i n1750, amassing a large art collection of paintings, sculpture, furniture, and antiques. This was augmented by classical landscapes and local landscapes. Barret's paintings were used as a decorative scheme in the newly created dining room Many of Barret's paintings passed with the Milltown bequest to the National Gallery of Ireland in 1902. Another source that was used extensively by Barret were engravings by Piranesi which were published in 1748 in Antichita romane de' tempi della Repubblica, e de' primi imperatori. A landscape commissioned by Lord Bective for Headfort, Kells, Co. Meath is based on the Tempietto del Clitunno a temple on the river Clitunnonear Spoleto, in central Umbria, north of Rome. Barret's Irish Patrons Following work for Samuel Madden and the Earl of Milltown, Barret started to produce paintings of Irish landscapes. These portrayed the actual landscape and not cappricio scenery. This was a natural progression from his previous idealised Italianate scenery. Barret is particularly associated with Edward Wingfield who in 1751 became Viscount Powerscourt. Wingfield owned Powerscourt House and extensive estates to the south of Dublin in County Wicklow. These included the scenic river Dargle with its craggy red rocks and impressive Powerscourt Waterfall that is the second highest in Ireland. Scenery on the Dargle often figures in Barret?ÇÖs surviving oil paintings and he also painted at Avoca in the south of County Wicklow. A View of Powerscourt House under the Sugar Loaf Mountain is now at the Yale Center for British Art, and a version of Barret?ÇÖs Powerscourt Waterfall is in the National Gallery of Ireland. Barret is very likely to have been introduced to the Marquess of Rockingham by Edmund Burke, who had become his private secretary. The Marquess?ÇÖ s Irish seat was at Coolatin, Co. Wicklow. Barret was employed to draw the remains of Killtimon Castle, Co. Wicklow, and a copy after his drawing survives in the Royal Irish Academy An oil painting by Barret, with a wooded mountainous river landscape with anglers by a waterfall in the foreground and a ruined tower house in the distance, which relates to these views, was sold in 2003. A further Irish patron of Barret was the Thomas Conolly of Castletown House of Celbridge to the west of Dublin. He inherited Castletown House in 1758 and his wife Lady Louisa Conolly (who was the daughter of Charles Lennox, 2nd Duke of Richmond), set about redecoration and refurbishment of this Palladian mansion. Barret supplied a painting of the house in the distance with wooded parkland and a river. The trees are depicted in outline and not in Barret?ÇÖs later spindly way. John Harris remarks that it is softly and atmospherically painted, and of course, is free from the influence of Wilson and other London based painters. As he could not find adequate employment in Ireland, Barret moved to London in 1762. Move to England and Patronage Following his move to London in 1762 Barrett rapidly established
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