Irish History

Perspectives on Irish History

Occasionally we review books that we think will interest our followers. Here are two which I recommend without reservation: Victorian Dublin Revealed and The Green Divide. Both are by Michael Barry, an engineer, writer and publisher who hales from Ballydehob and now lives in Dublin: he describes himself as an author and transport consultant and has spent much of his career with Ireland’s railways. Michael recently penned an article for the Irish Times in which he set out the highs and lows of producing books here: …There is the pleasure of receiving in one’s hand, a new book, straight from the press: perfectly laid out, high quality, the illustrations perfectly printed. It is the joy of creating something worthwhile – it is almost like seeing a child just born… and, balancing that, the frustrations of a literary world where British publishing dominates: …It is a hard world out there, one may have the best book in the world, but if you don’t have contacts in the press or radio, one doesn’t get reviewed or interviewed… Having read these two books from Michael I can confirm that he is a perfectionist: his writing is faultless and authoritative but, more than that, he generates an enthusiasm for his subjects. Pick up either of these volumes and I guarantee you will be hooked. If there is a word – unputdownable – then that perfectly describes them both. I didn’t know that I was so fascinated (as I now am) by the Irish Civil War: The Green Divide makes such a good job of describing that awful part of Irish history in all its perspectives. It is eminently readable and brilliantly illustrated – there are 400 pictures which include contemporary images, documents and posters as well as the author’s own high quality photographs.

Very different, but equally compelling, the book on Victorian Dublin is, indeed, a revelation. The architect in me immediately wants to go out and see all these places – houses, halls, churches, industrial archaeology – which I never knew existed. The level of research is breathtaking. Mary Leland, in an effusive review for the Irish Examiner, puts it well: …If modern life in Ireland began in the nineteenth century, so did modern architecture. Michael Barry makes this point time and time again in a book of sometimes startling illustrations . Here are pictures to remind us of what we have been ignoring because they seem so commonplace or constant. Barry is his own photographer and has a pleasing eye for detail. He also has a nice sense of historic irony…

I am including a few extracts from both of these volumes: in their brevity they cannot do the books justice. I am hoping you will be inspired to look out for these in your local bookshops (or to ask that they get them in – as we need to keep our bookshops going…!) Michael Barry has written much more: you will find full details on his Andalus Press website – there’s a lot to explore there too!

From: The Green Divide…
Left: two National Army soldiers billeted in a rural cottage – Barry comments ‘If they are city boys, this glimpse of how people in the countryside lived probably came as a shock’. Right: a propaganda poster by Constance Markievicz – ‘this one adopts a mystical theme, depicting male and female Republican fighters as The Bodyguard of the Republic’
Left: Republican activity – removal of two rails – led to this derailment on 15 August 1922 along the banks of the River Slaney on the Dublin & South Eastern Railway: the locomotive of the down Night Mail ran on the sleepers for over 150 metres before turning over. Right: in Lough Mahon, Upper Cork Harbour, Republicans scuppered a dredging barge (distant) and the steamer ‘Gorilla’ to impede passage upriver.
Left: In July 1922, the Irish republican Army published this newspaper advertisement warning Dublin public house proprietors that their premises could lose their licences for plying soldiers with (too much) drink! Right: the ‘schloss-style’ former RIC Barracks at Caherciveen, Co Kerry, now a museum: it was set on fire during the Republican retreat from the town in August 1922.
From: Victorian Dublin Revealed…
Left: ceramic door surround in the National Museum, with carved door by Carlo Cambi of Siena; Cambi’s carvings adorn a wide range of Dublin buildings. Centre: ‘poetry in stone and iron’ – entrance gates to Howth Castle and Demense. Right: ‘heroic engineering’ – a pipe bridge over the Dargle River.
Older times. Left: the tram-yard at Dalkey. Right: oak vats in Vathouse 4 at the Guiness Brewery, 1980s; at the end of the nineteenth century it was the largest brewery in the world. ‘…They garner the succulent berries of the hop and mass and sift and bruise and brew them and they mix therewith sour juices and bring the must to the sacred fire and cease not day or night from their toil…’ – James Joyce, Ulysses.
‘A Byzantine jewel in the heart of the city’ – The University Church on St Stephen’s Green, established by John Henry (later Cardinal) Newman and designed by John Hungerford Pollen. It opened in 1856.

masonic hall

My personal favourite so far… the astonishing Grand Chapter Room in the Freemason’s Hall, Molesworth Street. The building, by Edward Holmes, dates from 1866. Evidently there is, within, an array of exotic rooms designed around fantastical themes. I can’t wait to get to see them! Will they let me in?

observatory

The South telescope at Dunsink Observatory, dating from 1868. Its 12 inch lens was the largest in the world when it was cast in Paris in 1829. The telescope mounting and rotating dome enclosure was provided by the Grubb Optical and Mechanical Works in Rathmines: ‘…the Grubb Works was a thriving hub of advanced optical technology during the nineteenth century. It produced astronomical telescopes which were exported all over the world…’ This telescope is still in working order.
Below: Michael Barry is gifted with an eye for detail: he spotted these three monkeys playing billiards on the elevations of Deane and Woodward’s Kildare Street Club (1859-61) – and wonders if it was a comment by the stone carvers on the rich and leisured denizens of the club?
three monkeys

 

Mosaics and Maharajas, Part 1

This week when we were passing though Timoleague I had a fancy to see inside the Church of the Ascension as I had heard it was ‘worth a look’.  Understatement of the century! What we saw was astonishing, beautiful, and overflowing with history and stories.

The key is kept at the Post Office on the main street – just ask

This Church of Ireland building is typical of the simple gothic revival style favoured by the funders – the Board of First Fruits. (Read more about this almost-forgotten organisation in a post from the always excellent Irish Aesthete.) Built from the ruins of an earlier (probably medieval) church it was consecrated in 1811 but enlarged later in the 19th century. The pointed-arch windows and the square tower with louvre vents are unremarkable features on the exterior, but open the door and step inside and you enter another world.

The mosaics are the most obvious (although by no means the only) glory of this church. Designed to commemorate members of the Travers family (yes, the same Travers whose memorials dot the walls of St Fin Barre’s) they cover the entire interior of the church, apart from the hammer-beam ceiling in the nave. They incorporate motifs in several traditions – Christian, Jewish and Islamic.

Above the west doorway is the Ascension scene – the apostles are rather conventional but I love their colourful robes and the flower borders. Below them is an angel font, similar to a pair in Tralee Cathedral, made of Carrera marble, with yet more mosaic detail.

Members of the Travers family are named in mosaic around the walls – Robert Valentine Travers of the Munster Fusiliers was only 22 when he fell at Gallipoli.

In the chancel, above the marble altar, the ceiling is covered in mosaic, as are the walls, some of which have been gold-leafed. The richness of the detail and the vision that dictated such a glorious conjunction of imagery and colour is jaw-dropping, and mark this little provincial church as part of the influential Oxford Movement of the Victorian era that aimed to return ornamentation and beauty to spaces of worship.

This is the great High Church and Low Church debate. A group called the Cambridge Camden Society promoted a return to gothic architecture: the classical style was seen as pagan, while the great gothic cathedrals of Europe represented the apex of Christian architecture. (More about this in the next post, which will concentrate on the stained glass.)

Installing mosaic is a time-consuming and expensive process – this one involved importing artisans from Italy and the parishioners eventually received help from an unexpected quarter. The final series of installations was paid for by an Indian Maharaja!

Madhav Rao Scindia was the Maharaja of Gwalior. He was wealthy and looking for places to  spend his money. What, you don’t believe that? Just read this story about the fabulous and secret treasure chambers of Gwalior. No – in fact, he was highly-educated ruler who did much to modernise his state but he was only 9 years old when he inherited the title.

The Maharaja in his prime

The British appointed as his surgeon and tutor an Irish doctor from Timoleague – Dr Martin Crofts. A long friendship grew, based on mutual respect (and shared tiger-hunting expeditions) and it is said that Crofts saved the life of the Maharaja’s son. 

Leaving for the Hunt at Gwalior by Edwin Lord Weeks

When Crofts died suddenly in 1915, after only a year of retirement, and was buried in Timoleague the Maharaja funded the completion of the mosaics as a memorial to his friend and mentor.

Thus, a tiny and obscure church in Timoleague invokes not only a great architectural movement but, like the memorials last week, echoes of the Empire and an unlikely international friendship. But this is not the last of the story – next week we will explore the other glory of this little church, the stained glass windows. In their own way they also link Timoleague to the great artistic trends of their age.

A detail from one of the windows

Part 2 can be seen here.

Outposts of Empire

St Patrick's Cathedral

There’s a class of monument in Ireland that I am only discovering as an adult. There is a reason for this – as a young person growing up in a conservative Catholic culture, it was verboten for us to enter (yes, even just enter) Protestant churches. I was used to a certain iconography – stations of the cross, statues, stained glass of saintly subjects – and very rarely did it include memorials to deceased individuals. That was confined to the graveyards.

St Fin Barre's

No modern Irish reader of this memorial at St Fin Barre’s Cathedral in Cork could fail to be aware of its incongruities

As our readers will know by now, Robert and I never pass an open church without poking around inside. Last year, in The Love Which He Bare Her, I wrote about the wonderful memorials I have discovered to women, cataloguing their many virtues. That was for St Valentine’s Day so since it’s still February I thought I would do a similar post for men. There are lots – poets, priests and philosophers, benevolent and erudite – but the ones I have been most taken by are the military memorials* we have discovered in Protestant churches.

St Barrahanes 2

Irish men served in the British army all through our long and complex history together. My father served in the Second World War although he saw no combat. My maternal grandfather was a Sergeant in the Welsh Fusiliers stationed in Dublin where he met my grandmother, whose own father had served in India and Afghanistan.

Left: My father, Hugh Finlay, during his time in the British Army, stationed in Belfast during the Second World War. Right: The grave of my Welsh grandfather, William Owen Roberts, in The Hague, Holland. He saw action as a young man in the Boer War. He died of the Spanish Flu on his way home from the First World War.

Although this was part of family lore, it received no attention in our history lessons. Once again – there’s a reason for this. It’s been succinctly expressed by Turtle Bunbury in his book The Glorious Madness:

The Glorious MadnessFor those who returned to Ireland after the war, the horror of their experience was magnified by the realisation that everything they fought for amounted to nought and that anyone who thought otherwise was no longer welcome. Although many of those who won independence for the Irish Free State had formerly served in His Majesty’s forces, there were powerful elements within the new order that would obligate the country at large to throw an unforgiving eye upon ex-servicemen of the British Empire. In time the hostility became amnesia and the Ireland of my youth in the late 20th century seemed to have a history in which the only war the Irish ever fought was for freedom from Britannia’s rule.

Turtle’s book opens our eyes to the vast numbers of Irish men and women who fought in WWI and their reasons for doing so – reasons as diverse as their backgrounds. Read the chapter on Tom Kettle and Emmet Dalton, for example, or the piece on Liam O’Flaherty (author of The Informer) or that on Cork’s famous son, Tom Barry, as well as those on members of the Anglo-Irish aristocracy such as Lord Desmond FitzGerald, or famine-survival emigrants such as Knox D’Arcy who helped found BP Oil. Thankfully, the collective amnesia is being faced now and memorials to WWI dead are springing up in country graveyards around Ireland.

First World War Grave

A new slab at Abbeymahon church near Courtmacsherry remembers Denis Driscoll, a local man who fought in WWI

Besides the first and second World Wars, though, the military memorials that have caught my eye have celebrated the courage and sacrifice of Irish men who devoted their lives to a career in the British army and navy even before the 20th century. But why are these memorials inevitably found in Protestant churches and not Catholic? Besides the conventions of iconography and the collective amnesia referred to above, there is, yes you guessed it, a reason for this.

St Fin Barre's 2

As part of a minority but ruling class in Ireland, Church of Ireland members often saw themselves as standard bearers of Empire. As a community they were on the whole (with many notable exceptions) conservative and unionist and looked to Britain for education for their children. Many families had generations-long traditions of sending their sons to serve in the army or navy. (While Irish Catholics also served, it was predominantly in the ranks of foot-soldiers and to escape unemployment at home, rather than as career officers.) British military valour and sacrifice, therefore, loomed far larger in the consciousness of Protestant families than in Catholic ones.

St Barrahanes

According to Martin Maguire in his paper “Our People”;  the Church of Ireland in Dublin and the culture of community since Disestablishment**, The most powerful and emotional bond with Great Britain, and within the Church of Ireland community in Dublin, were memories of the first World War… After the war Remembrance Day became one of the most solemn occasions in the year, one which strengthened the sense of being a special community and, despite national independence, maintained the close identity between the Church of Ireland and the community of the British Empire… The loss of a great many young men to a population which was already unstable was traumatic.

St Patricks 2

But this is also true of all the preceding wars, and this is reflected in the church memorials we see in the Protestant churches. Battles and engagements in places we never learned to think about about in school as being part of our collective heritage (the Burma War? the Siege of Lucknow?) are eulogised in these tablets and plaques. Soldiers are honoured by their companions, and lamented by their families. Their bravery and accomplishments are lauded and potent symbols such as crossed spears and empty helmets represent their sacrifice.

St Fin Barre's 4

Being an ‘Outpost of Empire’ doesn’t sit well with our ideas of what Ireland is now and this year in particular we will be celebrating our independence from all that that phrase invokes. But these memorials serve to remind us of the complexity and plurality of our history, and in many case of our own family history.

Brabazon Family c.1898-1900 (1)

The Brabazons, about 1900. Great-grandfather John Edward had served in India and Afghanistan and wears a military medal. Great-Uncles Michael and James wear the uniforms of army cadets***. Marie, my grandmother, who married William Owen Roberts, is in the middle at the back

*The Memorials in this post come from three churches: St Fin Barre’s in Cork City, St Barrahane’s in Castletownshend (Co Cork) and St Patrick’s Cathedral in Dublin.

**Available at: http://eprints.dkit.ie/75/1/Our_People_Laity_of_the_C_of_I.doc

** *More information from my cousin, Shauna: The two boys are wearing the uniform of the Royal Hibernian Military School. More information about that establishment here.

Canty

slipway 2

On the north side of the Mizen we found Canty’s Cove. The little road which approaches the Cove from the west has been recently resurfaced, and there have been some major restoration works on the stone jetties and steps there. Don’t try to reach the Cove from the east side: a trackway is shown on the OS map (88), but it is virtually impassable – even on foot – at this time of the year, as the harsh winter storms have waterlogged the ground and submerged parts of it.

wild water

Wild coast beyond Canty’s Cove

Our reason for visiting the Cove? We were looking for pirates! Or, at least, for traces of them… We had heard that there are ‘pirate steps’ in the vicinity of the Cove, and we had unearthed some legends of Canty himself: a notable pirate and all-round rogue.

windlass

As with many of the ‘secret’ quays hidden away around the rugged and heavily indented coastline of West Cork, Canty’s Cove was used primarily by fishing boats, either working individually for shellfish or, communally, seining for pilchards, mackerel and herring. We have touched on seining in a previous post. It seems to have been brought to Ireland’s west coast by fishermen from Cornwall back in the sixteenth century. The shoals of pilchard, first seen in Mount’s Bay and around Land’s End in the early spring, naturally moved west and the fishing fleet from Cornwall followed them in July or August. Traditionally it was St James’ Day (1 July) that saw the start of the seining season in West Cork. For the next three months the pilchards were …dark, fat and full of oil… With the onset of winter the seine boats were laid up and the nets repaired and hung out in the lofts. The pilchard industry on Ireland’s west coast is said to have been most productive between 1550 and 1750, with millions of pressed and salted pilchards going by the barrel load to Spain, Portugal and France. Seining survived well beyond those days, although mainly then for mackerel. Northside of the Mizen records a very active industry within living memory:

…Both Canty’s Cove and Gurthdove had streams and the waters from them were used in the cleaning of the mackerel. When grading, the fish were sorted into bloaters (big), rags (damaged), medium and small grades, and you were allowed so many of each grade per barrel. The fish were then salted by rubbing coarse salt into them, and this happened twice with the second salt on the tenth day. On the second salt, the fish were packed flat into the barrel, and pickle was poured over the fish until the barrel was full. After the second salting the lid of the barrel was then put down, sealed with an iron hoop and the barrel was branded with the mark of the buyer, along with its weight and number of fish. The barrels were left on their sides and a hole was made three-quarters of an inch in diameter, which was closed with a wooden stopper. Tom Collins of Dunkelly West, as a boy, would earn one shilling a week by topping up the barrels with pickle after school. Salt added to water made a pickle that had to be strong enough to float a medium size potato with a six inch nail through it. The barrels were constantly filled with pickle until they went for export, when the wooden stopper was hammered home and the barrel stood up. One Cash and Tally of 132 fish would sell for five shilling in the nineteen-thirties. There could be up to 1000 barrels lined up in Canty’s Lane until November Dark…

fish table

Fish processing on the pier at Canty’s Cove, taken in the 1920s. This photo and the one below are from Northside of the Mizen

On the west coast, the last working seine boat was said to have put out from St Finan’s Bay, Kerry, in 1946. This was remembered by Mike Séamus O’Sullivan and recorded in The Kerryman in 2003:

…the place was alive with fish. We put out the seine and in no time at all it was full. We arrived below at the pier in The Glen with 24,000 mackerel and every man made £24 pounds that night – a fortune in those days…

dunkelly fishers

The fishing community of Dunkelly, late 1920s

But what of the pirates? I hear you all cry… And, is there any buried treasure…? Of course there is! According to an excellent article by John Hawke in the now defunct Mizen Journal, Jeremiah McCarthy of Dunkelly (who died in 1989) recalled how he and his forefathers had dug for gold as a boy – “The old people spoke of ‘Canty’s Gold’ that lay buried seven ridges from one of the walls and many have dug for it – it was great exercise, but we never found it.” Jeremiah told the story of how Canty was a pirate and robbed people who came to buy goods from him and then threw them over the cliff into the sea, from the door of his house in Canty’s Garden. In the Collection of Irish Folklore dating from the 1930s this story was recorded from a Richard Moynihan of Dunbeacon, then aged 59 years:

…Another secret building was situated in Goleen Parish. It was built across the quay leading from a hotel which was owned by a man named Canty. Lodgers often came to the hotel and the man used to take them back to the secret room. Whilst they were talking to him, he shifted a lock in the trap door which was in the room which caused the floor of the room to go to the side and the lodger was thrown down into the tide. He then had a net with which he hauled up the corpse and took whatever money he possessed. Around this place is ever since haunted. Lights were frequently seen there and cries were often heard…

Many other similar stories connected to the Cove have been told or written down over the years. Today, the place still has an otherworldly feel to it: partly it’s to do with remoteness and the barren coastline in this wild place. ‘Canty’s House’ and ‘Canty’s Garden’ can be identified on the cliffs above the Cove: they are marked on old versions of the OS map. All that’s left now are a few stone walls and a steep drop into the sea. It’s not hard to picture Canty himself disposing of his victims over the edge, nor to hear their cries on the wind, wailing across the centuries.

Canty's Cove

There are Cantys living in West Cork today. We shouldn’t brand them with the reputation of one who was possibly a forebear: after all, many centuries have passed since the time of Canty the Pirate – and we do live in a more civilised age, don’t we? In fact, the Cantys – sometimes O’Cantys (O an Chaintigh) – had a prestigious past: in the age of the castles they were bards, like their O’Daly neighbours across the water on the Sheep’s Head (it’s only four miles away as the seagull flies). Interestingly, I have heard it suggested that Canty’s House is actually the remains of the ‘lost’ O’Mahony castle at Dunkelly: the site is certainly impregnable.

Canty's Garden

The approach to Canty’s Cove seen from Canty’s Garden. The building on this site may once have been a ‘lost’ O’Mahony castle

Pirates, castles, seining, treasure – there are also the ‘Pirate’s Steps’, although they are very hard to find (and on private land, so seek permission if you go looking) and – evidently – the Buan, or ‘perpetual well’ (which we couldn’t trace): in all, a wealth of history and legend. We have to respect Canty for lingering in folk memory a good few hundred years…

For this research I am indebted to Northside of the Mizen by Patrick McCarthy and Richard Hawkes, Mizen Productions, 1999, Canty’s Cove – Legend and History by John Hawke, The Mizen Journal No 5, 1997, and also local memories, still alive. The fine view of the Pirate Steps (below) was taken by Peter Clarke, at great risk to life and limb…

Pirate Steps Canty's

Images

looking out

Images: we take them so much for granted, because it’s easy for us to go out with a camera or phone and capture a place, an event or our friends and family. I’m sure we have now all got hard disks, memory sticks or ‘clouds’ full of hundreds of pictures – perhaps far too many for us to appreciate individually.

sheep may safely graze

Here are some images of Ireland, both old and new. The old ones are taken from the collection of Tomás Ó Muircheartaigh, who documented life in rural Ireland between the 1930s and the 1950s – that’s between sixty and eighty-something years ago. I was fortunate enough to pick up a copy of his book of photographs when it first came out: now it’s ‘rare as hen’s teeth’*… The new ones are taken locally by my favourite contemporary photographer – Finola.

nuns walking

The thing about a photograph is that you know it is an actual moment, a fraction of time, which has been captured and held forever. A painting is not the same – it can be very beautiful and emotional, but it is always a fantasy: it’s the artist that has made it live in the way that she or he chooses. Ó Muircheartaigh’s photographs affect me emotionally: they depict places and, more importantly, people that were once real – living landscapes, personalities… There’s a lot of nostalgia surrounding them because they show us the world – Ireland – as we want to think of it: halcyon, idyllically happy, peaceful, carefree. All the photos in Ó Muircheartaigh’s book picture this blissful state: that’s because he saw rural Ireland in that light, or because he wanted his audience to view it that way. In his work we never see hardship, rural deprivation, illness or pain – and we are completely unaware that there could be a terrible world war raging just over the waters.

Goleen

P1010179

Precious moments: how special that through the expert wielding of a camera lens Tomás Ó Muircheartaigh could use a negative to create a positive world! We can still do that: Finola’s photographs capture, digitally (and beautifully), a different world – our own modern Ireland – but also record the essence and enduring appeal of this place which we are pleased to call home. It’s all about the focus…

4 men 3

Not many of Tomás Ó Muircheartaigh’s photographs carry captions to indicate where they were taken. We know his travels encompassed the west coast, particularly the Aran Islands, Kerry, Galway and Mayo. We don’t know exactly where these three views are from (anyone who does, please comment) but it’s interesting that the wonderful portrait of four drinkers, above, has been turned into a painting now hanging on the walls of Levis’ Corner Bar – one of our local hostelries – in Ballydehob! Finola’s photos are all taken on our own Mizen Peninsula

Session, Levis's of Ballydehob

*Birds did once have teeth – up until about 80 million years ago. Occasionally today, but very rarely, a ‘throwback’ bird is hatched with teeth!

Illustrating the Tower House: A Guest Blog (sort of)

Tower House Full View

There’s this brilliant young man, JG O’Donoghue, who combines the best qualities of researcher and sketch artist to produce outstanding illustrations, especially of heritage subjects. I’ve been a fan of his on Facebook for a while, but recently I saw the full extent of his talent.

Path to a Castle

Kilcrea Castle, Co Cork

You see, he’s done this job on tower houses. I’ve been studying tower houses for a while, especially the tower houses of West Cork (see my posts here and here and here) and recently I gave a talk about them in Ballydehob. So I recognise accuracy when I see it, as well as a meticulous attempt to be true to both published accounts and his own close observations. He has generously allowed me to use his drawings in this blog post, as well as his own words, slightly edited to fit the length of a blog post. So this is not my post, really – it’s his, as you’ll see if you head on over to his own blog, or follow him on Facebook. Since much (but not all) of what follows is based on Kilcrea Castle, Near Ovens in County Cork, I have included some of my own photographs of that site, to give you a sense of what it looks like on the ground.

Above the main entry

JG Writes:

The Tower House

Tower houses are a type of late medieval Irish castle, believed to have originated around 1300, or sometime within the 14th century, but most are probably from the 15th to the 17th centuries. By the 17th century, this would have made Ireland the most heavily castellated part of the British Isles. The tower house signifies changes in Ireland: on one hand it shows a resurgence in Gaelic power in the west after years of decline following the coming of the Normans in the 12th century. On the flip side it is a sign of the collapse of centralised power in the form of the English monarchy and a rise in decentralisation.

Tower House Closer View

One tower house in five has a bawn wall in Ireland. The bawn is the external wall you see attached to the castle shown here. The actual design of the tower house itself though is nearly entirely based on Kilcrea tower house, in Cork, my favourite tower house and one which I have visited a few times and read extensively on. The only changes to the overall design of Kilcrea was the inclusion of a second chimney for the kitchen room inside, and the machicolation. I added these elements so the castle would be more representative of tower houses as a whole. Also the crenellation (the regular gaps in the walls at the roof & bawn, which provided cover for archers) in the castle are a style specific to late medieval Ireland. The bawn crenellations are based off Blarney Castle.

Bawn Corner Tower

The bawn walls and corner tower

Notice as well how white the tower house is? This is probably how most tower houses would have looked, as they were coated with a substance called harling, a mixture of limewash and crushed pebbles. Because of this, commentators at the time often mention the white gleaming castles of the Irish, as you can imagine these would have been visible for miles around and been quite a symbol of power and prestige. You may also see the little figure on the dark side wall of the tower house: this is a sheela-na-gig, a type of sculpture common in Ireland at the time, this one is based off the one in Ballynacarriga Castle.

Ballynacarriga Sheelanagig

This is the sheela-na-gig from Ballynacarriga

Tower houses are believed to have been surrounded by mixed farming, some cereal with animal husbandry too as shown in the illustration. Often they are found associated with churches and friaries, some were even built attached to churches, and some probably weren’t too far from some sort of clustered settlement. Note as well the dry moat. Not all tower houses had moats, but some did, like Kilcrea, so I included it here.

Moat at Kilcrea

Notice also the slight batter (where the wall comes outwards at the bottom to defend against a battering ram), also in the bawn towers, which is based on Kilcrea & Barryscourt.  As you can see though, the real bling in the tower house is the top of it, this is where most showing off happened with turrets, crenellations, chimneys, gabled/pitched roofs and machicolations, as shown here. Another place they showed off was the ashlar (fine finished masonry) windows. The top floor in Kilcrea was believed to be the hall, with the floor directly below the lord’s chambers. Hence they have the nicest windows, especially the hall floor, which had 4 large windows as shown.

Great Hall Window

One of the windows on the top floor

Also notice the variety of windows: some were narrow slits just for archers to fire from inside, others have the addition of a cross slit, which could be used by crossbows too and then there were others with either triangular or circular holes, these were for later fire arms. Some windows even had all three as shown here in the 1st floor window in the dark side of the tower house, the one closest to the light. All these windows, except for the decorative ones on the top floors, would have been splayed inwards allowing maximum cover for archers.

Inside the Tower House 

TowerInterio65-Internal

Ground Floor – here is a cellar, as in Stanihurst’s “house and castle” account of Mallow castle, 1584, “lower rooms whereof ar sellors vaulted over”. Here various food and drink would have been kept, perhaps not just for the castle itself but for the wider community, acting as a safe house for everyone’s goods in case of raids. The floor surface here is very basic and is just beaten earth.

Lower floors

1st Floor – I have made into a sleeping quarters. There is mention in the historical recorded accounts of tower houses that they were used for sleeping and that there were beds without curtains, and you could sometimes fit three people into them. So here I have shown some rudimentary beds, not just for guests, but also for the guards and servants. The 2nd & 1st floors are also covered with reeds, this would have often been what medieval floors were covered with according to medieval accounts, which then on occasion would have been swept out and replaced. This room also doubles up as a guardsroom, as this floor was probably the last line of defence before the attackers get into the rest of the castle, so I’d imagine weapons would have been kept here for ease of access.

Kilcrea murder hole

Entrance lobby with murder hole above it

Murder Hole Room & Lobby – you will notice small rooms off both ground and 1st floors. In the ground floor this was the lobby, where for defence purposes, once you were past the main front door, you were greeted by two other strong doors, one to the rest of the tower house, another to the ground floor. Above this was the murder hole room, essentially a room with a hole in it, the reason for the dramatic name is that while you were trapped in the lobby between the two strong doors, you would be fired upon from above by muskets (apparently unlike what movies would have us believe, hot oil was rarely used). But in the day to day, these were probably used as a kind of door eye hole.

Mural stairs from Ground Floor

The mural stairs leading up from the main entrance. The bar across is said to be there to prevent a re-occurence of the time a cow wandered up to the second floor

Stairs – in a tower house usually started as a mural stairs to the left of the lobby entrance, these were then carried on by spiral staircases from the first floor up to the 4th floor, which then had another set of straight stairs leading to a small spiral stairs to the wall walk area. This was probably defensive in nature, so it was harder for the attackers to take the spiral stairs and wall walk. This last set of stairs was usually hidden within one of the window embrasures at the top floor, this was a common feature in southern Ireland.

First floor window and corbels to support second floor

The ground floor with window embrasure to the left. Above it you can see the corbels which would have supported the first floor

2nd Floor – shows a kitchen with some sleeping quarters off in the mural chambers around the main room, these were L shaped rooms and could be accessed via the window embrasures of the main room. You can see one person leaning out of one such a door, having a word, while another person is sleeping inside another L shaped room.

Access to Mural Chamber, 2nd floor

Entrance to one of the mural chambers

Kilcrea’s main room was probably more sleeping quarters, but in some other tower houses which had fireplaces at this level there is speculation that these were the kitchens. Most kitchens would probably have been external though.

Upper floors

3rd Floor – Here I created the lord’s room: situated between two floors with fireplaces, this would have been quite a warm room. It shows a typical late medieval bed, chests used for storage and a Savonarola chair, or X chair, in front of the bed, these were quite common throughout Europe at the time, made in Italy. The third floor has its floor boards shown rather than covered, with the occasional fur. Also note the paintings on the wall. There is mention in some written sources that the Irish decorated their walls with branches: I found a piece of metalwork from late medieval Ireland with this very design, the Clogán Óir Bronze Bell shrine of St. Senan, which was early medieval with later alterations in the late middle ages. One side had a pair of dragons with floriated tails and above, branch and leaf ornament along the top, so I used that here, while the knot-work is based off other metalwork at the time.

4th Floor – This was the dining room. In the earlier periods there was always a large external hall to the tower house, made of non stone material, but as time moved on more and more of the the hall activities were taking place within the tower house. This dining room floor in Kilcrea had lovely large windows, not all of them surviving, some with double lights with ogee heads, as shown. I added a transomed triple ogee headed light as shown in the window on the left, which is typical of a late medieval tower house. These windows must have created quite a bright room. Rooms of this stature were probably decorated with ornate wood panelling as shown. No such panelling survives in Ireland, so these are inspired by ones in Britain. Generally tables at the time were long with benches and only really the lord would have had a separate chair. People ate with their hands, there were no forks yet in Europe and everyone had a personal knife with which to cut their food.

Kilcrea Great Hall

Roof – the 4th floor in Kilcrea had very thin walls, in comparison to the rest of the tower house, most likely to give it more space and air. The roof wasn’t gabled but hipped, resting on cornices as shown above the wood panelling. The roofs were often covered with tiles but many were probably thatched too. On the wall walk level, in the front, you can see there were holes at the bottom of the parapets. In Kilcrea some of the wall walk flagstones had chutes carved into them to drain away the rain. The other side (the shadow side) shows wall walk machicolations, which were extended floors with holes in the ground: these are based on Blarney Castle with its pointed corbels. Chimneys were also on the wall walk level and were to become display features in their own right, rising to great heights to carry smoke away but also to show everyone around how well the castle was heated (in later periods castellated houses had lots of chimneys as an extra form of bling).

Wall walk

The Wall Walk, with flagstone chutes designed to carry off the rain

Garderobes

Usually tower houses had 2 garderobes, as did Kilcrea, one for public and another for private use. In the case of Kilcrea both were probably public, but the upper one accessed from the dining hall had 3 holes in it, so probably had wooden seats with three holes for 3 people to use at the same time.

Tower House Garderobes

This upper garderobe chamber also had a window with a slop stone, which were small drainage basins underneath windows, which were essentially urinals (often found on stairs). The garderobe on the 2nd floor, is one of the 3 L shaped chambers off the main room. Garderobes were normally at the ends of passages in both Anglo-Norman castles and tower houses, to give more distance between the rest of the house and the toilets.

Inspector of Drains

Inspector of Drains

Thank you, JG – for your talent in representing medieval life and for your generosity in allowing me to feature your incredible drawings! Go raibh míle maith agat!