Exploring Ireland’s Beautiful Islands
This summer, step beyond the mainland and discover Ireland’s treasured islands. With accessible ferry routes, guided tours, and the promise of unforgettable scenery and stories, there’s no better time to explore these six gems.
Clare Island
Nestled in the heart of Clew Bay, Clare Island is a captivating blend of history, archaeology, and natural beauty. At the island’s core stands the ruins of Clare Island Cistercian Abbey, a formidable medieval stronghold dating back to the 15th century. It thought the original building dates from the early 13th century and is now under the care of the Office of Public Works. This medieval church is significant for the extent of its surviving medieval wall paintings.
Officially known as ‘St. Bridget’s Abbey’ it is more correctly termed a ‘Cell’. The building contains tombs of the local ruling family, the O’Malleys- including that of the legendary Grace O’Malley or Grainne Mhaol – the pirate queen of Connaught. The abbey is a testament to Ireland’s monastic heritage and monastic craftsmanship.
Access is available via ferries from Roonagh Pier, with facilities to explore the site unguided, though caretakers are on hand during the summer months. The OPW’s ongoing conservation efforts ensure the preservation of this rich heritage for future generations.
Garinish Island (Illnacullin)
Garinish Island (Illnacullin), sitting in the picturesque Glengarriff Harbour within Bantry Bay, is home to beautiful gardens designed by Harold Peto on behalf of the owners, Annan and Violet Bryce. The Bryces, had holidayed in Glengarriff for a number of years prior to purchasing the Island in 1910 from the British War Office.
After four years with a workforce of up to 100 people, the Bryces’ dream of building a beautiful garden was realised. Due to changes in the Bryce family financial situation, the planned mansion was not built. The very mild climate, due to the influence of the Gulf Stream, was a factor in choosing Garinish Island to home a great variety of plants from around the world.
Having moved permanently to the Island on the death of her husband Annan in 1923, Violet opened the gardens to the public in 1925. Roland Bryce, eldest son of Violet and Annan, moved to Garinish in 1932 to assist his mother in the care of the gardens. Roland took ownership of the Island on the death of his mother in 1939 and the Island has been in the care of the Office of Public Works since Roland’s passing in 1953. Murdo Mackenzie, Head Gardener on Garinish Island from 1928 until 1971, contributed hugely to the gardens. Under the current stewardship of Glyn Sherratt and his team, the gardens are maintained and continually evolving, thus ensuring the Bryce Legacy continues.
We welcome over 60,000 visitors annually to Garinish Island, with a recommended visit time of at least one hour for the garden. In 2015, a refurbishment of the former home of Bryce family members was undertaken and is now open for guided tours.
Garinish Island is home to a pair of sea eagles and many visitors are delighted to catch a glance of these wonderful birds whilst visiting the gardens.
Sherkin Franciscan Friary
Perched on Sherkin Island, County Cork, the Sherkin Friary is a captivating relic of Ireland’s rich monastic heritage. Overlooking a rocky strand, the ruins evoke a sense of history and tranquillity, inviting visitors to reflect on Ireland’s monastic traditions. Founded in 1460 by Chieftain Fineen O’Driscoll, this Franciscan friary—also known as ‘The Abbey’—stands as a testament to Ireland’s spiritual and historical legacy. Its resilience was tested in 1537 when it was attacked and burned in a reprisal against the O’Driscoll clan. Despite this, it continued to operate until 1650, when Cromwellian forces confiscated the site.
It later came into the hands of the local Beecher family before being handed over to the Office of Public Works (OPW) in 1895. Accessible by boat visitors are advised to exercise caution during their visit, as the site is unguided.
A visit to Sherkin Friary is a journey into Ireland’s storied past—a must-see for those exploring Cork’s rich heritage. Each of these islands offers a distinctive glimpse into Ireland’s natural beauty, history, and culture. Whether you’re wandering through the exotic gardens of Garinish, exploring the wild landscapes of the Blaskets, immersing yourself in Irish tradition or uncovering medieval history on Clare Island — they all promise memorable summer adventures.
Oileáin Árainn
Ón chéad lá ar thosaigh daoine ag cuir fúthú sna hOileáin Árainn, bhí daoine ag teacht go Árainn, Inis Méain agus Inis Oírr ar cuairt. Do mhairnéalaigh na Cré-Umhaoise, ba stop áisiúil é ar a n-aistir aníos an chósta thiar, mar aon le deis maith roinnt copair a thrádáil le haghaidh fionnadh agus iasc trimithe. Sa ré Chríostaí, le himeachta ama, ba lár-ionad léinn a bhí sna hoileáin, agus tháinig ábhair naoimh sna sluaite ag Mainistir Naomh Éanna, chun teagasc a dhéanamh leis an fear naofa. Níos déanaí, leann oilithrigh lorg na naomh, iad ag súil go dtuillfidís am saor ó phurgóid agus máthúnas dá bpeacaí. Do Rómánsaithe an 19ú aois, ba ídéal ar Éire ‘Ghaelach’ a bhí in Árainn, áit nár fhág an saol nua-aimsirthe a lorg, más fíor.
Tá Árainn go mór faoi thioncar a dúnta móra cloiche. Tá Dún Aonghasa and Dúchathair suite go guagach go hard ar ailtreacha theas an oileáin, agus tá Dún Eoghnachta agus Dún Eochla lonnaithe ar an talamh ard i lár an oileáin. Bhí cónaí ar uasaicme an oileáin sna dúnta le linn ré na luath-mheánaoise 800AD – 1100AD, ach i gcás Dún Aonghasa ar a laghad, bhí daoine ag cuir fúthu ann siar sa Chré-umhaois, 1100BC. Tá ballaí arda na dúin dochreitde tiubh, agus is léiriú soiléir iad ar an buíon oibre suntasach a bhí faoi cheannas muintir an dúin.
Ar cósta thuaidh Árainn, tá na séipéil agus mainistreacha suaimhneacha suite. Lá den saol, bhí Cill Éinne beo le scolairí, cléirigh agus oilithrigh, agus bhí an oiread rath ar an mhainistir go raibh sé d’achmhainn acu cloigtheach ard a thógáil san 11ú aois. Sa lá atá inniu ann breathnaíonn Teampall Bheannáin, an séipéil is lú in Éireann más fíor é, amach ar chuan Cill Éinne, agus in aice láimhe tá Teaghlach Éinne leath-cheilte faoi gaineamh. Ar taobh thiar an oileán, is é an suíomh ar a dtugtar na Seacht dTeampaill sa lá atá inniu ann is tábhachtaí. Tá grúpa suntasach d’fhoirgnimh agus séipéil meánaoiseacha le fáil ann, chomh maith le iarsmaí thrí ardchros mionsnoite.
D’fhág an 17ú céad a lorg ar Árainn chomh maith. Nuair a ghéill Gailleamh do forsaí Chromaill in 1650, cuireadh forsa saighdiúirí ar an oileán, agus tógadh Caisleán Aircín. Níor mhair go dtí an lá atá inniu ann ach balla amháin den caisleán ach is meabhrú sonrach dúinn é ar suímh stráitéiseach an oileán feadh béal Chuan na Gaillimhe.
Cloughoughter Castle
Perched on a man-made island in Lough Oughter, Co. Cavan, Cloughoughter Castle—also known as the Castle of Crannog O’Reilly—is a striking reminder of Ireland’s medieval heritage. Built in the 13th or early 14th century by the O’Reilly family, the castle’s strategic location on a crannog made it a formidable stronghold amidst the lakes and waterways of the region. Accessible only by boat, the castle’s remote setting offers visitors a sense of stepping back in time. When water levels are low, remnants of a causeway may be visible, hinting at the once-sophisticated means of access. Historical records recount numerous events at Cloughoughter, from sieges to political upheavals. Notably, during the Irish Rebellion of 1641-1642, the renowned scholar and bishop William Bedell was imprisoned here.
Today, Cloughoughter remains a National Monument under the guardianship of the Office of Public Works (OPW). Recent restoration efforts, including the removal of overgrown ivy and old structures, have enhanced visibility of its historic fabric. Visitors should note that the site is unguided, requiring care and caution during exploration. As a powerful symbol of Ireland’s medieval past, Cloughoughter Castle continues to inspire those seeking to connect with Ireland’s rich heritage.
An Blascaod Mór
Is beag duine in Éirinn nách bhfuil eolas éigin acu faoi’n mBlascaod Mór, príomh-oileán na mBlascaodaí, ar chósta thiar Chorca Dhuibhne i gCiarraí. Mhair pobal uathúil ar an oileán go dtí 1953 agus tháining raidhse saothair litríochta as, ó na 1920idí amach – An tOileánach le Toms Ó Criomhhtain, Fiche Bliain ag Fás le Muiris o Súilleabháin agus Peig le Peig Sayers mar cheannródaithe orthu. Lean mórán leabhair eile iad, a fhágann go bhfuil cúntas cuimsitheach ar conas a mhair an pobal sin, ar chuma nách bhfuil le fáil in aon áit dá leithéid, ní amháin in Éirinn ach ar domhan. Deintear ceiliúradh an an oidhreacht shaibhir sin in Ionad an Bhlascaoid ar an míntír i nDún Chaoin.
Tá mórán taighde agus saothair foilsithe ag scoláirí iomráiteacha faoi ghnéithe do chultúr, béaloideas agus stair na mBlascaodaí fiú go dtí an lá inniu, as Gaeilge agus i dteangacha eile. Léiríonn siad saibhreas agus tábhacht na hoidhreachta atá fágtha ag pobal an Bhlascaoid Mhóir.
Is fiú go mór turas a thabhait at an t-oileán féin. Tá áilleacht, uaisleacht agus uaigneas thar na bearta ag baint leis. Tá teacht ar an oileán ar sheirbhísí farantóireachta príobháideacha a ritheann ó Dhún Chaoin, ó Cheann Trá agus ó Dhaingean Uí Chúis idir an Aibreán agus Meán Fómhair – ag brath ar aimsir, gan amhras. Bíonn turasanna treóraithe á gcur ar fáil go laethúil ann ag treóraithe ó Ionad an Bhlascaoid, a thugann léargas ar bhaile an oileáin, scéalta na ndaoine agus na tithe inar mhair siad, sar a tréigeadh an áit i 1953.
Taobh amuigh den oidhreacht agus stair, is áit fíor-álainn an Blascaod Mór ina bhfuil radharcanna iontacha mórthimpeall. Tá siúlóidí den scoth ann a thugann éachtaint ar an tírdhreac agus muirdhreac ar gach taobh. Tá an áit mar chuid de Pháirc Náisiúnta na Mara a ainmníodh i 2024 agus tá tóir ar an mBlascaod Mór mar láthair chun na rónta glas agus éanlaithe mara atá flúirseach ann a fheiscint.
Tá mórán oibre idir lámha faoi láthair le go ndéanfaí caomhnú fad-téarmach ar an mBlascaod Mór agus chun áiseanna túirlingte a fheabhsú ionas an láthair fíor-thábhachtach seo a bheith cosanta agus ar fáil do chuairteoirí in sna blianta agus glúnta atá rómhainn. Is é is lú atá tuillte mar omós ag an bpobal eisceachtúil a mhair ann, do chuimhne na n-údair iomráiteacha agus saibhreas oidhteachta agus nádúrtha an Bhlascaoid. Faoi mar a dúirt an Criomhthanach, “mar ná beidh a leithéidí arís ann”.
Beneath the Grandeur
Visitors to Emo Court in County Laois are often struck by the elegance of James Gandon’s neoclassical design: the sweeping rotunda, the stately dining room, and the finely proportioned drawing rooms. Built for the Earls of Portarlington in the late 18th century, the house later passed through many chapters of ownership, including the Jesuits in the 20th century and, later, Major Cholmeley-Harrison, whose stewardship paved the way for its transfer to the Irish State. Today, under the care of the Office of Public Works, Emo Court continues to evolve. In 2025, our visitor experience was further enriched with the unveiling of the basement interiors—spaces long hidden from view that now complete the story of life both above and below stairs. More than a restoration, this project represents a balance of heritage and conservation, ensuring the past is preserved while allowing new generations to experience it afresh.
The basement of Emo Court was the unseen heart of the house. Here, servants once moved through kitchens, pantries, storage rooms, and passageways, supporting the grandeur above with quiet efficiency. Unlike the decorative reception rooms, these spaces were designed for function rather than display. Stone floors, functional corridors, and practical workrooms speak to a daily rhythm of labour and necessity.
By opening these interiors to visitors, the narrative of Emo Court is expanded. The splendour of the formal rooms is now set against the authenticity of the working quarters, offering a complete picture of how a great Irish country house operated.
The presentation of the basement followed a programme of careful planning and restoration led by our OPW conservation architects. Their task was not only to conserve the fabric of the structure but also to interpret its story for the public. The result is an experience that retains the integrity of the spaces while ensuring accessibility and safety.
A key element in the project was the furnishing of the basement with period-appropriate objects that evoke its former life. Here, the assistance of Matt McNulty a long-standing supporter of Irish heritage and the proprietor of tourism and heritage management services,, was invaluable. By helping to acquire tools, utensils, and other domestic items, he ensured that the atmosphere of the quarters could be authentically recreated. This attention to detail brings substance to the architecture, allowing visitors to imagine the daily life of those who worked below stairs during the Victorian era.
The basement is not only a historic space but also a living one. Over time, it has become a valuable habitat for bats, a protected species in Ireland. In preparing the area for public access, the OPW worked in close collaboration with the National Parks and Wildlife Service to ensure this habitat was safeguarded. Through sensitive environmental management and discreet adaptations, the project succeeded in balancing heritage presentation with ecological responsibility.
This partnership demonstrates how cultural and natural heritage can coexist, allowing the house to be appreciated as both a monument of human endeavour and a sanctuary for wildlife.
The unveiling of the basement interiors enriches the visitor journey through Emo Court. Above stairs, guests encounter the artistry of Gandon’s vision and the history of aristocratic and later custodianship. Below stairs, they discover the spaces of work, service, and resilience—rooms that once sustained the grandeur on display above.
Together, these contrasting worlds tell a more nuanced story of Emo Court: a house of splendour built upon foundations of labour, care, and quiet industry. The restoration ensures that both sides of this history are honoured, offering visitors not only beauty but understanding.
Scattery Island Furniture
The furniture in the restored cottages is based on the layout and type of furniture in documentation about Scattery Island and drawings and photographs from archive sources respectively. Don Scanlan’s book about Scattery Island provided details of the type and layout of furniture in the cottages including a kitchen table and set of chairs, a dresser against the internal wall opposite the main fireplace and a settle against the rear wall. Drawings of cottages around Ireland in the 1940s from the Irish Folklife Collection in the National Museum of Ireland included floor plans, which also provided information showing typical furniture layouts of similar direct-entry cottages around Ireland.
All of the furniture details in the houses are based on details from drawings in the Irish Folklife Collection in the National Museum of Ireland, furniture from Clare and the surrounding counties, furniture in publications and furniture from the Museum of Country Life in Castlebar.
The furniture throughout ‘The Street’ consists of replica furniture made in White Deal by OPW Carpenters in Athenry with a set of kitchen chairs and children’s chairs from local suppliers. All of the dressers, settles, benches and a set of kitchen chairs were made by OPW Carpenters and apprentices. Due to the exposed location of the buildings on the island, and in order to prevent damage from dampness to original furniture, OPW Carpenters made replica furniture. The replica furniture also allows visitors to sit down on a guided tour or self-guided tour.
Local residents’ recollections of the Post Office at the northern end of ‘The Street’ have indicated that the layout was not based on a typical Post Office layout. The Post Office desk is based on furniture from a post office in a similar type of cottage in the Ulster American Folk Park in Omagh, with individual compartments for each house.
McMahon’s House at the centre of ‘The Street’ contains a settle based on the settle in the Loop Head Farmhouse in Bunratty Folk Park and a dresser based on an example from the Irish Folklife Collection with inset doors and drawers. Brennan’s House at the southern end of ‘The Street’ contains a low settle based on an example from the Irish Folklife Collection and a dresser based on a dresser from Co. Clare with inset doors and partially overlaid drawers. The low settle allows uninterrupted light to enter the house through the rear window, a feature on many of the Scattery houses.
The details vary between different items of each type of furniture, all of which are based on details in drawings and photographs of original furniture. Typical details vary and include tongue-and-groove boards to stop-chamfers and raised panels on settles and dressers. Details also include corbels, brackets, simple plain moulded cornices and simple plain moulded skirting boards on dressers. Brennan’s house and McMahon’s house contain different tables and chairs based on furniture from Clare and the neighbouring counties.
In order to mitigate the impact of the exposed location of the island on the furniture and to protect the furniture from the effects of dampness, the dressers and settles were raised slightly off the ground. Details were based on the sledge feet on traditional vernacular furniture, a detail also used to protect the base of furniture against water damage and dampness.
The furniture was painted in different colours based on images of furniture in publications by Claudia Kinmonth and furniture from the Museum of Country Life in Castlebar. Colours vary from house to house and include red, blue and grey. All furniture was painted throughout, in order to protect it.
Similar typical vernacular details are used for other features in the restored houses, all of which will be made by OPW Carpenters. The new desk in the visitor centre is based on similar details to the houses with simple tongue-and-groove boards and simple plain moulded skirting boards. The electrical board in each house will be enclosed by a press made of tongue-and-groove boards based on fireside presses in traditional cottages.
It is proposed to add to the furniture over time. OPW carpenters will make additional items of furniture including additional presses and bedroom furniture, all based on traditional vernacular furniture including further local examples.
Acknowledgements:
Terri Sweeney Meade, APA; Michèle O’Dea, Senior Architect; Frank Geraghty, District Works Manager; Michael Heraghty, Foreman; Tom Blunnie, General Operative/Skipper; Declan Furey, Carpenter; Kevin Skehill, Carpenter; Michael Cassidy, Apprentice Carpenter; National Museum of Ireland
Patrick: The Saint of Legend
Patrick, whose real name is believed to be Maewyn Succat, was born in Roman Britain. At the age of sixteen he was enslaved for six years in Ireland, captured by the forces of the High King, Niall of the Nine Hostages. Patrick eventually escaped, and returned home to his family, only for him to have a vision that prompted his return to Ireland to spread Christianity to the Pagan population. He trained in Europe, and returned to Ireland as a bishop, ready to convert the people of Ireland.
As a Patron Saint of Ireland Patrick is known and celebrated all over the world on March 17. While he is credited with bringing Christianity to Ireland, there is so much more to his story. Saint Patrick is a multi-faceted figure who, much like Brigit, who is also a Patron Saint, straddles between the Christianised Ireland and its Pagan Mythology.
Upon arriving back in Ireland, Patrick went to Tara, the seat of the High King Laoghaire, son of Niall of the Nine Hostages. It was here that Patrick celebrated Easter on the same day as Beltaine, the summer festival associated with Celtic Pagan tradition. Beltaine was often marked with the lighting of a fire, an honour that fell to the chief druid, who would light the first fire on the Hill of Tara. However, Patrick beat them to it, lighting the paschal fire of Easter on the Hill of Slane, enraging the High King of Tara at his disrespect at tradition, despite the fact that his marking of the Christian festival was exactly the same as that of the Pagan festival. Laoghaire passed a sentence of death on Patrick, who, instead of fearing his punishment, scolded the High King for his Pagan worshipping. Though Patrick was unable to convert Laoghaire (according to some sources), he did walk away with his life and manage to convert many within the High King’s court.
Laoghaire was not the only person Patrick did not manage to convert to Christianity. Within Irish mythology, there is a story of a conversation held between Patrick and Oisín of Tír na nÓg known as “The Arguments”. Upon returning from Tír na nÓg, Oisín finds Ireland much changed. After falling from his horse and becoming an old man, Oisín is taken in by Patrick. Oisín regales him with stories of Fionn MacCumhaill and the Fianna, but feels lost and alone without them now. While Patrick tells Oisín about Heaven and his God, Oisín refuses to convert and argues that the Pagan ways are still better and more noble.
Patrick did manage to convert the King of Munster, Angus Mac Natfráich, at the Rock of Cashel, who did not cry out upon being accidentally punctured in the foot by Patrick’s crozier. Apparently, Angus thought it was part of the baptism process.
Likely the most well-known story associated with Patrick is of him banishing the snakes from Ireland. This famous story is often viewed as his success at driving Paganism out of Ireland, and yet it is entrenched in Irish Paganism. According to myth, it is said that Patrick was the one to banish the great snake-monster, Caoránach; while other versions claim he killed her in Lough Derg, turning the water red with her blood, hence the name (Derg/Dearg = red).
Patrick is said to have been looked after by Brigit in his final days, and buried in Downpatrick, where Brigit was buried when she died. Ireland’s third patron saint, Columcille, is also said to be buried alongside them.
“In Down, three saints one grave do fill: Patrick, Brigid and Columcille”.
Saint Patrick has a long-lived legacy within Ireland, both within history and mythology, so it is no surprise that many of his stories have reached legendary status.
Sources:
Gregory, Augusta. Gods and Fighting Men, 1904.
Heaney, Marie. Over Nine Waves: A Book of Irish Legends, 1995.
Mackillop, James. A Dictionary of Celtic Mythology, 2004.
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.
