Category Archives: Castle

Time for a Makeover


The original castle in Belfast is believed to have stood in what is now the centre of the city and may have been constructed by the Normans in the late 12th/early 13th century. A small urban settlement grew up around its walls but the castle was subject to frequent attack and may have been rebuilt on a number of occasions; in the later-medieval period it was held by a branch of the O’Neill family. During the 16th century it was seized and lost on a number of occasions by both the FitzGeralds, Earls of Kildare and by English forces. The Elizabethan adventurer Sir John Chichester, Governor of Carrickfergus Castle, managed to take Belfast Castle in July 1597 but was then killed the following November in a battle against the MacDonnells. It was his brother Sir Arthur Chichester who in 1611, having been gifted Belfast and its surrounding lands by James I, built a new castle, likely on the site of the old one. Dying without an heir, his estates were inherited by a younger brother, Edward, created first Baron and then Viscount Chichester. In turn his son was created Earl of Donegall but again since he had no heir, both estates and titles went sideways to a nephew, Arthur Chichester. The family continued to occupy Belfast Castle until 1708 when it was destroyed by fire, killing three of the fourth earl’s sisters and a servant. It was left a ruin, and the Chichesters left Belfast, not returning for almost a century.





In 1802 Arthur Chichester, the hopelessly indebted second Marquess of Donegall, chose to escape his creditors in England by coming to Belfast, where for a time he rented a house on the corner of what are now Donegall Place and Donegall Square before moving to Ormeau Park. Here he occupied the existing ‘cottage’ but by 1823 had raised sufficient funds to commission a new Tudor-Gothic residence Ormeau House, designed by William Vitruvius Morrison. Following his death in 1844, the property was abandoned by the third marquess, its contents auctioned in 1857 and the house demolished in 1869, the grounds since becoming a public park. By that date, work was well underway on a new Belfast Castle, although this latest iteration was constructed nowhere near its predecessors, instead standing a few miles outside and above the city on the slopes of Cave Hill in the grounds of what had formerly been the family’s deer park. It appears that the project cost considerably more than the sum of £11,000 anticipated by Lord Donegall and that therefore he turned for financial assistance to his son-in-law, Anthony Ashley-Cooper, future eighth Earl of Shaftesbury and husband of the marquess’s only surviving child, Harriet. She therefore inherited what remained of the Chichester estates on her father’s death and these in turn passed to her son, the ninth Earl of Shaftesbury who spent a considerable amount of time in Belfast Castle until 1934 when he gifted the building and demesne to the city of Belfast. A great deal of the latter was subsequently developed as housing but the area around the castle was preserved as a public park. As for the castle, it was used for a variety of activities such as wedding receptions, dances and afternoon teas. The building closed in 1978 for a £2 million refurbishment programme, reopening a decade later, since when it has continued to provide much the same services and facilities as before. 




Largely completed in 1870, Belfast Castle might be considered the ultimate example of Ulster Scots Baronial architecture, aided by its superlative location on sloping ground with views down to the harbour and thence out to sea. The building was designed by the local firm of Lanyon, Lynn and Lanyon with John Lanyon, son of the founder Sir Charles Lanyon, now widely accepted as being primarily responsible. Faced in local pink Scrabo sandstone with Grifnock sandstone dressings from Scotland, the castle is a riot of towers and turrets, stepped gables and bracketed oriel windows. The main garden front is distinguished by a serpentine French Renaissance-style stone staircase: designed by an unknown architect, this was added to the building in 1894 by the ninth Earl of Shaftesbury. After the elaborate exterior, the castle’s interiors prove a disappointment, with much of the decoration being mundane in character and looking as though copied by Lanyon from the most uninteresting of pattern books. This may be due to the fact that the enterprise had by then gone over-budget and therefore economies needed to be made. Without question, the best feature is the inner hall, which contains a Jacobean-style carved oak staircase climbing up three sides of the space to a top-lit bedroom gallery on the floor above. Unfortunately a bar has been inserted into the base of the staircase and this epitomises the castle’s current furnishing, which displays all the flair of a provincial hotel: decor by Basil Fawlty. Ugly light fittings, ill-placed pictures and tired seating don’t help. While the gardens of Belfast Castle appear to receive ample attention, its rooms are badly in need of another, and more considered, makeover. 


The Irish Aesthete is generously supported by

Boldly and Picturesquely Seated



‘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

Coming to a Bad End



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

Reopened



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

A Work in Progress


‘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

Beyond Balief


The histories of some Irish buildings are easier to trace than others. The origins and owners of Balief Castle, County Kilkenny prove particularly elusive. It is commonly stated that the castle, actually another late-medieval tower house, was constructed by a member of the Shortall family. The Shortalls were of Norman origin, and settled in this part of the country in the late 13th century: a townland is still called Shortallstown. The Shortalls allied themselves with another, more powerful, dynasty, the Graces, Barons of Courtstown, and this helped to assure the possession of their lands. Both the Graces and the Shortalls remained loyal to the Roman Catholic faith and to the Stuart cause. In 1689, the then Baron of Courtstown raised and equipped a regiment of foot at his own expense to support James II during the Williamite Wars, and Thomas Shortall joined this force. When the baron died the following year, his son Robert Grace succeeded as head of the regiment but he was badly wounded at the Battle of Aughrim in July 1691 and died the following year. Nevertheless, the regiment continued to operate, with Captain Thomas Shortall commanding a company of 100 men at the second Siege of Limerick. Following the treaty concluded there in October 1691, Shortall like many others left Ireland and joined the French army. He is said to have continued to serve until the age of 88, and to have died in 1762 at the age of 104.




What happened to Balief Castle in the aftermath of the Williamite Wars is something of a mystery, but it appears to have passed into the hands of the St George family, which owned large estates in County Kilkenny. In Atkinson’s The Irish Tourist (1816) Balief Castle is described as being ‘the seat of Mr St. George’, presumably Robert St George whose father Sir Richard St George lived not far away at the since-demolished house of Woodsgift. However, it would seem there was another, more modern residence here, again no longer standing, since the earliest Ordnance Survey map shows ‘Balief House’ on or adjacent to the same site of the castle. Hercules Langrishe St George is later listed as owning the property, and being a local Justice of the Peace before Balief became occupied in the 1860s by Denis W Kavanagh, another gentleman whose family owned land in the area. Thereafter it is hard to find any more information about the place. 




Most Irish tower houses are either square or rectangular. Circular examples are relatively rare, although one has featured here in the past, Moorstown Castle, County Tipperary (see In the Round « The Irish Aesthete). Thought to date from the 16th century, Balief Castle is another member of this small group. The building castle rises approximately 35 feet and has an interior diameter of the castle of 15 feet, eight inches with walls some eight feet, four inches thick. As is customary, it has a single entrance, a pointed arch door on the west side. Immediately inside, is the staircase, with an ascent to the top by 50 stone steps, the majority of which are eight inches thick (the final nine being six and a half inches thick), but all floors and other internal divisions have long been lost, leaving one space that climbs to a still intact domed roof. Today Balief Castle stands in the middle of a field, little noticed and little known. 


The Irish Aesthete is generously supported by

A Cabinet of Curiosities


Cabinets of Curiosity have probably always existed, albeit in different forms. In a seminal work on the subject published in 1908, Die Kunst- und Wunderkammern der Spätrenaissance (later translated as Art and Curiosity Cabinets of the Late Renaissance), Viennese art historian Julius von Schlosser argued that Greek and Roman temples acted as proto-cabinets of curiosity, a role then taken on by medieval churches with their valuable holdings of vessels, vestments and reliquaries, often masterpieces of craftsmanship incorporating precious metal and gemstones.
As we now understand the term, cabinets of curiosity were first created in the late 15th and 16th centuries, around the same time that Western European horizons – geographic, religious, scientific, metaphysical – began to expand. New worlds, new ideas: they recast the way in which people thought of themselves and their surroundings. The Renaissance cabinet of curiosities was frequently filled with rare and priceless treasures. But unlike collections held in earlier ages by temples or churches, these ones belonged to individuals. And while they were the forerunners of the modern museum, initially they existed not in the public realm, but in private ownership and were thus accessible only to the privileged few. Because their contents were costly, they were almost exclusively the preserve of princes and members of the aristocracy, representative of that caste’s wealth and power. Cabinets could vary in size from a single piece of furniture – a cabinet – with drawers holding different articles, to a room or even series of rooms specifically designed to display the owner’s collection.






By the mid-16th century, similar collections had begun to appear north of the Alps and to develop into the kunstkammer (room of art), a term apparently first employed by Count Froben Christoph of Zimmern in his historical account Zimmerische Chronik of 1564–66. Alternatively, they might be called Wunderkammer (room of wonder). Whatever the name, they featured a broad range of objects, including Artificialia (products of man) and Naturalia (products of nature), with some pieces being a hybrid combination of both. A cup owned by the Emperor Rudolf II in the early 17th century, for example, was made from an elaborately carved horn of a rhinoceros, on top of which sat a silver-gilt lid in the form of a grimacing monster, a fossilized shark’s tongue coming out of its mouth and a pair of African warthog tusks serving as its horns. Scientific instruments, clocks and automaton might also feature in the typical kunstkammer. Priceless works of art were placed alongside strange items brought from distant lands on one of the newly opened global trade routes, pieces from the distant past were displayed next to the newest objets de vertu. They were united in their diversity, their beauty and their singularity. In many instances, they were small but wondrously formed, a display of the craftsman’s ingenuity, incorporating rare materials such as crystal, ivory and amber, together with gold and silver and gemstones.
Collectors would acquire valuable antiquities, including sculptures, mosaics, cameos, medals and coins. They commissioned paintings from leading artists and sought out bizarre and curious pieces. Isabella d’Este was the proud owner of a unicorn’s horn, while in 17th century Vienna the Emperor Ferdinand III possessed a bowl (or chalice) said to have come from Solomon’s Temple as well as horn which had belonged to the Magi. Other collectors came to own mermaids’ skeletons or taxidermized creatures that were part bird, part beast. Brought together, these diverse items reflected the era’s budding curiosity and insatiable thirst for better comprehension of what was then a rapidly changing world. Collections were simultaneously intended to delight the eye and to encourage closer study of nature in all her forms. In 1565 Samuel Quiccheberg, scientific and artistic adviser to Albrecht V of Bavaria, published Inscriptiones vel tituli theatre amplissimi, the first treatise on collecting in which he described the cabinet of curiosity as being ‘a theatre of the broadest scope, containing authentic materials and precise reproductions of the whole of the universe.’
While some of the largest and most famous Kunstkammern were formed by the likes of the Emperor Rudolf II in Prague Castle or the Archduke Ferdinand II in Schloss Ambras outside Innsbruck, members of the emerging European bourgeoisie also began to form their own collections. In 1599 the Neapolitan apothecary Ferrante Imperato published Dell’Historia Naturale, which included an engraving depicting his own cabinet of curiosities then on display in the city’s Palazzo Gravina. The picture shows the extraordinary objects gathered by Imperato in one room, said to have numbered as many as 35,000 plant, mineral and animal specimens, including shells, marine creatures and even a crocodile suspended from the ceiling.





Great collections continued to be formed over the course of the 17th and 18th centuries, perhaps none greater than belonging to Sir Hans Sloane. Born in 1660 in Killyleagh, County Down, even as a child Sloane collected plants, shells, bird eggs and other objects of natural history which he carefully catalogued. At the age of 19 he left Ireland and moved to London to study chemistry and then medicine. After some years travelling elsewhere in Europe, Sloane spent time in Jamaica and the Caribbean (where he is sometimes credited with inventing milk chocolate). Back in London and married to an heiress, he became a successful physician, appointed President of the College of Physicians in 1719. He also continued collecting, so that by the time of his death at the age of 92 in 1753 he had amassed some 71,000 objects, many of them acquired from other collectors – notably James Petiver and William Charleton – and housed in a property he owned in Chelsea, London (where he is still recalled through the names of such locations as Sloane Square and Hans Crescent). In his will, Sloane bequeathed the entire collection to the nation, on condition of payment of £20,000 to his heirs, and that Parliament create a new and freely accessible public museum to house it. The funds were raised through a national lottery and in June 1753, an Act of Parliament established the British Museum, where much of Sloane’s collection remains to the present day.
Sir Hans Sloane was by no means the only Irish creator of a cabinet of curiosities. Also in the 18th century, Dr Richard Pococke, a Church of Ireland clergyman who in 1756 became Bishop of Ossory, developed his own remarkable collection, perhaps inspired by those he had seen when travelling through Europe as a young man. Writing from Berlin to his mother in October 1736, he described visiting ‘the Chambers of Sciences & Curiosities in the Palace, where are very rich Cabinets & great curiosities, natural & artificial…an Egg with a Crocodiles head just out of it no bigger than a Goose Egg, a trunk of a tree with the horns of a deer run thro it & part of the head let into it, which I believe was done by art, the tree standing & appears plainly to have grown after it being much bigger where the horns run in than in any other part, stones natural mix’d with gold, &c.’ Pococke later travelled to the Middle East and while there acquired objects, including ancient Egyptian mummies, bringing them back to Ireland where they were installed in the Bishop’s Palace in Kilkenny. Visitors to the episcopal residence could see the mummies alongside antique Greek and Roman coins and medals, as well as urns, fossils and shells, and in the garden several basalt stones that Pococke had carried off from the Giant’s Causeway in County Antrim.
Incorporating items collected by Charles Cobbe, Archbishop of Dublin, the cabinet of curiosities at Newbridge, County Dublin was essentially the creation of his son Thomas and daughter-in-law Lady Betty Cobbe who lived there from the time of their marriage in 1755 to their respective deaths in the early 19th century. Originally referred to as ‘ye Ark’, the cabinet filled an entire room in Newbridge, its walls lined with hand-painted sheets depicting oriental scenes and held in place by faux bamboo découpage trellising. A suite of specially made cases and display cabinets were filled with a typically diverse range of items, shells, exotica, curios, much of it from other countries. In 1758, for example, the Cobbes bought some coral, as well as a nest of vipers and a ‘Solar Microscope.’  Eventually, the collection came to include a stuffed crocodile, an ostrich egg mounted in a bog oak stand, a set of ivory chess pieces from China and a depiction of the coronation of George III (1761) carved in bone and placed inside a glass bottle.
Over time, the room in Newbridge began to suffer neglect: even by 1858 it was being described as ‘the poor old museum.’ In the 1960s the paper on the walls was taken down and sold, the cases and cabinets moved first to the basement and then an attic lumber room, and the space converted into a sitting room. More recently, Newbridge’s cabinet of curiosities has been recreated, a replica of the wallpaper produced from memory by a member of the family, Alec Cobbe, the cases brought down from the attic, and a replica sample of the collection once more on display. It offers an opportunity to see how cabinets of curiosity, in all their quirky, whimsical idiosyncrasy, would have looked when they were more widespread.

Kunstkammer: An Idiosyncratic Cabinet of Curiosities runs at Lismore Castle Arts, County Waterford until October 26th 2025. 

The Irish Aesthete is generously supported by

Difficult to Locate without a Guide


In Parnell and His Island, originally published as a series of articles in Le Figaro in 1886, George Moore recalls an early morning duck shooting expedition on Lough Carra, County Mayo. He and his companion set off in the dark across the wind-tossed lake in a water-logged boat, landing before the remains of Castle Carra. Moore describes how, to escape the bitterly cold wind, the two men decide to take shelter in the building. ‘Dacre says he’ll be able to find the way, and after much scratching amid the bushes, and one cruel fall on the rocks, we reach some grass-grown steps and climb through an aperture into what was once probably the great hall. A high gable shows black and massy against the sky, and tall grass and weeds grow about our feet, and farther away the arching has fallen and forms a sort of pathway to the vault beneath. Centuries of ivy are on walls, and their surfaces are broken by wide fissures, vague and undistinguishable in the shadow and cold gloom. But as the moon brightens I see, some fifteen feet above me, a staircase – a secret staircase ascending through the enormous thickness of the walls. What were these strange ways used for? Who were they who trod them centuries ago? Slender women in clinging and trailing garments, bearded chieftains, their iron heels clanging; and as I evoke the past, rich fancies come to me, and the nostalgia of those distant days, strong days that were better and happier than ours, comes upon me swiftly, as a bitter poison pulsing in blood and brain; and regardless of my friend’s counsels, I climb towards the strange stairway, as I would pass backwards out of this fitful and febrile age to one bigger and healthier and simpler…’ 





Sited on a small peninsula on the eastern shores of Lough Carra, the castle here was built by the Anglo-Norman Adam de Staunton in the late 13th century. His descendants remained in possession of the property for the next 300 years, mixing with other local families and hibernising their surname to MacEvilly. In 1574 the castle’s owner was Moyler or Miles M’Evilly, but some time later the building and surrounding lands were acquired by Captain William Bowen, his possession confirmed by deed of feoffment dated November 1591 and made to him by Peter Barnewall, Baron Trimleston. How the latter came to have a claim on the place is unclear.  Following Captain Bowen’s death without an heir in 1594, Carra Castle passed into the ownership of his elder brother Robert Bowen who lived in County Laois. He in turn gave it to his younger son Oliver Bowen, who occupied the castle until the outbreak of the Confederate Wars in 1641 when he fled to Wales, dying there without issue in 1654. After the restoration of Charles II in 1660, Castle Carra was granted to Sir Henry Lynch, third Baronet, a member of the well-known Galway family. His grandson, Sir Henry Lynch (fifth baronet) took up residence in the area, building a new residence close to the old castle which was then abandoned. A series of formal terraces led from this house down to the lakeshore. However, following Sir Henry’s death in 1764, his heir Robert Lynch moved to another property in County Mayo, originally called Moate but then renamed Athavallie near the town of Balla; today this building is a community school. Sir Robert had married Jane Barker, granddaughter and heiress of Tobias Blosse of Little Bolsted, Suffolk and assumed the additional surname of Blosse, the family thereafter being known as Lynch-Blosse. Meanwhile, both the old castle and the more recently constructed house at Carra were abandoned, the latter building being described as ‘almost in ruins’ in a report on the estate prepared by civil engineer and land surveyor Samuel Nicholson in 1844. 





The core of Castle Carra dates from the time of Adam de Staunton in the late 13th century, although several alterations were subsequently made to the building. Measuring some 45 by 25 feet internally, and of three storeys with its entrance on the first floor of the south side, the roofless castle is an example of the mediaeval chamber-tower which typically comprised a rectangular block with large open spaces on the first-floor level. Later additions to the site include a plinth, bawn and gateway, these probably dating from the 15th century. Long neglected and in a relatively remote spot, an Irish Tourist Association survey undertaken in the early 1940s describes the castle as ‘difficult to locate without a guide’, and that remains the case to the present day. 


The Irish Aesthete is generously supported by

Anno Domini Millessimo Sexcentessimo Decimoquinto



What survives of the original Castle Archdale, County Fermanagh. This was built in 1615 by John Archdale, originally from Suffolk, who had paid £5, six shillings and 8 pence three years earlier for 1,000 acres of land here. The residence he constructed was T-plan in form with a defensive bawn 15 feet high, measuring 66 feet by 64 feet and with two flankers on its northern corners above a steep rise of ground. In 1641, the castle was captured by Rory Maguire and while its heir, William Archdale, was saved by his nurse, his siblings were all killed. After the property was returned to the family, it was repaired and inhabited again until 1689 when, during the Williamite Wars, the castle was once more attacked and burnt out. Thereafter it was left abandoned. Above the semi-circular entrance gate on the south side is an inscription in Latin – Data Fata Secutus Johannes Archdale Hoc. Edificium Struxit Anno Domini Millessimo Sexcentessimo Decimoquinto – noting that the castle had been built by John Archdale in 1615. A large Palladian house, also called Castle Archdale, was built nearby by the family in the following century, but this was demolished in 1970 and now only the stableyard remains. 



The Irish Aesthete is generously supported by

The Four Penny Castle


Now surrounded by suburban housing, Monkstown Castle, County Cork once stood proud in its own grounds and overlooking the estuary of the river Lee and access to Cork harbour. The building dates back to the 17th century when it was constructed c.1636 by one Anastasia Gould, wife of John Archdeacon, said to have been a naval officer who was overseas supporting the King of Spain. Legend has it that when he returned home and saw this large structure on his land, he immediately assumed it had been erected by his enemies, and accordingly fired on it, one cannon ball hitting the battlements. The other story associated with Monkstown Castle is that Anastasia Gould was determined not to waste money on its construction and so employed the workmen at a fixed rate with the stipulation that they purchase their daily food supplies and so forth from her at a moderate price. When the job was finished, all bills paid and all sums collected, she found that the castle had cost her precisely four pence. 




Like many similar properties in Ireland, Monkstown Castle has experienced mixed fortunes over the centuries. The Archdeacons do not appear to have enjoyed possession of the building for very long as in the aftermath of the Confederate Wars and the arrival of the Cromwell’s New Model Army, both castle and surrounding estate were granted to Colonel Hercules Huncks, remembered today for having refused to sign Charles I’s execution order (and accordingly being described by Oliver Cromwell as a ‘froward, peevish fellow’). Huncks sold the property to Michael Boyle, Dean of Cloyne (and future Archbishop of Armagh) but in the aftermath of the Restoration the Archdeacons were living there once more, perhaps as tenants of Boyle. In any case, owing to their allegiance to the Stuart cause, they lost the castle again in the aftermath of the Williamite Wars and in due course it was inherited by two of his granddaughters who had married into the Vesey and Pakenham families; thus portions of the estate came to be owned by both the Earl of Longford and the Viscount de Vesci. How well the castle stood is open to question. In 1700 during his Visitation to the diocese Dive Downes, Bishop of Cork and Ross wrote that ‘Mr. O’Callaghan, a Protestant, lives in Monkstown, in a good square castle with flankers. However, at some point in the 18th century it was rented to the government to serve as an army barracks and in his Ancient and Present State of the County and City of Cork first published in 1750, Charles Smith says the castle ‘is large and in ruins, and is flanked by 4 square turrets.’ On the other hand, the Dublin Penny Journal of August 1833, although judging it a ‘large and gloomy pile of building’, comments that the castle is ‘in good repair.’ 




By the early 19th century, Monkstown Castle was owned by the Veseys but leased to one Bernard Shaw, Collector of Cork Port and a member of the same family as the future dramatist George Bernard Shaw. A large chimneypiece inside the building carries the initials B.S. and the date 1804 (as well as 1636) , indicating work was undertaken here at that time, undertaken by local architect William Deane. Bernard Shaw was duly succeeded by his son, Bernard Robert Shaw who lived here until 1869 when he and his wife moved to England where they died. Whether the castle was still occupied is open to question as around 1840 the Shaws had built a large residence close by, called. Castle House. In June 1871 the estate of Bernard Robert Shaw running to 905 acres was advertised for sale. At the start of the last century, the castle was used by the local badminton club before being acquired in 1908 by the newly-established Monkstown Golf Club, which then made the building its club house. MGC bought the castle and what was then a nine-hole course from the De Vesci estate in 1959 for £4,000, selling the castle and some 32 acres in 1967 for £22,000. Thereafter, while the surrounding land was divided up into plots for housing, the castle remained empty and falling into disrepair, becoming a roofless shell. Between 2008 and 2010 extensive restoration work was carried out on the property, which had permission to be divided into three apartments. However, while re-roofed and made watertight, the building was then left unfinished and has remained in this state ever since. In recent years, it has been on the market for €800,000. Not a huge sum, but somewhat more than the four pence the castle originally cost Anastasia Gould. 


The Irish Aesthete is generously supported by