Irish Roads

Driving the Gap of Dunloe in Kerry – it can only be done in winter.

To give you a flavour of what it’s like to drive in Ireland, I’ve put together a few of my favourite photographs of the roads we’ve travelled. Sometimes I wonder if we will get to the point where we take for granted the spectacular scenery which is such an everyday occurrence for us, but then we find ourselves pulling over once again to wonder at the wild landscape, the grandeur of the mountains, the way the sea cuts deeply into the sandstone cliffs, the old castles and ruins that dot the fields – and we know that we will never tire of Irish roads.

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I’ve chosen only photographs that have roads in them, so you can get the feel of travelling in Ireland. And yes, it does rain in Ireland and the clouds come down and cover everything and then driving isn’t as much fun. Find a pub to hole up in, wait a while, and try a prayer to St Medard.

Of course some of you, dear readers, do this every day, like we do, so tell us your own favourite Irish roads – or share a photograph on our Roaringwater Journal Facebook page if you like.

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Obstacles are common – so don’t drive too fast along the rural roads as you never know what might be around the bend.

And there’s no point in being in a big hurry…

There’s only room for one at a time

We do have freeways/motorways in Ireland, and tolled highways, and congested city streets with honking traffic. Our advice is to get off the highways and out of the cities as soon as possible. Get on this road, for example, that runs through the Black Valley in Kerry, and see where it takes you.

Happy driving in Ireland!

Posted on August 16, 2015April 19, 2023
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Fastnet Trails: Rossbrin Loop, Part 1

A joint post by Robert and Finola

In Robert’s post about the Fastnet Trails, we introduced you to this new trail system, and in particular to one of the delightful walks – the Lisheenacrehig Loop. Today’s post is about another of the walks – the Rossbrin Loop. This walk is all on country boreens, so you can wear your ordinary walking shoes and take the dog if you like but keep him on a leash and stick to the road. You will pass other dogs on the way, as well as fields of livestock.

You can do this whole walk as laid out in the brochure. It’s just under 12km and will take you at least three hours, but probably more if you like to stop to explore, take pictures, have a chat along the way. Oh, and see where it says ‘easy grade’? Take that with a pinch of salt – this walk will give you a good work out as it takes you from sea level to 70m (230ft) and back again.

But we know that many of you like to take an easier pace and, like us, might find a 12km loop a bit intimidating, so we’ve decided to give you another option. We will lay out a 2-walk option for you, beginning with Walk 1 now, and we will do Walk 2 in a future post. We provide our time estimate for a meander rather than a march. And – a disclaimer: our suggestions depart slightly from the official Fastnet Trail and have not been sanctioned by that group. Where you depart from the marked trail, you walk at your own risk.

Walk 1: Ballydehob, Greenmount, Foilnamuck, Cappaghglass, Ballydehob

Time: 2 to 2.5 hours (with diversion)

Level: Easy but some steep stretches

Take: Binoculars and camera

Park in the Ballydehob car park just east of the river estuary and start by taking the lovely nature walk that takes you over the 12 Arch Bridge. This beautiful structure was once part of the West Carbery Tramway and Light Railway. A train ran across this bridge from 1886 to 1947 – Robert has written about The Flying Snail that traversed West Cork, but for a real flavour of what it was like read Poisson d’Avril in Somerville and Ross’s The Irish R.M. Here’s the first paragraph:

The atmosphere of the waiting-room set at naught at a single glance the theory that there can be no smoke without fire. The stationmaster, when remonstrated with, stated, as an incontrovertible fact, that any chimney in the world would smoke in a south-easterly wind, and further, said there wasn’t a poker, and that if you poked the fire the grate would fall out. He was, however, sympathetic, and went on his knees before the smouldering mound of slack, endeavouring to charm it to a smile by subtle prodding with the handle of the ticket-punch. Finally, he took me to his own kitchen fire and talked politics and salmon-fishing, the former with judicial attention to my presumed point of view, and careful suppression of his own, the latter with no less tactful regard for my admission that for three days I had not caught a fish, while the steam rose from my wet boots, in witness of the ten miles of rain through which an outside car had carried me.

Ballydehob Quay saw brisk trade in the days before the Bay silted up. The lovely old Pier House once functioned as a coal warehouse.

Following the walkway, you emerge by the school and turn left on to the Greenmount Road. This can be a busy stretch, so be careful along here. Once you get to the turquoise shed, turn left. Here you find yourself beside a burbling stream that empties into Ballydehob Bay at a small and picturesque pier. This and others like it were busy piers in the old days, serving the fishing boats as well as the sand boats that worked these waters, dredging sand to be used as fertiliser and building material. Nowadays this little inlet seems hardly navigable and the same blue and white boat has been moored here for a long time.

The road climbs steadily up now past working farms. Looking back towards Ballydehob you can see the Bay and even the 12 Arch Bridge in the distance.

As you round a corner your view changes and Kilcoe Castle comes into view. Now home to Jeremy Irons, who has restored it beautifully from a complete ruin, it was a classic 15th century tower house owned by the McCarthy Clan. So well was it situated and defended that the inhabitants were able to hold out for two years in the aftermath of the Battle of Kinsale (1601). Situated on a tiny island and glowing a soft amber colour, it is a beloved landmark in these parts.

Below you is a shallow bay that is a haven for shorebirds and seals. If the tide is out linger a while and use your binoculars to see what you can pick out along the tidal flats below you. If you’re lucky the seals might be out along the rocks, sunning themselves. Once underway again, you’ll pass an old cottage on the left. A recently-dug pond in its garden is already full of water lillies.

Continue now along the narrow boreen and brace yourself for the climb to the highest point of the walk. No longer on leafy lanes, you are now walking on a bare plateau with panoramic views in all directions. The whole of Roaringwater Bay gleams before you. To the east, towards Kilcoe, lie the mussel beds that now dot this part of the Bay. Sherkin Island and Cape Clear are on the horizon, as is the Fastnet Rock. Ahead of you is the looming shape of Mount Gabriel, dominating the skyline as it does in so many parts of West Cork.

If you look carefully here you will see that the gorse and bracken barely conceals the outline of tiny field walls. There was a large population around here once and a thriving industry. Read Robert’s piece, Copper Country, for more about the mining activities of Cappaghglass. There are a few clues left – the stump of a large chimney that once provided a prominent landmark but that was felled by lightning can still be seen.

Don’t turn left here (as the trail map wants you to) but instead continue straight on and turn right at the T junction and descend to the crossroads. From the crossroads you can go right and follow the road back to Ballydehob. But if you still have the energy and want to prolong the walk a little, there a diversion here that is worth considering. Turn left and climb the hill until the road flattens out. About 500m from the crossroads look up and to your left and you will see the silhouette of a large ring fort. A tiny green lane leads up to it between some houses but it is on private land.

Irish ring forts generally date to the Early Medieval period – this one may be between 1500 and 1000 years old and would have been the enclosure of a farm house. A wooden fence on top of the earthworks would have kept wolves out and animals in. But the prominent position of this one also meant that it would have been a high-status dwelling. There are hints of a fosse (an outer ditch), which was a defensive feature, and reports of a souterrain, or underground passage, situated in the middle. The ridges of lazy beds – the traditional potato-growing grooves – cross the interior of the fort, indicating that this ground was used to feed a family until the area was de-populated in the aftermath of the famine. There is a large standing stone, known locally as Bishop’s Luck, above the ring fort. This could be Bronze Age or even older.

It’s an easy walk, downhill all the way, back to Ballydehob. You’ll be more than ready for a coffee and cake in Budds or a lovely bowl of soup in the Porcelain Room by the time you get there. Tell them the Roaringwater Journal sent you.

See you next time for Walk 2.

Posted on August 10, 2015November 4, 2016
23 Comments

The Gift of Harry Clarke

This post was inspired by a gift from my oldest and dearest friend – three books on stained glass passed on to me because he is moving from his home of the last 65 years, a home in which I spent much happy time. A loyal reader of our blog, he knows of my enthusiasm for stained glass, an obsession I shared with his late wife, the wonderful Vera, whom I still carry in my heart.

The Kendal Coghill Window, Church of St Barrahane, Castletownshend, Co Cork

One of the books is the exhaustive and erudite study of Harry Clarke by Nicola Gordon Bowe. The other two are more general, although each of them devotes a section to the work of Harry Clarke. My initial intention was to look at Harry Clarke as a illustrator, with special reference to his portraiture, using a variety of windows as examples. I may still do that in the future. However, I’ve decided that for now, just one window perfectly illuminates what I want to say about Harry Clarke this time. It’s a window we have both used before in posts (Robert in his Martinmas piece, and I in a couple of places) – the Kendal Coghill window from St Barrahane’s in Castletownshend. Through this window I hope to show you the unique genius of Harry Clare, but also how he drew from life and from great art to create his stained glass panels. (For more on Harry Clarke’s life, see my previous post, The Nativity – by Harry Clarke.)

Kendal Coghill, drawn by his niece, Edith Somerville

Who was Kendal Coghill? He was born and bred in Castletownshend, Edith Somerville’s uncle and a distinguished soldier, rising to the rank of Colonel. He served in India, where he took a kindly and active interest in the young Irish soldiers in his regiment. One of his melancholy duties was writing to their mothers to advise of their deaths. He was also “excitable and flamboyant”, writes Gifford Lewis in her excellent book, Somerville and Ross: The World of the Irish R.M.. As one of the leaders of the amateur spiritualist movement in Castletownshend he introduced Edith and her brother Cameron to automatic writing. By all accounts he was generous and warm hearted and it was his compassion that the window was to emphasise. The two subjects were chosen carefully – Saint King Louis IX of France, and St Martin of Tours. Coghill could trace his ancestry to King Louis, famed for his beneficence, and St Martin was the patron saint of soldiers.

Contrasting styles

The first thing that strikes you upon entering St Barrahane’s is the contrast between this window and the others (by Powells of London) on the south side. Alongside the conventional Powells the Clarke blazes with colour and with detail. Every square inch is individually worked, there are no repeated patterns or conventional scrolls. Examine the borders, for example, filled with abstract and colourful motifs, never recurring.

St Louis detail: each motif in the border is uniquely designed and coloured. The robe intrudes in front of the border, lending a £D effect.

St Louis detail: each motif in the border is uniquely designed and coloured. The robe intrudes in front of the border, lending a 3D effect

Harry’s habit of placing figures at different heights adds visual interest to the side-by-side panels and may have been influenced by Japanese pillar prints, which were also a major factor in the design aesthetic of Frank Lloyd Wright. A church window is by its very nature long and narrow and the design challenge this poses had first been explored by Japanese artists whose woodblock prints were hung vertically on walls, or fixed to house posts. Contrast the static, forward-facing, identically scaled figures in the Powell window with the dynamic composition of the Clarke panels. The St Martin figure, in particular contains two figures and manages to tell a whole story, like this example of a pillar print.

The choice of the window and the management of the commission rested with Edith Somerville. Harry Clarke stayed with her in Drishane while executing the final placement and she liked him very much. Beside the Kendall Coghill window which is the subject of this post there are two other Clarke windows in St Barrahane’s. But St Barrahane’s, as Gifford Lewis explains, is not…”typically Protestant. High Church, Anglo-Catholic influence is in restrained evidence besides the astounding blaze of Clarke’s windows. Jem Barlow, the medium, claimed that at a service one Sunday in St Barrahane’s the spirit figure of Aunt Sidney appeared, caught sight of the Clarke windows, started, then exclaimed “Romish!” and dissolved.”

Above St Louis, “a parade of the poor and diseased”

Saint Louis occupies the left panel. He is depicted with an alms purse in his left hand and a crucifix instead of a sceptre in his right hand. Look carefully – above him are the poor and sick that were the objects of his constant charity. Here’s what Nicola Gordon Bowe has to say about this section of the window:

Dimly visible…is a small procession of the heads and shoulders of the poor and diseased who used to feed at his table. These again show Harry’s unique ability to depict the gruesome, macabre and palsied in an exquisite manner…The seven men depicted, old, bereft, angry or leprous, are painted on shades of sea-greens and blues, mauves and grey-greens, in fine detail with strong lines and a few brilliant touches, like the grotesque green man’s profiled head capped in fiery ruby, the leper helmeted in clear turquoise with silver carbuncles, and the aged cripple on the right in ruby and gold chequers.

This section, it seems was likely influenced by a painting that Harry was familiar with from visits to the National Gallery in London – Pieter Bruegel’s Adoration of the Kings.

Detail from Pieter Bruegel’s Adoration of the Kings

The ship in which he sailed to the crusades is depicted above King Louis.

Saint Martin, in the right panel, is depicted in the act of cutting his cloak in two, to give half to a beggar. Martin’s face is archetypal Clarke – the beard, the aquiline nose, and the large eyes filled with compassion for the beggar.

St Martin of Tours

The helmet is worth a closer look. First of all, it is beautifully and finely decorated in the niello style, and second, it is topped with a tiny figure, sphinx-like, with long wings. Nicola Gordon Bowe points to the influence of Burne-Jones here, to the helmet worn by Perseus in The Doom Fulfilled.

Burne Jones’ The Doom Fulfilled

Clarke also found his inspiration in life drawing. He used himself for a model occasionally, but also ordinary people from the streets of Dublin. The beggar may have been based on one familiar to him. His face is dignified despite his wretched condition and his patches are rendered in as exquisite detail as is the Saint’s armour.

The beggar may have been based on a familiar Dublin figure

The beggar’s hand

Finally, at the very top of the window two haloed figures look down. Harry Clarke had a thing for red hair and this is a perfect example of how he used that preference to good effect. Once again, although the figures are similar in size, there is no repetition – these are no ‘standard’ angels – each has his own wonderful garments and stance.

Stained glass artists typically sketch their designs on paper first and these images are referred to as cartoons. Harry Clarke’s cartoons for the Coghill windows must still exist. Nicola Gordon Bowe describes them as drawn “loosely in thick charcoal, the design boldly expressed with detailing and shading minimal, but still conveying a good idea of how every part of the window would look.” The finished window, she says, “reveals a new freedom of treatment, the painting on the glass reflecting the free drawing of the cartoons.” This is an artist and craftsman working at the height of his powers – an interesting subject for the question that Robert poses in his post this week.

Saint Martin, armour detail

Posted on August 10, 2015
10 Comments

West Cork Creates

We were bowled over by the latest exhibition to open in Skibbereen on Saturday: West Cork Creates. It shows collaborations between local craftspeople, visual artists, photographers and designers – combining their skills and expertise to produce exciting, original work.

Top picture – The Great West Cork Obelisk (see below) is featured by the entrance to the gallery; above – fired test pieces from the obelisk project

Here’s a riddle: what’s the difference between an artist and a craftsperson? If you have a definitive answer please tell me, because this is a debate that will last forever… Grayson Perry contributes to the discussion in this Guardian piece, starting provocatively with:

…I see the craft world as a kind of lagoon and the art world in general as the ocean. Some artists shelter in this lagoon, because their imagination isn’t robust enough to go out into the wider sea…

Grayson Perry makes pots, so is he an artist? Well, presumably the British art establishment thought so as they gave him the Turner Prize in 2003, the first time it had gone to a ‘ceramic artist’.

More from the obelisk project and – right – Brian Lalor, one of its creators

Where does that leave us? Is someone who makes flowerpots an artist, because a flowerpot might be an attractive object? Where do you place something like the Book of Kells? It’s a functional object – the four Gospels lavishly illuminated – created in medieval times by many different hands. Yet it’s unique, overflowing with stunning visual images, beautiful and priceless. It’s a wonderful example of collaboration between the functional craft of the scribes who penned the texts and the minds of the (undoubted) artists who produced the decorations around those texts: perhaps they were the same hands.

Left – metamorphosis of two of Alison Ospina’s Greenwood chairs and – right – Dee Forbes, President and Managing Director of Discovery International, formally opening the exhibition

What about Finola’s subject for today, Harry Clarke – artist or craftsman? Stained glass is not ostensibly functional (except, perhaps to change the quality of the light coming through a window) yet the making of it is a craft requiring a lengthy apprenticeship and a garnered knowledge of specific materials and their use. I have no doubts: walk into St Barrahane’s Church, Castletownshend, and be dazzled by the Clarke windows there. They are inspired: true art. Harry Clarke designed and made these windows, so he was artist and craftsman rolled into one.

Artist and printmaker Coilin Murray with The Big Book

For me West Cork Creates (part of the Taste of West Cork Food Festival) demonstrates conclusively that you can’t differentiate between art and crafts. As you enter the gallery you are immediately presented with an iconic piece – The Great West Cork Obelisk – which stands almost three metres high. It is a collaboration between two minds and two sets of hands: Brian Lalor and Jim Turner. Brian we have met before in the pages of our blog: he is a true polymath. He writes (prolifically), he produces art (prolifically), he has been an architect and an archaeologist. Jim is a ceramic sculptor of renown. Egyptian ‘obelisks’ are commemorative monuments of the Pharaohs and they usually carry a lengthy inscription praising the deeds of some significant individual.

The Great West Cork Obelisk

This one is constructed from four terracotta sections made by Jim in his Clonakilty studio and fired in a specially constructed kiln. The base inscriptions are all quotations, two from social philosophers and two from writers, all concerned with the state of society. Brian’s images derive from these, from the contemporary world and from the local environment. The artists’ statement says: Obelisks may be the new round towers of the landscape… (remember that Brian has written the standard work on Ireland’s medieval round towers). I agree: I’d love to see this work prominently displayed in a public place locally – and many more like it. The obelisk absorbed our attention for a good half an hour, delaying us from moving on to the rest of the exhibition: it’s a show stopper!

Alison Ospina and – right – one of her Greenwood stools painted by Etain Hickey

There are chairs and stools: functional objects to be sat upon. But you’d think twice about sitting on these. They are initially examples of the work of Alison Ospina who uses coppiced hazel to make distinctive seating, but they have been transformed by others (painter, sculptor and felt maker) into works of art which will primarily be looked at and appreciated.

The gallery space includes a sales area where you can buy the work of the participating exhibitors

There are thirteen collaborations in the exhibition including stone sculptor and furniture maker; metal sculpture and photography; basketmaker and visual artist; painter and felt maker; painter and boatbuilder; cutler and jeweller, all based or working within West Cork… This is just a taster – we have to go back and catch up on the other genres and artists and perhaps write a further blog post. The exhibition runs for five weeks from 8 August to 10 September at Levis’s Quay in the centre of Skibbereen, and is open from Mondays to Saturdays between 11am and 6pm. Be sure to get there – you won’t be disappointed: watch out for the gallery talks, too.

Sculptor Helen Walsh collaborates with photographer Rohan Reilly

Once you have seen the exhibition, you might like to comment and add your contribution to the artist / craftsperson debate.

Posted on August 2, 2015August 8, 2015
5 Comments

Umha Aois

There’s a magic to the working of metal: you can pick this up when you are doing it, or when you are watching others do it. It could be the arcane transformation of rough nuggets of ore, first into liquid and then into beautiful solid objects that inspires that impression – or perhaps it’s because the senses are battered by the fierce heat, the molten rivulets, the streaming sparks, the incessant hammering, the sheer excitement… It’s no wonder that our ancestors embraced the emerging technologies hundreds of generation ago, and created spectacular objects which, today, we place in our museums and venerate.

Umha Aois are artists and sculptors working as ‘experimental archaeologists’ who have been in Skibbereen this week as part of the Skibberen Arts Festival. They use Bronze Age metal working techniques to produce replicas of ancient tools, weapons and musical instruments and also contemporary art objects. We went to their workshops set up in the grounds of Liss Ard House and met Holger Lönze – a locally based sculptor – James Hayes from Bray and their colleagues who are researching and using stone and clay moulds, ‘lost wax’ processes and charcoal pit-furnaces.

Robert holding a recently cast bronze bell, while Finola tries out an adze

It’s very appropriate that we should be looking at Bronze Age metalwork in our own corner of West Cork as we are in the shadow of Mount Gabriel, site of substantial copper mine workings probably dating from some three and a half thousand years ago. A number of Bronze Age mines have been found on the Mizen Peninsula: it must have been a significant local activity and source of trade. It has of course continued almost up to the present day; our own townland of Cappaghglass saw considerable copper extraction during the nineteenth century.

Copper Mountain – on Mount Gabriel can be found the sites of 32 separate workings dating from 1700 – 1400 BC, but there is no evidence of smelting or metalworking in the same vicinity: perhaps the ‘magic’ of the process required it to be carried out in more secret places?

Back to the Umha Aois project (it’s pronounced oowah eesh and means Bronze Age): we saw pieces in various stages of production, including axe heads, adze heads and spear heads, cast from stone moulds. They are elegant objects, especially when they have been polished to a gleaming finish.

Bronze axe head, showing the mould used to cast it

The group was using pit furnaces which they had constructed on site. These consisted of basin shaped depressions in the ground lined with clay, and pipework of clay running from two sets of bellows. The clay pits were filled with charcoal and fired to a high temperature to convert the ore in the crucibles to a molten state.

Top – the principle components of a Bronze Age pit furnace; below left – crucible being heated; below right – the bellows in action

In another shelter we were also shown the ‘lost wax’ process: small objects were shaped in wax and then encased in clay. The wax was melted, leaving a mould in the clay cavity which was then filled with molten metal. Once hardened, the clay moulds are broken apart; the copper or bronze objects are then finished and polished. Here is a BBC video that demonstrates these techniques. There are incredible examples of this type of worked metal in the National Museum in Dublin, including some in gold – thousands of years old and yet so elegant and sophisticated.

Clay moulds used in the ‘lost wax’ process

Holger has also made a Bronze Age musical instrument, which he demonstrated for us. The pattern is based on ‘trumpets’ which have been found in Europe, the finest being the Loughnashade trumpet, discovered during drainage works at the site of a former lake in County Armagh. Holger’s trumpet is a bronze cast: some finds have been made from curved and rivetted sheets of bronze. Here is a link to a recording of the sound made by a similar reconstructed instrument.

Holger Lönze conjuring up ancient music!

By exploring techniques, lifestyles and behaviour of our forebears through practical application, experimental archaeologists such as Umha Aois help us to understand that people who lived in the Bronze Age were not intellectually ‘primitive’ as was once thought; they have passed down to us their own aesthetic appreciation of art, music and their highly developed knowledge of sciences that enabled them to construct the complex megalithic monuments – and enigmatic Rock Art – which are yet beyond our own understanding.

Experimental archaeology in the walled garden at Liss Ard

Our ancestors left behind rugged stone monuments, landscapes which have shaped the pattern of our countryside, and sublimely beautiful objects: magic to our eyes and senses.

This Bronze Age gold disc – now in the National Museum, Dublin – was found at Sparrograda, Ballydehob:

Posted on August 2, 2015August 2, 2015
8 Comments

Family-Friendly Archaeology

Dramatic Skies over Maughanasilly Stone Row

West Cork is crammed with prehistoric monuments but many are not really accessible for all family members because of the terrain. Others are on private land where the landowner is reluctant to grant permission, or where frisky bullocks make traversing a field a bit risky. So we’ve done some homework on easy-to-reach sites and planned a route for you in which you can have a) a Grand Day Out and b) a tour through some of the best West Cork Bronze Age sites and one Medieval Castle.

The Kealkill complex: one of the sites you’ll visit today

Load the kids and Grandma into the car, stick Discovery Map 85 in your pocket (or use the one we’ve provided in this post), wear boots or wellies, and off you go! By the way, we strongly advise leaving the dog at home when on a field trip like this. If you must bring him, please keep him on a leash, since you will be on private farmland at each site except Carriganass.

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Oh – and the frisky cattle? Keep an eye out – they weren’t around when we did our reconnaisance but you never know when that can change. These two photos are by Amanda Clarke, used with permission.

Our starting point is Ballylicky – here’s your opportunity to pick up a picnic at the marvellous Manning’s Emporium. And if you like your day today, consider signing up for one of their Culture Kitchen tours – an innovative mix of history, prehistory and artisan food that will lead you still further into the prehistoric (and culinary) hinterland of West Cork.

Mill Little Group of Monuments

1. Mill Little Complex

From Ballylicky, head west along the scenic seaside road towards Glengarriff for a couple of kilometres and take the first turn right at Snave. You’ll be following the Coomhola Rive as it tumbles down between high hills. Once you’ve crossed Snave Bridge continue for about a km, take the second left and then immediately right. One km on, take a left and then the next right. Park along here and the Mill Little complex is in a field on the left.

Stone Pair

This is a complicated site, comprising a stone pair (don’t be confused by the other stones around the pair, which have been piled here), three boulder burials, and a small five-stone circle. All these monuments probably date from around the same time – the Bronze Age, about three to four thousand years ago. A particular feature of West Cork archaeology is that boulder burials, standing stones (single, in pairs, or in rows) and stone circles are often found together. Stone circles and stone rows are oriented towards significant solar events, such as the rising solstice sun or the setting sun at an equinox. At a site like this, it is possible that all the features formed a large observational arena, with the stone row, boulder burial and stone circle providing multiple alignment possibilities and marking both solar and lunar events.

Boulder burial showing support stones. Five-stone circle in the background

The boulder burial nearest the stone circle is the most classic in appearance – a large glacial erratic sitting on top of three support stones. Excavations at boulder burials in West Cork, however, haven’t really yielded evidence of actual burials – perhaps the term is a misnomer!

Three boulder burials at Mill Little

2. Carriganass Castle

Retrace your steps back towards Ballylicky and take the road to Kealkill – or try an overland route using the map. At Kealkill take the left fork signposted to Gougane Barra and you will see Carriganass Castle almost right away.

Carriganass is an excellent example of the medieval tower house – take a look at this post for more about these structures in West Cork. There’s easy parking around the back and lots of explanatory signs around the castle. This is a good place for a picnic, or you can wait until after you’ve been to Maughanasilly, since you will come back this way. If it’s a hot day (don’t laugh – it can happen!) the kids will enjoy a dip in the river here. There are also some looped walks starting from here – mark them for a future expore.

3. Maughanasilly Stone Row

Continue past the back of the castle. At the first junction take the left fork and continue until you see a small lake on your left. Shortly after you will come to a cross roads. Turn right and park – the stone row is in the field on your right.

Maughanasilly Stone row. Note the row forms a slight arc

This is a good example of a multiple stone row and occupies a very dramatic setting on a knoll overlooking the lake. Note that, instead of being straight, the stones form a slight arc. This is deliberate, as is the placement of the stone lying flat on the ground. According to one expert, this stone “is placed so that anyone walking up to it and standing with toes touching its edge is looking straight at the equinox.” This stone row also appears to have been an important one for lunar observations. It takes the moon over 18 years to complete its cycle and from this site observations of the lunar maximums (the most extreme northerly and southerly moonrises) were likely made.

The stone row with recumbent stone

Ponder on the sophistication of our Bronze-Age ancestors: much of the knowledge they built up so that they could keep track of time and seasons had to be re-learned by later people.

Maughanasilly Stone row – a lunar observatory?

4. Kealkill Stone Circle

Back you go to Carriganass (picnic now, if you haven’t done so already) and on to the village of Kealkill – a pretty and well-kept village (and home to a famous St Patrick’s Day parade). The stone circle is signposted from the village – just follow the steep and winding road that runs up from the church. After a sharp bend to the right, take the first left turn. There’s enough room to park at a small pull-out. The walk across the field to the circle is invariably muddy and squelchy so make sure to wear your boots here.

Kealkill standing stone pair, stone circle and radial cairn

This is yet another complicated site. There is a standing stone pair, a five-stone circle and a radial cairn. But perhaps the first thing you will notice is the spectacular view. From this spot you can see all the way down the spine of both the Sheep’s Head and the Beara Peninsula to the South-West, and across the valley to the Shehy Range to the North and East.

From the Kealkill Site

One of the stone pair is over 4m high. But it’s broken – and may originally have stood over 6m high. Imagine the difficulty of erecting this!

The first thing you notice – that standing stone!

The radial cairn is a mysterious monument – nobody is quite sure of its function – and relatively rare. Once again, these cairns are often found in conjunction with other monuments – stone alignments or stone circles. This one was excavated, but nothing conclusive was found to help determine its function. Note the small upright projecting stones that look like the face of a clock among the cairn stones.

Kealkill radial cairn

5. Breeny More Stone Circle and Boulder Burials

This is just a little way up from the Kealkill circle and on the other side of the road. We haven’t had time to visit it properly yet, so my photograph was taken from near the road. There’s a multiple stone circle here, with four boulder burials within it. There’s not much left of the stone circle, but the portal stones and recumbent remain, so the alignment can be discerned. The boulder burials are laid out in square formation in the centre – a very unusual occurrence, since boulder burials are normally outside the circle. The site is on a natural ridge, with similar spectacular views to the Kealkill Stone Circle. One writer has speculated that if trees were removed it would be possible to see the tall standing stone at Kealkill from this site.

Breeny More complex from the road

We hope you enjoy your day! Let us know how you got on.

Driving the Gap of Dunloe in Kerry – it can only be done in winter.

Obstacles are common – so don’t drive too fast along the rural roads as you never know what might be around the bend.

And there’s no point in being in a big hurry…

There’s only room for one at a time

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A joint post by Robert and Finola

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Top picture – The Great West Cork Obelisk (see below) is featured by the entrance to the gallery; above – fired test pieces from the obelisk project

More from the obelisk project and – right – Brian Lalor, one of its creators

Left – metamorphosis of two of Alison Ospina’s Greenwood chairs and – right – Dee Forbes, President and Managing Director of Discovery International, formally opening the exhibition

Artist and printmaker Coilin Murray with The Big Book

The Great West Cork Obelisk

Alison Ospina and – right – one of her Greenwood stools painted by Etain Hickey

The gallery space includes a sales area where you can buy the work of the participating exhibitors

Sculptor Helen Walsh collaborates with photographer Rohan Reilly

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Robert holding a recently cast bronze bell, while Finola tries out an adze

Copper Mountain – on Mount Gabriel can be found the sites of 32 separate workings dating from 1700 – 1400 BC, but there is no evidence of smelting or metalworking in the same vicinity: perhaps the ‘magic’ of the process required it to be carried out in more secret places?

Bronze axe head, showing the mould used to cast it

Top – the principle components of a Bronze Age pit furnace; below left – crucible being heated; below right – the bellows in action

Clay moulds used in the ‘lost wax’ process

Holger Lönze conjuring up ancient music!

Experimental archaeology in the walled garden at Liss Ard

This Bronze Age gold disc – now in the National Museum, Dublin – was found at Sparrograda, Ballydehob:

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Oh – and the frisky cattle? Keep an eye out – they weren’t around when we did our reconnaisance but you never know when that can change. These two photos are by Amanda Clarke, used with permission.

1. Mill Little Complex

2. Carriganass Castle

3. Maughanasilly Stone Row

4. Kealkill Stone Circle

5. Breeny More Stone Circle and Boulder Burials

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