Restoring History The Magazine Fort Revival
After two years of meticulous work, the Magazine Fort stabilisation and restoration project in Phoenix Park has
been successfully completed, breathing new life into one of
Dublin’s most significant historic military sites.
A Fortress with a Storied Past
Built between 1734 and 1736 during the reign of King George II, the Magazine Fort was commissioned by the Duke of Dorset, then Lord Lieutenant of Ireland. Designed by military engineer John
Corneille, the fort was constructed as a secure ‘magazine’ to store and supply gunpowder and ammunition to British Government forces. Its classic square layout features four demi-bastions and
is surrounded by a dry moat, embodying 18th-century military architecture.
Between 1793 and 1801, the fort underwent several enhancements
to strengthen its defences. In 1801, architect Francis Johnston extended the fort’s east side to provide accommodation for officers, soldiers, and their families.
The fort was handed over to the newly formed Irish State army in 1922. After decades of military use, it was decommissioned in 1988 and transferred to the Office of Public Works.
The Restoration Journey
The recent restoration involved a range of specialist works to preserve the fort’s historic fabric and ensure its longevity.
Key works included:
– Structural repairs and lime rendering
of the rampart walls and three cavalier
buildings.
– Exterior repairs to the Magazine
Building, including roof renewal
with natural slate, lead gutters and
reinstatement of stone capping.
– Repointing of the blast wall.
– Structural repairs and restoration of
the metal Reception Shed.
– Reconstruction of the Duke of Dorset
Gate.
– Localised roof repairs to other
buildings within the fort.
One of the most complex tasks was the restoration of the rampart walls. The ‘banquettes’—stone steps built into the walls—were sinking and separating. Each stone was carefully numbered,
dismantled, and reassembled after installing new geogrid reinforcement footings. This work required close collaboration with ecologists to protect the sand martin birds that nest in the
lower part of the walls during summer.
The Magazine Building Gunpowder Store, with its three parallel vaulted structures and thick brick and stone walls, was restored to be weathertight. This included renewing the roof, repairing timber windows, and applying new lime render and repointing.
Rebuilding the Duke of Dorset Gate
The reconstruction of the Duke of Dorset Gate was a highlight of the project. Partially dismantled in the 1970s to allow military vehicles access, only the gate’s piers remained. Without historic drawings or photos, the team faced a significant challenge.
A breakthrough came with the discovery of a 1969 photograph of the fort’s caretaker, Mr. Larry Cunningham, and his daughter on her wedding day. This image provided crucial details of the gate’s Wicklow granite and Portland stone façade. Using the photograph
and a few remaining original stones, architects Audrey Farrell and Angela Rueda, structural engineer Liam Keogh, and master stonemason Gavin Conlon, worked together to recreate the missing elements with precision, restoring the gate to its former glory.
Unearthing the Past
Archaeologists from Archaeological Plan supervised the restoration, documenting artefacts and conducting safety surveys.
Their discoveries included metal detonator tops, grenade fragments, and an Irish Republican Brotherhood uniform button, all remnants of the fort’s turbulent history, which included the
1939 IRA raid when munitions were seized.
During excavation, suspicious soil containing degraded plastic explosives was found and safely removed by the Irish Army’s Explosive Ordnance Disposal unit, underscoring the site’s complex past. It caused quite the excitement on site that day!
Skills and Legacy
The project also served as a training ground for heritage skills. Junior craftspersons worked alongside experienced masons and craftspersons, learning traditional techniques in masonry repair, lime repointing, and lime harl rendering, ensuring these crafts
continue for future generations.
Opening to the Public
With this phase of the restoration program complete, the Magazine Fort will soon open its doors for public guided tours. Visitors can book through the Phoenix Park Visitor Centre and
experience first-hand this remarkable piece of Ireland’s military heritage.
A Day in the Life of an apprentice with the Office of Public Works
The Office of Public Works has a long and proud history of delivering Craft Apprenticeship programmes across a number of disciplines. Our Apprentices are an integral part of our workforce and are key to the maintenance of National Monuments in State care. The traditional skills and experience gained by our
Craft Apprentices over the four year programme preserves generations of knowledge for the future.
Since 2023 we have introduced new apprenticeship programmes such as Civil Engineering Technician, Arborist and Digital Marketing and Media, these are consortia led apprenticeships
that are delivered on average over a period of two years. Read about some of our current apprentices and their experiences.
Painter and Decorator Apprentice Jason Fay
Apprentice of the Year finalist
“My life in the OPW began in August 2023. I always wanted to be a painter from a young age. I come from a painting family. My great-grandfather, grandfather, and all their brothers were all in the trade. My father and uncle also frequently went on jobs
with my grandfather but never took to the trade fully.
As soon as I finished my Leaving Cert, I began working for a contractor, after a year they said I should apply to The Office of Public Works, as they were looking for apprentice painters.
For my first job with the OPW, I was sent to Royal Hospital Kilmainham. There, myself and one of the other painters began prepping and painting all the bollards and lampposts throughout. We later tackled the gates too.
After that I was sent to Dublin Castle, where I and two others were doing a job in what is known as “the bedrooms”.
I frequently spend time in Collins Barracks. This is where the workshops are for painting and joinery. In the workshop we bring in various pieces from raw up to a finish. The most common being sash windows.
We strip them, send them to be repaired, reglazed then they’re brought back to us to bring them up to a finish.
When I was not in the workshop, I did various jobs in a number of different buildings including; Áras an Uachtaráin, Farmleigh, Leinster House, Iveagh House, Custom House and the Four Courts.
In the OPW we get a great education from high quality tradesmen. They are carrying on the wealth of experience in restoring and maintaining these buildings along with their wealth of knowledge of the trade… Which I am very grateful for.
Since my time began in the OPW, I’ve been sent to my Phase 2 and Phase 4 of my apprenticeship. There we do off-the job training, first in Ballyfermot, then in Bolton Street.
There we learn more intricate skills of the trade – the more decorative side, as well as the theory side too. Solas and the OPW has brought me a lot of great experiences and opportunities such as; Speaking at the ‘World Skills Ireland 2025 Event’ and going over to Slovenia to represent Ireland in the Humanitarian
Painting Project 2025.
At the time of writing this I am in Dublin Castle where we are getting George’s Hall ready for the presidential inauguration. While being on the this job, I have filled and caulked all the mouldings on the wall and am now sanding them all down ready for the finish coats and some counter filling if needed.”
I am very grateful to be in the position I am in the OPW as it’s a great opportunity, especially as a young person. I am excited for the future and where it will bring me.”
Architectural Stonemasonry Apprentice Luca Howard
World Skills Ireland Winner
“I am currently doing the Stone Carving and Stonemasonry Apprenticeship in Tralee.
We are currently a year and a half into the course, and in phase 4.
I’ve always had an interest in heritage buildings. Before the apprenticeship, I went labouring with stonemasons in Cork and Galway, who were preserving private houses and stone buildings. But I always had the idea that I wanted to get into the carving side of the trade. The Office of Public Works cares for the most significant heritage sites in the country so, I thought I should probably try and work with them.
In the college phases, we are taught carving, cutting, and cladding. We make large pieces as a group but are also encouraged to work on individual projects. At my depot we cover Galway, Clare, Roscommon, parts of Mayo and Limerick. Recently I was lucky enough to work on a large stone window in Roscommon Castle.
In September, we went to the World Skills competition in the RDS Dublin and five of us competed over three days to make
a bird bath with oak tree motifs. It was fantastic to see all the other trades, some of which I had never heard of before.
Starting this apprenticeship was the best choice I’ve made, I can’t recommend it enough. I think it would best suit someone who enjoys working with their hands and has patience for the work.
With practice you won’t need patience, as the work itself becomes enjoyable.”
Painter and Decorator Apprentice Karl Ellis
Apprentice of the Year finalist
“I am a third year apprentice painter and decorator employed by the Office of Public Works, Building Maintenance Section. The reason I became an apprentice, at a later stage in life, is because I have a young family. I knew if I had a career with a qualification my family’s future would be a lot more stable.
When I saw that the OPW were hiring apprentices I felt an opportunity like this could not be missed. The OPW is a multidisciplinary government organisation with a workforce of
highly skilled and trained people. We deliver projects through conservation, restoration and maintenance. There are great benefits to working here. Since starting my career, I’ve worked in
some of the most prestigious buildings in Ireland from Dáil Éireann, The Department of the Taoiseach, Dublin Castle, Farmleigh House and Áras an Uachtaráin. I am learning the trade from a great team who have knowledge and skill maintaining and restoring historical buildings, some of which are 300 years old using very old techniques.
There are many benefits of being qualified as a tradesman. I could work anywhere in the world; Ireland Australia, America, Tokyo and Abu Dhabi. My qualification would be recognised in
many countries. There is a great future for those holding trade qualifications as trade people will always be needed. Since I have started my apprenticeship, I have never looked back because when I am fully qualified the endless opportunities that await me are only possible because of my trade.”
Architectural Stonemason Apprentice Megan Pepper
World Skills Ireland competitor
“I am currently doing an Architectural Stonemason’s Apprenticeship (Stonecutting Apprenticeship). I’m in my
second year of my apprenticeship and I’m in Phase 4.
I decided to do my apprenticeship with the Office of Public Works because I’ve always wanted to work with older buildings and when I saw the ads for the apprenticeship I jumped at it.
Some of the places I’ve worked with the OPW include the boundary wall at the The Hill of Tara. Currently, I’m working
on the repointing of the Kells Round Tower. I have also been working on the cap stones there, shaping them for the top of the tower.
This year, I took part in the World Skills competition. It is specifically for apprentices to showcase their trade and skills. It was an amazing opportunity to be a part of it and it’s great for students to come and experience it.
The advice I would give anyone thinking of starting an apprenticeship with the OPW is do it! If you don’t try you won’t
know. Even if you think you won’t suit it’s still an opportunity and an experience you’ll never regret taking.”
The OPW currently employ 41 apprentices across 13 apprenticeship programmes.
Our recruitment campaigns can be run at any time of the year but are mostly concentrated in the first quarter to coincide with Apprenticeship Fairs we attend around the country, promoting our programmes.
All our apprenticeship opportunities are advertised on the OPW website (www.opw.ie) where candidates can access the Recruitment Competition Information Booklet and download an application form. Interested candidates can also register with www.publicjobs.ie where they can request to be notified of any
competitions. We would also encourage interested candidates to follow us on social media where all our opportunities are advertised.’’
Losing the Crown – but Keeping the Throne: The Presidential Chair at Dublin Castle
Since 1938, when Ireland elected its first head of state, the Office of Public Works has had the responsibility for hosting the inauguration of Ireland’s presidents. The Upper Yard at Dublin Castle was initially suggested as a possible venue by Éamon de Valera, possibly with an eye to the inauguration of the U.S. president in front of the Capitol Building in Washington D.C., but he was persuaded that the Irish weather could not be depended upon and so it was moved inside to St Patrick’s Hall.
In the run up to the first inauguration, of Dr Douglas Hyde, on 25 June 1938, an OPW file records that:
The principal accommodation on the Dais will be a gilt arm chair which the Chairman has directed to be covered in Blue Silk, and a suitable Table for An Uachtaran to sign at.
This might sound rather benign, but this was no regular armchair. It was in fact a repurposed throne, one of a pair made in the nineteenth century, bearing the royal monogram of “VR” and topped with an imperial crown (the other, similarly
repurposed, is used by the Cathaoirleach of Seanad Éireann). In addition to a new blue-silk covering, the throne had its crown and monogram removed. With such minor alterations, it was replaced
where it had stood in former times, on a dais at the end of St Patrick’s Hall to receive the nation’s head of state. But this was a very different head of state. The subtle contrast, to those who
noticed, must have been striking.
This ‘gilt arm chair’ was used in time by Éamon de Valera himself, and by each of Ireland’s presidents up until the inauguration ceremony of 2011. Coinciding with the Craft Council of Ireland’s ‘Year of Craft’ in 2011, and with thoughts that the old chair was worn out, a new chair was commissioned from the furniture maker John Lee.
Dublin Castle has recently had the older chair restored. It was re-gilded by Fergus Purdy, reupholstered by the OPW’s Furniture Branch, and its magnificent Irish embroideries of the state harp and four shamrocks conserved and re-applied by textile conservator Karen Horton. This ‘gilt arm chair’ is a remarkable example of the mixture of change and adaptation that accompanied Ireland’s independence. Much like our
post boxes with their occasional royal monograms, painted green after 1922, this chair embodies our entangled and contested history while reflecting our independence alongside a pragmatic
respect for the past.
On one of his many visits to Dublin Castle, in March 1952, De Valera’s own view on our island’s contested material
culture was noted down:
On the general question of the State Apartments […] the
aim should be to keep them in good condition. While some
people held the view that emblems of British rule should
be removed there was a case for preserving them for their
historical significance and for the emphasis which they
placed on the changeover to national independence. This
applied particularly to places like St. Patrick’s Hall and the
State Apartments generally where there is so much of
value and artistic merit as well as of historical significance.
For De Valera, this was all history – and it was much better to turn the pages of history than to tear them out. Such things would serve as reminders of the past, and memories of that past would serve as a contrast to a new, independent present.
These sentiments were echoed by President McAleese, during the speech she made on 18 May 2011 when hosting Queen Elizabeth II to a State banquet in St Patrick’s Hall:
The relationship between our two neighbouring nations is
long, complex and has often been turbulent. Like the tides that
surround each of us, we have shaped and altered each other. […]
Inevitably where there are the colonisers and the colonised, the
past is a repository of sources of bitter division. The harsh facts
cannot be altered nor loss nor grief erased but with time and
generosity, interpretations and perspectives can soften and open
up space for new accommodations.
As we think upon the long and complicated history of the properties in our care, it is worth interrogating the material culture of our past. For better or worse, it is a shared past, with shared, multiple histories. As President McAleese noted, we need to be alive to the possibilities of new interpretations and perspectives. It is curious to think that such interpretations were already being explored as far back as the 1930s, when Ireland consolidated its independence by electing its first head of state, and inaugurated that person on a crownless throne.
Digitalisation at the Bots
Collecting and curating botanical samples as herbarium specimens dates back to the 16th century. The Italian physician Luca Ghini realised that dried plant specimens could be used for teaching medical students plant identification throughout the year, even when plant samples were not available during the winter.
Today there are over 3,500 herbaria across the world holding almost 400 million botanical specimens. The National Herbarium in the National Botanic Gardens, Glasnevin holds approximately 600,000 herbarium specimens dating from the early 1800s to the present day.
It contains the most complete collection for the island of Ireland but also contains specimens collected across the globe, from the arctic to Australia. Some of our specimens represent the first encounters of western scientists with plant species, such as the Handkerchief tree (Davidia involucrata). As such, they hold a wealth of information on natural and cultural history.
Herbarium specimens have tremendous potential outside of their primary uses to discover and describe flora. They have been used to track the movement of invasive species, to monitor changes in species composition and biodiversity assessments, to determine atmospheric changes and to uncover genetic changes over time. They are physical records of biological interaction and can be used for both scientific and historical study. Each specimen represents a snap-shot in time and as a collection they are an extensive time-series to interrogate.
What makes herbarium specimens so useful is the data contained on the label or on the notes associated with the specimen. A specimen without a label is almost worthless. The details of the plant name, collection location, collector, date and often additional notes on habitat, altitude or plant condition are immensely important.
The combined data from all these specimens allow us to track past changes and help predict future responses. However, to date we have catalogued data from only a limited number of the specimens within the herbarium - approximately 10% are fully digitised. This is mainly due to the large numbers within the collection but it is now changing with the help of digital cameras and automated imaging technologies. Images of herbarium specimens capture unique moments in history and represent hundreds or thousands of data points for each specimen. The National Herbarium has embarked on a project to take high-resolution images of all our specimens and to extract data from the collection. This is a long-term project, but to begin it we have started to work on the Irish collection of approximately 60,000 specimens. The DigiHerb project is co-funded by the North-West Europe Interreg programme and is a collaboration with two other herbaria in the North-West Europe region, the State Museum of Natural History in Karlsruhe, Germany and Ghent University, Belgium. The project aims to digitise material in each herbarium and to share the data on a combined portal (https://digiherb.symbiota.org/). We are using a high throughput imaging conveyor belt system to capture images of the specimens at each site. The data from the specimen labels is being manually extracted, but we are also running trials on AI data capture to speed up this process. The overall goal will be to have the images and data available to the public to facilitate further scientific and historical studies.
We are also working closely with the Digital Repository of Ireland, which is hosting the high resolution images and the associated data. In particular, we have started by sharing the Robert Lloyd Prager collection online on the DRI (https://repository.dri.ie/catalog/kd17sp309). This project was funded by the Nowlan Digitisation Grant scheme of the Royal Irish Academy. The Praeger collection represents one of the most important subsets of our collection. Praeger deposited specimens from his fieldwork across Ireland during which he created lists of species in each county. These lists were compiled into a catalogue of plants in Ireland, giving the most comprehensive census of plants across the island. This initial census has been added to throughout the years and forms the basis of our conservation assessments of Irish plants.
Of course, we have much more than Irish specimens in the National Herbarium. We have specimens of global significance from across the world and these will also be imaged in time. The imaging of the Irish specimens will be finished in August 2025, after which we hope to continue onto digitisation of the World collection.
Earley Collection a new donation of artworks for public enjoyment presented to the Office of Public Works
Over the course of fifty years Patrick Earley assembled an
outstanding collection of Irish topographical art, focusing
on portrayals of Dublin and Wicklow over the period 1770
to 1870. The collection has recently been acquired by
the State and a selection will be exhibited in the historic
Daniel O’Connell room at the City Assembly House. The
exhibition will feature early nineteenth-century views of
Powerscourt Waterfall and Grafton Street, of Georgian
College Green and Victorian Bray. Among the artists
represented will be William Sadler, John Henry Campbell
and Patrick Vincent Duffy.
It is wonderful that a few months after this important donation a selection from the collection will be put on public display in an exhibition that will run over the summer months of 2025 at the City Assembly House, Dublin. This is a most appropriate venue, as the building was erected in the mid-1760s by the artists of Ireland as the first purpose-built, public exhibition space for the display of
art in Britain or Ireland. William Laffan author and art historian, who has written a catalogue to accompany the Exhibition
states that “ Here at the City Assembly House, artists such as Thomas Roberts and William Ashford competed for public
approval and the Irish – specifically Wicklow – landscape was very often their subject matter of choice. In 1772, for example, Roberts, William Ashford and James Coy (c. 1750-80) all exhibited views of Tinnehinch at the Society."
William Laffan in his catalogue further elaborates on this special cause for celebration outlining how the Earley collection, the product of decades of shrewd and insightful collecting, has been acquired by the State under the provisions of section 1003 of the Taxes Consolidation Act (1997) which has not only brought entire individual masterpieces to the National Gallery of Ireland and the Crawford Art Gallery in Cork (among other institutions) but has allowed collections, such as that formed by Richard Wood, now
at Fota, County Cork, to be acquired for the enjoyment of the Irish public. The OPW has benefited too with the Carton paintings of the Mallaghan family coming to the State under the Section 1003 Act and the paintings handsomely displayed at Castletown. Similarly, the cultural heritage of Waterford has been immensely enhanced by the acquisition, under the same scheme, of superlative collections of Irish Georgian silver. The legislation specifically limits its applicability to outstanding examples of works of art which are manifestly ‘pre-eminent in their class’, whose acquisition would ‘significantly enhance’ Ireland’s cultural patrimony – a high bar indeed, and a validation of Patrick’s connoisseurship. For this collection to be donated to OPW a number of people were instrumental in facilitating this initiative. I would like in particular to acknowledge the assistance of Sir Robert Goff, John Kennedy of the Department of Culture, Communication and Sport, Joanne Bannon and Roisin Flynn of
OPW’s Registrar’s Office and Stuart Cole of Adam’s. My thanks also to the OPW’s Art Management Group who have providing guidance and governance on the donation throughout.
The arrival of the Patrick Earley Collection at OPW comes at a very suitable time. Both Emo Court, Laois and Damer House, Roscrea are both undergoing conservation works and new
picture hang displays are in planning. A selection of Earley paintings are already on display for Season 2025 in the newly
re-hung Drawing Room of Emo Court. The House has just reopened following conservation works and a visit there to
view both the Earley paintings and all the displays at Emo Court is strongly recommended. It is planned that some of the Earley collection will be on display at Damer House, Roscrea from the Autumn of 2026 onwards as part of the new schemes being unveiled under the grant aided EU Just Transition Funds Failte/
OPW project. The cataloguing of all the Earley Collection is being undertaken by Joanne Bannon, Historic Collections Registrar, OPW.
For the summer of 2025 the Irish Georgian Society at The City Assembly House a large selection of the Patrick Earley Collection can be viewed in Dublin by visitors prior to their display and as a preview to their presentation at Damer House, Roscrea, Co. Tipperary. Our thanks to Donough Cahill, Director of the IGS and his team for presenting the collection for public enjoyment this
summer. Our very particular thanks to William Laffan for researching and writing up the excellent catalogue entries for
the paintings and for coming up with the proposal to display the collection to visitors this summer at the Irish Georgian Society’s home.
The Fall of Charles Fort – October 1690
As one of the largest military installations in the country Charles Fort has been associated with some of the most momentous events in Irish history. The most significant of these include the Jacobite-Williamite War in 1690 and the Irish Civil War in 1922 – 1923.
As a military fortress Charles Fort is an outstanding example of star-shaped fort with five bastions. Built between 1688 and 1692, Charles Fort was designed by William Robinson, Architect of the Royal Hospital Kilmainham and Superintendent of all fortifications in Ireland. In his design of Charles Fort, Robinson was influenced by the work of the French Engineer, Sebastien de Vauban, who perfected this form of military architecture. These forts were the most effective form of defence during the age of cannon and musket fire.
At its height, there were 94 canons in Charles Fort in 1690 – a formidable deterrent for any attacker. Its walls are low and thick and are circa 12 metres wide. The fort is strong on its seaward side but the landward defences were never fully completed. This would contribute to its fall in the siege of 1690.
The succession of James II to the throne of England in 1685 ultimately lead to the War of the Two Kings. James’s refusal to accept the rights of parliament and his continued devotion to Catholicism was unacceptable to the majority of the English Lords. In 1689, Civil War broke out as King James landed in Kinsale in an attempt to regain the throne.
In 1690, the Williamite forces, under the joint command of John Churchill, Earl of Marlborough, and Ferdinand Wilhelm, Duke of Wurttemberg, arrived in Kinsale and attached both Charles Fort and James Fort. James Fort was besieged first but was forced to surrender when a barrel of gun-powder exploded, killing many of the garrison and destroying the main gate. After James Fort was captured, William’s army seized the defenders cannons and turned them on Charles Fort. They opened fire pinning down the defenders on the western side. The capture of James Fort made front page news on the London Gazette on the 16th October 1690.
Charles Fort had one great weakness in that, it was essentially, unfinished. The three landward facing bastions were only supposed to be temporary and were thus un-mortared. The masonry slipped along the face and flank of the Cockpit Bastion, which was described by the Jacobite engineers, as very weak. It was thus an obvious target for the attackers.
Churchill and Wurttemberg commanded 10,000 men. Williams’ army was a coalition of European forces which included, English, French Huguenots and Danish forces. The Jacobite Commander, Lieutenant Colonel Edward Scott, had close to 1,200 soldiers defending Charles Fort. Despite the odds against them, the defenders put up a fierce fight holding out for thirteen days. When seven Williamite warships appeared on the horizon, the defenders found themselves stretched to breaking point as the Williamite’s focused their efforts on the venerable eastern flank. From the high ground looking directly into the Fort, they positioned eight 24 pounder iron cannons and fired 60-80 cannonballs per hour for three days into that vulnerable position.
Eventually, the wall collapsed and the defenders were offered the choice of surrender or death. Facing over 5 to 1 odds and armed with obsolete weaponry, with many of the garrison unable to fight due to illness and battle wounds, the defenders had no choice but to submit. They were allowed to surrender under terms and to leave Charles Fort with their flags and weapons and march to Limerick where they continued to fight until the end of the war. Churchill and Wurttemberg took over commend of Charles Fort while Churchill appointed his brother Governor of Charles Fort and Kinsale.
News that Charles Fort had been captured arrived just as the London Gazette went to press for the 16th of October edition.
The Pirate Queen of Mayo’s Monuments
For the past year I have been working on a multi-team project to highlight Ireland’s unguided National Monuments in OPW care. There are approximately 790 of these monuments, dating from various periods, encompassing castles, tombs, abbeys, forts, and standing stones. Many of these different sites connect with each other through their historical context, within this extensive portfolio.
The monuments of County Mayo are an example of this historical connection, with many of them linked to the powerful families of Burke and O’Malley. Its castles and abbeys are forever connected because of their association with one woman. One woman who broke the mould, who kept fighting, and who has gone down in Irish legend as The Pirate Queen.
There are many names The Pirate Queen is known by today, but she is probably best known as Gráinne O’Máille (Grace O’Malley) or Granuaile. Three castles in Mayo are referred to by her name: Rockfleet Castle, Kildavnet Castle, and Clare Island Castle are also known as Granuaile’s Castles/Towers. Both Kildavnet and Clare Island Castle were built, in the 15th and 16th centuries, by the O’Malley family, a powerful Gaelic clan within Connaught. Rockfleet, a 15th/16th century tower, was owned by the Burke family, descendants of the Anglo-Norman de Burgos. It was this castle that became Gráinne’s base of piracy operations through her marriage to her second husband, Richard-an- Iarainn Burke.
Gráinne spent her childhood between the family castles of Belclare in Co. Galway, and Clare Island in Co. Mayo. It is likely that her education was delivered by the monks who lived in the abbey on Clare Island, an abbey of which the O’Malley’s were patrons. The original abbey is said to date back to the 13th century, while the church that exists on the island today dates to around the 15th century and contains the tomb of the O’Malley family. A plaque with the family motto ‘Terra Mariq Potens’ (Powerful by Land and Sea), sits beside a canopied tomb, believed to be the burial place of Gráinne O’Máille herself. Today, the church contains some of the finest medieval frescoes in Ireland.
Gráinne returned home to Clare Island after the murder of her first husband, Dónal O’Flaherty, by a rival clan in 1565. It was then that she established her fleet of three galleys and an army of 200 men. This army was partially made up of O’Flaherty men, who followed her leadership after her husband’s death. Such loyalty was a testament to her prowess as a leader, as well as her tenacity; something which was displayed from a young age. Wanting to join her father on a voyage to Spain, Gráinne cut her hair like a boy, earning her the nickname Gráinne Mhaol (Grace the Bald).
The castle on Clare Island was situated near the harbour, making it the perfect place for Gráinne to begin her career as a ‘sea merchant’. The castle is three storeys tall, with the main living room likely situated on the first floor, and there is evidence that gun-loops existed which are now blocked up. A parapet walk is situated along the top of the north and south walls, a typical security feature of castles from the medieval period.
Gráinne was strategic in where she operated her fleets from, and her second marriage to Richard-an-Iarainn Burke was one driven by material convenience. She wanted access to his castle at Rockfleet, ideally located on a quiet inlet of Clew Bay, not too far from the O’Malley Kildavnet Castle overlooking the Achill Sound. Both castles are four storeys high, with stunning views over the surrounding water and land, perfect for observing oncoming attacks. It was known that Gráinne launched attacks on trading ships from Galway during her time at Rockfleet, leading to an attempted siege of the castle in 1579 by Captain William Martin.
The Captain very nearly became Gráinne’s captive.
Gráinne and Richard agreed to a trial marriage of a year, with folklore claiming that after the year was up Gráinne locked Richard out of Rockfleet Castle and demanded a divorce. This is unlikely given that the couple were married right up to his death in 1584.
It was after Richard’s death that life became increasingly difficult for Gráinne in the form of newly appointed Governor of Connaught, Richard Bingham; whose sights became set on the fearsome queen of the sea. After enduring imprisonment in Dublin Castle, the capture of her youngest son, and the confiscation and destruction of her fleet and lands over a number of years, Gráinne took a stand and appealed directly to Queen Elizabeth I to end Bingham’s vendetta. They met in 1593, with the Queen granting Gráinne’s return to the sea and rebuilding of her fleet, believing the Pirate Queen would be fighting the Queen’s cause on the waters. Gráinne now had a fleet of three galleys
capable of carrying 300 men each.
It is said that Gráinne O’Máille died in 1603 at Rockfleet Castle, and now rests on Clare Island. Her strength and her fierce nature did not go unnoticed by the men she dealt with throughout her life. Sir Henry Sidney (English Lord Deputy) stated that she was the most ‘notorious woman in all the coasts of Ireland’, while Sir Nicholas Malby (Governor of Connaught) claimed ‘she thinketh herself to be no small lady’. Gráinne lived an adventurous and vivid life, and her monuments in County Mayo reflect the larger than life character of this extraordinary woman.
More information on these unguided monuments in Mayo can be found here
Sources:
- Chambers, Anne. Ireland’s Pirate Queen: the true story of Grace O’Malley, 2003.
- Dib.ie/biography – contributed by Emmet O’Byrne
- Harbison, Peter. Guide to National and Historic Monuments of Ireland, 1992.
- maps.arcgis.com – Historic Environment Viewer
- Tuatha.ie
A day in the life of the Executive Head Chef to the President at Áras an Uachtaráin
Tucked away, almost hidden within the serene surroundings of the Phoenix Park, Dublin lies Áras an Uachtaráin, a national historical landmark and the official residence of the President of Ireland. Under the care of the Office of Public Works, is an elegant building steeped in rich endless history, diplomacy, and ceremonial grace. Behind its pristine white façade, works a dedicated team, each member playing a vital role in maintaining the high standards expected of the President’s household. Among them is the Executive Head Chef (EHC), whose role blends creativity, precision, and diplomacy on a daily basis.
The EHC works in unison with the Service Manager, Bernadette Carroll, the Head Chef Suzanne O’ Donohoe, the House Manager Dōnal Mc Coy, Chefs and the Household Assistants.
It is an early start for the Executive Head Chef and her team, at times when most of the country is still asleep! The lights in Áras an Uachtaráin’s kitchen flicker on as the day’s busy schedule begins with a review of the day’s planned events. This schedule is shaped not only by regular meals for the President and staff, but by official engagements, State dinners, working lunches, visiting groups & Diplomatic Receptions. Each demanding meticulous attention to detail.
Menus are never static. While guided by the seasons, they are constantly adapted based on the availability of fresh, local ingredients, the dietary requirements of guests, and any last-minute changes to the President’s agenda.
Trusted Irish suppliers provide organic vegetables, along with the produce provided by the Áras gardens, fresh fish from coastal waters, lamb and beef raised on this island’s green pastures, all of which are selected and approved. by both the EHC and the Head Chef, Suzanne O’ Donohoe.
The first meal of the day begins with breakfast service, an intimate yet understated affair. The options are endless: a hearty traditional Irish breakfast or perhaps a lighter choice of poached eggs, grilled tomatoes, and soda bread. Maybe even some homemade porridge or granola with fresh berries. Whatever the President decides upon, everything is prepared from scratch, with a key emphasis on presentation, flavour and freshness.
As the morning continues, the kitchen is filled with the comforting aromas of fresh baked brown bread, meat or vegetables roasting, and the sounds of a lot of kitchen utensils in use! The Head Chef personally inspects every plate before it leaves the kitchen, ensuring that it not only meets the highest standards of nutrition and presentation, but also offers a moment of quiet pleasure.
By mid-morning, attention shifts to formal events. If a visiting head of state, ambassador, or a dignitary are scheduled for lunch or dinner, the EHC will meet with the President’s personnel and protocol staff to review every detail. Everything from menus, guest preferences and cultural sensitivities to wine pairings and timings are considered.
Culinary diplomacy plays a crucial role in these meals. Menus are planned to reflect and promote Irish heritage and Irish producers, while offering a contemporary twist. An example of such a menu could be, a starter of Burren smoked salmon paired with a carpaccio of pickled garden beetroot, followed by a rack of Wicklow lamb with wild garlic mash, and finishing with an apple tart made using the Áras garden heritage Irish apples.
Once menus are confirmed, the EHC meets with the chefs to decide on garnishes and presentation. ‘Mise en place’ ensues. Every sauce is started from base stocks. Every herb is finely chopped and each loaf of bread is baked fresh. In this kitchen, precision is not a preference, it is paramount.
At noon, lunch for the President is served. Depending on the day’s agenda, it may be a solitary meal, a working lunch with Ministers, or a formal gathering in the State Dining Room. For high-level occasions the EHC is present, ensuring every plate meets the highest standards, and adding final garnishes with precision
and care.
Some days the midday window becomes a time for creative exploration, testing new recipes or refining old ones into potential new staples. Innovation is always balanced with respect for Irish culinary traditions.
Afternoons are quieter in terms of service, but not in responsibility. The EHC uses this time for team meetings, mentoring new chefs, and liaising with the Head Chef in relation to garden produce. Áras an Uachtaráin can proudly boast its own organic walled kitchen garden, which is an essential part of its sustainability ethos.
Then comes the essential but the not so glamorous side paperwork: stocktaking, collection of invoices, preparation of accounts for payment, and ensuring the kitchen complies with stringent hygiene, allergen and safety protocols.
Occasionally, the President hosts afternoon teas or receptions, calling for the refined artistry of pastries and canapés. From delicate, bite size savoury morsels to cakes and pastries. The EHC ensures flavours are balanced and textures tailored to modern tastes.
State dinners are the pinnacle of all the chef’s day. Though service typically begins around 7p.m., preparations are set in motion, days and hours earlier. Tables are laid with precision, every place setting pristine, and each course timed down to the second. The EHC leads the plating line, coordinating closely with Bernadette, the Service Manager, to ensure seamless synchronicity.
Meals are typically four courses, designed with a narrative: from starter to dessert, each element reflecting Ireland’s culinary identity. The EHC must be vigilant, ensuring no guest is left waiting and each plate upholds the exacting standards of the President’s table.
Following a state dinner, the kitchen team debriefs, and cleans meticulously, leaving the kitchen ready for the next day. By 11p.m., the lights dim and the doors close, only for the process to start again in a few hours.
The Executive Head Chef at Áras an Uachtaráin occupies a unique role as a custodian of national identity expressed not through words but through food. In every plate served, there is a quiet diplomacy at play, a story of Ireland told through taste.
The demands are high; the pace relentless, it is hard work but very rewarding!
Barryscourt Castle Reopening
Barryscourt Castle, one of Ireland’s most significant and finest surviving medieval tower houses, reopened its doors in April 2025 following a transformative conservation project led by the Office of Public Works (OPW). Officially unveiled on April 24th by An
Taoiseach Micheál Martin, the castle promises to become a cornerstone of Cork’s cultural tourism, blending centuries of history with a modern visitor experience.
Originally constructed between 1392 and 1420, Barryscourt Castle
was once the seat of the renowned Anglo-Norman Barry family, who dominated the region for centuries. Its well-preserved structure—including a striking tower house, intact bawn walls,
and historic gardens—offers a rare glimpse into Ireland’s feudal past. The castle played a key role in regional conflicts and stands
as a powerful symbol of Norman and Gaelic Irish heritage.
An inscription over one of the fireplaces reads: “In 1588, David Barry and Eleanor Roche made me.” This ties directly to the
castle’s 16th-century restoration and serves as a poignant reminder of its longstanding historical presence. As Brendan Gleeson, foreperson with the OPW National Monuments team, notes: “It’s almost like the building’s voice is still speaking to us.”
The ground floor of the tower house even contains a dungeon, where prisoners were dropped through a dramatic ‘drophole’
from the second floor—a powerful testament to the castle’s defensive past. Closed to the public since 2016 due to structural concerns, Barryscourt Castle has now undergone meticulous and
significant conservation efforts, extending over most of the past decade. These works were carefully designed to preserve the historic fabric while improving the visitor experience and modernising the castle’s facilities.
John Geraghty, Architect with the OPW, said:
“ These include a comprehensive programme of conservation works, fabric repairs and a complete Mechanical and Electrical upgrade— undertaken by the OPW Mechanical and Electrical team. The conservation of Barryscourt is also a credit to the skill and commitment of the National Monuments Mallow District Works Team—some of whom were involved in the original restoration of the castle.”
To protect the site’s biodiversity, ecological consultants were also
engaged to ensure that the work did not harm important bat maternity roosts present at the castle.
Master craftsperson Pearse Kearney, an external craftsman who specialises in bronze windows and leadlights, was first brought onto the project in 2001. His work involved restoring the castle’s extremely narrow windows using traditional methods, creating diamond-shaped quarries of glass set in lattices of lead, surrounded by soldered, galvanised steel. These careful interventions show the utmost respect for the original structure.
The conservation project involved the expertise of highly skilled traditional tradespeople—masons, stonecutters, carpenters—whose painstaking efforts exemplify the OPW’s commitment to the preservation of Ireland’s built heritage. The project included critical structural repairs, a full mechanical and electrical upgrade, and landscape restoration, ensuring Barryscourt Castle remains a centrepiece of Cork’s heritage tourism offering.
As Brendan Gleeson explains, “ We’ve done quite an extensive
mechanical and electrical project within the building. It opens up the building to many uses in the future.”
The castle has been sufficiently upgraded so that it can enjoy practical use in the years to come, with facilities that support guided tours and cultural programming. Showcasing this,
historians Dr. Jane Fenlon and Dr. Danielle O Donovan prepared a new interpretative exhibition for Barryscourt comprising text and illustrations. Jurga Rakauskaite-Larkin, OPW prepared and
executed designs for the new Exhibition under the guidance and direction of Sabrina Commins and Des Lowry, National Monuments.
Visitors can now explore the ground floor of the Castle and Tower House, with guided tours available for the upper floors. The beautifully restored orchard will also be accessible, offering an atmospheric setting for cultural and educational events. To celebrate the reopening, admission will be free for the 2025 season. Throughout the season, a variety of heritage talks, guided walks, and special events will take place.
Festivities began with a very wellattended festival of history and music which took place in mid-June. The event, which featured renowned musicians and insightful talks on Ireland’s cultural
heritage, was a fitting celebration to promote the reopening of the site.
At the official reopening, Taoiseach Micheál Martin spoke of the castle’s cultural and historical significance: “As a proud Cork native, I am delighted to see Barryscourt Castle, a landmark of
our county’s rich history, conserved to its former glory. This castle holds a special place in Cork’s heritage, and its reopening is a moment of pride for the region. The OPW’s investment ensures that future generations can experience and appreciate the fascinating story of Barryscourt. Beyond its historical significance, this project will also enhance tourism and cultural life in Cork, drawing visitors from across Ireland and beyond, and providing
lasting benefits to the area.”
Minister of State for the OPW, Kevin Moran, added: “Barryscourt Castle is one of the finest examples of a late medieval Irish tower
house, and the conservation work undertaken by the OPW ensures its legacy for future generations. The meticulous works, led by our expert teams, not only safeguard the castle’s fabric but also enhance the visitor experience, allowing people to explore this unique site in an engaging and immersive way.”
Barryscourt Castle’s reopening stands as a proud example of the OPW’s broader mission to care for Ireland’s rich cultural assets. The OPW currently maintains almost 1,000 National Monuments and historic buildings at 780 sites throughout the country. Each restoration enlists expert tradespeople and traditional techniques
to preserve the unique spirit of these monuments. With Barryscourt Castle brought back to life, the OPW reaffirms its
deep commitment to the conservation of Irish heritage – ensuring these treasures endure for generations to come.
The Rich Heritage of Co. Clare
Ennis Friary and Scattery Island are the only two guided OPW sites in county Clare (to date).
Situated in a county with such a rich heritage our guides are regularly questioned about other sites visitors encounter while traveling through the county. Quin Friary and Clare Abbey regularly feature here in Ennis and our guides over the years have compiled a brief handout to inform those wishing to learn more on these nearby sites. A service I believe many of our colleagues
around the country also provide, giving information on sites other than their own.
In conjunction with the Visitor Services 2024 project to promote the unguided sites within the OPW portfolio, the Ennis Friary guide team undertook a project to discover and promote a selection of our Clare unguided sites. Twelve were chosen to display some of the variety of our built and social heritage. Many of the sites have a link to the O’Brien clan, former kings of Thomond and founders of Ennis Friary, and thus a link to our
own site. This research is kept on file in hard copy at reception for our guides and visitors and is available through our social media for all to access.
During the 2024 season, the Ennis Friary Guides embarked on an exciting journey to uncover some of County Clare’s most extraordinary, but often overlooked, historic gems. Starting as a bi-monthly Facebook campaign, our goals included raising public awareness of Clare’s many historic sites, expanding our own online community, and inspiring visits to Ennis Friary itself.
Throughout the season, we researched and visited sites spanning from the Stone Age to the Medieval period, sharing insights on structures such as portal tombs, ring forts, abbeys and castles. One thing we hadn’t anticipated was how deeply the research would impact us. As a team, we’ve shared quiet moments, excitedly recounting the discoveries we’ve made about the places
we’ve chosen to explore. We’ve shared stories that bring Clare’s rich history to life, such as:
– The fierce, bloody battle fought between two opposing O’Brien
factions at Clare Abbey
– The ancient inauguration site of Magh Adhair were the O’Brien Kings of old dramatically chose to perch atop the tomb of a mighty Firbolg warrior
– Kilnaboy Church, a site of sacred pilgrimage once believed to house a relic of the true cross
– And captivating discussions on the breathtaking medieval stone carvings that still stand proudly at some of these historic heritage sites today!
With the Ennis Friary’s Guides’ shared passion, we haven’t only shared Clare’s wonders with others through social media, we’ve also deepened our own appreciation and love for this beautiful
county we call home.
This social media campaign has culminated in the “Unmanned Sites of County Clare” series, now accessible on the Ennis Friary Blog. With Ennis Friary closing for the winter season, we hope
to encourage our followers and history enthusiasts to explore these historic sites in person and through our digital content, enhancing their connection and appreciation to Clare’s historical past.
To find out more about the Unmanned Historic Sites of County Clare please see https://ennisfriary.wordpress.
com/2024/10/08/unmanned-historicsites-
of-co-clare/ for further details.
