry, I paid for petrol and the entrance fee for myself and Stephen.

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Derreen House, March 2023. It was designed by James Franklin Fuller, burnt in the early 1920s but rebuilt in the same style. It is not open to the public. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We visited County Kerry at the end of March 2023, when few other Revenue Section 482 properties are open. I didn’t stop to think, however, that it might not be the best time to see the gardens of Kerry in their best state! However, some trees were in bloom, while others had dropped their blossoms.

Derreen Gardens, 29th March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Derreen is famous for its collection of rhododendrons and some of the Arboretum rhododendrons planted in the 1870s by the 5th Marquess of Lansdowne have grown to a size rarely seen elsewhere.

The house at Derreen is not on the Section 482 scheme, just the surrounding gardens. Derreen takes its name from the woods around it, as it means “little oak wood” in Gaelic. The gardens cover an area of 60 acres and include nearly eight miles of paths, which wind through mature and varied woodland, a garden laid out 150 years ago with subtropical plants from around the world and views of the sea and mountains.

Derreen Gardens is number 14 on this map of the Beara Peninsula.
Derreen Gardens, March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Derreen Gardens, 29th March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In 1657 the area was granted to William Petty (1623-1687), physician of Oliver Cromwell. In 1664, Petty undertook the survey of Ireland and by 1666 he had completed the measurement of 2,008,000 acres of forfeited land, for which, by contract, he was to receive one penny per acre. He also acquired an estate of £6,000 a year. [1] He received the baronies of Iveragh, Glanarought and Dunkerron in County Kerry as well as land in Counties Meath, Cork, Limerick and Offaly. These Kerry lands contained resources such as pearls in the river, silver in the mountains, and forest. He experimented, unsuccessfully, with iron making. There was already an iron-work in nearby Kenmare.

William Petty (1623-1687) by Isaac Fuller circa 1651, National Portrait Gallery of London ref. 2924.
Down Survey of Ireland information board in Ardgillan Castle, Dublin.
Down Survey of Ireland information board in Ardgillan Castle, Dublin.

He married Elizabeth Waller (1636-1708), who had been previously married to Michael Fenton of Mitchellstown in County Cork.

The Dictionary of Irish Biography tells us that from 1659 Petty divided his time between London and Dublin and that, despite some London properties, Ireland supplied the bulk of his wealth.

In 1684 the Dublin Philosophical Society was founded and Petty was elected as its first president.

William Petty died of gangrene in his foot in 1687. He had refused a peerage, but after he died, Elizabeth née Waller was created Baroness Shelburne in her own right by King James II, in 1688. On the same day her eldest son by William Petty, Charles Petty (1672-1696), became Baron Shelburne.

Derreen Gardens, March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Charles Baron Shelburne married Mary Williams (d.1710) but they had no children. After he died, she married Lt.-Gen. Henry Conyngham (d. 1705/6) of Mountcharles County Donegal and of Slane Castle in County Meath (another Section 482 property and the first one we visited when I undertook this project! See my entry).

William Petty and Elizabeth née Waller’s second son, Henry (1675-1751) was created Viscount Dunkerrin and Earl of Shelburne in the Irish Peerage. He married Arabella Boyle (d. 1740) daughter of Charles Boyle, 2nd Baron Clifford of Lanesborough, County York in England and 3rd Viscount Dungarvan, County Waterford. They had no sons but a daughter, Anne Fitzmaurice Petty. She married Francis Bernard (1698-1793) of Castle Bernard, County Cork (now an impressive ruin).

Castle Bernard ruins in County Cork, photograph courtesy of National Inventory of Architectural Heritage.

Since Henry Petty 1st Earl of Shelburne had a daughter but no sons his estates passed to his nephew John Fitzmaurice who changed his surname to Petty. The earldom of Shelburne was revived for John in 1753.

A sketch of Henry Petty (1675-1751) Earl of Shelburne by George Townshend, 4th Viscount and 1st Marquess Townshend National Portrait Gallery of London ref. 4855(15)

William Petty and Elizabeth née Waller’s daughter Anne (1671-1737) married Thomas Fitzmaurice (1668-1741), 21st Baron of Kerry, who became 1st Earl of Kerry. He was MP for County Kerry and a Privy Counsellor in Ireland. At the same time as being created Earl of Kerry in January 1722/23, he was created 1st Viscount Clanmaurice.

His grandson, the Marquess of Lansdowne, wrote of him, “my grandfather did not want the manners of the country nor the habits of his family to make him a tyrant. He was so by nature. He was the most severe character which can be imagined, obstinate and inflexible; he had not much understanding, but strong nerves and great perseverance, and no education, except what he had in the army, where he served in his youth, with a good degree of reputation for personal bravery and activity. He was a handsome man and, luckily for me and mine, married a very ugly woman, who brought into his family whatever degree of sense may have appeared in it, or whatever wealth is likely to remain in it, the daughter of Sir William Petty… With all this he had high principles of honour and a strict love of justice, which made him govern the country better than he did his own family… His children did not love him, but dreaded him; his servants the same.” [2]

By Derreen House, March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Landed Estates Database tells us the 1st Earl of Kerry had two younger brothers, William of Gallane, County Kerry, ancestor of the Fitzmaurices of Springfield Castle, County Limerick and John who had an only child Anne who married her cousin of Springfield Castle (you can rent the castle, see my Places to Visit and Stay in County Limerick entry. [3]

The property passed through the family of the Marquesses of Lansdowne. Timothy William Ferres tells us that the Marquesses of Lansdowne owned the greatest amount of land in Kerry, more than any other landowners in Kerry, with 94,983 acres. [see 1]

Derreen Gardens, March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The 1st Earl’s daughter Elizabeth Anne (d. 1757) married Maurice Crosbie, 1st Baron Branden (circa 1689-1762). His daughter Arabella married Colonel Arthur Denny (d. 1742), MP and High Sheriff of County Kerry. Another daughter, Charlotte (d. 1774), married John Conway Colthurst (1722-1775) 1st Bt. of Ardrum, County Cork.

The 1st Earl’s eldest son, William Fitzmaurice (1694-1747) held the offices of Lord-Lieutenant of County Kerry and Custos Rotulorum of County Kerry, Governor for the county and Privy Counsellor. He married Elizabeth Moss but they had no children and she died and he subsequently married Gertrude Lambart in 1738, daughter of Richard Lambart (d. 1741) 4th Earl of County Cavan and 4th Viscount Kilcoursie, in the King’s County.

Their daughter Anna Maria FitzMaurice (d. 1808) married Maurice Fitzgerald (d. 1780) 16th Knight of Kerry.

William and Gertrude’s son Francis Thomas FitzMaurice became 3rd Earl of Kerry after his father died in 1747. Horace Walpole described him as “a simple young Irish Peer, who had married an elderly Irishwoman that had been divorced on his account, and had wasted a vast estate in the idlest ostentation.” [see 2] This elderly Irishwoman was Anastasia Daly (d. 1799 and buried in Westminster Abbey!), she was daughter of Peter Daly and had been married to Charles Daly of County Galway and she obtained a divorce from him in 1768 by an Act of Parliament.

Derreen Gardens, March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Marquess of Lansdowne wrote that “the present Lord Kerry, after being educated under the direction of the Chancellor of Ireland, and being left a good deal to himself, fell in love with a married lady twenty years older than himself, the daughter of an eminent Roman Catholic lawyer, and, obtaining a divorce, married her—an extraordinary vain woman. Having their way to fight up to get into good company, and having no posterity, they sold every acre of land which had been in our family since Henry the Second’s time.” [see 1]

The Landed Estates Database tells us:

Francis, the 3rd Earl of Kerry was mostly an absentee landlord, his estates being administered by agents including Christopher Julian. Dickson writes that he sold much of his Kerry estates to Richard Hare in the 1780s. With his death in 1818 the connection between the Earls of Kerry and Lixnaw came to an end. The title was inherited by the Marquis of Lansdowne of Derreen, county Kerry who owned 1,526 acres in county Limerick in the 1870s.”

The 3rd Earl of Kerry and his wife had no son. The 1st Earl of Kerry and his wife Anne née Petty had a second son, John (1706-1761). It was this son who is mentioned above, who became the heir of his uncle Henry Petty 1st Earl of Shelburne, and he changed his surname to Petty in 1751. That year, he was created 1st Baron Dunkeron and 1st Viscount FitzMaurice. He held the office of Sheriff of County Kerry in 1732 and was a Whig MP for County Kerry from 1743-1751. He was created 1st Earl of Shelburne, County Wexford in 1753. He was Governor of County Kerry and a Privy Counsellor. Between 1754 and 1760 he was MP in England for Chipping Wycombe, County Buckinghamshire and in 1760 he was created was created 1st Lord Wycombe, Baron of Chipping Wycombe [Great Britain].

Derreen Gardens, March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Derreen Gardens, 29th March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

In 1734 he married his first cousin Mary Fitzmaurice, granddaughter of William Fitzmaurice, 18th Baron of Kerry and Lixnaw, daughter of William of Gullane, a brother of the 1st Earl of Kerry.

John Petty and his wife Mary née Fitzmaurice had two sons. The eldest, William (1737-1805), was born under his father’s original surname of Fitzmaurice but changed his name to Petty when his father changed his name. He rose to the position of Prime Minister of England.

William Petty (1737-1805) 1st Marquess of Lansdowne, Lord Shelburne, Prime Minister, after Sir Joshua Reynolds based on a work of 1766, National Portrait Gallery of London ref. 43.

William was called Viscount FitzMaurice between 1753 and 1761. He served in the British army and then had an illustrious political career. He held the office of First Lord of Trade April-December 1763 and like his forebears, served as a Privy Counsellor. He held the office of “Secretary of State for the South” between July 1766 and October 1768, and was Foreign Secretary March-July 1782 and was made Knight, Order of the Garter.

He held the office of Prime Minister and First Lord of the Treasury between 13 July 1782 and 5 April 1783. He was nominated Prime Minister in 1782 after the death of the Marquess of Rockingham, under whom he had been Secretary of State for Foreign Affairs. He was created 1st Marquess of Lansdowne, County Somerset [Great Britain] on 6 December 1784.

The Shelbourne hotel in Dubiln is named after him.

First William Petty married Sophia Carteret, daughter of John Carteret, 2nd Earl Granville of England. Their son John Henry Petty (1765-1809), succeeded as 2nd Marquess of Lansdowne. He married but had no children.

John Henry Petty (1765-1809) 2nd Marquess of Lansdowne National Portrait Gallery of London ref. D37171.

After his wife Sophia died in 1771, William married Louisa Fitzpatrick (1755-1789) in 1779, daughter of John Fitzpatrick, 1st Earl of Upper Ossory. Their son Henry (1778-1863) succeeded his brother as 3rd Marquess of Lansdowne in 1809.

Henry Petty-Fitzmaurice (1780-1863) 3rd Marquess of Lansdowne, Trustee of the National Portrait Gallery, by Henry Walton circa 1805 courtesy of National Portrait Gallery of London, NPG 178

In 1808 Henry (afterwards 3rd Marquess Lansdowne) married Louisa Emma Fox-Strangways (1785-1851), daughter of Henry Thomas Fox-Strangways, 2nd Earl of Ilchester. She held the office of Lady of the Bedchamber for Queen Victoria between August 1837 and September 1838.

In 1818 Henry changed his surname from Petty to Petty-Fitzmaurice, when he succeeded as 4th Earl of Kerry, after the death of Francis Thomas Fitzmaurice, 3rd Earl of Kerry (the one who had married “elderly” Anastasia). Henry followed in the footsteps of his forebears as MP and Privy Counsellor, and he also served as a Cabinet Minister and was appointed Knight, Order of the Garter in 1836.

Henry and Louisa had several children. Their daughter Louisa (d. 1906) married James Kenneth Howard, son of the 16th Earl of Suffolk. Henry 3rd Marquess’s oldest son, William Thomas Petty-FitzMaurice, who was called Earl of Kerry from 1818, predeceased him. William Thomas had married Augusta Lavinia Priscilla Ponsonby, daughter of John William Ponsonby, 4th Earl of Bessborough, and they had a daughter Mary Caroline Louisa Thomas Petty-FitzMaurice who married the son of the 2nd Earl of Powis. After the young Earl of Kerry died in 1836 at the age of just 25, his widow remarried, this time to Charles Alexander Gore (1811-1897).

It was therefore the next son of Henry and Louisa, Henry (1816-1866) who became the 4th Marquess of Lansdowne. The youngest son, Bentinck Yelverton Petty-FitzMaurice, died in 1892.

Henry Thomas Petty-Fitzmaurice (1816-1866) 4th Marquess of Lansdowne, Politician and railway company chairman, photograph by by John & Charles Watkins circa early 1860s, courtesy of National Portrait Gallery of London NPG Ax16422.
There’s a bridge across to a little island. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Derreen Gardens, 29th March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Henry (1816-1866) was styled as Earl of Shelburne from August 1836 until January 1863 when his father died. He was a Liberal MP for Calne in England between 1837 and 1856, and held the office of Under-Secretary for Foreign Affairs between 1856 and 1858. He was appointed Knight, Order of the Garter in 1864.

Derreen Gardens, 29th March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Landed Estates database tells us that before the Petty-Fitzmaurices built the house, at the time of Griffith’s Valuation the property was leased from the Lansdowne estate by Peter McSweeney. Griffith’s Valuation was the first full-scale valuation of property in Ireland and details of property with valuations were published between 1847 and 1864.

Derreen Gardens, 29th March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Landed Estates database adds that Derreen House was originally built by a branch of the O’Sullivans, from whom the lease passed to Peter McSweeney, who was married to a member of the O’Sullivan family.

Mark Bence-Jones tells us in his A Guide to Irish Country Houses (1988) that Henry Thomas Petty-Fitzmaurice 4th Marquess enlarged the house at Derreen between 1863 and 1866. [4] The National Inventory tells us that the version of the house built c. 1865 was designed by James Franklin Fuller. [5]

The house at Derreen Gardens. Only the gardens are Section 482 so the house is not open to the public. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Henry the 4th Marquess married Georgina Herbert (1817-1841), daughter of General George Augustus Herbert, 11th Earl of Pembroke in 1840, but she died the following year. He then married the grandly named Emily Jane Mercer-Elphinstone-de Flahault (1819-1895), daughter of French army genearl Auguste Charles Joseph de Flahault, Comte de Flahault de la Billardrie and of Margaret Mercer Elphinstone, 2nd Baroness Keith and 7th Lady Nairne (a Scottish barony). They married in 1843 at the British Embassy in Vienna. Emily Jane succeeded her mother as 8th Lady Nairne in 1874.

The view from Derreen Gardens, March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Derreen Gardens, 29th March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Henry and Emily Jane had several children. Their daughter Emily Louisa Anne married Everard Charles Digby (1852-1915), son of 9th Baron Digby of Dorset.

Henry’s son Henry Charles Keith Petty-Fitzmaurice (1845-1927) succeeded as the 5th Marquess when his father died in 1866. A younger son, Edmond George Petty Petty-FitzMaurice, was created 1st (and last) Baron FitzMaurice of Leigh, Co. Wiltshire, England in 1906 and also played a role in Foreign Affairs of state.

Henry Charles Keith Petty-Fitzmaurice (1845-1927) married Maud Evelyn Hamilton (1850-1932), daughter of James Hamilton (1811-1885), 1st Duke of Abercorn and Louisa Jane née Russell. Henry Charles Keither was styled as Earl Clanmaurice between 1845 and 1863 and Earl of Kerry between 1863 and 1866, and in 1866 he succeeded to the many other titles passed down through his family.

Henry Charles Keith Petty-Fitzmaurice.

The 5th Marquess held the office of Lord of the Treasury between 1868 and 1872 and Under-Secretary for War between 1872 and 1874. He was Under-Secretary for India between April and July 1880, Governor-General of Canada between 1883 and 1888, and Viceroy of India between 1888 and 1893. He held the office of Secretary of State for War between 1895 and 1900. He succeeded as the 9th Lord Nairne in 1895 when his mother died. He held the office of Lord-Lieutenant of Wiltshire between 1896 and 1920, and Secretary of State for Foreign Affairs between 1900 and 1905.

The 5th Marquess’s wife held the office of Lady of the Bedchamber to Queen Alexandria between 1905 and 1909 and “Extra” Lady of the Bedchamber between 1910 and 1925.

Derreen Gardens, March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Marquesses of Lansdowne made Derreen their summer residence. The garden was originally planted by the 5th Marquess. The website tells us that in 1870 Lord Lansdowne began an ambitious project to transform the countryside around the house from bare rock and scrub oak into a luxurious woodland garden. He planted 400 acres of woodland to shelter a collection of shrubs and specimen trees which were then being brought back from plant hunting expeditions in the Himalayas and elsewhere.

Robert O’Byrne quotes from Extracts from Glanerought and the Petty-FitzMaurices by the sixth Marquis of Lansdowne (1937):

The year 1903 was made memorable at Derreen by a visit from King Edward VII and Queen Alexandra. Their Majesties made in that summer a tour of Ireland, partly in the Royal Yacht and partly overland. The original intention had been that they should come to Derreen by water from County Clare, but weather conditions made this inadvisable, and the journey was eventually made by motor-car. They arrived on the afternoon of July 31. A Union Jack had been floated on the top of Knockatee and a triumphal arch was erected outside the Derryconnery Gate, where an address of welcome was presented by the assembled tenantry. On the lawn in front of the house the children of Lauragh school had been marshalled and they presented a bouquet to the Queen. Then there was a walk around the gardens where two commemorative bamboos were duly planted in the glade now called “the King’s Oozy”. After tea in the new dining room, which had been added to the house that year, the party went down to the pier, where Queen Alexandra was initiated into the mysteries of prawn fishing. The ground had been lavishly baited in advance and the fishing was such a success, that in spite of the obvious impatience of His Majesty, she could scarcely be persuaded to relinquish her net when the hour came for departure.’

Robert O’Byrne tells us that during the 5th Marquess’s absence in India (1888-1893), Derreen was let to the Duke of Leeds. [6]

The house at Derreen was burnt and plundered in 1922 and rebuilt by 5th Marquess in a similar style 1924; it underwent further reconstruction, having been attacked by dry-rot, 1925-26.

The view from Derreen Gardens. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Derreen Gardens, 29th March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The 5th Marquess and his wife Maud Evelyn had several children. Their daughter Evelyn Emily Mary Petty-FitzMaurice (1870-1960) married Victor Christian William Cavendish (1868-1938) 9th Duke of Devonshire.

Their younger daughter Beatrix Frances Petty-FitzMaurice (1877-1953) married first Henry de la Poer Beresford (1875-1911) 6th Marquess of Waterford of Curraghmore (see my entry about Curraghmore). He died at the young age of 36, and after having six children with her first husband, Beatrix married Osbourne de Vere Beauclerk, 12th Duke of Saint Albans.

Beatrix Frances Duchess of St Albans [(1877-1953), Daughter of 5th Marquess of Lansdowne; former wife of 6th Marquess of Waterford, and later wife of 12th Duke of St Albans], Maud Evelyn Petty-Fitzmaurice, Marchioness of Lansdowne [mother of Beatrix, née Hamilton], Theresa Susey Helen Vane-Tempest-Stewart, Marchioness of Londonderry and Evelyn Emily Mary Cavendish, Duchess of Devonshire [(1870-1960), sister of Beatrix] by Frederick & Richard Speaight, National Portrait Gallery of London ref. x76669

Their younger son, Charles George Francis (1874-1914) added Mercer Nairne to his surname in 1914 to become the mouthful “Mercer Nairne Petty-FitzMaurice.” His wife’s surname was equally impressive, as he married Violet Mary Elliot-Murray-Kynynmound, daughter of the Earl of Minto, County Roxborough in England.

The elder son, Henry William Edmund Petty-Fitzmaurice (1872-1936), became 6th Marquess of Lansdowne. He married Elizabeth Caroline Hope, whose mother was Constance Christina Leslie, daughter of John Leslie, 1st Baronet of Glaslough, County Monaghan, of Castle Leslie, another Section 482 property (see my entry).

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

Derreen is famous for its garden, which extends over the greater part of the peninsula on which the house is built. It was originally planted by 5th Marquess; but the collection of trees and shrubs has been constantly added to by his successors. In the moist and mild climate, tender and exotic species flourish; while the older trees have grown to an incredible height and girth. The garden is particularly noted for its rhododendrons and tree ferns. As a foil to the luxuriant plantings, there are great natural outcrops of rock. After WWII, Derreen passed to Lady Nairne, now Viscountess Mersey, sister of 7th Marquess, who was killed in action 1944. It is now the property of her son, Honourable David Bigham; the garden is open to the public.” [see 4]

The 6th Marquess’s sons all died young, tragically, so the estate passed to their sister, Katherine Evelyn Constance Petty-FitzMaurice (1912-1995), who succeeded as the 12th Lady Nairne in 1944. She married Edward Clive Bigham, later 3rd Viscount Mersey, in 1933. They have several children.

There is a chapter about the family in Jane O’Hea O’Keeffe’s Voices from the Great Houses: Cork and Kerry (Mercier Press, Cork, 2013).

Derreen Gardens, 29th March 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] http://lordbelmontinnorthernireland.blogspot.com/2013/07/derreen-house.html

[2] G.E. Cokayne; with Vicary Gibbs, H.A. Doubleday, Geoffrey H. White, Duncan Warrand and Lord Howard de Walden, editors, The Complete Peerage of England, Scotland, Ireland, Great Britain and the United Kingdom, Extant, Extinct or Dormant, new ed., 13 volumes in 14 (1910-1959; reprint in 6 volumes, Gloucester, U.K.: Alan Sutton Publishing, 2000), volume VII, page 213.

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

http://landedestates.nuigalway.ie/LandedEstates/jsp/property-list.jsp?letter=D

[4] 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.

[5] https://www.buildingsofireland.ie/buildings-search/building/21310805/derreen-house-derreen-wood-derreen-ma-by-co-kerry

[6] https://theirishaesthete.com/2018/06/25/luxuriance-of-growth/

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

Kilshannig House, Rathcormac, County Cork P61 AW77

Open dates in 2024: May 1, 3-4, 9-12, June 1, 3-8, 10-15, 17-22, 24-29, July 1-6, 8-13, 15-20, 22-27, 29-31, Aug 1-3, 5-10, 12-31, Sept 1-10, 21, 23, 25, 8.30am-3pm
Fee: adult €12, child/OAP/student €10

Stephen and I visited Kilshannig House in Rathcormac, County Cork, in August 2020, during Heritage Week. Kilshannig is most notable for its wonderful stucco work.

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I rang Mr. Merry in advance, and he was away but told me his housekeeper could show us around. Stephen and I were spending a few days on holidays with our friends Denise and Ivan, and Denise decided to join us to come to see the house. I was excited to show someone what it is like to visit the section 482 houses. In most cases, like this day visiting Kilshannig, we are going to see someone’s private home. It is not like visiting a place normally open to the public, like Fota House or Doneraile Court, two houses which Stephen and I also visited while in Cork, which are now owned and run by Irish Heritage Trust and the OPW (Office of Public Works) respectively. [1] I always feel that I am an inconvenience, requesting a visit someone’s home. I must remind myself that it is visitors like me and you who ensure that the section 482 revenue scheme continues. I envy owners of these beautiful homes, but maintaining a Big House is almost a career choice. In fact owners often express their belief that they are the caretaker of a small part of Ireland’s built heritage. In this case, Mr. Merry runs an equine stud, and it is the success of that which enables him to maintain the upkeep of his home. He has also converted an extension into self-catering accommodation [2].

The house, as you can see from the photograph of the entire sweep, is Palladian [3]. It was built in 1765-66 for Abraham Devonsher, an MP and a Cork banker. The date 1766 is written on a “hopper” and probably commemorates the completion of the house.

Cast-iron rainwater goods having ornate hoppers, dated 1766, with gambolling lion and winged cherub head, square-profile down pipe and moulded joints.” [see 9] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was designed by Davis Ducart [or Duckart], whose Irish career began in the 1760s and continued until his death in about 1785. The Dictionary of Irish Architects tells us:

According to William Brownlow, writing to the Earl of Abercorn in 1768, he ‘dropped into this Kingdom from the clouds, no one knows how, or what brought him to it.’ [4]

The Irish Historic Houses website tells us that Ducart worked as a canal and mining engineer as well as an architect. With engineering skill, he was committed to good design and craftsmanship. The Dictionary of Irish Architects tells us of criticism of his work, however:

An attack on him in the Freeman’s Journal for 3-4 February 1773 states that he had given up architecture by this time: ‘Our French architect … never could bring any thing to perfection he put his hands to; he made some of his first (and, alas! his last) experiments as an architect, at the cost of the public and many private gentlemen, in the country and city of Cork, the latter of which bears a large monument of his insipid, uncooth taste in the art of designing; he was actually ignorant of the common rules and proportions of architecture; eternally committing mistakes and blunders, and confounding and contradicting his own directions, until he himself saw the folly of such proceedings, and (not without certain admonitions) quitted the profession he had no sort of claim to.’

I do not know enough about architecture to contradict the writer in the Freeman’s Journal but the Irish Historic Houses website claims: “Ducart was arguably the most accomplished architect working in Ireland between the death of Richard Cassels and arrival of James Gandon.” [5] In an article in Country Life, Judith Hill suggests that criticism was motivated by professional jealousy of a foreigner. [6]

Other works associated with Ducart are the Mayoralty or Mansion House, Cork (1765-1773); Lota Lodge in County Cork (1765); Castletown Cox in County Kilkenny (1767); Brockley House, Laois (1768); Custom House of Limerick (1769) which now houses the Hunt Museum; Castlehyde House, County Cork; Drishane Castle, County Cork (which is also a section 482 property, not to be confused with Drishane House – about which I will be writing shortly). [see 4]

The cherrypicker out front mars the photograph, but Anne the housekeeper explained that work was being done in the house. The front door is approached by a flight of limestone steps. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Castletown Cox, County Kilkenny, also by Ducart, photograph courtesy of Knight Frank estate agents.

The house consists of a central block of two storeys over basement (with a mezzanine level), with wings either side that are described by Mark Bence-Jones as “L” shaped but to me they look U shaped, almost like a pair of crab claws. [7] Curved walls close in either wing into courtyards. Frank Keohane describes it in The Buildings of Ireland: Cork, City and County:

At Kilshannig, Ducart developed his own interpretation of the ubiquitous Irish Palladian country-house plan, which he also used with modification at Castletown Cox, Co Kilkenny, and The Island, Co Cork (demolished). Eschewing the Pearse-Castle tradition, Duckart’s central block is flanked by inward turned L-shaped (rather than rectangular) wings which project forward to form a cour d’honneur. Curved screen walls connect the inward-facing ends of the wings back to the house and enclose kitchen and stable courts. The principal North front, looking across the park to Devonsher’s parliamentary borough of Rathcormac, comprises a neat central corps de logis flanked by six-bay blind arcades, representing the back ranges of the courts, which terminate in domed pavilions. The plan has been likened to that of Vanbrugh’s Castle Howard, Yorkshire.” [8]

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

The view from the front, overlooking Rathcormac. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Keohane suggests that Davis Ducart was probably assisted by Thomas Roberts of Waterford. The front of the house is of red brick with limestone quoins, and the centre block is seven bays across with a single-storey three bay Doric frontispiece which the National Inventory of Architectural Heritage tells us is of cut sandstone. [9] The frontispiece has Doric style pilasters, and the door and window openings have fluted scroll keystones with plinths that look like they should hold something, in circular niches. The pilasters support an entablature which the National Inventory describes: “with alternating bucrania and fruit and flowers metopes and triglyphs.” The metopes are the squares with the pictures of “bucrania” (cow or ox skulls, commonly used in Classical architecture, they represent ancient Greek and Roman ceremonies of sacrifice) and fruit and flowers, and the triglyphs are the three little pillars between each square picture (wikipedia describes: “In classical architecture, a metope (μετόπη) is a rectangular architectural element that fills the space between two triglyphs in a Doric frieze, which is a decorative band of alternating triglyphs and metopes above the architrave of a building of the Doric order.“) [10]

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Above this stone frontispiece is an empty niche which Bence-Jones tells us contained, in a photograph taken in approximately 1940, a statue or relief of a warrior or god.

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There is a mezzanine level, which is unusual in such a house, and we can see that the windows at this level are squeezed between ground and first floor levels. The Irish Historic Houses website tells us that the house has four formal fronts. Unfortunately we did not walk around the house so I did not photograph the other fronts. The basement windows are semicircular, which is apparently characteristic for Ducart.

Photograph from the National Inventory of Architectural Heritage [9].
The basement windows, “charmingly glazed with cobweb-like astragals,” as Casey and Rowan describe them. Photograph from National Inventory of Architectural Heritage.

The wings have five arched windows each and Keohane tells us that the wings are actually low two-storey buildings. The copper domes and timber cupolas have been reinstated by the present owners.

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

On the back facade the arcades have plain Tuscan pilasters supporting a deep entablature with small blind roundels above each arch.

Photograph from National Inventory of Architectural Heritage – you can see that this was taken before the domes were reinstated.
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Anne the housekeeper welcomed us and brought us into the impressive Baroque hall.

Front Hall. Excuse the dirty floor, from ongoing repair work. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Keohane writes that the plasterwork in Kilshannig is by two different people with distinctive styles. He writes: “The accomplished decoration to the Saloon and Library ceilings is the work of the Swiss-Italian Filippo Lafranchini, here combining emphatic late Baroque modelling with the refinement of small-scale ornament of a Rococo character. The remaining decoration, which is vigorously naturalistic and in places ungainly, is by an unknown, and presumably Irish, hand.” For more on the Lafranchini brothers, see the Irish Aesthete’s entry about them. [11]

The stuccadore of the wonderful Rococo plasterwork in the hall is therefore unknown. Our guide, Anne, pointed out that the birds, that reminded me of birds at Colganstown by Robert West of Dublin, stick out too far and that the heads have a tendency to be knocked off. The ceiling is deeply coved, and features acanthus leaves, flower and fruit-filled baskets and garlands with draped ribbons.

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The floor of the front hall is of Portland stone with black insets. The walls have Corinthian columns and the corners of the ceiling decoration are curved.

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

Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The hall has a beautiful Portland stone fireplace with a mask flanked by garlands, and two male Grecian bearded Herms (“a tapering pedestal supporting a bust, or merging into a sculpted figure, used ornamentally, particularly at the sides of chimneypieces. Roughly similar to a term.’) [3]. Herm refers to Hermes, the Greek god.

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Here we see one of the birds who has had its head broken off. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The entrance hall leads to a three bay saloon, with dining room on one side and library on the other. To one side of the front hall is a corridor leading to the wonderfully curving staircase. The stone floor and stuccowork continue into the corridor, which has panelled walls.

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, August 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The circular cantilevered Portland stone staircase rises two full rotations to the first floor. The domed ceiling has more stuccowork. There’s also a lovely circular pattern with geometrical black and grey shapes on the floor below the stairs.

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
You can see the mezzanine level in this photograph, and the Portland stone cantilevered stairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The doll house is an architectural model of Kilshannig! It even has electricity! It was made for the young girl of the house, Sophie.

Kilshannig dollhouse, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig dollhouse, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig dollhouse, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Amusingly, the Kilshannig doll house is more advanced than the actual house, as the attic has been converted! The actual attic of Kilshanning House has not been converted. As the owner charmingly told me: “The two [bedrooms] in the dolls’ house are poetic license to give the owner of the dolls’ house the opportunity to decorate and fit it out bedrooms.”

Kilshannig dollhouse, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Denise, duly masked for Covid, in the hallway at the bottom of the staircase. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We entered the library first. The current owner’s father, Commander Merry, and his wife, bought the house. With his DIY skills, the Commander installed the library shelves, acquired from a Big House built in the same period as Kilshannig. The room has another spectacular ceiling, which is deeply coved. The centre features a rondel with Diana and Apollo, and the corners have oval plaques depicting the Seasons. The cove features female portrait busts, eagles, standing putti and garlands. Christine Casey has noted the likeness of the cove to that formerly in the Gallery at Northumberland House in London, which was decorated by Pietro N. Lafranchini, perhaps in collaboration with his brother Filippo.

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The rondel in the centre of the library ceiling featuring Diana and Apollo. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The female heads in rondels in the library are believed to portray members of the Devonsher family [10]. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The doors have been stripped back to their original timber.

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The next room is the Saloon, or Salon. It has a particularly splendid ceiling, also by Filippo Lafranchini, “combining emphatic late Baroque modelling with the refinement of small-scale ornament of a Rococo character” (Keohane):

“Joseph McDonnell has established that the figurative work is derived from an engraving of 1717 of a now lost ceiling painting by Antoine Coypel, the Assembly of the Gods, at the Palais-Royale in Paris. The centre depicts Bacchus and Araidne, with Pan and a sleeping Silenus, reclining on almost imperceptible clouds. The lavishly intricate border consists of six cartouches framing plaques depicting the Four Elements – Water (a dolphin), Air (an eagle), Earth (a lion), and Fire (a Phoenix) as well as Justice and Liberty. These are linked by a sinuous frame populated by charming putti with dangling legs. The corners feature trophies dedicated to Architecture, Painting, Music and Sculpture.” [12]

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

“The centre depicts Bacchus and Araidne, with Pan and a sleeping Silenus, reclining on almost imperceptible clouds.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Justice, blindfolded. The Art of painting is represented in the right corner. Other corners represent architecture, music and sculpture. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Here we see architecture represented in the corner trophy. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The lion on in the left rondel, symbolising Earth, and the eagle on the right, symbolising Air. The other of the four Elements are represented, by a dolphin for Water and a Phoenix for Fire. I love the way the legs and feet of the putti and especially Ariadne stick out from the ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The final room we were shown was the dining room. Keohane writes that the stuccowork is by a different hand than the Lafranchini brothers. “The deep cove has four large oval cartouches of naturalistic foliage with masks depicting Bacchus, Ceres, Flora and Diana, the last framed by trophies of the chase and a rather insipid fox.” [13]

Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I believe the figure at the bottom, next to the rather sadly draped hanging game, is the “insipid” fox. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The head of Bacchus, encircled by grapes. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Kilshannig dollhouse, 2020. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was in the dining room under Bacchus that we stopped to consider how odd it was that a Quaker, as Abraham Devonsher was, had such an elaborate ceilings created in his home. Indeed, he was expelled from the Quaker community before he had the house built, in 1756, for “conformity to the world.” This was because he entered politics that year and became an MP for Rathcormac. [14] My husband Stephen, a Quaker, tells me that in order to serve as an MP, Devonsher would have had to swear an oath, and Quakers do not believe in swearing oaths – they believe that their word suffices (George Fox said: “My yea is my yea and my nay is my nay.”).

The borough was very small – in 1783 it had only seven electors. Devonsher won his seat by appealing directly to the electors, unseating the Barrys who had traditionally held the seat. He entertained grandly in order to woo the electors. He also served as High Sheriff for County Cork in 1762.

The Devonsher family had settled in Cork as merchants in the mid seventeenth century. [15] The article in Country Life tells us that toward the end of his life the sociable Abraham Devonsher “lives a recluse life with a Harlot.” He led a rather rakish life, apparently, and he died childless in 1783 – or at least left no legitimate heirs – and left the estate to a grand-nephew, John Newenham, of Maryborough, County Cork (now a hotel) who then assumed the name Devonsher.

John had a son, John (1763-1801), who inherited the house and passed it to his son, Abraham Newenham Devonsher. He ran into financial difficulties, and at some date before 1837, sold the estate to Edward Roche (1771-1855). [16]

Edward Roche used it as a winter residence, and lived the rest of the year in his other estate, Trabolgan (since demolished), as did his son, Edmond Burke Roche, who was raised to the peerage as 1st Baron Fermoy in 1856. He was also an MP and served as Lord Lieutenant for County Cork 1856-1874.

According to the Landed estates database, at the time of the Griffith Valuation, James Kelly occupied Kilshanning. The Griffith valuation was carried out between 1848 and 1864 to determine liability to pay the Poor rate (for the support of the poor and destitute within each Poor Law Union). The 1st Baron Fermoy’s sister, Frances Maria, married James Michael Kelly, another MP (for Limerick), of Cahircon, County Clare, and James Kelly was their son. According to the Landed Estates Database, in 1943 the Irish Tourist Association Survey mentioned that it was the home of the McVeigh family. Mark Bence-Jones adds that other owners were the Myles family, and Mr and Mrs Paul Rose. The property had a succession of owners until it was purchased in 1960 by Commander Douglas Merry and his wife.

When they purchased it, the cupolas had disappeared and one wing was ruinous and the rest in poor condition. Commander Merry set about restoring the house. His son Hugo has continued the work, partly with help from the Irish Georgian Society [17]. This work included repairing a sagging saloon ceiling, and restoring the pavilions and cupolas, recladding them in copper. The entire main house, arcades and both courtyards have been completely restored and re-roofed. One wing is used for self-catering and events, and the other contains stables. There are fourteen bedrooms in the wing, and six in the main house, Anne told us.

We did not explore the outside, and did not get to see inside the pavilions or wings. That will have to wait for another visit!

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[1] https://fotahouse.com/

http://doneraileestate.ie/

[2] http://thecourtyardkilshannig.com/

[3] Palladian architecture is a style derived from the designs of the Venetian architect Andrea Palladio (1508-1580). Palladio’s work was strongly based on the symmetry, perspective, and values of the formal classical temple architecture of the ancient Greeks and Romans. https://irishhistorichouses.com/2020/04/18/architectural-definitions/

[4] https://www.dia.ie/architects/view/1660#tab_biography

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

[6] Hill, Judith. “Pot-Walloping Palladianism.” Country Life, June 15, 2016.

[7] 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.

[8] p. 465. Keohane, Frank. The Buildings of Ireland: Cork, City and County. Yale University Press, New Haven and London, 2020.

[9] https://www.buildingsofireland.ie/buildings-search/building/20904408/kilshannig-house-kilshannig-upper-co-cork

[10] https://irishhistorichouses.com/2020/04/18/architectural-definitions/

[11] https://theirishaesthete.com/2015/05/18/exuberance/

[12] p. 466. Keohane, Frank. The Buildings of Ireland: Cork, City and County. Yale University Press, New Haven and London, 2020.

[13] Ibid.

[14] http://lordbelmontinnorthernireland.blogspot.com/search/label/County%20Cork%20Landowners?updated-max=2018-07-21T07:33:00%2B01:00&max-results=20&start=8&by-date=false

[15] Keohane writes that Abraham Devonsher’s parents are Thomas Devonsher and Sarah Webber. The website The Peerage says his mother was Sarah Morris. https://www.thepeerage.com/p30600.htm#i305998

See also the article in Country Life from June 15 2016, by Judith Hill, that is linked to the Kilshannig courtyard website. Hill says Abraham Devonsher’s father was named Jonas, and that his family began to acquire the land at Kilshannig from the 1670s.

Keohane says that John Newenham was Abraham’s nephew, the Peerage website has John as the great nephew: Abraham’s brother Jonas had a daughter Sarah who married Richard Newenham, and it was their son, John Newenham, who inherited Kilshannig.

The home of the Newenhams, Maryborough, is now a hotel:

https://www.maryborough.com/index.html

[16] http://landedestates.nuigalway.ie/LandedEstates/jsp/estate-show.jsp?id=2764

[17] https://www.igs.ie/conservation/project/kilshannig

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