Archaeology

Rincolisky Castle – A Loving Restoration

There are so many ruined castles in West Cork that it’s important we celebrate the ones that have been saved, and the people who have done the saving.

I’ve written about two of them already, Kilcoe (Kilcoe Castle – A Magnificent Reconstruction) and Black Castle or Leamcon. There is also Baltimore Castle, restored by the McCarthy Family and open to the public. I’ve also done some primers on what castles are all about. If you’re new to this, check out Tower House Tutorial, Part 1, Tower House Tutorial, Part 2 and Illustrating the Tower Houses.

Rincolisky, also known as Whitehall (the name of the townland in which it stands) was a castle of the O’Driscoll Clan – the fierce, sea-going, fabulously wealthy family whose seats of power were in Baltimore (Dún na Séad, or Castle of the Jewels) and Cape Clear (Dún an Óir, or Castle of Gold). 

The siting is interesting. It is in clear view of Kilcoe Castle, built by the McCarthys probably to keep an eye on the O’Driscolls and the O’Mahonys, and Rossbrin Castle would also have been visible battlement-to-battlement. Here’s what Samuel has to say about that in his Tower Houses of West Cork;

The tower house seems to have been located to defend the isthmus between Cunnamore and the mainland; the isthmus would ease the defence of herds of cattle and it is possible that some form of occupation may have existed before the construction of the tower house. The defensive strength of the site seems to have have been deliberately enhanced by the quarrying required for the tower house’s construction. The scarp faces eastward, perhaps because attack from this direction was expected.

Samuel, Mark Wycliffe. The Tower Houses of West Cork

The name Rincolisky comes from the Irish Rinn Cuil-Uisce, or Point of the Backwater. It appears to be 15th century, as are many of the castles in this region, and there is one documentary mention of the year 1495 as the year in which is was built. After the Battle of Kinsale and the subsequent subduing of all the West Cork clans, it passed into the ownership of Sir Walter Coppinger, along with the lands, which apparently included a ‘town’ of which no trace now remains. The Coppingers remained in possession throughout the tumultuous 17th century after which time is passed to their relatives, the Townsends. At some point in the 18th century the Townsends abandoned the draughty old tower house in favour of a more comfortable manor house (like the ones described here), styled Whitehall. They may have used stone from the castle (the upper floors) or the bawn walls in its construction. This would explain the total absence above ground of traces of the bawn. 

At this point, Rincolisky fell into disuse and became, as is the fate of so many West Cork castles, a convenient place for a local farmer to keep cattle (below, photo by Margaret McCarthy). And so it remained for a couple of centuries, until it found the champion it needed and deserved. 

Stephanie Jaax loved this area and spent summers here with her parents who owned the castle. She was determined to bring it back to life and what a daunting proposition that was! Stephanie was also set on doing it properly and this involved getting all the required surveys and assessments done by archaeologists and working to conservation and historical standards at all times. To see how well she has succeeded, take a look at this video, which shows not only the castle, but the surrounding area.

Rincolisky is one of the Raised Entry Castles of West Cork. Similar to Ardintenant and to Black Castle. Black Castle (or Leamcon) has the same layout, in fact, with the raised entry directly above the ground entry.

Rincolisky Castle offers a wonderful opportunity to observe how three spaces could be accommodated beneath the vault. 

The main kitchen/dining area at Rincolisky is on the ground floor (unlike at Leamcon where it is on the top floor). Originally this area may have been used for storage and it was self-contained – that is, there would have been no access to any other floor from this level.

Now, however, a wooden stairway leads to the second story, a wooden floor laid on the joists which were stretched between the joist stones in the walls (see Dunmanus Castle for examples of this. From this floor, a spiral stairway leads up to the final floor under the vault, used now as a sleeping space. One surprising things is that the areas under the vault are not as dark as I imagined they would be. given so few, and such small, windows. Partly this is because of the whitewashed lime render which really helps to brighten up the interior, and partly it is the result of clever and subtle lighting.

Access to the second floor in the 15th century would in fact have been from the outside. The raised entry, now repurposed as a window but originally a door, was what separated the public from the private areas of the castle. Ascending the outside steps to the raised entry, you would go straight ahead into the second floor, or turn left to ascend the steep stone stairs to the storeys above the vault.

The second floor may have been used as a public space where the chief met with others and carried out the business of the clan lands. But see also further down – it was possible this kind of business was conducted in an adjacent ‘hall.’

The private areas of the castle – the home of the chief and his family – were accessed by ascending the steep mural staircase which then turned into a spiral staircase within the corner of the castle.  Nowadays this brings you to the final floor of the castle, used for sleeping, living and bathing. But originally this would have led up to two more stories and access to the wall walk and roof. 

The current top floor is beautifully done – with a bedroom, bathroom and living room. The crowing glory is a sunny terrace with stunning views across the sea and surrounding countryside.

Throughout all her renovations, Stephanie has employed archaeologists to carefully excavate and uncover all the original features and has followed best practice as provided by Cork County Council Planning Department and heritage experts.

The photograph above is of three distinguished medievalists – from the left Con Manning, Margaret McCarthy and Eamonn Cotter – pondering over the most recent excavation.

This, of course, has severely limited what she was able to do and how she had to do it, and made it more expensive. This process continues, as the area around the entrance was excavated this summer by Eamonn Cotter to try to establish what lay immediately outside the ground-level and raised entries. His finding have turned up the original lime render (Above) which would have coated the entire building (leading to the name White Hall), traces of the original bawn wall (found also in the previous excavations) and a complex series of structures which were built, and collapsed, over time. 

These structures incorporated what may have been a bread oven and it seems the buildings were attached to the castle, as evidence by traces of a gable wall, now no longer visible. Eamonn posits that the first building may have been a ‘hall’. In his report he says.

At some point in the 17th century the building was roofed with local slate and imported North Devon ridge tile. . .

It is well established from historical sources and from excavations that many, if not all, tower houses had ground-floor buildings attached or adjacent to them, buildings generally identified as halls. . . The building uncovered at Rincolisky may be interpreted as such a hall. Its roof, with imported glazed ridge tile, would certainly suggest it was a high status building. Its location, immediately adjacent to the castle and tucked into a corner of the bawn, is replicated in other tower houses. . . 

Halls were for the conduct of business and meetings. This hall was replaced by another building during the 17th or 18th century, but this building has left no clear evidence of its purpose or longevity.

When we see Rincolisky now, it sits alone and isolated. It is hard to imagine that it was a bustling place, surrounded by an enclosed bawn, with other buildings inside the bawn and even attached to the castle, while a nearby ‘town’ carried on all the business of medieval trade. What is not hard to imagine is that, without Stephanie’s dedication, care and attention to detail, this castle would have ended, as so many others have, crumbling into an unrecoverable state. All of us owe her our appreciation and gratitude for salvaging and lovingly restoring such an important part of our heritage.

And what about you? Ever had a hankering to stay in a castle? Rincolisky is available to rent – so why not give it a go? Check out the listing on VRBO and read Stephanie’s own description of the thoughtful way she approached both the reconstruction and the furnishing of the castle.

Ships in Churches

You’ll have to look carefully at the photo above. It’s inside the ruined church which stands in St Mary’s graveyard, Colla Road, Schull.

Here’s the church – a view taken a day or two ago, in a spell of clear, cold weather. It has a fascinating history, which you can read here. Go in through the old main entrance, and immediately look to the wall on your right. Scratched into the plaster there is the ship image. But it’s not the only one.

There are more ship images visible on this porch wall; the first – shown in the header – is the most clearly defined. Here are more detailed views of others (I have counted five in total), including further examples on the opposite wall. There may once have been more.

Of course, we would like to know the story of these carvings: who made them? When? And why? As to the ‘when’ we have to sift through the history of the building, although what is known is somewhat fragmentary. One record states that what we see today was built in 1720, but there must have been something there before that, as there is an ogival window in the north-eastern part of the building which is thought to be fifteenth century, and some further architectural features which suggest an even earlier construction:

The north porch – where the ship scribings are – is likely to date from the early eighteenth century, so the ships could not be any older than this. They could have been drawn any time, perhaps, over three hundred years – but are most likely to have been from the earlier part of that period. It has even been suggested that they could have been made by the craftsmen who rendered the walls. Interestingly, ‘graffiti’ which shows ships in churches is not uncommon: there are further instances in Ireland, Britain, and other parts of the Christianised world. The following were traced from St Spas church, Nessebar, Bulgaria. They are possibly the closest examples I have found so far that resemble our main Schull scribing. Interestingly, only one is shown in ‘full sail’. Most examples of this type of graffiti show the vessels without sails, or with the sails furled. Our Schull example is undoubtedly under full sail – and this makes it rare. I attach a further image below the Bulgarian scribings: I have tried to enhance the contrast of the photograph.

What about ‘Who Made Them’? We don’t have an answer to that. We must remember that the Schull examples are a very small part of a very widespread phenomenon and, as I mentioned, there have been suggestions that the ships were a deliberate part of the construction process of the churches: they might have been drawn by the plasterers themselves. Masons left behind their own ‘marks’ on stone walls, ever since medieval times. A British project was started in 2010 to survey all types of ‘informal’ marking on stone and plaster found specifically in Norfolk.

These stone inscribed Masons’ marks are from the Norfolk survey. Below – from the same source – two images of ship graffiti from Cley-on-Sea, Norfolk:

Where do we go from here in our little review of this strange find in Schull? Well, it’s worth noting that these are not the only ‘ships in churches’ image that we find in the corpus of European-wide church architecture. I often remember going into churches and noticing model replicas of ships hanging from the ceiling! I don’t remember seeing such a thing in Ireland, but certainly in Britain and Scandinavia. Here is one from Denmark:

Strangely, I have never looked for an explanation of these. When you start reading about them, it is suggested that they are always in churches which are associated with the sea and with maritime communities, and the church models are seen as prophylactic votive offerings: representing and honouring the ships that the community sail in will prevent them from coming to harm. That begins to make sense, as does the idea that the plaster ship graffiti is also, perhaps, a preventative measure against disaster or ill-fortune.

That theory could be presented as a strong likelihood for finding ship graffiti in churches – but there’s a problem. There are as many examples of ship graffiti in churches which are located far inland as there are on or close by the coast. If you would like my own opinion on this whole quandary, take a look at the photo of Schull church, above. It is built on a mound, perhaps natural but maybe not, with its east wall facing outwards like a ship’s prow. Could there be a far wider symbolism in all this when it comes to the nature of a church building? Is it a stone representation of a vessel, captained by priest or parson, and crewed by the faithful of the community? A final thought on this: when you go into the main body of a church, you enter the Nave. Definition of a nave:

. . . The name of the main public area of the church, the nave, was derived directly from the Latin word navis, meaning ‘ship’ or ‘vessel’, and references dating back to the very earliest days of the Christian church direct that a church should be built ‘long . . . so it will be like a ship’ . . .


MATTHEW CHAMPION – MEDIEVAL SHIP GRAFFITI IN ENGLISH CHURCHES, 2015

An Artist’s Encounter with West Cork

Perhaps this book review is a little late arriving? The book was – after all – published by Brandon of Dingle in 1990: thirty two years ago! The artist, and I, were in our forties then. But – don’t hesitate – although it’s out of print you can find copies readily available on many booksellers’ websites. You can spend a Euro (the postage will cost four times that!) or many Euros: but it’s well worth whatever you have to pay.

Here it is: a modestly sized paperback volume. But it punches well above its weight. It is beautifully written, and exquisitely illustrated. For everyone who is interested in West Cork, Ireland or the art of engraving it’s a must for your bookshelves. And, historically, it’s fascinating: the cover picture, above, shows Tig na nGaedheal (locally known as Brendan’s) – once described as ‘the greatest and most famous sweet shop ever in Skibbereen’. Sadly, Martha Houlihan, who ran it with her husband Brendan, passed away a little while ago and the shop is no longer trading. It’s still a significant feature in the town streetscape (below). Note the figures looking out of the door and window in Brian’s etching – a typical humorous touch.

The book includes nigh on a hundred of Brian’s engravings. This is only a fraction of the huge body of work he has created in his lifetime to date, and he’s never idle. It’s good to know that Uillinn – the West Cork Arts Centre gallery – has a retrospective of Brian’s work in the pipeline. It will be impossible to show more than a fraction of the art he has produced so far, but we certainly look forward to experiencing that selection.

What I personally enjoy about Brian’s works in this book is the atmospherics that they create. Take, for example, The Dark Edge of Europe, above. The breadth of its content is overwhelming: it’s the landscape of West Cork summed up in gradations of grey, with coastline, lanes, settlements, hills and distant mountains, focussed on a foreground which features an ancient hill-fort. A tale of occupation and morphology: an eternal human story. The illustrations in the book are accompanied and amplified by wonderfully crafted written descriptions.

. . . Defining the high spots in the ribs of land, and distributed with apparent regularity all over this landscape, were lush green rings. Single, and occasionally double or triple concentric rings of grassy banks, these features resembled a giant’s game of quoits, forgotten and left to decorate the landscape. The gargantuan quoits are of course the ring forts or fairy rings of the Irish countryside, and outlined the forms taken by the rural farmsteads and dwellings from pre-Christian times down to the sixteenth century. Each ring represented an earthen rampart on high ground, with perhaps a dry moat or further rampart encircling some wattle huts. Simple and utilitarian, this form of dwelling satisfied the political and practical exigencies of the day – or aeon, for that matter. Rural life was lived in the midst of the land, without congregating in towns or villages . . .

The Land of Heart’s Desire: West of West, Brian lalor

Mount Gabriel dominates much of the landscape in our part of West Cork. Brian’s view, above, is titled Mount Gabriel Gorse Fires. The artist ‘discovered’ remote West Cork back in the 1970s. In the book he describes the journey:

. . . The road wound away into the distance, a ribbon of reflected light, and the weaving shapes of the blackthorns threw a black Gothic tracery across the landscape. The immediate surrounding had a silvery sharpness, the precision of a lunar landscape; brightly outlined walls enclosed pools of darkness. We were no longer at the door to West Cork but in its very interior. We had arrived . . .

Well Met By Moonlight: West of West, Brian Lalor

Essential to the intimate knowledge of West Cork’s landscape is the sea – and the coastline which encompasses it. This view is titled Rock Island & Crookhaven. Brian enhances the rendering with a description:

. . . From the heights of Brow Head the outline of Rock Island at the mouth of the harbour resembles a partially submerged submarine, its twin customs-observation buildings the conning towers of this strange naval mammoth. An ill-assorted collection of buildings adhere like barnacles to the back of this submarine: the roofless lighthouse barracks, a defunct fish factory and an abandoned, rambling Victorian mansion suggest an unfavourable location. Wedged in the little cove in front of the mansion is the hulk of an old wooden trawler. A graveyard of vanished days and forgotten hopes . . .

Coastline: West of West, Brian Lalor

Ballydehob’s 12-arch bridge – or railway viaduct – must be one of the most profusely illustrated and photographed features of West Cork. The Schull, Ballydehob and Skibbereen tramway was a significant piece of transport infrastructure that ran from 1886 until 1947. It’s a fascinating piece of Victorian engineering, the first 3ft gauge railway line to be built in Ireland. Everything about it was eccentric: here’s one of my RWJ posts setting out the history of the line. Brian has a little anecdote well worth the recounting:

. . . As it is one of the most pleasing architectural features of the local landscape, I drew the Twelve Arch Bridge on many occasions and it reappears in a variety of forms amongst these etchings. One village magnate commissioned me to do a large picture of this monument for his new house. The price was agreed and the picture eventually produced. I had chosen an angle which showed the bridge emerging as it does from thickets of brambles and conifers on either side of the water. Delicate fronds of foliage wound in the foreground of the picture and the subject itself basked in the distance, looking solid and ancient. I was quite pleased with the results. When I presented it to my patron he gazed at it in silence for a long time. Then with a large and calloused hand he ran his index finger across the view a number of times, shaking his head slowly as he did so. ‘No. no good at all, It won’t do,’ he muttered more to himself than me. He had been counting the arches. In my enthusiasm for the atmosphere of the piece the accurately rendered number of the arches had become obscured, those on the extreme edges becoming partially lost in the undergrowth. The commission was rejected. If you are paying for twelve arches you don’t want to be short-changed with ten and two halves!

Coastline: West of West, Brian Lalor

Fastnet. An iconic silhouette – perhaps a fish-eye view? The lighthouse is a ubiquitous element of structure which can be seen from all the waters and islands of Roaring Water Bay. Brian’s words:

. . . Roaring Water Bay encompasses an area of about a hundred square miles of water between Baltimore in the east and Crookhaven in the west. The tortuous coastline of the bay, as of much of the rest of West Cork, is punctuated by small coves, each with an old stone pier or miniature harbour. Up to the mid-nineteenth century these were the arteries of communication and trade and a wide array of lighters, barges, rowboats and yawls plied the coast, ferrying freight around the rim of the land rather than through it. Never far from the safety of land, they darted from port to port with the assurance of safe harbours at frequent intervals to reduce the threat from treacherous seas. Today, however, only the yachtsman holds this perspective on the land; it is a medieval cartographer’s view of the world: good on outlines, vague concerning the interior . . .

Coastline: West of West, Brian Lalor

The eye of the artist searches out ways to tell a story or unfold a scene in graphic simplicity. This is St Brendan Crookhaven: a simple church that is dear to the hearts of mariners, and has long been so.

Stone Circle and Child Sacrifice is a thought-provoking piece. These ancient sites date back thousands of years: there are many here, beyond the West. We wonder at them, and can only guess at the significance they had to their constructors.

. . . The Landscape of the mind, which co-exists, interlocks and overlaps with the geographer’s vision, is an intangible, ephemeral thing. You may encounter it unexpectedly on a moonlit night or on some deserted headland, or perhaps in the dim light of a public bar. In this part of the world, soaked in memories and half-memories of the past, much is implied rather than stated. Like the collective unconscious, the landscape, too, is composed of a multitude of intertwining details. This collection of etchings of West Cork is concerned with those details: with small corners of towns and villages, with oddly-shaped fields and erratic skylines. Each etching is a vignette of landscape, architecture or environment. The pictures are organized around a number of themes yet the material as a whole has such an overall unity that what illustrates one section also has relevance for another. The point which they make is a collective one . . .

WELL MET BY MOONLIGHT: WEST OF WEST, BRIAN LALOR

Brian’s book is as much about the human side of West Cork as it is about the natural or supernatural. He illustrates towns – Kinsale, above – and the landscape. For me, this is a very significant little volume: the travels described within it echo my own journeying through this most special of places. Thank you, Brian, for so vividly enhancing my appreciation of West Cork.

Kilcoe

The Down Survey – Closer to Home

Last week we gave a brief introduction to the wealth of historical material that we can find in the website devoted to the 17th century Down Survey – here’s a link to that site, and another (here) to our previous article. The subject – and some of the deeper detail we can discover in the website – is well worth a further look.

The Down Survey (the above view of some of the islands out in Roaringwater Bay is extracted from it) was carried out between 1656 and 1658, and thus gives us an excellent picture of how terrain we are so personally familiar with was perceived pictorially in the mid 17th century. We don’t know who the surveyors were, except that they were under the command of Sir William Petty, ‘surgeon- general of the English army’. Ireland became one of the most-mapped countries in the world at that time, following the Cromwellian and Williamite land redistributions. The beneficiaries were the new landlords of the Ascendancy, who wanted to know exactly what they had acquired, and the initial emphasis was on boundaries and basic land-measurement.

We wanted to know what our little bit of West Cork looked like on those earliest maps. Our view is down toward Rossbrin Cove, below where we live, and our house is a mere blip on the contemporary aerial view at the top of the page. In the first example from the Down Survey mapping – under that view – the cove of ‘Rofsbrinine Harbour’ is marked, and the castle, whose remains still guard the harbour entrance to this day (above), is clearly shown.

This view looks across the channel from the site of Rossbrin Castle. Immediately in the foreground is Horse Island, while beyond is the distinctive profile of Cape Clear. Let’s look at the Down Survey entry for Cape Clear – with. for comparison – a modern map of that island below it.

That map, above, is taken from a nautical chart. It’s understandable that a 17th century map wouldn’t have the level of accuracy we would expect from a modern survey, but take a look, now, at this contemporary aerial view of Cape Clear Island:

It’s remarkable, I think, how strikingly the early map resembles the profile – if not the fine detail – of the modern chart – and also the shape of the island as shown on the aerial view. For example, the ‘Bill of Cape Clear’ shows up very clearly on the chart – the beak-like protrusion on the far western end of the land-mass – a feature which is represented as very similar on the 17th century version, and of course on the modern prospect. Here’s a view of Dún an Óir – Cape Clear’s castle – today:

Just to add to the experience, the above satellite view gives a more ‘flattened’ impression of what is really going on locally: compare this to the expanded view of our coastline from the Down Survey – note that ‘Cape Cleare’ is included on this extract:

As a further example, to finish off this brief overview (which will be continued in future posts) let’s have a look at the Down Survey entry for the Baltimore area – a little further along our coast, travelling east:

This is in fact the Down Survey entry for the Parishes of ‘Tullogh & Baltimore’. The first thing to note is that the north point is facing downwards! If you look at many of the survey pages the orientation varies considerably, and is probably more to do with what conveniently fits on a sheet than any attempt to be consistent. So that we can make an easier comparison with today’s terrain, I have also switched the orientation of this aerial view:

In my opinion it’s remarkable that the Down Survey maps do bear a very reasonable resemblance to the reality. Obviously, a great deal of detail is missing, but the purpose of the maps – to delineate land ownership – is satisfactorily served (albeit that this is to the benefit of the incoming English lords and landowners).

Here’s a view of the site of the medieval fish palace at Baltimore. The Down Survey comprises more than maps: there is other related material, including terriers. These particular terriers don’t have legs or tails – it’s a term for a written, descriptive survey of an estate: some english examples are recorded from the ninth century. Here’s the terrier for Baltimore within the Down Survey:

The terrier in this case is mainly a description of parcels of land, their owners, and the values. Here’s a closer example, from a terrier for ‘Skull’:

There’s a lot more of West Cork within the Down Survey archives. A future post will turn in greater detail to some of this material.

The Centre of Ireland

We have written previously about the sacred site reputed to be the “Centre of Ireland”. In other words the midpoint of the country: that’s the whole of the island of course – the division into Ireland and Northern Ireland is an artificial designation barely a century old. It’s a many-centuries-old tradition that the Hill of Uisneach, in Co Westmeath, is regarded as the geographical centre of this whole island and has been regarded as a major ritual site for the assembly of the ruling families and debate on the lore of the land.

We visited the hill in October 2016, while preparations were being made to celebrate autumn festivities there. In the picture above, you can see the Godess Eriu being decorated. It was she who gave Ireland its name – Eire. Before you read on about Uisneach’s other claim to fame, have a look at my post from six years ago, here. My friend Michael read this post and sent me a fascinating article on the subject of ‘the geographical centre of Ireland‘. Please read it – and, if you understand the technicalities of the process, please let me know!

. . . The calculation to find the exact geographic centre of Ireland was carried out by OSi using the most up-to-date, openly available geospatial data and widely used geographic information system (GIS) technology.  Specifically, OSi used Esri’s Mean Centre Point tool in ArcMap and features data for the Republic of Ireland from its own open-source data set, OSi Admin Areas Ungeneralised, as well as an openly available OSNI Largescale County Boundaries data set from Land & Property Services of Northern Ireland (LPS). The Northern Ireland features were reprojected from an Irish National Grid coordinate system to line up with the OSi features for the republic of Ireland (ITM), enabling the datasets to be processed together.  In just a few short minutes, the coordinates 633015.166477, 744493.046768 were revealed, providing one scientific answer to an age-old question . . .

Ordnance Survey of Ireland Data February 25th 2022

To get to the salient point, the Ordnance Survey of Ireland is rejecting tradition in favour of science! They claim the true centre of this island is a little distance from Uisneach:

. . . According to a new calculation from Ordnance Survey Ireland (OSi), the centre of the island of Ireland actually lies at the Irish Transverse Mercator (ITM) coordinates 633015.166477, 744493.046768, near the community of Castletown Geoghegan, between the towns of Athlone and Mullingar.  This scientifically-calculated centre point is situated, as the crow flies, approximately 31km east of the Hill of Berries, 35km east-south-east of the townland of Carnagh East and a mere 5km south-east of the Hill of Uisneach, Loughnavalley, Co. Westmeath . . .

Ordnance Survey of Ireland Data February 25th 2022

Whilst acknowledging that ” . . . Over time, new data, advancing technologies and new techniques could generate different versions of the truth . . .” the Ordnance Survey throws out a challenge to tradition. I’m throwing that challenge right back!

If I was going to set out to find the geographical centre of Ireland, I would take a large map and pin it up on the wall:

Then I would throw a dart at it – aiming for the middle! I’d get somewhere near, for sure. In fact, there’s a little red dot on this map – just under Mullingar: this is where Uisneach is located. But, if you want something more technical, might you work out a centre based on distances from the extremities? Here are some possibilities:

However, this map does rather show up the inadequacies of this methodology! So, what does Uisneach have to recommend it – and justify the long-held tradition? Well, it does have a large rock, known as ‘The Cat’s Stone’ . . .

This enormous erratic is also known as ‘The Navel’, which is quite a clue as far as I’m concerned. so, how might our ancestors have come to this conclusion – by maps?

This is known as Ptolemy’s Map of Ireland. It is often said to date from 140AD, but is in fact a Greek copy dating from around 1400AD. Ptolemy did produce maps: he didn’t visit the distant locations, but based his projections on information recorded by sailors who explored the corners of the world.

This map of the British Isles has a similar heritage. Again, you could throw a dart at the centre of Ireland on either of these maps and get pretty close to Uisneach!

This map is somewhat later (1325) and is far more accurate. It’s interesting to me that it shows the fabled islands of Brasil and Demar, mentioned in accounts of St Brendan’s sixth century voyage. We can also wonder at the fact that the only place marked on the south western part of Ireland here is Dorsie (Dursey). But none of these early maps – while fascinating – can support the observation that anyone living in those days could calculate the ‘centre’ of Ireland by looking on a map!

Examining the area around Uisneach on the earliest Ordnance Survey maps (above) gives an idea of the earthworks which were considered important to record in the area. I’m wondering what the ‘cave’ is that’s indicated lower right in the top extract?

Interestingly, in the UK, the village of Meriden is traditionally said to mark the centre of England. But the UK Ordnance Survey has also challenged this.

Preparing for the autumn ceremony at Uisneach Hill, above. We can ponder and argue on the claims to be able to locate the centre of an island (and it’s certainly fascinating to do so) but – while thanking my friend Michael for stimulating this thought process – perhaps the UK Ordnance Survey should be given the final word here:

. . . The truth is, that there can be no absolute centre for a three dimensional land mass sitting on the surface of a sphere and surrounded by the ebb and flow of sea water. If you consider the movement of tides on a beach, the shape of the object will change on a constant basis. Another contributing factor is how far you consider the coast to stretch up river estuaries. Different projections, scales and methods of calculation will all produce different results . . .

Ordnance Survey UK 2014

Mizen Megaliths 2: Arderrawinny Portal Tomb

The Neolithic started in Ireland in or around 4,000BC. This was the age that ushered in agriculture – people growing their own crops and domesticating and herding animals. All of our evidence for Neolithic activity on the Mizen comes not from settlements, however, but from megalithic tombs. Arderrawinny (and its cousin Ahaglaslin) is likely the oldest of these.

In Iverni: A Prehistory of Cork, William O’Brien says: While numerous examples of Neolithic houses and tombs have been found in Ireland, there is only sparse evidence for settlement in Cork during this period. The adoption of the farming way of life may have been delayed in this region, particularly in coastal areas of the county where marine resources may have remained a more attractive subsistence option.

In Mizen Megaliths 1: The ‘Unclassified’ Gubbeen Tomb and Fionn’s Ridge, I wrote about the evidence for Passage Graves, and argued that they may be more numerous than hitherto recognised. In this post, I look at Portal Tombs – the iconic structures that used to be called dolmens. The word dolmen is still in use as a popular name for some of these tombs, but archaeologists prefer Portal Tomb as a more accurate descriptor.

What is a Portal Tomb? Let’s take the National Monuments definition as a starting point: A single, short chamber formed by two tall portal-stones, two sidestones and a backstone. Sometimes a stone between the portals closes the entry. The chamber is covered by a roofstone, often of enormous size, which slopes down from the front towards the rear. Cremation was the preferred burial rite and these date to the Neolithic from 3800 to 3200 BC.

Portal tombs have a more northerly distribution in Ireland – this map shows how isolated our two examples are in the south west.

There are many Portal Tombs in Ireland and we have visited some of them. Robert wrote about the largest, Brownshill (above), in his post Off the M8 – The Great Dolmen of Kernanstown. Speculating on how it was built leaves you awestruck at the ingenuity of our ancestors.

Perhaps the most iconic, though, is Poulnabrone in Co Clare (above and below). Situated in the stark landscape of the Burren, it is supremely photogenic and has become almost synonymous with an ancient Irish landscape. Poulnabrone is also one of the few Portal Tombs to be excavated, by Anne Lynch – a necessary step in conserving the monument, which receives over a hundred thousand visitors every year.

We visited another Portal Tomb earlier this year – take a look at Robert’s post on The Giant’s Ring in Co Antrim. An incredible site consisting of an enormous circular earthwork, with a Portal Tomb in its interior (below).

One last image of a Portal Tomb – this one in Co Louth at Proleek (below). It’s a fun one to visit, on a Golf course and with a nearby Bronze Age Wedge Tomb to ponder over as well. 

Now let’s get back to our own Mizen Portal Tomb, Arderrawinny. We visited it on a sunny day last year in the company of our favourite fellow archaeology enthusiast, David Myler (of the excellent Walking with Stones Facebook Page) who brought along his two able assistants, Owen and Aoife. We were guided across the fields by old friends Peter and Cathleen Mabey, who had secured permission from the landowner. The walk included a section of the Fastnet Trails, drooping with displays of Meadowsweet and Loosestrife. 

You will see immediately that Arderrawinny has all the attributes that make it instantly recognisable as a Portal Tomb – two tall upright stones mark the entrance (portal) and support the large front roofstone.

The portals are leaning quite perilously, but the whole edifice seems to be pretty well exactly as it was described by de Valera and O’Nualláín in their Survey of the Megalithic Tombs of Ireland conducted in the 70s, almost 50 years ago. (Vol IV, available here.)

Their observations was that The structure is incorporated into a low oval-shaped mound measuring 10.00m by 9.00m and rising to a maximum height of .7m. This ‘mound’ is faintly visible but the surrounding area has been heavily ‘improved’ over the years so that very little impression can be gained of what the context may have been in antiquity. 

Were Portal Tombs always covered by a cairn or mound? In his book The Prehistoric Archaeology of Ireland, John Waddell says they were, but many have been denuded. He adds, as far as can be judged from rather limited evidence, cairns are of elongated, perhaps subrectangular form, but short oval and round cairns also exist. The excavation at Poulnabrone revealed evidence of a low mound or cairn. Rather than covering the entire structure, this seemed to have functioned to provide lateral support to the orthostats, which sat directly on the bare limestone bedrock, kept in place by the sheer weight of the capstone. Interestingly, the reconstruction drawing for Proleek (below) illustrates an elongated mound/cairn covering the tomb, although no traces of such a mound have been found at that site.

Note that in this drawing, the capstone is still visible, above the cairn material. Others have postulated that Portal Tomb cairns were low, only reaching part way up the supporting orthostats. One scholar has also used lichen growth (lichens can be as 4,000 years old) to support this theory.

De Valera and O’Nualláín describe two overlapping roofstones at Arderrawinny, with the rear stones resting on a small sill which forms the backstone of the chamber. This rear capstone is now almost resting on the ground (above), although it is hard to see inside as stones, possibly from field clearance, have been tossed into the chamber. On our visit, only our junior archaeologists were able to worm their way inside.

What was the burial rite? Here’s what the Poulnabrone excavation revealed: 

The commingled unburnt remains of at least 35 individuals were recovered from the chamber, ranging in date from c. 3800 cal BC to c. 3200 cal BC. The earliest burials are likely to date to the time of the construction of the tomb which would place it at the very beginning of the Irish Neolithic. Successive interment of complete bodies appears to have been the burial rite practised, with subsequent displacement, removal and manipulation of the bones accounting for the disarticulation and jumbled state of the remains. Both male and female and all age groups are represented in the assemblage. A foetus of middle Bronze Age date was recovered from the portico. Analysis of the remains suggested a wholly terrestrial diet with limited consumption of animal protein and, with one exception, all individuals appear to have originated in the carboniferous limestone region of the Burren. A number of animal bones (including cattle, sheep, goat and pig) were intermingled with the human remains.

However, in other Portal Tombs the preference appears to have been for cremation. Waddell cites several examples of burnt bone from excavated Portal Tombs.

Arderrawinny, then, is probably the oldest archaeological monument on the Mizen. In West Cork there is one other Portal Tomb – at Ahaglaslin. If you have driven east along the N71 from Rosscarbery, you will have seen it – a distinct capstone on the side of the hill. 

This one was visited by Borlase as  far back as the 1890 and he described it in his book The Dolmens of Ireland. His illustration, and that of his another antiquarian, Windele, is given below.

Jack Roberts also illustrated it (below) for his marvellous series of books on West Cork antiquities. Jack always manages to capture the essence of these ancient monuments, clearing away distracting foliage, while still conveying the landscape.

Finally, although I haven’t visited it myself, the redoubtable David Myler has, and allowed me to use his photographs. As you can see, Ahaglaslin is similar to Arderrawinny, with the characteristics of the Portal Tomb clearly to be seen.

Curious features of both Arderawinny and Ahaglaslin are their location and orientation. While Arderawinny has a distant view of the sea to the south west, it is actually oriented – that is, the portals face towards – the cliff directly in front of it. To the north, in fact, with no possibility of any sunset/sunrise (unlike wedge tombs, in which entrances invariably point towards the setting sun). Similarly, although Ahaglaslin is  located only a kilometre to the sea, which is directly south, it is oriented up the slope of the hill, to the east. with no commanding view in that direction. 

We know that Neolithic people were masters of building to take advantage of sunrises and sunsets, and we assume this to be an important part of whatever belief-set they had. Given that, the non-orientation of these two West Cork Portal Tombs is a bit of a head-scratcher.

I will leave the last word on Portal Tombs to Waddell, since he sums it up beautifully. Although the portal tomb is invariably a structure of simple plan, he says, some of these monuments are remarkable examples of megalithic engineering.