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/

Tintern Abbey, County Wexford – an OPW property

Tintern Abbey, County Wexford

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

General information: 051 562650, tinternabbey@opw.ie

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We visited Tintern Abbey when we were in Wexford in May 2023. We visited again recently as it had rained on our previous visit and we didn’t get to to go to Colclough walled garden, so we made a beeline for the walled garden on our second visit.

Tintern Abbey, photograph by Brian Morrison, 2017 for Tourism Ireland, Ireland’s Content Pool. [see 1]
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey and Colclough Walled Garden.

The Abbey was converted into a residence after the Dissolution of the Monasteries in King Henry VIII’s time. When the Abbey was gifted to the state, the Irish Board of Works immediately demolished the residence, so that the building was left a ruin. It was only two decades later that the Board of Works began to conserve the property.

Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The OPW website https://heritageireland.ie/visit/places-to-visit/tintern-abbey/ tells us that the Abbey was founded as a Cistercian monastery around the year 1200 by William Marshall, 1st Earl of Pembroke, who became Lord of Leinster as he married Isabella de Clare, the daughter of “Strongbow,” Richard de Clare, 2nd Earl of Pembroke. Marshall vowed to create an abbey wherever he could safely land in Ireland during a storm, and he landed in Bannow Bay. Tintern Abbey is located at the head of a small inlet of the sea, next to a stream that provided fresh water. The Abbey was founded as a “daughter house” of Tintern Abbey in Wales, made famous by poet William Wordsworth. To distinguish it from the Welsh abbey, Wexford’s Abbey was also called “Tintern de Voto” meaning “of the vow.”

OPW notice board. Reconstruction drawings by Daniel Tietzsch-Tyler.
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The story of the marriage of William Marshall and Isabel de Clare.

After the dissolution of the monasteries by Thomas Cromwell and King Henry VIII, Tintern Abbey was granted to a soldier, Anthony Colclough (d. 1584).

Information boards tell us about the history of the Abbey and the Cistercian Order, which was based on a strict interpretation of Benedictine rule. The monks would have lived according to a spartan routine of prayer and manual labour. Most of the difficult tasks were carried out by lay brothers. The practice of having lay brothers began because initially the monks wanted to cut themselves off from the outside world and did not allow lay people on their land. However, they needed labourers, so the lay ministry was formed. Some of these lay brothers may have lived nearby in Rathumney Hall, or Castle, now a ruin. Lay brothers often lived in out-farms or “granges,” which would have their own hall, dormitory, kitchen and chapel, and the brothers would then join the monks at the Abbey at weekends.

Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, situated at the top of an inlet.
Tintern Abbey, photograph by Celtic Routes, 2019 for Tourism Ireland, Ireland’s Content Pool. [see 1]

Information boards tell us of the various phases of the Abbey. It would have been built first by lay monks, and later by the mid 1200s, by professional masons.

Tintern Abbey, County Wexford, May 2023. Reconstruction drawings by Daniel Tietzsch-Tyler.
Tintern Abbey, County Wexford, May 2023.
Makers Marks, from as early as the 1200s, Tintern Abbey, County Wexford, May 2023.

Cistercian simplicity was reflected in their buildings, of strong form and good building techniques. In 1140, Malachy, Bishop of Down, visited Bernard of Clairvaux. Bernard sent helped to establish the Cistercian monastery in Mellifont, County Louth, and by 1169 Ireland had fourteen Cistercian settlements. The Anglo Normans established a further ten in the fifty years after 1169, including Dunbrody Abbey, another Cistercian monastery near Tintern Abbey.

The Cistercians built according to well-established convention. The churches consisted of an aisled nave and presbytery with north and south transepts. A tower was not a usual feature. The cloister was south of the church and was surrounded by buildings such as the infirmary, dormitory, kitchen, guest house and scriptorium.

Tintern Abbey, County Wexford, May 2023. Reconstruction drawings by Daniel Tietzsch-Tyler.
The large window at the east end of the chancel of Tintern Abbey, probably built by 1325. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The large window at the east end of the chancel of Tintern Abbey, probably built by 1325. The sloping window cill next to the tower would have accommodated the north transept and chapel. These may never have been built, as there is no evidence. The stepped battlements were probably added at a later date. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The sloping window cill next to the tower would have accommodated the north transept and chapel. Tintern Abbey, County Wexford, May 2023. Above the windows are the carved corbel tables. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
See the carved heads above the window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023.

The monks were interested in farming and adopted the latest methods.

Tintern Abbey, County Wexford, May 2023. Reconstruction drawings by Daniel Tietzsch-Tyler.
Tower, Nave and South Trancept, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The nave, chancel, tower, chapel and cloister still stand. The nave has lost its aisles and clerestory, but still has three bays of plain arches.

Tower and south trancept, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Nave, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Facing the tower from the nave, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tower and Nave, Tintern Abbey, photograph by Brian Morrison, 2017 for Tourism Ireland, Ireland’s Content Pool. [see 1]
Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Sculpture was not encouraged in Cistercian buildings but Tintern has a few fine surviving examples. A carved corbel table remains, which contains twenty four carved heads, some human, some monstrous.

Carved heads above the window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carved heads above the window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023.
Picture of carving in Tintern Abbey.

In the 16th century the old abbey was granted to the Colclough family (pronounced Coakley) and soon after the church was partly converted into living quarters and further adapted over the centuries. The Colcloughs occupied the abbey from the sixteenth century until the mid-twentieth.

The nave contained the main residence of the Colclough family.
Renovations and excavation at Tintern Abbey.
Tintern Abbey, County Wexford, May 2023.

A chapter by Sean Clooney about Tintern Abbey in Tintern Abbey County Wexford, Cistercians and Colcloughs, Eight Centuries of Occupation, 1st Edition edited by Kevin Whelan, 2nd Edition edited by Anne Finn, tells us that Anthony Colclough, much like King Henry VIII, divorced his first wife! He divorced Thomasine Sutton in 1547 and married Clare Agard. He converted the tower of the abbey into a fortified tower house. A fire in 1562 had destroyed many of the other buildings. He also built the unique fortified bridge nearby.

The fortified bridge built by Anthony Colclough by Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The fortified bridge built by Anthony Colclough by Tintern Abbey, County Wexford, March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

He is buried in the small ruined church a few hundred metres south east of the abbey. The plaque in this church reads:

Here lieth the body Syr Anthony Colclought Knight, eldest sune of Richard Colclought of Wolstanton in Stafordshire Esquier who came first into this land in the 34 yere of Henry the 8 and then was Captayn of the Pensioners in which place and others of greater charge he continued a most faythful serviter during the life of Edward the VI and Queen Mary and until the XXVI yer of our most noble Queen Elisabeth and then died the IX of December 1584. He left his wife, Clare Agare, daughter of Thomas Agare Esquier 7 sonns, Frances, Ratlife, Anthony, Syr Thomas Colclough, Knight, John, Matew, Lenard and 5 doghters, Jaqnet who married to Nicholas Walsh Esquier of the Priveie Counsayle and one of the Justice of the Kings Bench in Ireland; Fraunc married to William Smethwike of Smethwik in Cheshier; Clare married to William Snead of Brodwal in Stafordshire Esquier; Elinor died iunge.”

Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern church and cemetery, which contains the Colclough vault. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

Anthony’s son Thomas continued to develop Tintern, and is said to have established oyster beds in Bannow Bay. He married, first, Martha Loftus, daughter of Adam Loftus, Protestant Archbishop of Dublin. Their son Adam was raised to the baronetcy as 1st Baronet of Tintern Abbey. Thomas’s second wife, Eleanor Bagenal, was Catholic. After her husband’s death, she married Lucas Plunkett, 1st Earl of Fingall. Thomas’s son by his second marriage inherited lands at Duffry, where Duffry Hall was built by his grandson Patrick Colclough (d. 1691).

Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, May 2023. Reconstruction drawings by Daniel Tietzsch-Tyler.
Colclough family tree, in Tintern Abbey County Wexford, Cistercians and Colcloughs, Eight Centuries of Occupation, 1st Edition edited by Kevin Whelan, 2nd Edition.

During the 1641 rebellion 200 local Protestant people took refuge in Tintern which was garrisoned by forty soldiers from Duncannon Fort situated nearby. At that time Tintern would have been inhabited by the 2nd Baronet, Caesar Colclough (d. 1684). Shortly afterwards the Catholic branch of the family laid siege to the Protestant branch who were in residence in Tintern Abbey. [2]

The Catholic branch who took control of the abbey following a two-week siege included Dudley Colclough (1613-1663), who had married Katherine Esmonde of Johnstown Castle, and his two brothers John and Anthony (who married Mary Esmonde from Johnstown Castle). Following Oliver Cromwell’s arrival in 1649 Dudley was banished to Connaught and he ultimately died in exile in France.

The 3rd Baronet of Tintern Abbey, Caesar (1650-1687) had no heir so the title expired and the lands passed to his sister Margaret. She married firstly, in 1673, Robert Leigh, of Rosegarland, who thereupon assumed the surname of Colclough; and secondly, in 1696, John Pigott, of Kilfinney, County Limerick, who also assumed the surname of Colclough.

Caesar Colclough (d. 1766), known as “Great Caesar,” great-grandson of Catholic Dudley who had rebelled in 1641, united the properties. His grandfather, Patrick Colclough of Duffry Hall, married Katherine Bagenal of Dunleckney, County Carlow. Patrick Colclough was Catholic and very active in the Jacobite cause and was attainted of High Treason and outlawed by King William III but he died in 1691, before the attainder passed into law, so his eldest son was able to inherit his estates. His son Dudley (d. 1712) was brought up in the Protestant faith. [3] He married Mary Barnewall, granddaughter of Nicholas Barnewall, 1st Viscount Barnewall of Kingsland. The Great Caesar was their son.

The “Great Caesar” was a great sportsman and generous landlord. He brought a team of men to play hurling in front of King George. The team wore a yellow sash to distinguish them from the opposition, and the king or queen called out, “Come on the yellow bellies!” and from then on, Wexford men are called “yellow bellies.”

Caesar’s second wife, Henrietta Vesey, was the great-granddaughter of King Charles II, granddaughter of Mary Walters de Crofts, illegitimate daughter of Charles II.

Upon the Great Caesar’s death in 1766, the Tintern estates passed to his grandson Vesey, and the Duffry estates passed to his younger son Adam. Vesey Colclough (1745-1794) married Catherine Grogan of Johnstown Castle in County Wexford. It was not a happy marriage and they separated, but Vesey remained in Tintern and transformed the chancel of the abbey into a residence. He was extravagant in his lifestyle, however, and his son John had to extricate himself from debt accrued.

OPW notice board. Reconstruction drawings by Daniel Tietzsch-Tyler.
Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

John did more renovations of the abbey, constructing a second storey over the south transept aisle, which was known as the Lady Chapel. The lower storey held a kitchen and above, a library, wiht a massive Gothic window facing the sea.

Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford.
The library window, Tintern Abbey, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The large traceried window being restored.
The old library with its large window. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

However, when John was standing for election he was shot dead in a duel in 1807 by William Alcock of Wilton Castle in County Wexford, an opponent in the election. Alcock was acquitted by a jury of his peers, but his mental health deteriorated.

Four Colcloughs died in duels. Thomas of Duffrey Hall was killed in a duel in 1690. Agmondisham, son of “Great Caesar,” was killed in a duel in 1758, and John Colclough of St. Kieran’s was killed in 1801 by Henry Loftus Tottenham of Loftus Hall, far down on the Hook Peninsula (a property that is again advertised for sale).

Tintern passed to John’s brother, another Caesar Colclough (1766-1843). He and his wife Jane Kirwan had no children, and some suspected his wife of killing him. She went on to marry Thomas Boyce. Her right to the property was challenged by the Colclough family. So many court cases were instigated that it has been said that it was one of the inspirations for Dickens’ “Jarndice vs Jarndice” in Bleak House.

Adam, the son of “Great Caesar” who inherited Duffry, had a son, Caesar, who died in 1822. He was Chief Justice of Prince Edward Island in Canada. It was his daughter, Mary, who married John Thomas Rossborough, who eventually gained ownership. Her husband took the name Colclough.

The Colclough family lived there until 1958, when it was presented to the state by Lucy Biddulph-Colclough.

The Board of Works that took on care of Tintern Abbey dismantled the residential part of the building: floors, doors and windows were taken out, the roof was taken off, and materials were sold by auction. It was only twenty years later that the Board of Work returned to preserve the abbey.

Tintern Abbey noticeboard. Reconstruction drawings by Daniel Tietzsch-Tyler.
Tintern before restoration work.
Tintern before restoration work.

When it was being restored, the roof of the tower was rebuilt. The coach house with the medieval gateway was restored to provide visitor facilities.

The restored coach house, in use for tourist facilities, at Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The Lady Chapel was restored for use as an exhibition room.

Stephen in the stone vaulted Lady Chapel, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Carved boss in the Lady Chapel vaulting, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The Library was cleared out during restoration, including removing wood panelling. Wood panelling was later partly reinstated.

When the Abbey was converted into a residence, new flooring was added and the tower house was divided into rooms with wattle and daub timber frame screen walls and oak panelling fixed to the masonry walls. What remains of the oak panelling has been conserved and is now located on the first floor of the Crossing Tower. Dendrochronology dates the timbers to 1600-1620. It was known as “wainscotting.” It added warmth to the room.

Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
When converted to a residence, wooden-framed partition walls were added in the tower. The oak framework was infilled with panels of woven sticks “wattle” and caked with mud (“daub”) and painted.
Recovered oak panelling from 1600-1620, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023.
Wattle and daub, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
The “wattle” for building was obtained by the practice of coppicing, Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
You can see how thick the walls are, Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Display case in Tintern Abbey. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023.
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, May 2023. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

The website continues: “Conservation works have included special measures to protect the local bat colonies. The abbey is set in a special area of conservation and is surrounded by woodland within which are walking trails. Not to be missed is the restored Colclough Walled Garden situated within the old estate.

Colclough walled garden, Tintern Abbey, County Wexford. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Colclough Walled garden, Tintern Abbey, photograph by Brian Morrison, 2017 for Tourism Ireland, Ireland’s Content Pool. [see 1]
Tintern Abbey, photograph by Brian Morrison, 2015 for Tourism Ireland, Ireland’s Content Pool. [see 1]

Following the donation of Tintern Abbey to the Irish State in 1959 the walled garden was abandoned to nature and became overgrown.  The gradual restoration of the walled garden by a team of volunteers began in 2010 and the 1830s layout shown on the Ordnance Survey was reinstated. The restored garden, which opened to the public in 2012, is divided into two sections: the Ornamental Garden and the Kitchen Garden. 

Garden at Tintern Abbey, photograph by Brian Morrison, 2017 for Tourism Ireland, Ireland’s Content Pool. [see 1]
Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com
Tintern Abbey, County Wexford, 15th March 2025. Photograph © Jennifer Winder-Baggot, www.irishhistorichouses.com

[1] https://www.irelandscontentpool.com/en/media-assets/media/81101

[2] notes from Tintern website, by Breda Lynch.

[3] https://genealogy-and-you.com/onewebmedia/Colclough.pdf

See the sale of Loftus Hall, courtesy of Colliers.

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

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.

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

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.