Boyce’s Almshouses in Tallow, County Waterford. When local man John Boyce died in May 1830, he left funds for the construction of this terrace of single-storey cottages in a loosely Tudor-Gothic idiom to provide accommodation for ‘aged couples.’ They served this purpose for over a century and a half but then fell into disrepair and were abandoned until a few years ago when restored by the local authority as four social housing units.
The Irish Aesthete is generously supported by
‘Dundrum Castle is usually supposed to have been erected for the Knights Templar by the renowned Sir John de Courcey, and that powerful body possessed it till the abolition of the order in the year 1313. It was afterwards granted to the Prior of Down, who held it, with a small manor adjoining, till the final suppression of religious orders; and the reversion of this house and manor, with the yearly rent of 6l. 13s. 6d. reserved out of it, was granted to Gerald, Earl of Kildare.’
From the Dublin Penny Journal, No.36, Vol.1, March 2 1833.
‘This Castle was granted to the family of Magennis; on their forfeiture, it became the property of the Earl of Ardglass, and afterwards was in the possession of the Lord Viscount Blundell; the ruins are of an irregular multangular ſorm, with a fine round tower, which is about thirty-five feet diameter in the inside.” Thus far Mr. Archdall. In addition to which, Harris says, “When the Castle was in repair it often proved a good guard to the pass, and as often an offensive neighbour to the English planted in Lecale, according to the hands that possessed it. Anno 1517, the Earl of Kildare, then Lord Deputy, marched into Lecale, and took it by storm; it being garriſoned at that time by the Irish, who had driven out the English ſome time before. It was again possessed and repaired by the Magennises, and re-taken by the Lord Deputy Gray, with seven castles more in Lecale, anno 1538. lt afterwards got into the hands of Phelim McEver Magennis, who was obliged to yield it to the Lord Mountjoy on the 16th of June in the year 1601, It met with another fate during the progress of the war of 1641, when it was demolished by the order of Cromwell, though then garrisoned by Protestants, and has ever since been suffered to run entirely to ruin.’
From The Antiquities of Ireland, Vol.1 by Francis Grose (1791)
‘The old Castle of Dundrum, boldly and picturesquely seated on a high rock covered with verdure, commanded in the ages of warfare the entrance to the harbour — if to the inner Bay, or rather the estuary of the Blackstaff Water, the appellation may be applied. This was considered one of the finest castles erected by the first Anglo-Norman adventurers; and its ivy-mantled ruins contribute materially to the strikingly romantic features of the landscape. These ruins consist of a great circular keep or tower, with detached fragments of towers, and ruins of other outworks, and a barbican. At a little distance southward of the castle are the mouldering remains of a large mansion, partly a fortalice and partly a dwelling-house of the sort in use in the sixteenth century. From these ruins we command a wider sweep of the magnificent scenery described at Newcastle.’
From A Picturesque Handbook to Carlingford Bay by Robert Greer (1846)
The Irish Aesthete is generously supported by
After Monday’s tale of Barryscourt Castle, here is another property that formerly belonged to the once-mighty Barry family: Buttevant Castle, County Cork. Thought to date back to the early 13th century, this would have been one of their first strongholds but in due course they moved their principal residence elsewhere and Buttevant fell into decline. As indeed did the Barrys. In the late 18th century the penultimate Earl of Barrymore, a close friend of the Prince of Wales, was a notorious rake, gambler and bare-knuckle boxer. His wild ways gained him the nickname of Hellgate while his younger brother Henry, who inherited the title after his sibling’s death at the age of 23, had a clubfoot and accordingly was called Cripplegate. Meanwhile, the third sibling Augustus, despite being an Anglican clergyman, became so addicted to gambling that he was known as Newgate, supposedly because this was the only debtors’ prison in which he had not spent time. And the trio’s only sister, Lady Caroline Barry, swore with such frequency and proficiency that she was called Billingsgate, after the foul-mouthed fishwives of that market. Between the four of them, they managed to dissipate their once-great estates in Ireland, including the extensive lands around Buttevant Castle, which was bought by Scottish entrepreneur John Anderson, whose son gave the building its present appearance around 1810. Occupied until the start of the last century, it was then abandoned and has since fallen into a ruinous state.
The Irish Aesthete is generously supported by
The Barry family can trace its links with Ireland back to 1183 when the Cambro-Norman knight Philip de Barry arrived here accompanied by his brother Gerald – otherwise known as the chronicler Giraldus Cambrensis – and a number of followers to take possession of extensive lands in what is now County Cork. The Barrys would go on to establish a number of bases throughout the region, one of which lay a few miles to the immediate east of Cork city and came to be known as Barryscourt. Formerly located by a long-since silted inlet to Cork harbour, there is evidence of a watermill having been built here as far back as the 7th century, while signs of more substantial occupation, perhaps an early fortification, are thought to date from c.1200. However, the present castle is believed to date from the late 14th/early 15th century, some time after the Norman keep but predating the subsequently ubiquitous tower house.
In 1581 Barryscourt Castle was inherited by David de Barry, 18th Baron Barry and fifth Viscount Buttevant whose father James had died in Dublin Castle, following his participation in the second Desmond Rebellion. It would appear that around this time David de Barry deliberately ‘defaced and despoiled’ the building in order to prevent it falling into the hands of Sir Walter Raleigh who coveted the property and, indeed, briefly occupied it. Following the suppression of the rebellion, in 1583 de Barry was able to regain possession of Barryscourt and embarked on an extensive programme of repair and improvement, so that a considerable part of what can be seen today dates from that time. This includes the substantial bawn wall measuring 54 by 48 metres around the castle, with substantial towers on the south-east, north-east and north-west corners, the last of these containing a hall and garderobe. Along the south wall are a number of farm buildings dating from the 19th century by which time the castle had long since been abandoned by the original owners.
David de Barry seems to have made this his main residence: in 1606, Sir John Davies, solicitor-general for Ireland, wrote ‘From Youghall we went to Cork, and dined by the way with the Viscount Barrie, who, at his castle at Barriecourt, gave us civil and plentiful entertainment.’ However, after de Barry’s death in 1617, his grandson David, future first Earl of Barrymore, chose to make another property, Castlelyons, the family’s principle seat (for more on this castle, see Decline and Fall « The Irish Aesthete).
Measuring some 15.3 by 10.7 metres the rectangular tower house at Barryscourt is one of the largest of its kind in Ireland, thought to be exceeded only by those at Bunratty, County Clare and Blarney, County Cork. As is common with such buildings, there was only one point of access, a door with pointed arch at the northern end of the east wall. This leads into a small lobby, with a staircase to the immediate north, leading to the first floor. Remaining on the entry level, much of the rest of the space is given over to a large chamber with pointe vault and lit only by deeply-set narrow windows to ensure as much protection as possible from external attack. The limited lighting on this floor contrasts with that above which is covered by a barrel-vault, replacing an earlier pointed vault, of which evidence remains survives at the south end. Here are somewhat larger windows, as well as a simple fireplace on the west wall. Smaller rooms to the north of this space served perhaps as kitchens and garderobes. The second floor holds the castle’s great hall, lit by much larger windows, that on the north wall carrying the date 1586. The great limestone chimneypiece carries the date 1588 and the initials DB, for David de Barry, and ER, for his first wife Ellen Roche. Also on this level is a vaulted chamber that served as a private chapel for the family, while above it was a bedroom for their use. Although no longer occupied by the Barrys, the building appears to have suffered damage during the Confederate Wars of the 1640s before the property passed into the hands of the Coppinger family (for more information on this family, see Holding Court « The Irish Aesthete) who built a house here, since gone. The castle itself fell into ruin and remained in this condition until 1987 and the establishment of a charity, the Barryscourt Trust, for the purpose of conserving and developing the site. The building subsequently passed into the care of the Office of Public Works which undertook further work before closing ten years ago. Happily, having undergone further renovation, Barryscourt Castle reopened to the public last month and – judging by a recent visit – looks to be a highly popular addition to heritage properties in this part of the country.
The Irish Aesthete is generously supported by
The former main entrance to the demesne of Dunsany Castle, County Meath is thought to date from the 1830s and to have been designed by James Shiel, an architect who specialises in castellating any building that stayed still long enough to be garnished with crenelations and battlements. In this instance, a rubble-faced lodge in the form of a small square keep, two storey to the front and three storey to the rear, rises to one side of the buttressed and Tudor-arched carriage gatescreen which is of crisp ashlar. Both here and in the adjacent pedestrian entrance, the decorative ironwork survives, giving the ensemble a suitably splendid appearance.
The Irish Aesthete is generously supported by
In 1779 Charles Agar, hitherto Bishop of Cloyne, was appointed Archbishop of Cashel, following the death of the previous incumbent, Dr Michael Cox. The latter, although he had occupied the archiepiscopal seat for the previous quarter-century, had spent little time in Cashel, preferring to live in the splendid residence he commissioned in County Kilkenny, Castletown Cox. As a result, when Agar arrived in Cashel, he discovered that the palace there ‘certainly had undergone no alterations, and probably received but few repairs from the time it was built…and as the house is wainscotted throughout the parlour and bedchamber stories, and much of the former had originally been painted of a dark brown colour, it made at this time but a dismal appearance.’ Today an hotel, Cashel Palace was designed by Sir Edward Lovett Pearce around 1727 for the then-archbishop Timothy Godwin but he died two years later and the building was completed by his successor Theophilus Bolton who, as is well-known, constructed a library beside his residence, bequeathing a collection of more than 8,000 volumes to the archdiocese. The Rev Henry Cotton in his Fasti ecclesiae Hibernicae (1847) estimated that the construction cost £3,730, while more recently Anthony Malcomson, in his magisterial Archbishop Charles Agar: Churchmanship and Politics in Ireland, 1760-1810 (2002) has proposed a figure of £3,611. This was an expensive project but by the time Agar arrived, further expenditure was required to bring the palace up to date. The building seems to have been in such poor condition that Sir Cornwallis Maude, who lived not far away at Dundrum, offered the archbishop his own house while he ordered the repairs ‘which I believe necessary before it can be fit for your accommodation.’ Working with the architect Oliver Grace, Agar embarked on a programme of improvements to the palace, which in total would cost him £1,123.
Recording his time in Cashel, Archbishop Agar noted that when he arrived ‘The door from the hall into the salon was exactly opposite the hall door, and there was in the salon a door into the garden exactly opposite to the door of the room; which not only cut the room, as it were, in two, but rendered it so cold that, as often as any one of the three doors was opened, the room was not habitable with comfort, for no company could be so situated as not to feel the wind. The Archbishop therefore stopped up the door in the centre of the room, and took away entirely that which opened into the garden. He placed the door in the hall at the end of the south side, let all of the windows of the salon down to the ground, and put double doors to this and every room on the parlour storey, and new-sashed the parlour and bed-chamber stories in front and rear. He…put the best species of register grates in the hall, salon and eating parlour, and in all the other rooms of the house. He also painted the whole house once and in some parts twice since he has inhabited it.’ Today, the salon (ie. the drawing room) retains the alterations made to it by Agar, although French windows once again allow access to the gardens. Of the interiors from the time of the palace’s original construction, the staircase hall still has its splendid staircase and the entrance hall retains its panelling. A room to the immediate right of the latter, now used as an office, is also panelled but this decoration may have been recycled when the house underwent reordering by Agar (or even more recently) because until his arrival it served as the main dining room…
‘Though the house was substantially built,’ Archbishop Agar later wrote, ‘and the plan originally a good one in most respects, in some it stood in great need of amendment. The eating parlour was only 19 feet 6 inches by 17 feet, a room certainly altogether too small for such a purpose in such a house. This room was on the east side of the great hall of entrance and could not be enlarged. On the west side of the hall was a room of the same dimensions, at the north end of which, and between it and the breakfast parlour, was a dark passage from the hall to the gallery, leading to the library, in which there was a staircase which communicated by a trap door with the north end of the corridor in the bedroom story. Dr Agar removed this staircase entirely, took down the wall of partition and threw the passage into the eating room, which made it 30 feet long by 19 feet 6 inches broad, and placed a window over the door leading to the library, in order to render that part of the eating room more light.’ After it became an hotel in the 1960s, Agar’s eating room was further opened into the adjacent breakfast parlour to the south to create one large dining room; a divider marks the former division between the two spaces. While many of his alterations were felicitous and have survived, one addition to the building – the construction of a study perched to the rear – proved unsuccessful, not least due to damp, and was taken down by his successor, Charles Brodrick. He is believed to have carried out further alterations to the palace, not least the insertion of dormer windows on the top floor but consideration of Brodrick’s interventions here must wait for another time.
On May 19th next, I shall be giving a paper on ‘Diocesan domesticity: daily life in Cashel Palace during the episcopacy of Charles Agar, 1779-1801’ at the 23rd Historic Houses Conference held in Maynooth University. For more information, please see: CSHIHE 2025 conference programme Final.pdf
The Irish Aesthete is generously supported by
Justly described by Alistair Rowan as the ‘finest early Georgian church in north west Ulster’, this is St John’s, Clondehorky, County Donegal. Dating from 1752, its design has been attributed to Michael Priestley, an architect who worked in the area during this period: it may have been commissioned by the Wrays who then owned the nearby Ards estate (their successors there, the Stewart family, had a vault by the church). Unlike many other Church of Ireland places of worship, this one underwent little alteration in the 19th century, aside from the addition of a small vestry on the north side in 1853. Otherwise, it looks much as it did when first erected, with four Gibbsian segment-headed windows on the south side and Venetian windows at the west and east end, the latter being particularly substantial and having rusticated blocks take the place of pilasters.
The Irish Aesthete is generously supported by
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.
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.
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.
The Irish Aesthete is generously supported by
Limerick’s former Custom House, today the Hunt Museum, dates from the second half of the 1760s when designed by architect Davis Ducart. His origins were uncertain: in 1768, William Brownlow wrote that he had ‘dropped into this Kingdom from the clouds, no one knows how, or what brought him to it’ although it has been proposed that Ducart – his original name Daviso de Arcort – may have been Sardinian or Piedmontese. Whatever his background, Ducart enjoyed a successful career in Ireland, including the commission to design this custom house. Here is a splendid Venetian window on the northern wall of what is now called the Captain’s Room, seemingly where ships’ captains were received while their vessels were moored on the quay outside. It rises high to a coved ceiling, at the centre of which is a plaster rose. Simple, dignified, flawless.
The Irish Aesthete is generously supported by
‘Bremore, 9th June 1783, the castle of Bremore about a mile N.of Balbriggan is situated on a rising ground very near the sea and commands a delightful prospect therof. It seems rather a modern building with good limestone quoins,window frames, munnions etc,the door on the W,side is particularly neat,ornamented on each side with pilaster wch support a suitable pediment in the space of wch are two coat of arms parted and pale Vizt-Ermine, a border engrailed on the sinister side-Barnewall and a fess between 5 martins 3 and 2, on the dexter side.The lower part of this case. is very strong and arched in a very irregular manner and the whole appears to me to have been not many years ago inhabited. Besides a number of garden walls and such like inclosures, still to be traced, are the walls of a Chapel in which is nothing remarkable…..‘
Antiquary Austin Cooper, 1783
Located some twenty miles north of Dublin and overlooking the Irish Sea, Bremore is supposed to have been the location of a monastic settlement founded by St Molaga, a Welshman traditionally said to have introduced bee-keeping into Ireland. The ruins of a late-medieval church called St Molaga’s are located to the immediate south of Bremore Castle for which it served as a manorial chapel. As for the castle, or at least the lands on which it now stands, the earliest reference appears to date from c.1300 when one Willam Rosel de Brimor is referred to in the Calendar of Documents Relating to Ireland. More definitely, in 1316 Wolfran de Barnewall married Nichola, daughter of Robert de Clahull, and through this alliance acquired large tracts of land in north county Dublin. The Barnewalls have been mentioned here before (see Fallen Out of Use « The Irish Aesthete. Incidentally, the 21st and last Baron Trimlestown died last year). Wolfran and his descendants were a cadet branch of this family. By the time of his son Reginald’s death some time before 1395, the Barnewalls were being described as lords of Bremore, Balrothery and Balbriggan, although their main residence was Drimnagh Castle, situated a couple of miles west of central Dublin.
In an inquisition of 1567 the estate at Bremore is stated to have consisted of ‘a castle, 8 messuages or buildings, a dovecote, 8 gardens and 132 acres’ and to have been held by Edward Barnewall of Drimnagh, ‘as of his manor of Balrothery.’ This is the earliest reference to a castle being located here. A mid-16th century limestone mantel, now housed in St Macculin’s church but thought to have originally been made for the castle, celebrates the marriage of Edward Barnewall’s son James to Margaret St Lawrence, whose family lived at Howth Castle. The Barnewalls remained Roman Catholic during the Confederate Wars of the 1640s and in the Civil Survey carried out during the following decade, the property of Matthew Barnewall, ‘Irish Papist’, was described as containing ‘one burnt castle with a great barne and eight tenements, one orchard & parke with some young ash trees.’ His son James regained the estate in 1663 and presumably refurbished the building. However, he – or perhaps his son – had no male heirs, only a daughter Eleanor, who married Walter Bagenal in 1706. The link with the Barnewalls then ended as Bremore and its surrounding lands were sold for £7,000 to Henry Petty, Earl of Shelburne, from whom the property passed to the Petty-Fitzmaurices, Marquesses of Lansdowne.
No longer occupied by its owners but instead let to tenants, Bremore Castle gradually fell into decay. Austin Cooper’s report of the building has already been cited. In 1837 Samuel Lewis noted ‘the ruins of Bremore castle, the ancient seat of a branch of the Barnewall family, consisting of some of the out-buildings and part of a chapel, with a burial ground, which is still used by some of the inhabitants’. John D’Alton in 1844 referred to ‘the ancient castle, of which traces are yet discernible’ and commanging ‘that sublime and extensive prospect over land and sea.’ By this time the castle was occupied by a tenant called John King and his descendants remained there until 1926, although Bremore Castle and its surrounding lands had been sold by the fifth Marquess of Lansdowne to the Land Commission in 1904. Another family acquired the building and remained there until finally the old building came into the possession of Dublin County Council in 1984. A decade later, following the break-up of that authority, the newly-created Fingal County Council became responsible for Bremore Castle. Since then, a programme of reconstruction, incorporating the opportunity to train stonemasons and other craftsmen and using traditional materials and methods, has been proceeding on the site. At the time of its initial construction in the 15th/16th century, Bremore Castle consisted of a rectangular hall-house with eastern flanking tower, a two storey extension being introduced on the north-western facade in the late 16th – early 17th century. Not a lot of this survived into the late 20th century. Today it has been rebuilt to an idealised version of a fortified house based on a sketch of the western view of the castle made by Austin Cooper in 1783, with a number of conjectural embellishments to both exterior and interior, the latter’s chimneypieces, doors and window openings in large measure being new additions inspired by examples of fortified houses from the 15th to 17th centuries surviving elsewhere in the country. It has been a long-running project and one that has yet to be finished.
The Irish Aesthete is generously supported by