March Back in Time

Jeremiah O'Donovan Rossa at the head of the Demonstration. Photo © Ian Flavin, used with permission.

Jeremiah O’Donovan Rossa at the head of the Demonstration. Photo © Ian Flavin, used with permission

100 years ago this month all Ireland was galvanised by the news that Jeremiah O’Donovan Rossa’s body was to be brought from New York to be buried in Ireland. As an acknowledged leader of the Fenian movement, he was as infamous in America and Canada as he was revered in Ireland, and his funeral was one of the largest ever seen in Dublin. 

Rossa, born in 1831, grew up near Rosscarbery and experienced the dreadful time of the Great Famine, watching his father’s death and his family’s eviction. Left alone in Skibbereen while his mother and siblings emigrated, he made a life for himself as a shopkeeper, all the time growing in his hatred of tyranny and nurturing revolutionary thoughts. He founded the Phoenix Society in Skibbereen which, although called a literary society, advocated ‘force of arms’ as a means of liberation from British rule.

It was during this period, in 1863, that he organised a demonstration in Skibbereen in support of Poland. There were many analogies between Ireland and Poland at that time: Poland was ruled by Tsarist Russia, which had imposed the Russian language on the Poles, closed universities and Catholic churches and dealt ruthlessly with resistance. The march was a barely-concealed act of sedition, of course, watched closely by the police.

Polish Contingent in national costume

Polish contingent in national costume

This week, as part of the launch of the annual Arts Festival, Skibbereen re-enacted that demonstration – and it was thrilling! Declan McCarthy (of Baltimore Fiddle Fair fame) took the role of Rossa, ably abetted by members of the Kilmeen Drama Group and the Skibbereen Theatre Society

Banners

Everyone who could manage it was dressed in period costume, shop windows put on special displays, and the streets were closed to all but pedestrian and horse-drawn traffic.

Phoenix out front

The demonstrators paraded through town when night fell, lit by flaming turf torches and led by Rossa and an enormous Phoenix Society emblem. A contingent of Poles had come from Cork and marched in costume. Banners were hoisted and a pipe band played The Minstrel Boy.

Finally, lit by the flaming torches, Rossa ascended the platform and delivered a fiery speech about tyranny and illegal occupation, punctuated by cheers from the crowd.

Firebrand Speech

The atmosphere was incredible. We were transported back to 1860s Skibbereen, surrounded by threatening policemen, firebrand revolutionaries and Victorian citizens, all getting into the spirit of the times.

AudienceIt was the high point (although not the culmination yet) of two months of Rossa commemorations in West Cork which has included lectures, a play, a walking tour, exhibitions and the unveiling of new monuments in several places including the impressive Skibbereen installation inaugurated by President Higgins.

Rossa and torch bearers

More about Rossa in a future post, including his three wives and 18 children, his Fenian career and his connection to events in Canada. To end, a link to one of the classic Fenian songs, Down by the Glenside.

Pitchfork torch

Wayside Miracles

Ballinspittle Grotto

Ballinspittle, Co Cork: the Marian Grotto became a world news sensation

1954 was a great year for the construction of outdoor shrines and grottoes in Ireland. Pope Pius XII had designated it a special Marian Year to mark the centenary of the ‘dogma of the Immaculate Conception and Assumption’. The Marian Year was an international event, but apparently no other country embraced the idea with greater fervour than Ireland. The notion seemed to capture the imagination of a young republic suffering from serious recession, high unemployment and loss of population through emigration. Hundreds of projects were put in hand and today, on almost every road in the country – and in every community – you will see statues of the Blessed Virgin Mary, usually in well tended settings. They add to the colour and character of this green land: like the ancient holy wells, they are venerated and not forgotten.

1954 tablet

Statue maker Maurice O’Donnell recalled that 1954 was a bonanza year for him: “…I was making so many at that time there was no time to dry them out before painting, so lots of statues in the shrines around the country are still unpainted. But that was in the Marian Year. The bottom has dropped out of the statues market since the Vatican Council…” Although many statues of the Virgin were painted later on, you will still see many unpainted (white) examples.

Marian Year shrine added on to the Holy Well at Keallkill, Co Cork

Exactly thirty years ago – on 26 July 1985 – the grotto at Ballinspittle jumped into the news headlines of the world because two local women witnessed the statue there moving while they were praying. The little Cork village suddenly found itself the centre of media attention and – during that summer – thousands of people came in bus loads from all over Ireland, either out of curiosity or anxiety to become part of a phenomenon. Many saw the statue move: a police sergeant (presumably a reliable observer) saw it rise into the air – while cures were claimed by sick people who visited the site.

Ballinspittle 1985

Crowds at Ballinspittle 1985  – Evoke.ie

Strange events were not limited to Ballinspittle. Reports had already appeared elsewhere. Kerry got in first: in February of the same year 30 schoolchildren saw two statues moving in the church at Asdee, while in nearby Ballydesmond something similar happened soon after. Here’s a contemporary extract from RTE News – worth watching for the concise view of rural Ireland in the 1980s.

magill asdee

Over 10,000 people visited the Ballinspittle grotto every night throughout the summer. The Irish Times (6 August 1985) reported: ’…Ballinspittle’s claim to a moving statue was matched in no time at all by reports of similar occurrences in Dunmanway and Courtmacsherry. But too many people, including senior gardai, well-tried sceptics and some who registered what appeared to be genuine shock said they saw the statue move, so Ballinspittle has remained the premier place of pilgrimage…’

white marys

The Catholic Church distanced itself from these happenings. Bishop Michael Murphy of Cork warned that “…common sense would demand that we approach the claims made concerning the grotto in Ballinspittle with prudence and caution…” but he also relished the fact that “…crowds are gathering there in a great spirit of prayer…” A difficult stance, perhaps, as similar occurences from Lourdes and Knock in the 19th century led to the creation of huge religious centres and pilgrimage destinations.

WWL

The visions at Knock, witnessed in 1879

The moving statues was a story big enough to inspire Peter Mulholland of the National University of Ireland, Maynooth, to pen a lengthy monograph in 2009, Moving Statues and Concrete Thinking, available in full on line – and a fascinating read. Mulholland makes the point that from the 1950s to the 1980s the western world, including Ireland, was perceived to be under threat from the Cold War, ‘Nuclear Nightmare’ (from weapons and waste), Communism, the ‘permissive society’ – and, more locally, ‘The Troubles’ and increasing unemployment and emigrations; while in 1970 the Bishop of Galway said he thought ‘organized atheism’ was the source of the ‘most serious injury’ being done to the young people of Ireland. All this, says Mullholland, contributed to an underlying feeling of insecurity which created an atmosphere ripe for ‘cults’ (such as observers of moving statues) because of a high level of anxiety in the community. The monograph goes pretty deeply into the realms of psychology, quoting one researcher who “…argued that a certain kind of family structure ‘intensifies Oedipal desires in both sons and daughters, and so promotes Marian devotion’. He held that Marian ‘hallucinations’ are shaped not simply by Oedipal desires but also by other infantile and adult desires…”

Mulholland concludes: “…The moving statues were a modern manifestation of the kind of ‘magical devotionalism’ that sections of the Irish Catholic population have long been prone to resort to during periods of personal or collective distress… They were products of the kind of literalistic, magical-devotionalism that Irish clerics condemned in the 1950s and ‘60s as being ‘anti-intellectual’ and a ‘peasant religion’…”

Knock Shrine

Knock Shrine, early 20th century

Perhaps it’s just coincidence (and I haven’t seen anyone else mention this), but it is worth noting that the Air India Disaster occurred at Ahakista, on the coast of West Cork, less than a month before the first apparitions were seen at Ballinspittle. This terrorist event which killed over 300 innocent souls must have had some effect on the local – if not the national – psyche, and could certainly have enhanced feelings of anxiety and insecurity in a rapidly changing world.

Ahakista

1985 Air Disaster Memorial, Ahakista

Looking back from the 21st century to these events I feel a sense of – well, disappointment – that what comes across now in reports on the phenomenon is mainly disparagement. This is a country which, quite rightly, hangs on to its history and mythologies: as with the wandering bards of older times stories are kept alive at the fireside, in the pubs – wherever people gather. Stories of The Other Crowd, of old battles, of heroes – and of neighbours – are listened to eagerly, and will be repeated just as eagerly. I don’t hear people dismissing them or expressing cynicism about them, as they seem ready to do about moving statues. Such scepticism is understandable in modern Ireland but I will continue to listen with an open mind to all the stories of miraculous happenings that are cherished and passed on, and which underscore the ancient faith of the countryside.

First day of issue

It would be wrong not to finish the story of Ballinspittle. On 31st October (Samhain) 1985, when a group was gathered in prayer at the grotto a car pulled up and three men got out carrying hammers and axes. In front of the dismayed onlookers they smashed the statue of the Virgin and shouted abuse at the worshippers for “…adoring false Gods…” The men, who claimed to belong to an extremist fundamental Christian sect based in California, were later arrested and charged with ‘causing malicious damage in a place of divine worship’. Amazingly, at the trial the Judge stated that he had to be “…particularly zealous in guarding the rights of the three defendants…” and dismissed the case on the grounds that the Ballinspittle grotto is not, in fact, a place of divine worship. In March 1986 the perpetrators appeared on the popular Late Late Show, hosted by Gay Byrne on RTE Television. They cited the fourth and fifth commandments of the Old Testament as giving them divine sanction to smash all religious statues in Ireland, regardless of the rights and views of other people. Reporter Eoghan Corry stated in an article in the Sunday Press, “…there isn’t a safe statue in the country.” Fortunately, following further acts of vandalism they were duly convicted.

Links worth following for more on the Moving Statues:

Finola’s blog post Mary Mary

Radio Documentary from RTE in 1992

RTE TV documentary on Ballinspittle

marian shrine

The Hallowed Fortress

The first sight of Kells Priory is breathtaking

The first sight of Kells Priory is breathtaking

Our West Cork castles, or tower houses, can be impressive, built as they are to be dominant and defensive. But imagine a place where there are not one, but seven tower houses, all connected by a high stone curtain wall with defended gates. A medieval fortress? No – a monastery! Welcome to thirteenth century Kilkenny!

Each one of the 7 towers at Kells Priory is as large as one of our West Cork Castles

Each one of the 7 towers at Kells Priory is as large as one of our West Cork Castles

Kells Priory (not the Kells in Meath that Robert is writing about this week) in Kilkenny is a truly awe-inspiring site. A combination of monastery and walled refuge, it speaks directly to the history of Kilkenny in the 12th to the 15th centuries. This was a time when the Anglo-Normans had established themselves as the lords of Ireland, dividing the land between them. They built castles to establish their military dominance and churches and monasteries to receive the tithes that came with ownership of vast tracts of land – and to save their souls. Although there was probably an older smaller church on the site, the current priory was established when Geoffrey fitzRobert invited Augustinian Canons from Cornwall to settle in Kells in 1193. The Augustinians, unlike the enclosed Cistercians, functioned as parish priests who tended to their congregation, hosted travellers, ministered to the sick, and assisted the local economy by providing mills, and sometimes bakeries and breweries.

Monastic Precinct. To the right is the Prior's Tower. Over the reredoter is the water tower and far Burgess Court

Monastic Precinct. To the right is the Prior’s Tower. Over the reredoter is the water tower and beyond is the Burgess Court

The initial phase of building included the area now known as the Monastic Precinct. A church, chapter houses, stores, a refectory and a mill were built and added-to over the course of the 13th and 14th centuries. This precinct was surrounded by a wall, which included some mural towers, but it was not primarily defensive. 

The construction of the enclosed area known as the Burgess Court dates to the 1460/70s. Warring factions among the Anglo-Normans, constantly invading each other’s territories, sacking and looting, created a climate of turbulence and insecurity. In the absence of a resident and powerful defender of the people of Kells, the Priory took it upon themselves to provide a refuge.

The Fortified Gate, from the outside (note the machicolation above the arch) and the inside (note arrow slits on either side).

The curtain wall and its mural towers constitute an impressive defensive system. Each tower was based on Henry VI’s ‘£10 Castle’ plan, with stores and administration rooms on the lower floors.  Living quarters occupied the upper floors which had fireplaces and garderobes. The crenellated battlements supported wall walks, and here and there were machicolations, murder holes and copious arrow slits. We can imagine the townsfolk of Kells flocking to the Burgess Court with whatever they could carry as a succession of marauding knights advanced and retreated. The priory was burned and sacked in 1262, and twice in the 14th century.

Inside the Burgess Court. The curtin wall had arrow slits all around it, as well as the towers

Inside the Burgess Court. Besides the mural towers, the curtain wall itself had arrow slits all around it

The Prior added a fine new tower for himself around this time too – well crafted and recently stabilised. Improvements and enlargements to the church were undertaken and a new belfry was added. When times were peaceful it must have been a bustling and thriving place, a welcome sight to weary travellers.

The Prior's Tower. Beautifully built, but still emphasising defence against attack

The Prior’s Tower. Beautifully built, but still emphasising defence against attack

Left, a sedile (seat) and piscina (for washing vessels) inside the church. Right, some recent reconstruction demonstrates what the church would have looked like.

The monks had a cloister, of course, for prayer and contemplation. Their refectory was above the store house and featured a lavabo, for hand washing, at the entrance. A small canal from the river provided water for the mill and also carried away the waste from the reredoter, or necessarium – the communal latrine.

Cloisters

The Cloister. The Prior’s Tower and Cross Tower in the background

Lavabo. Note the drain.

Lavabo. Note the drain

The Dissolution of the Monasteries in 1540, under Henry the VIII, spelled the end of Kells Priory as an active monastery. All its lands were confiscated and it gradually fell into ruin. Unlike other religious ruins, the walls and towers remained reasonably intact, indicating that they were probably used as farm buildings and perhaps garrisons, over the centuries.

Southeast Tower. Three different windows and a guarderobe chute

South-east Tower. Three different windows, arrow slits, and a garderobe chute

To learn more about Kells Priory, take a tour through this brilliant website. Written by Daniel Tietzsch-Tyler, and illustrated with his plans and drawings, it is a mine of information and a virtual course in medieval history and architecture. I gratefully acknowledge that this post owes much to the treasure trove of detail it contains.

© Daniel Tietzsch-Tyler

© Daniel Tietzsch-Tyler

You’ll find Kells Priory about 10km south of Kilkenny City. It’s well signposted. While you’re there, make a side trip to Jerpoint to see the medieval carvings that Robert illustrates in Medieval Feast. It would make a grand weekend outing from Cork!

A Grand Outing!

A Grand Outing!

A Medieval Feast

4 weepers

This was a feast for the eyes – a few thousand years younger than Rock Art and far less enigmatic! Our travels took us to County Meath where we explored the monastic city of Kells (where the famed book was written and illustrated), Kells Augustinian Priory – a different Kells but in County Kilkenny (and which Finola has written about in her post) – and Jerpoint Abbey – a Cistercian monastery rife with carved figures – some up to 900 years old.

kells 2

Firstly, the Book of Kells is worth more than a passing mention, especially as some commentators have likened the medieval carvings at Jerpoint and other contemporary monastic foundations in Ireland to ‘illuminated manuscripts cast in stone’ – because of the richness of the characters, the decoration and the detail. The Book of Kells probably dates from the 8th or 9th centuries and may either have been written in its entirety in Kells, or started by St Columba’s community in Iona and completed in the Scriptorium in Kells. That building still exists! In fact it (or something very like it) is illustrated in the book. It’s known as St Colmcille’s House – we went to have a look at it, and were fortunate to have a tour by its guardian.

scriptorium book of kells

A page from the Book of Kells which may be an illustration of the Scriptorium at Kells – and, perhaps, a self-portrait of the writer: see him sitting in the doorway to the house working away with his quill pens…
St Colmcille’s House – in its 21st century context (top left), the keeper of the key (bottom), and the ancient stone roofed oratory (main picture) which is supposedly where the Book of Kells was written – or, perhaps, completed. The upper floor of the building has a small window oriented to focus sunlight on the writing table. St Colmcille’s bed was also kept here – a large and heavy stone slab – until it was stolen in the 1950s! A few hundred years earlier (in 1007)  the Book itself was stolen from Kells and eventually found in a nearby bog. It stayed in Kells until 1654, when it was sent to Dublin for safekeeping: it is now on permanent display in Trinity College.

So – back to the feast, and this was centred on Jerpoint (Kilkenny), which has spectacular examples of medieval carving, including at the tomb of Felix O’Dulany, Bishop of Ossory between 1178 and 1202. Adornments on later tombs include ‘Weepers’ – those who might be in mourning for the departed souls. These figures were carved by members of the O’Tunney family – sculptors from Callan who worked in the 15th and 16th centuries. Some of them can be readily identified: St Peter, for example (another keeper of the key), while the trio below are St Catherine – with her wheel, Michael the Archangel and St Margaret of Antioch – who is conquering a Dragon.

trio

The Weepers at the top of this post show how they were martyred: St Thomas with a lance, St Simon with a saw, St Bartholomew holds a skin (he was flayed to death) and St Paul with a sword.

trio 2

Another trio of Weepers: none of the guidebooks identify these, but I’m sure that among our readership there is an expert hagiographer who can help out…

At Jerpoint it’s not just the tombs and the Weepers which fascinate: there is a 15th century cloister which, in its heyday, displayed a riot of carvings both saintly and secular. Some of these are in situ; some are partially destroyed and others have been recovered during archaeological excavations, and placed on display in a little museum. Among them we identified knights, ladies, animals fantastic and real, and ‘ordinary folk’ – including a man with stomach ache!

arches

It’s not easy to do justice to all the carvings at Jerpoint: I could fill many more pages. There are also cross slabs, roof bosses, decorative friezes and capitals…

I can’t leave Jerpoint without recounting one story which I was delighted to discover. You may remember my excitement when I found out that the real St Valentine is interred in the Carmelite Church in Dublin. Here at Jerpoint, Co Kilkenny, is another marvel: the bones of St Nicholas are reputed to be buried here… Yes – the Santa Claus St Nicholas! Tradition has it that a band of Irish Norman knights from Kilkenny went to the Holy Land to take part in the Crusades. As they headed home to Ireland, they ‘seized’ St Nicholas’ remains, bringing them back to Jerpoint, where the bones were buried – some say – under the floor of the Abbey (others say they repose nearby at the old church of St Nicholas).

Cross-slabs commemorating knights at Jerpoint: did they bring back Saint Nicholas from the Holy Land?

…That saint protector of the child
Whose relics pure lie undefiled
His casket safe within its shrine
Where the shamrocks grow and rose entwine…

(from The Bones of Santa Claus by Bill Watkins)

Well, we may or may not have seen – or walked over – the tomb of St Nicholas, but we saw his Reindeer during our medieval feast tour. Or perhaps they were somebody else’s Reindeer… They are carved on to the base of the Market Cross in Kells (Meath), the town which boasts so much history and which has no less than five high crosses and a round tower.

kells deer

Medieval illustrations on the high crosses at Kells, including some enigmatic Reindeer

Finola and I between us have treated you to a horn of plenty this week with our tours of medieval hotspots in Ireland. We know it’s not West Cork! However, these posts demonstrate, again, how easy it is to find history (and legend) wherever you go in this special land. In fact, it’s very difficult to travel far here without tripping over the past. It’s always fairly low-key. Most sites are protected as scheduled monuments; some are in the good care of the Office of Public Works and have guides and visitor centres. Many are remote, open to the wind, rain and sunshine and free for us all to visit: very often you will have the history all to yourself.

st peter

 

Scratched Stone – Scratched Heads

stone scratches

Aultagh Ogham Stone

One thing always leads to another – that’s something you can be sure of when we are on our archaeological adventures. A case in point was a recent expedition to have a look at Ballynacarriga Castle (not far from Dunmanway, County Cork: 16th century – notable for having a Sheela-na-gig carving built high up into the outer masonry wall, and some unusual carved inscriptions on the internal stonework).

Ballynacarriga Castle (left) with its Sheela-na-gig (right)

Perhaps these various stone scribings turned our minds to the subject of Rock Art (easily done). Our excellent guide on that morning, Margaret Murphy of the Skibbereen Heritage Centre, offered to show us an Ogham stone not too far away, in the townland of Aultagh. How could we refuse?

finding the stone

Assistance required in finding the stone!

Our goal was beside an ancient track in Aultagh Wood (Coil an Ailtaigh), approached from a private driveway. Margaret knew the owner who readily gave us permission to have a look. In fact, he provided sterling service after we had searched in vain for the elusive rock – opportunely arriving with a pole to clear the thick undergrowth, and soon revealing this modest boulder to our eager gaze.

stone discovered

Stone uncovered…

The stone lies close to a drainage ditch and has possibly arrived there from another location at some time in its history. In one area the surface of the rock has been damaged, affecting part of the scribings: it may be that it was once standing – now it is prone with carved marks clearly visible on the upper surface.

stone in context

The Aultagh Ogham Stone in context

The last time I wrote a post about ogham (here it is) I gave a very general overview of the subject. Ogham stones are concisely described by the Irish National Monuments Service as:

…upright monoliths or recumbent slabs, onto which ogham script has been incised. Ogham script consists of groups of 1-5 parallel lines and notches cut along the side or across the edge of a stone to represent the sounds of the Irish language. It is usually read up the left angle. The inscription gives a person’s name (usually male) and immediate antecedent/s or tribal ancestor. The stones may have functioned as memorials, grave markers or territorial markers and date from the late 4th to the early 8th century AD.
Fine examples of ogham stones in Ireland

Here’s the entry in the National Monuments Service records for our Aultagh stone:

Description: On a W-facing slope, in Aultagh Wood. Fallen stone (L 1.1m; 0.7m x 0.3m) with inscription on flat face. According to Macalister (1945, 75) ‘fashioned by an illiterate artificer, copying by rote from a wooden model cut for his guidance’ and reading UBEDABO ALTASI.

MacalisterThat’s quite a bald statement from Robert Alexander Stewart Macalister who was Professor of Celtic archaeology at University College Dublin from 1909 to 1943, during which time he compiled and edited the catalogue of all known ogham inscriptions from Britain and Ireland. Macalister’s theories on ogham are generally out of favour today (some commentators have claimed that his interpretations are gibberish) but he seems to accept the Aultagh stone as being within the early medieval ogham tradition. Yet it seems to me very different from many of the other stones we have seen: it is very sharply incised, obviously with a fine-tipped metal tool, whereas a majority of the traditional or ‘classic’ ogham stones are larger and more robustly carved.

Possible ogham stone at Maulinward, West Cork (left) and others from the Stone Corridor at UCC

When you begin to delve into modern literature on ogham you realise how very many varieties of examples there are, and also how many differing interpretations there are of how to ‘read’ the script. This was monumental writing, labour intensive and time consuming to undertake. For this reason it is generally supposed that ogham was ostensibly reserved for marking important graves or places, and that the inscriptions are all names.

Aultagh Inscribed completeAultagh Ogham Stone – ‘classic’, ‘scholastic’ – or ‘fake’?

There are suggestions that ogham inscriptions for more general – and less monumental – usage were once carved on wood, and might have been language primers for the bardic poets. Later inscriptions are sometimes termed ‘scholastic ogham’ deriving from the fact that the inscriptions are believed to have been inspired by manuscript sources, instead of being continuations of the original ‘monument’ tradition. Hallmarks of scholastic ogham are the median line and scribings being on the flat face of a stone (as at Aultagh) rather than on the edge. Ogham was occasionally used for notes in manuscripts down to the 16th century, and the burgeoning interest in all things antiquarian from the 18th century onwards led to  a popular ogham revival. A typical example, from the graveyard in Ahenny, Co Tipperary, has an English inscription dated 1802 and this in ogham: FA AN LIG SO NA LU ATA MARI NI DHIMUSA O MBALLI NA GCRANIBH, interpreted as ‘Under this stone lies Mary Dempsy from Ballycranna’. Macalister takes the view that this inscription, and others like it, were written “with much more zeal than discretion”, while some scholars have suggested that this more modern usage of the scribing should be termed ‘fake ogham’.

Aultagh Incised Stone

My own drawing of the Aultagh inscribed stone – traced from detailed photographs

You may like to have a go at translating the inscription at Aultagh for yourself. Firstly you will need to select your decipherer: a quick internet search will show that there are many, and also a whole lot of inconsistencies. But perhaps this is all part of the head-scratching: and also part of the whole fascination of a historical subject where many of the elements can only be guessed at…

ogham-alphabet

All the Trimmings

Near Dunmanway

In my two previous posts on our wonderful West Cork colourful houses, A Lick of Paint and An Extra Lick of Paint, I’ve concentrated on overall house colour and on how that colour stands out in the landscape or the streetscape. Since that second post was written, in March, two of the most colourful houses I photographed have been re-painted, both in shades of khaki. Am I chronicling an endangered species? I hope not!

Boatmans

So in the spirit of celebrating our colourful tradition, I am devoting a post to the trim choices – the window surrounds, the doors and the chimneys, the shop fronts – that add to the vibrancy and delight of our neighbourhoods, villages and countryside.

VERY VERY PINK

The most common trim choice is white and often that seems the only, or perfect, choice. Or perhaps the safest. It certainly provides a lively contrast to a bold colour.

Marine blue

Orange you glad to see me?Gallery, Union HallWhite and bold-colour contrast can also look charming the other way around – white walls and colourful trim.

However, the juxtaposition of two bold colours, or even three, for walls and trim is irresistible.

Purple on Mustard

Windows are a natural focus for colour. Sometimes the frame and the surround is painted the same colour and sometimes two colours are employed, both contrasting with the wall colour.

Ballydehob windowsills

A local tradition seems to be to paint the chimneys the same colour as the walls, although occasionally the trim colour is used instead. I particularly like the chimneys in Eyries on the Beara Peninsula. Note the jaunty use of the trim colour on the chimney pots, on the second-to-last house in the lower photograph.

Eyeries Chimneys

chimney trimMany traditional village or town commercial buildings here are masonry, with the shop-fronts in painted wood. A few examples here – although traditional shop-fronts deserve a post to themselves at some point. I also include cafés, restaurants and pubs in this category.

Causkey's

The Coffee Shop Union Hall

Kinsale is a cornucopia of colour! Herewith just a few examples of what you’ll find if you wander its streets.

Van

Trim colour is often used to good effect on garden walls and gate posts in addition to the house. Here’s a fetching example from near Union Hall .

Swedish

So – what do you think, Dear Reader? Do you have a favourite among these examples? Do you have any photos of your own to share? If so, comment below, or drop by our Facebook Page and vote for the one you like best. I will finish with one of my own current favourites and an exuberant addition to Ballydehob.

Budds