When John Rowan began work on a house for his family in north-central Kentucky in the 1790s, he called it Federal Hill. Finally completed in 1818 largely by slave labor, it stands today as the centerpiece of My Old Kentucky Home State Park in the outskirts of Bardstown, a handsome structure in a pleasant setting.
Besides surviving an 1801 duel in which he killed the other fellow, and beating the rap, Rowan went on to be an important politico in early Kentucky, including a term in the U.S. Senate as an antagonist to Henry Clay and the Whigs, being a Jackson man. He died in 1843, missing the later unpleasantness, and even the war the Mexico.
We visited around noon on December 29. We were the only ones on the tour, in contrast (later that same day) to the distilleries we visited. I hadn’t read much about the place before the visit, and vaguely assumed that there was some good reason that the property’s current name evokes the famed Stephen Foster song. It inspired him in the composition in some way, perhaps.
The house museum doesn’t exactly discourage this line of thinking. At the visitors center is this portrait of Foster.
There he is, in a 1939 painting by Howard Chandler Christy, receiving the gift of composition from a muse – Euterpe, I suppose, muse of music and lyric poetry and, perhaps, the modern popular song. To the left of the muse’s wings (did muses have wings?) is the entrance of Federal Hill, and there are visual references to some of Foster’s other songs as well.
The Kentucky Colonels’ organization commissioned the painting for the world’s fair in New York that year, and “My Old Kentucky Home” had become the official state (commonwealth) song not too many years earlier. So I assume the Colonels wanted to emphasize a Kentucky connection with the famed song, aside from the fact that the name is in the title and opening lines.
An aside: I know that a Kentucky Colonelcy is an honor bestowed by the commonwealth, but I’m still a little surprised by some of the names on this list, such as Princess Anne, Bob Barker, Foster Brooks (well, he was from Louisville), Phyllis Diller, George Harrison (actually, all the Beatles, even Ringo), David Schwimmer, Red Skelton, and both Smothers brothers (RIP, Tom).
The museum (at least in our time) doesn’t explicitly claim that Federal Hill was an inspiration for the song, since the evidence for that seems to be gossamer thin. I’ve read conflicting reports about whether Stephen Foster, described as a “cousin” of the Rowan family – which could mean various levels of consanguinity in the loose definitions of 19th-century America – even visited Federal Hill from his home in Pittsburgh.
It is clear, however, that “My Kentucky Home” was inspired by Uncle Tom’s Cabin, and as such, sympathized with slaves separated from family members without pity or recourse. The song’s association with a particular mansion in Kentucky, namely this particular one, apparently came later – well after the Civil War. The idea seems to have been promoted by, among others, the last member of the Rowan family to own the mansion, an elderly granddaughter who managed to sell the property to the commonwealth in the early 1920s.
Can’t really blame her if she took a little creative liberty with the history of Federal Hill, since she probably wanted to live somewhere with less expensive upkeep. Also, such a thing would be firmly within the American (and entirely human) tradition of historical storytelling known as “making things up.”
Be that as it may, Federal Hill is well appointed inside with period items, and our guide, a young woman dressed antebellum style, knew her non-made-up stuff. She also sang the first verse of “My Old Kentucky Home” for us, in a pleasant and practiced voice, which I understand is part of all the tours. Of course, the first lines weren’t quite the Steven Foster original, being:
The sun shines bright in the old Kentucky home/
‘Tis summer, the people are gay.
The Kentucky legislature mandated the change, at least for official renditions, after an embarrassing incident in 1986 when a visiting group of Japanese students sang the song, original lyrics and all, to the legislature.
Our guide mentioned, almost in passing, an horrific incident from the time of John Rowan. In 1833, the family, or many of them, ate or drank something contaminated with Vibrio cholerae, and three of Rowan’s children (he had nine), a son- and daughter-in law, a granddaughter, and his sister and brother-in-law all died of cholera in short order, as did a similar number of slaves.
Many of these Rowans are buried within sight of the mansion, and the visitor center, for that matter.
Sen. Rowan himself joined them later, marked by the obelisk. The memorial behind his, with the grieving figure and lyre, is that of Madge Rowan Frost (d. 1925), the granddaughter who sold the property to the state.
The park, in the form of its guided tour, and written material on signs, doesn’t ignore the enslaved population, as no historic property of this kind would do any more, possibly following the lead of Monticello. Sen. Rowan owned as many as 39 people at one time. A sign near the Rowan cemetery details what is known about them.
But not their burial sites; that remains unknown. Likewise, their cabins, along with most of the other outbuildings, are long gone. Mostly what you’ll see at the state park is a picturesque mansion retroactively tied to an enduring song.
