The Heritage

Emo Court was designed by the architect James Gandon in 1790 for the Earls of Portarlington and is a magnificent example of this neo-classical style. During the middle of the 20th century it was owned by the Jesuits, it was then acquired and extensively restored by Mr. Cholmeley-Harrison in the 1960s. The house is surrounded by beautiful gardens and parkland which were first laid out in the 18th century and contain formal lawns, a lake and woodland walks with many very fine trees and shrubs. The house and gardens were taken into State ownership in 1994.

Donaghmore Famine Workhouse Museum is a unique attraction in Co. Laois, Ireland and aims to tell the story of the families who lived and died within the Famine Workhouse walls before, during and after the Great Famine. The Museum uses guided and self-guided tours combined with various exibits to explain the socio-economic conditions which led to the establishment of this and other Workhouses. Visitors to the Museum will also enjoy an Agricultural Collection made up of a wide range of artefacts donated by local people, rangeing from Farm Implements, household items and hand tools located in one of the two buildings that make up the Donaghmore Famine Workhouse Museum.

For a great day out, nestled within landscaped grounds and presented in an authentic village environment, Kildare Village is the perfect luxury shopping destination.You will find it difficult to resist temptation with 100 brands such as Louise Kennedy, Armani, Brooks Brothers, Anya Hindmarch, Mulberry and Hugo Boss offering up to 60% off all year around L'Officina, Dunne & Crescenzi’s ultra-modern Italian restaurant offers breakfast, mid-morning snacks, lunch and wonderful wines for you to imbibe while you deliberate over your next purchase. Starbucks is the perfect spot for a restorative coffee and treat. A morning or afternoon spent browsing 100 exclusive brands offering luxury for less in a chic and casual open-air environment is truly time well spent.

Mountmellick Embroidery is unique as it is the only form of white on white embroidery from the Nineteenth Century which can claim to be entirely Irish in origin and design. The introduction of Mountmellick Work (Embroidery) is credited to a Johanna Carter in 1825 when there was a worldwide revival in the art of lace making. The materials used were being produced locally and the designs used symbolise the rich Quaker heritage of the town. The craft has a long association with the Quakers who fostered the tradition by teaching it and adapting it to their own designs. Girls in the Quaker school were instructed in the embroidery as a way to earn money for their books. Commercially the first known sale of Mountmellick Work took place in 1847 to the Earl of Dunraven of Limerick. This was a quilt which has survived to this day and is currently on loan to the Museum. Circa 1880, a Mrs. Milner started an Industrial Association in Mountmellick to provide a livelihood for ‘distressed gentlewomen’. By 1890, there were fifty women employed in producing embroidery. This led to a major interest in the work. It was taken up by women throughout the country and as a consequence it ceased to be just a local craft. During the early 1900’s combined with the effects of the first world war and machine embroidery the number of embroiders declined and it died out until a Presentation Nun, Sister Teresa Margaret McCarthy of Mountmellick revitalised the craft in the early 1970’s. Her task was made possible by the generosity of the Pim family of Mountmellick, who made original patterns available. She sourced fabric and thread and began teaching the embroidery locally. It is thanks to her perseverance that Mountmellick embroidery is now known and appreciated worldwide again. Sr. Teresa Margaret donated her collection to the Museum before she retired. The craft has a long association with the Quakers who fostered the tradition by teaching it and adapting it to their own designs. Girls at the Quaker School were instructed in the embroidery work as a way to earn money for their books. A Government report of 1858 tells us that the needlework was taught in the Mountmellick Quaker School both in fancy and plain design.

The Irish National Stud belongs to the people of Ireland but prides itself on being enjoyed and appreciated by visitors from all parts of the globe. Nowhere better symbolises all that is great about County Kildare, the beating heart of Ireland's thoroughbred industry, than the stud, a unique attraction of outstanding natural beauty that is home to some of the most magnificent horses and sumptuous gardens to be found anywhere in the world.

Few sights encapsulate the essence of County Kildare more than that of horses pounding across the springy open plains of the Curragh, crisp clouds of breath puffing out into the early morning air. The horse – ‘capall’ in Irish – has been an intrinsic part of life in the county for thousands of years and today this landscape of deep-green pastures comprises the heart of Ireland’s world famous bloodstock and racing industries The area of the Curragh Plains is recognised as one of the oldest natural grasslands in Europe. It is a recorded monument under the National Monuments Act, being designated a Special Environment The Curragh is at the heart of the Irish bloodstock industry, and due to an enlightened and supportive approach by the department of defence, the management of the Turf Club , and the expertise of our trainers, the Curragh training grounds have developed into a world-renowned training centre, and a major source of employment, using indigenous skills and talents. In addition to the training stables mentioned earlier, numerous large stud farms, including the National stud, have developed on the fringes of the Curragh with the consequent spin off effect into the local economy. Approximately 26% of the horses trained in Ireland are trained on the Curragh, and it is not unreasonable to apply the same percentage to employment levels.