Beauties and Antiquities of Ireland Being a Tourist's Guide to Its Most Beautiful Scenery & an Archæologist's Manual for Its Most Interesting Ruins — Text and Context
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Acropolis was laid. It seems almost impossible to conceive that the Gaelic name for the month of August could have had any origin other than that given above on the authority of one of the most learned of ancient Irish ecclesiastics, Cormac MacCuillenan, Archbishop of Cashel, in the ninth century.
The descriptions of Tara given in ancient Gaelic writings have been verified in the most remarkable manner by the researches of modern archaeologists. Dr Petrie's great work, "The Antiquities of Tara Hill," would go far to remove the prejudices of the most bigoted despiser of Irish historic records. He was one of the most learned and scientific investigators of antiquities that ever lived, and was not only a good Gaelic scholar himself, but had the assistance of the greatest Gaelic scholar of the century, John O'Donovan. Those two gentlemen translated every mention of Tara that they could find in prose or verse in ancient Irish manuscripts; they compared every mention they could find of the monuments of Tara with what remains of them at present; and they found such a general agreement between ancient descriptions of those monuments and the existing remains of them as proved what is said in Gaelic manuscripts about the extent and splendour of Tara in Pagan times to be well worthy of credence. Every one who visits Tara, and who is in any way interested in archaeology, should have Doctor Petrie's map of it, which will be found in his minute and elaborate work on the "Antiquities of Tara Hill." That map is reproduced here. The book is very scarce, as only a small edition of it was printed, but it can be found in the "Transactions of the Royal Irish Academy." Armed with Petrie's map a visit to Tara would be one of the most interesting and enjoyable excursions that could be made from Dublin. Kilmessan Station can be reached from the Broadstone terminus in an hour, and less than two miles of a walk through a beautiful country brings one to the summit of "the Hill of Supremacy," as it was called of old when he who ruled in Tara ruled Ireland. No matter how confirmed an archaeologist he may be who stands for the first time on this celebrated hill, his first feeling will be of joy at the beauty of the prospect that is spread before him. To know how beautiful Ireland is, even in those places that are not on the track of tourists, and that are seldom mentioned in guide books, one should see the view from the hill of Tara.
It would be hard to find any other hill in Ireland so well adapted for a place of assembly or for the dwelling of a ruler as Tara. Uisneach, in Westmeath, is, perhaps, the only hill in Ireland that possesses all the advantages of Tara. In ancient times, when war was the rule and peace the exception, it was imperative that a stronghold should be on a height. Athens had its acropolis and so had Corinth. Tara had the advantage of extent as well as of height, and could be made a permanent dwelling-place as well as an acropolis, for there are fully a hundred acres on what may be called the summit of the hill. It is unfortunate that some of the hill has been enclosed, planted with deal trees, and a church erected on the very track of some of the most ancient monuments. This plantation and church have terribly interfered with the picturesqueness and antique look of Tara. Planting deal trees and erecting a modern church amid the hoariest monuments, and on the most historic spot of European soil, was little less than sacrilege. If there had been a proper national spirit, or a due veneration for their past among the Irish, they never would have allowed a church or any modern building to be erected on the most historic spot on Irish soil; and even now they ought to have the church removed, the wall torn down, and the plantation uprooted. All Greece would rise up in indignation were any one to erect a church or chapel amid the ruins of the Athenian Acropolis.
Russell opens with a pointed critique of earlier guidebooks, dismissing many as written by persons "utterly unfitted" for the task, their historical remarks "incorrect and misleading." This combative tone sets the stage for a work that aims to correct errors while celebrating Ireland's ruins and scenery. The narrative voice is authoritative and opinionated, frequently shifting from brisk travel directions to dense archaeological argument.
A Polemical Preface and a Dual Purpose
The preface establishes the book's dual aim: to serve as both a tourist's guide and an archaeologist's manual. Russell insists that Irish history is "as generally interesting as Irish scenery is generally beautiful," and he selects only historic sites. He lambasts previous authors for their ignorance of Irish language and literature, claiming their works would be improved if "the printed matter were torn out." This combative stance recurs throughout, lending the prose a crusading energy. The preface also reveals a self-imposed limitation: the book cannot be an encyclopedia, so many places are omitted. Readers should expect a selective, argument-driven tour rather than a comprehensive catalogue.
The Ruins of Mellifont: A Case Study in Loss
Russell's treatment of Mellifont Abbey exemplifies his method. He describes its near-total destruction, noting that "hardly a vestige" of its high walls remains, and speculates that the stones were carted away to an unknown location. He contrasts its current obscurity with what it might have been: "one of the most beautiful ecclesiastical ruins in Europe." The passage moves from physical description to historical conjecture, noting that the abbey's Irish name is unknown—annalists called it the "Drogheda Monastery." Russell then traces its founding in 1142 by O'Carrol, Prince of Oriel, and links its architectural style to broader trends: the cessation of Danish raids and Norman-French influence. He argues that the Norman invasion of Ireland arrested architectural development, a claim he supports by noting that most great churches predate Strongbow.
Rhythm and Digression: The Narrative Engine
Russell's prose moves in unpredictable rhythms. A typical section might begin with a scenic description, then veer into a historical anecdote, then a linguistic note, then a complaint about modern neglect. The Mellifont entry, for instance, jumps from the missing stones to a mill built eighty years prior, to the abbey's Latin name, to the Four Masters, to the Board of Works excavations, to St. Bernard, to a castle from after the Anglo-French invasion. This associative structure mirrors a walking tour where one sight prompts another. The voice remains consistently opinionated: "strange and hard to be understood" is a typical phrase. Readers should expect digressions and abrupt shifts in scale, from a single stone to a century of history.
Russell's guide rewards readers who enjoy a strong authorial presence and are willing to follow his associative leaps. The book is best approached not as a systematic reference but as a personal, argumentative journey through Ireland's ruins. Pay attention to the moments when Russell pauses to correct earlier writers—these asides reveal his core concerns about historical accuracy and cultural respect.
Leafing through Russell’s guide, I paused on his frustration with earlier travellers, their hurried judgments. That measured irritation reminded me of another book, a quieter catalogue of distant cities where history lingers in plazas rather than ruins. Both feel like conversations with patient observers. The Capitals of Spanish America — Key Ideas to Explore holds a similar gentleness, a willingness to let a place speak slowly, without forcing conclusions.
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