The Folks Who Live at Rush Hill

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The Irish term ‘strong farmer’ refers not to the title holder’s physical strength but to the size of his land holding. Until sequential legislation in the late 19th/early 20th centuries collectively known as the Land Acts, the greater part of this country lay in the possession of a relatively small number of wealthy families, their tenants obliged to survive on tiny holdings of just a couple of acres. Tenantry leasing larger, more economically viable plots of land came to be known as strong farmers and their fiscal strength allowed them to build bigger houses than the usual one- or two-roomed thatched cottage.
Rush Hill in County Roscommon is just such a house. This has never been a particularly fashionable, or indeed affluent, part of the country but it used to sustain many more such properties; of the four ‘gentlemen’s seats’ identified in the immediate parish by Samuel Lewis in his 1837 Topographical Dictionary of Ireland, Rush Hill is the only one still standing. The core of the house dates from c.1700. By that date, and for the next 200-odd years, much of the region was owned by the King family, beneficiaries of extensive land acquisitions made in the first decades of the 17th century by an ancestor, Edward King, Anglican Bishop of Elphin.

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Rush Hill’s clerical connections are frequent. Within a century of Bishop King taking possession of the land on which the house stands, it was leased together with some 400 acres to a relation of his descendants, the Rev. George Blackburne who became rector of the local parish and built a new church at the end of what was effectively Rush Hill’s drive. Described by Lewis as ‘a neat, plain building with a small spire,’ this survived an ever-dwindling congregation until demolished in 1971. The graveyard survives.
Unmarried, Blackburne left control of the property to his nephew William Devenish; generations of the same family remained there as major tenant farmers and minor Protestant gentry for the next 150 years. In 1884 the last of the line to live at Rush Hill, Robert Devenish gave up the tenancy and two years later it was let to George Acheson whose heirs continued to live there until 1943, during which time they acquired the freehold of the house and 109 acres from the King estate. Next it passed into the hands of a local farmer but after fifty years the house was abandoned and began to slide into decay, a condition only partially arrested when a Dutch family bought the place in 1997. Ten years ago Rush Hill was acquired by its present owners who ever since have been engaged in diligently restoring house and grounds.

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By the time they assumed responsibility for the place, Rush Hill was in poor shape; it had not been rewired since the mid-1950s when electricity was first introduced to the premises, the only sink was in the kitchen, supplied with water via a rubber hose through a window, and the only lavatory was broken. Almost all the windows needed to be replaced, as did many floorboards and parts of the roof, while the majority of original fittings like chimney pieces had long since been sold or stolen. Likewise outdoors the gardens were overgrown and the yard buildings in a state of total dereliction.
Given the scale of work required, inevitably it has taken time to achieve the present results. Looking at Rush Hill today, it is hard to imagine the property’s shambolic state a mere ten years ago. While most of the finance for this enterprise has come from the owners’ own resources, they did receive assistance on a couple of occasions from the Heritage Council; one worries the organisation may not be able to provide such support for much longer, given the present government’s apparent determination to emasculate it.

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Rush Hill is precisely the kind of property that deserves help from state agencies, especially when relatively small sums can make a substantial difference. Too often, because the national mindset is fixed on the extremes of Big House and peasant cottage, the idea that our architectural heritage might include other kinds of domestic building tends to be overlooked. Not being one of the region’s more significant properties, Rush Hill could easily have slipped out of existence, like the other three ‘gentlemen’s seats’ in the parish, had it not been rescued just in time. The evolution of Rush Hill took place over three centuries; the core five-bay house probably began as just one-room deep and without the lop-sided extensions to either side of the central block or indeed the latter’s projecting groundfloor bows. Gradually the house grew to reflect successive owners’ affluence and aspirations until achieving its present form. In the process, it came to represent one lesser-known but still important strand of our nation’s history. Without Rush Hill’s patient preservation we should all be the poorer.

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Felix Phoenix

Claimed as the largest such enclosed city space in Europe, Dublin’s Phoenix Park this year celebrates the 350th anniversary of its creation. The park’s name derives from an anglicisation of ‘fionn uisce’ meaning clear water, referring to a spa once located in the vicinity. In the Middle Ages, the 1,750 acres now surrounded by eleven miles of wall were owned by the Knights Hospitaller and following the dissolution of the monasteries under Henry VIII the lands eventually reverted to the British Crown.
In 1662 Charles II’s representative in Ireland, James Butler, first Duke of Ormonde established a royal hunting ground on the site: descendants of the herd of fallow deer he introduced still roam the park today. One of its most attractive, if unsung, features is the location of the park. On raised ground to the north-west of the city centre, views to the south soar over urban sprawl and offer an unimpeded spectacle of the Dublin Mountains.
Just over a decade after being created by Ormonde the park was almost lost when the Charles II proposed to grant the land to his venal former mistress Barbara Villiers whose compliant husband had been given an Irish peerage; fortunately the country’s then-Viceroy Arthur Capel, Earl of Essex resisted this scheme’s implementation and ensured the Phoenix Park was not lost.

An equal debt is owed to a later Lord Lieutenant, Philip Stanhope, Earl of Chesterfield, for allowing public access to the park for the first time; the principal east-west route continues to bear the name Chesterfield Avenue. The worldly Lord Chesterfield is probably best known today for the posthumously published volume of letters to his son which I remember reading with much pleasure over thirty years ago, despite (or perhaps because of) James Boswell’s stricture that they taught ‘the morals of a whore, and the manners of a dancing-master.’ But in Ireland, Lord Chesterfield’s memory should be cherished since during his brief viceregal tenure (from January 1745 to November 1746) he encouraged indigenous industry and ensured peace while Charles Stuart, the Young Pretender, was trying to inspire rebellion in neighbouring Scotland. It is said that on one occasion, an anxious supporter of the regime burst into his bedroom to report ‘the papists in Ireland are all up,’ to which Lord Chesterfield, with characteristic insouciance, responded, ‘I am not surprised at it’ before looking at his watch and adding, ‘why, it is ten o’clock, I should have been up too, had I not overslept myself.’
This was the man who decided the pleasures of the Phoenix Park should not be enjoyed only by the crown’s representative but by all citizens and accordingly opened its gates to the public. He also initiated a policy of tree planting and other landscape works, as well as erecting the fluted corinthinan Phoenix Column at the centre of the park. Its base features a carved inscription recording Chesterfield’s beneficence while the top is crowned with a fancifully rococo interpretation of the mythical phoenix.

Three of the park’s most significant structures are within a short distance of the Phoenix Column: Ashtown Castle, an early 17th century towerhouse, once part of a larger building that served as the Under-Secretary’s Lodge under the British regime and then Papal Nunciature post-Independence and is now a somewhat uninspiring visitors’ centre; Deerfield, the American Ambassador’s residence, originally the Chief Secretary’s Lodge, the core of which dates from the mid-1770s; and Áras an Uachtaráin, now the residence of the President of Ireland. Prior to this, it was the Vice-Regal Lodge, although originally built for himself c.1752-57 by the politician and amateur architect Nathaniel Clements after he had obtained the sinecure of Park Ranger. Five years after Clements’ death in 1777 his son sold the building to the government for use as residence for the Lord Lieutenant. It has been subject to periodic enlargements and improvements ever since, but overall remains an incoherent, unsatisfactory building.
Indeed, aside from the Phoenix Column, the only really sound piece of design in the park is the Wellington Testimonial (pace architectural historian Christine Casey who calls it ‘formidable and rather dreary’). Designed by Sir Robert Smirke and completed in 1820, this monument to the Irish-born Duke of Wellington’s victory over Napoleon is 220 feet high and 120 feet square at the base. The pedestal bas-reliefs were added in the 1860s; one feels the obelisk would be purer – if perhaps even more formidable – without them. There was an attempt made by dissident republicans to blow up the obelisk, in the same way Nelson’s Pillar on O’Connell Street was destroyed by a bomb in 1966, but the structure’s sheer mass defeated their efforts. Ideologues rarely display good aesthetic judgement.
The Phoenix Park is today under the care of the Office of Public Works which does a competent job, with occasional slips: shame on whoever permitted uPVC window frames to be used in the 1830s Castleknock Gate lodge. And credit to Lords Ormonde and Chesterfield for their foresight.

Moonlight Becomes You

An early 19th century watercolour depicting Luggala, County Wicklow. The artist responsible was Cecilia Margaret Nairn, née Campbell (1791-1857), the daughter and wife of painters; exhibiting from the age of eighteen, she specialised in picturesque landscapes such as this nocturnal scene.
For further information on Luggala, see my article in this coming Saturday’s Irish Times magazine.