Launched!

A joint post by Finola and Robert

Mingling

Hallowe’en (All Hallows – Samhain) was the perfect day to launch our Prehistoric Rock Art Exhibition at the Cork Public Museum. As Finola said in her remarks at the opening, it’s a time when the veil between two worlds is at its thinnest: in this case, it’s the veil between an ancient time and the present day. We hope the exhibition emphasises the work of our distant ancestors who have inscribed the landscape and given us the enigma that is Rock Art.

Blank Canvass

Almost there
Before the Exhibition – Robert contemplates the blank canvas (top) and installation work in progress (below)

As our regular readers will know, the exhibition has been a very successful collaborative effort: Finola and Robert (providing drawings, explanations and the overall design); Keith Payne, a West Cork painter whose work is inspired by ancient art; Ken Williams, the excellent photographer of megaliths and monuments; the staff of Cork Public Museum, including intern Clare Busher O’Sullivan who came up with the idea and Dan Breen, Assistant Curator and his team, who made sure it all happened.

The Team

The Core Team: Clare Busher O’Sullivan, Ken Williams, Keith Payne, Finola Finlay, Robert Harris and Dan Breen

After some intensive days, on site and off, it has all come together and was launched yesterday. It was a grand launch: Firstly, William O’Brien – Professor of Archaeology at UCC – outlined a history of rock art studies and research which started back in the nineteenth century. He mentioned a predecessor in the department – Professor Michael J O’Kelly – who was born exactly 100 years ago and is best known for his excavations and restoration work at Newgrange, the Boyne Valley passage tomb: Finola worked on those excavations and it was Professor O’Kelly who suggested that she should carry out the research on rock art in Cork and Kerry which led to her Master’s thesis on the subject in 1973 – and, 42 years later, to the undertaking of this exhibition.

Professor Michael J O’Kelly (left) was renowned for his work at Newgrange (right)

Next up was Finola, who told us more about her expeditions back in the early 1970s. In those days when the boreens of rural Ireland were mostly populated by donkey carts her own travel was by means of her brother’s Honda 50 motorcycle, and we pictured her loaded down with compass, tapes, chains, chalk and tracing paper – a recording methodology now completely out of favour. But the result was a set of beautiful monochrome illustrations that form the core of the exhibition.

Coomasaharn

Rock Art: a detail of the picking technique (top left), and Finola’s drawings from 1973

In our modern days non-invasive recording methods have to be used: Ken Williams has developed a very effective method of photography using slave flash units to provide low angle lighting over the carved rocks, which brings the maximum level of detail out of the panels. The exhibition contains many fine examples of Ken’s work in this field.

Ken Williams in action: at the Bohonagh stone circle (left) and in the Derrynablaha townland, Kerry (right)

Finola also talked about Keith Payne’s work. He produces large and visually striking paintings based on particular rock art motifs. Two of these artworks are in the exhibition and will inevitably draw the eye, providing a good and colourful counterpart to Finola’s drawings.

Keith Payne at the hanging (left) and at the launch, in front of the remarkable Derreennaclogh stone (right)

The official launch was in the capable hands of Ann Lynch, now Chief Archaeologist at the Irish National Monuments Office. Ann and Finola were fellow students at UCC. Ann outlined the work of her department in recording Ireland’s monuments – and the difficulties involved in pursuing the preservation and protection of these monuments, including Rock Art – before formally declaring the exhibition open.

Ann declares it open

Ann Lynch, Chief Archaeologist at the National Monuments Office, declares the Exhibition open

Noteworthy exhibits include one piece of Rock Art – the Bluid Stone from County Cork – which is in the safe keeping of the Museum, and will remain on permanent display after the exhibition closes at the end of February next year. The Museum also houses an example of passage grave art from Cape Clear island (prominent in our own view from Nead an Iolair).

Tired

Fine Detail: the Bluid Stone under close inspection

Other exhibits include Ken’s superb photo of the iconic stone at Derrynablaha, Co Kerry, in its panoramic setting of a Neolithic landscape. This occupies the whole of the end wall – and is simply beautiful.

Gazing

Visitors are surprised to see much of the floorspace taken up with a 70% life-sized image of the stone at Derreennaclogh: some hesitate to walk over it, but the printing is on hard-wearing vinyl, so feel free. The idea is to give you the feel of what it’s like to discover and explore the Rock Art out in the field. We have to mention how impressed we have been with the printing work carried out by Hacketts of Cork in the preparation of the exhibition – in particular, we were fascinated to watch the professionalism of their installation of the large items.

Yes – that floor can be walked on!

The timescale is set admirably by Alex Lee’s ‘Neolithic Settlement’ on the approach to the exhibition room. It’s well worth studying closely all the artefacts set out in this, and imagining what life must have been like for our artist ancestors in Ireland four or five thousand years ago.

Alex

Alex Lee at work on the Neolithic Settlement

We were delighted by how many of our friends from West Cork and beyond attended the opening, and gave us positive feedback. If you go during the next four months, please sign the visitors’ book. We are so grateful to our friends Amanda and Peter Clarke for being so supportive throughout – and for taking most of these photographs of the event: very many thanks.

Earnest discussions (left) and one of Ken’s superb photographs (right)

Our own day was rounded off by a visit to the Shandon Dragon festival, which processed through the centre of Cork in the evening – another unmissable event which reminds us of ancient times and long-held beliefs…

Shandon Dragon

Hallowe’en: The Shandon Dragon Procession makes its way through Cork City

Up the Airy Mountain…

Shadow and light

…down the rushy glen – we daren’t go a-hunting for fear of little men! We were hunting mountains last week when we travelled up the west coast of Ireland with a visiting friend – finding some of the best scenery this country has to offer.

Connemara 2

If you look down on the island from above (as in this view from NASA, below) the lie of the land is very clear: the high points are all around the perimeters, yellow and brown in colour, with lower green plains in the centre.

nasa imageIf you lived in a country like Canada, then Ireland’s mountains should seem like mere gentle slopes. Our highest peak is not too far from us, up in Kerry, Carrauntoohil (Irish: Corrán Tuathail – this could mean Tuathal’s sickle or fang, Tuathal having been a common Irish name in medieval times) and this is only 1038 metres to the summit. However, the overriding characteristic of Irish mountains is that they often sweep steeply down to the sea or to a lough and are therefore visually spectacular in their settings.

We live in the far south-west: our mountains form the backbone of each of the peninsulas: The Mizen, Sheep’s Head, Beara, Iveragh and Dingle, largely Old Red Sandstone with some Carboniferous Limestone north of Killarney. Our travels took us up to Clare – very distinctive exposed limestone ‘pavements’ and mountain tops – and then to the complexities of granite, schists and gneisses found in the district of Connemara.

Connemara 3

Connemara fence

The four pictures above show the elements of the landscape in Connemara, Co Galway: quiet boreens, reflective water and dramatic mountains

The Irish landscape -and, particularly, her mountains – has long been the inspiration for artists and poets. The work of Paul Henry (1877 – 1958) is sparse and flat, yet expertly captures the character of the high lands of the west. It has been used over and over again in tourist advertising campaigns.

Paul Henry’s work was part of popular culture during his lifetime (above): now his art is very collectible and can be found in international galleries (below)

Killary Harbour

Killary Harbour, Connemara (above) and in Paul Henry’s landscape (above left) is said to be Ireland’s only true fjord (a flooded valley cut by glacial erosion which outlets to the sea): in the foreground are mussel ropes

irish mountain postcard

We stayed in the Lough Inagh Lodge – a comfortable hotel with great character and superb views to the mountains. There I was pleased to discover two original oil paintings by Leon O’Kennedy (1900 – 1979), a little known artist  who travelled mainly in the west of Ireland and, evidently, sold his work by knocking on doors. The hotel’s paintings might have arrived in this way as they depict local views: the prism shaped peat stacks are still very much in evidence in Connemara.

O Kennedy 1

O Kennedy 2

Connemara (which derives from Conmhaicne Mara meaning: descendants of Con Mhac, of the sea) is partly in County Galway and partly in County Mayo, in the province of Connacht. We were there only two days and barely did it justice. We intend to return and get to know it more intimately. In terms of our tour of Ireland’s mountainous districts it was the icing on the cake, but that in no way lessens the particular beauty of the other places we encountered – the strangely haunting limestone heights of Clare and the perennial grandeur of Killarney: all are experiences not to be missed.

rainbow over burren

Killarney

Limestone landscape in the Burren, Clare (top) and the lakes of Killarney, Kerry (above)

Fairy Tree

…By the craggy hillside,

Through the mosses bare,

They have planted thorn-trees,

For pleasure here and there.

Is any man so daring

As dig them up in spite,

He shall find their sharpest thorns

In his bed at night.

Up the airy mountain,

Down the rushy glen,

We daren’t go a-hunting

For fear of little men.

Wee folk, good folk,

Trooping all together;

Green jacket, red cap,

And white owl’s feather!

from The Fairies by William Allingham

Castle Haven

The entrance to Castle Haven. Horse Island is separated from the mainland by the charmingly named Flea Channel.

The entrance to Castle Haven. Horse Island is separated from the mainland by the charmingly named Flea Channel

South West of Skibbereen lies a deeply indented section of the coast known as Castle Haven. It is perhaps best known for the town that clings to the steep hill on its west side – Castletownshend. We have written much about Castletownshend itself, about Edith Somerviille and about the lovely St Barrahane’s Church and its Harry Clarke windows. But the whole inlet is an explorer’s paradise, yielding up its treasure to us on successive visits so this post will be about other things to see around the Haven.

Castle Haven

Catle Haven on a misty day. The inlet was guarded by two castles: this one at Raheen and another at the entrance to the Haven

The Haven is shallow at its top end, but up to the spit of land that runs across it near Reen Pier, it provides a deep and sheltered harbour for boats, and a popular sailing ground. We like to drive down the road that runs above the eastern side of the Haven. It’s twisty and a bit treacherous but at a certain point it presents a view of the whole inlet, dominated by Raheen Castle.

Raheen Castle

This was a castle of the O’Donovan clan, built in the late 16th or early 17th century. It didn’t last long – it was attacked by Cromwellian forces in 1649 and the collapsed upper stories may be the result of cannonball damage.

Raheen Corner machicolation

Continuing to the end of the east side brings you past Reen to the wonderful harbours of Myross and Squince, but that’s a post for another day. Now we’ll return to the west side of the inlet and visit two spectacular archaeological sites, Knockdrum Fort and the Gurranes Stone Row, before proceeding down into Castletownshend.

Knockdrum interior and views to north

The interior of Knockdrum Stone Fort, with square hut site in the middle. The fort commands panoramic views across the countryside and out to sea

To get to Knockdrum Fort, you have to park at the large church about 2km before the village. Walk downhill about half a kilometre until you get to the signposted green road to the fort. A pleasant trudge brings you to a set of steps and these lead up to the site. This is an excellent example of an early medieval stone fort – the kind of fortified homestead that marked the residence of a family of high status before the Normans taught us how to build tower houses.  From this site there are striking views across Castle Haven.

Entrance to Knockdrum

The entrance to Knockdrum Fort, looking towards the entrance to Castle Haven. Outisde the entrance is this large rock, covered in cup-and-ring art

But there’s more to this place than just the fort. There’s an early Medieval cross slab just inside the entrance, and a fine example of 4000 or 5000 year old rock art just outside it. There’s another piece, a cupmarked stone, inside the fort, lying on the ground. All three are here thanks to the activities of Boyle Somerville, a keen amateur archaeologist and brother of Edith Somerville who lived in Drishane House, just below the fort. Farmers who found such items would bring them to him and he placed them here for safekeeping. Also inside the fort you will see evidence of a souterrain – an underground passage used for storage when the fort was active.

Knockdrum cross slab

If you look north across the valley once at Knockdrum you will see a stone row on a nearby hill. These are the Garranes ‘Fingers’. (They are on private land so you should seek permission to visit and make sure there are no bulls in the fields.) The best way to access them is to tramp through the fields across the road from the entrance to Knockdrum. It’s well worth the effort – once you get up to them you will see that more uprights are now lying on the ground. This was originally an alignment of at least five stones, unusually tall and thin, positioned so that they would be visible on the skyline from many directions.

Gurranes Fingers

Drive down towards the village now, until you get to the entrance to Drishane House. To the right of the gate is a bench dedicated to Boyle Somerville. In 1936 he was shot dead by the IRA, who claimed he was recruiting local young men for the British Navy. He was liked and respected locally and, outraged by the deed, the people of Castletownshend raised money for this memorial. If the house is open (there will be a sign) this is a wonderful place to visit. For a small charge you can wander around the extensive grounds and visit the Edith Somerville Museum. We love to go in spring, when the bluebells provide a vivid carpet and a photographer’s paradise.

Drishane house driveway in spring

Drishane House driveway in the spring, with the giant macrocarpa (a Californian cypress tree)

Down to the village now and up to the church. But this time, instead of heading inside to see the Clarke windows, or behind the church to view the graves of Somerville and Ross, cross the graveyard until you find a gate at the far side and head east along the edge of the field towards the water. There you will find the remains of a structure labelled as a star-shaped fort on the OS map. Nowhere near as enormous as the massive star-shaped Charles Fort in Kinsale, nevertheless it is a reminder of a time when the sleepy village was not as peaceful as it is now. Dating to the 1650s, not a lot remains, just enough to confirm that this was a structure built for defence. Along the way you might also see a ruined square tower, known as Swift’s Tower. This was built as a belvedere, (a place to admire the view) and legend has it that Dean Swift visited and liked to write there.

Left is the remains of a bastioned fort, labelled as a ‘Star-Shaped Fort’ on the OS map. Right is the belvedere, where Swift is said to have written

Drive back out of town now and take the left turn after the entrance to Drishane House. Follow this road for about a kilometre to a sharp left turn, just before a small crossroads and turn left down a narrow road that ends at the sea. A tower house used to guard this part of the Haven but nothing remains of it now except a stump covered in ivy and brambles. But wander around the graveyard and admire the picturesque siting of the old church, already in ruins by the mid-1600s. This is a good example of a classic West Cork graveyard. Most graves are marked by simple stones at the head and foot, with no inscriptions. 

Castlehaven Graveyard atmosphere

There are some family plots and some more elaborate memorials, including one for Ellen Buckley, second wife of O’Donovan Rossa (although his name, interestingly, does not appear on the headstone).

Castlehave graveyard, old church

To the immediate left of the graveyard you will find a stile leading to a green path. Take this path and walk up though the luxuriant woods past a rushing stream until you come to a little wooden bridge.

Path by the stream

On the other side is a holy well, cut into the hillside and decorated with ribbons and fishing floats. Make a wish, or say a prayer – this is a special place and still visited and maintained by local people.

Take OS Discovery Map 89 with you. Most of the sites I describe are actually marked on it. But if you get lost, have fun, and let us know what you discovered!

Path through woods

All Around the Bloomin’ Heather

heathers CappaghglassHeather blooms here in late summer and through the autumn – not, as in the song lyrics, when “the summer time is comin’”. It washes the hillsides with a rich pink-purple that has to be seen to be truly appreciated. The gorse has a late bloom too and the combination of the purple heather and the brilliant yellow gorse is one of my favourite things at this time of year.

We’ve been walking the little roads around us in West Cork again, and observing the new cycle of hedgerow flowers since I last reported on them in June.

boreen

Inspired by my Ellen Hutchins experience, I set out to identify some of the most conspicuous of them, aided by my Zoë Devlin book and my friend Amanda.

Fuchsia Montbretia and blackberries

Most striking, of course, is that combination of drooping fuchsia and the gaily waving montbretia (or crocosmia) underneath. Although technically both are introduced species, together these two flowers define the south west of Ireland – it’s what we see in our mind’s eye when we think of West Cork.

Mainly montbretia

Now the berries are ripening and it’s impossible to walk without keeping an eye out for particularly juicy blackberries.

Blackberries

Although, because we’ve had a cold and wet summer, lots of the brambles are only flowering now.

blackberry flowers

Sloes too, with their glossy blueblack skins are there for the picking. Sloes are the fruit of the blackthorn, often used for making sloe gin. They are actually a type of small plum and are considered edible after the frost. (Note to self – must try one!) Blackthorn hedges are common around here as they make an impenetrable, thorny cattle-proof fence. The wood was prized in the past for making walking sticks that could also be used as clubs, sometimes called shillelaghs. Traditionally, they were cured and acquired their glossy black colour by sticking them up the chimney.

Sloes

Whitethorn, or hawthorn, hedges and their red berries, or haws, are equally ubiquitous in September. We love to see our garden birds descend on the whitethorn trees in the winter, knowing that the haws provide an important source of nutrition for them.

Haws

The wild roses, white and pink, still sport a few blooms but now mostly the colour comes from the rose hips, the more domesticated ones huge and glossy and the wilder ones smaller and half-hidden among the brambles. I’ve never made rose hip jelly, which is apparently packed with Vitamin C, but I did pick up a delicious rose hip and apple jam at one of our local markets recently, and I’ve been enjoying it on my morning toast.

One of the dominant flowers in the hedges and ditches now is purple loosestrife. In lower-lying marshy ground it masses in a vivid amaranthine swath.

Loosestrife

We can admire it freely here, although when I lived in Canada I knew it as an invasive weed to be feared and eliminated. Researching this online, I came across this excellent article by the Examiner’s Dick Warner. As he explains it, once purple loosestrife established itself in North America…

In these new homes, without any natural ecological controls, it became invasive and threatened to choke up important watercourses. The main reason this doesn’t happen in Ireland is that purple loosestrife is kept in check by a number of specialised and very efficient insect predators.

There are known to be two species of beetle, two species of weevil and one species of moth that feed virtually exclusively on purple loosestrife and control its spread. In America, the first thing they tried when it started to become a problem was to control it mechanically, by cutting and removing it. When this didn’t work they tried chemical control, spraying it with herbicides. Not only was this equally unsuccessful, it had some very undesirable environmental repercussions. Using toxic substances in or around water is always problematic.

Then the scientists looked to Europe. They decided the moth with caterpillars that ate purple loosestrife was itself a potential pest, so they left it alone. But they imported the beetles and the weevils and they did an excellent job. It’s one of the classic success stories of biological pest control.

The grasses, brackens, hogweed and ragwort have colonised the hedges and jostle for space in the corners of the fields.

Thistles have now mostly lost their purple heads but are no less spectacular for that.

thistle seedheads

In fact seed heads of all kinds provide an ethereal fringe to many of the hedges, while the breeze in the grasses supplies the music. 

Thistles and seedheads

Knapweed (top) and ragwort seed heads

A few of the smaller flowers can be easily missed.

Common dog-violet (left) and tormentil (right)

And even some of the larger ones are easy to ignore because they’re so common. But look closely…

meadowsweet

Scabious

Meadowsweet (upper) and Scabious (lower)

And here’s a handsome one – Hemp Agrimony, sometimes known as Holy Rope or St John’s Herb. Apparently you’re supposed to boil the root in ale as a purgative or to cure dropsy. Now you know.

Hemp Agrimony

Finally, and because many of you cherish the memory of curling up with Baroness Orczy as teenagers, here’s a Scarlet Pimpernel.

Scarlet pimpernel

All the photographs in this collection, with one exception, were taken on one day, September 8. There’s more, so much more, to see and hear at this time of year along the boreens of West Cork, but I’ll leave it at that for now, except to show you whom I was sharing all this with on my walk.

FLY ON BLACKBERRY

Clockwise from top: blackberry, dog rose, rose hip, hawkbit, herb robert and a species of willowherb. All with visitors.

Oh and one more thing… there are many versions of the song Wild Mountain Thyme on YouTube, but this one struck me because of the lyrics. Subtle changes make the song both more romantic and more accurate. See what you think.

fuchsia

Ellen Hutchins: The Short and Remarkable Life of Ireland’s First Female Botanist

Ballylickey House, Home of Ellen Hutchins. Although the burned down, it was rebuilt exactly as the original.

Ballylickey House, Home of Ellen Hutchins. Although the house burned down, it was rebuilt exactly as the original

In West Cork, we have been celebrating the short but extraordinary life of Ellen Hutchins who died 200 years ago this year. Acknowledged in her lifetime as one of the most knowledgeable and accomplished botanists in the British Isles, she contributed specimens and drawings to the great collections in Glasnevin and Kew and kept up a lively and learned correspondence with some of the leading botanical scientists of the day. When she died, aged only 29, her name had already been memorialised: several plant specimens bore the title hutchinsia.

Looks and character

It’s been a fantastic week of lectures, guided walks, exhibitions and demonstrations. Jointly organised by the Bantry Historical Society, the National Parks and Wildlife Service and the Hutchins family, the week has been a marvellous success, with all the events well attended and everyone eager to learn more about Ellen. For a program of what was available, take a look at the excellent Ellen Hutchins website and the Facebook page.

Dublin Botanic Gardens

While many of Ellen’s specimens ended up in Kew Gardens, some went to what has become the Dublin Botanical Gardens

The website contains biographical data about Ellen, her accomplishments, her family and her place in the scientific community, and a links and resources section leading to much more information. Ellen Hutchins was born in Ballylickey, near Bantry, in 1785 and spent most of her life there. During schooldays in Dublin she lived with family friend Dr Whitley Stokes who introduced her to the discipline of botanizing. She became an avid and scholarly collector of plants and seaweed, annotating, sorting and cataloguing as she went, and an expert illustrator of marine and terrestrial specimens.

Ellen identified new species of seaweeds on the shores around Bantry Bay

She roamed freely around the shores of Bantry Bay and took her family’s boat out to Whiddy Island. She also climbed (we’re not sure how) to the top of Knockboy, the highest mountain in Cork at 700m, identifying new species of plants right at the top. We followed her footsteps last weekend, led by Wildlife Officer Clare Heardman of Glengarriff Nature Reserve, botanist Rory Hodd, writer Kevin Corcoran, and Madeline Hutchins, great great grandniece of Ellen, who has been uncovering all kinds of new material on her ancestor.

group botany

What a day we had! It was warm and dry until we got to the top, where we were subjected to a hailstorm for form’s sake before the sun re-emerged. It was an insight into what gets botanists excited – tiny plants, apparently, with subtle variations from other tiny plants.

We were in awe of the knowledge on display, and the boundless enthusiasm of all the plant experts in the group. The highlights for them were finding some of the species that bore Ellen’s name, although Rory and Clare were particularly pleased to find a dwarf willow at the summit that had originally been identified by Ellen over 200 years ago. Along the way, we also learned a lot about the characteristics of that kind of high mountain environment, with its burden of boggy moss and highly acidic environment.

Kevin Corcoran demonstrated the properties of sphagnum moss, and showed us how soft the bog underneath us was, by probing with his staff

Knockboy descent

We felt on top of the world on Knockboy. We drove up to Priest’s Leap and only climbed the final 300m.  But how did Ellen get up there, with her long skirts and her intermittent poor health?

In Bantry House we viewed Ellen’s drawings, beautifully framed and presented and on loan from their permanent homes in Kew Gardens, Trinity College, Dublin and elsewhere. Her drawings were used by other botanists to illustrate books and were considered to be superior in their exactitude.

The Bantry Library hosted an exhibition about her life. This was curated by Madeline Hutchins and here we came closer to appreciating the woman herself, of whom no portrait exists. We learned, through her letters, of the struggles of a home life dominated by an ailing mother, a disabled younger brother and two bitterly feuding older brothers. She suffered from intermittent ill health, which often prevented her from collecting, but when she was strong her delight in her outdoors pursuits was palpable. One of her greatest pleasures was her correspondence with fellow botanists, among whom she earned true respect, especially Dawson Turner.

Dawson Turner

Dawson Turner: Although they never met, he thought of Ellen as a beloved sister and was devastated when she died

Although we were not able to join the group tour of the Ardnagashel Arboretum, we ventured down there on our own and were shown around the east section by the gracious Arethusa Greacen, herself a Hutchins on her mother’s side. The arboretum was started by Ellen’s brother and was maintained and added to by succeeding generations of Hutchins – the botany gene was obviously strongly embedded in the family!

Myrtle Woods Path

Ardnagashel colourMyrtle groves and colour at Ardnagashel

The enormous contribution made by Ellen Hutchins to science has languished in obscurity for two centuries, known only to a few experts in the field (a bit like that other West Cork woman of science, Agnes Clerke of Skibbereen). All that changed last week. West Cork, and Bantry/Ballylickey in particular, has celebrated and honoured Ellen Hutchins in style. There is talk of future events, perhaps even a summer school.

Ellen Plaque

A new plaque has been erected on the wall of the old ruined church in Garryvurcha graveyard, final resting place of Ellen Hutchins

Well done to the hardworking organisers of this exceptional festival! Thank you to them for illuminating the life of this remarkable woman and to helping us appreciate, in the most hands-on and interesting way, her enormous contributions to science.

Madeline Clare Angela

The team behind the Ellen Hutchins Two Hundred Year Celebration: Madeline Hutchins, great great grandniece and biographer of Ellen; Clare Heardman of the National Parks and Wildlife Service; Angela O’Donovan of the Bantry Historical Society. This photo was taken from the Ellen Hutchins 200 Years Facebook Page, with appreciation

Don’t forget to check out the website Ellen Hutchins: Ireland’s First Female Botanist for so much more detail than I could give you in a blog post.

Irish Poldarks

black hole

Derrycarhoon Mine

Schools are back; fields are being cut; the shutters are going down on the holiday houses around the Cove. And – the good weather has arrived! Hot days and red sunsets: West Cork is the place to spend autumn…

Full Sky

Autumn comes to Rossbrin Cove

It was just such a golden autumnal-feeling day when our friend (and Fastnet Trails mastermind) Eugene McSweeney called us to see if we would like a trip out to the old metal mine north of Ballydehob, in the townland of Derrycarhoon. Of course we would! Local farmer William Swanton led the expedition: William’s family had connections with mining – he told us that his grandmother’s father had been a Captain of the mine.

William

William Swanton at the South Shaft, Derrycarhoon

You will know that we live in the townland of Cappaghglass, and this has a mining history, as does the neighbouring townland of Ballycummisk. Also, there are ancient mines on the slopes of Mount Gabriel, not far away, and more mining activity in other parts of the Mizen, Sheep’s Head and Beara Peninsulas.

Allihies19571957 scene at Allihies Mine, Beara Peninsula

hodnett bookWhile many aspects of the 19th century history of the old mine at Derrycarhoon have been well recorded (I am indebted to The Metal Mines of West Cork by Diane Hodnett, The Trevithick Society, 2012), the site itself had for some time been difficult to reach and interpret as it was in a dense forestry plantation established in the 1960s and 70s. Now, however, much of the matured forest has been cleared (albeit leaving a devastated landscape) and it is possible to piece together the layout of the workings. Please remember that the mine is on land managed by Coillte and is subject to Coillte’s policies on access – permission must be sought from the landowner before visiting; also, a guide is essential – there is very rough ground and open and unguarded shafts and trenches.

danger

What is so special about this mine is that it has apparently been exploited firstly in prehistoric times, and then again in historic times – prior to its most recent incarnation in the 19th century. Professor William O’Brien of UCC recognises ‘…the recently-adduced evidence for early medieval operations at this site, which is quite unique in the history of Irish metal mining…’ (A Primitive Mining Complex at Derrycarhoon, County Cork – Journal of Cork Historical and Archaeological Society vol 94). While other mines on the Mizen Peninsula have shown evidence of being worked initially in the Bronze Age and then subsequently in modern times, Derrycarhoon is the only one to date which can confidently claim to have also been in use in between those times.

finola at the shaft

interior

Intrepid Finola inspecting the deep shaft at Derrycarhoon, top, and her photo, below – note the copper staining

We have explored links between West Cork and Cornwall in previous blog posts (here, herehere and here). When it comes to metal mining anywhere in the world there’s usually a Cornishman involved and here is no exception to that rule. The mine agents – whose job it was to prospect and direct operations – were always known as ‘Captains’. A dynasty of Mine Captains was founded by Charles Thomas (1794-1868), a mining agent and share dealer in Camborne, Cornwall – responsible for the very successful development of the Dolcoath Mine in Camborne. Mineral rights here were established in 1588 and copper was being produced in some quantity by 1720. Thomas (who had started work in the seams of Dolcoath at the age of twelve) stepped in as Captain in 1844 after a period of considerable decline in metal production. Charles was a real-life Poldark – insisting that the apparently dwindling seams of copper be followed to the bitter or fruitful end – and his skills saw Dolcoath (known as the Queen of Mines) become the largest, deepest and most productive mine in Cornwall, with its principal shaft eventually reaching a depth of 3,300 feet (1,000 m) below the surface – and incidentally taking the miners between 2 to 3 hours to descend and ascend, significantly reducing their working shifts below ground. Thomas was succeeded at Dolcoath by his son Josiah and then his grandson Arthur, taking the mine well into the twentieth century. (Its successor, the South Crofty Mining Company went into administration in 2013).

Dolcoath 1893

Dolcoath, Cornwall – Queen of Mines – 1893

The point of this digression into Cornish mining history is simply that three more sons of Charles Thomas, Captain of Dolcoath, came to the west of Ireland in the mid nineteenth century and were instrumental in the development of many of the mining activities here, including those on the Mizen. The brothers, Charles, Henry and William arrived by 1841 with their own families – yet more sons – who proceeded to populate, at one period or another, the Captaincies of most of the West Cork activities, including our own Cappaghglass workings and the Derrycarhoon venture.

West Cork Mine Captains: Henry Thomas (left) with his niece and William Thomas (right) with his daughter

The modern age of mining commenced at Derrycarhoon in 1846, under the management of Captain Charles Thomas. Charles discovered no less than six old mines during his preliminary explorations, and recognised similarities between them and the shallow workings of medieval tinners which he knew from his childhood home on the moors of Bolenowe, near Camborne, where such workings were extensive and visible. That’s how we know that this mine had been active in those times. But also, as his brother Captain William records in an article dated 1853:

…In the Derrycarhoon Mountain some excavations have been found, which no doubt were made at a very remote period, as they are invariably designated by the country people ‘Danes’ or ‘Danish Works’, but whether these ancient works were carried on or not by the Danes is not easy to determine: it is, however, an historical fact that the Danes visited Ireland many hundreds of years ago…

1843 drawing danish implements

Nineteenth Century Archaeology: Excavated ‘Danish Implements’, 1843 – in fact these finds are likely to be Bronze Age or Iron Age – have a look at  Umha Aois, a Roaringwater Journal post about early metalworking

(Thomas 1853) …One of these singular excavations at Derrycarhoon was a few years ago cleared of water and rubbish; it was found to be 60 feet deep and about 120 feet in length… the lode or vein appears to have been literally pounded away by stone hammers, a great many of which were found in the old works and which were evidently brought from a considerable distance, there being no rock of the same character within some miles…

Hand-held stone maul used at Derrycarhoon in prehistoric times

We found evidence at Derrycarhoon of these stone tools, generally known as ‘cobble stone hammers’ and probably originating on the beaches below us: their presence almost certainly confirms that the earliest workings here were Bronze Age, as confirmed by Timberlake and Craddock in a paper of 2013: …The distribution of known occurrences of this type of cobble stone hammer at or near to mining sites in the British Isles correlates with some (but not all) of the areas of near-surface copper deposits, particularly along the west coast of Britain… Recent fieldwork suggests good survival of tools at mine sites, even where these have become dispersed as a result of redeposition by later mining… Hammer stones, or fragments of hammer stones, are more or less indestructible, surviving any amount of later reworking. In most cases the fragments of these tools never disperse far from source, even when redeposited several times. Experience has shown that if a range of these can be found, then the approximate site(s) of prehistoric mining can usually be identified…

derrycarhoon trumpet

Further intriguing finds were made at Derrycarhoon in the nineteenth century, including a ‘notched pole’, a ladder and a trumpet-like wooden tube 75cm in length. Whether these artefacts were medieval or earlier we do not know but, remarkably, the tube still exists and is kept in the spectacular Pitt-Rivers Museum in Oxford (why not here in Ireland?). I could only find a poor quality early photograph of this.

Pitt Rivers Museum, Oxford, UK

Pitt-Rivers Museum, Oxford – where the Derrycarhoon Trumpet (above) is stored

The topography at Derrycarhoon – which is reappearing now that the forestry plantation has been cleared – is very similar to the Bronze Age mining sites on Mount Gabriel: long, shallow trenches interspersed with pits and shafts. However, the superimposition of medieval and modern interventions clouds the issue. William Swanton pointed out to us a drainage adit driven horizontally for some distance through the bedrock. We assume this is probably the work of the Victorian speculators.

three figures

portal

Mine explorers (top) and portal (below)

Captain Charles Thomas evidently raised some 30 to 40 tons of ‘rich grey copper ore’ after the ‘old workings’ had been cleared during the 1850s. Derrycarhoon Mine was listed from 1862 to 1873 under the ownership of Swanton and Company but there is no record of any production at this time nor afterwards, although prospecting trials were made in 1912 by a John McArthur of Glasgow and again in 1965 by the Toronto Mining Company. We found part of a core sample on site, presumably dating from that trial. Then the trees took over…

Landscape of spoil: copper traces in the discarded rubble; baryte – and views west to other Mizen mining sites, Mount Gabriel and Mount Corrin

Today, the rough landscape is marked only by green-stained spoil heaps, earthwork undulations and a few recognisable pits and shafts. The litter includes traces of barytes, sometimes a by-product of copper production. If you are not interested in mines or the history of them you will be pretty unimpressed. But, as a microcosm of our own local history, we were fascinated by our exploration of Derrycarhoon and are very grateful to William and his ancestors (were they the Thomases – our own Irish Poldarks?).

Cornish Miners Window