Casino in Marino

The Casino at Marino, located north of Dublin, is one of the hidden gems of Irish neoclassical architecture and represents a fascinating example of the artistic ingenuity and love for classical antiquity of the 18th century. Commissioned by James Caulfeild, the first Earl of Charlemont, the Casino was designed by the renowned Scottish architect Sir William Chambers and built between 1750 and 1775. This small building, whose name derives from the Italian “casina” meaning “small house,” is one of the finest examples of Palladian architecture in Europe. The idea to build the Casino arose during Charlemont’s Grand Tour, a journey through Europe that at the time was a sort of rite of passage for young aristocrats. During his travels, Charlemont was deeply fascinated by classical Italian and Greek architecture, an admiration that drove him to recreate a corner of this beauty on his Marino estate. The result is a building that, although it appears simple from the outside, hides a surprising complexity within. The exterior of the Casino is deceptively modest, with the appearance of a square-plan Greek temple, surrounded by columns and decorated with elaborate sculptures. The windows, seemingly large, are actually divided into smaller sections to serve different rooms, and only half of the large front door actually opens, a design trick to maintain the illusion of grandeur. The hollow columns serve as channels for rainwater drainage, while the Roman funerary urns on the roof function as chimneys, giving the Casino an elegant yet functional appearance. Entering the Casino, one discovers a world of ingenious architectural stratagems. The building contains sixteen rooms distributed over three floors, a surprising contrast to its external facade. On the main floor, the semicircular atrium leads to three main rooms, each with sophisticated decorations. The vestibule floor, made with exotic woods, is an example of the craftsmanship of the era. Among the most notable rooms are the Blue Salon, with refined parquet flooring and a splendid stuccoed ceiling, and the State Bedroom, decorated with gilded columns and turquoise walls. One of the most fascinating aspects of the Casino is the network of tunnels that extends beneath the building, used during the Irish Revolution as secret shelters and safe passages. It is said that Michael Collins and other revolutionary leaders used these tunnels to escape their pursuers and plan secret operations, adding an additional layer of mystery and historical charm to the building. The Casino at Marino was not just a private residence but a cultural hub for the Earl of Charlemont, who hosted artists, writers, and intellectuals of his time. Among the collaborators on the project were the painter Giovanni Battista Cipriani and the sculptor Simon Vierpyl, both of whom the Earl met during his stay in Rome. Vierpyl, in particular, was tasked with overseeing the realization of the project in Dublin, ensuring that every detail adhered to the visions of Chambers and Charlemont. The building went through various periods of neglect, especially at the beginning of the 20th century, until the Irish Office of Public Works (OPW) took control in the 1930s, restoring it and returning it to its former glory. Today, the Casino at Marino is accessible only through guided tours, which offer visitors an in-depth view of its fascinating history and innovative design. The preservation of the Casino is a tribute to the historical and artistic importance of the building. The intricate decorations, hidden architectural details, and perfect integration of form and function make the Casino at Marino an exceptional example of neoclassical architecture. Its history, rich in cultural and political influences, reflects not only the personal vision of the Earl of Charlemont but also a crucial period in Irish history, where art and politics were closely intertwined.