I spent my summer in a number of different archives and libraries, researching the homes of queer (or at least 'non-heteronormative') women living in twentieth-century Dublin. Initially, I intended to focus on the design and architecture of these homes, basing my approach on Jasmine Rault's analysis of 'sapphic modernity' in the work of Irish architect Eileen Grey. However, as my research progressed, I shifted my focus to the social networks formed within these homes, rather than solely the material characteristics of the houses. 

I also visited a number of different institutions in Dublin and London to locate as much information as I could on the homes of these women: the National Library of Ireland, Irish Architectural Archive, Trinity College Library, British Library, Tate Archive, and the British National Art Library at the V&A. While it was challenging to locate architectural plans or descriptions of the homes, I was struck by how tightly knit these women's social networks were. The same names kept reappearing over and over in the historical record. This is what prompted me to shift away from architectural analysis, and to instead focus my attention on the people themselves, and the metaphorical function of 'the home' within their lives. 

I became particularly interested in the social network surrounding the artist Sarah Purser, who hosted a monthly salon at Mespil House. Many of the most prominent modern artists, writers, activists, and thinkers attended this salon, and it became a driving force behind the modernist movement in Irish art. Although Mespil House has since been demolished, the original plaster ceiling (now installed in Dublin Castle) depicted 'Minerva introducing the Arts to Hibernia'.  This was a lovely coincidence to discover, as the ceiling provides a satisfying parallel to the life of Sarah Purser herself, a woman instrumental in introducing continental styles of art to Ireland. It was the little moments of discovery, like this one, that kept the research fresh and interesting for me.

Although Mespil House no longer exists, I was able to contact the current residents of several of the other homes in question. When possible, I tried to visit them so that I was able to see the physical spaces in person. A particularly interesting case for me was the home of Mainie Jellett, a modernist artist. The home remains in the Jellett family, and much of the decor has been left untouched since she lived there nearly a century ago. It was incredible to walk through these spaces, knowing that the subjects of my research had occupied exactly the same rooms. I found myself thinking a lot about the memories contained in homes and communicated through objects. Walking through Dublin, I began to see the city in a new light as I became familiar with the stories embedded in the city: Sarah Purser walked along the Grand Canal here, and Evie Hone walked her dog through this garden, and Kathleen Lynn attended church here every week...

Overall, this research project has opened my eyes to the history of Dublin, particularly the stories that are often neglected in the 'official' historical record. I have a new appreciation for the built history of the city and I often find myself thinking about the many women who formed their lives and their networks in Dublin. Their unconventional lives add another layer of interest to the fabric of Dublin and can expand our view of what it has meant to be a Dubliner.