According to J.J. Walsh, writing in that year, No. 10 Mill Street was a Dutch Billy, a house type so thoroughly swept away by later centuries of redevelopment that even a documentary mention of one feels like a minor discovery.

Dutch Billy is the colloquial Irish term for a gabled urban house of the late seventeenth and early eighteenth centuries, characterised by a curved or stepped roofline rising above the facade in a style associated with Dutch and Flemish influence. The type arrived in Dublin in numbers following the influx of Huguenot weavers and other Protestant refugees who settled in the Liberties from the 1680s onwards, drawn by the existing textile trade and the relative tolerance of the area. Mill Street itself sits within that broader Huguenot quarter, close to the Coombe and the old weaving districts where names like Weavers' Square still echo the neighbourhood's industrial past. Walsh's reference, cited across pages 67 to 69 of his 1973 study, places a surviving or at least then-surviving example at No. 10, though the broader record of Dutch Billies in Dublin is one of almost total loss. The vast majority were demolished or so thoroughly refronted during the Georgian and Victorian periods that their original profiles became unrecognisable.

Anyone making their way to Mill Street today should be prepared for a streetscape that has changed considerably since Walsh was writing. The Liberties has undergone sustained redevelopment across several decades, and the survival of any eighteenth-century fabric at street level is patchy at best. No. 10 itself is worth examining closely if the building still stands in any form, looking for traces of an earlier roofline or brickwork that predates the surrounding Victorian and twentieth-century stock. The area is easily reached on foot from Thomas Street or the Coombe, and the short walk passes several other remnants of the old weaving quarter. For anyone interested in the domestic architecture of early modern Dublin, the scarcity of Dutch Billy survivals makes even a fragmentary or heavily altered example worth pausing over.