Round Ring

It’s an area to the south-east of Clonakilty town in West Cork – Ring. A mix of ‘big sky’ landscapes, with a fresh view of the sea at every turn; quays, harbours, old industry, archaeology – some fabulous hidden coves and small beaches. With our new-found freedom of being able to travel anywhere in our own county (Cork is the largest of Ireland’s counties: 180km from one end to the other), we set out to more closely explore a region which we have somehow always passed by hitherto.

For us, the journey to Ring involves turning off the main N71 in the centre of Clonakilty (above) and following the road that runs beside the water (or sandbanks and mud flats, depending on the state of the tide). As you can see from the aerial view, it’s a pastoral landscape, a big centre for dairy farming; no mountain surprises, but undulating enough to ensure twists and turns through old lanes and new boreens.

Just a few minutes after leaving Clonakilty we come into North Ring, and the first highlight, which is Curraghgrane More Pier. The view over the estuary from here is far-reaching and dramatic: on the western side is Inchydoney Island (not, in fact, an island), while south – and further along our route – is Ring Harbour. The little settlement of North Ring, just inland here, is worth a pause (and features on the header picture).

The way into North Ring passes by an ancient building, which has been conserved as a focal point by the community. It is a stone-built grain store and drying kiln, probably first in use 500 years ago.

The little settlement has been known for its hostelries, and would have been an excellent lunch stop in pre-Covid times: hopefully their fortunes will revive. They certainly provide a most colourful streetscape, and add to an exceptionally attractive hamlet. Even an abandoned house has been given a creative treatment.

We can’t pass on from this vibrant enclave without mentioning the Arundel family who left their mark on the locality and set up the milling industry which brought wealth to the area:

. . . Near the road from Clonakilty to Ring, stands the scanty remnant of a castle (at one time mistaken for a ruined parish church). It was the stronghold of the Anglo-Norman Arundel, called Lord Arundel of the Strand . . . Arundel was anciently a great lord and had an estate of £3,500 a year in the reign of Queen Elizabeth . . . Sir Henry Sidney, in his well-known account of a famous Vice-regal visit to Cork in 1575 notes “There came here the ruined reliques of the ancient English inhabitants of the province” – The Arundels, Rochforts, Barretts, Flemings, Lombards, Terries, etc . . . Henry Smith in his “Report of the State of Munster,” after the breaking out of the Desmond Rising in 1589 remarks inter alia, “Arundel Castle was forsaken by Walter Grant-William Lyon” and the Arundels, who remained loyal to the old faith, were very prominent in the Rising of 1641-1653 . . .

Tim Cowhig, Duchas Folklore Collection, Ballintemple 1938

Before returning to the coast road we head inland to find a historic site with an ancient church ruin, a significant graveyard, and several raths or ring forts which take us back in time well over a millennium. The 6″ Historic OS map extract, above, shows the remarkable distribution of notable sites within the arable landscape just to the north-east of the Arundel settlement. The aerial view, below, focusses on the rectangle marked on the 6″ map, and indicates our way to the Ballintemple site, following a time-worn trackway.

These pictures show the path which leads to the burial ground – which is still in use today. A notable occupant of the graveyard is Tadhg Ó Donnabhain Asna, a hero of the 1798 uprising. A local man, Tadhg led a force of United Irishmen against a British column at The Battle of the Big Cross which occurred on the morning of 19th June 1798, about 4 miles east of Clonakilty. It was the only battle fought in the rebellion in the whole of Munster and over 100 Irish men lost their lives, including Tadhg himself. There is a memorial to him in the centre of Clonakilty town, and the plaque, above, at the entrance to Ballintemple graveyard, marked the bicentenary of the encounter.

The old church within this graveyard is still clear to see, although ruined: note the rectangular ‘font’ or basin, and the holy water stoup. This has been a place of worship since 1169. It is said that a disastrous fire took hold of the church in the mid 17th century, and it has not been used since. In the furthest corner of the burial ground is a poignant little memorial recalling more recent times.

We have mentioned Industrial Schools before in Roaringwater Journal. They are an unhappy chapter of Ireland’s history. I have not delved deeply into the history of St Aloysius Industrial School for Roman Catholic Girls, Clonakilty, and would not like to think of what stories the tucked-away grave at Ballintemple represents. This online article tells us it was opened in 1869 and closed in 1965.

Seen to the east of the burial ground is this ring fort – beyond the dairy herd. The forts in this area are of significant size, and many are the subject of legend. It was once a common belief that underground passages connected many neighbouring forts, and this could be a folk memory relating to ‘souterrains’, often found at these sites.

. . . In olden times some men went to a fort in search of a crock of gold. This fort was in Castle View and about three miles from the town of Clonakilty. To get to this fort you should go to the castle which was about a quarter of a mile from the fort and then go underground and through a long shore. The men took with them a sheave of wheaten straw, a march cock and a blessed candle. Before they started their journey through the shore they lit the candle and all went very well until they nearly came to the end. When they were coming to the end of the shore they saw the crock of gold and with that there came a gust of wind and a terrible noise. There came horses jumping and dogs barking and the men got such a fright that they took their eye off the crock of gold and when they looked again they found to their surprise that the crock of gold was after disappearing. Several other men tried it but this very same thing used to happen at the end of the shore and so the crock of gold remained where it was . . .

James J Lombard, Duchas Folklore Collection, Garryndruig, Co Cork 1936

Compare today’s aerial view of ring forts close to Ballintemple with the 6″ Cassini OS map below it. The map indicates a souterrain in the rampart of the upper fort. Another account from Duchas:

. . . There are four forts, or as they known locally “Liosanna”, in this district. There is one in Kilkerran in the lands of Michael Flavin. It is circular in shape and so are all the rest. The other ones are on the lands of Jermiah O Donovan Carrigroe, John Barry, Newmill and in Castle-Freke Demesne in the Big Island field. These forts are supposed to be Danish fortresses and are built up in very high ground so that you could see one from the other. The fort in Kilkerran is the biggest to be seen around and “lepreacáns” are supposed to live in it. One night a man by the name of Factna O Hea caught a lepreacán near this fort and he asked the lepreacán to grant him a wish. The lepreacán then asked him what wish he wanted and the request the man asked was that he would win every game he played from that day on. The lepreacán granted him his request and he won every game he played from that day on. On the eastern side of this fort is a big stone which is supposed to be an entrance to some underground place. There is a great bank of earth all around the fort. Forts are never ploughed up as it is believed to be unlucky to interfere with them . . .

James Spillane, Duchas Folklore Collection, Kilkerran, Clonakilty 1938

Well, our little tour around Ring seems only just to have begun, but I am going to take a break now and resume this topic in the near future. I will leave you with a few more pictures, including a taster of what is still in store . . .

Wrought Iron Grave Markers

Every graveyard we go into has fine example of the blacksmith’s craft – wrought iron grave markers. Ranging from simple to decorative, they are a part of our heritage that is often overlooked and forgotten.

Wrought iron was once a common material in Ireland – there were huge production facilities in Clare, for example. What is it? It’s iron made by smelting iron ore and hammering out the impurities, with little or no carbon content. How it’s produced hasn’t changed much since the start of the Iron Age 2500 years ago. But it’s no longer available as a material, having been completely replaced by steel (carbon content up to 2%) and by cast iron (carbon content of up to 4.5%). This means we are in danger of losing all the knowledge about how to work with it, since it can only be worked using traditional forge techniques. 

Graves in burial grounds in the past in West Cork were mostly marked with crude stone slabs as headstones (and sometimes footstones) and the vast majority were un-inscribed. They were carefully chosen, though, and the memory of who was buried there, and the shape and placement of the markers, would pass down through families. 

However, every local blacksmith was also adept at making grave markers, most often in the shape of a simple cross, but sometime with more elaborate detailing. As with the hand-forged gates (see A Gate Post and Another Gate Post) grave markers were forge-welded or riveted, and details were added by hammering out shapes, or splitting the iron and curling it around the anvil.

Some examples follow. All are from my local area but wherever you are in Ireland you will find similar grave markers in old burial grounds (although probably not in newer cemeteries) – why not have a wander down to your own local old graveyards and see what you can spot?

Many of the wrought iron grave markers have lost any identification over the years, but there are exceptions, such as the plaque to Timothy Keating who died in 1896 and is buried in Abbeystrewry graveyard in Skibbereen, or the simple letter PH and the date of 1907, from the graveyard in Drimoleague.

This elegant grave surround is completely hand-forged and is in the Abbeystrewry graveyard. It is likely to be the work of one the McCarthys, a family of blacksmiths whose work is still remembered and celebrated in Skibbereen – see this post from the Skibbereen Heritage Centre.

In the same graveyard, Eugene, a member of that McCarthy family, made this impressive famine memorial (above, upper) in his forge on Ilen Street. His hallmark can be seen elsewhere in the graveyard – notice the similarities between the cross on top of the famine memorial and the gravemarker (above, lower). The cross keys are associated with St Peter – perhaps this marks the grave of a Peter.

Many simple crosses such as those above can be found in the graveyard surrounding the ruined church of St Mary in Schull. The second image in this post is a more elaborate example from St Mary’s.

This graceful wrought iron grave surround is in the Castlehaven graveyard. The cast iron headstone obscures the original hand-forged IHS, just visible behind it.

Almost completely obscured by vegetation is this lovely example of a wrought iron grave marker in Creagh graveyard on the banks of the Ilen. Below are more simple crosses in Abbeystrewery.

Wrought iron is amazingly durable and will last for hundreds of years with little or no maintenance. It can deteriorate under certain conditions, though, and when it does it can only be properly repaired using traditional forging methods. There are still blacksmiths around who can use these traditional methods – in West Cork we are lucky to have Pat O’Driscoll* and JJ Bowen – but the knowledge and the equipment is getting scarcer. 

This lovely memorial to the O’Brien family can be see in the Dunbeacon graveyard. The image below is of a wrought iron memorial in Schull. The circle was made from band-iron, originally used for banding wheels.

I’ve tried to limit this essay to wrought iron. I’m still learning – please point out any errors you see, in the comment section. I hope to do more about cast iron in the future. Wrought and cast iron were often used in combination and we have lots of examples of this in our West Cork graveyards.

*My thanks to Pat O’Driscoll for information and for his willingness to patiently answer my questions.

I am also grateful to Architectural Conservation Professionals – see their site for lots of information on the conservation of historic ironwork.

Sweet Ilen – Part 4

. . . A trip down the river Ilen, as it pursues its winding and picturesque course from Mount Owen (the hill of streams) to the harbour of Baltimore, a distance of about fifteen miles, is the most pleasant and interesting excursion during the summer months. Starting from Skibbereen, we can either steam or row, according to our pleasure, or rather as the tide suits, to Baltimore and Sherkin, a distance of eight or nine miles, and then out the harbour’s mouth, and cruise about the islands of Carbery . . .

Sketches in Carbery – Daniel Donovan 1876

The idea of boarding a ‘steamer’ in Skibbereen and voyaging down the Ilen River to its mouth is an attractive one – but not an option for us as we continue our exploration of this waterway in 2021, a year which has started with a frightening escalation of the Covid pandemic which is forcing us to stay ever closer to home. Fortunately, we are not too far from the broad stretches of the tidal Ilen as it nears its destination and meanders through peaceful, sylvan meadows passing by deserted quays, once active with commerce and vitality, now at rest apart from the occasional fisherman or boat mender.

We are fortunate to have a large archive of our photographs taken in West Cork over many years. I am revisiting (below) my pictures of the river at Creagh taken in 2014. This is on the south side of the Ilen, and certainly out of bounds for us at the moment because of distance. Situated at Creagh is a secluded burial ground, the resting place of Canon James Goodman who was Rector of Abbeystrewry Church, Skibbereen, during the nineteenth century. The three photographs below were taken there. My principal interest in him is the name he made as a collector of traditional music and a player of the uilleann pipes – that most singular of Irish instruments that we have also celebrated elsewhere. When the Canon died in 1896 he asked that his pipes were buried with him at Creagh – and they were. But, not long afterwards, they were dug up again. If you want to know what happened to the pipes and where they are now, read my earlier post about the Canon here.

We can travel to Skibbereen for essential supplies, and the road to that town runs close to the river. Just off the road, down a winding boreen, is another burial ground, Aghadown, beautifully situated beside the water – Finola has written about it here. Here are some views we took a few days ago during a prolonged spell of clear winter sunshine.

. . . The view down the river from near Creagh, on a fine day, is attractive. The Ilen, winding in a serpentine course towards Baltimore harbour, shining and sparkling in the sunlight like a silver thread, and dotted over with a multitude of rocky islets, whose recesses form a safe retreat and favourite feeding ground for flocks of sea fowl during the winter months. Looking backwards, we are chiefly struck by the almost complete absence of wood, and the patchwork of irregular fields, enclosed by earthen banks, and the prominences so much admired by tourists and strangers, most probably on account of the novelty and singularity of the scene . . .

SKETCHES IN CARBERY – DANIEL DONOVAN 1876

The Ilen is a ‘Blueway’ – designated as a recreational activity trail for use by activity enthusiasts – anyone, in fact, who wants to get out and experience some of the best scenery in Ireland on the water itself or, like us, on foot. This would be in normal times, of course. Undoubtedly there are better days ahead. We look forward to an untrammelled future so that we can continue this exploration of a waterway to its source in the mountains ‘. . . where rain clouds perpetually hover about . . .’ and to its outfall towards Carbery’s ‘Hundred islands’. When we can make those expeditions, we will bring you there through the pages of our Journal.

Here’s a bonus today: you can hear an aspect of our recent walk! Donovan mentioned in 1876 that the river was a favourite feeding ground for flocks of sea fowl during the winter months. We can vouch for that, having heard these sounds close to the Glebe burial ground. The loudest voices are – I think – from redshanks:

Previous episodes in this series: Sweet Ilen : Sweet Ilen – Part 2 : Sweet Ilen – Part 3

Mizen Magic 19: Church of the Angels

It’s called Cill Cheangail but that doesn’t make a lot of sense as cill is a small church and ceangail means to tie or fasten. But hereabouts people call it Killhangle (sometimes spelled Kilheangul) and now it’s clear – aingeal (pronounced angle) is the Irish word for angels. This is the Church of the Angels, reckoned to be Late Medieval (maybe fifteenth century) in date. For the exact location of this church, see my post Mizen Magic 17: The Delights of Dunmanus.

I am lucky to have Brian Lalor’s Sketchbook – quick records he made of his visits to  sites during field trips with the Mizen Historical and Archaeological Society in the 1980s. This kind of record is invaluable to show changes over time – the bullaun stone that Brian records in his sketch above can no longer be found.

Parish Churches, that is, churches built specifically to serve the people of the neighbourhood, rather than churches in monasteries to serve monks or friars, are a medieval phenomenon in Ireland. Along with the building of these churches came the practice of burial inside the church (for high-status individuals) or outside it (for the rest of us). Many of these burial grounds are in use up to the present day.

The church itself is in a ruinous state but enough remains to see some of typical attributes of a small parish church of this time, such as the one in the illustration (not by Brian) above. It’s a simple rectangular structure, oriented E-W, with the door in the south wall. Several small aumbreys (cupboards) are built into the south and east wall. There’s a window in the east wall which is missing almost all its dressed stone surround but we can surmise that it may have been ogee-headed.

The other window is in the south wall and this is an interesting one – there’s a flat-headed lintel visible from outside and inside the embrasure is splayed unevenly to admit more morning light, especially in winter.

Most of the interior is filling up now with debris and a large holly tree and only one headstone is examinable. The style of this headstone is echoed in others outside, leading to the conclusion that it was the shape and decoration style favoured by a certain local stone carver. It’s quite a striking and elegant form.

Most of the people buried in Killhangle could not afford a carved headstone. Instead, graves were marked with simple field stones. We are told that in times past old people could pick out the grave of a long-gone relative from a memory still held in the family of the size and shape of such field stones.

Inscribed headstones, for those who could afford them, did not become commonplace until the 18th century. Headstones dating to the 1700s are actually fairly unusual in West Cork so when Brian deciphered one in Killhangle, he recorded it (not an easy task – see how much lichen covers the surface now) and wrote up his findings for the Mizen Journal.

Alas, an eagle-eyed editor thought he had made a mistake in his drawing, by including the word ‘who’ twice and took it upon him/herself to eliminate the first ‘who’. This led to a second article titled ‘James Mullins Who Who” in which Brian restored the missing who and explained that Seventeenth and early eighteenth-century English usage on tombstone inscriptions favoured elaborate and often tortuous abbreviations and word arrangements in order to balance the lines of the inscription.

Poor little James was only 10 when he died on the eve of St Patrick’s Day in 1709. He must have been beloved indeed – a headstone all to himself when most people had none.

Another practise seen in Irish gravestones is the carved footstone. Where the footstone is engraved, it is usually with the initial of the person named on the headstone. In the example above and below, James Noonan first buried his beloved wife Mary. When he was laid to rest, his footstone was added, with his initials, J. N.  You can see the footstone at the bottom of my photograph, and Brian has illustrated it below along with another one with the initials J M.

Killhangle is beautifully located, near the coast and with a rippling brook running through it. It is well looked after and several of the graves have flowers and evidence of recent visits.

It is obvious that local people respect and care for the last resting place of their family members. For them, this church truly is the Church of the Angels.

Thank you, Brian Lalor, for allowing me to use your sketches and pick your brains.

Aughadown – Church on the Ilen

Surely one of the most picturesquely situated in Ireland, the early nineteenth century church at Aughadown on the Ilen is surrounded by a graveyard that tells the story of Irish and local history. Locals, by the way, use the pronunciation Affadown, and for the river, it’s Eye-len.

The church we see now dates from 1814, but there was an even older church on this spot once, of which no trace now remains. The 1814 church was no longer fit for purpose by the 1870s and was replaced in 1872 by the much larger St Matthias church, exactly a mile (1.6km) to the north along what is now the N71.

As the church fell into ruin it gradually accrued the ivy and the general air of dereliction that are the indispensable attributes of the romantic, greatly augmented by its charming siting on the banks of the Ilen river. Oxeye Daisies cover the graves in spring and summer, while Thrift flourishes along the banks. The outlines of the slate-hanging that would have kept the interior dry are still obvious on the outside walls – see the photo above.

Inside, the church looks remarkably small by today’s standards and it’s easy to see how a congregation would have outgrown it over time. There are some unusual design features, such as round-headed arches and windows rather than the more common gothic ogees.

But it’s the graveyard that is the most fascinating part of this site. As the community graveyard of that place, it was used by all – Church of Ireland, Catholic and Dissenter. Plots seem to follow family lines, rather than, as in many West Cork graveyards, separate areas for Catholic and Protestant. As a result, there are some curious juxtapositions.

The graveyard has been surveyed and recorded by a volunteer group coordinated by the Skibbereen Heritage Centre. For a burial place as old and overgrown as this one, with faded or non-existent inscriptions, this was a herculean undertaking! But the good folks at the Skibb Heritage Centre seem to thrive on challenges like this. As they say themselves – they ‘get’ graveyards.

From their own website, here is an account of one of those ‘curious juxtapositions’:

Among those buried at Aughadown is Patrick McCarthy of the 5th Cork Brigade of the IRA. He took part in the Kilmichael Ambush in 1920 and was shot during the Siege of Skibbereen in 1922, aged 22. It was said that a lit cigarette revealed his location to his assassin. A plaque now marks the spot where he was killed on the Windmill Rock in Skibbereen.

Very close to the Patrick McCarthy grave is the tomb is of the Bechers of Aughadown, once major landlords in the area. Buried in this plot is Colonel Thomas Becher who died in 1708 and served as aide-de-camp to King William of Orange at the Battle of the Boyne in 1690

The Bechers were responsible for the fortified manor house at Aughadown that I reported on in Moving Up in Tudor Times. Descended from Fane Becher, one of the founders of Bandon, they intermarried with all the local families and the name Becher is familiar in other graveyards too – Castletownshend for example.

A detail from a memorial window in St Peter’s Church in Bandon

Here’s a lovely old headstone with a depiction of an angel playing a trumpet, although I can’t make out the inscription

Lionel Fleming is buried here – a man infamous for his conduct during the Famine, but so too is Dr Stephen Sweetnam, a dispensary doctor responsible for saving many lives during that terrible time.

The Tonson tomb in the foreground

The oldest recorded burial (although probably not the earliest) is that of Henry Tonson, about whom I wrote in my post New Court Bridge – a Hidden Wonder. It dates from 1703 and appears to be on slate, with an incised inscription that reads Here Lyes the body of Captn Henry Tonson who departed this life November the twenty fifth and in the thirtyeth seventh year of his age 1703.

A wander around this old church on a sunny day is rewarding. You’ll find yourself marvelling at the wildflower meadow while simultaneously seeking out old headstones and wondering about the lives of those buried here. Perhaps you might even arrive by boat, or kayak, as just outside the gate is a stopping place for the newly developed Ilen River Blueway.

However you arrive, you will leave – and I guarantee this – in a better mood.

 

Seán Keating – Escaping the Storm

Storm Ciara was upon us as we headed over to the east coast – a mere few hops from Nead an Iolair. But it wasn’t all black clouds and thunder and lightning: winter storms here in Ireland feature high winds and spectacles such as this rainbow (above) which seemed to hang in the sky over County Wicklow for hours. When the rain comes, we often find refuge in a church – especially if it helps Finola’s quest for new stained glass windows. Sometimes they seem to reflect the weather patterns:

This panel, which could be seen as an indoor rainbow, is in an impressively large church in Ballyroan, Rathfarnham Parish, County Dublin: it was built in 1967 to seat a thousand. What caught my eyes was not the array of windows by Murphy Devitt (Finola has written extensively about this creative partnership), but two murals high on the walls of the crossing. I was delighted to find that these were painted by one of Ireland’s great artists working through the turbulent twentieth century – Seán Keating.

Seán Keating’s ‘Baptism of Christ’ mural in the Church of the Holy Spirit, Ballyroan

I am always surprised to find that Keating is under-appreciated: yes, he gets mentioned in books of art history, and is reasonably well represented in the state’s galleries. Yet you will also find terms such as ‘not great art’ applied to his work by critics and commentators. This is possibly because he is best known for his documentary work and, particularly, for his raw representations of the tempestuous years of Ireland’s struggle to gain independence. Here is ‘Men of the South’, dating from 1921 when there was a ceasefire in the Irish War of Independence while the Anglo-Irish Treaty was being negotiated and out of which the Irish Free State was born.

Top: Men of the South – Seán Keating’s documentary portrayal of the North Cork Brigade of the Irish Republican Army. Below the painting is one of the photographs taken in Keating’s Dublin studio in preparation for the work. Two versions of this painting were made by the artist: the one above is in the Crawford Gallery, Cork City, while the other (which depicts eight men) is now in Áras an Uachtaráin, the official residence of the President of Ireland.

After the War of Independence and the abhorrent Civil War which followed it, Keating’s work concentrated on documenting the founding and burgeoning of the new State. Scenes of conflict were replaced by works showing industrial development, such as Ireland’s largest ever civil engineering contract: harnessing the power potential of the State’s major waterway, the River Shannon. The construction of a dam and hydro-electric generating station at Ardnacrusha, County Clare, together with a country-wide electric distribution infrastructure, was a symbol of major importance to the nation’s fledgling government. Keating began recording the work in 1926, soon after inception. No-one had commissioned him – he saw the significance of making dramatic documentary work of this nature, but his vision was eventually recognised by the Electricity Supply Board (ESB) – which now owns the largest collection of Keating’s paintings in Ireland. Above is one of the artist’s working sketches of the dam under construction.

Seán Keating painting en plein air at Ardnacrusha, 1920s

Keating studied under William Orpen in Dublin. He was to become one of Orpen’s important pupils (and, latterly, his assistant) and his documentary painting style owes a debt to his teacher. One of his famous early paintings is Thinking Out Gobnet (below), a portrait of his good friend Harry Clarke, dating from 1917. Keating and Clarke frequently visited the Aran Islands together. The painting shows Clarke sitting on a grave slab within the ruins of Teampall Chaomháin (St Kevin’s church) on Inis Oírr, along with a holy water font at his feet, and a holy well to the bottom right of the image. The suggestion is that Clarke is finding inspiration for his series of eleven windows for the Honan Chapel, Cork, which include a fine representation of St Gobnet. The ‘healing’ symbolism of the holy water and well are deliberate references to Clarke’s TB, the illness which ended his life at the age of 41.

Seán Keating was always a committed Catholic, and we have seen many examples of his artwork in churches, including the murals at Ballyroan. Most striking, perhaps, are the Stations of the Cross which he painted for St John’s Church, Tralee – the church which features in Finola’s wonderful Irish Arts Review article (and RWJ blog post) about Ireland’s Newest Stained Glass Window.

Stations of the Cross by Seán Keating in St John’s Church, Tralee, County Kerry

Back to Ballyroan: while we were sheltering from the tempest and admiring the church architecture, and the murals, I was delighted to find out that Seán Keating had lived for much of his life just down the road, in Ballyboden, in a house which he had designed himself. He attended mass regularly at Ballyroan until his death in December 1977, aged 88.

Keating’s mural The Descent of the Holy Spirit in his own church of Ballyroan, Parish of Rathfarnham, installed in 1967

We discovered that Keating is buried in the nearby Cruagh Cemetery, so we had to head out into the storm again to find his grave. It is as unassuming as he apparently was in life: a visitor would not be aware that herein lies one of modern Ireland’s greats.

Cruagh Cemetery, Co Dublin (top) is the resting place of Seán Keating. His grave is shared with his wife, May, and son Michael

Our little artist’s memoir is almost over. The gale continued with ferocious lashing rain: cold and hungry we made a beeline for the local pub – the Merry Ploughboy, evidently a famous music venue. It was warm and welcoming, and full of a crowd watching Six Nations Rugby on the big screen (Ireland won the match).

In the lounge we were intrigued to find an oblique reference to Seán Keating – a painting which has a nod to his style but is by a different artist!

We agreed that our day trip to the east, in the teeth of the gale, was a memorable way to discover the life, work and death of one of Ireland’s significant artists.