Duckett’s Grove, County Carlow, an impressive ruin and a walled garden

Maintained by Carlow County Council. Destroyed by fire in 1933 but there is a walled garden open to visitor and one can see the impressive ruins.

Photograph by Robert French, late 1800s, Lawrence Photographic Collection National Library of Ireland, flickr constant commons.
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory tells us of the house:

Remains of detached three-storey over basement country house, c. 1745 now in ruins. Gothic style mantle added, c. 1825. Designed by Thomas Cobden. Extended c. 1845, with granite ashlar viewing tower on an octagonal plan, turrets and entrance screens added. Designed by J. McDuff Derick. Stable complex to rear.” [1]

Thomas Duckett (1646-1682) purchased the property in 1695. He married Judith Power, granddaughter of 5th Baron of Curraghmore.

The property was once part of a 12,000 acre estate with eight acres of gardens.

Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Duckett’s Grove website tells us:

In 1695 Thomas Duckett (1) who is stated, by Sir William Betham, Ulster King of Arms, to have been the son of James Duckett, of Grayrigg, Westmorland, by his third wife Elizabeth, daughter of Christopher Walker, of Workington, Cumberland, purchased five hundred acres of land in Kneestown, Rainestown, and Ardnahue, Palatine, Co. Carlow from British landlord Thomas Crosthwaite from Cockermouth near the Lake District in Scotland. Thomas Crosthwaite owned a vast amount of land in Ireland during that period and had himself acquired this and other lands which comprised of 495 acres of plantation in 1666 under the Acts of Settlement (1666 – 1684) in the reign of King Charles II.  However, Thomas Duckett did not make use of this land until the 1700s when he built a country house in Rainestown, replacing a smaller house on the same site where Duckett’s Grove stands today.” http://duckettsgrove.ie/

Duckett’s Grove, County Carlow, August 2021. The tallest, granite, flag tower was added in 1853 and designed to be seen above the tree line. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues:

In the early years of the Ducketts’ story, intermarriage with some well-connected and wealthy families contributed greatly to their financial standing and allowed for the expansion of the Demesne. Thomas Duckett’s (1) wife Judith de la Poer was the heiress of the wealthy Pierce De La Poer of Killowen in County Waterford, grandson of the Honorary Pierce De la Poer, of Killowen, Brother of Richard, First Earl of Tyrone. Thomas Duckett (1) had one son, Thomas Duckett (2)[1667-1735] who was his successor and heir. The Duckett family extended their estate, and their wealth grew throughout the eighteenth century.

The only son from this marriage Thomas Duckett (2) (a member of the Religious Society of Friends, commonly known as Quakers) lived in Phillipstown Manor, Rathvilly, Co. Carlow, situated approximately 3 miles from Kneestown and Rainestown which was a property purchased from the Earl of Ormonde. He married Jane Bunce, daughter of John Bunce, of Berkshire in 1687.  His last will and testament was dated 18th January 1732 and was proved on 13th May 1735. Thomas Duckett (2) had three daughters and one son and heir; John Duckett Esq., (1) of Phillipstown, Rathvilly, Co. Carlow and Newtown, Co. Kildare, whose last will and testament dated 13th April 1733, was proved on 17th May 1738.

A house called Phillipstown Manor built in 1745 according to the National Inventory of Architectural Heritage still survives – Thomas Duckett (1667-1735) and his wife Jane Bunce must have lived in an earlier version of this.

John Duckett Esq., (1) married Jane Devonsher who was daughter of Thomas Devonsher Esq. from Cork. The first son of John Duckett (1) and Jane Devonsher was Thomas Duckett (3) of Newtown died unmarried.

Jane Devonsher was the sister of Abraham Devonsher who lived at Kilshannig in Cork (see my entry – it is a Section 482 property). My Quaker husband and I laugh that some of the most exuberant plasterwork and the most exuberant architecture was owned by Quakers! But perhaps the Ducketts were no longer Quakers by the time the house was made so ornate. John and his wife Jane lived in Phillipstown Manor. https://www.buildingsofireland.ie/buildings-search/building/10300308/philipstown-manor-phillipstown-carlow

Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

John and Jane’s second son William Duckett (1) of Phillipstown, Co. Carlow married Janet Summers, daughter of Samuel Summers, Esq., and they had no children. Their third son, Abraham Duckett (1) of Ardnahue, Co. Carlow married Mary Jessop, daughter of Samuel Jessop, Esq. Abraham Duckett (1) and Mary Jessop had four sons (three sons, who all died without children) and three daughters.”

It was John and Jane’s fourth son, Jonas Duckett Esq. (1720-1797) of Co. Carlow (who Duckett’s Grove is said to have been named after), who passed Duckett’s Grove to the next generation. It may have been he who built a two storey Georgian house on the property later transformed into the current confection.

Jonas married Hannah Alloway, daughter of William Alloway, Esq. of Dublin, a merchant banker, who brought money to the marriage. They had four sons, their eldest son and heir being William Duckett who was born in 1761In 1790 William Duckett (b. 1761) married another daughter of a banker, Elizabeth Dawson Coates, daughter and co-heir of John Dawson-Coates Esq, a banker of Dawson Court, Co. Dublin. The bank was called Coates and Lawless and in 1770 it was located at 36 Thomas Street.

William Duckett (b. 1761) and Elizabeth Dawson-Coates’s son John (1791-1866), added Dawson to his name, to become John Dawson-Duckett. I believe that this is because Elizabeth Dawson-Coates’s father John Dawson-Coates may have been the heir of John Dawson of the bank Wilcox and Dawson. [2]

John Dawson-Coates had two daughters who were his co-heirs, Elizabeth and Anne. Their brothers predeceased their father. Elizabeth married William Duckett (b. 1761) and Anne married William Hutchinson of Timoney, County Tipperary. [see 2] 

The fortunes of the two heiresses, Elizabeth and Anne Dawson-Coates, coalesced when the daughter of Anne Dawson-Coates and William Hutchinson (Sarah Hutchinson Summers) married her cousin (John Dawson-Duckett) the son of Elizabeth Dawson-Coates and William Duckett.

Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

John Dawson-Duckett (1791-1866) hired Thomas A. Cobden to turn his house into a castle.

The Cobden work is rendered in patent cement and includes an oriel window over entrance and a full-height bow on the North East corner, while the later work, which includes a slender viewing tower, entrance to the stables and curtain walls is executed in granite ashlar. [7] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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

p. 113. “(Eustace-Duckett/IFR) A square house of two and three storeys, transformed into a spectacular castellated Gothic fantasy by Thomas A. Cobden [1794-1842], of Carlow, for J. D. Duckett 1830 [John Dawson Duckett (1791-1866)]. Numerous towers and turrets, round, square and octagonal; notably a heavily machicolated round tower with a tall octagonal turret growing out of it. The walls enlivened with oriels and many canopied niches sheltering statues; more statues and busts in niches along the battlemented wall joining the house to a massively feudal yard gateway; yet more statues manning the battlements of one of the towers, and disposed around the house on pedestals. At the entrance to the demesne is one of the most stupendous castellated gateways in Ireland: with a formidable array of battlemented and machicolated towers and two great archways giving onto two different drives; the principal archway having a portcullis, and being surmounted by an immense armorial achievement, which was originally coloured. The house was burnt 1933 and is now a ruin.” [3]

Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

John Dawson Duckett was appointed High Sheriff of County Carlow in 1819 and married Sarah Hutchinson Summers [or is it Sarah Summers Hutchinson?], daughter of William Hutchinson Esq. from Timoney Park, Co. Tipperary on 16th March 1819. They had two sons: the eldest, William (Dawson) Duckett (1822 – 1908) was named after his grandfather and he was the last blood heir to Duckett’s Grove. Their second daughter, Anne Duckett married Hardy Eustace of Castlemore, Tullow, Co. Carlow. They went on to live at Hardymount in County Carlow, which has gardens one can visit (see below).

David Hicks tells us in his book Irish Country Houses, A Chronicle of Change, that more work was carried out in the 1840s, designed by architect John MacDuff Derick, who added extra floor space and prominent architectural features, such as a large circular flag tower, which was faced in local granite. A new basement kitchen as added with a billiard room above on the ground floor level. The exterior of the castle was decorated with various niches that contained statues and, on the facade of the building, heads of many mythological creatures. Bust of famous warriors decorated the length of the battlemented wall that joined the castle to one of the courtyards to its rear. Statues around the grounds depicted Greek and Roman figures.

As well as enlarging the castle, MacDuff Derick created the impressive entrance gateway, with an immense coat of arms carved by Kelly and Kinsella, which was gilded and coloured and features birds and animals associated with the lineage of the Duckett family.

Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. The tallest, granite, flag tower was added in 1853 and designed to be seen above the tree line. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Ducketts were quite happy to allow members of the public to picnic in their gardens until one group disturbed the peace in 1902, peering in their windows, and the family closed the grounds to the public.

Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The exterior of the castle was decorated with various niches that contained statues and, on the facade of the building, heads of many mythological creatures. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The courtyards of outbuildings are accessed from either side of the castle by impressive gateways with towers and arches.

Entrance to stable yards. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The curtain wall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

William Dawson Duckett (1822 – 1908) married twice. His first wife died without any children. One year later William Dawson Duckett, at the age of 73 years, married 21 year old Maria Georgina Thompson. Maria Georgina Thompson was daughter of Captain Robert Gordon Cummins and widow of Theophilius Thompson of Forde Lodge, Co. Cavan. She had one daughter.

The website tells us:

“William (Dawson) Duckett (2) now had a new wife Maria and a stepdaughter Olive. He didn’t live that long afterwards, as he died on 22nd June, 1908 aged 86. He was the last member of the Duckett family line to live in Duckett’s Grove Gothic Mansion, in Rainestown, Carlow, leaving just his wife Maria and her daughter [Olive, by a previous marriage of Maria to Theophilus Thompson] living there after his death. In his last will and testament dated 29th February, 1904, William (Dawson) Duckett (2) willed his estate to his widow, Maria Georgina Duckett with the exception of a small section of his estate willed to his nephew, John Hardy Rowland Eustace with the instruction that the Duckett family name be affixed to the name Eustace, giving rise to the name ‘Eustace Duckett’ from Castlemore. [William Dawson Duckett’s sister Anne married Hardy Eustace and their son was John Hardy Roland Eustace] Maria’s daughter Olive married Captain Edward Stamer O’Grady circa 1916. 

It was also at this time that Maria decided to leave Duckett’s Grove following alleged threats from seven Carlow businessmen who were disgruntled and had become malicious in their feelings towards her, allegedly wanting to acquire Duckett’s Grove Gothic mansion. She decided to live in ‘De Wyndesore’, a mansion on Raglan Road, Dublin which was purchased for her as a wedding gift by her late husband William (Dawson) Duckett 2. She spent some time moving between her Dublin and London homes and rarely returned to Duckett’s Grove.” She became mentally ill and paranoid and the only heir to Duckett Grove, her daughter Olive, was cut from her will. [see the full story in Jimmy O’Toole, The Carlow Gentry: What will the neighbours say! Published by Jimmy O’Toole, Carlow, Ireland, 1993. Printed by Leinster Leader Ltd, Naas, Kildare.] [4]

Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The information board tells us that the drive was lined by statues, which were unfortunately destroyed by the IRA as target practice, when the IRA occupied Duckett’s Grove in 1923. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Driving to Duckett’s Grove, you first come across the impressive entrance gates:

Duckett’s Grove entrance gates, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The National Inventory tells us about these gates:

The double entrance arches and lodges were designed in a gothic-revival style by J.McDuff Derick [1810-1859] about 1840. This structure is difficult to describe but is a mixture of walls, buttresses, towers and crennelations with lancet windows and heavily mullioned windows. This is possibly the most elaborate entrance to any estate in Ireland and is of considerable architectural importance.”  [see 1]

Duckett’s Grove entrance gates, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove entrance gates, August 2021. This crest used to be coloured and gilded. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove entrance gates, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove entrance gates, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Om 1921 Duckett’s Grove was sold to a consortium of local farmers. After the sale the house was occupied by British soldiers and later by Irish Free State soldiers during the Civil War. The Ducketts were held in high regard by the community so that house was not damaged beyond the soldiers taking pot-shots at the statues. The house was sold again, this time to Theo Frederick George Thompson of the Hanover Works in Carlow (see David Hicks). While he was deciding what to do with it the disaster of the fire occurred.

After the fire the building was sold to Charles Balding of Rainstown House and in later years, used as a riding school. The gate lodge was converted into a pub in the 1970s. In 2005 Carlow County Council took possession of Duckett’s Grove for use as a public park with the intention of conserving the castle and restoring the gardens.

After wandering around the castle we went back through the stable yard toward the walled garden.

Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I think there is a cafe in the courtyard, but we were there during lockdown due to Covid so there was no cafe open, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The walled garden has also been redeveloped.

Walled garden, Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The brick walls of the walled garden retain the sun’s heat better than the granite of surrounding building structures.

Walled garden, Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Walled garden, Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Walled garden, Duckett’s Grove, County Carlow, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://www.buildingsofireland.ie/buildings-search/building/10300304/ducketts-grove-russellstown-cross-roads-russellstown-carlow

[2] Tenison, C.M. “The Old Dublin Bankers.” Journal of the Cork Historical and Archaeological Society. vol. 1, 1895.

[3] p. 113, 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] Jimmy O’Toole, The Carlow Gentry: What will the neighbours say! Published by Jimmy O’Toole, Carlow, Ireland, 1993. Printed by Leinster Leader Ltd, Naas, Kildare. 

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

Riverstown House, Riverstown, Glanmire, County Cork T45 HY45 – section 482

Open dates in 2025: May 1-3, 8-10, 15-17, 22-24, 29-31, June 5-7, 12-14, 19-21, 26-27, July 3-5, 10-12, 17-19, 24-26, 31, Aug 1-2, 7-9, 14-24, 28-30, Sept 4-6, 2pm-6pm

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Riverstown House, June 2022. The back facade of the house; the entrance door is on the opposite side. The roof has a round-headed bellcote. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown County Cork, 1970, National Library archives. [1] The portico over the door has been since removed. Note that the image is mirror-image reversedsee my photograph above.
Riverstown House, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Riverstown is famous for its stucco work. It contains important plasterwork with high-relief figurative stucco in panels on the ceiling and walls of the dining room, by Paolo and Filipo Lafranchini. The brothers also worked in Carton House in County Kildare (see my entry for places to stay in County Kildare https://irishhistorichouses.com/2022/04/27/places-to-visit-and-to-stay-leinster-kildare-kilkenny-laois/) and in Kilshannig in County Cork (see my entry https://irishhistorichouses.com/2020/12/10/kilshannig-house-rathcormac-county-cork/).

The Swiss-Italian stuccadores were brought to Ireland from England in 1738 by Robert Fitzgerald (1675-1744) 19th Earl of Kildare, who built both Leinster House in Dublin (first known as Kildare House until his son was raised to be Earl of Leinster) and Carton House.

Stucco work carried out by Lafranchini brothers in 1739 in Carton House, now a hotel. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Plasterwork by the Lafranchini brothers in Kilshannig, County Cork. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Going back to its origins, the estate of Riverstown was purchased by Edward Browne (b. 1676), Mayor of Cork. He married Judith, the heiress daughter of Warham Jemmett (b. 1637), who lived in County Cork. The present house possibly dates from the mid 1730s, Frank Keohane tells us in Buildings of Ireland: Cork City and County. [2] A hopper with the date 1753 probably records alterations, when the gable end at one side was replaced by full-height canted bays.

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

“…The house consists of a double gable-ended block of two storeys over a basement which is concealed on the entrance front, but which forms an extra storey on the garden front, where the ground falls away steeply; and a three-storey one bay tower-like addition at one end, which has two bows on its side elevation. The main block has a four bay entrance front, with a doorway flanked by narrow windows not centrally placed.” [3]

Due to the deep slope upon which the house is built, one side is of three storeys, or two storeys over basement. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The grounds of Riverstown also contain an old ice house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The tower-like third storey on part of the house was possibly added by architect Henry Hill around 1830, Keohane tells us. Henry Hill was an architect who worked in Cork, perhaps initially with George Richard Pain, and later with William Henry Hill and Arthur Hill.

Riverstown House, June 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

As Riverstown and its plasterwork was described in 1750 in Smith’s History of County Cork, it must have been created before this, perhaps when Browne’s son Jemmet Browne was elevated to the position of Bishop of Cork in 1745. He later became Archbishop of Tuam.

Reverend Jemmett Browne at a meet of Foxhounds by Peter Tillemans, courtesy of Yale Centre for British Art.

Reverend Jemmett Browne gave rise to a long line of clerics. He married Alice Waterhouse, daughter of Reverend Thomas Waterhouse. His son Edward (1726-1777) became Archbishop of Cork and Ross, and a younger son, Thomas, also joined the clergy.

A portrait of Alice Waterhouse, wife of Bishop Jemmett Browne.

Edward Archbishop of Cork and Ross named his heir Jemmett (1753-1797) and he also joined the clergy. He married Frances Blennerhassett of Ballyseede, County Kerry (now a hotel and also a section 482 property, see my entry). If the tower part of the house was built in 1830 it would have been for this Jemmett Browne’s heir, another Jemmett (1787-1850).

In Beauties of Ireland (vol. 2, p. 375, published 1826), James Norris Brewer writes that: “the river of Glanmire runs through the gardens banked with serpentine canals which are well stocked with carp, tench, etc. A pleasant park stocked with deer, comes close to the garden walls. The grounds of this very respectable seat about in aged timber and the whole demesne wears an air of dignified seclusion.”

The first Jemmett Browne was friendly with Laurence Sterne, author of Tristram Shandy. The bawdiness of the novel demonstrates that clerics at the time led a different life than those of today! Jemmett Browne’s interest in fine stucco work was probably influenced by fellow clerics Bishop George Berkeley, Samuel “Premium” Madden and Bishop Robert Clayton. Samuel Madden recommended, in his Reflections and Resolutions Proper to the Gentlemen of Ireland that stucco is substituted for wainscot. [4] Bishop Clayton owned what is now called Iveagh House on St. Stephen’s Green in Dublin (see my entry, https://irishhistorichouses.com/2022/09/23/open-house-culture-night-and-heritage-week-dublin-visits/ ).

Portrait c. 1740 of Archbishop Robert Clayton (1695–1758) and Katherine née Donellan by James Latham, courtesy of National Gallery of Ireland. Known for his unorthodox views, at the time of his death Robert Clayton was facing charges of heresy.
George Berkeley (1685-1753), Philosopher; Bishop of Cloyne, by John Smibert 1730 courtesy of National Portrait Gallery NPG 653. He was a friend of Reverend Jemmett Browne.

The stucco work is so important that the Office of Public Works feared it would be lost, as the house was standing empty in the 1950s before being purchased by John Dooley, father of the current owner, in around 1965. Under the direction of Raymond McGrath of the Office of Public Words, with advice from Dr. C. P. Curran, the authority on Irish decorative plasterwork, moulds were taken in 1955-6. The moulds are now displayed prominently in the home of Ireland’s President, Áras an Uachtaráin. (see my entry on the Áras in the entry on Office of Public Works properties in Dublin, https://irishhistorichouses.com/2022/01/21/office-of-public-works-properties-dublin/ )

Riverstown, 1975, photograph from Dublin City Library and Archive. (see[1])
The Lafranchini hallway in Áras an Uachtaráin, with the moulds taken of the stucco work in Riverstown. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Shortly after John Dooley purchased the property, the members of the Irish Georgian Society decided to help to restore the plasterwork.

The book published on the 50th anniversary of the Irish Georgian Society, by Robert O’Byrne, has part of a chapter on Riverstown and the Irish Georgian Society’s role in restoration of the Lafranchini plasterwork in the 1960s.

The book published on the 50th anniversary of the Irish Georgian Society has part of a chapter on Riverstown and the Irish Georgian Society’s role in restoration of the Lafranchini plasterwork in the 1960s. By this time, John Dooley had purchased Riverstown, after it has been standing empty. At the time, Dooley had not yet moved in, and the dining room was not preserved to the standard the Georgian Society would have liked. The book has a photograph of potatoes being stored in the dining room.

Photograph from Irish Georgian Society, by Robert O’Byrne. The photograph was published in the Cork Examiner in February 1965. We don’t know of course how temporary this storage was.

The entrance hall of Riverstown is also impressive, and the members of the Georgian Society also helped to clean the plasterwork in this room. The walls curve, and the room has an elegant Neoclassical Doric frieze and shapely Corinthian columns.

Mark Bence-Jones decribes: “The hall, though of modest proportions, is made elegant and interesting by columns, a plasterwork frieze and a curved inner wall, in which there is a doorcase giving directly onto an enclosed staircase of good joinery. To the left of the hall, in the three storey addition, are two bow-ended drawing rooms back to back. Straight ahead, in the middle of the garden front, is the dining room, the chief glory of Riverstown.”

The rounded entrance hall has a Neoclassical Doric frieze, thin columns and marble busts and statue. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Lafranchini work in the dining room derives from Maffei’s edition of Agostini’s Gemme Antiche Figurate (1707-09). Frank Keohane notes that the Maffei’s engravings were also used for the decoration of the Apollo Room in 85 St. Stephen’s Green, Dublin, also by the Lafranchini brothers.

The ceiling at Riverstown: winged figure of Father Time, rescuing Truth from the assaults of Discord and Envy, taken from the allegorical painting by Nicholas Poussin which he painted on the ceiling in France for Cardinal Richelieu in 1641 and now hangs in the Louvre, Paris.

The dining room in Riverstown, August 2022. Marcus Curtius on horseback over fireplace, next to Aeneas carrying Anchises on his shoulders, then Liberty and Ceres. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Apollo Room, 85 St. Stephen’s Green, also by Lafranchini brothers, using Maffei’s engravings, executed in 1740. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ceiling at Riverstown: winged figure of Father Time, Chronos, rescuing Truth (a young woman, La Verdad) from the assaults of Discord and Envy, taken from the allegorical painting by Nicholas Poussin which he painted on the ceiling in France for Cardinal Richelieu in 1641 and now hangs in the Louvre, Paris. Discord is armed with a dagger and Envy with snakes, and in the original painting, Envy’s robes are green. A cherub bears the sickle and circle, symbolising Time and Immortality. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Corner of the ceiling at Riverstown. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

C. P. Curran tells us that the history of the Lafranchini brothers is obscure, but they “represent one of the successive waves of stuccodores who from quite early periods swarmed over Europe from fertile hives in the valleys of either side of the Swiss Italian Alps….They worked in some unascertained way side by side with local guildsmen and introduced new motifs and methods. Their repertory of ornament was abundant and they excelled in figure work.” [4] They executed their work in Carton in 1739, Curran tells us, and in 85 St. Stephen’s Green in 1740.

Marcus Curtius on horseback over fireplace, next to Aeneas carrying Anchises on his shoulders, then Liberty and Ceres. The panels have moulded frames, those over the fireplace and the opposing wall being lugged and enriched with acanthus-tufted C-scrolls above and below the panels. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Keohane tells us that the simple eighteenth century black-marble slab chimneypiece was installed in the 1950s when the house was saved by the Dooley family from ruination. It replaced a remarkable overmantel, now in an upper room, with great scrolled jambs garlanded with flowers and tufted with acanthus, and a comic mask in the centre of the frieze which possibly depicts Bishop Browne.

A remarkable overmantel, now in an upper room, with great scrolled jambs garlanded with flowers and tufted with acanthus, and a comic mask in the centre of the frieze which possibly depicts Bishop Browne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Marcus Curtius, personifying heroic virtue. Denis told us that it was he who uncovered the buildings in the top left hand corner of this panel, and that they surprised Desmond Guinness who was helping to clean the pictures, as he did not realise they were there! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Aeneas, carrying Anchises on his shoulders and vase enclosing his household gods. It is an allegory of filial piety. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The figure of Liberty, or Grammar. Between the panels are pendants suspended from female masks, in the manner of Jean Berain, Keohane tells us, with thin bandwork and acanthus. Floral garlands are looped above. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Ceres. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fides Publica, Fortuna, Cincinnatus and Roma Aeterna, in the dining room at Riverstown. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Fides Publica. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Cincinnatus, or Achilles. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The figure of Rome. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Even the stucco work around the mirror is splendid. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The work by the members of the Irish Georgian Society on the dining room in Riverstown was complete by the end of 1965. John Dooley continued the restoration of the rest of the house, and it is now kept in beautiful condition by his son Denis and wife Rita, with many treasures collected by the Dooleys. A 1970 Irish Georgian Society Bulletin, Robert O’Byrne tells us, reported further improvements made by the Dooleys. It tells us that one of the house’s two late-eighteenth century drawing rooms adjoining the dining room:

has been given a new dado, architraves, chimney-piece, overdoors and overmantel. These have been collected by John Lenehan of Kanturk, who rescued them from houses in Dublin that were being demolished and inserted them at Riverstown.”

Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
An old illustrated manuscript about the Brownes of Riverstown was presented by Mrs Trippe of Tangiers. The Browne family, Denis told us, mostly went to South Africa. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Beautiful carved doorframes, and a splendid Waterford crystal chandelier in the Green Drawing Room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The two drawing rooms do indeed have splendid over mantel and overdoors. The drawing room has been hung with green silk wall covering. The Dooleys have shown fine taste for the decoration and maintenance of the rooms and I suspect John Dooley knew what he was doing when he purchased and thus saved the house.

Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A fine wooden staircase brings us upstairs to a spacious lobby containing a Ladies’ conversation chair. Keohane suggests the stair may have originally been open to the front hall, but is now hidden by a screen wall. He writes that this arrangement probably dates from c. 1784, when Phineas Bagnell was granted a long lease of the house.

Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A bedroom upstairs has canted windows. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Denis told us that the four-poster bed came from Lissadell, so perhaps W.B. Yeats slept in it! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Riverstown, 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The owners’ bedroom has an extraordinary carved marble mantel. It was probably originally in the room with the Lafranchini stuccowork. It has great scrolled jambs garlanded with flowers and tufted with acanthus, and a comic mask in the centre of the frieze which possibly depicts Bishop Browne, Frank Keohane tells us.

The Dooleys have a garden centre, which is situated behind the house. They maintain the gardens with its rolling lawns beautifully. The Glanmire river passes by the bottom of the garden.

An old bridge at the end of the property passes over the Glanmire River. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://repository.dri.ie/catalog
[2] p. 556, Keohane, Frank. Buildings of Ireland: Cork City and County. Yale University Press, New Haven and London, 2020.

[3] 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] Curran, C.P. Riverstown House Glanmire, County Cork and the Francini. A leaflet given to us by Denis Dooley.

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