Of Kilkenny Castle, founded by Strongbow, but two or three towers remain. The great quadrangle was rebuilt in 1825, and much of it again so late as in 1860. There is little, therefore, to recall the image of the great Marquis who, if Rinuccini read him aright, played so resolutely here two centuries and a half ago for the stakes which Edward Bruce won and lost at Dundalk. The castle of the Butlers is now really a great modern house. The town crowds too closely upon it, but the position is superb. The castle windows look clown upon the Nore, spanned by a narrow ancient bridge, and command, not only all that is worth seeing in the town, but a wide and glorious prospect over a region which is even now beautiful, and in summer must be charming. Over the ancient bridge the enterprise of a modern brewer last week brought a huge iron vat, so menacingly ponderous that the authorities made him insure the bridge for a day. Within the castle, near the main entrance, are displayed some tapestries, which are hardly shown to due advantage in that position. They were made here at Kilkenny in a factory established by Piers Butler, Earl of Ormonde, in the sixteenth century, and they ought to be sent to the Irish Exhibition of this year in London, as proving what Irish art and industry well directed could then achieve. They are equally bold in design and rich in colour. The blues are especially fine. The grand gallery of the castle, the finest in the kingdom, though a trifle narrow for its length, is hung with pictures and family portraits. One of the most interesting of these is a portrait of the black Earl of Ormon'de, a handsome swarthy man, evidently careful of his person, who was led by that political flirt, Queen Elizabeth, to believe that she meant to make him a visit in Ireland, and, perhaps, to honour him with her hand. He went to great expenses thereupon. At a parley with his kinsman, the Irish chieftain O'Moore of Abbeyleix, this black earl was traitorously captured, and an ancient drawing representing this event hangs beneath his portrait.