On the Butter Road

The old Butter Road runs between Schull and Ballydehob

The old Butter Road runs between Schull and Ballydehob

For most of its history, roads were a hit-and-miss affair in Ireland. We didn’t get the great Roman road builders, and anyway, it was easier to get around on the water. Some routeways led to Dublin or Tara in the early medieval period, but a real road system didn’t develop until the 18th Century with the building of turnpike highways between major cities. In the 18th Century, Cork became the largest centre for the butter trade in the world and needed transportation corridors to ensure butter could get from remote rural areas to the Butter Exchange (now a museum) in the city. The Butter Roads were built from the 1740s on, and provided an efficient and speedy (for the time) route to market. Butter was packed in firkins (40 litre barrels), stacked onto carts, and transported from West Cork and Kerry to Cork City to be loaded onto ships for Australia and America.

The Old Mill

The Old Mill

Here and there, traces of the old butter roads remain. One stretch runs between Ballydehob and Schull and in the last few years a project to open it as a walking route has been spearheaded by students of the Schull Community College. It starts at the Old Mill, now open as a gallery by our friend, the esteemed wildlife photographer, Sheena Jolley. Sheena has enhanced the mill stream and stabilised the workings, still intact in her basement. A visit to her gallery is a great way to start or end your walk.

Robert on the stepping stones

Robert on the stepping stones

Setting out from the mill we were immediately on the old green road, soft underfoot, running between hedgerows alive with wildflowers, winding gently uphill. A plaque tells the story of the butter roads and of the current project. Gurgling and murmuring, the mill stream is on your right until you come to cross it. This is accomplished on stepping stones where we found it impossible not to linger and contemplate the gentle water. 

The mill stream

The mill stream

Onward and upward, passing an abandoned farmhouse, and marvelling at the variety of flowers along the route. Having been presented with the superb Zoë Devlin’s The Wildflowers of Ireland (thank you, Amanda!) I can now identify most of them, so here is a selection – captioned, by dint of my new-found knowledge. (Mousing over the pictures will bring up the captions, clicking on them will take you to full size images.)

As the road ascends, we could look back towards Schull and Long Island, or north to Mount Gabriel. The sense of peace, of being in a place of age-old tradition, is palpable. 

Mount Gabriel

Mount Gabriel

Near the top of the hill we met the Newman family, setting out from their farmhouse to walk down to Schull. John and Helen grew up in this house, walking to school in Rossbrin (about 4 km away) every day and John still lives in the house. He has a fascinating collection of old tractors and an obvious interest in farm machinery of every kind. They told us they had the butter road all to themselves in the old days, but now it’s quite popular and they are glad to see it used and enjoyed. A Mr Henry Ford once lived in the farmhouse, related to THE Henry Ford, whose father came from Ballinascarthy, near Clonakilty. 

Three generations of the Newman Family

Three generations of the Newman Family

The Butter Road is an ancient right-of-way, but access depends on the goodwill of those, like John Newman, and like Paddy Hayes whom we met on the way down, whose farms and fields lie along the route. This is a marvellous resource for the people of Schull and Ballydehob and we are grateful to those whose vision and hard work and generosity of spirit have made it a reality. 

If you want to experience the tranquility of the deep countryside, lovely views, and a sense of how the making of a road could connect far-flung communities to the wider world, we recommend an afternoon spent on the Butter Road. 

Walking back down: Long Island comes into view

Walking back down: Long Island comes into view

An Charraig Aonair: The Fastnet Rock

An Charraig Aonair: The Lone Rock

Robert has written about our field trip to Cape Clear Island and I can now reveal that the journey also included a thrilling sail around An Charraig Aonair (Karrig Ane-er, The Lone Rock) better known as the Fastnet Rock; or to thousands of emigrants for whom it was the last sight of their home country, Ireland’s Teardrop.

The Fastnet from Cape ClearThe Fastnet from Cape Clear

We had been looking forward with great anticipation to visiting the rock close up. We can see it from our home, a craggy point on the horizon –  a far away mystical tor abounding with lore and legend. We have been awestruck by the waves crashing over the lighthouse in winter storms and wondered at the lives of the lightkeepers who once manned that treacherous outpost. We watched through our telescope as enormous yachts rounded the rock in the biennial Fastnet Race last summer, following the progress of the race on a special iPhone app. I have written elsewhere about the awful tragedy of the 1979 race, in which Gerard Butler and his fellow lightkeepers on the Fastnet played a crucial role in monitoring the participating yachts in the mountainous sea conditions. 

The original Cape Clear Lighthouse beside the signal towerThe original Cape Clear Lighthouse beside the signal tower

The Fastnet was built to avoid such tragedies. Its first iteration was in 1818 as a lighthouse tower on a high point on nearby Cape Clear Island, beside the Napoleonic-era signal tower. However, the light was frequently obscured by fog and after the wreck of the Stephen Whitney in 1847 with 92 souls lost, it became clear that the best place for a lighthouse was on the Fastnet Rock. 

Eamon Lankford and FinolaEamon Lankford and Finola

The great era of lighthouse building in Ireland got underway in the mid-nineteenth century. The engineering, design and construction expertise necessary to build lighthouses are impressive enough. Add to this the logistics of building on a tiny and inhospitable rock in a heaving sea on the edge of the Atlantic, and the sheer accomplishment of the objective is  staggering. The first attempt, started in 1849, was of steel and needed constant repair. It was decided to replace it with a structure of Cornish granite and the current lighthouse first cast its beam over the waters in 1904. Eamon Lankford in his book Fastnet Rock: An Charraig Aonair describes the building process and provides old photographs illustrating how the granite blocks were ‘floated’ and hoisted on to the islet, having been first assembled and tested in Cornwall. According to the Irish Lights website Fastnet is the tallest and widest rock lighthouse tower in Ireland and Great Britain and was a monumental achievement when completed in 1904. Each of the granite stones of the tower is dovetailed into those around it, bonding the structure into a virtual monolith. This webpage also has several excellent photographs of the lighthouse from the air. What photographs reveal is what is not said by irish Lights – the lighthouse is also a thing of beauty. Tall, slender and elegant and boasting two balconies, it personifies form and function in the most admirable fashion possible.

Today the Fastnet is fully automated but in The Lightkeeper Gerard Butler describes what it was like to live on the rock in fair weather, when he fished and swam from the steps, and foul, when the seas crashed and roared over the lighthouse as it quivered and shook all night. 

Fastnet, showing the steps and storesFastnet, showing the steps and stores

One of the stories we heard from Eamon concerned  a daring midnight raid on the lighthouse carried out by an IRA ‘Flying Column’ (experts in guerilla warfare) in 1921 during the Irish War of Independence. They were after the explosives used on the Fastnet to power the foghorn. In researching this story further, I found an article in the 1999 Mizen Journal (no longer in print) by Frank Lannin, based on the eyewitness account of Sean O’Driscoll.* Here is part of Lannin’s account:

The breeze had freshened and caused the usual swell around the Rock and there was a rise and fall of several feet. The anchor was let out and the boat moved slowly to the landing place. Positioned on the bow was John O’Regan, a rope tied around his waist, a revolver in his pocket and balancing himself with the rise and fall of the boat. He would have to select the right moment to jump on the Rock and catch the iron ring which was fixed to the Rock. He knew where the ring was fixed, but to grasp it in total darkness was a feat that few would attempt. His vast experience as a seaman was now to be put to the test. As a wave was rising he jumped. It was a tense moment. As the wave covered him he grasped the ring with both hands. (It was an occasion for handclapping, but not tonight.) In seconds he had made the boat fast and the rest of the raiding party were landing on the platform. The huge steel door of the lighthouse was not locked. John was first up the spiral stairway leading to the room where the Lightkeeper was on duty. He put up no resistance and as a precaution the wireless was dismantled. Seventeen boxes of gun cotton and three boxes of detonators and primers were loaded on to the “Maire Cait” by means of the lighthouse derrick. in all, the spoils weighed but one ton. The daring mission was accomplished.

The Third West Cork Flying Column: a group like this carried out the raidThe Third West Cork Flying Column

The fog signal, together with the light, was an important aid to navigation for ocean going vessels. It was only in 2011 that the Fastnet foghorn was permanently discontinued, as modern navigation equipment rendered it unnecessary. All around the world people are missing the haunting sound of foghorns now, a sound so many of us grew up with. But at least we can see the light from Carraig Aonair every night and count its ‘character’ – one two three four five FLASH…one two three four five FLASH – and know that it’s doing its part to keep our mariners safe on the seas that roll outside Roaringwater Bay.

The full extent of the column of Cornish granite and the stub of the original steel tower.The full extent of the column of Cornish granite and the stub of the original steel tower.

*See pages 18 to 20 of Sean O’Driscoll’s statement for his dramatic story of the raid.

Off to Skibbereen!

Newlyn Harbour, Cornwall

Newlyn Harbour, Cornwall

What’s the link between Newlyn in Cornwall – where I had a fisherman’s cottage for 20-odd years – and Skibbereen, our nearest town here in West Cork? The answer is ‘art’, and the painting below by Alexander Stanhope Forbes sums it up: Off to Skibbereen from Newlyn.

offtoskibb1

Stanhope Forbes was born in 1857 in Dublin and worked in the en plein air technique of painting, first in Brittany and then in Cornwall, where he settled and founded the Newlyn School of artists. He died in Newlyn (a day or two short of my first birthday) in 1947. If you want to see a collection of Newlyn School paintings visit the Penlee Gallery in Penzance: they are superbly detailed depictions of everyday life in a working fishing community during the late nineteenth and early twentieth centuries. En plein air was all about light, sun and clarity: the artists chose places where the light was at its best, usually close to the sea. My cottage looked out over Mounts Bay in West Penwith, on the far south western tip of Britain. Like the lugger in the picture I have crossed the Celtic Sea from Cornwall, and I now live on the far south western tip of Ireland.

View from my cottage in Cornwall

View from my cottage in Cornwall

I am intrigued by the Off to Skibbereen painting. It tells a story, but we can’t guess that story. It’s presumably PZ 614 that’s on its way to Ireland, and not the ladies in a small open punt with a basket of sandwiches… But why Skibbereen? Records show that from the 1820s Newlyn fishermen were chasing the Herrings off the coast of County Cork. On the whole the fishermen of Newlyn were active most of the year. In January and February they fished for Mackerel off South Devon, following the shoals westwards to Mounts Bay for the next couple of months. Then they moved to Irish waters for the Herring season, returning in July to catch Pilchards until December. They were away from home for weeks at a time so a departure could be a poignant time for their families.

Skibbereen at the end of the 19th century: can you spot the cat?

Skibbereen at the end of the 19th century: can you spot the cat?

Skibbereen was a settlement served by water. The River Ilen is tidal and in the early 19th century boats of up to 200 tons could navigate to Oldcourt, within two miles of the town centre. From there goods were transferred into ‘lighters’ (unpowered barges) and then brought into the quays where there were warehouses and a Customs House. Now, sadly, Skibbereen’s waterfront is a bit neglected and its active past shipping history is no longer obvious. Five historic quays have been identified along the river: Steam Mill Quay, Long Quay, Levis Quay, Minihane’s Quay and Chapel Quay. The Skibbereen Town Development Plan has this to say about them:

…Historic Quays – Comprising of old disused stone quays along the town side of the River Ilen between the two road bridges, these quays were once the primary means to transport goods and people in and out of Skibbereen. Some of the quays are in private ownership, others are unrecognisable and some have been blocked with stone and deposits. However,what is unquestioned is the historic significance and value of the quays and therefore their protection should be considered as part of this plan. In the past, communities and public bodies turned their back on water bodies but now the tide is turning in this regard. Therefore an opportunity presents itself … by ensuring that the quays are redeveloped as part of any proposal on adjoining land…

Building work progresses in Skibbereen

Building work progresses in Skibbereen

There is a new development going up in the centre of Skibbereen right now, just by the old Levis Quay. It’s on the site of a rather bleak four-storey warehouse structure (now demolished) known most recently as Wolfe’s Bakery. This new building is all about art – rather neatly for my thesis on the artistic links between West Cornwall and Western Ireland.

WCAC_north_view_final-sized

Competition Winner – Skibbereen’s new Arts Centre

The people of Skibbereen are very fortunate to have secured funding for a major arts building, especially in the present climate of austerity. The West Cork Arts Centre will house exhibition space and studio space for artists and social spaces for the community, including enhanced workshop, dance, performance and film club facilities providing a ‘centre for excellence’ in the visual arts at local, national and international levels. The building occupies the ghost of the earlier warehouse and is on five storeys, all fully accessible. Valuable extra space is cleverly gained by cantilevering a portion of the main block out over the Caol Stream. An international design competition was held for the design of the new centre, and this was won by Architects Donaghy and Dimond of Dublin. Visually the building is stunningly contemporary – and this works well in a small town with a diverse architectural language spanning many centuries. So often, new buildings are not allowed to be ‘of their time’ and resort to pastiches of older styles with the result that present day town centres can lack any dynamic character.

The building is being clad with a material known as ‘Corten‘. It’s actually rusted steel! It’s an attractive and durable finish which matures and stabilizes as time goes on. The appearance of a large rusty steel box in the centre of town is exciting some comment but – as always with anything new – judgement is best reserved until the project is completed. In my opinion it will add to the attractions of Dear Old Skibbereen and provide very welcome new facilities in the heart of this creative community. Well done Skibbereen!

Taking Shape - 21 May 2014

Taking Shape – 21 May 2014

Here’s an idea: several of the Newlyn School artists were Irish – or had Irish connections. Perhaps in West Cork we should put on an exhibition highlighting artistic links – old and new – between Cornwall and Ireland?

Wolfe’s Bakery – site of the new Arts Project

Galley Head Lighthouse

Galley Head Lighthouse

Galley Head Lighthouse

On a sparkling day last September we set out with the Skibbereen Historical Society to tour the Galley Head Lighthouse. We were fortunate to have as our Guide the man who wrote the book (literally) on this and other Cork lighthouses. Gerard Butler wore his full dress uniform for the tour: not only did he look dashing, but he wowed us all with his encyclopaedic knowledge of irish lighthouses, and amused us with many stories about the characters who looked after them.

bookLighthouse keeping ran in families, and Gerard recounts in his book, The Lightkeeper, the roles his father, mother siblings and grandparents played in keeping lighthouses going along the Irish coast. He spent many years at Mizen Head, at Skellig Michael and on the famous Fastnet Rock, scene of a horrendous sailing disaster in 1979. In the 90’s the automation of lighthouses spelled the end of the traditional role of light keeper, but Gerard continues as the ‘attendant keeper’ at Galley Head.

The Galley Head lighthouse is not open to the public, so this was a rare privilege. It is a classic – an enormous white tower visible from miles around, gleaming on the headland. Each lighthouse has its distinct ‘character’ – the rate at which the flashes are visible – and Galley Head’s was seven flashes in sixteen seconds, followed by forty-four seconds of darkness. This was later converted to five flashes every twenty-five seconds. When the lights were directed solely out to sea in the late 60s the local people missed the familiar flashes so much that they petitioned to have them restored and this was done. (We understand this very well – we see the flash of the Fastnet Rock from our house and would miss it greatly if it were to stop.) 

The deep sound of the foghorn, a feature of so many lighthouses, no longer booms through the fog from Galley Head – foghorns have been rendered obsolete by modern technology. Gerard recounted that the foghorn was actually powered by explosive charges, and that during the War of Independence and the Civil War lighthouses were regularly raided by Republican forces who carried off the explosives. During that period the foghorns were silent also, although not by choice.

The light itself has undergone a radical evolution in technology. Originally powered by gas, with a gasworks built to supply the fuel, it was later converted to paraffin, and finally to electricity. At one point in the early days the light was the brightest in the world, and with each improvement to the fuel and the optics, it became more efficient. 

From the top deck

From the top deck

Scrambling up the curved staircase; listening to the stories of the hardship, bravery, adventure and occasional boredom of the keepers’ lives; surveying the countryside from the vantage point of the top deck; scanning the sea in hopes of a whale sighting; imagining ourselves in one of the hurricane-force storms that regularly swept over Galley Head; learning the history and culture of the Irish Lights Service: it was a unique insight into a way of life that has vanished forever, and a marvellous afternoon!

Looking up

Copper Country

Sheep's Head Copper Mine: Cornish mineworkers' cottages

Gortavallig Copper Mine, Sheep’s Head: Cornish mineworkers’ cottages

We live in the townland of Cappaghglass. I would love to say that the name derives from the metal that makes up much of its geology – copper, but Finola tells me that way of looking at it comes from my English accent: the Irish word for copper is Copair, while Cappa actually means meadow. Glas or glass means green so – prosaically speaking – we live in ‘Green Meadow’. However, as in so many cases, the history of this little bit of Ireland is writ clearly on the landscape and Cappaghglass is very much ‘copper country’.

Stub of 9th century Irish round tower? - No: 19th century copper mine workings in Cappaghglass. In front is the head of a shaft, behind is the remains of the mine chimney that fell in 2002; to the right are the old mine cottages

Stub of 9th century Irish round tower? – No: 19th century copper mine workings in Cappaghglass. In front is the head of a shaft, behind is the remains of the mine chimney that fell in 2002; to the right are the old mine cottages

Our own house, Nead an Iolair, is built on territory that was once owned by a nineteenth century copper mine, and legend has it that our Calor gas tank is placed over an old mine shaft! We look out to Horse Island – one of Carbery’s Hundred Islands in Roaringwater Bay: it once supported a copper mine of the same period. Look at the photograph of the number of workers employed there at this time. Now there are merely a few holiday homes on the island.

Mineworkers on Horse Island: 19th century

Mineworkers on Horse Island: 19th century

Among the quiet fields and peaceful boreens our townland is strewn with evidence of the industry that once was here: old spoil heaps, barbed-wire protected shafts, supports for overhead ropeways and the base of a famous local landmark: the 20m tall Cappagh Mine chimney which came down in a lightning strike in 2002 which also severely damaged the Mine Captain’s House adjacent to it. Mining here commenced in 1820 and works ceased in 1874. Its best years were the decade 1863 to 1873, when 877 tons of bornite copper ore were produced.

cappamap2

Cappagh Mine: cross section, mine chimney (pre 2002) and our own mine shaft!

Cappagh Mine: cross section, mine chimney (pre 2002) and our own mine shaft!

***

We went off to the Sheep’s Head last week – in idyllic weather – and were shown the Copper Trail by friends Peter and Amanda. It feels so remote out there, yet the place was a hive of industry when mining was at its height during the Victorian age. I was fascinated by the row of Cornish miners’ cottages there, and the similarity between this site and the cliff-edge setting of some of the mines in West Cornwall, Botallack in particular. When exploring these pieces of industrial archaeology in Cornwall I was always struck by the incongruity of the incredibly beauty of the places – set against the blue background of the Atlantic – with the hardship and danger of the working conditions that must have prevailed. Here in West Cork, as there in Cornwall, shafts and galleries extended out under the sea bed and the men toiled away in cramped and perilous conditions with the sound of the booming waters above them, while on the surface women (bal maidens) and children worked equally hard preparing the ore for crushing and smelting.

botallack

Botallack Tin Mine, West Cornwall - romantic site now, but less benign in earlier days

Botallack Tin Mine, West Cornwall – a romantic site now, but less benign in earlier days

Far longer ago than the nineteenth century, West Cork was being worked for copper ore. On the steep sides of our local Mount Gabriel there is evidence of copper mining dating back 3500 years to the Bronze Age. UCC Professor of Archaeology William O’Brien carried out research and excavations during the 1980s and traced a number of mine workings from this time. The extraction was a well organised process: a supply of  good roundwood had to be stockpiled and fires were lit against the rock face where traces of ore were apparent. A hot fire was kept burning for several hours followed by dousing in cold water (of which a good supply was also needed), causing the rock surface to fracture, and this disturbed face was hacked off with stone mauls allowing the accumulation of small quantities of  malachite. Constant working on good seams led to excavation into the mountain side, and some shafts have been found extending to several metres. Water ingress was a problem and it seems likely that a system of bailing or pumping was necessary. Eventually the drowned shafts were abandoned and, over time, they became filled with a type of blanket bog. This helped to preserve some of the wooden implements used and – presumably – discarded in them: hammer handles, wedges, picks and shovels as well as planks and ladders; also pine chips apparently used for illumination.

Bronze Age industrial landscape

Copper Country: Mount Gabriel – once the haunt of Wolves and miners

There’s a whole lot more to be said – about why metal was so important in the Bronze Age (wealth, in one word) and the whole context of distribution, trade and the technology of bronze itself: bronze production is only possible by combining copper ore with tin, and this was not available locally. In all probability our Cornish and Iberian cousins were making contact with Ireland’s metallurgists thousands of years ago. Interesting that the Rock Art we find in these same hillsides – and which could date from the same period – also has parallels in Britain, Brittany and Iberia.

Bronze Age industrial landscape?

Bronze Age industrial landscape?