Dating from the end of the 15th century, Farney Castle, County Tipperary began as one of the circular tower houses that are predominantly found in this part of the country. Originally owned by the Butler family, following the restoration of Charles II in 1660, the property were leased to Captain William Armstrong whose father, Sir Thomas Armstrong, had served in Ireland as colonel of the Horse in support of Charles I during the course of the Confederate Wars, and had been twice imprisoned by Oliver Cromwell. The Armstrongs would remain here until the 19th century, buying out the Farney lease and acquiring further lands in the area, including those of the nearby Holy Cross Abbey. At some date in the early 19th century, the old castle was greatly extended by the addition of a five bay, two-storey over raised basement house at the south-east end of which is a polygonal four-storey tower. In a loosely Tudorbethan style, there is uncertainty about who might have been the architect responsible, with William Vitruvius Morrison mentioned but also Charles Frederick Anderson, who worked a lot in this part of the country before emigrating in 1849 to the United States where he had a successful practice in New York and Washington, D.C. The Armstrongs remained in residence at Farney until the late 19th century when the property was sold. Today it is owned by the designer Cyril Cullen.
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Tag Archives: Irish Castle
Castle Hackett
Castle Hackett, County Galway dates back to the 13th century when, as the name indicates, it was built by the Anglo-Norman Hacketts who had arrived in the country during the previous century and mostly settled in the south-east (for example, in County Carlow, where the settlement of Hacketstown testifies to their presence). By the 15th century, the castle had passed into the possession of the Kirwan family, one of the 14 Tribes of Galway and the only one to be considered of Gaelic origin. They continued to occupy the building until the early 18th century when a new house, also called Castle Hackett, was constructed nearby: this was burnt by anti-Treaty forces in 1923 but subsequently rebuilt. As for the old castle, still surrounded by portions of a bawn wall, it makes for a striking ruin on the landscape.
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An Impression of Grandeur and Picturesqueness
For many years, the Irish Aesthete has driven past a castle in County Tipperary and wondered about its history. No need to wonder any more: the Irish Penny Journal, Vol.1, No.44, published in May 1841 carries a long and somewhat rambling account of the history of this building, Ardfinnan Castle. It stands on the site of, or close to, a religious settlement said to have been established in the seventh century by Saint Finian (hence the name Ard Fhíonáin, meaning ‘Fíonán’s height’). The journal’s anonymous author comments that ‘the traveller must have been a dull and unobserving one who, journeying between Cork and Dublin by way of Cahir, has not had his attention roused by its romantic features and an impression of its grandeur and picturesqueness made upon his memory, not easily to be effaced. Ardfinnan is indeed one of the finest scenes of its kind to be found in Ireland, and is almost equally imposing from every point of view from which it can be viewed. The Castle crowns the summit of a lofty and precipitous rock, below and around which the Suir winds it way in graceful beauty, while its banks are connected by a long and level bridge of fourteen arches which tradition states is of coeval erection with the fortress and which, at all events, is of very great antiquity. On every side the most magnificent outlines of mountain scenery form the distant back-ground; and every object which meets the eye is in perfect harmony with the general character of the scene.’ Rather like the river Suir, the text further meanders before explaining that Ardfinnan Castle was constructed in 1185 by Prince John, ‘of whom it has been remarked that he achieved nothing during his stay of eight months in Ireland but the construction of this and two other castles, namely Lismore and Tiobrad Fachtna, now Tibraghny on the Suir, which he erected with a view to the conquest of Munster. From these castles he sent parties in various directions to plunder the country; but being met by the Irish under the command of Donall O’Brien, Dermod Mac Carthy and Roderick O’Conor, they were defeated with great slaughter, four knights having been killed at Ardfinnan, after which John was glad to return to England.’
When the Irish Penny Journal text appeared, Ardfinnan Castle had fallen into ruin but serious damage to the building had only occurred in the 17th century. Long before then, the castle had a close association with monastic military orders, first the Knights Templar and then the Knights Hospitaller. Ardfinnan’s first Governor, the Cambro-Norman knight Maurice de Prendergast, was also Grand Prior of the Knights Hospitaller in Ireland and in 1177 he had granted Prendergast Castle and surrounding land in his native Pembrokeshire to the order. A large circular keep immediately inside the castle’s bawn wall and beside the main gateway is said to have been constructed by the Knights Hospitaller in the early 13th century. Alterations occurred c.1450 when a square, four storey tower house was built on the south-east corner, directly above the river. The military order remained here until the upheavals of the 16th century, after which it passed through several different hands, at one point both Theobold Butler, Lord Caher and the Bishop of Waterford and Lismore disputing rights of ownership. The real trouble began during the Confederate Wars when the castle was held by its Governor, Captain David Fitzgibbon, a descendant of the White Knights and married to the widowed Joanna Butler, member of the area’s most powerful family. In early February 1659 Fitzgibbon was resident in Ardfinnan with a small force when it came under attack by the Cromwellian general Henry Ireton. Initially he was able to hold out, but once Ireton brought cannon onto a hill opposite the castle, its walls were breached his troops were able to gain access, and Fitzgibbon obliged to surrender: while his life was spared, his lands were confiscated and he was transplanted to the west of Ireland. Meanwhile, before Ireton’s army moved on and in order to ensure the castle could not fall back into the opposition’s hands, it was deliberately left in a state of semi-ruin. By 1654, the property had once again returned into the possession of the Bishop of Waterford and Lismore, and was leased to another member of the extensive Butler family. Despite its poor condition, once more because of its position above the river Suir and owing to the ongoing threat of a French invasion, in 1795 the British government began to use the castle as an army barracks and continued to do so until 1802.
In Samuel Lewis’s invaluable Topographical Dictionary of Ireland (1837), the castle at Ardfinnan is described as a ruin occupying a picturesque and elevated site above the Suir, consisting of a fortified gateway and the greater part of the exterior walls which, then as now, are roughly parallelogram in form. Engravings, such as that published in the Irish Penny Journal four years later, show Lewis’s summary description to be correct. This might have remained the case, had not a branch of the Prendergast family, thought to be descendants of Maurice de Prendergast, first Governor of the castle, taken on the property along with 15 surrounding acres. Theresa Cornwallis J West, in her book A Summer Visit to Ireland in 1846 (1847), wrote that she saw ‘scaffolding and ladders, and workmen busily repairing the damages of time; building up walls and putting in windows.’ Much of what can be seen today therefore dates from this period, when the old castle became a family home. The interiors, with their stone chimneypieces and stained glass in some of the windows, represent the taste of the mid-19th century. Meanwhile, immediately below and beside the Suir, John Mulcahy, whose father-in-law owned a similar business elsewhere in the county at Rossmore, developed a woollen mill which had ancient origins, believed to date back at least to the era when the 12th century. For a long time, the building was hugely successful, employing large numbers of local people and exporting tweeds across the world: when Edward VII – who already wore Ardfinnan cloth – came to stay at Lismore Castle in 1904, he paid a visit to the mill. It continued in operation until 1973 when the mills closed down, many of its buildings now standing empty. More than half a century earlier the Mulcahys had bought the castle and made further alterations, including the addition of a flat-roofed wing at the south-west corner as well as rewiring and plumbing the property, adding bathrooms and a heating system. While remedial work has recently been undertaken on the main roof and elsewhere, little has otherwise changed, as the castle and some 17 acres of surrounding land now come up for sale. This is such an important building, with such a long and remarkable history, that it deserves to find a sympathetic new owner, one who will appreciate the necessity of ensuring Ardfinnan Castle’s future. It took many years for the Irish Aesthete to see the place, but this was well worth the wait.
A Reawakening
Regular visitors to this site will know that the Irish Aesthete is always delighted to learn of an historic property undergoing restoration, especially when this work is being tackled by private owners who intend to make the property a family home. Such is the case with the building seen here today: Knockelly Castle, County Tipperary. They have written a brief but helpful account of the site, which is reproduced below.
‘Knockelly is reputed to have been built by Edmund Fitz James Butler, 8th Baron Dunboyne for his second son Piers, with work commencing in c.1465. The castle remained within various lines of the Butler family until 1592, when Peter Oge Butler rebelled against the crown, and Knockelly was granted to Patrick Grant, a nominee of the 10th Earl of Ormond. By 1602, Knockelly was the property of Sir John Everard (d.1624), who was most likely responsible for the c1610 renovations. Everard was admitted to the Inner Temple in London in 1578, called to the bar in 1590, but returned to Ireland and had been made Justice of the Liberty of Tipperary by 1601.
Knockelly was retained within Everard lines until Sir Redmond Everard, 4th Baronet, supported the failed Jacobite rising of 1715 and had to flee to France where he lived out his days. During Sir Redmond’s exile, funds were short and Knockelly was occupied by a series of notable tenants, including the Jolly’s, the Lowes and the O’Callaghans, until the castle and entire Everard patrimony, was acquired by Thomas Barton, a powerful wine merchant, in c.1751.
The Barton estate included Grove, an important house and lands to the south, and Knockelly may have served as an agent’s house for the estate. It is believed the 1830 renovations to the Gatehouse may have happened then. Knockelly was eventually let to James Kickham, one of whose daughters, Catherine, married a Patrick Heffernan. The Bartons, whose estate had been reduced from 5,000 to 500 acres, sold Knockelly between 1904-1906 to the Heffernans, who lived there until the present owners purchased the property in 2020.’
Across more than 550 years, Knockelly has served a variety of roles ranging from a magnate’s stronghold to a land agent’s residence and, prior to its present owners taking possession, a very substantial farmyard. But over that long period of time, it has been in the custodianship of just five families and perhaps this helps to explain why so much of the original structures have survived, not least the great tower house which last underwent remodelling in 1610. This stands within an expansive bawn which was built in 1560, the still-intact walls incorporating gun turrets, bartizans and, on the south side, a gatetower. The last of these began as a simple two storey building through which access was gained to the interior of the enclosure. Over time this was enlarged and embellished, most recently in 1830, and turned into a house but evidence of its earliest function can still be found inside along with other tantalising hints of the house’s gradual evolution. Indeed, as the owners note, ‘the diverse range of buildings, built in different centuries, from different fabric and designed for different functions’, means that Knockelly offers a rare insight into social and architectural changes through the centuries in Ireland since the late Middle Ages.
When the present owners bought Knockelly Castle six years ago, the majority of buildings on the site were in a semi-ruinous condition, as is the case in so many other locations throughout Ireland. And, without intervention since the property’s purchase, it is most likely that further and perhaps irreversible deterioration would have taken place. Thankfully that has not been the case and instead since 2022 a programme of gradual restoration has been underway, not least with the gatetower house which is now a family home. Work is slow, dependent on funds being available, and using materials and techniques which are most sensitive and appropriate to the structures. Employing primarily stone, wood and lime, and engaging with craftspeople trained in traditional skills, Knockelly is reawakening and being brought back to full use. As the owners emphasise, ‘there are no quick fixes. We work for the long-term.’ Benefitting from their own knowledge and that of the workers with whom they engage, they now run a number of onsite traditional building skills workshops so that anyone else interested in undertaking a similar project can benefit from their experience. Knockelly Castle was the deserved recipient of the 2026 Historic Houses of Ireland Heritage Award 2026, sponsored by Castleacre Insurance.
For more information about the workshops run at Knockelly Castle, please see: Knockelly Conservation Workshops — Knockelly Castle
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Through the Gate
After Monday’s post showing the wonderfully restored walled garden at Glenarm Castle, County Antrim, here is the Barbican Gate. Located on the far side of a bridge leading into the village, the building dates from 1825 when designed by Sir William Morrison to accompany the transformation of the main house from a classical residence into a Tudoresque fantasy for his client, Anne Katherine Mac Donnell, Countess of Antrim. Like a miniature castle, the Barbican is replete with turrets, towers and battlements and over the main entrance can be seen a sandstone coat of arms which was originally on the facade of Glenarm Castle and records its construction by Randle Mac Sorley Mac Donnell, first Earl of Antrim and his wife Alice O’Neill. The Barbican Gate has been restored by the Irish Landmark Trust and is now available to rent for short stays.
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Constantly an Object of Contention
‘The castle of Ballintober, the chief seat of the O’Conors, in which Felim [Felim Geancach O’Connor King of Connaught, 1406–1474] spent most of his time, deserves more than a passing notice. This castle…was one of the principal strongholds of the Irish and does not appear to have ever been for any considerable length of time in the possession of the English. No record remains to show when it was first erected. According to tradition, it dates back to the time of Cathal Crovedearg, and to the reign of King John. It is first mentioned in the Irish annals about a century later, and between that time and the period at which we have now arrived it underwent many vicissitudes. It was frequently besieged, often partially destroyed, sometimes burned, then restored, and was constantly an object of contention between the rival chiefs…’
‘…The plan of the castle consisted of a quadrangular enclosure, varying from 277 to 264 feet in length, and from 245 to 247 feet in breadth. It was defended by strong towers at each angle, and by two others, one at each side of the grand entrance, which opened upon an esplanade at the end of the ridge towards the east. The whole was surrounded by a broad fosse. On the south and to the east, the fosse was constructed to retain water; and even to the present day, on the former side, it accomplishes this purpose, and enough of water remains to show the object of its construction. On the two opposite sides, the ditches, deep, broad and cut into the rock, are at present quite dry; but as they lie below the level of the water, these also could on occasion be flooded. There appears to have been once a draw-bridge from the postern gate opening out on the crest of the ridge.
The grand towers are all polygonal, but there is a want of symmetry in their construction, no two agreeing in the number and length of their sides. The south-west tower presents six faces on the exterior, the north-west five, the north-east seven and the south-east six. The sides of the north-west tower are respectively in length, beginning at the west curtain, 22 ft 6 in; 9 ft 9 in; 11 ft; and 11 ft 7 in.
The south-east tower is about 30 feet in breadth, and it and all the towers are elongated towards the interior of the great court. The towers, especially the two to the west, had very substantial walls, through which, in the lower parts, there were loop-holes for defence; the upper stories being furnished with windows of habitable apartments. The interior of each has been for a long time in a ruinous state, the two to the east being completely gutted. In the north-west tower, some doorways, with lancets and flatly-pointed arches, in very pleasing proportion, remain in tolerable preservation; and a fire-place and chimney-piece, with arms bearing the date 1629, appear on the walls of the third story, but the floors of the upper stories have altogether disappeared…’
‘…From the earliest date at which any reference is made to it in history until its destruction as a habitable residence at the end of the seventeenth century, Ballintober castle appears to have been, with some interruptions, in the possession of the O’Conors, and their principal stronghold. When they divided into the two septs of O’Conor Don and O’Conor Roe, it became the residence of the former. In 1526 we read that Lord Kildare took the castles of Ballintober and Castlerea, and handed them over to O’Conor Roe, from whom they were taken the following year by O’Conor Don, aided by O’Donnell.
In 1571 Sir Edward Fytton, Governor of Connaught, again took the castles of Ballintober and Castlerea, and raised the latter to the ground, and Ballintober apparently remained in the hands of the English until the year 1581, when the Annals of Loch Cé inform us that “Ballintober, which the Saxons had, was given to Dualtach, son of Toole O’Conor.” This Dualtach was the nephew of O’Conor Don, and had set up in rivalry to him. Apparently the castle did not long remain in Dualtach’s possession as shortly after we find O’Conor Don again in occupation, and there he died in 1585. In this same year the castle and the lands adjoining it were surrendered to Queen Elizabeth by his son and successor Hugh O’Conor Don, who received them back under patent from the English sovereign. In 1598, the walls of the castle were battered down by O’Donnell, who having defeated the English at the Battle of the Curlieus, attacked O’Conor Don, and obliged him to surrender. Whether the castle was ever fully restored is doubtful; but as it appears from an ancient MS in the Ashburnham collection that a considerable portion of it was rebuilt by Sir Hugh O’Conor after O’Donnell’s attack, it is more than probable that he completely restored it…Charles O’Conor, the grandson of this Sir Hugh, was the last of the O’Conors who resided at Ballintober. Probably when he left it, it ceased to be inhabited, and became the ruin into which pillagers for well-dressed stones speedily converted it.’
Extracts from The O’Conors of Connaught: An Historical Memoir by Charles Owen O’Conor Don (Dublin, 1891)
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The Butlers Did It (again)
A tower house dating from the late 15th or early 16th century, Grallagh Castle, County Tipperary, like so many other such structures in this part of the country, was for a long time associated with the Butler family: James Butler, tenth Baron of Dunboyne, bequeathed the property to his son in 1533. By the 18th century it had come into the possession of the Mansergh family. The partially ruined four-storey building is surrounded by some 100 feet of bawn wall still standing. On the exterior, there are bartizans in the north-east and south-west corners and a murder hole above the doorway on the west side. Inside, the ground floor has a barrel-vaulted ceiling and walls punctuated with arrow slits. A mural stairway leads to the upper floors featuring several two-light windows with window-seats, a fireplace and a garderobe.
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Having No Equal in the Three Kingdoms
Visiting Kilkenny Castle in 1699, English bookseller John Dunton enthused over the building’s gallery, writing that ‘for length, variety of gilded chairs, and the curious pictures that adorn it, has no equal in the three kingdoms, and perhaps not in Europe; so that this castle may properly be called the Elisium of Ireland.’ Were Dunton somehow to return to Kilkenny today, he would likely find the place unrecognisable, but would still judge the castle gallery as having no equal, certainly not in this country.
The origins of Kilkenny Castle date back to the late-12th century when a defensive structure was erected on a site high above an important fording point on the river Nore. Likely of wood, it was replaced by a stone building around 1260, a square-shaped castle with a tower at each corner, three of which remain. Passing through various hands, it was seized by the English crown and sold to the Butlers in 1391: hitherto the family’s main base had been at Gowran, some ten miles to the east. Thereafter, Kilkenny became the centre of Butler operations, although the castle went through several periods of neglect. In the second half of the 16th century, for example, Thomas Butler, 10th Earl of Ormond, preferred to concentrate his energies on enhancing another Butler property in Carrick-on-Suir (see All that is Fantastically Eccentric in Architecture « The Irish Aesthete). However, his great-nephew James Butler, first Duke of Ormond and the latter’s wife Elizabeth Preston, lavished attention on Kilkenny Castle, creating the building so admired by Dunton at the end of the 17th century.
An ardent royalist, James Butler went into exile in France with Charles II. Following the latter’s restoration in 1660, Butler was created Duke of Ormond, recovered his Irish estates and became the country’s Lord Lieutenant. While he and his wife spent much time in Dublin, they also turned their attention to the ancestral castle in Kilkenny where, inspired by what they had seen during their time in mainland Europe, they transformed the building and its grounds in the style of a French château. The garden was laid out in the fashionable Baroque manner, with serried lines of trees, statuary and fountains, and a classical banqueting house. Inside, an inventory made for the couple’s heir, the second duke, reveals that the castle held sets of tapestries, Turkey rugs and looking glasses, Dutch and Indian furniture and a huge collection of more than 500 paintings, the largest in the country with work by Dutch, French, Italian and English artists. Some of these items survive to the present day: six 17th century Dutch tapestries, part of a larger series telling the story of Decius Mus, a Roman Consul, can be seen in one of the rooms, while elsewhere several painted wooden panels carved with ribands and pomegranates are on display. While many visitors to the castle were awed by this display, not everyone felt the same way. In November 1709 Dr Thomas Molyneux arrived in the town and went to look at the building. While acknowledging that it was handsomely situated above the Nore, Molyneux declared that inside ‘there is not one handsome or noble apartment. The Rooms are Darke and the stairs mighty ugly.’ He was also critical of recent alterations to the main structure, thinking the handsome classical entrance from the Parade, along with a new range of buildings all ‘mighty ugly, crooked, and very expensive.’
Kilkenny Castle, as seen today, is primarily a 19th century construct. For much of the previous century, it had, once more, been little used and allowed to fall into a poor condition: by 1747, it was described as being like that of ‘a weather-beaten ship in a storm after a long voyage with all her cargo thrown overboard.’ Around 1770, the south wall of the old castle, which had already been badly damaged during the Confederate Wars of the early 1650s, was demolished, thereby breaking the previously enclosed courtyard and opening views to the parkland. Internally, other radical changes took place. The present Picture Gallery, 150 feet long and the finest surviving example of its kind in Ireland, was commissioned in 1826 by James Butler, first Marquess of Ormonde from local architect William Robertson, with further changes made in the 1860s by the firm of Deane and Woodward. Elsewhere, a suite of reception rooms on the first floor continues to reflect their mid-19th century decoration, with walls covered in French silk poplin originally made by Prelle of Lyons, on which are hanging paintings many of which are part of the original Butler family collection. The decoration here is based on photographs showing how the rooms looked in the 1890s. The Butler Marquesses of Ormonde remained in ownership, if not in occupation, of Kilkenny Castle until 1967 when the seventh and last holder of the title sold it for a nominal sum; many of the contents had already been dispersed at auction some 30 years earlier. Today the castle and grounds are owned by the Irish State and managed by the Office of Public Works which has gradually been restoring more of the interior which can be viewed by visitors.
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The Country for Ruins
Lackeen Castle, County Tipperary
A request to speak at a forthcoming academic event exploring various perceptions of ruins has led the Irish Aesthete to consider, not for the first time, what might be the particular appeal of historic buildings that have fallen into decay, and why there are so many of them in this country. ‘To delight in the aspects of sentient ruin might appear a heartless pastime,’ Henry James confessed in Italian Hours (1873) ‘and the pleasure, I confess, shows the note of perversity.’ Tumbling roofs and crumbling walls have long exerted a particular appeal, as was noted by Rose Macaulay in her wonderful 1953 book Pleasure of Ruins when she rhetorically enquired ‘what part is played by morbid pleasure in decay, by righteous pleasure in retribution…’ The morbidity of ruins without doubt helps to explain their attraction: in a state of decay, they allow us to engage in romantic speculation which may or may not be accurate. There are certainly many opportunities to engage in such hypothesising in Ireland. In some instances, they can be wonderfully picturesque, a fact highlighted by the clergyman and author William Gilpin who in 1782 published his highly influential book, Observations on the River Wye, and Several Parts of South Wales, etc. Relative Chiefly to Picturesque Beauty; made in the Summer of the Year 1770. Among the points he made was that in landscape painting the presence of a ruined castle or abbey would add to the work what he called ‘consequence.’ The truth of this observation had already been made apparent in the previous century by a number of French artists – Poussin, Claude Lorain, Dughet – based in Italy where they produced paintings in which ruins were often a notable feature.
Clonfert Palace, County Galway
Rappa Castle, County Mayo
Dromore Castle, County Limerick
Graffan House, County Offaly
Works such as those painted by the likes of Poussin et al are known to have had a critical influence on the design of both British and Irish country house landscapes in the 18th century, when the pictures were bought by Grand Tourists and brought back home where parklands and demesnes were laid out to look like them. Sometimes, to enhance the view, they even incorporated artificial ruins as was the case in a number of properties around the country. At Belvedere, County Westmeath, for example, the ‘Jealous Wall’ was constructed. Some 180 feet long, this theatrical sham ruin dates from c.1760 when commissioned by Robert Rochfort, first Earl of Belvedere. Seemingly, it was built in order to block the view south towards Tudenham Park, a house further along Lough Ennell which had been erected some years before by the earl’s younger brother, George Rochfort, with whom he had quarreled. The earl might simply have asked for a high wall, but instead opted for one that romantically looks like the remains of an ancient castle. At Heywood, County Laois – where the grounds were laid out by owner Frederick Trench installed a number of fake ruins in the 1770s, including what appear to be the remains of a ruined medieval church, incorporating a traceried window thought to be 15th century and to have been brought from the former Dominican friary at Aghaboe, some twelve miles away. Towards the end of the 18th century, the demesne at Lawrencetown, County Galway was similarly enhanced by the addition of a number of follies, including a Gothick eyecatcher, intended to suggest the remains of an otherwise lost building. Back in County Westmeath, at Killua Sir Benjamin Chapman acquired some of the stonework from a medieval Franciscan friary at Multyfarnham and around 1800 used this material to create a charming ‘ruin’ visible from the garden front of the house.
The Jealous Wall, Belvedere, County Westmeath
Heywood, County Laois
Lawrencetown, County Galway
Killua Castle, County Westmeath
Even without the addition of fake examples, Ireland has never been short of ruins. The observations of German writer and geographer Johann Georg Kohl who visited Ireland in 1841 have been cited before. ‘Of all the countries in the world’, he wrote, ‘Ireland is the country for ruins. Here you have ruins of every period of history, from the time of the Phoenicians down to the present day…down to our own times each century has marked its progress by the ruins it has left. Nay, every decade, one might almost say, has set its sign upon Ireland, for in all directions you see a number of dilapidated buildings, ruins of yesterday’s erection.’ What this suggests is that the Irish have a particular affinity for decay and dilapidation, given that the stock of ruined buildings seen by Kohl has only further increased since his time, although too often these additions could not be described as picturesque or romantic. Last week, the Irish Times reported on two substantial 19th century houses in Phibsborough, Dublin which in 2009 were added to the city council’s list of derelict sites. A decade later, after the buildings had fallen into still worse condition, they were compulsorily purchased by the authority which then announced plans to restore them for use as social housing. Now, after a further seven years of decline, the council has announced that the cost of undertaking such a restoration would be excessive and that there were currently ‘no plans’ for the properties. Of all the countries in the world, Ireland retains its title as the country for ruins.
Ightermurragh Castle, County Cork
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The Irish Sale of the Century
From the mid-1970s through to the early 1980s a series of country house contents auctions took place in Ireland, beginning with that held at Malahide Castle in May 1976. One of the last during that particular spate took place at Luttrellstown, County Dublin in September 1983. Luttrellstown has featured here before (see Luttrellstown Castle « The Irish Aesthete). The estate here dates back to c.1210 when it had been granted by King John to Sir Geoffrey de Luterel. Two centuries later the original castle was constructed and remained in the hands of the Luttrells until 1800 when sold to Luke White, who had made his fortune operating a lottery. White and his descendants were responsible for giving the house much of its external appearance as a frothy Gothick fancy, and they continued to occupy it until the early 1920s when it was once more put on the market. In November 1927 Aileen Guinness married the Hon Brinsley Plunket and as a wedding present her father Ernest Guinness presented the bride with Luttrellstown Castle.
During the 14 years of their marriage, the Plunkets entertained extensively at Luttrellstown. However, following their divorce in 1940, the property’s chatelaine moved to the United States, only returning to this side of the Atlantic after the conclusion of the Second World War. Then, following her father’s death in March 1949, she embarked on a thorough restoration and transformation of the castle. In this enterprise, she was assisted by English architect and interior designer Felix Harbord, who also worked with Aileen Plunket’s sister, Maureen, Marchioness of Dufferin and Ava, at Clandeboye, County Down. At Luttrellstown, Harbord appears to have perfectly understood his client’s fondness for the dramatic and for unexpected juxtapositions. Hence the interiors were filled with treasures that had come from a diverse range of sources. The white marble chimneypiece in the ballroom, likely the work of Sir Henry Cheere, came from England, as did the painted ceiling by Thornhill installed in the staircase hall. The dining room was given Adamesque plasterwork and a ceiling by 18th century artist Jacob de Wit, and the Grisaille Room created to hold a series of nine panels by the Flemish painter Peter de Gree, originally made in 1788 for the Oriel Temple, County Louth. In this setting, Luttrellstown’s owner entertained frequently and lavishly. As late as 1966, when many other Irish houses had been forced to cut back on hospitality, Mark Bence-Jones could report, ‘Mrs Plunket entertains in the grand manner, giving large dinner parties, dances and balls; she invites people from all walks of life in Ireland together with many friends from abroad.’ He also noted that ‘what seems like an army of footmen, something very rare in Ireland, adds to the splendour.’
In 1983, Aileen Plunket, by then aged 79, decided to sell both Luttrellstown Castle and its contents: the latter were dispersed in a three-day auction held that September by Christie’s. Described by the late Desmond FitzGerald, Knight of Glin as the Irish Sale of the Century, the event attracted considerable publicity, and many overseas buyers, eager to see what bargains might be found. In the event, there were no bargains as many lots went for much higher sums than their estimates. On the first day, for example, a pair of George II white painted side tables, expected to fetch £25-38,000, eventually went for £110,000. A pair of Italian gilt-bronze and crystal candelabra made £65,000, more than six times their estimate, while a mid-18th century giltwood stool fetched £28,000, more than nine times the estimate. A rare Russian tapestry carpet made for Tsar Nicholas I in 1835 went for £75,000 which was double its estimate: seemingly the underbidder on this lot was David Rockefeller. On the other hand, a suite of painted Louis XV furniture which may – or may not – have been made for the Château de Maintenon, failed to make the expected £170,000, selling for £134,000. On the second day of the auction, the focus was on paintings such as a set of four hunting scenes by Jacob van Strij (£69,120), The Mystic Marriage by Jan Brueghel II (£30,240) and a portrait of Louise de Keroualle, Duchess of Portsmouth by Henri Gascars which fetched £27,000: Aileen Plunket had bought the picture eight years earlier at the Malahide Castle sale for £9,500. On the third day, books, porcelain, glass and so forth. With approximately one third of the buyers being Irish and the rest of the bidders coming from overseas, in total, the auction made a sum just shy of £3 million. Soon afterwards it was announced that the castle and 570 acre demesne had been sold for just over £3 million. Aileen Plunket then moved to England where she lived until her death in 1999. As for Luttrellstown Castle, it has since become a wedding and events venue (a certain well-known English former footballer and his wife were married there in 1999).
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