Great Irish Households

Great Irish Households: Inventories from the Long Eighteenth Century presents in a single volume transcripts of inventories of fourteen great country houses, three Dublin town houses and one London town house, published as a tribute to the last Knight of Glin. The inventories, all but two published for the first time, span the period from 1702, the year of William of Orange's death, to 1821, the year of George IV's coronation.

In 2003, Jane Fenlon, the historian of Irish art and architecture of the early modern period, had lamented the fact that inventories were a "rather neglected area of study" and had stressed how important it was that they "should not be treated as mere records of house furnishings" but "be seen as valuable research sources rich in information . . ." Regrettably, as Simon Swynfen Jervis's book British and Irish inventories bears out, there is still a dearth of Irish household inventories available in published form. By making more of them available in transcript, however, the book Great Irish Households has helped meet this acknowledged need.

Structure
A preface by Leslie Fitzpatrick and a foreword by Toby Barnard give a broad historical setting for the transcriptions. The inventories themselves, drawn up for probate or for a variety of other purposes by specialist appraisers together with family members or their staff, are given preambles by way of introduction to the houses and are supplemented with a glossary and indexes to personal names and to the items listed. There are also appendices identifying the books listed in abridged form in inventories from three of the houses: at Kilkenny Castle, in the second Duchess of Ormonde's closet (1705); at the bishop's mansion house, Elphin, County Roscommon, in the study (1740); at Newbridge House, County Dublin, in the library (1821).

The inventories are grouped as follows: The Ormonde inventories
 * 1 Lismore Castle, County Waterford, 1702/3
 * 2 Kilkenny Castle, County Kilkenny,1705
 * 3 Dublin Castle, 1707
 * 4 The Duke of Ormonde's house at St James's Square, London, c. 1710
 * 5 Bishop's mansion house, Elphin, County Roscommon, 1740
 * 6 Captain Balfour's town house, auction sale, Dublin, 1741/2
 * 7 Hillsborough Castle, County Down, 1746 and 1777
 * 8 Kilrush House, Freshford, County Kilkenny, 1750
 * 9 No. 10 Henrietta Street, Dublin (Luke Gardiner's house), 1772
 * 10 Morristown Lattin, County Kildare, 1773
 * 11 Baronscourt, County Tyrone, 1782
 * 12 Castlecomer House, County Kilkenny, 1798
 * 13 Killadoon, County Kildare, 1807–29
 * 14 Shelton Abbey, near Arklow, County Wicklow, 1816
 * 15 Borris House, County Carlow, 1818
 * 16 Carton House, County Kildare, 1818
 * 17 Newbridge House, County Dublin, 1821
 * 18 Mount Stewart, County Down, 1821

The end matter comprises:
 * Glossary
 * Appendix I: Sales by buyer at Captain Balfour's town house sale, 1741/2
 * Appendix II: Books in the 2nd Duchess of Ormonde's closet at Kilkenny Castle, County Kilkenny, 1705
 * Appendix III: Books in the bishop of Elphin's study, County Roscommon, 1740
 * Appendix IV: Books in the library at Newbridge House, County Dublin, 1821
 * List of inventory sources
 * List of plates
 * Bibliography
 * Index of personal names
 * General index

Other than Castlecomer House and the bishop's mansion house at Elphin, all the houses featured, some since modified, refashioned or rebuilt, are still standing to this day. Several of them are still the abodes of the same families.

Illustrations
Among the plates in the book are portraits of owners of some of the houses, including:
 * Charles Boyle, 2nd Earl of Burlington and 3rd Earl of Cork, detail of painting attributed to Michael Dahl
 * James Butler, 2nd Duke of Ormonde, painting by Sir Godfrey Kneller
 * Robert Howard, bishop of Elphin, mezzotint by John Brooks, after a painting by Michael Dahl
 * Wills Hill, later 1st Marquess of Downshire, painting by Pompeo Batoni
 * Major-General Richard St George, mezzotints by John Brooks after paintings by Francis Bindon and by Stephen Slaughter
 * Luke Gardiner (the younger), later 1st Viscount Mountjoy, painting by Sir Joshua Reynolds
 * James Hamilton, 8th Earl of Abercorn, painting by Thomas Gainsborough
 * Susan Frances Elizabeth (Anne) Butler, Countess of Ormonde, painting by Hugh Douglas Hamilton
 * Robert Clements, later 1st Earl of Leitrim, painting by Pompeo Batoni
 * Ralph Howard, later 1st Viscount Wicklow, painting by Pompeo Batoni
 * Augustus FitzGerald, 3rd Duke of Leinster, drawing by Gédéon Gaspard Alfred de Grimaud, comte d'Orsay
 * Charles Cobbe (1781–1867), miniature in watercolour by Charles Robertson
 * Robert Stewart, 2nd Marquess of Londonderry (Lord Castlereagh), painting by Sir Thomas Lawrence

Book design
The book was designed by Philip Lewis, who chose to set the body in Rosart. This typeface is based on a type specimen by the type-founder Jacques-François Rosart, published in 1768.

Critical reception
The historian and writer Adrian Tinniswood captures the essence of the book when in the Critic, he declares that it is "A box of geeky delights, certainly, but also a fabulous (one might even say indispensable) source for the scholarly study of the Irish country house . . ." He also alludes to the book's "excellent glossary, that essential component of published inventories", a view endorsed by Michael Hall in his review in the Times Literary Supplement.

Robert O'Byrne, the historian of Irish architecture and the decorative arts, reminds us in his review "Listed buildings" in Apollo that household inventories, Irish or otherwise, vary in what they include and what they omit. Such omissions hint at their "fascination and fallibility", he ventures, and goes on to say: "When it comes to country house contents, they provide us with a great deal of information, but rarely all of it". Nevertheless, across the inventories transcribed in the book, spanning some 120 years, he reassures us that "it is possible to see how the decoration and design of affluent Irish households changed".

Writing in Country Life, Kate Green sees historic household inventories that record the contents of rooms as "an essential documentary tool for understanding the use and appearance of houses in the distant past", and, for the benefit of those "with a serious interest in Irish Georgian houses", sees Great Irish Households as "an essential work of reference". The book's usefulness to researchers is likewise acknowledged by James Rothwell, National Curator, Decorative Arts, National Trust, who avers: "[This] will be an invaluable and rich source of information for scholars and I know I will be using it on a regular basis." These views are shared by Christopher Ridgway in the Journal of the History of Collections when he writes: "[T]his collection is a cornucopia of information, and while its primary audience will be scholars and curators, there is plenty to be gleaned from the listings for anyone interested in historic interiors". 'One of the things that make this volume incredibly useful,' asserts David Fleming in Irish Architectural and Decorative Studies, 'is the detailed, thematic index that draws each object together, allowing for comparison across the houses.' Marie Boran praises the general index in her review in Eighteenth-Century Ireland; "a mammoth undertaking," she dubs it, "as it includes an exhaustively detailed index to individual types of items within the inventories".

Whereas the architectural historian Peter Pearson, reviewing the book for the Irish Arts Review, admires the book, "a beautiful production — elegantly laid out, printed and bound into a neat volume, with a fine dust jacket", he wishes there was more information given about what became of the items listed. "Where are these objects now? Have any survived at all? Only occasionally are we told."

Drawing our attention to the fashion for mahogany in his review in the Furniture History Society Newsletter, Simon Swynfen Jervis writes: "[M]ahogany furniture occupies four columns of Great Irish Households' comprehensive, dense and detailed index, but this very emphasis serves to confirm the stock observation that this wood was particularly popular in well-to-do Irish houses."

In her article about the book in the Irish Times, Bernice Harrison recognizes the usefulness of the transcribed inventories for artistic directors working on historical films. "It's not hard to see how a set designer on a film set in a grand 18th-century house would pore over the details in the book to find out how many paintings to put in the hall, whether there should be a rug on the floor and might it really be made of velvet . . . "

Nigel Hankin captures the essence of the book when he writes in the Georgian: "[T]his book gives a tantalising glimpse into the interiors of the home of the wealthy in Ireland in the period and provides an invaluable resource for serious study of Irish Georgian houses".