Since the majority of Ireland’s extant country houses date from after 1700, they are inclined to have a rational, linear character, with rooms arranged in sequence off straight corridors. The kind of organic, almost haphazard development found in equivalent properties elsewhere around Europe is largely absent here, even in older buildings where order was often subsequently imposed by their owners. Only occasionally does one come across a house which unashamedly revels in being an amalgam of several centuries and makes no attempt to conceal its heterogeneous heritage. Huntington Castle, County Carlow is one such place.
Huntington is built on the site of a 13th century Franciscan priory. After the Dissolution of the Monasteries in the 1540s the land passed into the hands of Laurence Esmonde, whose family had long been settled in this part of the country. Esmonde was a convert to Anglicanism and served in the armies of first Elizabeth I and then James I, for which services he was raised to the peerage in 1622 as Lord Esmonde. It appears that a few years after receiving this honour he built the core of the present house, now buried within subsequent accretions but still discernible as a three-storey fortified dwelling. The first alterations and additions to that core were made c.1680 by his grandson, Sir Laurence Esmonde and a wing was constructed by the latter’s own grandson (another Sir Laurence) around forty years later. In the 19th century, Huntington passed through marriage to the Durdins (now, again through marriage, the Durdin-Robertsons) and around 1860 a further extension to the rear once more increased the castle’s size.
The interior of Huntington makes no attempt to conceal its centuries-long evolution. The drawing room, for example, has 18th century classical plaster panelled walls beneath a 19th century Perpendicular-Gothic ceiling. Some passages on the ground floor retain their original oak panelling, a number of bedrooms above being panelled in painted pine. The dining room has an immense granite chimneypiece bearing the date 1625, while those in other rooms are clearly from a century later. In keeping with this satisfying chronological mishmash, the interior is replete with short flights of stairs and narrow corridors, each leading to another part of the castle. The passage of centuries has left everything a little off beam, a touch unaligned. There is no overall plan, no impression that anyone ever tried to impose coherence on the building. Instead it was allowed to grow as circumstances dictated and, no doubt, as funds permitted. Huntington has never passed out of the hands of the first Laurence Esmonde’s descendants and one suspects continuity of ownership played a part in ensuring it avoided undergoing radical make-over: a new owner would no doubt have wanted to put his or her stamp on the place. Huntington exults in its idiosyncratic character and by so doing offers a fuller sense of evolving history than would a more rationally designed house. If only there were more like it.