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Castletown House Review
In 1722, William Conolly (1662–1729) decided to build himself a house befitting his new status as the speaker of the Irish House of Commons and Ireland's wealthiest man. On an estate 20 km (12 miles) southwest of Dublin, he began work on Castletown, designed in the latest Neoclassical fashion by the Florentine architect Alessandro Galilei. As it turns out, a young Irish designer and Palladian-style aficionado by the name of Sir Edward Lovett Pearce (1699–1733) was traveling in Italy, met Galilei, and soon signed on to oversee the completion of the house. Inspired by the use of outlying wings to frame a main building—the "winged device" used in Palladio's Venetian villas—Lovett Pearce added Castletown's striking colonnades and side pavilions in 1724. It is said that between them a staggering total of 365 windows were built into the overall design of the house. Conolly died before the interior of the house was completed, and work resumed in 1758 when his great nephew Thomas and his 15-year-old wife, Lady Louisa Lennox, took up residence there. Little of the original furnishings remain today, but there is plenty of evidence of the ingenuity of Louisa and her artisans, chief among whom were the Lafranchini brothers, master craftsmen who created the famous wall plasterwork, considered masterpieces of their kind. Rescued in 1967 by Desmond Guinness of the brewing family, Castletown was deeded to the Irish state and remains the headquarters for the Irish Georgian Society.
Studded with 17th-century hunting scenes painted by Paul de Vos, the soaring Entrance Hall showcases one of Ireland's greatest staircases. Also extraordinary are the walls festooned with plasterwork sculpted by the Brothers Lafranchini, famous for their stuccoed swags, flora, and portraits.
Upstairs at the rear of the house, the Long Gallery —almost 80 feet by 23 feet—is the most notable of the public rooms. Hued in a vibrant cobalt blue and topped by a coved ceiling covered with Italianate stuccowork and graced by three Venetian Murano glass chandeliers, it is a striking exercise in the antique Pompeian style.
Smaller but even more memorable is the Print Room, the only example in Ireland of this elegant fad. Fashionable young women loved to glue black-and-white prints—here, looking like oversize postage stamps in a giant album—onto salon walls. This was the 18th-century forerunner of today's teens covering their walls with posters of rock-star icons.
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