Rathfarnham Castle, Dublin, an Office of Public Works property

Rathfarnham Castle, Dublin

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

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

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

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

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

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

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

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

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

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

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

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

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

The Dictionary of Irish Biography tells us:

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

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

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

Adam Loftus was the first Provost of Trinity College Dublin.

The Dictionary of Irish Biography continues:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From the OPW website:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Clongowes Wood College, County Kildare:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We were given a leaflet, which tells us:

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

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

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

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

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

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

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

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

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

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

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

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

Ely House, Dublin

Ely House, Dublin

https://theirishaesthete.com/2025/04/28/ely-house/

Behind a Modest Facade

by theirishaesthete

Ely House, Dublin, photograph courtesy Irish Aesthete.


Like many 18th century residential buildings in central Dublin, the facade of Ely House is extremely plain, of red brick with only the pedimented stone fan- and side-lit doorcase offering some interest. Of four storeys-over-basement, the building had been bought in 1770 by Henry Loftus from Dublin physician and property developer Gustavus Hume. The previous year, following the death of his unmarried nephew, the hitherto somewhat impoverished Loftus had inherited a substantial estate and the title Viscount Loftus: the following year he would be created Earl of Ely. Known for his social pretensions, he would be mocked as ‘Count Loftonzo’ in the satirical History of Barataria published in the Freeman’s Journal in Spring 1771. The work he commissioned at Rathfarnham Castle, County Dublin has already been discussed here (see A Whiter Shade of Pale « The Irish Aesthete and Flying High « The Irish Aesthete). Although Loftus already owned a house in the capital on Cavendish Row, following his inheritance evidently he felt the need to cross the river Liffey and occupy a new property, hence the purchase of Ely House. Unusual because of its size, the building was originally of six bays, a seventh being acquired on the left-hand (north) side in the 19th century around the time the house was divided into two properties: today it is near-impossible to photograph the entire exterior of the house without being assaulted by traffic: hence the somewhat truncated image here. When first occupied, the attic floor seemingly contained a private, sixty-seat theatre with space for an orchestra. The Freeman’s Journal of 19th April 1785 reports on the performance of both a tragedy (‘The Distressed Mother’) and a comedy (‘All the World’s a Stage’), both acted by friends of the earl’s second and much-younger wife, Anne Bonfoy. Sadly, nothing of this theatre now survives. But other parts of the remarkable interior remain to be explored. 

Ely House, Dublin, photograph courtesy Irish Aesthete.
Henry Loftus, 1st Earl of Ely of the 2nd Creation (1709-1783) by Angelica Kauffman.
Ely House, Dublin, photograph courtesy Irish Aesthete.
Ely House, Dublin, photograph courtesy Irish Aesthete.
Ely House, Dublin, photograph courtesy Irish Aesthete.





The rear of Ely House’s groundfloor is given over to the double-height stair hall, the steps of which are of Portland Stone, while the panelled balustrade is made of wrought iron and carved gilt-wood. At the base can be seen a life-size figure of Hercules, resting from his Labours. The latter are then depicted as one ascends the staircase, although not in the correct narrative order: shown here is the eagle killed with an arrow by the mythical hero. The inspiration for this work is believed to have been a substantially larger staircase in the Palace of Charles of Lorraine in Brussels – now a museum – created by the Flemish sculptor Laurent Delvaux in 1769. The stuccodore Barthelemy Cremillion, who had been employed in Ireland in the second half of the 1750s, was responsible for the Brussels palace plasterwork and is therefore thought to have been behind the similar scheme in Ely House since by this date he had returned to Dublin. On the other hand, Professor Christine Casey has pointed out that the stoneyard of sculptor John van Nost adjoined Lord Ely’s property and that both he and Cremillion had worked at the same time on the decoration of the city’s Lying-in Hospital (otherwise known as the Rotunda Hospital), so he may also have been involved here. 

Ely House, Dublin, photograph courtesy Irish Aesthete.
Ely House, Dublin, photograph courtesy Irish Aesthete.
Ely House, Dublin, photograph courtesy Irish Aesthete.
Ely House, Dublin, photograph courtesy Irish Aesthete.




Many of the reception rooms in Ely House, Dublin, are rather plain, although it retains some splendid chimneypieces again thought to have been the work of John van Nost. One of the ground floor reception rooms features a series of figurative ovals and roundels depicting a variety of scenes and surrounded by pendants and swirls that look like strings of pearls. It used to be judged that this plasterwork was part of the house’s 18th century decoration but more recently the scheme is considered to date from the late 19th/early 20th century when the building was occupied by the wealthy surgeon and collector Sir Thornley Stoker (incidentally, the elder brother of Bram Stoker, author of Dracula): he lived here from 1890 to 1911 and filled the building with his valuable collection of art and furniture, alas all auctioned before his death in 1912. The room directly above certainly suggests a relatively recent vintage, the figures here looking as though they had stepped out of the work of an Edwardian illustrator like Kate Greenaway. Since 1923, Ely House has been owned by the Knights of St Columbanus, an Irish Roman Catholic society which uses the building as its national headquarters. 

Ely House, Dublin, photograph courtesy Irish Aesthete.

https://www.igs.ie/conservation/project/ely-house

Dublin’s Ely House was supposedly built as a townhouse in 1771 by Henry Loftus, 3rd Earl of Ely, though recent research suggests he may have bought it from developer, Gustavus Hume. It was originally built with six bays. In 1811 Nathaniel Callwell added the left entrance door to create two houses and the central entrance hall was re-planned. The house remained in private ownership until Lady Aberdeen secured the lease for use as the Women’s National Health Association headquarters circa 1908. In 1923 the present owners, the Knights of St. Columbanus, acquired the building. The Knights applied to the Irish Georgian Society in 2003 for funds to restore the Palladian window in the stairwell as part of a larger conservation programme. Inappropriate repairs, damaged flashings, and water ingress had left the window in poor condition. The Society, recognising the importance of this project, provided over sixty percent of the window project funds. 

Brief description of project: The repair of the Palladian window entailed cleaning the granite stone, removing cement repairs and corroded iron bars, re-fixing the stone arch with stainless steel rods, fitting matching stone grafts with stainless steel pins, and providing new lead flashings.

The majestic building, now restored, continues to serve the Knights of St. Columbanus and stands as an important example of Dublin’s rich Georgian architectural and cultural history.

Architectural description: The house is a brick terraced house of seven bays and four storeys with a pitched roof and brick chimneystacks. Sash windows of nine-over-nine exist on the ground and first floors, while windows of six-over-six and three-over-three configuration are to the second floor and third floors, respectively. The left entry door added in 1811 is graced with Ionic columns and is topped by a fanlight. Each window on the first floor also maintains an early-nineteenth century cast iron balcony. The interior is ornate and boasts impressive Neoclassical detail, the most significant feature being the grand, Portland stone staircase. It features an extravagant, wrought iron and panelled balustrade with carved gilt-wood which portrays the Labours of Hercules. At its base is a statue of Hercules which is joined to the handrail. The rest of the stairhall displays intricate plasterwork complete with festoons, masks, and flower-baskets.

NIAH Listing: 

https://www.buildingsofireland.ie…

Attached seven-bay four-storey over basement former mansion, built c. 1770, with additions 1956 and c. 1975 to rear (east). Now in commercial office use. M-profile slate roof, hipped to north end with pitched roof over central rear (east) bay, running perpendicular to street and hipped to east end, concealed behind brick parapet with lead flashing over. Multiple chimneystacks with lipped yellow clay pots including shouldered rendered chimneystack to south party wall, buff brick chimneystack to centre, and red brick chimneystack to north party wall. Concealed gutters with uPVC hopper and downpipe breaking through to north end and rear (east). Red brick walling laid in Flemish bond, refaced in English garden wall bond to third floor, over ruled-and-lined rendered walling to basement with granite stringcourse over. Ruled-and-lined rendered walling to rear elevation (east). Square-headed window openings with projecting granite sills, patent reveals and brick voussoirs with ornate cast-iron balconettes affixed to first floor openings. Plain surrounds to basement and rear (east) openings. Largely nine-over-six timber sliding sash windows, six-over-six to second floor and basement, three-over-three to third floor; some upper floor windows having convex or profiled horns. Round-headed door opening to central bay, flanked by three-light sidelights and framed by a carved stone doorcase comprising; engaged Doric columns on plinth stops rising to triglyphed frieze and lead-lined cornice with projecting open-base pediment over simplified spoked fanlight and raised-and-field timber panelled door with brass furniture. Granite entrance platform with single step to street flanked by cast-iron lamp standards and cast-iron railings with decorative corner posts on granite plinth enclosing basement wells to north and south. Round-headed door opening to northern bay with moulded reveals and sandstone doorcase comprising stylised Ionic columns on plinth stops rising to fluted frieze with moulded cornice and spoked fanlight over panelled timber door, opening onto ramped granite entrance platform with single step to street. Square-headed door opening located beneath south-end entrance platform with rendered doorcase flanked by stepped piers rising to open-base pediment, with wired glass overlight and timber panelled door. Basement well to south accessed by recent concrete steps with steel handrail from street level. Plainly detailed square-headed door opening to south end of basement level with recent four-panelled timber door. Basement well to north accessed by recent steel steps from street level. Street fronted onto the west side of Ely Place facing the junction with Hume Street to the west. A plaque on the principal façade indicates that theoretical physicist George Francis Fitzgerald lived here from 1851 to 1901.

Appraisal

Originally named Hume Row, Ely Place was laid out in 1768, and was named after the surgeon Gustavus Hume who built his house at No. 1 Hume Street (now demolished). Following the construction of this large townhouse in 1770, Ely Place (originally Hume Row) developed as a desirable residential street throughout the late-eighteenth and early-nineteenth centuries. The house was originally thought to have been constructed by Henry Loftus, third Earl of Ely after whom the street and house are named, but Casey (2005) notes that a recent re-examination of the title deeds suggests that it may have been purchased from Hume. The house became famous in the late eighteenth-century for the lavish entertainments hosted by the Countess of Ely including a unique sixty seat theatre in the attic, nothing of which survives but which was reputed to have been the first of its kind in Ireland. The northern bay was added at some point during the nineteenth-century, when the building was subdivided and a three-bay house (No. 7)created at the northern end, indicated by the separate doorcase to the northern bay. Ely House is a focal point within the streetscape, successfully terminating the vista along Hume Street from St. Stephen’s Green, the grand façade is characterised by balanced proportions and restrained detailing which is enriched by two neo-classical doorcases and cast-iron balconettes. Despite the insertion of some replacement fabric and having been extensively altered to the rear during the mid-twentieth century, the former mansion is well preserved example of the Dublin Georgian idiom on a grand scale, which makes a vital contribution to the architectural continuity of this important streetscape. Additionally, the remaining interior features of note include a finely carved Portland stone staircase with relief profiles depicting the Labours of Hercules, and fine stuccowork, both thought to have been executed by Flemish sculptor Bartholomew Cramillion. The remaining interior is largely neo-classical in style, with finely stuccoed ceilings, ornate marble chimneypieces and rare paktong doorknobs and escutcheons. No. 7 was the residence of the theoretical physicist George Francis Fitzgerald in the latter part of the nineteenth century.

References to IGS Bulletins and Journals:

‘Private theatricals in Irish houses, 1730-1815’

Author: Patricia McCarthy

Irish Architectural and Decorative Studies Vol XVI — 2013

‘Bulletin XIII 1970 Issue 2’

Irish Georgian Society bulletin XIII — 1970

‘Bulletin XXXV 1992 Issue 1’

Irish Georgian Society bulletin XXXV — 1992

Loftus Hall, County Wexford

Mark Bence-Jones.  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. 

p. 189. (Redmond/LG1863; Loftus, Ely, M/PB) A gaunt, three-storey mansion of 1871, with rows of plate-glass windows and a balustraded parapet, incorporating parts of a previous house here, which was late 17th century or early C18, gable-ended and of two storeys and nine bays, with a dormered roof and a steep pedimented gable; it was fronted by a forecourt with tall piers surmounded by ball finials and had a haunted tapestry room. .  

The house stands near the tip of Hook Head, and must have been one of the most wing-swept noblemen’s seats in the British Isles; “No tree will grow above the shelter of the walls,” Bishop Pococke observed of Loftus Hall in C18, and the same is true of the place today. The site was originally occupied by an old castle of the Redmonds, which was known in their day as The Hall; and of which a square turret remained near the old house, but was demolished when the present house was built. The present house, which was built soon after his coming-of-age by the 4th Marquess of Ely – who also planned to rebuild his other seat, Ely Lodge – contains an impressive staircase hall, with an oak stair in Jacobean style, richly decorated with carving and marquetry; the gallery being carried on fluted Corinthian columns of wood. The house is now a convent.” 

Loftus Hall, County Wexford

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

Henry Loftus of Dunguelph Castle moved to Redmond Hall. He was the father of Nicholas Loftus (d. 1763) who was created 1st Viscount of Ely.

Lord Belmont tells us:

NICHOLAS LOFTUS, MP for County Wexford, who was elevated to the peerage as Baron Loftus, of Loftus Hall, in 1751. 

Nicholas Loftus, 1st Viscount Ely (1687-1763)

His lordship was sworn of the privy council in 1753; nominated Governor of County Wexford, and advanced to a viscountcy, as Viscount Loftus, of Ely, in 1756. 

He married firstly Anne Ponsonby, 2nd daughter of William, Viscount Duncannon, by whom he had issue, 

NICHOLAS (d. 1766), his successor

HENRY (1709-1783), succeeded as 4th Viscount Loftus

Mary; Anne; Elizabeth. 

His lordship wedded secondly, Letitia, daughter of Sir John Rowley, knight, by whom he had no issue. 

He died in 1763, and was succeeded by his elder son,  

NICHOLAS, 2nd Viscount, who was advanced to the dignity of Earl of Ely in 1766. 

Nicholas Hume Loftus, 1st Earl of Ely (1708-1766) by Jacob Ennis. These two portraits depict Nicholas, the so-called “Wicked Earl” at various stages of his life. Nicholas is much older in the Ennis portrait on the left. Lord Loftus allegedly mistrated his son (also Nicholas) leading to a protracted court case. That son would later bequeath Rathfarnham Castle and the estate to his uncle, Henry Loftus (1709-1783) who became the 1st Earl of Ely (of the second creation). Jacob Ennis was an Irish historical and portrait painter who spent some time studying in Italy. He was later a Master in the Dublin Society’s Drawing Schools.

He married Mary, eldest daughter and heir of Sir Gustavus Hume Bt, of Castle Hume, County Fermanagh; and dying in 1766, was succeeded by his only son,  

NICHOLAS, 2nd Earl, who died unmarried, in 1769, when the earldom expired, and the viscountcy and barony reverted to his uncle, 

THE HON HENRY LOFTUS, as 4th Viscount, born in 1709. 

His lordship was advanced to an earldom, in 1771, as Earl of Ely; and installed a Knight Founder of the Most Illustrious of St Patrick, 1783. 

Henry Loftus, 1st Earl of Ely of the 2nd Creation (1709-1783) by Angelica Kauffman.
Henry Loftus (1709-1783) 1st Earl of Ely and wife Frances Monroe courtesy of National Trust.

Lord Loftus married twice, though died without issue, in 1783, when the titles became extinct; while the estates devolved upon his nephew,  

THE RT HON CHARLES TOTTENHAM, who then assumed the surname and arms of LOFTUS, and was created, in two years afterwards, Baron Loftus, of Loftus Hall. 

His lordship was advanced to a viscountcy, in 1789, as Viscount Loftus; and Earl of Ely in 1794. 

He was further advanced, to the dignity of a marquessate, in 1800, as MARQUESS OF ELY. 

His lordship was postmaster-general of Ireland in 1789; privy counsellor; Knight of St Patrick; governor of Wexford; governor of Fermanagh; colonel, the Wexford Militia. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Loftus Hall, Fethard-On-Sea, Co. Wexford, Y34YC93 courtesy Colliers, April 2025

€3,000,000

22 Bed

22 Bath

2460 m²

Loftus Hall is a large, partly re-furbished country house which was built on the site of the original Redmond Hall. The property boasts one of the most scenic locations in the southeast with views over Hook Peninsula and the world famous Hook Lighthouse, providing the most stunning landscape which is steeped in history and reputed by locals to have been haunted the property. The property was purchased by the Quigley family in 2011 and run as a tourist attraction with guided tours of the property and seasonal events. In 2021 the property was bought by its current owners who had a masterplan to refurbish the original building over two phases. The estate has already undergone extensive renovations, with Phase 1 nearing completion, set to transform the property into an exclusive 22-bedroom luxury hotel with high-end amenities, extensive food and beverage facilities, and beautifully landscaped gardens. The vision for Phase 2, included an additional 56 bedroom hotel block, a gym and spa, dedicated wedding facilities, 33 standalone garden cottages and 10 eco pods strategically placed along the perimeter of the property. Location Loftus Hall is located on the southern tip of Hook Peninsula, close to the famous Hook Lighthouse, one of the oldest operational lighthouses in the world. Loftus Hall offers an unparalleled location for exploring the beauty and history of County Wexford. Just 4km from the iconic Hook Lighthouse, 33km from the vibrant town of New Ross, 45km from Wexford and 51km from Waterford. The property is also in close proximity to several popular tourist destinations, including Passage East (17km) and Dunmore East (30km) and the charming nearby villages such as Hookless Village, Slade, and Fethard-On-Sea, all within easy access. The location is quite picturesque, making it a popular spot for visitors interested in history, architecture, and the paranormal. Main House Built originally between 1870 and 1871 on the site of Redmond Hall, which traces its history to 1350, Loftus Hall comprises a detached nine-bay, three storey house. The estate is situated on approximately 27.68 hectares (68 acres) with the house extending to a total gross internal area (GIA) of 2,460 sq.m (26,480 sq. ft). Loftus Hall is a protected structure under RPS Ref WCC0692 and under the NIAH Ref 15705401. The estate has already undergone extensive renovations, with Phase 1 nearing completion. The ground floor of the original building has been transformed to contain a large dining room, a cigar room and a number of guest lounge areas. When completed the restaurant will seat over 100 covers which will feature visibility of the chefs working with an open pass, an outside BBQ area and fire pit adjacent to the new restaurant area with the existing bar fully refurbished. The hotel bedrooms are finished to second fix over the first and second floors and are appointed with large ensuite bathrooms and with commanding and sweeping views out to sea. The vision for Phase 2 consists of the development of a permanent marquee erected on the grounds which will cater for up to 300 seated wedding guests, a gym & spa, a new hotel bedroom block which will contain up to 56 additional bedrooms, 33 standalone garden cottages, 10 eco pods wrapped around the perimeter of the property, a children’s playground, a herb and vegetable garden, over two hundred car park spaces in total between the front and rear of the development and a walkway that will allow guests to access the beach directly from the development. The Grounds The grounds are a feature of Loftus Hall and have been maintained to the highest standards throughout the refurbishment. The gardens at Loftus Hall, particularly the walled garden, were designed to thrive in the unique climate of the Hook Peninsula. The garden’s high walls provided a sheltered environment, allowing a variety of plants to flourish. Fruit trees were a significant feature, with mulberry trees being particularly successful. The sheltered environment also supported other fruit trees like apple and pear. Additionally, the garden likely included a variety of herbs and vegetables, which were essential for the estate’s kitchen. The garden’s design and plant selection reflect the practical needs and aesthetic preferences of the time, creating a space that was both beautiful and functional. Services • ESB – full upgrade of supply to the property with 80kVA allowance • Mains Water – two water supplies to the property • Gas – storage tank for supply to the building • Heating – plumbed for electric central heating system

https://www.buildingsofireland.ie/buildings-search/building/15705401/loftus-hall-loftushall-co-wexford

Loftus Hall, County Wexford, courtesy National Inventory.

Detached nine-bay three-storey country house, built 1870-1, on an L-shaped plan centred on single-bay single-storey flat-roofed projecting porch to ground floor; seven-bay three-storey side (south) elevation centred on three-bay three-storey breakfront on a bowed plan. Occupied, 1901; 1911. In alternative use, 1916-35. In alternative use, 1937-83. In alternative use, 1983-91. For sale, 1991. Vacant, 2007. For sale, 2008. Roof not visible behind parapet with cast-iron rainwater goods retaining cast-iron downpipes. Roughcast walls on lichen-spotted chamfered cushion course on rendered plinth with lichen-spotted vermiculated-panelled quoins to corners supporting dentilated cornice on blind frieze below balustraded parapet. Square-headed central door opening in tripartite arrangement approached by flight of four steps with engaged columns on panelled pedestals supporting dentilated cornice on “triglyph”-detailed frieze on entablature framing glazed timber panelled double doors having sidelights. Square-headed window openings (ground floor) with lichen-spotted chamfered sill course, and rendered surrounds with bull nose-detailed pilasters supporting “Cyma Recta”- or “Cyma Reversa”-detailed hood mouldings on panelled consoles framing boarded-up one-over-one timber sash windows. Square-headed window openings (first floor) with thumbnail beaded sills, and rendered surrounds with bull nose-detailed pilasters on “Cavetto” consoles supporting “Cyma Recta”- or “Cyma Reversa”-detailed open bed pediments on panelled consoles framing boarded-up one-over-one timber sash windows. Square-headed window openings (top floor) with sills on “Cavetto” consoles, and rendered surrounds with bull nose-detailed pilasters supporting “Cyma Recta”- or “Cyma Reversa”-detailed hood mouldings on panelled consoles framing boarded-up one-over-one timber sash windows. Interior including (ground floor): vestibule; square-headed door opening into hall with carved timber surround having roundel-detailed panelled concave reveals framing glazed timber panelled door having overlight; hall retaining encaustic tiled floor carved timber Classical-style surrounds to door openings framing timber panelled doors centred on cut-veined marble Classical-style chimneypiece with carved timber surrounds to opposing window openings framing timber panelled shutters on panelled risers, and decorative plasterwork cornice to ceiling; top-lit double-height staircase hall (west) retaining inlaid timber parquet floor, timber panelled staircase on an Imperial plan with fluted timber balusters supporting carved timber banisters terminating in timber panelled newels, round-headed niche to half-landing with moulded plasterwork frame, carved timber Classical-style surrounds to door openings to landing framing timber panelled doors, and decorative plasterwork cornice to compartmentalised ceiling centred on stained glass lantern with “Acanthus” ceiling rose; reception room retaining carved timber Classical-style surround to door opening framing timber panelled double doors with carved timber surrounds to window openings framing timber panelled shutters on panelled risers, cut-veined black marble Classical-style chimneypiece with lugged frame centred on keystone, and decorative plasterwork cornice to ceiling centred on “Acanthus” ceiling rose; reception room retaining carved timber Classical-style surround to door opening framing timber panelled double doors with carved timber surrounds to window openings framing timber panelled shutters on panelled risers, cut-veined red marble Classical-style chimneypiece, and decorative plasterwork cornice to ceiling; reception room (south-east) retaining carved timber surround to door opening framing timber panelled door with carved timber surrounds to window openings framing timber panelled shutters on panelled risers, roundel-detailed cut-veined red marble Classical-style chimneypieces, and decorative plasterwork cornice to ceiling; bow-ended reception room (south) retaining carved timber Classical-style surround to door opening framing timber panelled double doors with carved timber surrounds to opposing window openings framing timber panelled shutters on panelled risers, and decorative plasterwork cornice to ceiling; chapel (south-west) retaining inlaid timber parquet floor, cut-veined black marble Classical-style chimneypiece with carved timber surrounds to opposing window openings framing timber panelled shutters on panelled risers, and timber boarded ceiling in carved timber frame on carved timber cornice; and (upper floors): carved timber surrounds to door openings framing timber panelled doors with carved timber surrounds to window openings framing timber panelled shutters on panelled risers. Set in unkempt grounds. 

Appraisal 

A country house erected for John Henry Wellington Graham Loftus (1849-89), fourth Marquess of Ely, representing an important component of the later nineteenth-century domestic built heritage of south County Wexford with the architectural value of the composition, one retaining at least the footings of a house (1680-4) illustrated in Volume IV of Philip Herbert Hore’s (1841-1931) “History of the Town and County of Wexford” (1901), confirmed by such attributes as the deliberate alignment maximising on panoramic vistas overlooking windswept grounds with Saint George’s Channel and Waterford Harbour as backdrops; the symmetrical frontage centred on a pillared porch demonstrating good quality workmanship; the diminishing in scale of the openings on each floor producing a graduated visual impression with those openings showing “stucco” refinements ‘designed to resemble a grand hotel’ (Williams 1994, 186); the definition of the principal “apartments” by Osborne House (1845-51)-like bows; and the balustraded roofline repurposing eagle finials shown in a sketch (1835-6) by Charles Newport Bolton (1816-84) of County Waterford (Hore 1901 IV, 381). A prolonged period of unoccupancy notwithstanding, the elementary form and massing survive intact together with substantial quantities of the original fabric, both to the exterior and to the interior where encaustic tile work; contemporary joinery; robust chimneypieces; plasterwork by James Hogan and Sons of Great Brunswick Street [Pearse Street], Dublin (The Irish Builder 15th May 1874, 148; Freeman’s Journal 6th November 1875); and ‘an impressive oak stair in the Jacobean style…richly decorated with carving and marquetry’ (Bence-Jones 1978, 189-90), all highlight the artistic potential of the composition. Furthermore, an adjacent coach house-cum-stable outbuilding (see 15705402); a walled garden (see 15705403); and a nearby gate lodge (see 15705405), all continue to contribute positively to the group and setting values of an estate having subsequent connections with John Henry Loftus (1851-1925), fifth Marquess of Ely. NOTE: Loftus Hall is the subject of two apocryphal legends with the first being the famous “Legend of Loftus Hall” (1765) and the second being that the country house was erected in anticipation of a royal visit from Queen Victoria (1819-1901; r. 1837-1901) by whom Jane Loftus (née Hope-Vere) (1821-90), Dowager Marchioness of Ely, was appointed to the office of Lady of the Bedchamber (1851). 

Loftus Hall, County Wexford, courtesy National Inventory.
Loftus Hall, County Wexford, courtesy National Inventory.
Loftus Hall, County Wexford, courtesy National Inventory.
Loftus Hall, County Wexford, courtesy National Inventory.
Loftus Hall, County Wexford, courtesy National Inventory.
Loftus Hall, County Wexford, courtesy National Inventory.
Loftus Hall, County Wexford, courtesy National Inventory.
Loftus Hall, County Wexford, courtesy National Inventory.
Loftus Hall, County Wexford, courtesy National Inventory.

https://www.buildingsofireland.ie/buildings-search/building/15705402/loftus-hall-loftushall-co-wexford

At Loftus Hall, County Wexford, courtesy National Inventory.

Farmyard complex, extant 1902, including: Detached three- or five-bay single-storey hipped gable-fronted coach house-cum-stable outbuilding with attic on a rectangular plan. Now in ruins. Hipped gable-fronted roof now missing, paired rendered central chimney stacks having stringcourses below “Cyma Recta”- or “Cyma Reversa”-detailed cornice capping, and no rainwater goods surviving on rendered eaves. Fine roughcast walls. Segmental-headed central carriageway with overgrown threshold, and cut-limestone block-and-start surround having bull nose-detailed reveals centred on keystone with no fittings surviving. Camber-headed window opening (half-attic) with cut-limestone sill, and limestone lugged surround having chamfered reveals with no fittings surviving. Paired square-headed window openings with cut-granite sills, and concealed red brick block-and-start surrounds with no fittings surviving. Interior in ruins. Set in unkempt grounds shared with Loftus Hall. 

Appraisal 

A farmyard complex contributing positively to the group and setting values of the Loftus Hall estate. 

At Loftus Hall, County Wexford, courtesy National Inventory.

https://www.buildingsofireland.ie/buildings-search/building/15705404/loftus-hall-loftushall-co-wexford

Gateway, extant 1771, on a symmetrical plan comprising pair of tuck pointed limestone ashlar piers on moulded cushion courses on plinths having stringcourses below ball finial-topped “Cyma Recta”- or “Cyma Reversa”-detailed cornice capping. Now disused. Road fronted at entrance to grounds of Loftus Hall. 

Appraisal 

A gateway not only making a pleasing visual statement in a rural street scene at the entrance on to the grounds of the Loftus Hall estate, but also surviving as a repurposed relic of the seventeenth-century estate as evidenced by a sketch (1835-6) by Charles Newport Bolton (1816-84) of County Waterford (cf. 15705406). 

Loftus Hall, County Wexford, courtesy National Inventory.

https://archiseek.com/2013/loftus-hall-near-fethard-on-sea-county-wexford

1871 – Loftus Hall, Fethard-on-Sea, Co. Wexford 

Loftus Hall, County Wexford, courtesy Archiseek.

Loftus Hall is a gaunt, three-storey nine-bay mansion of 1871, with rows of plate-glass windows and a parapet. It incorporates parts of a previous, late 17th century house. The house stands near the tip of Hook Head, an extremely wind-swept spot bereft of trees and shelter, and was built after his coming-of-age by the 4th Marquess of Ely. It largely built on the foundations of the old. Only the circular foundation of one of the towers in the ‘Ringfield’ and an underground passage survive of the original building. The new Loftus Hall was built with no expense spared – the entrance and staircase halls being of particular note. The house was supplied throughout with lighting by gas which was made on the premises and all the rooms heated by hot air pipes. 

In 1917 Loftus Hall was bought by the Sisters of Providence and turned into a convent and a school for young girls interested in joining the order. In 1983, it was purchased by Michael Deveraux who reopened it as “Loftus Hall Hotel”, which was subsequently closed again in the late 1990s. 

Featured in The Wexford Gentry by Art Kavanagh and Rory Murphy. Published by Irish Family Names, Bunclody, Co Wexford, Ireland, 1994. 

p. 194. Redmond of the Hall. 

The Redmonds of the Hall (now Loftus Hall on the Hook peninsula) became famous for defending their castle during the Rebellion of 1641. The Catholic Redmonds were Confederates. They were attacked by a force of soldiers from Duncannon fort, under the command of Captain Ashton. The English soldiers did not expect any formidable opposition and they pounded the castle with cannon. However Alexander and his sons and some tenants, pressed into service, stoutly defended the hall. A small army of rebels were camped at a short distance away. Among them were William and Antony Hore of Harperstown. When they heard the shooting and commotion, realising what was happening, they rushed to the help of the bealeaguered defendants. As luck would have it, a sudden mist swept in from the sea and the soldiers were unable to charge their pieces. They were outnumbered two to one by the rebels and the outcome was inevitable. Captain Ashton was killed (by Anthony Hore, it’s said), and seventy of his fellow soldiers also fell. 

Alexander Redmond continued to live in the Hall until his death in 1650. When Cromwell’s forces arrived at his gates in 1649, he surrendered the castle but he was allowed to live there because of his advanced years. His sons were dispossessed. The lands were granted to Sir Nicholas Loftus, a Protestant neighbour, the grandson of Adam Loftus the archbishop of Dublin. 

p. 195. It is generally thought that the South Wexford Redmonds descended from Raymond le Gros, who was one of the original Norman invaders. He appears to have had a son Alexander who was given a grant of the lands of the Hook Peninsula. In 1232 there is mention of a Sir Robert Redmond…[A Robert Redmond] married Eleanor Esmonde of Johnstown, daughter of Sir William Esmonde. They had four sons, Sir Alexander killed in battle against the Welsh, Richard, also killed in Wales, John who was a soldier in King Edward’s army and his succesor and heir Sir Walter Redmond. Sir Robert also had a daughter who married her first cousin Sir William Esmonde of Johnstown. It was noted that Walter died in 1350. Either Walter or his father is credited with building the castle subsequently konwn as Redmond’s Hall. Over one hundred years later an Andrew FitzRedmond is mentioned… an in 1520 a Sir John Redmond of hte Hall achieve fame as a most hospitable and generous patron of the church… 

In 1559 Alexander Redmond of the Hook, was a government appointed collectr of Revenue which was to be used for the protection of the Wexford Pale. 

Nearly one hundred years later, in 1642, another Alexander Redmond as the owner of Redmond Hall. 

He had at least two sons, Robert and Michael, and at least ond daughter, Ellen, who was married to Henry Laffan (a descendant of James Laffane Prebendary of Whitechurch in 1570). Henry Laffan appears to have died before 1642, because that year Robert, his brother in law, was the guardian of Ellen’s four year old son. Ellen and her son were living in Slade Castle, which was fortified for her protection during the Rebellion. 

P 196. Robert was married to Eleanor the daughter of William Esmonde of Johnstown, whose brother Patrick appeared to be living in the Hall at that time. Interestingly, when Robert lost his property in 1653 following the Cromwellian Confiscations, it was noted that Eleanor Redmond occupied property in Fethard village, not far from the Hall. Follwing that dark episode of history the Redmonds seem to disappear for a time. 

In Burke’s Irish Family Records, it is surmised that the family of Redmonds of Wexford of whom John Redmond the renowned politician was a famous scion, descended from the Redmonds of the Hall. 

p. 197. …John Edward Redmond, the famous politician. Born in 1856 …he was an MP from 1881 to 1918. He was Parnell’s chief supporter on the split in 1890 [p. 198] and leader of the Parnellite group on the death of Parnell in 1891. He succeeded in reuniting the party, which he led until his death in 1918. 

He urged all young Irishmen to fight for Britain in the first World War He was a strict parliamentarian and fought for a free Ireland within the British Empire. He was totally opposed to the 1916 Rising and because of his stance, his popularity declined in Wexford.  

Loftus Hall is located on Hook Head in co.Wexford. This was originally the site of a castle built by a family called Redmonds in 1350. It later ‘fell into the hands’ of the Loftus family in the 1650’s as result of the Cromwellian confiscations. One of their descendants, the 4th Marquess of Ely, built this house with the finest materials in 1872.  Over the following years there were reports of strange happenings. One infamous story happened on a stormy winter’s night as the family relaxed before a roaring log fire. A stranger arrived on horseback who knocked on the door and was invited to stay for the night. After refreshments, he participated in a game of cards and when one fell on the floor, Lady Anne bent down to retrieve it. She was shocked to discover that the stranger had a cloven foot and when she screamed in terror, the stranger vanished through the ceiling in a puff of smoke!! (scared yet?) Lady Anne then fainted but when she awoke, she was apparently mentally ill. This was an embarrassment for the family and so she was locked away in her out of sight until she died. More ghost stories followed including that presumed to be of Anne Tottenham who frequently ‘appeared’ in the in the Tapestry Room. An exorcism was even carried out on the house by Father Broaders who’s own epitaph reads..‘here lies the body of Thomas Broaders, who did good and prayed for all and banished the Devil from Loftus Hall.‘ Loftus Hall was re opened again on Friday 13th of July 2012 and the public can now do ‘The Loftus Hall Tour’…if they dare! A new movie is also being made about the house which will be the first Irish film to be released in 3D. 

http://lordbelmontinnorthernireland.blogspot.com/2014/05/loftus-hall.html

THE MARQUESSES OF ELY WERE MAJOR LANDOWNERS IN COUNTY WEXFORD, WITH 14,023 ACRES  

The family of LOFTUS, or, as it was anciently spelt, Lofthouse, appears, from the archives of York Minster, to have flourished in Yorkshire as early as the reign of ALFRED THE GREAT. 

Before the advent of the Normans, this family held the town and lands of Loftus, Yorkshire, by thaneage, and after the Conquest, by military tenure. 

The same records show that Christopher Lofthouse was prior of Helagh, Yorkshire, in 1460. 

EDWARD LOFTUS, of Swineshead, Yorkshire, whose descendants have been, in different branches, thrice elevated to the Irish peerage, had two sons, namely, 

ROBERT; 

ADAM. 

The elder son, Robert, whose second son, 

ADAM LOFTUS, an eminent lawyer, was appointed LORD CHANCELLOR OF IRELAND, 1619; and created, in 1622, Viscount Loftus, of Ely, a dignity which expired with his lordship’ grandson ARTHUR, 3rd Viscount. 

The younger son, 

THE MOST REV ADAM LOFTUS, accompanied, as private chaplain, the Viceroy, Thomas, Earl of Sussex, into Ireland, and was consecrated Lord Archbishop of Armagh, 1562-3. 

In 1567, the Lord Primate was translated to the see of Dublin; and six years afterwards we find him Lord Keeper of the Great Seal. 

In 1578, His Grace was constituted LORD CHANCELLOR OF IRELAND, and he continued to hold the seals until his death. 

This esteemed divine having a principal share in the foundation of Trinity College, Dublin, was appointed by charter its first Provost, which office he resigned in 1594. 

He married Jane, eldest daughter of Alan Purdon, of Lurgan Race, County Louth, and by her had twenty children, of whom seven died young. 

The survivors were eight sons and five daughters. 

The Archbishop died in 1605, and was succeeded by his eldest son,  

SIR DUDLEY LOFTUS, of Rathfarnham, who wedded Anne, daughter of Sir Henry Bagenal, of Newry, and had, with other issue, 

ADAM, 1st Viscount Lisburne; 

NICHOLAS, of whose line we are about to treat

Edward; 

Samuel. 

The second son of Sir Dudley Loftus,  

NICHOLAS, of Fethard, born in 1592, Joint Clerk of the Pells and of the Treasury in Ireland, wedded and was succeeded by his eldest surviving son,  

SIR NICHOLAS LOFTUS, of Fethard, who married twice, and had several children, all of whom died issueless, when the estates descended to his brother, 

HENRY LOFTUS, of Loftus Hall, who married twice and was succeeded, in 1716, by his elder son, 

NICHOLAS LOFTUS, MP for County Wexford, who was elevated to the peerage as Baron Loftus, of Loftus Hall, in 1751. 

His lordship was sworn of the privy council in 1753; nominated Governor of County Wexford, and advanced to a viscountcy, as Viscount Loftus, of Ely, in 1756. 

He married firstly Anne, 2nd daughter of William, Viscount Duncannon, by whom he had issue, 

NICHOLAS, his successor

HENRY, succeeded as 4th Viscount Loftus

Mary; Anne; Elizabeth. 

His lordship wedded secondly, Letitia, daughter of Sir John Rowley, knight, by whom he had no issue. 

He died in 1763, and was succeeded by his elder son,  

NICHOLAS, 2nd Viscount, who was advanced to the dignity of Earl of Ely in 1766. 

He married Mary, eldest daughter and heir of Sir Gustavus Hume Bt, of Castle Hume, County Fermanagh; and dying in 1766, was succeeded by his only son,  

NICHOLAS, 2nd Earl, who died unmarried, in 1769, when the earldom expired, and the viscountcy and barony reverted to his uncle, 

THE HON HENRY LOFTUS, as 4th Viscount, born in 1709. 

His lordship was advanced to an earldom, in 1771, as Earl of Ely; and installed a Knight Founder of the Most Illustrious of St Patrick, 1783. 

Lord Loftus married twice, though died without issue, in 1783, when the titles became extinct; while the estates devolved upon his nephew,  

THE RT HON CHARLES TOTTENHAM, who then assumed the surname and arms of LOFTUS, and was created, in two years afterwards, Baron Loftus, of Loftus Hall. 

His lordship was advanced to a viscountcy, in 1789, as Viscount Loftus; and Earl of Ely in 1794. 

He was further advanced, to the dignity of a marquessate, in 1800, as MARQUESS OF ELY. 

His lordship was postmaster-general of Ireland in 1789; privy counsellor; Knight of St Patrick; governor of Wexford; governor of Fermanagh; colonel, the Wexford Militia. 

***** 

GEORGE HENRY WELLINGTON, 7th Marquess (1903-69), styled Viscount Loftus between 1925-35, became known by the courtesy title Viscount Loftus when his father succeeded to the marquessate in 1925. 

He was educated at Lancing College and served as a major in the North Irish Horse during the 2nd World War. He was also High Sheriff of Fermanagh in 1931. In 1935 he succeeded in the marquessate on the death of his father.  

***** 

CHARLES JOHN, 8th Marquess, who died in 2006 aged 92, was a Canadian prep school headmaster for some 40 years and a dogged, if silent, attender at the House of Lords for almost 30 years until his exclusion by Tony Blair’s reforms. He was appalled by the “constitutional vandalism” that cost him his seat. 

His eldest son, John, who was born in 1943, succeeded to the titles as 9th Marquess. 

The Ely Papers are deposited at PRONI.  

LOFTUS HALL, near Fethard-on-Sea, County Wexford, is, according to Mark Bence-Jones, a gaunt, three-storey mansion of 1871, with rows of plate-glass windows and a parapet, incorporating parts of a previous, late 17th century house.  

The house stands near the tip of Hook Head, an extremely wind-swept spot bereft of trees and shelter. 

The present house was built after his coming-of-age by the 4th Marquess of Ely (who also had plans for Ely Lodge in County Fermanagh). 

It contains an impressive staircase hall. 

In 1917, Loftus Hall was bought by the Sisters of Providence and turned into a convent and a school for young girls interested in joining the order. 

In 1983, it was purchased by Michael Deveraux, who re-opened it as “Loftus Hall Hotel”, which was subsequently closed again in the late 1990s.  

It was privately owned by Deveraux’s surviving family until late 2008, when it was sold to an unnamed buyer, rumoured to be “Bono” of U2 fame. 

While in need of repair at the time of writing, the nine-bay mansion comprises seven reception rooms, twenty-two bedrooms and a function room spread across three floors. 

http://davidhicksbook.blogspot.com/search?updated-max=2014-11-22T02:25:00-08:00&max-results=7&start=29&by-date=false 

THURSDAY, 30 OCTOBER 2014 

The Legend of  

Loftus Hall 

Co. Wexford 

In the drawing rooms of many Irish country houses stories abound of the night the devil paid a visit. His usual route of escape, upon discovery of his true identity, was via the chimney as a puff of smoke leaving damaged chimney pieces in his wake as a reminder. Many stories have abounded about satanic damage to fireplaces that may owe their true origin to faulty foundations rather than supernatural occurrences. However there is one story that has endured regarding Loftus Hall in Co. Wexford, of course like any tale, it should be prefaced with the words ‘Based on a True Story’. 
 

 Loftus Hall in the early 1900sCopyright The National Library of Ireland 

A house existed previously on the site of the current incarnation of Loftus Hall on the Hook Head Peninsula. It was known as Redmond Hall and it was in this house that the story of the visit of a mysterious stranger emanates. The Tottenham family were in residence the early 1770’s where, as the result of a storm, a ship deposited a mysterious man on the beach near the house. Redmond Hall being the one of the few houses in this area, the visitor was drawn to the lights from the windows. He made his equiries at the door and was welcomed in by Charles Tottenham. The young man stayed a number of days and a romance seemed to blossom with Charles’s daughter Anne. 

An image to set the scene of the card game in Redmond Hall. Interior with Card Players, about 1752, Pierre-Louis Dumesnil, Oil on canvas. The Metropolitan Museum of Art, Bequest of Harry G. Sperling, 1971 (1976.100.8). Image copyright © The Metropolitan Museum of Art / Art Resource, NY  

One evening the family and their guest sat down to play cards. During the game Anne dropped her playing cards and leant down to pick them up. She was amused to see that the young man had removed his shoes. However when she glanced at his feet, she was disgusted to see her suitor had hooves. The young man seen Anne’s ashen face as she arose from beneath the table, he knew his true identity had been discovered. Anne screamed and the man regained his true form as the devil and then disappeared up through the ceiling in a puff of smoke.  Anne never recovered from the shock of her close encounter with Satan and as a result she had a mental breakdown. Her family confined her to the Tapestry Room and the house became a magnet for supernatural activity. Anne remained in the Tapestry Room for the rest of her life, sitting in a hunched position refused to leave the window for fear that she may miss the return of the stranger from the shore. As a result, by the time of her death in 1775, her bones had become fused in this position. A special coffin had to be made and she was buried in the same position in which she had remained in for most of her life. This fact was confirmed when the Tottenham crypt was opened in the 1940’s and Anne’s unusual shaped coffin was seen. Despite an exorcism, the house and its replacement continued to be plagued by unexplained occurrences. In later years another tragedy was to occur at Loftus Hall when the second Marquis of Ormonde died on the the beach near the house in sight of his family. He and his family had traveled from Kilkenny Castle to Loftus Hall which he was renting from the Marquess of Ely on the 25th September 1854. 

The house that now stands on the Hook peninsula was built in 1870 on the ruins of Redmond Hall by John Henry Wellington Graham Loftus, fourth Marquess of Ely. Loftus Hall was built to celebrate his coming of age, having inherited the estate and the title at the age of eight. The Marquess had another house in Fermanagh called Ely Lodge which he had blown up, also to celebrate his coming of age. It was his intention to rebuild this house  but he spent too much on the new house in Wexford that his project in Fermanagh was never realised. Another reason put forward for blowing up Ely Lodge was to prevent Queen Victoria from making a visit, which seems drastic action to take to avoid an unwanted guest. Loftus Hall in Wexford reputedly stands on the foundations of the earlier seventeenth century house and it is said that both houses had a comparable footprint. The current owners believe that the new house was actually a remodeling of the existing house and incorporates numerous features from Redmond Hall. At the time of the rebuilding the Tapestry Room from the old house now became a billiards-room which continued to plagued by ghostly goings on. In later years the house keeper complained about the ghost of Anne Tottenham,  “Oh! Master George, don’t talk about her. Last night she made a horrid noise knocking the billiard balls about’. The design of the new house was influenced by Queen Victoria’s Osbourne House on the Isle of Wight, as John’s mother, Jane Loftus, the Dowager Marchioness of Ely, was a Lady of the Bedchamber to the Queen . The mansion is deliberately aligned on an axis to maximise the vista over looking the Hook Peninsula. The eagle finials on the roof line are said to be relics from the earlier house and the gateway to the house is said to have been designed by Robert Adam for the first Viscount Loftus of Ely. 
 

John Henry Wellington Graham Loftus, 4th Marquess of Ely, who built Loftus Hall when he came of age. He is pictured here with his mother, Jane Loftus (née Hope-Vere), Marchioness of Ely who is said to have influenced the design of the house. Photographed by John & Charles Watkins, published by Mason & Co (Robert Hindry Mason), circa 1860. Copyright the National Portrait Gallery London. 

After the death of the fourth Marquess in 1889 and his wife in 1917, Loftus Hall was used as a convent by two different orders of nuns until 1983. After the departure of the holy orders the mansion was successfully  run as a country hotel by the Devereux family until 1991. The mansion stood empty for a number of years and was sold in October 2008 to a Galway based businessman for around €1.7 million. However owing to the owner’s personal circumstances, it was put back up for sale in 2011. The local Quigley family purchased the house, mainly for the surrounding agricultural land but soon discovered the true value of the asset at its core, Loftus Hall. While they do not intend to restore the house, they have secured the fabric of the building by sorting out the leaky roof. The current owners have chosen to embrace the house’s troubled past and now use it to its advantage. They now provide ghost tours of the house which have attracted crowds of people. However when some ghostly faces were recently pictured at the windows of Loftus Hall, it has now made the house a popular tourist attraction and gained international attention 

The image of the ghostly residents pictured at Loftus Hall, Co. Wexford. 

If you wish to visit Loftus Hall and its ghosts, you can find more details by going to the website below: 

http://www.loftushall.ie/ 

https://www.independent.ie/regionals/newrossstandard/news/loftus-hall-for-sale-at-265m-40312463.html

Loftus Hall for sale at €2.65m 

Simon Bourke 

April 17 2021 12:00 AM 

With properties at a premium and construction at a standstill it’s not a particularly good time to be buying a home. However, if your budget runs to seven figures and you don’t mind living in one of the country’s most haunted houses then your search may be at an end. 

For the princely sum of €2,650,000 prospective owners can now purchase the famous Loftus Hall and its surrounding 63 acres.  

The mansion on the Hook peninsula was bought by Aidan and Shane Quigley in 2011 and subsequently opened to the public for the first time in 20 years in 2012. 

Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie

https://www.loftushall.ie/about

Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie
Loftus Hall, County Wexford, courtesy www.loftushall.ie

https://www.businesspost.ie/property/paddy-mckillen-jr-cuts-asking-price-for-wexford-manor-house-loftus-hall-to-e3-million/

by Vish Gain, June 26 2025

Paddy McKillen Jr has cut the asking price for Loftus Hall in Wexford from €4 million to €3 million as the first phase of an ambitious redevelopment plan to turn the property into a luxury hotel nears competition.

When McKillen Jr first bought Loftus Hall in 2022, his development company Oakmount reportedly paid €1.75 million for the manor-style house and 68 acres of land, subsequently paying millions more on its restoration.

The property was first put on the market earlier this year, when agents Colliers were quoting in excess of €4 million as the guide price was €4.5 million.

A spokesperson for Colliers said the current price “is reflective of market demand for an asset which requires substantial refurbishment work.”

Loftus Hall, which encompasses 2460 sq m, has been attracting interest from international wellness resort operators. The three-storey sea-view property overlooks the Hook lighthouse and peninsula and comes with walled gardens.

As it nears the end of McKillen’s phase one plans, Loftus Hall – built on the historic site of the original Redmond Hall – now has 22 upstairs bedrooms, a restored roof, replastered façade and a new bar and restaurant.

It also, famously, has reputation among locals for being haunted, according to its listing on Daft.ie.

“The property was purchased by the Quigley family in 2011 and run as a tourist attraction with guided tours of the property and seasonal events. In 2021 the property was bought by its current owners who had a masterplan to refurbish the original building over two phases,” the listing reads.

“The estate has already undergone extensive renovations, with Phase 1 nearing completion, set to transform the property into an exclusive 22-bedroom luxury hotel with high-end amenities, extensive food and beverage facilities, and beautifully landscaped gardens.”

Phase two of the redevelopment included an additional 56 bedroom hotel block, a gym and spa, dedicated wedding facilities for up to 300 seated guests, 33 standalone garden cottages, 10 eco pods along its perimeter, a children’s playground and more than two hundred car park spaces.

https://www.businesspost.ie/property/paddy-mckillen-jnrs-loftus-hall-comes-to-market-seeking-offers-of-e4m/

by Tina-Marie O’Neill, April 5 2025

One of Ireland’s most storied properties, Loftus Hall at Fethard-on-Sea in Co Wexford, officially came to market this week and is being sold through Colliers for a reported ask of €4 million.

Developer Paddy McKillen Jr spent millions on preparatory works to convert the period pile into a high-end 22-bedroom boutique hotel after purchasing it in 2022 for €1.75 million.

The 68 acre estate which has a remarkable past, overlooks Hook Peninsula and Hook Lighthouse, and offers a blend of heritage and development potential.

[captions: The house was built in 1870, as the private residence of John Henry Wellington Graham Loftus, 4th Marquess of Ely, on the site of the original 14th-century Redmond Hall estate. Paddy McKillen’s company Oakmount had begun extensive renovations on the house, a protected structure, as part of an initial phase of development. Its original owner fell into financial difficulty and was forced to sell the property. The house later served as a convent and a hotel]

The property was built in about 1870 on the site of the original Redmond Hall estate (which dated back to 1350) and boasts a total gross internal area (GIA) of 2,460.7 square metres across three floors.

The 19th-century residence was initially the private residence of John Henry Wellington Graham Loftus, 4th Marquess of Ely, who fell into financial difficulty and was forced to sell it. It was later operated as a convent by the Sisters of Providence (1917) and then as a hotel before closing in the late 1990s.

In a case of history eerily repeating, McKillen Jnr is now divesting from his property business, Oakmount.Before that process began last autumn, Oakmount had begun extensive renovations on Loftus Hall, a protected structure, as part of an initial phase of development.

A second phase was proposed which would have added an additional 56-bedroom hotel block, a gym and spa, dedicated wedding facilities, 33 standalone garden cottages, and 10 eco pods strategically placed along the perimeter of the property.

Loftus Hall could serve as a luxury hotel, a private estate, or a heritage attraction. With its striking location, rich history, and potential for further development, it could become a premier hospitality destination.

For further inquiries or to arrange a private viewing, contact Marcus Magnier or Gillian Earley of Colliers at 01-6333785 or 01-6333708 respectively.

Rathfarnham Castle, County Dublin – OPW

Rathfarnham Castle, Dublin

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

Rathfarnham Castle, Dublin, September 2021. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle, County Dublin, photograph by Robert French, (between ca. 1865-1914), Lawrence Photograph Collection, National Library of Ireland.

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

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

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

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

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

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

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

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

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

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

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

The Dictionary of Irish Biography tells us:

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

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

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

Adam Loftus was the first Provost of Trinity College Dublin.

The Dictionary of Irish Biography continues:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From the OPW website:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rathfarnham Castle, Dublin – OPW

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

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

From the OPW website:

The castle at Rathfarnham dates back to the Elizabethan period. It was built [around 1583] for Adam Loftus, a Yorkshire clergyman and politician [1533-1605]. Loftus was ambitious and eventually rose to become Archbishop of Dublin and Lord Chancellor of Ireland.

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

Archbishop-Chancellor Adam Loftus (1533-1605). The portrait is in Trinity College Dublin, as he was the first Provost. He was also Keeper of the Great Seal of Ireland, and he is here holding the embroidered purse which held the seal.

Loftus wanted the Castle to be a grand and impressive home which would reflect his high status in Irish society. He also needed it to be easily defended against attack from hostile Irish families such as the O’Byrnes based in the mountains to the south. The design was radically modern for the time and based on recent continental thinking about defensive architecture. The angled bastion towers located at each corner of the building were equipped with musket loops which allowed a garrison of soldiers to defend all approaches to the castle.” He married Jane Purdon. He was also the Provost of Trinity College Dublin, and Lord Chancellor of Ireland. They had many children, who married very well. [He died while he was Archbishop of Dublin, in the old Palace of St. Sepulchre beside St. Patrick’s Cathedral, which until recently was the Garda barracks on Kevin Street, now housed in a new building. I hope they will make something of the historic old archbishop’s palace now, which could be a great museum!]

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

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

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

Manorhamilton, County Leitrim, August 2022, built for Sir Frederick Hamilton, probably around 1634. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Portumna Castle, County Galway, July 2021, built for the Earl of Clanrickarde, before 1618. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Rathfarnham website continues: “[Adam Loftus’s] son Dudley (1561-1616) married Anne Bagenal, daughter of Nicholas Henry Bagenal, Marshal of Ireland. The castle passed to his son, Adam Loftus (1590-1666), who married Jane Vaughan of Golden Grove, County Offaly. Their son Arthur Loftus (1616-1659) married Dorothy Boyle, daughter of Richard Boyle the 1st Earl of Cork. They had a son, Adam Loftus (1632-1691) who became the 1st and last Viscount Lisburne. His only son died in infancy. Viscount Loftus was killed at the Seige of Limerick.

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

Another son of Dudley and Anne Bagenal was Nicholas Loftus (1592-1666), the ancestor of Henry Loftus, the Earl of Ely. Nicholas’s second son Henry (1636-1716) lived in Loftus Hall in County Wexford, and was the father of Nicholas Loftus, 1st Viscount Loftus of Ely. He married Anne Ponsonby, daughter of William Ponsonby, 1st Viscount Duncannon, and they had, first, the son Nicholas Loftus (1708-1766), who became the 1st Earl of Ely, and who added Hume to his surname after marrying Mary Hume, daughter of Gustavus Hume, 3rd Baronet of Castle Hume, County Fermanagh.

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

Nicholas Loftus 1st Earl of Ely and his wife Mary Hume gave birth to Nicholas Loftus Hume, 2nd Earl of Ely (1738-1769). 

Nicholas Hume Loftus, 1st Earl of Ely (1708-1766), unknown artist. It was after Nicholas Loftus (son of the Extinguisher) had married into the wealthy Hume family that the Ely earldom was created for the first time. This depicts Nicholas, the so-called “Wicked Earl” in the doctoral robes of Trinity College Dublin. 
Nicholas Hume Loftus, 1st Earl of Ely (1708-1766) by Jacob Ennis. These two portraits depict Nicholas, the so-called “Wicked Earl” at various stages of his life. Nicholas is much older in the Ennis portrait on the left. Lord Loftus allegedly mistrated his son (also Nicholas) leading to a protracted court case. That son would later bequeath Rathfarnham Castle and the estate to his uncle, Henry Loftus (1709-1783) who became the 1st Earl of Ely (of the second creation). Jacob Ennis was an Irish historical and portrait painter who spent some time studying in Italy. He was later a Master in the Dublin Society’s Drawing Schools.
Henry Loftus, 1st Earl of Ely of the 2nd Creation (1709-1783) by Angelica Kauffman. Henry inherited Rathfarnham Castle and its demesne in 1769 upon the death of Nicholas, his nephew. Nicholas had been the subject of a long running legal case concerning the state of his mind and Henry had suppported him throughout. Between 1769 and his death in 1783 Henry funded some of the most substantial 18th century changes to Rathfarnham Castle and the demesne. He contracted Sir William Chambers to remodel several of the rooms including the Ballroom and Anteroom. The Swiss artist Angelica Kauffman is known to have spent several months in Dublin in 1771. As well as this portrait which was probably completed to mark Henry’s elevation to the earldom of Ely, this renowned painter also completed a group portrait of Henry and his family (now in the National Gallery) as well as a series of ceiling paintings for the long gallery on the first floor depicting scenes from Greek mythology.

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

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

Rathfarnham Castle remained in the hands of the Loftus family and their heirs until it was purchased in 1723 by Speaker William Conolly of Castletown, Co Kildare, for £62,000. It returned to ownership of the Loftus family in 1767 when it was purchased by Nicholas Hume-Loftus.

Speaker Conolly never resided at Rathfarnham, leasing it instead to Joan Hoady, Archbishop of Dublin, from 1730-1742, who began the series of alterations that were to transform the castle into a modern country residence. He gave it to his son-in-law Bellingham Boyle.

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

The castle returned to the ownership of the Loftus family in 1767 when it was purchased by Nicholas Hume-Loftus. Nicholas never married and on his death in 1769 the Castle passed to his uncle, Henry Loftus (created Earl of Ely in 1771). Henry continued the remodelling of the castle and the works were completed by the time of his death in 1783. 

Henry Loftus (1709-1783) commissioned Sir William Chambers to remodel and redecorate Rathfarnham Castle. There are also several rooms which are attributed to architect and designer James “Athenian” Stuart. Much of the neo-classical design of the Castle today can be attributed to these two architects.
Externally, the window openings were enlarged, and a new stone Tuscan entrance portico added, probably to the designs of William Chambers. The original battlements were removed and the new parapet was embellished with ball finials and urns some of which also serve as chimneys. On the south front new garden steps were added, while on the east front a three bay bow had been added by 1774.
Most of the main interiors can now be attributed with certainty to James Stuart, whose best work in Ireland is the Temple of the Winds at Mount Stewart, County Down, and Sir William Chambers. Stuart was employed at Rathfarnham from at least 1769 and was responsible for the design of the ground floor gallery and two rooms above it. He was also involved in the decoration of some interiors at the family townhouse, Ely House, Dublin. Chambers was responsible for the small drawing room ceiling, back staircase lobby, the ante room and ballroom above, the entrance hall on the first floor, and the octagonal room in one of the towers.

Henry Loftus was succeeded by his nephew Charles Tottenham who did little beyond the erection in 1790 of the Gothic or Back Gate, now almost competely demolished to make way for a road.

Charles Tottenham Loftus, 1st Marquess of Ely by Hugh Douglas Hamilton. Charles was the nephew of Henry Loftus Earl of Ely and inherited Rathfarnham CAstle and the demesne on his death in 1783. The painting shows Charles in the robes of the Irish House of Lords. He is also wearing a chain indicating his membership of the prestigious Order of St Patrick. He was elevated to a Marquis, given a baronetcy in England as well as £45,000 in return for his votes in favour of the Act of Union. Hugh Douglas Hamilton (1740-1808) was born and grew up in Dublin and attended the Dublin Society’s Drawing Schools. He had a long and successful career as an artist and worked in London and Rome as well as Dublin. He is perhaps best known for his work in pastels and left an extensive series of portraits of leading figures in Irish society.
Jane Tottenham-Loftus (nee Myhill), 1740-1807, Marchioness of Ely. After Angelica Kauffman. She was married to Charles Tottenham Loftus, 1st Marquis of Ely, whose portrait hangs in the Ballroom. He was the son of John Tottenham, 1st Baron Tottenham of Ireland, and of Elizabeth Loftus, daughter of Nicholas Loftus, 1st Viscount Loftus of Ely.

“The Loftus family left Rathfarnham Castle in the 19th century and it was ultimately sold to the Blackburne family in 1852 (Francis Blackburne 1782-1867) who lived there until 1911. Coincidentally almost in the footsteps of Adam Loftus who built Rathfarnham Castle, Francis Blackburne became Vice-Chancellor of Trinity College. The Society of Jesus then acquired the building and for much of the remainder of the 20th century it was used as a Retreat House for lay visitors as well as accommodation for seminarians attending college in the city. Following the departure of the Jesuits in 1985, the Castle came into the care of the state and a great deal of restoration work has been carried out. Most of the rooms have been restored to their 18th century state and several are furnished with a collection of fine eighteen and nineteenth century pieces from continental Europe, Britain and Ireland.”

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

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

The painted glass panels featuring fruit and flowers are believed to be by the Dublin Huguenot artist Thomas Jervais (d. 1799). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
This long room would have been used as a saloon or drawing room to entertain guests and perhaps also as a space to display a collection of art works. It is believed the room was designed by James “Athenian” Stuart (1713-1788). The original ceiling paintings were a series of Greek mythological scenes by Angelica Kauffman (1741-1807). These were sold at auction in the early 20th century and are now believed to be in a private collection in the United States. The Jesuits commissioned a new series of ceiling paintings featuring scenes from the life of Christ by Dublin artist Patrick Tuohy (1894-1930). The residents of the Castle had direct access from this room to the lawn, woods and ornamental lake beyond via a double-cantilevered exterior staircase in Portland stone.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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

Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The door on the left-hand (northern) wall is typically eighteenth century in style and decoration. However to the left of it a trace of the original Elizabethan doorway is visible. It was blocked up during the 18th century refurbishments.  Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Pistol Loop Room: “This room in the south-eastern corner of the Castle reminds us of the orignal defensive function of the building. A blocked-up gun loop is still visible in the corner of the room. These gun loops allowed those defending the Castle to fire their weapons at any approaching attackers. Note also the odd shape of the room which tapers off to the left. This reflects the shape of the angled bastion towers which were designed to allow defending soldiers to protect all approaches to the castle. The plates and wine decanters depicted in the plaster frieze just below the ceiling would suggest that in the eighteenth century this room may have been used as a private or smaller dining room.” Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Ante-Room. This served as a reception or waiting rom for guests attending the Ball. The Ionic columned Venetian style window is perhaps the highlight of this room. The columns are wooden and hollow and feature intricately carved foliage. The whole window may be referencing the form of a Roman triumphal arch. The wall separating this room from the ballroom was reinstated in the 1990s by the OPW. It had been removed in the 19th century by the then owner, Lord Chancellor Francis Blackburne (1782-1867), to accommodate a large pipe organ. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Ballroom. The Ballroom was the principal room for entertainment and dancing and it is believed that the room was designed by Sir William Chambers. The door to the left on entering the room is false. It opens to reveal the wall behind. It was installed to maintain the balance and symmetry of the room. Musicians may have played in the eastern bow at the top of the Ballroom when dancing took place. Later, the Jesuits transformed the room into a chapel placing an altar in the bow with pews arranged down the centre of the room. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle, Dublin. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Octagonal Room. This room features an eight sided ceiling and is decorated with ancient Roman symbols of war. The border is made up of bound groups of timber rods (fasces), a symbol of authority and power in the Roman period. In the 18th century it may have been a withdrawing room where guests could step out of the Ballroom for private conversation or relaxation. It was later used as a sacristy by the Jesuits. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Four Seasons Room, believed to have been designed by James “Athenian” Stuart. In each corner of the ceilign a cherub represents one of the four seasons while the central painting is that of teh goddess of agriculture and the harvest (Demeter in Greek or Ceres in Roman mythology). The mirror is from the late18tth century and constructed from a type of papier-mache treated to give the appearance of gilded wood or metal. The Louis XVI giltwood and tapestry chairs feature scense from La Fontaine’s fables which were adapted from the classics and published in the late 17th century. They are accompanied by an inlaid George III Pembroke Table. The bureau belonged to Henry Loftus and is of German manufacture (c. 1775). The carpet is a late 19th century Aubusson. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, http://www.irishhistorichouses.com
The Gilt Room ceiling. A design by James “Athenian” Stuart, features eight rondels containing objects symbolising different Greek gods and goddesses. Facing toward the window and moving clockwise, these symbols are thought to represent Apollo, Hermes, Dionysus, Ares, Aphrodite, Pen, Demeter and Artemis. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, http://www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

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. 

p. 239. “(Loftus, Ely, M/PB; Blackburne/LGI1958) A C16 castle with square corner towers, refaced C18 and given regular elevations, of three storeys over a basement, with Georgian sash windows; also given a straight roof parapet with urns. Entrance front of three bays between the towers, which are of one bay each; the three centre windows in the middle storey being round-headed and that over the doorway, which is now obscured by a later pillared porch, Venetian. Adjoining elevation with central bowed projection; garden front with curving perron ascending to door in centre. Interior of 1770-1, designed by James Stewart for Henry Loftus, 1st (and last) Earl of Ely of 2nd creation. Low-ceilinged hall with Doric columns and entablature, cornice of mutules and pedimented Doric doorcases; formerly adorned with busts on marble pedestals. Principal reception rooms on floor above, which is treated as a piano nobile. The gallery or drawing room has a ceiling with a central compartment of circles and semi-circles, surrounded by a border of plaster reliefs which formerly incorporated painted panels, possibly by Cipriani. Another room has a ceiling of painted medallions and delicate plasterwork in square, rectangular and circular compartments. Roman triumphal arch at one entrance to demesne, Gothic gateway at another. By 1837, the castle had been emptied of its furniture and pictures; and then its owner, 2nd Marquess of Ely, was planning to demolish it “and to divide the demesne into a number of small plots for the erection of villas.” It was, however, spared, and became the seat of Bt Hon Francis Blackburne, Lord Chancellor of Ireland. Subsequently owned by the Society of Jesus.” 

Portraits L

L

Hugh de Lacy (d. 1186) 4th Baron Lacy portrait by Gerald of Wales – Expugnatio Hibernica (1189) https///www.isos.dias.ie/NLI/NLI_MS_700
Maurice Victor Lakin (1919-1995), last man to privately own Johnstown Castle, County Wexford, before handing it over to the state in 1945.
Frances Thomasine, Countess Talbot (née Lambart), (1782-1819), Wife of the 3rd Earl Talbot Date 1822 Engraver John Samuel Agar, British, c.1773-1858 After Charles Robertson, Irish, 1759-1821, courtesy of National Gallery of Ireland.
Major-General John Lambert, (1619-1683), Parliamentarian, Deputy Lord Lieutenant of Ireland, courtesy of National Gallery of Ireland.
Hugh Percy Lane (1875-1915) by George Charles Beresford, 1909, NPG x6528.

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
Charles Lanyon (1813-1889) courtesy of Queen’s University Belfast.
Henry Lascelles (1767-1841) 2nd Earl of Harewood by Thomas Goff Lupton after Sir Thomas Lawrence 1823, NPG D35437.
David Digges La Touche (1703-1785), of Bellevue, County Wicklow, courtesy of National Gallery of Ireland.
William Digges La Touche (d.1803) of no. 4, St Stephen’s Green courtesy of Adam’s 1st April 2009, Irish School, late 18th Century. He was a brother of David Digges La Touche (1703-1785), of Bellevue, County Wicklow.

David Digges La Touche (1703-1785) had sons David (1729-1817) and John (d. 1805)

David La Touche (1729-1817), of Marlay, 1800 by Hugh Douglas Hamilton, courtesy of National Gallery of Ireland.
David Digges La Touche (1729-1817) of Marlay, County Dublin, by James Fittler, photograph courtesy of National Gallery of Ireland.
John La Touche (1732-1805) by Angelica Kauffmann courtesy of MutualArt.com

First, let us look at his son David’s family, and then at John’s. David La Touche (1729-1817) and his wife, née Marlay, had many children:

Harriet married Nicholas Colthurst, 3rd Bt of Ardrum, County Cork;

Anne (d. 1798) married George Charles Jefferyes (d. 1841) of Blarney Castle, County Cork;

Emily married Col. George Vesey of Lucan House, Dublin;

Maria (d. 1829) married Maurice Fitzgerald, 18th Knight of Kerry;

Elizabeth (d. 1788) married Robert Butler, 3rd Earl of Lanesborough;

Elizabeth, Countess of Lanesborough (née La Touche), (1764-1788), wife of Robert Henry Butler 3rd Earl of Lanesborough. Date 1791 Engraver Francesco Bartolozzi, Italian, 1725-1815 After Horace Hone, English, 1756-1825, photograph courtesy of National Gallery of Ireland.

David married Cecilia Leeson, daughter of Joseph Leeson 1st Earl of Milltown;

Cecilia La Touche (d. 1848) née Leeson (about 1769-1848), by Hugh Douglas Hamilton. She married David La Touche (1769-1816). She was the daughter of Joseph Leeson (1701-1783), 1st Earl of Milltown and Elizabeth French. Photograph courtesy of English Heritage, Kenwood.

There was a son John David La Touche born 1772 who had a son: Peter La Touche (1777-1830) married Charlotte daughter of Cornwallis Maude, 1st Viscount Hawarden.

Peter La Touche of Bellevue (1733-1828) Date 1775 by Robert Hunter, Irish, 1715/1720-c.1803, photograph courtesy of National Gallery of Ireland.
Portrait Of A Young Gentleman, Believed To Be Peter Digges La Touche courtesy of Adam’s 1st April 2009, Irish School, late 18th Century.
Mrs La Touche of Bellevue by Stephen Catterson Smith 1806-1872, courtesy of National Gallery of Ireland NGI 628.

Now let’s go back and look at the family of John La Touche (1732-1805). He had a son Robert La Touche (d. 1844). He lived in Harristown in County Kildare. He married Emily Trench (1790-1816), daughter of William Power Keating Trench, 1st Earl of Clancarty.

They had a daughter Gertrude (1812-1864) who married Henry Stanley McClintock. Robert and Emily née Trench had a son John (1814-1904) who married Maria Price (1824-1906).

Maria La Touche née Price (1824-1906) of Harristown, she married John La Touche (1814-1904).

John (1814-1904) and Maria née Price (1824-1906) had a daughter Emily Maria (1846-1868) who married Bernard Matthew Ward, son of Edward Southwell Ward, 3rd Viscount Bangor.

Rose La Touche, 1861, by John Ruskin From “Ruskin, Turner and the pre-Raphaelites”, by Robert Hewison, 2000.
Gentleman believed to be Robert La Touche by Hugh Douglas Hamilton courtesy Christies Irish Sale 2003. Robert died when a stand collapsed at the Curragh Races.
Elizabeth La Touche née Vicars (1756-1842), wife of Peter La Touche, by John Whitaker National Portrait Gallery of London D18415.
Valentine Lawless (1773-1853) 2nd Baron Cloncurry, member of the Society of United Irishmen and President of the Dublin Literary Society, he lived at the Lyons estate in County Kildare. He married first Elizabeth Gergiana Morgan, daughter of General Charles Morgan but divorced her and married secondly Emily Douglas, third daughter of Archibald Douglas and Mary Crosbie, and widow of the Hon. Joseph Leeson. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Suzannah, Daughter of John Benson, wife of George Digby Leake of Rathkeale Abbey, Son of Sir John Leake and Great-Grandson of Francis Leake, Earl of Scarsdale of Sutton, Derbyshire; His Wife Suzannah, Daughter of John Benson courtesy Adam’s 11 Oct 2011, IRISH SCHOOL 18TH CENTURY
Colonel George Leake of Rathkeale Abbey, Son of Jones Benson Leake courtesy Adam’s 11 Oct 2011, IRISH SCHOOL 18TH CENTURY.
George D’Alton Leake of Rathkeale Abbey, Elder Son of George Leake and of Alice D’Alton Furnell courtesy Adam’s 11 Oct 2011, IRISH SCHOOL 18TH CENTURY.
Portrait of Joseph Leeson (1660-1741) of Saint Stephen’s Green Date c.1772, photograph courtesy of National Gallery of Ireland.

Joseph Leeson (1660-1741) married Margaret Brice.

Margaret Leeson née Brice wife of Joseph Leeson (1660-1741), c. 1772 by unknown artist, courtesy of National Gallery of Ireland NGI 1649.

Their daughter Anne married Hugh Henry (d. 1743). Their daughter Joyce married Robert Blackwood, 1st Bt. of Ballyleidy, Co. Down, and their son Joseph (1701-1783) became 1st Earl of Milltown.

Joseph Leeson (1701-1783), later 1st Earl of Milltown, 1744, by Pompeo Batoni, National Gallery of Ireland 701. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Joseph Leeson (1701-1783) 1st Earl of Milltown, painted by Anthony Lee. Portrait from the National Gallery of Ireland. Later he was created 1st Earl of Milltown. He had Russborough House built in County Wicklow. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Joseph Leeson (1701-1783) 1st Earl of Milltown married first Cecelia Leigh (d. 1731?). Their daughter Mary (d. 1794) married John Bourke, 2nd Earl of Mayo. A son Joseph Leeson (1730-1801) succeeded as 2nd Earl of Milltown. He died unmarried and his brother Brice (1735-1807) succeeded as 3rd Earl of Milltown.

Cecilia Leeson née Leigh d. 1737, painted by Anthony Lee, courtesy of National Gallery of Ireland.
Joseph Leeson (1730-1801) later 2nd Earl of Milltown, 1751 by Pompeo Batoni, courtesy of National Gallery of Ireland.

Joseph Leeson (1701-1783) 1st Earl of Milltown then married Anne Preston (d. 1766) daughter of Nathaniel Preston of Swainstown, County Meath. They had a daughter Anne who married her cousin Hugh Henry.

Third, Joseph Leeson (1701-1783) 1st Earl of Milltown married Elizabeth French (d. 1842), daughter of Reverend William French.

Joseph Leeson (1701-1783) 1st Earl of Milltown with his third wife Elizabeth née French and their daughter Cecilia and his grandson Joseph later 3rd Earl of Milltown, 1772, after Pompeo Batoni,courtesy of National Gallery of Ireland, NGI.1697. This is what the Gallery website says, but I think this 3rd Earl of Milltown was Brice Leeson (1735-1807).

Joseph Leeson (1701-1783) 1st Earl of Milltown and Elizabeth née French (d. 1842) had a daughter Cecelia who married David La Touche. A daughter Frances Isabella (d. 1840) married Marcus Beresford (1764-1797). They also had sons William (1770-1819) and Robert (1773-1842).

Cecilia La Touche (d. 1848) née Leeson (about 1769-1848), by Hugh Douglas Hamilton. She married David La Touche (1769-1816). She was the daughter of Joseph Leeson (1701-1783), 1st Earl of Milltown and Elizabeth French. Photograph courtesy of English Heritage, Kenwood.

Brice (1735-1807) 3rd Earl of Milltown married Maria Graydon and she gave birth to Joseph (1766-1800); John (1767-1835) and Robert (d. 1842).

Joseph (1766-1800) married Emily Douglas (d. 1841) and she gave birth to their heir, Joseph (1799-1866) who succeeded as 4th Earl of Milltown.

Emily Douglas (d.1841) by James Dowling Herbert courtesy of National Gallery of Ireland NGI 6271. She was wife of Joseph Leeson (1766-1800) mother of 4th Earl of Milltown.

Joseph (1799-1866) 4th Earl of Milltown married Barbara (d. 1874), daughter of Joshua Colles Meredyth, 8th Bt of Greenhills, Co. Kildare, widow of Eyre Tilson Coote, 3rd Baron Castle Coote. She gave birth to both the 5th and the 6th Earls of Milltown.

Edward Nugent Leeson, 6th Earl of Milltown (1835-1890), 1875 by Francis Grant, Courtesy of National Gallery of Ireland NGI.1036.
Anthony Lefroy (1800-1890), Conservative politician; MP for Longford and Dublin University, by Camille Silvy 1861 courtesy of National Portrait Gallery NPG Ax54615.
Elizabeth née Lennard (1670-1701), Countess of Meath, wife of 3rd Earl, 1701 engraving by Paul Van Somer II after Paul Mignard, photograph courtesy of National Gallery of Ireland.
Charles Lennox (1672-1723) 1st Duke of Richmond and Lennox, Courtier; son of King Charles II, by Sir Godfrey Kneller, Bt c. 1703 courtesy of National Portrait Gallery NPG 3221.

Charles Lennox (1672-1723) 1st Duke of Richmond and Lennox was an illegitimate son of King Charles II, by Louise Renée de Penancoët de Kérouaille, Duchess of Portsmouth. His son Charles Lennox (1701-1750) succeeded as 2nd Duke of Richmond and married Sarah Cadogan (1705-1751).

Sarah Lennox née Cadogan (1705-1751) and Charles Lennox (1701-1750) 2nd Duke of Richmond. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charles Lennox 2nd Duke of Richmond (1701-1750). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The portrait over the fireplace in the dining room is a half-length portrait of Charles Lennox (1701–1750), 2nd Duke of Richmond and 2nd Duke of Lennox, wearing armour with the ribbon of the Order of the Garter. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Charles Lennox (1701-1750) 2nd Duke of Richmond and Sarah née Cadogan (1705-1751) had several children:

Georgiana Carolina (1723-1774) married Henry Fox, 1st Baron Holland of Foxley;Emilia Mary

Emilia Mary (1731-1814) married James Fitzgerald 1st Duke of Leinster;

Emilia Mary Fitzgerald née Lennox (1731-1814) Duchess of Leinster, courtesy of National Gallery of Ireland. She was married to James FitzGerald 1st Duke of Leinster, 1st Marquess of Kildare, 20th Earl of Kildare.
Emilia née Lennox (1731-1814), Countess of Leinster, engraving after Joshua Reynolds, courtesy of National Gallery of Ireland.

Louisa Augusta (1743-1821) married Thomas Conolly;

Pastel of Lady Louisa Lennox (1743-1817), circle of George Knapton, c.1747. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The portrait of Lady Louisa Conolly née Lennox (1743-1817) is after Reynolds (the original is in the Fogg Art Museum, Harvard). She was the daughter of Charles 2nd Duke of Richmond and Lennox, and wife of Thomas Conolly (1734-1803). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Louisa Conolly née Lennox (1743-1817) who married Thomas Conolly (1734-1803). Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Louisa Conolly née Lennox (1743-1817), by Hugh Douglas Hamilton. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The small medallion in the centre is Lady Louisa by Hugh Douglas Hamilton. The one of the two girls on the right is of Louisa Staples (1770-1833) and her sister, by Hugh Douglas Hamilton. William James Conolly (1712-1754) was the nephew of William Conolly who built Castletown, and he inherited the estate. He was the father of Thomas Conolly (1734-1803). Thomas’s sister Harriet married John Staples (1736-1820), and their daughter was Louisa Staples. Louisa married Thomas Pakenham (1757-1836). It was their son, Edward Michael (1786-1849) who inherited Castletown, and added Conolly to his surname, to become Pakenham Conolly. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sarah (1745-1826) married Thomas Charles Bunbuy 6th Baronet then George Napier, and another daughter, Cecily (1750-1769) married Robert XI Arthur Geoffrey Nicholls, Comte de Cherbourg. A son, George Henry Lennox (d. 1805) married Louisa, daughter of General William Henry Kerr, 4th Marquess of Lothian. The elder son, Charles Lennox, (1734/5-1806) succeeded as 3rd Duke of Richmond.

I think this is a portrait of Louisa’s brother Charles Lennox (1734-1806), 3rd Duke of Richmond. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Charles Lennox (1734-1806) 3rd Duke of Richmond and Lennox, courtesy of National Gallery of Ireland.

Charles Lennox, (1734/5-1806) 3rd Duke of Richmond had a daughter so his nephew General Charles Lennox (1764-1819) succeeded as 4th Duke of Richmond.

Charles Lennox (1764-1819) 4th Duke of Richmond, engraver Henry Hoppner Meyer, after painter John Jackson, courtesy of National Gallery of Ireland.
Charlotte Lennox née Gordon (1768-1842), Duchess of Richmond, Vicereine 1807-1813, wife of Charles Lennox, 4th Duke of Richmond. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
James Lenox (1651/2-1723) courtesy of National Trust, Springhill, County Derry. He was the grandfather of Clotworthy Lenox (d. 1785).
Clotworthy Lenox (d. 1785) courtesy of National Trust, Springhill, County Derry.
Called Anne Conyngham (1724-1777) Mrs Clotworthy Lenox, courtesy of National Trust. Springhill, County Derry. She was the daughter of George Butle Conyngham (1690-1765).
George Lenox-Conyngham (1752-1816) courtesy of National Trust. Springhill, County Derry. He was the son of Clotworthy Lenox (d. 1785) and Anne Conyngham (1724-1777).
William Lenox-Conyngham (1792-1858) courtesy of National Trust, Springhill, County Derry. He was the son of George Lenox-Conyngham (1752-1816).
Charlotte Melosina Staples (1786-1847), wife of William Lenox-Conyngham (1792-1858), courtesy of National Trust. Springhill, County Derry.
Jean Hamilton (d. 1788), Mrs William Conyngham, by Joshua Reynolds, courtesy of National Trust, Springhill, County Derry.

Reverend John Leslie (d. 1671) married Katherine Conyngham. They had a son John Leslie (1645-1721) who married Elizabeth Hamilton, and a son Reverend Charles Leslie (1650-1722).

Rev. Charles Leslie (1650-1722), painting after Alexis Simon Belle, courtesy of National Gallery of Ireland.

Reverend Charles Leslie (1650-1722) married Jane Griffith and they had a son, Robert (d. 1743). He married Frances, daughter of John Rogerson, and they had a son, Charles Powell Leslie (1732-1800).

Portrait of Charles Powell Leslie (c. 1731-1800) of Castle Leslie, County Monaghan. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Charles Powell Leslie (1732-1800) married first Prudence Penelope Hill-Trevor she gave birth to their heir, Charles Powell Leslie (1769-1831). They had a second son, Reverend John Leslie (1772-1854) who married Isabella St. Lawrence (d. 1830), and who served as Bishop of Dromore and Bishop of Elphin.

Charles Powell Leslie (1769-1831), Castle Leslie, County Monaghan. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Bishop John Leslie (1772-1854), Corravahan, County Cavan. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Frances King (d. 1835), daughter of Robert Edward King 1st Viscount Lorton, who married Right Reverend Charles Leslie (1810-1870) of Corravahan, County Cavan, Bishop of Kilmore, who was son of Reverend John Leslie (1772-1854) and Isabella née St. Lawrence (d. 1830).

Charles Powell Leslie (1732-1800) married secondly Mary Anne Tench and they had several children.

Colonel Charles Powell Leslie (d. 1831) married Christiana Fosbery and they had several children, including Charles Powell Leslie (1821-1871) who died unmarried, and John Leslie (1822-1916) who became 1st Baronet of Castle Leslie.

A portrait of Lady Constance Leslie (née Dawson Damer) in later life, of Castle Leslie, County Monaghan, wife of John Leslie (1822-1916) 1st Baronet of Glaslough, Co Monaghan. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Shane Leslie (1885-1781), 3rd Baronet of Glaslough, County Monaghan. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Leonie Leslie (1859-1943), Shane Leslie’s mother. Originally Leonie Jerome, her sister Jennie was Winston Churchill’s mother. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Maria Phipps née Liddell, Marchioness of Normanby (1798-1882) by George Hayter. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Josephine Lloyd (1827-1912) who married Henry Robert Westenra, 2nd (UK) and 3rd Baron (Ireland) Rossmore of Monaghan. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Archbishop-Chancellor Adam Loftus (1533-1605). The portrait is in Trinity College Dublin, as he was the first Provost. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Adam Loftus (1533-1605) married Jane Purdon and they had several children:

Anne married Henry Colley and then Edward Blayney, 1st Lord Blayney, Baron of Monaghan;

Martha (d. 1609) married Thomas Colclough (1564-1624) of Tintern Abbey in County Wexford;

Isabelle (d. 1597) married William Ussher (1561-1659);

Alice (d. 1609) married Henry Warren of Warrenstown, County Offaly;

Katherine married Francis Berkeley; Margaret married George Colley; Dorothy (d. 1633) married John Moore (1570-1633).

Adam Loftus and Jane née Purdon had a son Thomas (d. 1635); Adam (d. 1599); Edward (d. 1601) and Dudley (b. 1561).

Dudley Loftus (b. 1561) married Anne Bagenal and they had a son, Adam, who married Jane daughter of Walter Vaughan of Golden Grove, County Offaly. They had other sons: Samuel, Edward and Nicholas (1592-1666).

Adam Loftus and Jane née Vaughan had several children. Their daughter Lettice married Richard son of William Parsons, 1st Baronet; Margaret married Walter Burrowes 2nd Baronet; Elizabeth married Nicholas Forde; Mary married Thomas Boyd of Dublin. Their son Arthur married Dorothy Boyle (1617-1668), daughter of Richard Boyle 1st Earl of Cork. She married secondly Gilbert Talbot, son of William 1st Baronet Talbot, of Carton, Co. Kildare.

Arthur Loftus and Dorothy Boyle (1617-1668) had a daughter Ellen who married Theobald Bourke 4th Viscount of Mayo. Arthur and Dorothy had a son Arthur (1632-1691), who became 1st (and last) Viscount Lisburne.

Lucy Loftus née Brydges (1654-1681? or 1646-1689?) of Sudeley Manor, Gloucestershire, England, by Peter Lely, wife of Adam Loftus (1632-1691), 1st and last Viscount Lisburne. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Dudley Loftus (b. 1561) and Anne née Bagenal’s son Nicholas (1592-1666) of Fethard, County Tipperary, married Margaret Chetham and they had a son Nicholas (b. 1635) who had three daughters, and Henry (1636-1716), who lived at Loftus Hall in County Wexford.

Henry Loftus (1636-1716) married first Amy Gorges and they had a daughter Jane (d. 1734) who married Thomas Cosby (d. 1735) of Stradbally Hall in County Laois, and a daughter Margaret who married Highgate Boyd.

Henry Loftus (1636-1716) then married Anne Crewkern and they had a son Henry who died unmarried and a son Nicholas (d. 1763) who became 1st Viscount Loftus of Ely.

Nicholas Loftus, 1st Viscount Ely (1687-1763). Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Nicholas Loftus (d. 1763) 1st Viscount Loftus of Ely married Anne, daughter of William Ponsonby, 1st Viscount Duncannon. They had several children:

Mary (d. 1779) married William Alcock (d. 1779) of Wilton Castle in County Wexford;

Anne (d. 1768) married Charles Tottenham (1716-1795).

Elizabeth (d. 1747) married John Tottenham, 1st Bt (d. 1786);

Nicholas (d. 1766) who took the name Hume-Loftus and became 1st Earl of Ely. He married Mary Hume, daughter of Gustavus Hume, 3rd Baronet. Their son Nicholas Loftus Hume (1738-1769) 2nd Earl of Ely and on his death the Earldom expired.

Nicholas Hume Loftus, 1st Earl of Ely (1708-1766) by Jacob Ennis. He added Hume to his name after marrying Mary Hume, daughter of Gustavus Hume 3rd Baronet of Castle Hume, Co Fermanagh. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Nicholas Loftus (d. 1763) 1st Viscount Loftus of Ely and Anne née Ponsonby had another son Henry Loftus (1709-1783) who became 1st (and last Earl) of Ely of the second creation.

Henry Loftus, 1st Earl of Ely of the 2nd Creation (1709-1783) by Angelica Kauffman. He was the son of Nicholas Loftus, 1st Viscount Ely (1687-1763). Rathfarnham Castle. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Henry Loftus (1709-1783) and wife Frances Monroe, Countess of Ely (d.1821) by Sir Joshua Reynolds courtesy of National Trust Upton House.

Nicholas Loftus (d. 1763) 1st Viscount Loftus of Ely and Anne née Ponsonby’s daughter Elizabeth (d. 1747) who married John Tottenham, 1st Bt (d. 1786) had a son Charles (1738-1806) who took the surname Loftus in 1784, and was created 1st Marquess of Ely.

Charles Tottenham Loftus (1738-1806) 1st Marquess of Ely by Hugh Douglas Hamilton, at Rathfarnham Castle. He was the son of John Tottenham 1st Baronet Tottenham and Elizabeth Loftus, daughter of Nicholas Loftus 1st Viscount Loftus of Ely, of Loftus Hall in County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Charles Tottenham Loftus (1738-1806) 1st Marquess of Ely married Jane Myhill and they had two sons: John Loftus (1770-1845) who succeeded as 2nd Marquess of Ely, and Rt. Rev. Lord Robert Ponsonby Tottenham (1773-1850) who served as Bishop of Clogher.

Oil painting on canvas, John Loftus, 2nd Marquess of Ely (1770-1845), attributed to Sir Thomas Lawrence (1769-1830). A three-quarter-length portrait, in a brown coat and blue sash. Peer’s robes to the right, red curtain to the background. A picture of the sitter’s wife by Lawrence is in the Art Institute of Chicago. Sothebys, Public Domain, https://commons.wikimedia.org/w/index.php?curid=15266849
John Henry Wellington Graham Loftus (1849-1889) 4th Marquess of Ely with Jane Loftus née Hope-Vere Marchioness of Ely by John & Charles Watkins c. 1860, NPG x134191.
Inscription verso reads, ‘Harriette / Née McClintock – wife of Richard Longfield of Longueville Co. Cork.’ courtesy of Whyte’s May 2016. Harriet Elizabeth (c. 1814-1834) was the daughter of John McClintock (1770-1855) of County Louth and Elizabeth Trench (1784-1877), and she married Richard Longfield (1802-1889) of Longueville, County Cork.
Lowry, Robert (d. 1729) of Aghenis Irish school courtesy of National Trust Castle Coole. He was the father of Galbraith Lowry-Corry (1706-1769).
Galbraith Lowry-Corry (1706-1769) courtesy of National Trust, Castle Coole, County Fermanagh.
Sarah Corry (1709-1779) later Mrs Galbraith Lowry Corry, by Anthony Lee courtesy of National Trust, Castle Coole, County Fermanagh.
Armar Lowry-Corry (1740-1802) 1st Earl Belmore, by Robert Hunter, courtesy of National Trust, Castle Coole, County Fermanagh. He was the son of Galbraith Lowry-Corry (1706-1769) and Sarah Corry (1709-1779).
Margaret Lowry-Corry née Butler (1748-1775) by Robert Hunter, courtesy of National Trust, Castle Coole, County Fermanagh. She was 1st wife of Armar Lowry-Corry (1740-1802) 1st Earl Belmore.
Anne Lowry-Corry, Countess of Enniskillen (1742-1802) by Horace Hone c.1785, watercolour painting on ivory, courtesy National Trust Florence Court. Sister of Armar Lowry-Corry (1740-1802) 1st Earl Belmore and wife of William Willoughby Cole 1st Earl of Enniskillen.
Mary Anne Lowry-Corry née Caldwell, (d. 1841) Countess Belmore by Hugh Douglas Hamilton courtesy of National Trust Castle Coole. She was the daughter of John Caldwell 4th Baronet of Castle Caldwell in County Fermanagh. She was 3rd wife of Armar Lowry-Corry (1740-1802) 1st Earl Belmore. His second wife was Henrietta Hobart, daughter of John Hobart 2nd Earl of Buckinghamshire.
Somerset Lowry-Corry (1774-1841) 2nd Earl Belmore, by Hugh Douglas Hamilton, courtesy of National Trust, Castle Coole, County Fermanagh. He married Juliana Butler (1783-1861), daughter of Henry Thomas Butler 2nd Earl of Carrick (2nd Creation).
Juliana Butler (1727/8-1804) Countess of Carrick, with her younger daughters Lady Henrietta Butler (1750-1785), later Viscountess Mountgarret, and Lady Margaret Butler/Lowry-Corry (1748-1775), by Richard Cosway, courtesy of National Trust, Castle Coole, County Fermanagh.
Emily Louise Lowry-Corry née Shepherd (1814-1904) Countess Belmore, wife of Armar Lowry-Corry 3rd Earl of Belmore, by Stephen Pearce courtesy of National Trust Castle Coole.
Somerset Richard Lowry-Corry (1835-1913) 4th Earl Belmore, by Stephen Pearce, courtesy of National Trust, Castle Coole, County Fermanagh. He was son of Armar Lowry-Corry 3rd Earl of Belmore.
Henry Thomas Lowry Corry (1803-1873) by and published by William Walker 1867, NPG Ax15852.
Anne Luttrell (1743-1808), who married Christopher Horton and later, Henry Frederick, Duke of Cumberland, painted by Thomas Gainsborough, National Gallery of Ireland, NGI795. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Georgiana Pakenham née Lygon (1774-1880). She married Thomas Pakenham 2nd Earl of Longford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com