The weather so far this year is breaking records for coldness, wetness and evapotranspiration – while Earth as a whole continues to get warmer. In simple terms that means it’s not pleasant to wander too far from home. I decided to walk down to the shoreline of Rossbrin Cove – all of ten minutes – and see what the winter storms may have washed up: often an interesting diversion.
Above: looking down on Rossbrin Cove with some of the islands of Roaringwater Bay beyond. It is a natural harbour, and there is a thriving boatyard at the western end of it. The difference between low and high tides is around 2.5 metres on average, and much of the inlet dries out when it is at an extreme low. I timed my walk to arrive when the tide was fully down, as I wanted to explore the exposed mud-flats, with hopes of finding intriguing detritus.
Not an inspiring start! In fact, as I continued my review, I noted that there was very little other than the natural environment – weather-worn boulders, skeletal shells and masses of seaweed – to disturb the order of things in Rossbrin on this February day. If our harsh storms had been of some positive effect it was perhaps to flush out any washed-up debris that might have accumulated in the winter – being now past St Brigid’s Day I consider it appropriate to call the season spring.
No matter that the exploration was superficially disappointing, the magic of this little bit of West Cork soon took over, and my mind was filled with the enormity of its history. There was a university here in medieval times: manuscripts were written here in the castle that has become a crumbling pile. Ravens and seabirds now rule over the stronghold. I walked on.
The margins of the cove are lined with ancient banks. At every turn there is a composition which a maestro could frame: I make do with a camera. Rossbrin inspired our artist friend Peter Clarke . . . Thank you, Peter!
Evidence of more recent history: possibly a pot which was used in the process of tarring a clinker boat hull. No doubt vessels were built on these shores – and used to make basic livings. There is still fishing activity in and around the cove; mussel beds thrive in Roaringwater Bay; seaweed collection happens also. In summer months the deeper waters of Rossbrin are occupied by leisure orientated sailing craft. I enjoy the calm days of winter when there is hardly anything on the water. I watched a small flock of oystercatchers scurrying and foraging with their brilliant beaks, and then I turned for home.
The Rossbrin oystercatchers were uncooperative, and wouldn’t let me photograph them. Instead I have imported this wonderfully atmospheric painting by Cornish based artist Steve Sherris. Thank you, Steve
We have posted extensively about Rossbrin Cove, its history and its people. Have a look at these:
It was a big day in Ballvourney yesterday: the public unveiling of two replicas of the 800 year old wooden figure that has been central to observances of St Gobnait on her day for as long as anyone can remember – we must be talking centuries! If you are not familiar with St Gobnait – or her celebrations – read my post here.
It’s actually St Gobnait’s Day today: the eleventh of February. As I write this, the congregation in the saint’s church will be venerating the 13th century wooden figure by ‘measuring’ her with ribbons. But also, for the first time, they will be able to view the two copies of that figure which have been made over the last few months. That exercise has been undertaken so that the figure itself could be fully studied because it is of great historical interest. There are other medieval carved wooden figures of saints surviving elsewhere in Ireland, but this is the only one that is still in regular active use.
. . . A medieval wooden image of Gobnait, kept traditionally in a drawer in the church during the year, is venerated in the parish church on this day. The devotion is known as the tomhas Gobnatan . People bring a ribbon with them and ‘measure’ the statue from top to bottom and around its circumference. This ribbon is then brought home and is used when people get sick or for some special blessing. The statue is thought to belong to the 13th c. A second pattern in honour of Gobnait was traditionally celebrated in Baile Bhúirne at Whit . . .
The above citation is taken from The Diocese of Kerry website, which sets out a comprehensive review of the saint and the activities which honour her. Here’s the measuring taking place a few years ago:
National Heritage Week 2023 explains the purpose of the project to replicate the carving:
. . . As patron saint of the parish, the statue provides a tangible link to the saint but importantly represents the long-standing living devotion to Gobnait. The wooden figure carved out of oak clearly depicts a female monastic. It was guarded over the centuries by the O’Herlihy clan, who were the ruling Gaelic lords of the Ballyvourney area during the medieval and late-medieval periods. It remained in the safe-keeping of members of the O’Herlihy family until they handed it over to the local parish priest in the late-19th century and it has been protected and kept secure by the Ballyvourney Church Committee ever since. The 3D project will comprise the digital scanning of the statue which in turn will enable a 3D generated wooden print out. A second replica will be hand carved as an integrative representation of how the statue would have looked originally before the centuries aged and tarnished it. The replicas will then be placed permanently on display in the Parish Church with information signage . . .
Above is a view of the original carving (in the centre) with the replica of that on the right. On the left is the ‘integrative representation’ – that is the carver’s interpretation of what the figure might have looked like when she first saw the light of day in the 1300s. On the left is Bishop William Crean – Bishop of Cloyne since 2013: he presided over the unveiling of the two replicas yesterday. On the right is John Hayes, of Special Branch Carvers in Fenor, Co Waterford. He was responsible for the carving project and has made an excellent job!
John gave us a presentation yesterday, after the unveiling ceremony, and we learned how he closely examined the original statue, taking detailed measurements and a full photographic survey. This enabled a Sketchfab 3D rendering to be produced: this became the basis for his work. During the examination he was able to find traces of paint, which enabled him to render the interpretative version with – very likely – a high degree of fidelity to the original.
I got the chance to talk to John and ask him about the timbers used for the original and the replicas. The original is of oak, and we don’t have a way of knowing where this came from. The replicas are of ash: this is a good material for stability and longevity. John had access to a good source of seasoned wood.
The day was a study day for St Gobnait, and encompassed a whole lot more than the unveiling of the replicas (they are waiting under the cloth- above – to be revealed)! Note the currach in the pic also: that’s another project – to establish a Camino tracing the route which Gobnait took as she travelled around Ireland from the Co Galway Aran Island of Inisheer, having been told by an angel that her life would be fulfilled when she saw nine white deer. She spent time in Dun Chaoin and Kilgobinet in Kerry, Ballyagran in Limerick, Kilgobinet in Waterford, and Abbeyswell and Clondrohid in Cork, before finally finding the deer in Ballyvourney. You can see those deer on the stern of the currach, above. There are at least eight holy wells in Ireland dedicated to the saint. Amanda has written extensively about Gobnait’s travels and – of course – about her wells.
There was also an excellent series of talks about Gobnait. Events took place in Ionad Cultúrtha an Dochtúir Ó Loinsigh, which is a great facility in the community. Here we are – together with our good friends Peter and Amanda (you have met them frequently on the pages of this Journal), - waiting for proceedings to begin:
This is the moment of unveiling: the Bishop is accompanied by the Parish Priest – Very Reverend John McCarthy SP – and archaeologist Dr Connie Kelleher, National Monuments Service: she has played a significant role in this Ballyvourney project.
The decoration on the hull of the Camino Currach is based on the depiction of Saint Gobnait in the Harry Clarke window from the Honan Chapel, UCC. The bee image on the right reminds us that Gobnait is the patron saint of bees and beekepers. We enjoyed a comprehensive talk on bees by Peadar Ó Riada – who has first hand experience of the subject:
There were many more dimensions to the day. One of my favourites was when the audience was requested to produce anyone named Gobnait to be photographed with the carved figures. That included the variations of the name: Library Ireland (1923) (Rev Patrick Woulfe) gives these as Gobinet, Gobnet, Gubby, Abigail, Abbey, Abbie, Abina, Deborah, Debbie, and Webbie. Ten candidates stood up to be counted:
Thank you to Finola for providing many of these photos
The forerunners of the museums that we visit today were known as ‘Cabinets of Curiosities’. Starting – just about – at the very end of the sixteenth century – we find mentioned and illustrated collections of objects gathered from exotic places: things that a gentleman might be unfamiliar with; things that could expand our knowledge and cause wonder. Curiosities, undoubtedly. Here’s one collection illustrated in 1599:
This is an engraving from Ferrante Imperato’s Dell’Historia Naturale (Naples 1599), the earliest illustration of a ‘natural history cabinet’ (courtesy Oxford University). It shows a room fitted out to display imported paraphernalia: (hopefully mounted) creatures, dried specimens, fossils – also books and illustrations. The collector here takes on the role of educator – perhaps showman. Here you might encounter unicorn horns, a dragon’s blood, mermaid scales as well as the full sized alligator hanging from the ceiling.
Frans Francken the Younger, Chamber of Art and Curiosities, 1636 above (Public Domain). Another selection of paintings intermixed with fish, carved beads, sculptures, with on the table exotic shells, gem-stones mounted with pearls, coins and medals.
Rathfarnham Castle (above) is a good example of an Irish Fortified Manor House. This mainly seventeenth century building type would have been the relatively comfortable home of an aspiring clan – perhaps a titled family with church or merchant connections: Finola has written about a West Cork example. Austin Cooper – a tax collector who indulged his hobbies of sketching and writing while travelling through Ireland in the performance of his duties – wrote of Rathfarnham:
. . . What renders this a Place of any Note is the Cas. belonging to the E. of Ely. This Cas. is square, with a large square Tower at each corner – on the S. side in the Center is a semicircular Tower . . . The hall is but low, at the same time exquisitely elegant . . . The gallery is a beautiful room, at the far end is a curious cabinet of Tortoise Shell & Brass containing some most extraordinary Work in Ivory . . .
Austin Cooper’s Notes, rathfarnham Castle
Rathfarnham Castle has, in modern times, a distinguished continuing association with contemporary ceramicists and in 2015 established a modern Cabinet of Curiosities which continues the tradition of displaying ‘extraordinary work’, and provides excellent material for a Sunday morning post!
The curiosities are not labelled – and nor are their creators. Peter Bagshaw, OPW at Rathfarnham, has kindly provided me with a list – thank you, Peter – attached at the end of this piece. I cannot necessarily individually identify each item: I will leave you to work out which might be which . . .
This eye-pot looks great when you pan out a bit . . .
This one certainly harks back to some of those manufactured creatures that turned up in cabinets of old.
Leather teapot – a fashion item, perhaps?
I think the final image might be my favourite: a young person clutching an angel’s wing? Could this be The Sequestrator?
For a part of my life I lived in the west of Cornwall, looking out over St Michael’s Mount (above). Back in the 5th century, the Archangel himself appeared to fishermen on that rock. Legend has it that the Mount was constructed by giants and, also, King Arthur battled and defeated a giant there. As you all know, we have just passed Michaelmas – the day of the saint – September 29th.
There is another ‘St Michael’s Mount’ on the coast of Brittany: Mont St Michel (above, from an old lantern slide). I have mixed memories of that place, having gone there on a school trip when I was twelve: I had all my hard-saved pocket money stolen from me in one of the little winding lanes that goes up to the summit. Michael is the patron saint of high places, so expect to find him on pinnacles.
This St Michael’s church is certainly in a high place. It’s at Hammerfest in Norway, and has the distinction of being geographically the highest church in the world! (image by Manxruler)
I asked Finola if there was very much in the way of St Michael imagery in Irish stained glass. There’s a fair bit: on the left, above, is a Watsons of Youghal image of the Archangel in his role as weigher of souls. He stands at the gates of Heaven waiting for you on Judgment Day with his scales in his hand. Often, beside him, angels hold up two books: the smaller one records the names of the blessed, while the larger book is a list of the damned… On the right is our friend George Walsh’s depiction of Michael defeating Satan, who here takes the form of an impressive dragon.
This St Michael is very local to us: it’s in Teampall Church at Toormore, and is by Clokey of Belfast (Finola’s photo). Look carefully and you’ll see the Saint pinning down the fire-breathing Devil.
Also in my distant youth I was an ephemeral chaser of ley-lines: I have since thought better of it, but the idea of a straight line starting in Ireland and connecting seven St Michael sites while traversing Europe and Greece was attractive, and fleetingly convincing. Of course, there are many more Michael sites scattered around the Christian world which don’t fall anywhere near this line.
. . . As with other ley lines, no scientific evidence indicates that the alignment was planned and meaningful, making the claim pseudoscientific, but commonly reported at these sites. Physicist Luca Amendola noted that the deviation of these sites from the loxodrome that allegedly connects them ranges between 14 km and 42 km. According to legend the Sacred Line of Saint Michael the Archangel represents the blow the Saint inflicted the Devil, sending him to hell. Some also say that it is a reminder from Saint Michael that the faithful are expected to be righteous, walking the straight path . . .
Wikipedia
It’s nice to see that the phenomenon starts (or finishes) at Skellig Micheal, off the coast of Kerry (pic below courtesy of OPW):
Here’s an interesting view of the three somewhat feminine Archangels painted by Francesco Botticini in 1470. Michael is on the left. With them is Tobias who, in the popular Biblical tale, overcomes obstacles as he and his heavenly guardians set out to discover a cure for his father Tobit’s blindness. They are successful, for Tobias returns with a cure for his father as well as a wife!
I couldn’t resist this wonderful image of a St Michael’s site (from Wikipedia). It is the tenth-century Sacra di San Michele on Mount Pirchiriano in Italy. It also happens to be on the Saint’s ley-line!
I’ll finish this little review of St Michael where I started – off the coast of Cornwall. This 1920s postcard of the Mount, from a painting by A R Quinton, sums up the romantic image which I still carry from my days lived on that coast.
This was the scene in the Working Artist Studios, Ballydehob, on Friday evening. It was the launch of a brand new book by our friend Amanda Clarke: Holy Wells of County Cork. That’s Amanda, above, in the centre, with Finola on her left. Regular readers will know that we share many adventures with Amanda and Peter, and we were so pleased to see the successful fruition of her years of research with this outstanding volume, exquisitely designed by Peter, now available to purchase online, and in bookshops. Finola wrote about this venture last week. I thought I would indirectly celebrate it today by reviving a Roaringwater Journal post from five years ago, about one of our own expeditions that included a visit to a holy well.
Once again we followed in the footsteps of Amanda and Peter: they had visited the Glen of Aherlow in County Tipperary and pointed us to St Berrehert’s extraordinary site at Ardane which I described in this post. Not far away is another site, equally remarkable, and related to St Berrehert’s Kyle in that they were both restored by the Office of Public Works in the 1940s. They are also both very easily accessible in a few minutes from the M8 motorway at Cahir.
We were delighted to be travelling again through the beautiful Glen in the shadow of the Galtee Mountains (above) as we searched out a boreen that led us down to the railway. We parked and crossed at the gate, watching out carefully as this is the Waterford to Limerick Junction line used by two trains a day (except on Sundays!)
Once across, we were in an idyll. It’s a private lane, running alongside a gentle stream, but the Bourke family allow visitors to walk (as they have done for centuries) to the old church, the cell and the holy well of Saint Péacáin. Ancient stone walls line the way, and trees overhang, shading the dappled sunlight in this most exceptional of Irish seasons. We met Bill Bourke, who regaled us with tales of his life spent mostly far away from this, his birthplace – but who returned to rebuild the family home and to enjoy perpetual summer in what is, for him, the most beautiful setting in the world. He also told us of the crowds who used to come to celebrate St Péacáin at Lughnasa – 1st August – paying the rounds and saying the masses.
In her monumental work (it runs to over 700 pages) The Festival of Lughnasa – Oxford University Press 1962 – Máire MacNeill points out the harvest feast day was such an important ancient celebration that it survives as the focus of veneration of many local saints who would otherwise have been known for their own patron day, and she particularly mentions Tobar Phéacáin in this regard: a place well away from any large settlement where the great agricultural festival was so critical to the cycle of rural life.
The rural setting of St Péacáin’s Cell can be seen above, just in front of the trees; the church and the well are nearby. MacNeill provides a description of Tobar Phéacáin and includes some variant names:
. . . Tobar Phéacáin (Peakaun’s Well), Glen of Aherlow, Barony of Clanwilliam, Parish of Killardry, Townland of Toureen . . . On the northern slope of the Galtee Mountain at the entrance to the Glen of Aherlow and about three or four miles north-west of Caher there is a well and ruin of a small church. About a mile beyond Kilmoyler Cross Roads a path leads up to it . . . In 1840 O’Keefe, of the Ordnance Survey team, reported that the old church was called by the people Teampuillin Phéacáin, or just Péacán . . .
. . . The well, which he described as lying a few perches south-east of the church was called Peacan’s Well or Tobar Phéacáin. It was surrounded by a circular ring of stonework. He stated: ‘The pattern-day still observed at this place falls on the 1st of August, which day is, or at least until a few years since, has been kept as a strict holiday.’ Devotions were also, he said, performed there on Good Friday . . .
A hundred years after O’Keefe wrote this, the church ruins were tidied up by the Office of Public Works. As at St Berrehert’s Kyle, it seems there were numerous carved slabs on the site and remnants of high crosses, implying a significant ecclesiastical presence here. All these have been fixed in and around the church ruin for safekeeping, and in an intelligent grouping. It’s wonderful to be able to see such treasures in the place they were (presumably) made for, and to experience them in such a remote and peaceful ambience.
McNeill continues:
. . . Nearby is the shaft of a cross which tradition avers was broken in malice by a mason who was then stricken with an inward pain and died suddenly as a punishment for his sacrilege . . . O’Keefe was told a story of a small stone, 6 or 7 inches long and 4 or 5 in depth, having ten little hollows in it and resting in a hollow of the ‘altar’ of the old church. Christ, or according to others St Péacán, asked a woman, who had been churning, for some butter; she denied having any and when the visitor departed she found the butter had turned into stone which retained the impression of her fingers . . . Nuttall-Smith speaks also of a cave where the saint used to practice austerities . . .
The carved fragments are quite remarkable and are in all likelihood well over a thousand years old. I have yet to see anywhere in Ireland – outside of museums – which has such an extensive collection of fascinating medieval antiquities as these sites in the Glen of Aherlow. Here you can also see cross slabs and a sundial said to date from the eighth century.
Nuttall-Smith’s ‘cave’ – quoted by MacNeill above – is likely to be St Péacáin’s Cell, set in a field on the far side of the river. This was probably a clochán, or beehive-hut, of the type once used by anchorites. It is protected by a whitethorn tree, but was quite heavily overgrown on the day of our visit. We could make out the ballaun stones inside, said to be the knee prints of the Saint who made his constant devotions there. Amanda – in her post on the holy well – reports that Péacáin would also stand daily with arms outstretched against a stone cross, chanting the psalter.
McNeill discusses the significance of weather at the August celebrations:
. . . Paradoxically for a day of outing so fondly remembered, no tradition of the Lughnasa festival is stronger than that which says that it is nearly always rainy. No doubt this has been only too often experienced. Saint Patrick’s words to the Dési: ‘Bid frossaig far ndála co bráth’ (Your meetings shall always be showery) must be as well proved a prophecy as was ever made. Still there must be more significance in the weather beliefs than dampened observation. Certainly it was expected that rain should fall on that day, and sayings vary as to whether that was a good or bad sign . . . There are a few interesting beliefs about thunder, which was also expected on that day: the loud noise heard at Tristia when the woman made rounds there to have her jealous husband’s affection restored; the prophecy that no-one would be injured by lightning at Doonfeeny, a promise also made by St Péacán . . .
The holy well is tucked away in a stone-walled enclosure hidden under the trees on the edge of the field which contains the Saint’s cell. It is also a tranquil place, obviously still much visited: the water is crystal clear, refreshing and will ensure protection from burns and drowning. This is a magical setting to complete our day’s travels in the beautiful Glen of Aherlow.
In my recent posts I have set out a brief history of how the new State became electrified – and how this affected the urban and rural ways of life in Ireland. An important part of the story was the building of the hydro electric power station at Ardnacrusha, on the River Shannon, between 1925 and 1929. That’s the original control room, above, unaltered since construction – there’s not a screen in sight! Most of the works of the station are now handled elsewhere using screens and keyboards rather than dials and switches. This site became the nerve centre for the electrification of Ireland and the National Grid was established in tandem with the project.
This selfie shows Finola and I on a visit to Ardnacrusha last week. (If you want to go yourself you have to book in advance). We had a great time! And I’ll be reporting back on that trip in due course. But first I want to take you back in time – more than a thousand years . . .
Here’s the River Shannon today, just north of the power station. There’s a big head of water there, and the river had to be dammed and flooded to maximise the feed to the turbines. The significantly raised water level had consequences.
The aerial view, above, shows the river today with its elevated water level. In the pic you can see the ‘Site of Friar’s Island’ indicated: before 1930 there was an island there, on which were some noted relics, including the Oratory of St Molua of Kyle (also known as St Lua), who died in the year 608. His feast is celebrated on August 4th. It’s said that crowds used to assemble there on that day, most of them wading across the water to get to the island. This description of the saint is from the Schools Folklore Collection (informant Tom Seymour, aged 60, Cloncully Co Laois):
. . . We don’t know where he belongs. Some say he belongs to Killaloe. He had his monastery in Kyle. Near the monastery he had a big stone where he used to pray. There are two big holes where he laid his elbows, and two more where the tears fell. In Ballaghmore there is a trough laid up on a stone. It is always half-full of St Molua’s water. The hottest day in the summer the well is always half-full of water. When he died the people of Killaloe wanted to bury him in Killaloe and the people of Kyle wanted to bury him in Kyle. They made two coffins, one went to Kyle and the other to Killaloe. He had another monastery in Offaly . . .
Schools Folklore Collection
In this extract from the early OS 6″ map (above) you can see that the island was quite substantial. The pilgrimage involved visiting a holy well and St Lua’s Oratory. The small church was by tradition built by the saint, although it seems likely to date from the ninth or tenth centuries.
St Lua’s Oratory – Eighteenth Century water colour – Royal Irish Academy. The figures are somewhat out of scale. Below is a photograph of the Romanesque structure taken on the island in the 1920s.
. . . The nave walls are constructed with uncoursed cyclopean sandstone masonry while the chancel walls are constructed with roughly squared stones of smaller size. The chancel has a single-light round-headed E window with stepped sill-stone and unusual flat-headed doorway in the S wall. The round-headed chancel arch has curious jamb-stones which are not flush with the chancel arch and project inwards. The triangular-shaped chancel roof is bonded with lime mortar and is well preserved. The nave walls are poorly preserved and only survive several courses high with a trabeate doorway in the W wall. Excavations at Friar’s Island prior to the removal of the church revealed that the church was constructed on a stone platform enclosed by a possible cashel with a revetment wall of unknown purpose. A second stone platform (dims. 22ft (6.71m) N-S; 50ft (15.25m) E-W) was located to the S of the church and eleven skeletons were uncovered under or close to the foundations of the N wall of the church (Macalister 1929, 16-24) . . .
National Monuments Service description
As the plan to establish the new power station progressed, it became obvious that the level of the river below Killaloe would have to be raised significantly in order to maximise the water power turning the turbines to be installed: some five meters, in fact. The consequence for Friar’s Island were that it would be flooded, and the Oratory would be lost.
Considerable debate ensued, the main factions being archaeologists, engineers, and the Catholic Church. Politically, the efficient functioning of the new power station was paramount in order to show the State and the world that Ireland was an entity to be reckoned with. At the same time, the archaeologists were keen to project that the independent country recognised and championed its very rich ancient heritage, and would therefore go out of its way to preserve all surviving artefacts. The Catholic Church was anxious to show allegiance to all aspects of progress in the State, while noting that it was also the fundamental root of the unique Irish culture that led to the historical founding of sites such as St Lua’s Oratory. I was fortunate to be given access to a paper by Niamh NicGhabhann of the University of Limerick: Medieval Ireland and the Shannon Hydro-Electric Scheme: reconstructing the past in independent Ireland. Here’s an abstract:
. . . This essay considers the position of Irish medieval buildings in the early years of the twentieth century. Focusing on the treatment of the oratory of St Lua at Killaloe, it examines the ways in which the ruins of the medieval past were used to signify a range of political, religious and cultural ideas and attitudes. The rising water levels following the Shannon Scheme works (begun in 1925) meant that this stone oratory was moved from its original position on Friar’s Island to the grounds of St Flannan’s Roman Catholic Church in 1929. The resulting paper trail reflects the complex processes of decision-making within a civil service in transition as the new Irish Free State calibrated its position with regard to the past and the treatment of medieval ruins throughout the countryside. The case study of St Lua’s oratory is considered here in the context of the nineteenth-century tradition of scholarship on medieval buildings, the development of the idea of a national Irish architecture during this period, and the impact of this tradition on subsequent engagement with the buildings of the medieval past . . .
Above – a surviving photograph of St Lua’s Oratory being disassembled in 1929. The various debates had produced three alternative solutions to the dilemma of the impending inundation of Friar’s Island:
1 – Allow the island and the ruins to vanish below the flood: by far the cheapest course of action.
2 – Build a new concrete platform (effectively a new ‘island’) above the level of the flood water, and transfer the remains of the building to this.
. . . The RSAI officially responded in support of the second proposed scheme of work, involving the elevation of the building and the construction of a concrete pier. They suggested one amendment to the plan, that a ring of grass be added around the building to give the concrete plinth the appearance of an island. Given that both the RSAI and the OPW were in favour of the second scheme as the most appropriate and cost-effective course of action, the fact that the oratory was eventually moved and transported some distance from the site, however, reflects competing values, as well as several structural problems that emerged in the second scheme as proposed. As works progressed, it became clear that the elevated island site would be eventually undermined by the flow of the river, making this process untenable . . .
3 – The Scheme that was eventually adopted involved dismantling the Oratory and re-assembling it as faithfully as possible, on a suitable mainland site. Initially the suggested site was on the Clare bank of the Shannon, but the ground conditions were not suitable for a permanent structure.
. . . A further plan for relocation was also progressed, which involved moving the ruin into the town of Killaloe, and locating it beside the later and larger oratory of St. Flannan, and the medieval cathedral of St Flannan. These plans were at quite an advanced stage by mid – 1929, with several drawings and maps produced by Leask’s office for the purpose. However, while the preservation process was certainly hampered by these structural issues, ideological concerns also had a direct impact on the treatment of the oratory . . . The intervention of Bishop Fogarty was also noted on 13 July 1929, when the Limerick Leader reported that “the safeguarding of such a venerable relic of primitive Christian architecture is due to the timely intervention of Dr Fogarty, Bishop of Killaloe, who put the matter before the Government”. (Limerick Leader, 13 July 1929) . The use of the word “relic” as opposed to “ruin” is significant here, reflecting an interpretation of the site as part of a tradition of faith, rather than of architectural or antiquarian interest . . .
In this photograph of the Oratory as it stands today in the church grounds at Killaloe, it is perhaps worth wryly commenting that we see a true piece of early medieval architecture behind the screen of ‘pseudo’ high crosses. We have a good record of how the remains were dismantled and accurately re-assembled: this was written by the archaeologist H G Leask MRIA in 1930:
. . . In order that the rebuilding should be, as far as was possible, an accurate one, it was necessary to adopt a system of marking the stonework by which the original stones should occupy their original positions when reassemble. The stones being very varied in size and irregular in shape, and laid uncured, no system of numbering such as could easily be applied to squared ashlar was admissible. To the Clerk of Works in charge, Mr C J Dowdall, must be given the credit for the scheme finally decided upon. This consisted in marking with paint of different colours a series of level lines at two feet vertical intervals all round the exterior and interior wall faces. These lines were crossed again by a series of vertical lines at the same intervals but of one distinctive colour for each wall face inside and out. Where the squares formed by this grid of paint enclosed, unmarked, a number of small stones, diagonal lines were added to each square to ensure that every stone showed the same marking. A complete series of elevational photographs of each wall face was taken and careful drawings were also made with the coloured guide lines indicated upon them. On the large plot of ground on the opposite side of the river kindly lent by Major Lefroy, above future water level, timber guide planks were laid down as a frame to each wall and gable face. On the timber frames the coloured guide lines were indicated and the stones when transported were laid down face upwards, in sand, in correct relation with the coloured marks. Each wall, of course, was divided in two vertically along its length and “displayed”. Important quoin, jamb, and arch stones were numbered in colour in regular order. The transport over the Shannon was carried out by means of a specially built barge and a rope stretched from shore to shore, the workmen simply “handing” the boat across by this means. An inclined trackway with truck and winch was erected by Messrs Siemens Bau Union and two small temporary jetties by direct labour. The Most Reverend Dr Fogarty, Bishop of Killaloe, vested a site in the Church enclosure on the summit of the hill in Killaloe town, and the building has been erected there and is now (May, 1930) approaching completion. (Note: the work of re-erection was finally completed in July, 1930) . . .
The Church of St Lua, or Molua, Friar’s Island, Co Tipperary, Near Killaloe Further Notes – H G Leask 13 May 1930
A couple of afterthoughts to finish off with: a letter from Canon Clancy to Leask, dated 14 October 1930, asked whether a gate could be installed, as it is “liable to be desecrated by boys using it as a urinal, in fact, some boys have already been using it”. And a contemporary cutting from the Nenagh Guardian noted that . . . works cost thousands of pounds are being misused on a “folly” in demolishing St Lua’s Chapel and hiding it in a yard when they could have lifted it above the waters and put a strong light in it that would have illuminated the whole country round, and made it one of the sights of the place . . .
I am grateful to Niamh NicGhabhann for allowing me access to her excellent paper on the tensions surrounding the proposals for the Oratory remains. Further information on the Electrification of Ireland can be found in these posts:
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