Traditional Music

Calary: An Eminent Gathering Of Souls

Adam and Eve in the Garden is an Aubusson tapestry, from the Atelier Tabard Frères et Soeurs (artist website) designed by Louis le Brocquy and dating from 1951-52. Le Brocquy was born in Dublin in 1916 and led a long life which included travelling extensively across continents, always completely engaged in art. He died in Dublin in 2012. On his death, President Michael D Higgins said: ”Today I lament the loss of a great artist and wonderful human being whose works are amongst this country’s most valuable cultural assets and are cherished by us all. Louis leaves to humanity a truly great legacy.” In 2002 the National Gallery of Ireland acquired le Brocquy’s painting ‘A Family’ – the first work by a living artist admitted to its permanent collection.

While out exploring the byways of rural County Wicklow, we chanced upon le Brocquy’s burial place. It’s in the little Church of Ireland graveyard at Calary. We had never heard of it before but – as we reconnoitred – the realisation dawned upon us that this is a very special site. Le Brocquy is probably the most eminent artist interred in these grounds, but he is only one of very many who have presumably chosen to spend eternity in this remote but extremely beautiful corner of rural Ireland. The views towards the not-too-far-away mountains are dramatic.

Le Brocquy’s wife, Anne Madden was born in London in 1932 to an Irish father and an Anglo-Chilean mother, and is still living. Madden spent her first years in Chile, where her Father owned a farm. Madden’s family moved to Corrofin, Ireland when she was ten years old. During the 1950s she met le Brocquy who was then working in London. They married in Chartres Cathedral in 1958 and set up house and studio in Carros in the south of France, where they remained until 2000. The empty plot at Calary beside Louis is presumably saved for her: she will add significantly to the artistic distinction of this community. The plot to the south of him is taken by Anne’s mother – Esther Madden Simpson – and brother – Jeremy Madden Simpson.

Anne Madden and Louis le Brocquy, 1974 (public domain). From that year onwards the family spent long summers on the Beara Peninsula.

A relatively recent gravestone added to Calary is this one, dating from 2018. It remembers Nicole Fischer, a viola player with the RTE Concert Orchestra and the Amici String Trio. Sadly, her death occurred when she was in the prime of her life.

This impressive and beautiful gravestone is the work of Wicklow sculptor Séighean Ó Draoi. There are a number of unusual markers within this site: every one tells a story, of course.

Maurice Carey led a distinguished life in the Church of Ireland. He served as Dean of Cork from 1971 to 1993, when he retired, and in retirement returned to his native Dublin where he was in charge of St John’s Church, Sandymount. While in Cork, Dean Carey presided over a period of great change in St Fin Barre’s Cathedral and he was instrumental in setting up the St Fin Barre’s Study Centre.  He also achieved much in the musical and liturgical life of the cathedral.  “. . . His freshness of mind contributed greatly to this success and he was kind and helpful to younger clergy at the start of their ministry . . .” (obituary).

This stone belongs to Ronnie: Ronald James Wathen, who was born in 1934 and died before his time, in 1993. He was famed as a poet but also climbed mountains – and played the Uilleann pipes (https://www.discogs.com/artist/365089-Ronnie-Wathen):

The poet’s printed obituary sums up a notably eccentric life:

. . . I feel there may be a ‘most individual and bewildering ghost’ glaring with mock ferocity over my shoulder, a restless shade who would never forgive me if I tried to bury him with platitudes. Ronnie Wathen was quite spectacularly different: unpredictable, provocative, abrasive yet stimulating in argument, generous with himself, always able to see and articulate the quirky side of life. In Ireland Ronnie’s first poems appeared and many slim volumes were to follow. He had a most splendid, if unruly, facility with words. Usually he employed them seriously but he also loved frolicking with them, standing them on their heads just for fun. He wrote about anything and everything that caught his fancy, as a poet should . . . the last I saw of Ronnie was when he strode off up the road to do a kindness to an old friend. I must end with a grumble. Ronnie was an insomniac, never known to leave a party until very late. His parting prank was to quit the party of life far too early, at the age of 58, just to tease I like to think. It was a cruel jest . . . he held his final party at the little church of Calary, below Sugarloaf Mountain, in the verdant lap of his beloved Wicklow Hills. On that sunny autumn afternoon many, many friends crowded the church, farewells were spoken in prose and verse, laments welled up from three of the finest pipers in Ireland and a lone fiddler knelt by the open grave and hauntingly played the restless Ronnie to his rest . . .

Mike Banks

Conor Anthony Farrington was born in Dublin in June, 1928. His distinguished career included writing a number of plays for radio and theatre. Notable, certainly, were: Death of Don Juan (1951), The Tribunal (1959), The Good Shepherd (1961) and The Ghostly Garden (1964). ‘The Language of Drama’ in The Dubliner (July-August 1962) concludes the following: “…there are three reasons for a ‘radical alteration in the language of drama’ – viz, ‘the audience’s reason’, the ‘actor’s reason’, and ‘the dramatist’s reason’ – since ‘it is actually by means of particular words and phrases that he discovers his character’…” In later years appeared a collection of short stories (Cork: Fish Publishing 1996).

Another effectively simple slab remembers the sculptor Frank Morris, born in Arklow, Co Wicklow. He spent some years working with the Irish Forestry Department: while there he became a skilled wood-carver. The Dictionary of Irish Biography states that “. . . Carving for him was akin to peeling an onion to reveal the form within . . .” He also developed skills in sign-writing and letter-cutting. Have a look at his magnificent beaten copper door in the Holy Redeemer Church in Dundalk:

It’s interesting to find a Jewish grave in a rural Irish parish: Evelyn and Bruno Achilles (above and below).

In the 1930s The Schools Folklore Collection produced some memorable notes about the parish of Calary:

. . . Glasnamullen is our town land and there are nine families in it. Calary is the name of our parish. There are about twenty-six people in this townland. Sutton is the most common name in this district as their are four in Glasnamullen. All the houses in our town land is slated, but there are three or four thatched houses outside the townland. This place is called Glasnamullen as long as anyone can remember. Mr Arthur Sutton is seventy six, he lives in Glasnamullen, but Mr Fortune is one hundred and Mr Stokes is eighty six. They dont know any Irish, but they are great for telling stories in English. When my father was small he used to get Mr Stokes to tell him stories. Mr Fleming told me a story about Mr Byrne, The Paddock, Kilpedder. Once upon a time a man was cutting down a hawthorn tree in an old fort and as soon as he did a wind rose and took it away and over his head were thousands of birds. No one ever knew where the hawthorn went to, but everyone said that the fairies must have done it. They never plough the land owing to that. St Kevin is said to have blessed a little well beside a river in Ballinstowe. Every one goes and drinks it when they have colds. It is also said it has the power to cure sore eyes. There are pieces of cloth on the bushes around it left by people whose eyes were cured . . .

Muriel Taylor, aged 14
Schools Folklore Collection

“Beware of the Witches you meet in the ditches, between Calary bog and Ballinastowe.” – a local saying!

The ‘fishy’ gates to the graveyard are also artistically wrought.

Zoltan Zinn-Collis was a holocaust survivor. Many thanks to our friend Paul Smith for sending us this information.

I have concluded that this fairly recent grave (2011) is in memory of a mariner. You can see that the inscription is within a porthole – and there is an illustration of a sailing boat. After much searching, I came across a funeral notice – here is a brief summary:

. . . HANNA Simon (late of Bray, Co Wicklow, formerly of New Zealand) – September 7, 2011, suddenly, son of Meg and the late Pat Hanna and brother of Tim, Mike, Pete, Kristin and Jane; sadly missed by his partner Sonja (McEnroe), her daughter Tali and her partner Danny, his sons Rowan, Aiden, Kieran and their mother Ann, his mother, brothers and sisters, extended family and many friends. Reposing in the factory workshop, Mill Lane, Bray from 4pm to 9pm tomorrow (Sunday). Removal on Monday to Calary Parish Church arriving for a Funeral Service at 2.00 o’clock followed by interment in the adjoining churchyard . . .

Funeral Notice

This is not an exhaustive account of the graves in Calary: it’s a selection only. Hopefully it’s sufficient to send you in this direction if you find yourself over in the east. It’s a beautifully atmospheric place. Let’s finish where we started – with a Louis le Brocquy tapestry. This is: Garlanded Goat 1949-50, Aubusson tapestry, Atelier Tabard Frères et Soeurs (artist website).

Midsummer Music

Here’s a little burst from our traditional session in Rosie’s, Ballydehob, last Friday, with a great crowd of players and singers filling the pub with Irish music, as they do every week through the year. Sometimes the session takes place at a different venue in the village, but you will soon find it, between seven and nine on a Friday evening. The music is to remind us that the The 9th Fastnet Maritime and Folk Festival will be held from the 17th – 19th June this year, after an enforced ‘Covid’ break. Hopefully it will be ‘just like old times’. There is a great programme to look forward to – don’t miss it! To get you into the spirit here’s Festival regular Matt Cranitch leading a rendering of the beautiful air Sliabh na mBan.

There’s a tale attached to all good songs, and Sliabh na mBan is no exception. This is from the Dúchas Schools Folklore Collection 1936 . . .

. . . Finn mac Cumail, having come of age, took upon himself the task of choosing a wife. A public man like him had to cater to the popular expectations and he was in sore straits fearing to give hurt to any of the noble families wishing to link their daughter with Finn in the bonds of Holy Matrimony. Having tasted of the Salmon of Knowledge, he was all wise, so he hit upon a good plan. A race would decide who to wed him. He sat on the top of Slievenamon, (Sliabh na mBan – Mountain of the Women). All the ladies were to race from the Anner and the first up was to become his wife. Then the gathering began – old, young, fair, dark, ugly, beautiful, sprightly and lame all came to try and become Finn’s wife. “They’re off!” – what a view as all the maidens of Munster set off on the race. The beautiful girls began well, but soon got tired and as some old hag would limp past them she’d sneer “Fair and go easy goes far in a day”. On they went, the latter tripping the former – three remained to do the east climb – two beautiful girls and a worn, old hag: up, still up – who’ll win what? Wait! the fair girl has fallen, now just a dark-haired caílin and the old woman. Oh look, she’s down – the girl hurts her ankle and tries to creep along, but faints. Now the old hag has an open field. Finn must marry her – But no, up the slope comes a lovely girl and reaches Finn first and like all nice stories, they were married and lived happily ever afterwards. (Nobody knew that Finn had instructed his lady love to run over to Boherbee where the mountain is low and go along the gradual slope, instead of trying to climb the steep precipitous mountain face) . . .

Schools Folklore Collection – Miss H Noonan Aged 70 – Cloneen, Co Tipperary

A reminder of pre-Covid days (above, in Levis’ Bar) – folk legend Martin McCarthy (now aged 81) was a regular at the Ballydehob Festival. There’s some good ‘new blood’ there this year, and the launch of an album of the best Sliabh Luachra music from Pat Fleming with Maria Cotter, Tim Browne, Gary O’Brien and Timmy O’Connor. A special event will take place in Bank House in the main street at 7.15 on Thursday 16th June: festival organiser Dick Miles will give a talk on the ‘folk revival’ – (A musical journey from England to Ireland). There will be plenty of opportunities for all musicians to participate over the weekend, starting with the regular Friday folk session in Rosie’s at 5pm (note the earlier-than-usual time) on the 17th.

There are plenty of good food opportunities in Ballydehob: all will be available over the Festival weekend: the wonderful Yay Burger (top), Budds (above) and Bally Bia (below). Don’t forget Antonio’s and – if you want Michelin Star (why wouldn’t you?) there’s the Chestnut.

But the festival is – first and foremost – all about the music. We hope to see you there over this coming weekend. We’ll finish with more Sliabh Luachra tunes from Jackie Daly and Matt Cranitch, who will be there to serenade us. Enjoy!

The Wran, The Wran . . .

. . . New Year’s Day saw the Wran coming out in our village of Ballydehob, County Cork. It’s an old tradition here. That time “the fool” accompanied the wren boys. He was mounted on a donkey and carried a bladder tied to a stick. I got the song from John Levis, Ballydehob, (34 years of age) who procured it from Jeremiah Driscoll, Ballydehob (age 64yrs) who was an old wren boy. “Wren” is pronounced wran locally in Ballydehob and surrounding districts . . .

Duchas Schools Folklore Collection : Collector J Barry

This account dates from around 1936. It’s referring, therefore, to something happening regularly in the late 1800s and, probably long before that. ‘The Wran’ is still active in Ballydehob, well over a century later. I have written about our own Wran Day preparations not so long ago – and included the song – and I’m pleased to report that the day went well. That’s me, above and below, playing the melodeon (although perhaps I shouldn’t be giving away the disguise)! I’m actually wearing ‘tatters’, which was my costume when I took part in Mummers’ plays in England from relatively early in my life: I was brought up on the Surrey / Hampshire borders, prime country for this English tradition. Mumming also takes place in parts of Ireland, have a look here.

New Years’ Day was quiet day in the village – until we took to the streets! If you want to know the purpose of it all, I can’t really tell you. These are activities that happen around the natural turning point of the year – the change from the sun getting progressively lower in the sky, and weaker, to its returning strength: already we can sense the lengthening of each day. In the mumming on these islands you got a sense of it from a symbolic play where combatants fought and died, then were brought back to life by The Doctor who can apparently cure all illnesses. And, of course, we are always anxious to see the solstice in action!

In Ireland, the Wran Day tradition is accompanied by a play in some places, but more usually it’s a procession through a community, involving interaction by going into houses and shops, making a lot of noise and generally stirring up the spirits with a bit of mischief-making. We were fairly passive this year because of Covid restrictions, but it felt good to be out and about. Let’s hope that this anomaly in the regularity of daily life can become more marked as things gets back to near normal in future years!

Thanks are due to Sonia Caldwell – who instigated proceedings, keeping us all focussed – and Joe and Caroline of Levis’s Bar who provided the venue for making the masks – and gave great moral support! Traditionally, the masks are ritually burned on the following St Patrick’s day. Finola kindly provided the pics.

Kerry Leftovers

We spent a couple of days in Kerry a week before midsummer, and gave you some account of our discoveries on Church Island, Lough Currane, and up in the hills at Caherlehillan – both memorable Early Christian sites. Our adventures did not end there: we managed to take in, also, some other ancient treasures, a couple of Kerry characters, and some stunning scenery – hard to match – as we travelled back to West Cork along the Ring of Kerry road (above).

Firstly, here are Charlie Chaplin and Michael Collins (above), both familiar figures in Waterville. The Hollywood star spent his summer holidays in the coastal town for many years with his family and is commemorated by a bronze statue, while Michael can be found on most days in this much photographed location, always ready to entertain with Kerry polkas and slides on his accordion.

Here’s a much earlier Kerry musician: he’s known as ‘The Fiddler’, and is an unusual medieval representation of an instrumentalist found in the romanesque ruin on Church Island, Lough Currane. I was pleased to find this photograph in the Royal Society of Antiquaries of Ireland Notes from 1908 by P J Lynch as it shows the carving as it was found by the OPW when they took over the site. Now the original, which had suffered accelerated weathering, is kept protected in a museum while a well-worn replica is in place on the site. I believe the carving is a good representation of a medieval bowed lyre, an instrument with six strings which survives today in some cultures, although Lynch gave the following commentary:

. . . The interest in this stone centres in the musical instrument. The examples of ancient carving in Ireland representing stringed instruments are few, and confined to harpers. The photograph illustrates this instrument very clearly. It is the ancient cruit or fidil, said to be the parent of the violin. There are six strings indicated by sunken lines in the stone. The figure appears to wear a kind of tight-fitting tunic. Dr O’Sullivan states that the word fidil being a teutonic version of the original name vièle, it may be concluded that the original instrument was introduced through the Anglo-Saxons, and not through the Normans. He adds that up to the eleventh century it consisted of a conical body, and after that it became oval. If this be a portion of the twelfth-century instrument, the older pattern must have survived. The Kerry people were probably as unwilling to change in those days as they are at present . . .

P J Lynch – Some notes on church island – RSAI 1908

Our trip out to Church Island (above) was accompanied by moody weather, but we were fortunate with other expeditions which included the discovery of ancient sites in the townland of Srugreana (Srúbh Gréine in Irish, which is translated variously as sunny stream, gravelly stream or – my favourite – snout of the sun: Kerry certainly offers some tricky pronunciations for those unfamiliar with the area, or the language!).

This extract from the 6″ OS map, dating from the mid-1800s, shows one area we explored on our Kerry day. It throws up some enigmas: Killinane Church (the church of Saint Lonan or Lonáin) is often referred to as Srugreana Abbey, but this is a separate site indicated further to the north-west on the early plan.

The church site at Srugreana is remarkable in many ways. A 2012 survey commissioned by Kerry County Council Heritage Office found there are at least 1,290 unhewn, uninscribed gravemarkers around the medieval church, and a significant number of ‘house type’ tombs, some of which are ‘two-storey’, like the one above. The concentration of graves – many of which cannot be dated – suggests how populous this now remote area was at one time.

The main purpose of our visit to Srugreana was to search out a holy well dedicated to Saint Gobnait (above). The expedition was led by Amanda, who runs the Holy Wells of Cork and Kerry website. You need to read her comprehensive article on this particular saint here. Interestingly, while we were visiting the well we met the new owner of the land on which it sits. She had no idea that there was a holy well here, and also was unaware of its apparently recent renovation! Note the crosses carved on the stones by visiting pilgrims, above.

From the above accounts, and our two previous posts, you can tell that we had a most productive time exploring just one small area in the ‘Kingdom’ of Kerry. I am rounding off this entry with some more photographs of our journey back along the coast. The weather gave of its best for this county which is our neighbour, and we will continue to explore it and look for more archaeological gems. Keep reading!

Sweet Ilen – Part 4

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

Sketches in Carbery – Daniel Donovan 1876

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

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

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

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

SKETCHES IN CARBERY – DANIEL DONOVAN 1876

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

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

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

Sweet Ilen – Part 3

Here is the third instalment of our wanderings along the Ilen – one of West Cork’s most significant rivers. Once a commercial highway connecting the merchants of Skibbereen with the coastal ports and scattered islands, it now plies its way from the summit of Mullagmesha Mountain taking a lazy and often secret course through lush valleys and pastures, showing itself to us only at a few crossing points until, boosted by many tributaries, it becomes a wide tidal waterway heading for Baltimore and the wild Atlantic.

Our explorations so far have taken us from Newcourt upstream to Ballyhilty Bridge. We have yet to ‘top and tail’ the river: that will be done, but only when restrictions and conditions permit. I doubt that we will be searching for the source in the mountains until next spring at the earliest, as those high paths are closed for safety at present. But, back in November, we were able to continue north from Hollybrook Demense and Maulbrack townland.

Images from top include the header showing the river at Caheragh with the distant mountains to the north; an anglers’ seat at Ballyhilty; and the broad river just upstream of Ballyhilty Bridge. The river is still wide as we follow it, but becomes shallower and is interrupted by rapids mixing with contemplative, deep pools (above).

Large parts of the river here are lost in the hinterland. We try to follow every small trackway that might take us close to it – and which certainly take us to the back of beyond – and catch the occasional glimpse such as this one (above), which is probably an ancient ford.

We delight in travelling the tiniest of boreens, which invariably open up new vistas for us, and make us feel so happy to be living in such a beautiful part of our world! This little used lane (above) takes us to the next crossing point – romantically named, as far as I can ascertain, Graveyard Bridge.

Two extracts from the OS maps of c1840 (upper) and c1897 (lower) show the site on the border of Ballaghdown South and Caheragh townlands, where an ancient road crosses the Ilen River. Both maps show a ford and stepping stones at this point. Today we found a bridge there dating (we believe) from the early twentieth century. We also found the remains of the old ford: large cobbles providing a trackway down the the waters’ edge: Finola is following the original line of the lane (below).

This river crossing was of significance in Medieval times. ‘Blessed Mary de Caheragh’ was a monastic site, said to be situated on the hilltop commanding the view above the graveyard. It was no doubt founded here because of the proximity of the watercourse.

1317 December 28, Geoffrey Fitz John de Cogan is presented by the King (by mandate to the Bishop of Cork), to the church of the Blessed Mary de Catheragh, in the King’s gift, by reason of his wardship of the lands and heir of John de Cogan

Tuckey’s Cork Remembrancer, from Durrus History

There are certainly earthworks, embankments and (reputedly) a souterrain on the high ground which overlooks the river, the ford site and the adjacent burial ground connected to Caheragh village. The Historic Environment Viewer suggest that this site (shown on both maps above) is a ringfort and makes no mention of an ecclesiastical settlement. I braved fierce cows and barbed wire to make the steep climb: it was well worth the effort (and the risk) for the views across the old fort ramparts which opened up to the distant mountains. There is no sign, today, of anything remotely monastic up there on the hill. There is another ‘ringfort’ a short distance to the south – enigmatically named ‘Bishopland’. Nowhere can I find any records or accounts of the fort or the small settlement to the south of it named Bishops Village: this confirms that there is still so much early history to be unravelled in the Irish landscape.

Caheragh Graveyard is located beside the Ilen here and it is also well worth making the time to explore. The village and present day church at Caheragh (which has some fine stained glass) are some way off to the west. You can see the spire on the skyline in this view from the graveyard itself (below).

The extensive Caheragh graveyard (above) – a view from the ringfort (and possible medieval site) looking across the river. The ford, roadway and later bridge are on the far left of the picture. Burial grounds are always a magnet for us, and we spent significant time exploring. The Skibbereen Heritage Centre has done sterling work researching this and many other West Cork graveyards: you will find information online here, and more in the Centre itself, which merits many visits. One grave which was important for me is that of the parents of Captain Francis O’Neill, the Chicago Police Chief who came from West Cork and collected thousands of Irish traditional dance tunes and songs which he gathered from the many Irish settlers in Chicago and who had kept the tradition alive far away from their birthplaces. I wrote about Chief O’Neill a few years ago. The ‘Celtic Cross’ memorial below was commissioned by Francis during a visit home in 1906.

Erected By Captain Francis O’Neill

Chicago, USA To the Memory of his Parents

John O’Neill of Tralibane

Died Nov 1867 Aged 66 Years

And Catherine O’Mahoney

Died 1900 Aged 88 Years

Requiescant in Pace

Amen

inscription in Caheragh Graveyard, West Cork

This aerial view above clearly shows the bridge that has replaced the old ford and stepping stones at this site. You can also see the ‘fort’ on the hilltop above it. The bridge should not be dismissed because it is relatively modern: it’s an example of practical civil engineering in Ireland, possibly in the early years of the Free State, and is functional rather than elegant, serving the purpose of helping to open up some of the remoter regions of the west of Ireland.

Here are the previous episodes in this series: Sweet Ilen and Sweet Ilen – Part 2