Trading Up in Tudor Times: Fortified Houses in West Cork

Coppinger's Court, Ballyvireeen, near Rosscarbery

Coppinger’s Court, Ballyvireeen, near Rosscarbery

Fortified houses are a distinctly Irish phenomenon. The Tudor period in Britain ushered in a great era of house building with many distinctive features. But England was a peaceful place – the owners of these great houses did not expect to be attacked. Tudor Ireland was a very different environment: life was still dangerous and conflict between the native Irish and the planter class, or between Irish clans, was common.

Machicolations at Coppinger's Court

Machicolations at Coppinger’s Court

Up to the end of the 16th century the castle/tower house was the residence of choice of the powerful – a tall stone keep mainly focussed on defensive features and horribly uncomfortable to live in. (See When is a Castle..? for a complete run-down on tower houses.) These new houses emphasised the horizontal rather than the vertical, and were built with comfort in mind. However, they incorporated some of the defensive features of the tower houses – they were “fashionable but defendable.”

Mullioned windows

Mullioned windows

In Ireland they represented “a public display of power and wealth…[and] a long-term investment in their owner’s regional future and were monuments to an aspiration for an English and Continental house style suited to local Irish conditions. On a basic level  the construction of a fortified house represented the owners desire to modernise and Anglicize.” These quotes and much of the information that follows is taken from The Fortified Houses of County Cork: Origin, Fabric, Form, Function and Social Use of Space, by Joe Nunan, who has generously made it and related material available on his website.

Gun loop at ground floor level, Coppinger's Court

Gun loop at ground floor level, Coppinger’s Court

Fortified houses were built of stone but all internal floors, stairs and partitions were of wood. Defensive features included machicolations, bartizans, wall walks, gun loops, corner towers or wings to provide for flanking fire. They were built starting about 1580 up to about 1650.

Tower and Bartizan, Reeandisert

Tower and Bartizan, Reenadisert

There are four (or five, if you include Baltimore Castle) surviving fortified houses in West Cork. The one that is most accessible (should you wish to visit) is Coppinger’s Court, in Ballyvireen townland near Roscarbery. It is also one of the most magnificent examples of this type of dwelling in Ireland. Some of the mullions remain in upper windows, and a sharp eye will spot gun loops in the outer walls. The machicolations are particularly fine, with impressive cut stone supports. This was the home of the infamous Sir Walter Coppinger, whose plan was to build a complete settlement around him in this lovely spot on the banks of the Roury River. He was a despot who got rich through clever manipulations of mortgage documents and he was said to hang his enemies from a gibbet from one of his windows.

The chimney on top of this wall has fallen - note the pile of stones on the ground.

The chimney on top of this wall has fallen – note the pile of stones on the ground

The house was so awe-inspiring in its time that the legend developed that it had a window for every day of the year, a chimney for every week and a door for every month. The house was eventually attacked and ransacked in 1641 and has sat in ruins ever since. Sadly, one of the magnificent chimneys fell down in the storms of early 2014. Evidence of a bawn wall remains, with possible outdoor cooking areas.

Gearhameen - a U shaped plan

Gearhameen – a U shaped plan

The fortified house at Gearhameen near Durrus, built by the MacCarthy Muclaghs, provides evidence of the comfort that these new ‘castles’ provided. The household work was done on the ground floor – large kitchens contained huge fireplaces, and in this house we can see the main kitchen fireplace had a bread oven to one side and a slop hole for sweeping out leftovers to the pigs, who must have been in an attached pen (the smell!).

Large ground floor fireplace with bread oven

Large ground floor fireplace with bread oven

The first and second floors have large fireplaces, with magnificent herringbone chimneys still intact (and hosting nesting choughs).

Rather than the machicolations we see at Coppinger’s Court, corbels on the outside walls probably supported wooden or stone platforms.

Corbels supported a platform for defenders

Corbels supported a platform for defenders

Like Coppinger’s Court, the outer walls still stand to their full height, but the loss of a keystone above one arch, and the consequent development of a large crack above it, bodes ill for that section of the wall.

Missing keystone

Missing keystone

The house at Reenadisert, near Ballylickey, has been built onto and within over the centuries, serving as a modified dwelling place and as farm buildings. It was the stronghold of an O’Sullivan and has an impressive bartizan on one of the external towers. It is in a very ruinous state inside – the eeriness is enhanced by an enormous crows’ nest that has fallen from inside one of the chimneys to rest on the ground. There is evidence of a basement but this cannot be accessed.

Fallen nest

Fallen nest

The house at Aghadown, home to the Becher family, consists only of one wall with attached towers. Ivy has threatened to take over most of it – I love Leask’s description of ivy – “destructive green mantle beloved of the sentimentalist.” Through it one can make out traces of the slate that once hung on the wall above the ground floor, the outline of corbels at roof level, and a string course between the ground and first floor.

Aghadown Fortified house occupies high ground with a commanding view

Aghadown Fortified house occupies high ground with a commanding view

Interestingly, Dún na Séad Castle in Baltimore, home of the O’Driscolls, is described as a fortified house in the National Monuments Inventory. It possesses aspects of both a tower house and a fortified house – in this photograph you can see the corner bartizan, a gun loop, and the long, rather than tall, shape.

Dún na Séad or Baltimore Castle

Dún na Séad or Baltimore Castle

For a comparison of the two types of edifices, take a look at Leamanagh in Clare – here a 17th century fortified house has been literally tacked on to a 15th century tower house.

Leamanagh, in County Clare

Leamanagh, in County Clare

Joe Nunan provides useful summations of Irish fortified houses. Among other points, he says the following:

The fortified houses built in Co. Cork had a unique Irish architectural quality and a distinct southern English look and feel; the result of contacts built up between both regions, politically through plantation-immigration and economically, through trade with the port and fishing towns of Waterford, Cork, Kinsale, Youghal and Baltimore. The social changes that took place in Tudor England were reflected in architectural form by the elites in that society and it was the latter who spearheaded the Munster plantations. They were noblemen who viewed Munster as another region within a larger England and it was through these individuals that the initial architectural influence of the many gabled, oblong country manors with circular, square, rectangular and hexagonal corner-towers was introduced into Co. Cork.

Reenadisert

Reenadisert

We are lucky to have these fine examples of  fortified houses in West Cork still. However, all of them apart from Baltimore Castle are in a perilous state of dereliction.  Gearhameen’s owner has tried to stabilise the building and stave off collapse but all of them may eventually succumb to the natural ravages of time. That’s a sad thought.

Derrynablaha Expedition

Derrynablaha in all its glory

Derrynablaha in all its glory

It’s an almost entirely unknown national treasure – a valley of breathtaking grandeur dotted with the greatest concentration of prehistoric rock art in Ireland.

In Derreeny, Looking down the Kealduff Valley

In Derreeny, Looking down the Kealduff Valley

Derrynablaha (Little Oak Wood of the Flowers) is in Kerry, right in the heart of the Iveragh Peninsula (better known as the Ring of Kerry), on one of the few narrow roads that traverse the Peninsula. The rock art has been known for many years – the first paper about it appeared in the early 1960s, curiously, by an Italian rock art expert, Emmanuel Anati. The Cork husband/wife team of Michael and Claire O’Kelly traversed the valley, finding many new pieces and leaving extensive notes. Elizabeth Shee, the leading expert on passage grave art, added to the literature in the early 70s. In 1972 and 73 I (Finola Finlay) recorded and drew all the known examples, using the tracing techniques of the day. Blaze O’Connor and Avril Purcell both wrote about Derrynablaha in the early years of the 21st Century, relating the rock art to the landscape it occupied. Many more pieces came to light in the adjoining townland of Derreeny and were recorded by Ann O’Sullivan and John Sheehan in their Survey of the Iveragh Peninsula. Rose-Mary Cussen examined the art about five years ago, looking for patterns in the enigmatic carvings while other scholars have included Derrynablaha as part of a focus on Irish prehistory.  A few photographers have attempted to capture images of the art, but none more so than Ken Williams, of the outstanding Shadows and Stone website.

Robert, Clare, Finola, Elizabeth and Avril, checking the records and GPS readings. (Photo © Ken Williams)

Robert, Clare, Finola, Elizabeth and Avril, checking the records and GPS readings. (Photo © Ken Williams)

This weekend, several of these rock art enthusiasts and experts came together for a unique expedition to Derynablaha and Derreeny. Elizabeth Shee, myself, Avril Purcell, Rose-Mary Cussen, and Ken Williams took part, accompanied by Robert Harris (see his take on this special place) and Clare O’Sullivan, a UCC undergraduate. Our objective was to visit as many of the panels as possible and to assess what has changed in the landscape in the 65 years since it was first described in academic journals. (See the end of this page for links to other Rock Art topics we have  posted over the last couple of years.)

This one wasn't too hard to find

This one wasn’t too hard to spot

Finding the panels was the first challenge! We had all the information from the National Monuments records, including GPS locations for each rock. However, GPS readings can vary, and many of the ones we were using for Derrynablaha were from the early days of GPS and could be 30m out or even more. Apart from the small fields around the original farmhouse, this is a landscape of bog, gorse and tall grasses, of steep hillsides and tumbling streams, of numberless boulders and outcrops. It was, we think, populated by early herding agriculturalists in the Neolithic and Bronze Age periods. Historically, it supported a sizeable population in pre-Famine times (ruined cottages dot the land) and one sheep farm still operates now. Finding the rock art needle in the landscape haystack took time and patience, sharp eyes, and the good memories of those who had been there more recently than I. Where the GPS recording let us down we turned to the meticulous notes made by Claire O’Kelly: notes that said things like “keep the stream to your right and the large triangular rock in view and the rock is a short way below the wire fence.” These notes turned up trumps more than once.

The rock art is NOT on the large panel, but on the tiny stone by Robert's knee.

The rock art is NOT on the large panel, but on the tiny stone by Robert’s knee

In the end we located all but one panel of the ones we were tracking. The Derreeny rocks were easier to find as the GPS readings were more accurate. It was exhausting and exhilarating work and reminded us yet again how difficult this art can be to find and to see. While some panels were clear and sharp, others were weathered and lichened to the point of invisibility. For some, my drawings were needed to appreciate the full extent of the carvings. (I was feeling pretty pleased with myself about these drawings until we discovered one panel on Day 2 for which my drawing was mirror-imaged in my thesis. Fortunately, the Sullivan and Sheehan Survey had noted and corrected this in their work.)

Day 2 Crew: Ken, Rose-Mary, Finola, and Robert taking the photo.

Day 2 Crew: Ken, Rose-Mary, Finola, and Robert taking the photo

On day 2 the team consisted of Ken, Finola, Robert and Rose-Mary and we spent our time on the most southerly examples in Derrynablaha, especially the large tabular rock and its associated rosette stone. One of the most extensively carved pieces of rock art in Ireland, this iconic piece commands a panoramic view of the whole area, extending to Lough Brin to the east, the Ballaghbeama Gap to the north and to Kealduff River valley to the south. Leaning against it is a stone with a superb example of the rare “rosette” motif.

For really excellent images of this stone, view it on Ken’s Shadows and Stone site.

We also lingered over an unusual panel with multiple lines, cupmarks and rosettes: this one was so faint that Ken resorted to having us provide shade using his jacket and our bodies. The results he got, with his flash technology, revealed astonishing detail totally invisible to the naked eye.

How he got that high tech photo © Ken Williams

How he got that high tech photo  

My drawing, done over 40 years ago.

My drawing, done over 40 years ago

Our second objective was to assess the general ‘health’ of the rock art and its context. Mostly, we were encouraged: very little has changed in this valley over the years. It is remote and the land is marginal, suitable mainly as rough mountain pasture for sheep. The landowner knows about the rock art and is careful not to disturb or damage it.

 lDerrynablahaandscape - changed and unchanged. Note forestry activity.

Derrynablaha landscape – changed and unchanged: note forestry activity

However, two factors threaten the rock art even in this far-flung region. The first is forestry: a sizeable plantation occupies an area east of the road and at the south end of the townland. We didn’t have time to visit this area, but noted in the National Monuments records that two previously identified pieces of rock art are now within the forest boundaries and can no longer be found. The second factor is land-clearing for the purposes of improving the grazing fields. Farmers are encouraged to do this and there are grants available through European funds. We failed to find one piece that was located in such a cleared area, despite extensive searching over two days. Hopefully, this is a function of erroneous GPS readings and the rock still exists – but it is worrying.

Elizabeth, Robert, Avril, Clare, Finola and Ken. Day 1 Team by Derreeny rock art.

Elizabeth, Robert, Avril, Clare, Finola and Ken. Day 1 Team at Derreeny rock art  © Ken Williams

Derrynablaha and Derreeny have always been special places. We can only speculate on the meaning or meanings of the extraordinary numbers of carved rocks in this landscape. Were they familiar, even domestic, expressions of belief or supplication? Did they mark routeways through the mountainous territory or boundaries between clan lands? Were they, or some of them, hidden ritual sites known only to certain members of a priestly class? Did the carvings identify suitable spots for calendrical observations? Did they have altogether different functions that we have yet to comprehend? We may never know the full extent of the meaning of the rock art to those who carved them. Yet – we do know their meaning to us. As the largest body of this category of prehistoric site in Ireland, this collection constitutes a vital link to our most distant past.

Leaving Derrynablaha

Leaving Derrynablaha

Other Rock Art Posts in Roaringwater Journal

Rock Art Ramblings… away from home!

Our Rock Art Exhibition!

Rock Art in Danger

Rock Art

Equinox Adventure

Diving for Petroglyphs

The Stones Speak

Here Comes the Sun

Enigma

Tiny and perfect example of Derrynablaha rock art

Tiny and perfect example of Derrynablaha rock art

Glen of Ghosts

glen

There are some places in this world that touch you deeply in the soul. Derrynablaha has that affect on me. I first went there a few years ago and immediately felt that it was alive with ghosts. I was in search of Rock Art then, and Finola had told me about her experiences in the early 1970s – an intrepid young student on an old Honda 50 loaded down with sheets of cellophane and measuring rods. She had met the O’Sullivans who dwelt in the single farmstead there – they plied her with tea and directed her to the rocks above the house where treasures awaited. When I drove into that valley 40 years later I found only the ruins of the O’Sullivan cottage. It was a poignant moment – the mountains were empty: in some ways it felt like the loneliest place on earth, yet also one of the most beautiful.

The old O'Sullivan farmstead returning to nature

The old O’Sullivan farmstead returning to nature

What kind of a beauty is that? A mixtures of lives vanished and nature healing the wounds. Sheep still grazing on those rock-strewn fields: men from another valley tending them – O’Sullivans also, but – they claim – no relation to the last generation there.

New life among the old stones...

New life among old stones…

Those lives are recently gone but, as I first climbed the precipitous slopes to the west of the old farm, I felt the presence of other ghosts – from a more ancient time. It’s a long haul up to the iconic carved stone which commands the wide view across to Lough Brin but, each time I make that journey, I feel more strongly drawn to the people who made that place their home – or possibly their temple.

View from the 'very special' carved stone

View from the ‘very special’ carved stone

This expedition must have been my fourth visit to the hillside which commands such a magnificent view over the townlands of Derrynablaha and Derreeny and which takes in the lake on the valley floor – seemingly a mere puddle from that elevation yet  in fact covering several hectares. On each visit I find more evidence of prehistoric occupation: on this occasion it appeared to me that the carved stone is sited on the edge of a circular plateau; I could trace old retaining walls below, some circles which could have been hut walls half lost in the undergrowth and – above this site – a wall of boulders which might have dammed the stream which runs down the mountain here, to create a little reservoir. I also saw the vestiges of a wedge tomb – aligned east to west – and the base of a cairn… All this, of course, is my imagination at work, but it’s a place where the imagination can take wing.

sky pan

Panoramas from the plateau - east and west

Panoramas from the plateau – east and west

I have so many questions… Was there once tree growth at this level? Derrynablaha means ‘little oak wood of the flowers’ – I imagine something like the stunted oak forests on Dartmoor, where the ancient trees are gnarled and twisted from the ravages of a harsh climate, but which cling to the rocky terrain. But possibly the plateau was raised above this – a place where visibility over the whole landscape was important and visitors anticipated in advance. In my dreams I see fires burning up there in the night, figures dancing, songs being sung… Are they really Wolves and Deer I see moving around the fires, or are they my own ancestors wearing grotesque masks?

clouds

Dream clouds?

Why shouldn’t I have these thoughts? After all, technology might have changed over 5,000 years – but our minds haven’t. It’s not so hard to try and understand our forebears: I like to think they appreciated the power of the pristine landscapes which they inhabited – just as we are awed by the magnificence of their old haunts as we see them today.

Wedge tomb on the plateau?

Wedge tomb on the plateau?

And did those feet…

We discovered St Patrick in Glastonbury!

We discovered St Patrick in Somerset!

Finola had never been to Glastonbury, so I thought a visit on our way back home to Ireland was in order. Like me, she found the town itself fascinating: every shop seems to have a ‘mystic’ theme, and even the coffee is imbued with an otherworldly aura…

Coffee time in Glastonbury

Modern Pilgrims? Coffee time in Glastonbury

Why is this Somerset town so steeped in esoterica? It attracts ‘New Age’ adherents, pagans and Christians. Perhaps because it was a place of pilgrimage centuries ago – one of the most important in Britain. The biggest surprise for us was to find a chapel there dedicated to St Patrick!

St Patrick's Chapel - one of the earliest buildings at Glastonbury

St Patrick’s Chapel – one of the earliest buildings at Glastonbury

Inside St Patrick's Chapel

Inside St Patrick’s Chapel

The chapel is in the grounds of Glastonbury Abbey and – like the Abbey itself – the little building has had a chequered history. It is well preserved, however, although the wall paintings and glass are from a modern renovation.

The chapel window - note St Patrick's wonderful snake!

The chapel window – note St Patrick’s wonderful snake!

Glastonbury is a place of history and of legend. The most important of these has to be the one that William Blake immortalised in his poem Jerusalem:

And did those feet in ancient time walk upon England’s mountains green…

‘Those feet’ are the feet of Jesus himself who – tradition insists – was brought to this site as a boy of twelve by his great-uncle, Joseph of Arimathea, a tin trader. Jesus in Britain? No wonder the Abbey was such a glorious place, and a rich and powerful one in medieval times. Even in ruins, the buildings have a presence and elegance which for me is unmatched in any of the other ancient monastic sites I have visited. With that history there couldn’t be anywhere more important outside of the Holy Land.

Back to the story – When Joseph landed on the islands that were Somerset in those days, he climbed to the top of Wearyall Hill and planted his staff there. It took root and grew into a thorn tree. Magically, that tree always flowered on Christmas Day. The original thorn has gone from the hill, but cuttings have been taken over time and they exist elsewhere: one such is within the Abbey grounds, just outside St Patrick’s Chapel. They still flower on Christmas Day, and the Queen is always sent one of the blooms.

Glastonbury's Holy Thorn, planted by Joseph of Arithamea

Glastonbury’s Holy Thorn, planted by Joseph of Arithamea

A tradition tells us that St Patrick grew weary of his work in Ireland and returned to Britain in old age. He went to Glastonbury because of its importance, and he was joined there by a band of monks who elected him their Abbot. After a few years he died and was buried in the Abbey grounds. Other important visitors here included St Brigid – who is pictured milking her cow on the wall of St Michael’s Tower on the Tor. St Brigid is also considered a Goddess – suitable for a town in which Paganism and Christianity seem to co-exist quite happily.

Typical Glastonbury shopfront

Typical Glastonbury shopfront

St Brigid - another Irish Saint in Glastonbury

St Brigid – another Irish Saint in Glastonbury

The stories go on and on: a multitude of Saints is buried around the Abbey evidently – and the Virgin Mary herself visited – with her Uncle Joseph – and (some say) is also buried there…

We musn’t forget another Glastonbury VIP – King Arthur. In the twelfth century the grave of Arthur and Guinever was found by monks when carrying out restoration works in the nave of the Abbey. This added to the notoriety – and the fortunes – of the monastic establishment…

sign

Shadows and Stone in Action

Ken Williams - capturing the moment

Ken Williams – capturing the moment

Shadows and Stone is the undisputed champion of prehistoric photography sites in Ireland. The work of photographer Ken Williams, it contains an enormous number of high-quality images from Ireland, England and Wales, and Portugal. Within Ireland, the site is organised by the various types of monuments (passage graves, stone circles, rock art, etc) and there are also galleries devoted to solar phenomena such as the Equinox at Loughcrew.

Ken and Robert: getting ready for sunset at Bohonagh

Ken and Robert: getting ready for sunset at Bohonagh

Ken’s work on rock art is astounding. We know first hand how difficult it is to get good photographs of the carvings. Many of them are covered in lichen, obscuring all the detail, and can really only be discerned in long slanting light, such as at sunrise or sunset. Ken uses artificial lighting to capture his excellent images and when we first met him a couple of years ago we asked him how he packed all those lights up to the remote locations in which a lot of rock art is found. He grinned and opened his backpack. “This is my equipment,” he said, “It’s all I use.” Essentially his gear consists of a camera, flashes, and tripods.

flashes strategically deployed

flashes strategically deployed

If you want to see the difference between what Ken captures and what us ordinary mortals manage to do, take a look at our photograph below of the highly carved panels at Derrynablaha in Kerry. Hard to see anything on them, right? Now click here for Ken’s version!

Derrynablaha Panels 5 and 6. Probably most highly carved pieces of rock art in Ireland. Can you see it?

Derrynablaha Panels 5 and 6. Probably the most highly decorated pieces of rock art in Ireland. Can you see the carvings?

We met Ken this week at the Bohonagh Stone Circle: he was there to photograph the equinoctial sunset. It was a beautiful evening – perfect conditions to see the sun sink behind the recumbent stone, as it does in these axial stone circles at either the equinox or solstice.

Looking over the recumbent

Looking over the recumbent

It was a treat to see a master photographer at work and to have Ken explain how he gets those amazing shots. Since we had already had the opportunity to shoot the sunset last March, I knew how difficult it was to portray a scene when you’re aiming directly into the glare of the setting sun. It took a lot of processing afterwards before I could see both the sun and the stones in my shot, and by that time the sky was competely washed out. This time I concentrated on capturing the photographer at work. Ken, meanwhile, worked his usual magic – and here’s the result, included with his permission. Not only can you see everything, including the still blue sky, but his picture captures the mysterious ambiance of the setting and the occasion.

BohonaghEquinox15-12

We hope to tag along with Ken again in the future. Meanwhile – our thanks to him for an inspirational day and the great rock art chat.

Thanks, Ken!

Thanks, Ken!

By the way, it’s been a week of sky photography here in West Cork – first the equinox and then an eclipse! My neck hurts now.

Solar eclipse, West Cork, March 20, 2015

Solar eclipse, West Cork, March 20, 2015

New Archaeology

Unexpected Discovery...

Unexpected Discovery…

Wow! A hitherto unrecorded stone circle, a boulder burial, a gigantic standing stone and a dolmen… all found on a Saturday morning walk.

Ballydehob's Dolmen

Ballydehob’s Dolmen

Budds

Our expedition began after a great breakfast in Budds – Ballydehob’s newest eating venue: try it out – it has an attractive cheerful atmosphere and the food is excellent. After this sustenance we set out to explore – for us – uncharted territory. Did we travel miles out into the wild hills of West Cork to find these remarkable pieces of archaeology? No, we walked a few metres down the road…

Time for the weekend paper - Robert takes to the Druid's Chair

Time for the weekend paper – Robert takes to the Druid’s Chair

Right behind the main village street in Ballydehob is a spectacular example of twentieth century Irish history: a golf driving range with a prehistoric theme!

Aerial view of the site

Aerial view of the site

Ballydehob’s Golf enterprise came with the Celtic Tiger – and went when the Tiger collapsed. It’s now a site looking for a buyer – you could have it!

for sale

But we do hope that if someone does buy the site, then they keep all the features: the winding paths by the river, the parkland which feels so rural and secluded, yet is within a stone’s throw of the main N71 highway – and all the New Archaeology...

Riverside Walk...

Riverside Walk…

Boulder Burial...

Boulder Burial…

Circle within an 'ancient grove'...

Circle within an ‘ancient grove’…

Megalith, enjoying a trick of the sun...

Megalith, enjoying a trick of the sun…

The unfortunate demise of the West Cork Golf Academy has left Ballydehob with an unofficial ‘town park’ – a very pleasant place to walk on a balmy spring morning. If only there was a way that this could become a permanent amenity for the community. But the land has a value and – presumably – potential for some worthwhile development. Who knows what the future holds? Meanwhile, we enjoyed our chance discovery of New Archaeology right on our doorstep!

PS – since publishing this post earlier today, I realise from comments received that some readers have been puzzled by it: rest assured that all this ‘new’ archaeology dates from the twentieth century – and was constructed as part of the golf project! They made such a good job of it that it could just prove very confusing for archaeologists of the future…

A Place Apart certainly - the Fuscia Brand labelling dating from better times

A Place Apart certainly – the Fuschia Brand labelling dating from vanished times

Finola enjoys the spirit of 'A Place Apart'

Finola enjoys the spirit of ‘A Place Apart’