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

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

From the OPW website:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

He is also said to have built Nenagh Castle.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Kilcash Castle, County Tipperary, photograph by Mike Searle.

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

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

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

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

The Butler genealogy.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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James Butler 1st Duke of Ormond. Artist: Sir Peter Lely (1618-1680). He is wearing robes of the Order of the Garter and holds the wand of office of Lord Steward of the Household in his right hand. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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

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

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

William Robinson, Royal Hospital Kilmainham.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Mark Bence-Jones describes the renovations:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Blue Bedroom, Kilkenny Castle.

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

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

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

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

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

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

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

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

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

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

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

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

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

The nursery is also off the blue corridor.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In 1782 Robert married Anne, daugher of Bellingham Boyle.

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

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

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

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

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

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

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

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

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

[10] The Library and Drawing Room portraits:

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

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

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

Places to visit and stay in Ulster: Counties Fermanagh, Monaghan and Tyrone

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purple: section 482 properties

red: accommodation

yellow: less expensive accommodation for two

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

green: gardens to visit

grey: ruins

Fermanagh:

1. Castle Archdale Countryside Centre & War Museum – demolished in 1970 but the stables remain intact.

2. Castle Balfour (ruin), County Fermanagh

3. Castle Coole, County Fermanagh

4. Crom Estate, County Fermanagh

5. Enniskillen Castle, County Fermanagh

6. Florence Court, County Fermanagh

Places to stay, County Fermanagh

1. Belle Isle Courtyard cottages and castle accommodation, Lisbellaw, Enniskillen, County Fermanagh Northern Ireland self catering

3. Colebrooke gate lodge, Colebrooke Park, County Fermanagh and Triumphal Arch Lodge, Colebrook, County Fermanagh and Colebrook Cottages

4. West Wing and holiday cottages, Crom Castle, County Fermanagh

Adler’s cottage and Bluebell Cottage and Aspen Cottage

5. Erne View Cottage, Enniskillen, County Fermanagh

6. Florence Court, County Fermanagh – Butler’s Apartment

7. Manor House Hotel (formerly Killadeas Manor and before that, Rockfield), County Fermanagh

Whole House Rental, County Fermanagh:

1. Ashbrooke House, Brookeborough, Enniskillen Co Fermanagh BT94 4GX – whole house rental

2. Belle Isle Courtyard cottages and castle accommodation, Lisbellaw, Enniskillen, County Fermanagh Northern Ireland

3. Colebrook Park, County Fermanagh

County Monaghan:

1. Castle Leslie, Glaslough, Co. Monaghan – section 482

2. Hilton Park House, Clones, Co. Monaghan – section 482

3. Mullan Village and Mill, Mullan, Emyvale, Co. Monaghan – section 482

Places to stay, County Monaghan

1. Castle Leslie, Glaslough, Co. Monaghan – section 482

2. Hilton Park House, Clones, Co. Monaghan, and cottage – section 482, see above

Tyrone:

1. Ashfield Park, County Tyrone – gardens open to visitors 

2. Blessingbourne, Fivemiletown, County Tyrone – open for tours, self catering accommodation on the grounds 

3. Hill of The O’Neill and Ranfurly House Arts & Visitor Centre, County Tyrone

4. Killymoon Castle, County Tyrone

5. Lissan House, Drumgrass Road, Cookstown, County Tyrone, BT80 9SW.

6. Prehen, County Tyrone

Places to stay County Tyrone

1. An Creagan, Omagh, County Tyrone

2. Ashbrook House, Aucnacloy, County Tyrone

3. Baronscourt Estate, Newtownstewart, Omagh, County Tyrone

4. Blessingbourne, County Tyrone

5. Cobblers Cottage Omagh, County Tyrone

6. Corick House Hotel, Clogher, County Tyrone €€

7. Kilcootry Barn, Fintona, County Tyrone

8. Killymoon Castle Lodge, 302 Killymoon Road, BT80 8ZA

9. The Lower House Rooms, Donaghmore, Dungannon, Co. Tyrone, BT70 3EZ

10. Spice Cottages, Dungannon, County Tyrone €€

donation

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

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Fermanagh:

1. Castle Archdale Countryside Centre & War Museum – demolished in 1970 but the stables remain intact.

https://discovernorthernireland.com/things-to-do/castle-archdale-countryside-centre-and-war-museum-p675541

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

p. 61. (Archdale/IFR) “A noble house of 1773 on the shores of Lough Erne, built by Colonel Mervyn Archdall in 1773 to replace a “Plantation castle”  originally built by John Archdale 1615. 
 
Three storeys over a basement; a six bay entrance front with a two bay breakfront centre; and a tripartite doorway with Ionic pilasters, entablature and pediment, the latter breaking forwards on two Ionic columns to form a porch, which appears to have been a subsequent alteration. 
 

The side elevation was of three bays, the bottom storey having Venetian windows with Gothic astragals in its outer baysThe quoins were rusticated and bold; with a solid roof parapet. Derelict since 1959 and now ruinous.” [1]

Castle Archdale, County Fermanagh, from Discover Northern Ireland website.

2. Castle Balfour (ruin), County Fermanagh

https://discovernorthernireland.com/things-to-do/castle-balfour-p675501

Built in about 1618 by Sir James Balfour, a Scottish planter, the castle was in continuous occupation until the early 19th century. Open all year.

Timothy William Ferres tells us: “CASTLE BALFOUR formed the nucleus of the town [Lisnaskea]. It stands beside the parish church, in the graveyard. The Castle was built with local stone ca 1618 by Sir James Balfour. Sandstone was used for the quoins and dressings. The main block consists of a rectangular block, 78 feet by 24 feet, with a large wing projecting to the east and west, comprising two L-shaped units. The northern block has three storeys with attics. The kitchen is vaulted, with a fireplace and oven. Corbelled turrets and gun-slits are a feature
 
During the Irish Rebellion of 1641, Castle Balfour and the village were burnt but later reoccupied. In 1689, the Castle was again badly damaged by the Jacobite armies but was repaired after the Williamite victory at Limerick. About 1780, Castle Balfour was sold to the 1st Earl of Erne, and the Balfours subsequently left County Fermanagh. 
 
The last person to inhabit the Castle was James Haire (1737-1833), of Nutfield, who leased the Castle from Lord Erne. James Haire and his family ceased to occupy the castle after it was destroyed by an arson-based fire in 1803 (his mother, Phoebe, was killed in the rubble caused by the fire). 
 
Thereafter the Castle remained ruinous, until it was placed in state care by the 6th Earl of Erne in 1960. 
 
Major conservation work was carried out between 1966-68 and again during the late 1990s.” [2]

3. Castle Coole, County Fermanagh

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

Castle Coole (pronounced cool) is a late-eighteenth-century neo-classical mansion situated in Enniskillen, County Fermanagh, Northern Ireland. Set in a 1200 acre (5 km²) wooded estate, Castle Coole was constructed between 1789 and 1798 as the summer retreat of Armar Lowry-Corry, the 1st Earl of Belmore. photo by Brian Morrison, Tourism Northern Ireland 2008. [3]
Castle Coole, County Fermanagh, March 2022, built to impress by the first Earl of Belmore by Amar Lowry-Corry, 1st Earl Belmore (1740-1802) and furnished largely by Somerset Lowry Corry, 2nd Earl (1774-1841).  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website tells us:

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

See my entry https://irishhistorichouses.com/2024/03/21/castle-coole-county-fermanagh-a-national-trust-property/

4. Crom Estate, County Fermanagh

Crom Castle, Fermanagh Courtesy of Tourism Northern Ireland, by Brian Morrison, 2008 (see [3])

https://discovernorthernireland.com/things-to-do/crom-estate-p675551 and https://cromcastle.com

The castle is still in private hands but the grounds are open to the public.

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

p. 95. “(Crichton, Erne, E/PB) A large castellated mansion combining Baronial and Tudor-Revival elements, by the side of one of the many inlets of Upper Lough Erne, built 1829 to the design of Edward Blore. The entrance front has a gabled projection with a corbelled oriel at each end, but they are not entirely similar; while the tall, battlemented entrance tower, which incorporates a porte-cochere, is not central but to one side, against the left hand gable. The adjoining garden front is symmetrical, dominated by a very tall central tower with slender octagonal turrets, inspired by various Tudor gatehouse towers in England, but without a doorway. On either side of it is a gable and oriel. In the park are the ruins of the earlier Crom Castle, a Plantation castle of 1611, destroyed by fire in 1764.” 

5. Enniskillen Castle, County Fermanagh

https://discovernorthernireland.com/things-to-do/enniskillen-castle-p742361

Enniskillen Castle by Gardiner Mitchell 2015 for Tourism Ireland, Ireland’s Content Pool (see [3]).

The website tells us: “Enniskillen Castle, situated beside the River Erne in County Fermanagh, was built almost 600 years ago by Gaelic Maguires.

Guarding one of the few passes into Ulster, it was strategically important throughout its history. In the 17th century it became an English garrison fort and later served as part of a military barracks. This historic site houses two museums, Fermanagh County Museum and The Inniskillings Museum.

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

p. 121. (Cole, Enniskillen, E/PB) A large and impressive fortress at one side of the island in the River Erne on which the town of Enniskillen is built; with walls enclosing a ward of courtyard, an inner keep and a tall and frowning water gate with two conical-roofed bartizans. Until C18 the castle stood on a small island of its own, separated from the rest of the island by a ditch of water crossed by a draw-bridge. The castle was originally built C15 by the Maguires; it was granted 1607 to Captain William Cole, who rebuilt the keep as a house for himself, and renovated all the fortifications; the water gate probably dates from his time. The Coles continued to live on and off at the castle until 1739; afterwards, they established themselves permanently at Florence Court. The castle then became barracks, and the keep was rebuilt once again. The buildings remain in good repair.” 

Enniskillen Castle by Chris Hill 2018 for Tourism Ireland, Ireland’s Content Pool (see [3]).

6. Florence Court, County Fermanagh

Florence Court, formerly the home of the Cole family, Earls of Enniskillen, is surrounded by a large area of parkland, garden and woodland, with beautiful views to Benaughlin and the Cuilcagh Mountains. photo Courtesy of Tourism Northern Ireland by Brian Morrison 2008 (see [3]).

https://www.nationaltrust.org.uk/florence-court

The website tells us:

Florence Court, March 2022. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

See my entry https://irishhistorichouses.com/2024/05/16/florence-court-county-fermanagh-a-national-trust-property/

Places to stay, County Fermanagh

1. Belle Isle Courtyard cottages and castle accommodation, Lisbellaw, Enniskillen, County Fermanagh Northern Ireland(self-catering)

Nestling close to the water’s edge and set within a landscape of lakes and islands of gently rolling hills and fragrantwoods, Belle Isle Castle provides self-catering or fully catered accommodation. Situated at the heart of Belle Isle Estate and dating from the early 17th century the castle has been extensively yet sensitively refurbished, ensuring that a full range of modern facilities blends seamlessly with original period grandeur. Photo for Tourism Ireland, 2008. (see [3])

https://belle-isle.com

The website tells us:

Belle Isle provides an outstanding mix of natural beauty and authentic heritage on a private 400 acre estate designated a Special Area of Conservation with a range of accommodation options including castle rental, luxury cottages and self-catering apartments. Whether you are looking to host your wedding, enjoy a private event with friends and family or just have a relaxing weekend with your pets, we have something for everyone. Enjoy a Summer Getaway to the Belle Isle Estate with one of our great special offers.

Belle Isle has a rich history dating back to before the 15th century as the place where the Annals of Ulster were written. Belle Isle Castle was built in the early 17th century as the home to many generations of nobles and has been hosting events since as early as 1760. In 1991, the castle was fully refurbished to open its doors to more visitors. Belle Isle Estate stretches over 470-acres across Lisbellaw, County Fermanagh, Northern Ireland. It is a private estate with access to its estate grounds and trails open solely its visitors. If you are looking for the ultimate experience in luxury, Belle Isle Estate is one of the best hotels Fermanagh can offer.

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

p. 38. “(Gore, Bt/PB; Porter, sub Baird/IFR) A house beautifully situated on an island in Upper Lough Erne; the seat of a distinguished C18 soldier, Sir Ralph Gore, 6th Bt, 1st and last Earl of Ross and Viscount Bellisle, who was C-in-C in Ireland 1788. Bought early in C19 by Rev. J.G. Porter.

Ralph Gore (1725–1802), 6th Bt, Later 1st Earl of Rosse, on His Bay Hunt, attriibuted to Thomas Spencer, courtesy of National Trust.

The present house appears to incorporate a two storey C18 range with a three sided bow at one end, to which a range of 1820-30 was added at right angles, with a staircase hall, top-lit by an octangular lantern, in the re-entrant. The house was re-modelled post 1880 in the plain English Tudor manor house style made popular by Norman Shaw and his disciples; producing a gable entrance front with mullioned windows, a projecting porch and a tall, church-like battlemented tower at the corner of th 1820-30 range. The latter range, which is the garden front facing the lough, remains unaltered apart from having Victorian plate-glass windows; at one end is the end bow of C18 range, with Georgian astragals. Inside the house, arches were opened up between the staircase hall and the rooms at either end of it, to make a much larger hall; the staircase hall was also widened at the expense of the rooms in 1820-30 range, the old wall being replaced by a massive oak beam. An oak staircase with barleysugar balusters replaced the original stairs; the walls were panelled in oak, or decorated with half-timbering. The octangular ceiling lantern, however, was left undisturbed. The drawing room, in 1820-30 range, was redecorated, having been reduced in width, and given a chimneypiece of old oak carving, possibly of more than one period and nationality. The room extending into the bow of C18 range, which is now the drawing room, was given a stone Tudor fireplace; but it still keeps its original doors with shouldered C18 architraves. In 1907 the entrance front was prolonged by a wing in Tudor style containing a long and lofty gallery, with a timbered roof, an elaborate Tudor fireplace and overmantel and a minstrels’ gallery, the balustrade of which has slender turned uprights and would appear to be late C17 or early C18 woodwork brought from elsewhere. At this end of the entrance front stands a pedimented and gable-ended office wing which would appear to date from quite early C18. After the death of N.H.A. Porter 1973, Belle Isle was inherited by his niece, Miss Olivia Baird.” 

Belle Isle Estate, photo by Brian Morrison 2008 for Tourism Ireland. (see [3])

The website tells us:

Castle Irvine, also known as Necarne Castle, lies south of the town of Irvinestown, in County Fermanagh, in Northern Ireland.

The core of Necarne Castle is a castle which was built in the 17th century by Gerard Lowther as part of the plantation of Ulster. In 1629, the lands were leased to Christopher Irvine and the Irvines remained there until 1922.

In the 1830’s the castle and park were rebuild and a Victorian style wing was built against its south west facade amongst other things.

In 1925, Captain Richard Outram Hermon, from Sussex, bought the castle. In 1927 an extensive restoration of the castle and its gardens was started while Captain Hermon and his new wife went off on a world cruise. The estate was turned into a haven for shooting parties and Lord Mountbatten and Prince Bernhard of the Netherlands were once guests at Necarne Castle.

In 1941 Necarne Castle was requisitioned by the United States Navy. It originally had 200 beds but was soon enlarged to a 500 bed institution and released to the American Army. The castle, then the 28th Station Hospital, cared for recuperating American soldiers and RAF personnel. After the war the castle was never inhabited again and fell to ruin.

Fermanagh District Council bought the Necarne Castle estate in 1981; and in 1988 The NI Department of Agriculture leased the estate on a 25-year basis from them. In the last decades the outbuildings of the castle have been used as a student facility for the Enniskillen Agricultural College as the Necarne Castle Equine College. 

Fermangh & Omagh District Council began the search for a new operator for the estate in 2014 following the Agricultural College relocating their Equine Courses to Enniskillen.

Gardrum Holdings Ltd agreed a lease of the estate from 2020.

The park around Necarne Castle can freely be visited during daytime. The ruin of the castle itself is boarded up, so its interior can not be visited.”

2. Colebrooke gate lodge, Colebrooke Park, County Fermanagh – accommodation

https://www.irishlandmark.com/propertytag/cottages-and-houses/?gclid=Cj0KCQiApL2QBhC8ARIsAGMm-KFInICcRSxwLSiDxfFNk5WFytNcVrLvOQYhzJbIBes4V-M65iXz0gYaAln_EALw_wcB

see also https://colebrooke.info

and Triumphal Arch Lodge, Colebrook, County Fermanagh https://colebrooke.info/cottages/triumphal-arch-lodge/

Colebrook Cottages: https://colebrookecottages.com

Colebrooke Estate in Co. Fermanagh, N.Ireland offers guests a haven of peace and privacy with over 1000 acres to play in. The 5 star Whitehill Cottage and 5 star Woodcock Corner Cottage are sensitively restored original Estate workers cottages. Rossbeg Cottage is located in a stunning part of Co. Donegal, overlooking the Atlantic Ocean. We are proud of all the properties, which offer high standards of comfort, with all the modern conveniences you would expect to find in quality accommodation.

See photographs on the recently published mention on Robert O’Byrne’s website, https://theirishaesthete.com/2022/08/03/triumphant/

Also Woodcock Corner and Whitehill Cottage, listed on the Colebrook website:https://colebrooke.info/cottages/

Henry Brooke (1770-1834), 1st Bt.of Colebrooke, Co Fermanagh. Painting with inscription verso ‘Sir Henry Brooke Bart Son of Francis Brooke, Major of 18th. of Hannah, Sister of 1st Lord Dunally. He married Harriott Butler, granddaughter of Earl Lainsborough. He rebuilt the House of Colebrooke in 1822. Died at Colebrooke, 24th March 1834, aged 63 years.’ courtesy of Adam’s auction 10 Oct 2017.

3. West Wing, Crom Castle, County Fermanagh – accommodation

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

https://cromcastle.com

Holiday cottages at Crom:

https://www.nationaltrust.org.uk/crom/features/holiday-cottages-at-crom

Adler’s cottage, Bluebell Cottage and Aspen Cottage accommodation

4. Erne View Cottage, Enniskillen, County Fermanagh – accommodation

https://www.nationaltrust.org.uk/holidays/erne-view-northern-ireland

A converted farm building with a spacious living area and views of the Lough Erne.

Erne View is the largest in a row of holiday cottages on the shores of Lough Erne. The cottage boasts stunning views, an open fire and a wet room on the ground floor.

Enjoy a coffee whilst taking in the view over to the Island of Inishfendra before heading down to the nearby jetty for a stroll along the shoreline.  

Adventurers might want to take advantage of the Lough Erne Canoe Trail which offers guided trips and canoe hire. Further afield, the pretty town of Enniskillen, with its historic castle, is just 20 miles away.

5. Florence Court, County Fermanagh – Butler’s Apartment accommodation

https://www.nationaltrust.org.uk/holidays/butlers-apartment-northern-ireland

Butler’s Apartment served as living quarters for the male servants at Florence Court, the 18th-century mansion next door to the holiday home. This atmospheric first floor apartment overlooks the laundry courtyard and adjoining woodland garden. Inside, you’ll find many historical quirks such as the period fireplaces, large sash windows and wooden floorboards.

6. Manor House Hotel (formerly Killadeas Manor and before that, Rockfield), County Fermanagh

https://www.manorhousecountryhotel.com

Country Manor Hotel, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We often stay here on our way to Donegal!

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

p. 168. “(Irvine/LGI1912) A two storey Victorian Italianate house, in a splendid position on the shores of Lough Erne. Entrance front with pediment and porch in the form of a three arched loggia, flanked by a square tower with glazed belvedere and urns on its parapet. Now a hotel.” 

Grounds of Country Manor Hotel, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Grounds of Country Manor Hotel, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Country Manor Hotel, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A younger son of the Irvines of Castle Irvine [now dilapidated but you can visit the grounds], John Irvine, acquired the estate in 1660. It was known as Rockfield. The website tells us it remained as Rockfield until it was rebuilt in 1860 by Colonel John Gerard Irvine (1823-1902), who brought workmen from Italy to do the interior decoration which exists to this day.

The name of Rockfield was changed to Killadeas Manor House by Major John Irvine who succeeded to Killadeas in 1835 and died in 1860. It was his son, Colonel John Gerard Irvine, who rebuilt Killadeas, incorporated some parts of the old house into the new mansion.

The website adds that in a directory of Fermanagh, published in 1879, the author states that Rockfield was built in 1710, and greatly altered and added to in 1868 by Colonel Irvine under the direction of that able and artistic architect, Mr Armstrong of Belleek. There are some obvious similarities between the architecture of the Belleek Pottery and The Manor House not least the unusual narrow, arched windows.

During the 1939-45 war it was requisitioned by the Government and was for a time used by the American Forces. The house itself was used as an Officers’ Mess and Headquarters for the Seaplane base of Killadeas. It was a plane from this base which sighted the ‘Bismarck’ and consequently resulted in the destruction of this mighty battleship. The Manor House remained in the Irvine family until 1957 when it was acquired for a Hotel.

Country Manor Hotel front hall, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Country Manor Hotel front hall, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Country Manor Hotel front hall, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Country Manor Hotel front hall, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Country Manor Hotel, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Country Manor Hotel Drawing Room, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Country Manor Hotel Drawing Room fireplace, Fermanagh, 28 August 2013
Country Manor Hotel Drawing Room, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Country Manor Hotel, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Country Manor Hotel, Fermanagh, 28 August 2013. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The honeymoon suite in Country Manor Hotel, Kildeas, County Fermanagh, Aug 27th 2014. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Honeymoon Suite Country Manor Hotel, Fermanagh, 2014. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Country Manor Hotel honeymoon suite, Fermanagh. The bathroom walls can mist up to create privacy at the push of a button! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Whole House Rental, County Fermanagh:

1. Ashbrooke House, Brookeborough, Enniskillen Co Fermanagh BT94 4GX – whole house rental https://www.ashbrookehouse.com

Ashbrooke is the Dower House for the Colebrooke Estate it has been in the Brooke family for over 200 years. Formerly the home of Viscount and Viscountess Brookeborough the house has recently been fully restored and renovated to provide luxurious accommodation.

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

p. 89. “(Brooke, Brookeborough, V.PB) An austere Classical house of 1825 by William Farrell; built for Sir Henry Brooke [1770-1834], 1st Bt of 2nd creation. Two storey nine bay front, with a pedimented portico of four giant Ionic columns; three storey irregular side; eaved roof. Of cut-stone, with a sprinking of red sandstone ashlars which gives the elevation a pleasant reddish tinge. Large entrance hall; double staircase in back hall. Drawing room with original white and gold damask wallpaper. Sitting room with C19 arabesques. Large dining room, which Lord Craigavon, 1st Prime Minister of Northern Ireland, christened “Golgotha” on account of the numerous deer skulls covering the walls. The home of Sir Basil Brooke, 5th Bt and 1st Viscount Brookeborough, Prime Minister of Northern Ireland 1943-63; he and the late Lady Brookeborough made an attractive sunken garden at one end of the house. The house stood empty for some years after the death of 1st Viscount, 2nd Viscount living in Ashbrooke, a smaller house on the estate. But the present Lord and Lady Brookeborough have moved back into Colebrook.” 

2. Belle Isle Courtyard cottages and castle accommodation, Lisbellaw, Enniskillen, County Fermanagh Northern Ireland – see above

3. Colebrook Park, County Fermanagh – group accommodation

https://colebrooke.info/cole-accommodation/

The website tells us:

Colebrooke Park in County Fermanagh, Northern Ireland is first and foremost a family home, the seat of Viscount & Viscountess Brookeborough and one of region’s most important and historic stately homes. It is exclusive, discreet and offers a taste of a unique lifestyle which guests may experience whilst staying in an Irish Stately Home.  Set in a lush 1,000 acre working estate, Colebrooke Park is only 90 minutes from Belfast, 40 minutes from the West Coast of Ireland and a short distance from the tranquility of beautiful Lough Erne.

Lady Brookeborough has skilfully recreated the style and grandeur of the past with family portraits, original Victorian wallpaper, 18th Century porcelain and fine furniture used to decorate the grand rooms.  Modern additions such as en-suite bathrooms, central heating, a Business Conference Unit and Day Spa makes Colebrooke a discerning choice of venue for business away days and conferences.

Standing on the banks of the Colebrooke River, fishing, clay pigeon shooting, archery and other outdoor activities are available for guests’ enjoyment. For those who may wish to enjoy a less energetic stay there are long riverside and shrub garden walks and there are purpose built ‘hides’ for watching the abundant wildlife in this remarkable haven. These include deer, otters, mink, buzzards, kingfishers and many others.

The combination of historic grandeur, modern business facilities, outdoor pursuits and the renowned hospitality of the Brooke family means Colebrooke Park is a truly unique location for special events.

Colebrooke Park is a brilliant example of how comfortable an historic Irish Stately home can become in the 21st Century; the ultimate in luxury. Above all it is a place where guests can stay in complete privacy. The estate is ideal for weddings, house party breaks, family gatherings and as a corporate venue with a difference, all in the heart of Northern Ireland’s lush countryside.Having approached the house along the sweeping avenue, guests enter through the grand entrance beneath the portico into a large hall overlooked by the impressive main staircase.

Then guests can make their way to the Library or the Drawing Room and relax in great comfort in magnificent surroundings. In addition to these large reception rooms, there is a large billiard room. The Dining Room seats up to 30 guests at one large table and more in other formats – making it particularly well suited for corporate entertaining, private dinner parties and weddings.

Within the house, located towards the rear, is the fully equipped Conference Suite. Accommodating up to 70, the suite provides all necessary facilities for business users including overhead projector and screen.Colebrooke Park can accommodate up to 300 guests for receptions with a great deal of flexibility and with that all important personal touch that is so often missing in large hotels. There are 12 comfortable double bedrooms with private bathrooms, all of which have been individually and tastefully decorated by Lady Brookeborough.

The landscaped gardens, parkland and ancient woodland with 3 miles of the Colebrooke river meandering through it, form this stunning 1000 acre estate which is a haven of tranquility. There is also a dry grassed lawn at the side of the house suitable for a large marquee, demonstrations and exhibits or as a pleasant area to congregate on sunny days.

The website also tells us of the history, quoting an article in Country Life magazine:

A sprawling barracks* of a country house, in the heart of terrorist-torn Northern Ireland, encumbered with death duties and overdraft, is an unenviable inheritance. Particularly when, abandoned to patching, the fabric has begun to rot; the extensive stables and outbuildings are in ruins; the Victorian wallpaper is peeling from the walls of rooms empty from a house sale seven years earlier. Income from the beautiful – but agriculturally poor – 1,100 acre estate cannot conceivably support the maintenance, let alone restoration, of the house.
[* Someone else’s description – not ours!]This was the situation that confronted Lord Brookeborough and his wife in 1980. The Brookes are a fairly typical Anglo-Irish ‘plantation’ family. They arrived in the 1590’s and were granted a large portion of confiscated lands at Brookeborough as reward for services during the 1641 Rebellion (the name Colebrooke derives from the 17th century marriage of Maj Thomas Brooke to Catharine Cole). Thereafter they displayed a record of competent – often enlightened – land-holding, combined with remarkable honours for military and public service (the family includes both Field Marsh Viscount Alanbrooke and a Prime Minister of Northern Ireland).

The present house was built in 1820 by Henry Brooke (1770 – 1834), created baronet (2nd creation) in 1822, as the culmination of some three decades of frugal living aimed at restoring the fortunes of the estate after the excesses of his uncle. In common with Irish building tradition, the new house, a severe neo-Classical block, subsumed an earlier building of unknown appearance. In his ‘Specification of works’ of 1820, William Farrell – a Dublin architect who practised mainly in Ulster – wrote ‘All the old house except the present Drawing Room and Dining Parlour (the present south range) to be taken down.’ In its place, Farrell attached two ranges of red sandstone (quarried at Alterbrock on the estate and by 1835 covered with Roman cement) containing a palatial entrance hall, stone staircase, reception rooms and bedrooms. This switched the main front from south to east, leaving an untidy arrangement of windows on the south-east corner where the new two-storey building met, under the same roof, the three storeys of what remained of the old. The only ornament to this austere addition was an ashlar cornice and a free-standing giant Greek-Ionic pedimented portico, on a base of two steps, in front of the central three bays. The cost was £10,381.

Despite the sandstone in place of Portland stone, the shallow, eaved roof and lack of balustrade, the resemblance of the main front to neighbouring Castlecoole, Wyatt’s neo-Classical masterpiece is striking. This is no accident. A drawing in the Brookeborough papers held by the Public Record Office of Northern Ireland, reveals that Farrell discarded a more modest, and in many ways more appropriate design – the central three bays broken forward with an attached Ionic porch – for a direct quote of the Castlecoole portico. In a note to Henry Brooke of May 23, 1821, he approves an increase in the dimensions of the house, apparently with the sole purpose of eclipsing those of its illustrious neighbour, commenting that these changes would make the new ensemble ‘far superior to any in Castle Cool House’.

Other notes reveal ideas of increasing grandeur through the summer. First, the dining parlour was extended from the original measurements; then in September, the rooms to the left of the hall were altered ‘by taking down the partition wall and the floor over it to form a Room for a library of 36ft by 18ft …’ (In earlier plans and elevations the library is a modest, two-bay room between the drawing room and the dining parlour in the north range; this now became a breakfast room – currently the billiard room.) In 1823 additional offices were also agreed.

For the next 50 years, alterations and additions continued in a steady stream – the dower house, Ashbrooke (a plaque in the stableyard is dated 1830); lodges (a plan is dated 1833); a triumphal arch gate. These became most significant with the succession of Sir Victor (1843-91), 3rd Bt, in 1864. ‘Few houses in Britain showed more distinctly their owner’s proclivities,’ wrote Oscar Stephen in Sir Victor Brooke, Sportsman and Naturalist (1894). ‘From floor to ceiling, heads of every variety were to be seen; … bison, wild boar, moufflon, Neilgherry ibex, Pyrenean bouquetin … every known variety of red deer … markor, brahsing, ovis ammon, burrel … a grand series of roe’s heads … over the chimney piece in the hall the huge horns of an Irish elk and two enormous German red deer … two of the tigers he had killed in India … the famous black panther, and, most valued of all, the monster tusk of the great elephant, whose mighty bones … lay in mighty massiveness round the foot of the billiard table.’ It was a taste in interior decoration which prompted Lord Craigavon, first Prime Minister of Northern Ireland, to christen the dining room ‘Golgotha’.

Given that he occupied Colebrooke permanently for only seven years – thereafter paying visits only in the summer and autumn, after the delicate health of his wife prompted a move to Pau in the south of France – Sir Victor’s legacy was considerable. He introduced sika deer into the park and built the splendid ‘Conservatory with the curved projection’, mentioned in an account of October 1864 from the celebrated William Turner of Dublin. Presumably it was Sir Victor, also, who commissioned the unexecuted colour-washed designs (signed C.W.W.), for panelling the library and dining room, which have Classical and hunting themes and the Classical stained-glass window over the stone stairs.

By the 1876 return of Landowners in Ireland, the estate was almost 28,000 acres, the third largest in the county – only slightly smaller than Crom or Florence Court. However, there was a sharp change in fortunes when all but 1,300 acres were sold under the Ashbourne and subsequent Land Acts, leaving, as with so many Irish houses, a ‘demesne’ scarcely able to support a large country house. This development, combined with the agricultural depression of the 1880s which left most of the gentry even worse off than they had been in the years following the Famine, suggests that when the 4thBt, Sir Douglas Brooke, had the ‘house and demesne’ valued in 1893 (for £22.035 6s 3d) it was with a view to selling the whole property.

By 1910 Sir Basil Brooke (1888 – 1973), 5th Bt, (Prime Minister of Northern Ireland 1943 – 63), who from childhood had nursed a powerful affection for the house – as a pupil at Winchester he wrote of it as ‘always tugging at my heart’ – was writing of his desire ‘to get it on its legs’. By the time of his return after the war, high taxation had eaten into the depleted income of the neglected property. Farm profits were low and the long-term trend of food prices was down. However, by reclamation and innovation over the decades the estate became a model of efficient farming. Changes to the house included repainting, removing the cement render, demolishing the conservatory and creating a sunken formal garden on the south front.

In the early 1930’s a Minister of Agriculture official described the house as ‘comfortable but with many rooms unused’. By December 1939, Sir Basil’s letters reveal the felling of trees as ‘the only way to save Colebrooke’ and clear the overdraft. All might have been well, however, had some tax planning been made before Lord Brookeborough (as he was from 1952) died in 1973. As it was there was no alternative but to sell up, leaving the house in the condition in which the present Lord Brookeborough found it in 1980.

The question was whether a house in such a state could ever again be made to support itself, let alone remain a home. The London-based architect Paul Hyett was called in to help arrange a feasibility study and devise ways of raising capital. For a time, conversion to a golf club looked the only possibility, although it was realised that the character of the house and its setting would be unlikely to survive such a change.

Fortunately, by 1985 Lord Brookeborough’s business idea had begun to take off. The Colebrooke estate offers one of the best driven snipe-shooting anywhere, excellent stalking of sika, fallow and red deer over 10,000 acres and pheasant shooting and fishing, all of which had the potential to be developed along the one guiding principal; that all these activities must bring paying guests into the house. As the idea developed, hope returned, especially when the Northern Ireland Tourist Board agreed to provide up to 50% of the necessary capital.

Problems, however, were not long in surfacing. Government grants, geared to the provision of commercial accommodation, tended to insist on features hardly compatible with the preservation of the fragile character of a historic house; from en suite facilities to numbers on bedroom doors. Planning permission for such a change of use also triggered an avalanche of fire provisions. Although at times the differences between the parties seemed irreconcilable a spirit of compromise won through. Bedrooms were permitted with designated rather than en suite bathrooms with the ample recompense to visitors today of splendid airy proportions and traditional full-length, cast-iron baths with ball plugs. Fire signs were accepted. Numbers on doors were not.

Having addressed the major structural problems, and prepared four new bedrooms and bathrooms in the south wing, in addition to the principal bedrooms in the main front, Lord Brookeborough, guided by the conviction that just three ingredients are critical to happy apres-hunting: food, comfortable beds and never ending supplies of hot water, put this equation to work. For the rest, the main difficulty was refurbishing – on a shoestring – the vast, bare reception rooms. A friend who had bought one of the original gilt drawing room looking-glasses donated it. Marble busts of Sir Victor Brooke and his wife, by a local artist, Joseph Watkins, were retrieved from a Dublin antique shop.

Monaghan:

1. Castle Leslie, Glaslough, Co. Monaghan (hotel)

www.castleleslie.com
Tourist Accommodation Facility – since it is listed under Revenue Section 482 as Tourist Accommodation Facility, it does not have to open to the public. It may have events during Heritage Week – see the hotel website.

Open for accommodation: all year.

See mywrite-up: https://irishhistorichouses.com/2020/08/07/castle-leslie-glaslough-county-monaghan/

2. Hilton Park House, Clones, Co. Monaghan H23 C582 – section 482 accommodation

www.hiltonpark.ie
Tourist Accommodation Facility – April 1- Sept 30 2026

since it is listed under Revenue Section 482 as Tourist Accommodation Facility, it does not have to open to the public. However, check the website as it is open to visitors on some dates.

Hilton Park, Monaghan, photograph taken 2018 for Tourism Ireland. (see [3])

We visited during Heritage week in 2022 – https://irishhistorichouses.com/2023/06/29/hilton-park-house-clones-co-monaghan/

Hilton Park, County Monaghan. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

3. Mullan Village and Mill, Mullan, Emyvale, Co. Monaghan – section 482

www.mullanvillage.com

Open dates in 2026: Aug 1-31, Sept 1-30, 2pm-6.30pm

Fee: €6

Places to stay, County Monaghan

1. Castle Leslie, Glaslough, Co. Monaghan – section 482 tourist accommodation

https://irishhistorichouses.com/2020/08/07/castle-leslie-glaslough-county-monaghan/

www.castleleslie.com
(Tourist Accommodation Facility)
Open: all year

Castle Leslie, County Monaghan Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

2. Hilton Park House, Clones, Co. Monaghan – section 482 accommodation

www.hiltonpark.ie
(Tourist Accommodation Facility)

There is also a cottage: https://www.airbnb.ie/rooms/52624113?guests=1&adults=1&s=67&unique_share_id=7b807434-ea7d-4b61-a8a9-977ac73725fa&source_impression_id=p3_1648836274_6bBQXGdvQuronwMs

Tyrone:

1. Ashfield Park, County Tyrone – gardens open to visitors 

http://www.ni-environment.gov.uk/index.htm 

and

Telephone 

028 9056 9615 

2. Blessingbourne, Fivemiletown, County Tyrone – open for tours, self catering accommodation on the grounds 

https://www.blessingbourne.com

Blessingbourne, County Tyrone, photograph courtesy of Tourism Northern Ireland, 2019. (see [3])

The website tells us:

Blessingbourne Estate came into the Montgomery family by marriage to the Armar family in the early 18th century.  The builder of Blessingbourne was a man of taste; Hugh De Fellenberg known as “Colonel Eclipse”, Montgomery, grandfather of Captain Peter Montgomery.

Blessingbourne originally belonged to the Armars. The Estate came to the Montgomerys in the eighteenth century when Elizabeth Armar married Hugh Montgomery [b. 1692], of Derrygonnelly Castle in Fermanagh.

The first Montgomery to live at Blessingbourne was another Hugh. Hugh was born in 1779 and known for some reason as “Colonel Eclipse”. His portrait, which he gave to his old school, Eton, shows him to have been very handsome. However, he was unlucky in love.

He vowed he would never marry and built himself a bachelor retreat at Blessingbourne, a romantic thatched cottage. He also built the charming little Gate Lodge (transformed to the present day 5 star Gate Lodge)

But his bachelorhood ended after a few years, for he married a Spanish girl and had a son. His son’s godmother was Lady Byron, who remained a close friend and was greatly attached to his sister Mary, a key figure in the development of Blessingbourne.

It descended in the family to Peter Montgomery, Vice-Lord Lieutenant of Tyrone, who died childless, after which it passed to a cousin. The property was ultimately the inheritance of Captain Robert Lowry, a direct descendant of Colonel Eclipse, and now belongs to Colleen and Nicholas Lowry.

The Classic Tour encompasses everything well loved about the Estate. Current estate owners Nicholas and Colleen Lowry host all Tours personally. This tour includes a walk through the Victorian gardens, with their majestic setting overlooking the beautiful Lough Fadda. As well as, a private tour of main ground floor rooms of the impressive Manor House. The Manor House was built in 1871-74 and designed by Pepy’s Cockerall a close friend of William Morris. After that, enjoy a guided stroll around the extensive Coach , Carriage and Costume Collections from yesteryear.

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

p. 44. “(Montgomery/IFR) There was originally no house at Blessingbourne, an estate which came to the Montgomerys through marriage early in C18; the family seat being Derrygonnelly Castle in County Fermanagh, which was burnt later in C18 and not rebuilt. The family lived for some years at Castle Hume, which they rented; then, at the beginning of C19, a romantic thatched cottage was built by the side of the lough at Blessingbourne by Hugh Montgomery (known as Colonel Eclipse) as a bachelor retreat for himself after he had been crossed in love. His bachelorhood ended in 1821, when he married a Spanish girl; but during the next 50 years the family lived mainly abroad, so that his cottage was all they needed for their occasional visits to County Tyrone. The present Victorian Elizabethan house was built by his grandson, Hugh de Fellenberg Montgomery, between 1870 and 1874, to the design of F. Pepys Cockerell. Pepys Cockerell, son of the better-known C.R. Cockerell, as an artist as much as an architect; his patron and his patron’s wife were also people of tate; so that Blessingbourne is an unusually attractive and successful example of it style and period. The grey stone elevations are not overloaded with ornament; such as there is had restraint: caps on the chimneys, small finials on the gables, curved and scrolled pediments over some of the mullioned windows. The interior of the house is comfortable, with great character. The hall has a staircase incorporated in a screen of tapering wooden piers. Through glazed arches one looks across an inner hall to the lough and mountains. The principal rooms have chimneypieces of carved sone in a Tudor design, flanked by niches for logs: some of them being decorated with William de Morgan tiles. The dining room still keeps its original William Morris wallpaper of blue and green grapes and foliage; while there is another original Morris paper in the library. The late owner, Capt P. S. Montgomery, former President of th Northern Ireland Arts Council, stylishly redecorated much of the interior, which houses his collection of modern Irish art. Blessingbourne has passed to his nephew, Captain R.H.Lowry.” 

3. Hill of The O’Neill and Ranfurly House Arts & Visitor Centre, County Tyrone https://www.hilloftheoneill.com

Hill of The O’Neill and Ranfurly House Arts Visitor Centre, Tyrone, by Brian Morrison 2014, for Tourism Northern Ireland (see [3]).

The website tells us:

The O’Neills were perhaps the greatest of the Irish clans, whose origins date back as far as the 10th century and whose lineage includes two High Kings of Ireland.

Hugh O’Neill became leader of the clan in 1595 and as such was known as The O’Neill. A charismatic, even romantic figure, he had a long, tempestuous and complicated relationship with the English Crown, a relationship largely of convenience – for both parties. It was characterised by double-crossing by each side, building and abandoning strategic alliances. And ultimately, by all-out war.

In this story Hugh O’Neill, Earl of Tyrone and the last inaugurated chief of the O’Neills, plays the central role. Dungannon was at the eye of an international political storm from 1594 to 1603, during which time The O’Neill would lead mighty armies, would win and lose battles, and create problems for at least four monarchs.

And the repercussions were serious. Some might say that the consequences are still being felt today. When Hugh O’Neill was ultimately outmanoeuvred, his defeat paved the way for two connected seismic events that would forever transform his kingdom.

The O’Neill was a military genius who repeatedly got the better of the Crown’s generals in Ulster. However, after a bitter defeat at the Battle of Kinsale, he was driven to bid farewell to the Hill of the O’Neill and the lands he ruled over.

O’Neill’s departure for Spain, with the Earl of Tyrconnell and 90 followers, became known as the Flight of the Earls. It was a pivotal event in Irish history, effectively marking the end of the Gaelic way of life.

With The O’Neill and his followers effectively gone into exile, the way was clear for the organised colonisation of their lands by wealthy settlers, largely from Scotland and England under King James I. This was known as the Plantation, a plan conceived to subdue, control and ‘civilise’ the wayward Irish. Instrumental in managing the process and distributing the lands was the Lord Deputy of Ireland – Arthur Chichester, who had defeated Hugh O’Neill in the Nine Years War. (Chichester would go on to become a major figure in the founding of Belfast.)

The Plantation is the point that marks the shift in Ulster from an ancient Gaelic tradition to a new Anglo-Scottish ethos.  It is in effect, the beginning of another age in the history of Ireland, Ulster, Dungannon and, of course, of the Hill.

4. Killymoon Castle, County Tyrone

https://killymooncastle.com

Killymoon Castle, County Tyrone, photograph @ChristopherHeaney for Tourism Ireland 2022, Ireland’s Content Pool. (see [3])

The website tells us:

Killymoon castle sits in picturesque surroundings overlooking the Ballinderry River on the outskirts of Cookstown just 50 miles from Belfast by car. The castle is a grade A listed building designed by the famous John Nash who also designed the Regent Street area of London and its most famous landmark Buckingham Palace. The castle was originally built in 1600 for James Stewart, six generations of the Stewarts lived in the castle until 1852. It was described in the Irish Penny Journal of 1841 ‘as one of the most aristocratic residences in the province of Ulster’.”

The original castle, built in 1671 by James Stewart on the substantial demesne had been granted to him under the Plantation Settlement. Stewarts ancestors had come from Scotland during the plantation to settle in Cookstown, and in 1666 James bought the land lease for the castle site from Alan Cooke – the founder of Cookstown. The castle was destroyed by fire in 1801 and in 1802, Colonel William Stewart had a new, more imposing castle built, designed by John Nash, the famous London Architect.

James Stewart (1741-1821) of Killymoon, County Tyrone, by Pompeo Batoni, Ulster Museum, National Museum of Northern Ireland.

Killymoon was Nash’s first castle in Ireland, and reputedly cost £80,000 to build (about £7.4 million today).  It was described in the Irish Penny Journal of 1841 as “one of the most aristocratic residences in the province of Ulster, with state apartments consisting of “a breakfast-parlour, dining room, ante-room and drawing-room, all of which are of noble proportions and their woodwork of polished oak”.

The Killymoon estate remained the property of the Stewart family for six generations; however, their extravagant lifestyle caused the Stewart family to fall on hard times, especially during the years of the Irish famine.  The estate was sold in 1852 for £100,000.  In 1857, the castle had again been sold to the Cooper family; and, in 1865, Colonel Bolton, an English gentleman, purchased the castle.

A mere ten years later, Mervyn Stuart Thomas Moutray JP,  became the owner of Killymoon Castle until 1916, when Gerald Macura bought the castle and town of Cookstown for almost £100,000.  By 1918, Macura was also in financial difficulties and was compelled to sell off his assets. John Coulter bought the castle and grounds in 1922 and it remains the home of the Coulter family to this day.

Killymoon Castle, County Tyrone, photograph @ChristopherHeaney for Tourism Ireland 2022, Ireland’s Content Pool. (see [3])

Take a tour of Killymoon Castle and step back in time. Visit Lady Molesworth’s morning room, the oval dining room whose restrained plasterwork and marble fireplace show the dignity of their Georgian origin. Ascend the magnificent cantilever style staircase and admire the fragile plasterwork like sugar spires on an inverted wedding cake .

Colonel Stewart was only 27 when this castle was built and it must have been a truly wonderful fairy tale to bring his beautiful bride to  this romantic spot.

Fortunes and families rise and fall and this fabulous fairy dwelling which cost £80.000 to build in 1807, was gambled in a game of poker and sold for an unbelieveable sum in the 1920’s 

Group tours can be arranged  by clicking the button below and filling out a request form. Private tours also available.

Killymoon Castle, County Tyrone, photograph @ChristopherHeaney for Tourism Ireland 2022, Ireland’s Content Pool. (see [3])

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

p. 173. “(Stewart/LGI1912; Moutray/LGI1912) One of John Nash’s earliest castles, built ca 1803 for William Stewart, MP, incorporating part of the previous house which was burnt ca 1800. A building with a romantic silhouette in a glorious position above the Ballinderry river with a backdrop of sweeping woods and parkland. The principal front dominated by an almost central battlemented and machicolated round tower and turret; at one end, an octagonal battlemented and machicolated tower; at the other, the profile of the square tower in the adjoining front, the base of which is arched to form a porte-cochere. The latter tower has slender octagonal corner turrets, with cupolas. Pointed windows grouped together under segmental hood-mouldings, which were regarded by Nash and his contemporaries as Saxon. Good interior planning with square, circular and octagonal rooms fitted together. Hall with double staircase, lit by Gothic lantern on plaster fan-vaulted ceiling. Drawing room with plain gilt plasterwork cornice of wreath and honeysuckle design. Library in form of Gothic chapel, with stained glass windows. Sold after William Stewart’s death 1850. Subsequently the seat of the Moutray family.” 

Killymoon Castle, County Tyrone, photograph @ChristopherHeaney for Tourism Ireland 2022, Ireland’s Content Pool. (see [3])
Killymoon Castle, County Tyrone, photograph @ChristopherHeaney for Tourism Ireland 2022, Ireland’s Content Pool. (see [3])
Killymoon Castle, County Tyrone, photograph @ChristopherHeaney for Tourism Ireland 2022, Ireland’s Content Pool. (see [3])

5. Lissan House, Drumgrass Road, Cookstown, County Tyrone, BT80 9SW. https://www.lissanhouse.com/

The house is open from Easter to mid September on Saturdays and Sundays, and during July and August it is open Thursday to Sunday. Opening hours are from 12:00 – 17:00.
3 guided tours per day at 12:30, 14:00 and 15:30.

Lissan House is an enchanting country residence set within a 260 acre demesne of ancient woodland and forestry. 

The estate was created in the 17th century and remained the home of the Staples family for nearly 400 years. Lissan came to prominence in 2003 when its popularity helped it reach the final of the BBC Restoration programme. 

Following extensive redevelopment, the house opened its doors in spring 2012 to reveal modern interactive exhibits and original family furnishings which take you on a unique journey through the history of the estate and the family characters that have shaped it. Children will be kept entertained in the house with the teddy bear treasure hunt. The demesne also features a challenging adventure playground for children, a wooded picnic area, walled garden.

Lissan House and estate is now run and managed by a charitable board, who help secure the future of the property for the benefit of the community.

Robert Staples (1772-1832) 8th Baronet, courtesy of National Trust Springhill.

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

p. 188. “(Staples, Bt/PB) A plain three storey 9 bay Georgian house with later additions. At one end, a single-storey wing with a three-sided mullioned bow. At the other, a gable-ended office range. And in the middle of the entrance front, a single-storey protuberance of unusual depth, embodying a porch and a bow-fronted porte-cochere with windows. Some time post mid-C18, a garden was laid out here by the architect, Davis Duckart; with an “artificial sheet of water with cascades, and a picturesque bridge.” 

6. Prehen, County Tyrone

http://prehenhouse.com/?msclkid=cbb767dba6a711ec8a9ab161a56f043c

Places to stay County Tyrone

1. An Creagan, Omagh, County Tyrone – accommodation

www.ancreagan.com

2. Ashbrook House, Aucnacloy, County Tyrone – accommodation

www.ashbrook-house.co.uk

3. Baronscourt Estate, Newtownstewart, Omagh, County Tyrone – accommodation

https://barons-court.com

4. Blessingbourne, County Tyrone – accommodation

https://www.blessingbourne.com/self-catering-accommodation/ 

Nestled in the heart of the estate’s historic courtyard the collection of 5 award-winning self-catering apartments are ideal for family breaks, romantic breaks and groups. Guests can enjoy a relaxing country estate experience.

Guests can choose from 1 bedroom or 2 bedroom self-catering accommodation, all of which are pet friendly. Experience a home from home environment with the apartment’s warm and inviting décor. All apartments feature open plan Living, Dining and Kitchen areas. On-site laundry facilities are available.

5. Cobblers Cottage Omagh, County Tyrone (sleeps 5)

http://www.cobblerscottagecreggan.com

The lovingly renovated Cobblers Cottage has a cosy living/kitchen/dining area, 2 spacious bedrooms (sleeps 5) &  a bathroom.

Enjoy the simplicity of this recently renovated 200 year old traditional Irish cottage in peaceful surroundings of Tyrone at the foot of the Sperrin Mountains between Omagh and Cookstown, in the area of Creggan. 

6. Corick House Hotel, Clogher, County Tyrone

https://www.corickcountryhouse.com

7. Kilcootry Barn, Fintona, County Tyrone – accommodation

www.kilcootrybarn.com

Kilcootry Barn is a 150 year old stone barn which is set on a 6 acre retreat in a private, rural setting.

This beautifully furnished and fully equipped property offers luxurious self catering accommodation for the discerning visitor.

8. Killymoon Castle Lodge, 302 Killymoon Road, BT80 8ZA – accommodation

https://killymooncastle.com

Stay with us in our Castle Lodge, located in the grounds of Killymoon Castle on the banks of the Ballinderry River, offers the most tranquil of breaks. Only a short distance from Cookstown town centre and a one hour drive to the north coast, Donegal or Belfast. With Killymoon golf club and the Ballinderry River on your doorstep what better way to relax.

9. The Lower House Rooms, Donaghmore, Dungannon, Co. Tyrone, BT70 3EZ – accommodation

https://thelowerhouserooms.com/rooms/

Located in Donaghmore in the heart of Mid-Ulster, the conversion of The Lower House into 7 rooms of accomodation has been our pride and joy. Renovated with the finest fixtures, fittings and decoration, a stay at The Lower House rooms is an experience full of character and luxury.

10. Spice Cottages, Dungannon, County Tyrone – accommodation

https://www.spicecottages.com/cottages/ginger-cottage-dungannon

4 Stunning self catering family cottages situated in the Dungannon countryside, Co. Tyrone, Northern Ireland

[1] 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.

[2] http://lordbelmontinnorthernireland.blogspot.com

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

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

Tullynally Castle and Gardens, Castlepollard, County Westmeath N91 HV58 – section 482

www.tullynallycastle.com

Open dates in 2026:

Castle – April 30, May 1-2, 7-9, 14-16, 21-23, 28-30, June 4-6, 11-13, 18-20, 25-27, July 2-4, 9-11, 16-18, 23-25, 30-31, Aug 1, 13-23, 27-29, Sept 3-5, 10-12, 17-19, 11am-3pm

Garden – Mar 19-22, 26-29, Apr 2-6, 9-12, 16-19, 23-26, 30, May 1-4, 7-10, 14-17, 21-24, 28-31, June 1, 4-7, 1-14, 18-21, 25-28, July 2-5, 9-12, 16-19, 23-26, 30-31, Aug 1-3, 6-9, 13-23, 27-30, Sept 3-6, 10-13, 17-20, 24-27,9am-5pm

Fee: castle fee – adult €17, child entry allowed for over 8 years €9, garden fee – adult €9, child €4, family ticket (2 adults + 2 children) €24, adult season ticket €60, family season ticket €73.50, special needs visitor with support carer €4, child 5 years or under is free

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

2026 Diary of Irish Historic Houses (section 482 properties)

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

€20.00

donation

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

€15.00

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We visited Tullynally Castle and Gardens when we were staying near Castlepollard with friends for the August bank holiday weekend in 2020. Unfortunately the house tour is only given during Heritage Week, but we were able to go on the Below Stairs tour, which is really excellent and well worth the price.

In 2021 I prioritised seeing Tullynally during Heritage Week, and we went on the upstairs tour!

According to Irish Historic Houses, by Kevin O’Connor, Tullynally Castle stretches for nearly a quarter of a mile: “a forest of towers and turrets pierced by a multitude of windows,” and is the largest castle still lived in by a family in Ireland [1]. It has nearly an acre of roof! It has been the seat of the Pakenham family since 1655. I love that it has stayed within the same family, and that they still live there. I was sad to hear of Valerie Pakenham’s death recently – she wrote wonderful books of history and on Irish historic houses.

The Pakenham family tree. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The current incarnation of the Castle is in the romantic Gothic Revival style, and it stands in a large wooded demesne near Lake Derravaragh in County Westmeath.

We stayed for the weekend even closer to Lake Derravaragh, and I swam in it!

In Lake Derravaragh. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The lands of Tullynally, along with land in County Wexford, were granted to Henry Pakenham in 1655 in lieu of pay for his position as Captain of a troop of horse for Oliver Cromwell. [2] [3] His grandfather, Edward (or Edmund) Pakenham, had accompanied Sir Henry Sidney from England to Ireland when Sir Sidney, a cousin of Edward Pakenham, was appointed Lord Deputy of Ireland. [4]

A house existed on the site at the time and parts still exist in the current castle. It was originally a semi-fortified Plantation house. When Henry Pakenham moved to Tullynally the house became known as Pakenham Hall. It is only relatively recently that it reverted to its former name, Tullynally, which means “hill of the swans.”

Tullynally, August 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Henry was an MP for Navan in 1667. He settled at Tullynally. He married Mary Lill, the daughter of a Justice of the Peace in County Meath and left the property to his oldest son by this marriage, Thomas (1649-1706) who became a member of Parliament and an eminent lawyer. Henry remarried after his first wife died, this time to Anne Pigot and he had at least two more children with her.

Thomas, who held the office of Prime Sergeant-at-law in 1695, married first Mary Nelmes, daughter of an alderman in London. Thomas married a second time in 1696 after his first wife died, Mary Bellingham, daughter of Daniel, 1st Baronet Bellingham, of Dubber, Co. Dublin. His oldest son, by his first wife, Edward (1683-1721), became an MP for County Westmeath between 1714 and 1721. A younger son, Thomas (d. 1722) lived at Craddenstown, County Westmeath.

Edward (1683-1721) married Margaret Bradeston and was succeeded by his son, Thomas Pakenham (1713-1766) [see 3]. After her husband died in 1721, Margaret married Reverend Ossory Medlicott. Edward’s younger son George Edward (1717-1768) became a merchant in Hamburg.

Thomas (1713-1766) married Elizabeth Cuffe (1719-1794), the daughter of Michael Cuffe (1694-1744) of Ballinrobe, County Mayo. Her father was heir to Ambrose Aungier (d. 1704), 2nd and last Earl of Longford (1st creation). Michael Cuffe sat as a Member of Parliament for County Mayo and the Borough of Longford. In 1756 the Longford title held by his wife’s ancestors was revived when Thomas was raised to the peerage as Baron Longford. After his death, his wife Elizabeth was created Countess of Longford in her own right, or “suo jure,” in 1785.

Thomas Pakenham, 1st Baron of Longford (1713-1766), who married Elizabeth Cuffe. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Elizabeth Cuffe (1719-1794) who married Thomas Pakenham, 1st Baron Longford. She became Countess of Longford in her own right, through her father, who was heir to Ambrose Aungier, 2nd and last Earl of Longford (1st creation). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Thomas, Lord Longford (1713-1766) Date c.1756 Credit Line: Presented by Mrs R. Montagu, 1956, photograph courtesy of National Gallery of Ireland.

Michael Cuffe had another daughter, Catherine Anne Cuffe, by the way, who married a Bagot, Captain John Lloyd Bagot (d. 1798). I haven’t found whether my Baggots are related to these Bagots but it would be nice to have such ancestry! Even nicer because his mother, Mary Herbert, came from Durrow Abbey near Tullamore, a very interesting looking house currently standing empty and unloved.

Thomas’s son, Edward Michael Pakenham, 2nd Baron Longford (1743-92) had Pakenham Hall enlarged in 1780 to designs by Graham Myers who in 1789 was appointed architect to Trinity College, Dublin. Myers created a Georgian house. The Buildings of Ireland website tells us that the original five bay house had a third floor added at this time. [5] 

The entrance porch, a wide archway in ashlar stonework with miniature bartizans rising from the corners, was added later, and rebuilt by Richard Morrison. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The south end of the castle, the oldest part. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The south end of the house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The oldest parts still surviving from the improvements carried out around 1780 are some doorcases in the upper rooms and a small study in the northwest corner of the house. We did not see these rooms, but Christine Casey and Alistair Rowan tell us that the study has a dentil cornice and a marble chimneypiece with a keystone of around 1740. [see 2] The oldest part of the castle is at the south end, and still holds the principal rooms.

Edward Michael Pakenham, 2nd Baron Longford, married Catherine Rowley, daughter of Hercules Langford Rowley of Summerhill, County Kilkenny, in 1768. He was in the Royal Navy but retired from the military in 1766, when he succeeded as 2nd Baron Longford. He was appointed Privy Counsellor in Ireland in 1777.

Edward Michael Pakenham, 2nd Baron Longford (1743-1792). His daughter married the Duke of Wellington, Arthur Wellesley. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Admiral Thomas Pakenham (1757-1836), a younger brother of Edward Michael Pakenham, the 2nd Baron Longford, built another house on the Tullynally estate, Coolure House, around 1775, when he married Louisa Anne Staples, daughter of John Staples (1736-1820), MP for County Tyrone and owner of Lissan House in County Tyrone – which can now be visited, https://www.lissanhouse.com/ . Their son Edward Michael Pakenham (1786-1848) inherited Castletown in County Kildare and he legally changed his name to Edward Michael Conolly. Louisa Anne Staples’s mother was Harriet Conolly, daughter of William Conolly (1712-1754) of Castletown, County Kildare.

Coolure House, on the Tullynally estate, built for Admiral Thomas Pakenham around 1775. Photograph from the National Inventory of Architectural Heritage.

Edward Michael Pakenham 2nd Baron Longford and his wife Catherine née Rowley had many children. Their daughter Catherine (1773-1831) married Arthur Wellesley, Duke of Wellington, but it was an unhappy marriage. The daughter of the current occupant of Tullynally Thomas Pakenham and his wife Valerie, Eliza Pakenham, published Tom, Ned and Kitty: An Intimate History of an Irish Family, about the Duke of Wellington and the family’s relation to him. Kitty fell for the local naval man, Arthur Wellesley, but the family refused to let her marry him. He promised her that he would return and marry her. He went off to sea, and she was brokenhearted. He returned as the Duke of Wellington and did indeed marry her. He, however, was not a very nice man, and is reported to have said loudly as she walked up the aisle of the church to marry him, “Goodness, the years have not been kind.”

When Edward died in 1792 his son Thomas (1774-1835) inherited, and became the 3rd Baron Longford. When his grandmother Elizabeth née Cuffe, who had been made the Countess of Longford in her own right, died in 1794, Thomas became 2nd Earl of Longford.

Tullynally was gothicized by Francis Johnston to become a castle.

Thomas the 2nd Earl of Longford (1774-1835). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We came across Francis Johnson (1760-1829) the architect when I learned that he had been a pupil of Thomas Cooley, the architect for Richard Robinson, Archbishop of Armagh (who had Rokeby Hall in County Louth built as his home). Johnston took over Cooley’s projects when Cooley died and went on to become an illustrious architect, who designed the beautiful Townley Hall in County Louth which we visited recently. He also enlarged and gothicized Markree Castle for the Coopers, and Slane Castle for the Conynghams. His best known building is the General Post Office on O’Connell Street in Dublin. We recently saw his house in Dublin on Eccles Street, on a tour with Aaran Henderson of Dublin Decoded.

Thomas the 2nd Earl sat in the British House of Lords as one of the 28 original Irish Representative Peers. Casey and Rowan call Francis Johnston’s work on the house “little more than a Gothic face-lift for the earlier house.” He produced designs for the house from 1794 until 1806. On the south front he added two round towers projecting from the corners of the main block, and battlemented parapets. He added the central porch. To the north, he built a rectangular stable court, behind low battlemented walls. He added thin mouldings over the windows, and added the arched windows on either side of the entrance porch.

Francis Johnston added the porch, which was later altered by Richard Morrison. Johnston also added the arched windows on either side of the entrance porch, as well as the round corner towers. He also added the mouldings above the windows. To the north, Johnston built the rectangular stable court behind low battlemented walls. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The oldest part of the castle, which was made into a Georgian house by Graham Myers in 1780. The towers were added later by Francis Johnston, 1801-1806. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Terence Reeves-Smyth details the enlargement of Tullynally in his Big Irish Houses:

“Johnson designed battlements and label mouldings over the windows, but as work progressed it was felt this treatment was too tame, so between 1805 and 1806 more dramatic features were added, notably round corner turrets and a portcullis entrance, transforming the house with characteristic Irish nomenclature from Pakenham Hall House to Pakenham Hall Castle.”

During the early nineteenth century, a craze for building sham castles spread across Ireland with remarkable speed, undoubtedly provoked by a sense of unease in the aftermath of the 1798 rebellion. Security was certainly a factor in Johnson’s 1801 to 1806 remodelling of Tullynally, otherwise known as Pakenham Hall, where practical defensive features such as a portcullis entrance were included in addition to romantic looking battlements and turrets. Later enlargements during the 1820s and 1830s were also fashioned in the castle style and made Tullynally into one of the largest castellated houses in Ireland – so vast, indeed, that it has been compared to a small fortified town.”

Thomas married Georgiana Emma Charlotte Lygon, daughter of William Lygon, 1st Earl Beauchamp (UK) in 1817. He was created 1st Baron Silchester, County Southampton [U.K.] on 17 July 1821, which gave him and his descendants an automatic seat in the House of Lords.

Georgiana Lygon (1774-1880). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

According to Rowan and Casey it may have been his wife Georgiana Lygon’s “advanced tastes” that led to the decision to make further enlargements in 1820. They chose James Sheil, a former clerk of Francis Johnston, who also did similar work at Killua Castle in County Westmeath, Knockdrin Castle (near Mullingar) and Killeen Castle (near Dunshaughlin, Co. Meath).

At Tullynally Sheil added a broad canted bay window (a bay with a straight front and angled sides) towards the north end of the east front, with bartizan turrets (round or square turrets that are corbelled out from a wall or tower), and wide mullioned windows under label mouldings (or hoodmouldings) in the new bay.

The three storey canted bay window on the garden front was added by James Sheil in 1820, as well as a new round tower to the north. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The gate lodge was designed by James Sheil. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sheil also decorated the interior. We shall now go inside to take a look.

We entered through the big red door in the entrance porch.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Tullynally motto, our tour guide told us, is “Glory in the shadow of virtue.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

One enters into a large double height hall. It is, Terence Reeves-Smyth tells us, 40 feet square and 30 feet high. I found it impossible to capture in a photograph. It has a Gothic fan vaulted ceiling, and is wood panelled all around, with a fireplace on one side and an organ in place of a fireplace on the other side.

Tullynally Castle and Gardens, Castlepollard, Co Westmeath, photograph by Thomas Pakenham for Failte Ireland, 2015.
The Great Hall. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The hall, Casey and Rowan tell us, has a ceiling of “prismatic fan-vaults, angular and overscaled, with the same dowel-like mouldings marking the intersection of the different planes…The hall is indeed in a very curious taste, theatrical like an Italian Gothick stage set, and rendered especially strange by the smooth wooden wainscot which completely encloses the space and originally masked all the doors which opened off it.” [6] As this smooth wainscot and Gothic panelled doors are used throughout the other main rooms of the house and are unusual for Sheil, this is probably a later treatment.

The door leads to the dining room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
“Glory in the shadow of virtue,” the family motto. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Terence Reeves-Smyth describes the front hall:

“Visitors entering the castle will first arrive in the great hall – an enormous room forty-feet square and thirty feet high with no gallery to take away from its impressive sense of space. A central-heating system was designed for this room by Richard Lovell Edgeworth, who earlier in 1794 had fitted up the first semaphore telegraph system in Ireland between Edgeworthstown and Pakenham Hall, a distance of twelve miles. In a letter written in December 1807, his daughter Maria Edgeworth, a frequent visitor to Pakenham Hall, wrote that “the immense hall is so well warmed by hot air that the children play in it from morning to night. Lord L. seemed to take great pleasure in repeating twenty times that he was to thank Mr. Edgeworth for this.” Edgeworth’s heating system was, in fact, so effective that when Sheil remodelled the hall in 1820 he replaced one of the two fireplaces with a built-in organ that visitors can still see. James Sheil was also responsible for the Gothic vaulting of the ceiling, the Gothic niches containing the family crests, the high wood panelling around the base of the walls and the massive cast-iron Gothic fireplace. Other features of the room include a number of attractive early nineteenth century drawings of the castle, a collection of old weapons, family portraits and an Irish elk’s head dug up out of a bog once a familiar feature of Irish country house halls.” [see 1]

Richard Lovell Edgeworth (1744-1817), by Horace Hone 1785, NPG 5069.
Over the fireplace is a large eagle in a niche. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The organ. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There is a long vaulted corridor that runs through the house at first-floor level which Rowan and Casey write is probably attributable to Sheil.

The ground floor of the main house contains Lord Longford’s study, the dining room, library, drawing room, Great Hall, Lady Longford’s sitting room, Plate room and Servant’s Library.

From the Great Hall we entered the dining room, which used to be the staircase room.

The dining room, drawing room and library were all decorated in Sheil’s favoured simple geometrical shaped plasterwork of squares and octagons on the ceiling. [6]

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We can see that the windows in the dining room are in the canted bow which was added by James Shiel. The room is hung with portraits of family members. The ceiling drops at the walls into Gothic decoration of prismatic fan-vaults with dowels similar to those in the Hall, though less detailed.

Tullynally Castle, Castlepollard, Co Westmeath, photograph by Thomas Pakenham for Failte Ireland, 2015.

Georgina née Lygon, wife of the 2nd Earl, was well-read and wealthy. She and her husband were friendly with the Edgeworths of nearby Edgeworthstown. She was responsible for developing the gardens, planting the trees which are now mature, and creating a formal garden. Her husband died in 1835 but she lived another forty-five years, until 1880. She and her husband had at least eight children. Their son Edward Michael Pakenham (1817-1860) succeeded to become 3rd Earl of Longford in 1835 while still a minor.

We then went to the library. The library was started by Elizabeth Cuffe, wife of the the 1st Baron Longford, and continued by Georgiana, wife if the 2nd Earl. Again, it’s hard to capture in a photograph, while also being on a tour.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The portrait over the fireplace in the library is Major General Edward Michael Pakenham (1778-1815), brother of the 2nd Earl of Longford. Major General Pakenham (whose sword in the red sheath is in the front Hall) was killed in the Battle of New Orleans in 1815, between Britain and the United States of America, in the “War of 1812.”

The Portrait over the fireplace in the library is Major General Edward Michael Pakenham (1778-1815), brother of the 2nd Earl of Longford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Major General Edward Michael Pakenham (1778-1815), brother of the 2nd Earl of Longford. He commanded the British forces in the attack on New Orleans where he fell in action. This portrait was in Strokestown Park house in County Roscommon. Robert O’Byrne tells us that for purposes of preservation his body was returned to Ireland in a cask of rum, and since he had been known to have a surly temper, one of his relatives remarked, ‘The General has returned home in better spirits than he left!’ [ see https://theirishaesthete.com/2013/05/06/a-bibliophiles-bliss/ ] Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Another brother of the 2nd Earl of Longford was Lieutenant General Hercules Pakenham (1781-1850). He married Emily Stapleton, daughter of Thomas Stapleton, 13th Lord le Despenser, 6th Baronet Stapleton, of the Leeward Islands in the Caribbean. Hercules inherited Langford Lodge in County Antrim, from his mother Catherine Rowley (it no longer exists). Hercules served as MP for Westmeath.

Lieutenant General Hercules Pakenham (1781-1850), portrait in Strokestown Park House, County Roscommon. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The library in Tullynally. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The wonderful bookshelves of Tullynally. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The upper shelves contain busts. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A selection of books by the prolific Pakenham family are on the table in the library.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We next visited the drawing room.

The drawing room, with geometrical shape plain roll moulding on the ceiling, of the type favoured by James Shiel. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The window of the Drawing room looks out the front, and is one of the arched windows added by Francis Johnston on either side of the entrance portico. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Doorway into one of Francis Johnston’s round towers. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A photograph of the room in a previous era.
Unfortunately we did not go upstairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

When he reached his majority, the third Earl, Edward Michael, who was called “Fluffy,” along with his mother, made further enlargements from 1839-45 with two enormous wings and a central tower by another fashionable Irish architect, Sir Richard Morrison. The wings linked the house to the stable court which had been built by Francis Johnston. The addition included the large telescoping octagonal tower.

“Fluffy” Edward Michael Pakenham, 3rd Earl of Longford (1817-1860).
A description of the castle, at Tullynally.

Terence Reeves-Smyth writes:

“More substantial additions followed between 1839 and 1846 when Richard Morrison, that other stalwart of the Irish architectural scene, was employed by the Dowager Countess to bring the house up to improved Victorian standards of convenience. Under Morrison’s direction the main house and Johnson’s stable court were linked by two parallel wings both of which were elaborately castellated and faced externally with grey limestone. Following the fashion recently made popular by the great Scottish architect William Burn, one of the new wings contained a private apartment for the family, while the other on the east side of the courtyard contained larger and more exactly differentiated servants’ quarters with elaborate laundries and a splendid kitchen.”

Casey and Rowan describe Morrison’s work: “On the entrance front the new work appears as a Tudoresque family wing, six bays by two storeys, marked off by tall octagonal turrets, with a lower section ending in an octagonal stair tower which joins the stable court. This was refaced and gained a battlemented gateway in the manner of the towers that Morrison had previously built as gatehouses at Borris House, County Carlow [see my entry on Borris House] and Glenarm Castle, County Antrim. The entrance porch, a wide archway in ashlar stonework, with miniature bartizans rising from the corners, was also rebuilt at this time. Though Morrison provided a link between the old house and the family wing by building a tall octagonal tower, very much in the manner of Johnston’s work at Charleville Forest, County Offaly [see my entry Places to visit and stay in County Offaly], the succession of facades from south to north hardly adds up to a coherent whole. The kitchen wing, which forms an extension of the east front, is much more convincingly massed, with a variety of stepped and pointed gables breaking the skyline and a large triple-light, round-headed window to light the kitchen in the middle of the facade.

Picture from the National Inventory of Architectural Heritage, showing the older end, and the Tudoresque family wing, six bays by two storeys, marked off by tall octagonal turrets
Picture from the National Inventory of Architectural Heritage, showing the Tudoresque family wing and further, the battlemented stable courtyard with the red entrance door to the courtyard.
Looking from the front door down toward the stable end of the castle, one can see one of the wings designed by Richard Morrison. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Morrison addition. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The addition included the large telescoping octagonal tower that contains stairs and links the old house to the new wing. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One of the wings, created by Richard Morrison, between the stable yard by Francis Johnston and the main house. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

On the tour, our guide told us of the various additions. She told us that “Fluffy” lived with his mother and chose to follow the fashion of living in an apartment in a wing of the house.

Morrison’s wings are part of the courtyards to the left of the plan for the main house in this drawing, see close-up below.
Plan of Morrison’s addition.
The garden side of the house. In this photograph you can see the Morrison addition of the kitchen: the part beyond the round tower, with the stepped gable, and the tripartite arched windows. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Picture from the National Inventory of Architectural Heritage: “The kitchen wing … [has] a variety of stepped and pointed gables breaking the skyline and a large triple-light, round-headed window to light the kitchen in the middle of the facade.”
Picture from the National Inventory of Architectural Heritage, with the “banana shaped” conservatory, and the kitchen wing beyond.
Inside the kitchen, the Morrison windows. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

We explored these wings further on the tour of the “downstairs” servants area.

The courtyard created by the Morrison wings is very higgeldy piggeldy.

Inner courtyard, Picture from National Inventory of Architectural Heritage.
The telescoped Octagon tower. The Laundry is on the right side of the courtyard when facing the octagon tower. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The family apartment was in this section, built by Richard Morrison. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside the courtyard created by the Morrison additions. The kitchen is on the left hand side of the courtyard when facing the octagon tower. The servants’ hall was in the basement below. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside Morrison’s courtyard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. The laundry side of the courtyard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

On the “downstairs tour” we toured the wings of the castle that had been added by Fluffy and his mother. A wing was built for the staff, and it was state of the art in the 1840s when Richard Morrison built these additions. Fluffy never married, and unfortunately died in “mysterious circumstances” in a hotel in London.

When Fluffy died his brother William (1819-1887), an army general in the Crimean War and long-serving military man, became the 4th Earl of Longford.

This could be William Lygon Pakenham (1819-1887), the 4th Earl, I think. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Terence Reeves-Smyth continues:“After the third Earl’s death in 1860 his brother succeeded to the title and property and proceeded to modernise the castle with all the latest equipment for supplying water, heat and lighting. Except for a water tower erected in the stable court by the Dublin architect J. Rawson Carroll in the 1860s, these modifications did not involve altering the fabric of the building, which has remained remarkably unchanged to the present day.

The further additions in 1860 are by James Rawson Carroll (d.1911), architect of Classiebawn, Co Sligo, built for Lord Palmerston and eventually Lord Mountbatten’s Irish holiday home in the 1860s.

The 4th Earl married Selina Rice-Trevor from Wales in 1862. Her family, our guide told us, “owned most of Wales.” His letters and a copy of his diary from when he arrived home from the Crimean War are all kept in Tullynally.

Tullynally, County Westmeath.
Tullynally, County Westmeath.

We can even read his proposal to Selina:

Tullynally, County Westmeath.
Tullynally, County Westmeath.

William the 4th Earl installed a new plumbing system. He also developed a gas system, generating gas to light the main hall. The gas was limited, so the rest of the light was provided by candles, and coal and peat fires. His neighbour Richard Lovell Edgeworth provided the heating system.

The next generation was the 5th Earl, son of the 4th Earl, Thomas Pakenham (1864-1915). He was also a military man. He married Mary Julia Child-Villiers, daughter of Victor Albert George Child-Villiers, 7th Earl of Island of Jersey and they had six children.

The family are lucky to have wonderful archives and diaries. Mary Julia Child-Villiers was left a widow with six children when her husband died during World War I in Gallipoli. The downstairs tour shows extracts from the Memoir of Mary Clive, daughter of the 5th Earl of Longford.

Tullynally, County Westmeath.
Tullynally, County Westmeath.

Since 1915 the family have been writers (before that, they were mostly military). Edward the 6th Earl (1902-1961) was a prolific playwright who restored the Gate Theatre in Dublin and taught himself Irish, and with his wife Christine, created the Longford Players theatrical company which toured Ireland in the 30s and 40s. He served as a Senator for the Irish state between 1946 and 1948.

Edward, the 6th Earl of Longford (1902-1961). His portrait hangs in the Great Hall.
Newspaper article before their wedding.
Sculpture and photograph of Christine Trew (1900-1980), wife of Edward, the 6th Earl of Longford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

His sister Violet Georgiana, who married Anthony Dymoke Powell, wrote many books, and her husband was a published writer as well. Another sister, Mary Katherine, who married Major Meysey George Dallas Clive, also wrote and published. Their sister Margaret Pansy Felicia married a painter, Henry Taylor Lamb, and she wrote a biography of King Charles I.

A brother of Edward, Frank (1905-2001), who became the 7th Earl after Edward died in 1961, and his wife Elizabeth née Harman, wrote biographies, as did their children, Antonia Fraser, Rachel Billington and Thomas Pakenham the 8th Earl of Longford. Antonia Fraser, who wrote amongst other things a terrific biography of Marie Antoinette and another wonderful one of King Charles II of England, is one of my favourite writers. She is a sister of the current Earl of Longford, Thomas, who lives in the house. They did not grow up in Tullynally, but in England. Thomas’s wife Valerie has published amongst other books, The Big House in Ireland.

There was a handy chart of the recent family on the wall in the courtyard café:

Tullynally, County Westmeath.

Stephen noted with satisfaction that Thomas Pakenham does not use his title, the 8th Earl of Longford. That makes sense of course since such titles are not recognised in the Republic of Ireland! In fact Stephen’s almost sure that it is against the Irish Constitution to use such titles. This fact corresponds well with the castle’s change in name – it was renamed Tullynally in 1963 to sound more Irish.

When we visited in 2020 we purchased our tickets in the café and had time for some coffee and cake and then a small wander around the courtyard and front of the Castle. One enters the stable courtyard, designed by Francis Johnston, to find the café and ticket office.

The arched gateway is the entrance to the stable courtyard. According to the National Inventory of Architectural Heritage, the entrance is in a: “Single-bay two-storey castellated gate house (on rectangular plan with integral Tudor-pointed carriage arch and a projecting polygonal tower rising a further storey above crenellated parapet over) to north end of complex [gives access to outer courtyard].” This is the courtyard designed by Francis Johnston. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Gate lodge entrance to Francis Johnston’s stable courtyard, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside the stable courtyard, looking back at the arched gateway through which we came. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Stephen inside the castellated gate house arch. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Inside the gateway entrance by Francis Johnston there is a vaulted ceiling. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Chimneys and turrets. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This is the rectanguar stable block with turreted walls by Francis Johnston. The historic water pump is in the foreground, and cafe in the back. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Another view of the gate lodge entrance archway to the stable courtyard. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I didn’t get to find out what is in every tower and behind every window, and I suspect it’s a place to get to know by degrees!

We entered through this archway to begin the “downstairs” tour with our tour guide. We entered into another, smaller courtyard – that designed by Richard Morrison. Look at all those chimneys! According to the National Inventory: “Inner courtyard accessed through two-storey block (on rectangular plan) having integral segmental-headed carriage with open belfry/clock tower (on hexagonal plan) over having sprocketed natural slate roof and cast-iron weather vane finial.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath: entrance into the courtyard formed by Morrison’s additions. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Behind those blue doors was a shed containing a carriage. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Pakenham Coach. It was built by Hoopers of London and brought to Ireland in the 1840s by Dean Henry Pakenham, the brother of Thomas, the 2nd Earl of Longford. The coat of arms on the door [see the photograph below] incorporates three Irish crests: the Pakenham eagle, the Sandford boar’s head (Dean Henry’s wife was Eliza Catherine Sandford), and the Mahon tiger (Dean Henry’s son Henry married Grace Catherine Mahon). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Elizabeth Sandford, mother of Henry Sandford Pakenham, wife of Reverend Henry Pakenham, Dean of St. Patrick’s Cathedral in Dublin. Henry Sandford Pakenham married the heiress Grace Catherine Mahon and changed his surname to Pakenham Mahon. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The coach was passed down to Olive Pakenham-Mahon of Strokestown, Roscommon (another section 482 property, see my entry), who was Dean Henry’s great granddaughter. Olive sold it to her cousin Thomas Pakenham, the present owner of Tullynally. It was restored by Eugene Larkin of Lisburn, and in July 1991 took its first drive in Tullynally for over a hundred years. Family legend has it that the coach would sometimes disappear from the coachhouse for a ghostly drive without horses or coachman! It was most recently used in 1993 for the wedding of Eliza Pakenham, Thomas’s daughter, to Alexander Chisholm.

Tullynally, County Westmeath.

The tour brought us through the arch from the first courtyard containing the café, into a smaller, Morrison courtyard.

Richard Morrison spent more time working on the laundry room than on any other part of the house.

The “state of the art” laundry room. These undergarments would have been for little boys as well as girls, and the boys would wear dresses over the pantaloons. Boys were dressed as girls up to the age of about six years old, so that the fairies would not steal them away, as supposedly fairies favoured boys. The boys would have long hair to that age also. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

It was at this time that the “dry moat” was built – it was not for fortification purposes but to keep the basements dry.

The dry moat, built to prevent damp and to keep the basement dry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The dry moat. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Our guide described the life of a laundress. After the installation of the new laundry, water was collected in a large watertank, and water was piped into the sinks into the laundry.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A laundry girl would earn, in the 1840s (which is during famine time), €12/year for a six day week, and start at about fourteen years of age. A governess would teach those who wanted to learn, to read and write, so that the girls could progress up in the hierarchy of household staff. There was even a servants’ library. This was separate of course from the Pakenham’s library, which is one of the oldest in Ireland. There was status in the village to be working for Lord Longford, as he was considered to be a good employer. His employees were fed, clothed in a uniform, housed, and if they remained long enough, even their funeral was funded. There was a full time carpenter employed on the estate and he made the coffins.

The brick fireplace in the laundry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The laundry girls lived in a world apart from household staff. They ate in the laundry. Their first job in the morning would be to light the fire – you can see the brick fireplace in the first laundry picture above. A massive copper pot would be filled with water, heated, and soap flakes would be grated into the pot. The laundry girls would do the washing not only for their employers but also for all of the household staff – there were about forty staff in 1840. As well as soap they would use lemon juice, boiled milk and ivy leaf to clean – ivy leaves made clothes more black. The Countess managed the staff, with the head housekeeper and butler serving as go-between.

William, the 4th Earl of Longford, had a hunting lodge in England and since he had installed such a modern laundry in Tullynally, he would ship his laundry home to Pakenham Hall be washed!

Next, the washing would be put through the mangle.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Box Mangle, for sheets. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Box Mangle, for sheets. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Box Mangle, invented by Baker of Fore Street, London invented in 1808 and patented: “An important improvement in the construction of the common mangle…by which the otherwise unwieldy heavy box was moved with great facility backwards and forewards, by a continuous motion of the handle in one direction; and by the addition of a fly wheel to equalise the motion, a great amount of muscular exertion is saved to the individual working the machine.” [quoted from the information on the mangle, from The Engineers and Mechanics Encyclopedia, London, 1838]. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The girls might have to bring laundry out to the bleaching green. A tunnel was installed so that the girls avoided the looks and chat of the stable boys, or being seen by the gentry. William also developed a drying room. Hot water ran through pipes to heat the room to dry the clothes.

The drying racks could be pulled out along treads on the floor then pushed back in to the heated area to dry. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

There was also an ironing room.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The next room was a small museum with more information about the castle and family, and included a receipt for the iron end of a mangle, purchased from Ardee Street Foundry, Brass and Iron Works, Dublin. We live near Ardee Street!

Tullynally, County Westmeath.

This information board tells us details about the staff, as well as giving the layout of the basement:

The basement contained the Bake room, boot room, beer cellar, servant’s hall, brushing room, butler’s pantry, footman’s bedroom, and across the courtyard, the bacon room.

By 1860 Pakenham Castle was run in the high Victorian manner. The Butler and Housekeeper managed a team of footmen, valets, housemaids and laundry maids, whilst Cook controlled kitchen maids, stillroom maid and scullery maids. A stillroom maid was in a distillery room, which was used for distilling potions and medicines, and where she also made jams, chutneys etc. There was also a dairy, brewery and wine cellar. The Coachman supervised grooms and stable boys, while a carpenter worked in the outer yard and a blacksmith in the farmyard. Further information contains extracts from Mrs. Beeton’s Book of Household Management (1859), detailed duties of a housemaid, a laundry-maid, and treatment of servants. The estate was self-sufficient. Staff lived across the courtyard, with separate areas for men and women. There were also farm cottages on the estate. Servants for the higher positions were often recruited by word of mouth, from other gentry houses, and often servants came from Scotland or England, and chefs from France.

Tullynally, County Westmeath.
Tullynally, County Westmeath.
Tullynally, County Westmeath.
Tullynally, County Westmeath.
Tullynally, County Westmeath.

We are also given the figures for servants’ wages in 1860.

Tullynally, County Westmeath.

Next, we headed over toward the kitchen. On the way we passed a water filter system, which was a ceramic jar containing an asbestos and charcoal filter system. However, staff were given beer to drink as it was safer at the time than water. We saw a container used to bring food out to staff in the fields – the food would be wrapped in hay inside the container, which would hold in the heat and even continue to cook the food. We stopped to learn about an ice chest:

The ice box. The wooden casing is insulated with felt and lined with zinc. Ice would be brought up from the ice house in the woods and placed inside the inner casing with fish and any other item that needed to be kept cold. The pewter cannisters were used to make icecream. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The ice chest would be filled with ice from the icehouse. We were also shown the coat of a serving boy, which our tour guide had a boy on the tour don – which just goes to show how young the serving boys were:

Tullynally, County Westmeath.
Note the coronets on the buttons. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

A serving boy wearing this uniform would carry dishes from the kitchen to the dining room, which was as far from the kitchen as possible to prevent the various smells emanating from the kitchen from reaching the delicate nostrils of the gentry. The serving boy would turn his back to the table, and watch mirrors to see when his service was needed at the table, under the management of the butler. Later, when the ladies had withdrawn to the Drawing Room, to leave the men to drink their port and talk politics, the serving boy would produce “pee pots” from a sideboard cupboard, and place a pot under each gentleman! Our guide told us that perhaps, though she is not sure about this, men used their cane to direct the stream of urine into the pot. The poor serving boy would then have to collect the used pots to empty them. Women would relieve themselves behind a screen in the Drawing Room.

In the large impressively stocked kitchen, we saw many tools and implements used by the cooks. Richard Morrison ensured that the kitchen was filled with light from a large window.

Tullynally, County Westmeath.
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

This kitchen was used until around 1965. The yellow colour on the walls is meant to deter flies. Often a kitchen is painted in blue either, called “Cook’s blue,” also reputed to deter flies. Because this kitchen remained in continuous use its huge 1875 range was replaced by an Aga in the 1940s.

The huge butter maker. Our guide also pointed out the large mortar and pestle in the wooden press. Sugar came in a loaf and was bashed down in a mortar and pestle.
Heated niches, to keep dishes warm. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The cookware is made of copper, and you can see by the stove a large ceramic vessel topped with muslin for straining jams.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The rusty looking pronged instrument above is a metal torch – rushes were held in the top and dipped in paraffin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Candles were made from whale blubber. Candles made from blubber closer to the whale’s head were of better quality.

The housekeeper would have her own room, which our guide told us, was called the “pug room” due to the, apparently, sour face of of the housekeeper, but also because she often kept a pug dog!

Next we were taken to see Taylor’s room. Taylor was the last Butler of the house. We passed an interesting fire-quenching system on the way.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Taylor’s room, Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Next, the tour guide took us to see the servants’ staircase and set of bells. We passed the mailbox on the way:

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

This would normally be the end of the tour, but since we were such a fascinated, attentive group, the guide took us into the basement to see the old servants’ dining hall.

Basement hall, with what I think is an old fire extinguisher. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I think this was the carpenter’s workshop; unfortunately I didn’t take a picture of the dining hall! See how the basement has vaulted ceilings. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This lovely little fellow sat on the ground at the bottom of the stairs. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The gardens, covering nearly 30 acres, were laid out in the early 19th century and have been restored. They include a walled flower garden, a grotto and two ornamental lakes.

Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The ha ha and castle terraces. The ha ha is a sharp downward slope in a lawn to prevent animals coming too close to the house, or, as we were told in another house, to hide the servants walking past. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The current owner Thomas Packenham has published a five book series on trees that begins with Meetings with Remarkable Trees and the most recent is The Company of Trees.

Here is the description of the gardens, from the Irish Historic Houses website:“The gardens, illustrated by a younger son in the early eighteenth century, originally consisted of a series of cascades and formal avenues to the south of the house. These were later romanticised in the Loudonesque style, with lakes, grottoes and winding paths, by the second Earl and his wife [Thomas (1774-1835) and Georgiana Lygon (1774-1880)]. They have been extensively restored and adapted by the present owners, Thomas and Valerie Pakenham, with flower borders in the old walled gardens and new plantings of magnolias, rhododendron and giant lilies in the woodland gardens, many collected as seed by Thomas while travelling in China and Tibet. He has recently added a Chinese garden, complete with pagoda, while the surrounding park contains a huge collection of fine specimen trees.” [7]

A. Castle Terraces, B. Pleasure Garden or Woodland Garden, C. Grotto, D. Flower Gardens, E. Kitchen Garden, F. Yew Avenue, G. Llama Paddock, H. Queen Victoria’s Summerhouse, I. Upper Lake, J. Tibetan Garden, K. Forest Walk or Stream Garden, L. Chinese Garden, M. Gingerbread House, N. Lower Lake or Swan Pool, O. Viewing Hut, P. Viewing Mound, Q. Magnolia Walk.
Helpful signs explain areas of the garden. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The upper lake 2020. This was originally a bathing place with a bathhouse, now replaced by a small summerhouse. It was extended to the present size in 1884. It originally also served the purpose for water to be released into the millpond to drive the water wheel, and later, turbine, in the farm mill. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The upper lake, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The upper lake, 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The lily pond with the “weeping pillar” of eroded limestone. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
One of the two sphinxes by the gate leading to the Kitchen Garden which were once part of an 18th century classical entrance gate to the estate. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
llamas! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A lovely little shed. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

I befriended the resident cat.

She was so happy to have her tummy rubbed – not like our Bumper – and was so friendly that I wanted to take her home! Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tullynally, County Westmeath. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A summerhouse copied from an old photograph of Queen Victoria’s summer house in Frogmore, near Windsor. It was built by Antoine Pierson in 1996 for the present owners. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A Fossil Tree: a Dawn Redwood, considered extinct and only known about from fossils from 60 million years ago, until discovered in 1941 in China. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
A romantically placed seat. Tullynally, with its various turrets and spires, set in its beautiful gardens, is a great exemplar of the picturesque. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Entrance to Forest Walk, originally formed part of an extended woodland garden created in the 1820s. The path leads to the Chinese garden and to the Lower Lake, reputedly one of the lakes where the Children of Lir stayed as swans. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Another romantic spot. The Chinese Garden was created in 1994 with plants grown from seed by Thomas Pakenham from Yunnan in southern China. The Pagoda was made by local craftsmen. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Note on the garden. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
I’m afraid Stephen is a little irreverent in this one. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
On our second visit, we made it to the lower lake, but we were then caught in a heavy downpour! Fortunately there was a gazebo nearby for shelter. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
There are still swans on the lake. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
And there’s another generation of swans coming along. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
We could see the castle from our vantage point in the summer hut. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Goodbye Tullynally! I look forward to visiting again.

[1] Reeves-Smyth, Terence. Big Irish Houses. Appletree Press Ltd, The Old Potato Station, 14 Howard Street South, Belfast BT7 1AP. 2009

[2] p. 525. Casey, Christine and Alistair Rowan. The Buildings of Ireland: North Leinster. Penguin Books, London, 1993.

[3] p. 135. Great Houses of Ireland. Hugh Montgomery-Massingberd and Christopher Simon Sykes. Laurence King Publishing, London, 1999.

[4] http://lordbelmontinnorthernireland.blogspot.com/2013/10/tullynally-castle.html

[5] https://www.buildingsofireland.ie/buildings-search/building/15400321/tullynally-castle-tullynally-co-westmeath

[6] p. 527. Casey, Christine and Alistair Rowan. The Buildings of Ireland: North Leinster. Penguin Books, London, 1993.

[7] https://www.ihh.ie/index.cfm/houses/house/name/Tullynally%20Castle

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