The Folly and Garden Buildings of St

The Follies and Garden Buildings of St. Anne’s Park, Dublin
Maryann Harris,
Senior Executive Parks Superintendent, Dublin City Council
DCC 2009
Introduction
This account is a historical overview of the follies and garden buildings of St. Anne‟s
Park. As an intact collection of historic garden features, they are of national and
regional importance in Ireland, and of European importance in terms of their
historical connections and being examples typical of European cultural landscape
heritage of the 19th Century. St. Anne‟s Park is listed in the Irish National Inventory
of Architectural Heritage as Reference DU-50-O-217373. However, there has been
scarce recognition to date nationally of the importance of the collection of structures.
For example, they are omitted completely from a recent book on Irish follies
(Howley, 1993). The NIAH Record is in error, as it states that no garden buildings or
gatehouses, garden structures or buildings of indeterminate nature exist (NIAH,
2009). The construction of follies at St. Anne‟s reflected the trends of the 19th
Century, when aristocrats or their sons returned from their „Grand Tour of Europe‟,
visiting the ruins of the Continent, Italy in particular, and desiring to replicate their
romantic settings upon their return home, to illustrate their status, education and
wealth (Whitelaw, 2005). Irish demesnes often held the ruins of old castles or abbeys,
remains post-suppression of the abbeys in Cromwellian times, or early pre-Christian
features such as raths or forts (MacAodha, 1991), and early Christian features such as
holy wells. So the presence of ruins was common to the typical Irish demesne
landscape archetype.
All of the surviving features date from 1838-1904 (M. Harris, 1997), and many were
constructed in 1838-1868 by Sir Benjamin Lee Guinness (d. 1868), former MP for
Dublin, and son of Sir Arthur Guinness, founder of the Guinness stout and purchaser
of St. James‟ Gate Brewery in 1759. The Park was significantly developed in 18751904 by Lord and Lady Ardilaun, Sir Arthur (d. 1904) and Olive (nee White)
Guinness (d. 1925). A significant contribution to the development of the gardens and
the context of the follies was also made by Andrew Campbell (d. 1918), Head
Gardener to the Guinness family, who worked with Lady Ardilaun to develop her
ideas on the ground (M. Harris, 1997). The gardens of St. Anne‟s became reknowned
throughout Ireland and Britain, and were visited by Queen Victoria on her official
state visit to Ireland in 1900 (M. Harris, 1997; Sharkey, 2002).
The survival of the collection of features, in the last remaining example of an Irish
demesne landscape in the capital city, is ensured as they remain in public ownership
under Dublin City Council‟s Parks and Landscape Services Division. DCC are now
undertaking a programme to protect and promote the garden features as part of the
implementation of the St. Anne‟s Park Management Plan (2006). This follows on
from the successful recent restoration projects at the Red Stables (2006) and Clock
Tower (2000) in the Park.
Main features and influences
The features within the collection at St. Anne‟s Park are:

St. Anne‟s Well

Roman Tower (Tomb of The Julii)

Annie Lee Tower Bridge

Herculanean House

Pompeiian Temple

Yew Circle

Boating lake

Rockery along river Naniken

Ornamental bridge/hermit‟s cave

Rustic Grotto

Clock tower

Shell House
The early development of the Park coincided with the Guinness family‟s sudden rise
in profits following Sir Arthur‟s exporting of his famous stout to England in 1825
(Devitt, 1988). The Park symbolised the power and wealth of this family in British
and Irish society. The two bachelor sons of Sir Arthur, Arthur Jr. and Benjamin Lee,
resided at the original house on this site, Thornhill, purchased in 1835, until 1837,
when they demolished it and built St. Anne‟s for Benjamin Lee and his new wife,
cousin Elizabeth (Devitt, 1988 and Adam, 1939).
The design and layout of the park was largely influenced by Benjamin Lee, an
antiquary who was interested in the ancient monuments of both Ireland and classical
Rome (Malins and Bowe, 1980). His influence can be seen in the following
Italiannate features:
 Pompeiian temple/teahouse and vistas to Dublin Bay





Herculanean house and garden
Yew Walk with nymphaeum and Italian statuary (now lost)
Yew circle
Sham ruin („Annie Lee bridge‟)
Roman Tomb of the Julii monument
He is also reputed to have created the formal garden situated next to the house,
reputedly in the Dutch style (Malins and Bowe, 1980) or Italiannate („B‟, 1884),
which no longer survives. One of his projects was to commission Richard Turner to
design a conservatory extension from the house (Heale, 1873; Devitt, 1988). It was
constructed between 1843 and 1867, based on research of Ordnance Survey maps (M.
Harris, 1997). It, along with the main house, was demolished by Dublin Corporation
following a fire (M. Harris, 1997; Sharkey, 2002).
The other main influence was from the Ardilaun era, notably the expansion of the
estate by 500 statute acres, mainly from purchases in 1870-1876 (Kelly, 1957; Devitt,
1988; Sharkey, 2002). This followed after Sir Benjamin inherited the property in
1873 and subsequently enlarged the house in the Italian Renaissance style to the
designs of J. F. Fuller, architect. Fuller also did work for them on their country home,
Ashford Castle (Adam, 1939; Gillman, 1968; Malins and Bowe, 1980). At this time,
Arthur sold his interest in the Guinness brewery to his younger brother, Edward (later
Lord Iveagh) (Devitt, 1988), netting him over a million pounds in income and
inheritance in 1868-1876 (Devitt, 1988). A visitor in 1873 (Heale, 1873) describes
how „…the present proprietor is about to add and extend [the house‟s] dimensions
very considerably‟. However, despite all the work, Lady Ardilaun never took to the
house, which she compared to a mausoleum and found cold and draughty. She
preferred to lose herself in the gardens and spend winters in the Shelbourne Hotel.
Eventually, the Ardilauns re-developed two adjoining houses which they owned on
St. Stephen‟s Green (Everett, 1949).
The Ardilauns were Francophiles, apparently inspired by the French formal style
popularised in the 17th Century. They owned dozens of books on French history and
architecture, which were sold in the 1939 auction, including four on the gardens and
buildings of Versailles and also Chateau de Malmaison by Foulard, former home of
Empress Josephine (M. Harris, 1997), source of the rose from which the St. Anne‟s
rose was bred by Andrew Campbell (M. Harris, 1997). They also drew influences
from the English parkland designs in their handling of the artificial mounds in the
parkland, as well as created an Italian garden. They were keen plants-people, with
Lord Ardilaun taking an interest in tree planting and propagation, and Lady Ardilaun
working with Andrew Campbell on creation of paths, features and extensive
propagation and cultivation of herbaceous and tender plants. They also embarked on
the design of 26 acres of pleasure grounds at Ashford Castle with Andrew Campbell,
when he was their head gardener there (Speight, 1884). They created some of the
best-known features of St. Anne‟s Park, including:

Creating and planting the Main Avenue and associated allees and vistas

Enlargement of the forecourt of the house

Planting of shelter belts of evergreen oak (Quercus ilex) and other trees
throughout the estate

Development of the trail in the Naniken river valley



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Development of the walled flower gardens
Creation of a herb garden
A French lavender garden with Georgian door-case from original house
(Malins and Bowe, 1980)
Pergola garden (O. Guinness, 1918)
Dogs‟ graveyard
Bishop Plunkett, Lord Ardilaun‟s nephew, inherited St. Anne‟s after Lady Ardilaun‟s
death in 1925 without issue. His mother was Annie Lee, daughter of the late
Benjamin Guinness, for whom the sham ruin had been built and her husband, the 4th
Baron Plunkett (Adam, 1939; M. Harris, 1997). He was a keen horticulturist and built
a kitchen garden to the west of the house (M. Harris, 1997). He sold the estate of 484
acres to Dublin Corporation in 1936 (Irish Times, 1936). Following a fire in 1943, the
house was demolished by Dublin Corporation. However, the follies and most of the
gate lodges survive to this day.
St. Anne’s Well
The Park was named after the existing holy well there in 1837 by Sir Benjamin Lee
Guinness. The Well is shown on the 1843 Ordnance Survey map (M. Harris, 1997).
All Holy Wells in Ireland bear a striking resemblance to one another. Each well is usually found in a
quiet place, sheltered by trees, and covered by a flat stone slab to preserve it from contamination.
Round the well a circle is traced and there are "stations" or resting places for prayer and meditation at
regular intervals along the outline of the circle. Close to the well there is a crude altar beside a tree
trunk on which a crucifix in wood or stone is hung. On the branches of the trees in the vicinity, small
pieces of cloth may be fastened. These are memorials of pilgrims' visits. At the close of the visit, the
pilgrim may drink some water from the well out of a vessel secured by a chain to a nearby stone or
wall.
- Extract from "Sight Unseen" Programme, Bernadette Players, 1958
Like other holy wells, St. Anne‟s Well was
reputed to provide virtues to pilgrims, and many
came to drink or bathe in its waters („B‟, 1884).
There is no altar associated with the Well at St.
Anne‟s, nor are there records available as to any
pilgrimage circles or other such features. The
location of the Well is sheltered by trees, and
historically it would have been easily accessible
from the Clontarf Road. The well has been dry for
many years, but historical accounts from the
Guinness era state that it was productive. One
account from 1884 states that „it is simply a
natural spring, uninfluenced by climatic changes,
and from which a supply of the purest bubbles
upward at the rate of about fifteen gallons per
minute.‟ („B‟, 1884). In that era, the overflow
from the Well was used to supply the ornamental pond („B‟, 1884). The well still
provided a „fine spring of water‟ in 1902 (Divers, 1902).
It is listed in the DCC Record of Protected Structures (Ref. No. 7736).
Annie Lee Tower Bridge (Sham Ruin)
Benjamin Lee Guinness built the Sham Ruin in the form of a bridge and tower in
1838 on the birth of his first child, Annie Lee. There is a commemorative plaque on
the bridge. The bridge arches over what was originally the main entrance drive into
St. Anne‟s. It is the first folly built on the estate.
It is the starting point of a formal walk, which takes one along a viewing terrace
overlooking Dublin Bay and to the main house. Historical photographs obtained by
Dublin City Council from the Plunkett family show this walk as lined on both sides
by a yew hedge, with clipped alcoves for statuary and arched openings with
alternating views toward the house and sea (M. Harris, 1997; photos, Plunkett
collection). It would have been at one time a dramatic route to take visitors, and the
sham ruin acted as a punctuation mark and also a connection between this route and
the main carriage drive to the house and seafront. It was known as the „grand terrace‟
and was 700 yards in length in a straight line from the Annie Lee Tower, intercepted
at regular intervals by three broad flights of steps.
Visitors arriving to the estate were taken along the Clontarf Road and through this
arch directly to the mansion house (Heale, 1873). The folly is described in historical
accounts by a visitor as „an archway with turrets and battlements to the west front…‟
(Heale, 1873).
It was driven under by Queen Victoria on her last state visit to Ireland in 1900. A
plaque was erected over the bridge by Bishop Plunkett in memory of his mother Anne
Lee Guinness, when he moved into the estate (Murray, 2006).
Plunkett collection, date unknown
Roman Tower (Tomb of The Julii)
The Roman Tower is situated on a hill
overlooking the lake and the Pompeiian
temple. Today, the Tomb of the Julii is
largely obscured by vegetation. However, it
was originally a more prominent feature of
St. Anne‟s. It was based on the design of the
original Tomb of the Julii in St. Remy,
France and was constructed by Benjamin Lee
Guinness. It was originally located on top of
the main house, but was taken down and
moved to this location by Lord and Lady
Ardilaun when they commissioned the J. F.
Fuller extension in 1873-76 (Malins and
Bowe, 1980).
A drawing by an architectural student, Henry Hill, obtained from the Irish
Architectural Archive shows the original elevation of the house with the tower
situated on top (M. Harris, 1997; Sharkey, 2002), as illustrated below (from Sharkey,
2002). Fuller was also architect to the Guinness‟ at Ashford Castle (Howley, 1993).
Tracing of sketch in Irish Architectural Archive by Henry Hill (Sharkey, 2002)
It is 3.4 metres in length, 3.4 metres in breadth and 11.0 metres in height (Murray,
2006).
The original Tomb of the Julii is regarded as one of the
best-preserved monuments of the ancient world
(Lendering, 2008). It is one of two monuments
remaining from the original Roman town of Glan, one of
the most important centres of Roman culture west of the
Alps in the second century A.D.
The mausoleum, 18 meters high, can be found at the
beginning of the road to Arles and Nîmes, and is dated
to 30 to 20 BCE. The dedicatee was a warrior in the
armies of Julius Caesar and/or the emperor Augustus,
who awarded him with the Roman citizenship. The
inscription says that the tomb was erected by Sextus,
Lucius and Marcus Julius, the sons of Gaius, and
dedicated to their father and grandfather; hence its alternative name, Cenotaph of the
Julii. The fourfold arch reminds of a triumphal arch, a fitting symbol for a warrior.
Original Tomb of the Julii, St. Remy, France by Jona Lendering, 2008, with permission of
www.livius.org
The top of the monument reminds one of a round temple or tholos. There may have
been statues of the deceased and his father as heroes. No urn was ever found inside
the monument, so perhaps it was placed in this temple - if the monument was not
dedicated to someone who was missing in action.
At the bottom are historical and mythical reliefs from the original Tomb, showing
scenes from ancient legends. The deceased warrior and his family are compared to the
heroes of the old legends. The photo to the left is the northern relief, which shows an
unidentified cavalry fight.
The eastern relief (second photo) is inspired by common representations of the war
between the Greeks and the Amazons, but in fact shows the dedicatee's most famous
war deed. In the center, he takes the spoils from an enemy, who may have died in
single combat. To the left, his family receives the news.
The southern relief (third photo) shows the legend of the Caledonian hunt, conducted
by Meleager. The two horsemen are Castor and Pollux; several people are wounded.
The western relief (right-hand photo) shows a battle scene from the Trojan war: the
struggle over the possession of the corpse of Patroclus.
Original Tomb of the Julii, St. Remy, France by Jona Lendering, 2008, with permission of
www.livius.org
Herculanean House
The Herculanean House
is situated near what was
originally the
northwestern corner of
the walled garden near the
house. It was a perfect
replica in the classical
Roman style, with a
courtyard and interior
paved with tiles copied
from a design found
during the excavations of
the original Herculaneum.
The interior of the
Herculaneum was entered
through a wide doorway,
defined by pillars. The windows of the little house were of stained glass, and
overlooked the romantic valley of the Naniken River below (Malins and Bowe, 1980).
An account from 1873 (Heale, 1873) shows that the Herculaneum was built by then:
“…In the northern corner of the garden is a small temple, built after a design of one at
Herculaneum; from the windows there is a view of a romantic glen.” This photo
shows that original entrance to the house from the walled garden.
It even had its own Roman soldier, a bronze figure which stood
in the centre of the courtyard which had been discovered at the
same excavations (Malins and Bowe, 1980). This figure was
sold in the 1939 auction of the estate, listed as „Lot 1483 –
Lead figure of a Roman warrior, 4‟3” high, on carved stone
pedestal‟ and accompanied by an illustration (Adam, 1939). A
visitor in 1884 noted that „good bronzes [statuary] are far less
objectionable in this way, and there are one or two from
Herculaneum here in the grounds which are alone well worth a
journey to see‟ („B‟, 1884).
Herculaneum, a town founded reputedly by Hercules at the
foot of Vesuvius was established around 6 B.C. It was a
luxurious settlement for the wealthy, including the emperor, to
escape city life. The town, together with its neighbour
Pompeii, were lost to the world in late August, A.D. 79 until
they were re-discovered nearly 1800 years later, a time capsule
of Roman life. Excavations continued of individual houses
and villas from the 1750‟s right through the 19th Century and
to the present day (Friends of Herculaneum Society, 2009).
The house at St. Anne‟s has not been yet linked to any specific
excavated villa, but the tripartite door suggests the triclinium feature found in many
Herculanean houses, and the use of a mosaic floor in an atrium is another directly
copied feature characteristic of those villas.
The building doesn't resemble any house in
particular in Herculaneum, but appears to be a
pastiche of a Roman domus. It does not appear to
match any of the significant excavated properties
in Herculaneum, according to an expert‟s
examination of our photographs (Clements, 2009).
A description of the domus from the Herculaneum
website (Clements, 2009) states that it was a house
with a series of service areas off a central axis,
which were almost completely covered, like the
atrium, or completely open with a peristyled
garden.
Also in the river valley, there is an unfinished bridge in
the Roman Composite Order, in the form of a temple
approach. This approach was the main link to the walk
directly to Watermill Road (Kelly, 1957). There were
several grottoes and bowers through the Naniken
valley, and a Druidic circle of basaltic rocks taken
from the Giant‟s Causeway (Malins and Bowe, 1980).
Pompeiian Temple
The Pompeiian temple was used as
a tea-house (H., 1898). It
overlooked the boating lake, which
was planted with choice aquatic
and bog plants (H., 1898). The
exact date of its construction is not
yet know. There were designed
views to Howth Head and Bull
Island, lush ornamental planting
with mainly non-natives and
specimen trees and an island in the
ornamental pond.
It is possible that the building was assembled from a number of components salvaged
from other buildings (Coey, 2007). It is designed in the Classical style of Italiannate
temples, square in plan with a pedimented front facing south-east toward the pond.
Ith has an open-top broken pediment on plain frieze and moulded architrave carried
on two Doric columns and paired engaged pilasters to south-east front. Columns with
limestone bases, plinths and capitals, marble shafts. There is a porch to the southwest, with a fluted frieze and moulded cornice roof carried on two free-standing and
two engaged Doric columns approached by step with flanking plinth wall (Coey,
2007).
Yew Circle
In a quarter of the walled garden
was a circular yew hedge with
alcoves and arches in which stood
allegorical Italian statues
representing the five continents.
These statues were reflected in the
great circular marble basin which
occupied the centre (Malins and
Bowe, 1980). The 1939 auction
catalogue included these statues:
„Lot 1471 – 4 carved stone figures
representing the continents, on
square bases with carved
mouldings‟ (Adam, 1939). There is still a basin at the Park, minus its central statue.
The yew hedges survive in an overgrown state.
An account from 1873 (W. Heale, 1873) describes the yew circle in detail: „On the
east side of this [Dutch style flower] garden is an amphitheatre some 150 feet in
circumference; the outer portion is a well-kept Yew hedge with five entrances;
equidistant from each entrance are four marble statues representing Europe, Asia,
Africa and America; Australia is not yet represented. The centre is a costly marble
basin with fountain and stocked with gold and silver fish.‟
Rockery and walk along river Naniken/ornamental bridges/hermit’s cave
In the valley of the Naniken River, there are two
ornamental bridges. One of these contains a „hermit‟s
cell‟ in the Gothic style. Three other lighter bridges
are provided.
Hermit‟s cave
Small ornamental bridges in Naniken River valley
The earliest reference to the walk along the Naniken River valley that has been
discovered so far is from 1873 (Heale, 1873). A walking route designed to connect
the pleasure grounds with the kitchen garden is described as passing „through a
romantic glen, a stream of water meandering along it…The walk is carried under an
arch to the entrance to the kitchen garden, this entrance being through an arch, above
which is a lofty clock-tower, facing the west front of the mansion‟ (Heale, 1873). The
path was planted with spring-flowering wildflowers and bulbs, in a naturalistic style
(Heale, 1873).
The date of the construction of the rockery is around 1884-1885. An account in 1884
(„B‟, 1884) describes that a new walk is to pass „through rocky banks and to cross this
ravine, the work already being in progress, and just below where it intersects the
stream are shady pools…‟.
By 1898, it was well-established, „extending nearly the whole length of the grounds,
now made very fine with rockwork, ornamental water…and a stream traverses the
whole length‟ (H., 1898). This visitor was informed by Andrew Campbell that the
tide used to come up to this spot in earlier times. The banks were planted with bulbs
and evergreen planting, with a view to a fine avenue of evergreen oak (Q. ilex) (H.,
1898).
An arch of whalebone was situated over the walk in the valley (Malins and Bowe,
1980). This arch was included in the auction of the estate in 1939, listed simply as,
„Lot 1498 – The jaw bones of a whale‟ (Adam, 1939).
Rustic Grotto
The Rustic Grotto was a feature to link the main house
down the slope from the grand terrace walk to the
seafront. It provided a viewing point at an intersection
of paths. It is comprised of several types of local stone,
including Howth stone, and porphyry stone. „From the
conservatory doors a broad walk is carried to the east;
after descending several flights of steps you pass
through a rustic grotto, with the Hill of Howth directly
facing you; from this walk diverges slightly northwards,
and leads to a small temple erected over the „St. Ann‟s
Well‟ (Heale, 1873). The manner in which the Rustic
Grotto provides vistas from cave-like vantages towards
water is reminiscient of those of 18th Century English
gardens, such as Stourhead, inspired by Alexander Pope
and based on allusions to classical Roman grottoes to
Venus (Jackson, 2001).
View from Rustic Grotto up steps to site of Main House
Vista from Rustic Grotto to seafront and originally to Howth Head, now overgrown.
Clock tower
The clock tower was built in 1850,
based on the date of its bell. It is not
shown on the 1843 Ordnance Survey.
It is noted in account from 1873
(Heale, 1873). An account from 1884
(„B‟, 1884) describes it as covered in
ivy, „clothed from base to summit, and
thus having an air of antiquity which is rather surprising to learn it cannot claim‟. It is
a 4-storey brick tower with a giant bell (nearly 1.2 metres across), inscribed with
Benjamin Lee‟s name and family motto, ‘Spes Mea in Deo’ (My Hope is in God).
The tower has three floors and access to the first floor was via an external staircase
(now removed) with internal ladders to the other floors. There is no enclosed ground
floor as the tower forms the entrance to the former walled gardens. The clock has one
dial facing eastwards towards the house, black and gold-leaf Roman numerals and
skeleton hands. It was made by James Booth of Dublin and was privately
commissioned by the Guinness family (Murray, 2006). It is listed in the DCC Record
of Protected Structures (Ref. No. 7738).
Shell House
The precise date of the Shell House is
unknown, but it was already established at
the start of the Ardilaun era. An account
from 1873 describes it „in the centre of the
range is a curiously built grotto, composed
of shells and Howth quartz; a fine Cyathea
dealbata neary fills it‟ (Heale, 1873). An
account from 1898 describes it as a „very
pretty grotto fernery‟ and „a fine specimen
of the Killarney fern „now becoming very
rare in Ireland‟, which was gathered by
Andrew Campbell, presumably during his
time at Muckross House (H., 1898). Shell
houses were popular in Ireland and Europe
during the 18th and 19th Centuries, with
notable examples at Carton demesne
(created by the new bride of the Duke of
Leinster in 1747), Curraghmore House and
Downpatrick (Howley, 1993; Jackson,
2001 ). The Rococo movement drew its inspiration from shells (Jackson, 2001).
Shellwork was a popular and socially approved hobby for refined ladies, and one of
the most celebrated proponents was Mrs. Mary Delany, (1700-88), who in 1743
married Dr. Patrick Delany, friend of Swift and Pope and later Dean of St. Patrick‟s
Cathedral, Dublin (Jackson, 2001). A shell house might be a purpose-built, rusticstyle pavilion, or a conversion of an existing garden building. A complex shell house
or grotto could take decades for an obsessive owner to create. During the 18th
Century, a passion for shell-collecting resulted in inflated prices for rare and imported
shells from dealers sold at auction to wealthy collectors. Many shell houses cost their
owners small fortunes to create, and they were a source of competition amongst
gentry, who kept lists of specimens in their grottoes (Jackson, 2001).
Gardener’s House
A new gardener‟s house was built in 1873, providing „ample accommodation for a
family, and no expense is spared to make it worthy of the domain on which it is
erected‟ (Heale, 1873).
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Estate. 9 October, 1939. Dublin.
B. (1884) „St. Anne‟s, Clontarf‟. The Garden. Vol. XXVI. Dec. 20, 1884. pp. 512515.
Clement (2009) Herculaneum, Destruction and Re-discovery. website:
http://www.auav46.dsl.pipex.com/index.htm
Coey, Alastair (2007) Feasibility Study for Preventive Maintenance for Dublin City
Council, Appendix A. pp. 1-3. Unpublished study for Dublin City Council by Alastair
Coey Architects.
Divers, W. H. (1902) St. Ann‟s, Dublin. The Gardeners’ Chronicle. April 5, 1902. pp.
230-231.
Everett, K. (1949) Bricks and flowers. London: The Reprint Society. Pp. 156-163,
194-195.
Extract from "Sight Unseen" Programme, Bernadette Players, 1958
Friends of the Herculaneum Society (2009) http://www.herculaneum.ox.ac.uk/
H., F. (1898) St. Anne‟s, Clontarf, Co. Dublin. The Gardeners’ Chronicle. April 2,
1898. p. 202.
Harris, Maryann (1997) St. Anne‟s Park – Historical Overview. Dublin Corporation.
Unpublished research report by Parks and Landscape Services Division.
Heale, William (1873) Garden Memoranda – St Ann‟s. The Gardener’s Chronicle.
January 11, 1873. pp. 46, 77-78.
Howley, James (1993) The Follies and Garden Buildings of Ireland. Yale University
Press.
Jackson, Hazelle (2001) Shell Houses and Grottoes. Westminster, Maryland: Osprey
Publishing. pp. 9-16.
Kelly, C. A. (1957) Report of the Dublin Planning Officer on St. Anne‟s. 2 July 1957.
Speight, H. (1884) „Gardens in Ireland‟. The Garden. Vol. XXVI. Sept. 27, 1884. pp.
269-270.
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History. Online resource based in California at www.livius.org.
MacAodha, Breandán (1991) „The Big House in Western Ireland‟ in The Big House in
Ireland. Genet, Jacqueline (ed.) Dingle, Co. Kerry: Brandon Book Publishers Ltd. pp.
19-30.
Malins, E. and Bowe, P. Irish Gardens and Demesnes from 1830. London: Barrie and
Jenkins.
Murray and Associates (2006) St. Anne‟s Park Management and Development Plan –
Phase 1: Baseline Study Report. Dublin City Council unpublished report. pp. 99-112.
NIAH (2009) National Inventory of Architectural Heritage as Reference DU-50-O217373, St. Ann‟s (sic) Park, County Dublin.
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Woodfield Press.
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All photography by M. Harris (2009) except where noted.