Pilchards and Palaces

Black Castle, Leamcon

Black Castle, Leamcon – also known as ‘The Hound’s Leap’ – William Hull territory

A little while ago I described an outing we undertook exploring some of the archaeological sites on the Mizen Peninsula. We were out again a few days ago checking on some monuments off to the west of us. I had researched the Archaeological Survey Database, and determined to have a look at the ‘Fish Palace’ located in the townland of Leenane, close to Crookhaven – evidently a substantial establishment set up by Sir William Hull and his business partner, Sir Richard Boyle, first Earl of Cork, in 1616.

Leenane Fish Palace in 2015

Leenane Fish Palace in 2015

Hull was a notorious character – his family home was Larkbeare, near Exeter in Devon. He had been appointed Deputy Vice Admiral of Munster in 1609 under James I, and settled in Leamcon near Black Castle or ‘The Hound’s Leap’, one of the O’Mahony castles built along the coast of Roaringwater Bay. Set on a promontory into Toormore Bay, Leamcon  is one of the most defensible of these, only being reached by crossing a narrow bridge. Hull’s job was ostensibly to protect the southern Irish coastline against piracy. In fact, the post seemed to encourage collaboration with the pirates, where it would financially benefit both the Admiralty and Hull himself.

You probably want to know what a ‘Fish Palace’ is? I had seen the term on Irish Ordnance Survey maps, and had established that it is a class of monument in the Archaeological Inventory of County Cork 1992, where it is well described:

‘…Fish palaces: The fishing and curing (smoking, pickling and pressing) of pilchards (Sardinia pilchardis) became an important industry in West Cork during the 17th century. This industry suffered from the erratic pattern of pilchard shoals (some years none would appear in Irish waters) and was in serious decline by the middle of the 18th century. Today, all that remains are the ruins of curing stations, called “pallices” along the coast. The word “palace” is of uncertain derivation, but probably originated in the SW of England where it meant a cellar used for storing fish. Usually the “press wall” is the only standing structure, with its horizontal line of lintelled support niches. These held one end of a press beam; at the other end a heavy weight was suspended and in the middle was a wooden press or “buckler”. The buckler was placed over an open barrel of pilchards and the downward force of the press beam pressed the pilchards into the barrel. Also fish or “train” oil was squeezed out through a drain in the base of the barrel; this was valuable as a luminant and was used by the tanning industry…’

All this has been ringing bells with me: firstly, because I know from the map that a Fish Palace once existed down below Nead an Iolair – overlooking Rossbrin Cove and Castle – but no trace is left now, except that the field there is still known as ‘The Palliashes’; but secondly because when I lived in Newlyn in Cornwall I looked out over Mounts Bay, where a pilchard fishery had been active since the 16th century. This was a huge business, whose heyday was the middle of the 19th century. Pilchard quantities are measured in ‘hogsheads’ – one hogshead holding 3,000 fish: in 1847 the exports of pilchards from Cornwall amounted to 40,883 hogsheads or 122 million fish! By good fortune we have a pictorial record of the activities, as two of the Newlyn School of Artists chose seining as the subject matter for two impressive paintings.

'Pilchards' - Charles Napier Hemy 1897 (Tate Gallery)

‘Pilchards’ – Charles Napier Hemy 1897 (Tate Gallery)

'Tucking Pilchards' Percy Craft 1897 - Penlee Gallery

‘Tucking Pilchards’ Percy Craft 1897 (Penlee Gallery)

*

In the good times Mounts Bay was brimming with seine boats. The pilchards were harvested during the summer when the shoals swam in close to the shore. Lookouts known as Huers were posted on the cliffs, from where the shoals could be seen and semaphore signals were sent out to the waiting boats who let out 400 yard long nets to surround and trap them. The nets were kept upright by floats at the surface and weights at the bottom, presenting an impenetrable wall to the pilchards. The pilchards were then removed by smaller tuck nets and loaded into punts and carried ashore. The seine net provided a convenient keep net in which the fish could be kept alive and fresh until they were processed.

Early photographs of seining, and the fishing fleets working out of Penzanace and Newlyn, Cornwall

During my time in Newlyn there was an active pilchard processing plant – now closed down – but I was fortunate enough to visit the works and see the pressing and preserving taking place, using exactly the same methods that William Hull’s workers employed four centuries before. Just as in those earlier times the main markets for the processed fish were in France and Spain.

Pressed Pilchards (Richard Greenwood)

Pressed Pilchards (Richard Greenwood)

As in Ireland, the pilchard shoals severely declined – probably because of overfishing – and the industry followed. Nowadays there is a small amount of pilchard fishing taking place in Cornwall, but it is barely viable.

Mousehole, Mounts Bay - Ernest Watson

Mousehole, Mounts Bay – Ernest Watson

To the casual observer, our little expedition to the Crookhaven Fish Palace might have seemed pointless – a lot of scrambling through bracken and brambles to find a few old stone walls and the crumbling remains of an abandoned quay. Through our eyes, however, we saw the industry and energy of former days: Irish men and women labouring long and hard to put clothes on the back of a Knight and an Earl…

canned pilchards

From Skibbereen to the Moon: Agnes Mary Clerke

Commemorative plaque in SkibbereenCommemorative plaque in Skibbereen

NOTE: I have rewritten this post and substantially updated it. See, from Sept 2023, Storm Agnes: Agnes Clerke of Skibbereen and Nineteenth Century Astronomy.

What follows is the original post, from 2015.

Wandering around Skibbereen, I came across a plaque on a once-imposing pink building – it showed two women, the Clerke sisters, who had grown up in the house. Intrigued, I searched for more information and what I found astonished me.

Agnes, Ellen and Aubrey Clerke, the offspring of John William Clerke (who managed the bank located on the ground floor) and Catherine Mary Deasy, were all brilliant, scholarly and published writers, each in their own fields. The Clerke (Protestant) and the Deasy (Catholic) families had long and solid histories in West Cork and lived through the awful famine period of Skibbereen during which they were said to be benevolent (see Paddy Leahy’s piece in The Journal of the Skibbereen and District Historical Society, Vol 7, 2011 for more on John and Catherine). John had been educated in Trinity and the children grew up in the 1840s and 50s with access to their father’s extensive library, his telescope and his chemistry experiments. The telescope, according to Mary Brück’s biography, was equipped with a chronograph for timing the transits of stars across the meridian. With this arrangement Clerke was able to provide a time service for the town of Skibbereen, which was as yet unconnected to the outer world by either railway or telegraph.

Bridge Street, Skibbereen, 19th Century. National Library CollectionBridge Street, Skibbereen, 19th Century. National Library Collection

The sisters were tutored by their mother to a high proficiency in music, Latin and Greek. (Catherine played Irish music on the harp and retained her ability to entertain well into her 80s.) Insatiably curious, they devoured knowledge and by 15 Agnes had already begun to write a history of astronomy – a book that would later count as her magnum opus. While Ellen and Aubrey distinguished themselves mainly (although not exclusively) in literature and law, Agnes went on to become one of the foremost science writers of her day. Devoted to each other, none of the siblings ever married and the family lived together in harmony and supported each other’s endeavours to the end.

Living in Italy for ten years, Agnes and Ellen studied extensively in the excellent libraries in Rome and Florence, becoming proficient in several languages and going to primary sources to research their interests. Thereafter, the family settled in London. Although she started off with a wide range of topics, Agnes over time concentrated on writing about astronomy. Her first published pieces (one about Copernicus, the other about the Mafia!) appeared in the Edinburgh Review in 1873. This was the equivalent, as Perry O’Donovan points out in an essay for the Skibbereen and District Historical Society Journal (Vol 9, 2013), of an unknown writer today being published in the New Yorker.

History of A 4th edition

The depth and scope of Agnes’s scholarship is awe-inspiring. To read through her History of Astronomy during the Nineteenth Century (available online through Project Gutenberg) is to see a brilliant mind at work. Her purpose in writing it was to embody an attempt to enable the ordinary reader to follow, with intelligent interest, the course of modern astronomical inquiries, and to realize (so far as it can at present be realized) the full effect of the comprehensive change in the whole aspect, purposes, and methods of celestial science introduced by the momentous discovery of spectrum analysis. This IS the rocket science of her generation, encompassing chemistry, physics, mathematics, history of scientific thought, cosmology, the most up to date observation and measurement techniques – in short, the disciplines that made up the emerging science of astrophysics.

Take a look, for example, at the headings for her Chapter IV: Chemistry of Prominences—Study of their Forms—Two Classes—Photographs and Spectrographs of Prominences—Their Distribution—Structure of the Chromosphere—Spectroscopic Measurement of Radial Movements—Spectroscopic Determination of Solar Rotation—Velocities of Transport in the Sun—Lockyer’s Theory of Dissociation—Solar Constituents—Oxygen Absorption in Solar Spectrum. Looks pretty frightening for a non-scientist, doesn’t it? And yet, this book was one of the best-sellers of the day. Agnes had a unique ability to absorb and compile knowledge and then to lay it out for the non-specialist. (I got through the first chapter with little difficulty.) She is rightly credited as the founder of what is called today Popular Science. Her books (she wrote many more) and articles sold well and she made a good living from her writing.

However, she was a woman, and a non-practitioner (that is, she didn’t work in an observatory, although she spent time in one) and many in the predominantly male science establishment of Victorian Britain were sceptical of her knowledge and resentful at her success. But as they read what she wrote most were won over by her erudition and her ability to present their complex findings to a wide audience. Although she was a member of the British Astronomical Association, as a woman she was ineligible to be a member of the prestigious Royal Astronomical Society and had to call in favours to be allowed access to their library. But eventually even that bastion of male scientific privilege was forced to acknowledge her achievements and appointed her and her great friend Lady Margaret Huggins (another Irish astronomer) as honorary members.

The Clerke CraterThe Clerke Crater

Recently, however, Agnes has been paid a high honour. A crater on the moon, near the Apollo 17 landing site, has been named the Clerke Crater by the International Astronomical Union.

Huggins memoirHuggins memoir

Margaret Huggins penned a small memoir about Agnes and Ellen Clerke after their deaths. However the real authority on Agnes’s life and scholarship was Mary Brück, a fellow astronomer, yet another Irish woman (from Meath) and author of Agnes Mary Clerke and the Rise of Astrophysics. 

Brück biographyBrück biography

Of Agnes, she said: This remarkable woman, educated solely within her own family and through her own private studies, not only kept abreast of astronomical progress world-wide but also had a genuine understanding of the matters on which she reported and the gift of communicating them through her fluent and prolific writings. Her books – in particular her Popular History of Astronomy during the Nineteenth Century, first published in 1885 and reprinted over almost twenty years – are treasured by historians and by amateur lovers of astronomy alike as sources of reliable and enjoyable information on that period.

I loved her description of Agnes at the height of her powers: Agnes Clerke in her sixties had become a sort of mother figure among astronomers, tactful, kind, helpful.

Ellen and Aubrey deserve their own posts (now written, see From Skibbereen to the Moon Part 2: Ellen and Aubrey Clerke). However, it does seem apt to close this piece on Agnes with a quote from one of Ellen’s poems, Night’s Soliloquy:

                                …are not hidden things

Reveal’d to science when with piercing sight

She looks beneath the shadow of my wings

To fathom space and sound the infinite?

Your Favourite Posts of 2014

Cape Clear Harbour

Cape Clear Harbour

What were your favourite Roaringwater Journal blog posts of 2014?

Our blogging software provides a running count of visitors to Roaringwater Journal and it’s always fascinating to see which ones receive the most views. Some of them are our own favourites as well, and some can attribute their high numbers to being re-blogged by others, or to being shared on social media. So tell us, Dear Reader – did the software capture it – or do you have a different favourite from our top posts of 2014?

From the Whiddy Island high point

From the Whiddy Island high point

The top two posts of 2014 were the ones we wrote about our trips to Cape Clear and to Whiddy Islands. We loved our time on the islands and intend to go back often – our enthusiasm probably shone through. But it may also be that islands hold a mystique for us that is hard to define – out there in the dawn mist, mysterious and peaceful, whole worlds unto themselves. The islanders of West Cork are worried at the moment by cuts to their development officer funding, and need all the support we can give them. So if you live here, or are planning a trip, include one or more of these beautiful islands in your plans.

Timoleague Friary

Timoleague Friary

Next in popularity was our post on the Timoleague Friary. It’s an iconic piece of West Cork history and architecture – the only sizeable medieval religious ruins we have, perched on a picturesque estuary of the Arigideen River.

I've learned to look carefully for road signs

I’ve learned to look carefully for road signs

Finola’s frustration at the inflexible regulations that treated her like a novice driver, despite forty years of driving experience, must have struck a chord with you. Maybe you dropped by Driving Home the Point to sympathise with her plight, or maybe it was to chuckle over the numerous example of the routine flouting of the Irish rules of the road, or the bemusing driving conditions of many rural roads.

Evans of Bantry

Evans of Bantry

We have enormous nostalgia for the things we remember from our childhood, don’t we? In that vein, it’s not surprising that Shopping for Memories was such a popular post. These lovely old shops evoke a time when a whole variety of shops lined the main streets and our mothers went from the butchers to the greengrocers to the chemists to the haberdashers and, if we were lucky, to the sweet shop on a daily basis.

Carraig Abhainn Gardens

Carraig Abhainn Gardens

But sadly, the numbers of these old-fashioned shops are dwindling. This year we said goodbye to Wiseman’s in Durrus, no longer able to compete against the hardware shops of Bantry. Fortunately, their wonderful Carraig Abhainn Gardens are still open behind the shop – and our description of this hidden gem was one of your favourite posts of the year.

A group of posts on festivals came next. We wrote about the question our friends asked us when we decided to move here, What on earth will you find to DO? We answered in a series of posts describing some of the local events and festivals we have taken in this year – the Ballydehob Jazz Festival and Arts and Culture Festival (which included our own Rock Art Exhibition), traditional music Festivals in Baltimore, Bantry and Ballydehob, and a host of musical and theatrical events. One day all of you retirees out there are going to discover that moving to West Cork is the best decision you can make!

The next group of posts centred on the Mizen – the Mizen Magic posts where we concentrated on aspects of the Mizen Peninsula that delight us – the Beaches, Brow Head, the Butter Road, Mount Gabriel, the Gortnagrough Folk Museum, and the history and archaeology of this beautiful part of Ireland.

How are ye?

How are ye?

In fairness, like, it looks like ye would have enjoyed our take on how to speak like ye’re from West Cork. Those little posteens made you happy out.

Ye must be a fierce active crowd altogether because you really got a kick out of Finola’s description of her day of sailing and (perhaps her personal favourite in the activities department) her moonlight kayaking on Lough Hyne.

Happy New Year from Robert and Finola!

Happy New Year from Robert and Finola!

And our own personal favourite of 2014? Robert’s post on the Sky Garden, of course! If you haven’t read it yet, you’ll have to do so to find out why this was the highlight of our year in West Cork.

Mizen Mission

Tooreen Lake

Tooreen Lake

A joint post by Robert and Finola…

Finola

According to the forecast today could be the last fine day of 2014, so we decided to make the most of it and set off on a mission. And what a day it was! Cold, yes, but with that brilliant light that only happens on crisp winter days.

Looking across Roaringwater Bay

Looking across Roaringwater Bay

Our mission? it was to find a piece of prehistoric rock art I had last visited over 40 years ago in the townland of Castlemehigan, near the end of the Mizen Peninsula. But once in the vicinity of Castlemehigan we couldn’t resist continuing to the end of the tiny road, which climbed up the rocky hills on the northern side of Crook Haven. Parking the car, we climbed to the highest point we could find. We’re used, by now, to the jaw-dropping views around here, but even by Mizen standards, this was something special. 

Crookhaven Village

Crookhaven Village

South of us, across the Haven was the village of Crookhaven nestled in its protective harbour. Looking north we could see across the Sheep’s Head to where the unmistakeable outline of Hungry Hill loomed on the Beara Peninsula. To the west was the White Strand and Brow Head, crowned by the historic Marconi telegraph station and to the east was the whole of Roaringwater Bay: Cape Clear Island, Sherkin, Baltimore, and the ring of hills that run down to the water.

Back in the vicinity of the rock we knocked on the door of a farmhouse to ask directions and permission. Often when we do this we are met with a blank look – not every ancient monument location has survived in the folk memory of the local residents. But this time we hit it lucky, with Florence O’Driscoll – ah yes, he knew it – the mass rock is what we were looking for. I showed him a picture of the rock and he confirmed that was the one, it was on his land and he would take us there.

Castlemehigan Rock

Castlemehigan Rock

My write-up and drawing of the time brought back some memories of an unusual rock with very large depressions, almost more basins than cupmarks. I also had a very clear recollection of being taken to the site by Bernard O’Regan, a local (and well-remembered) amateur archaeologist who was very helpful to me at the time. Because the rock was very overgrown, he had arranged to have it cleaned for me and when we arrived there were two men on top of the rock hacking away the gorse and heather. Nowadays, rock art specialists abide by an ethic of zero surface contact – no clearing or scrubbing allowed!

Castlemehigan rock surface

Castlemehigan rock surface

Although this rock lacks any of the circles, grooves and lines that add interest and appeal to many panels of rock art, it is special in other ways. Several of the cupmarks are unusually large, and one is basin-shaped (that is, with straight sides and a flat bottom).

Oriented to Mount Gabriel to the east

Mount Gabriel clearly visible

Some cupmarks appear to run in rows and the rows run in specific directions – one line of cupmarks run directly east/west pointing at the lake that lies about 100 meters away at the bottom of the field. Another line pointed to Mount Gabriel, about 15 kms away on the distant horizon. The two large basin-like depressions are directly north/south of each other.

row of cupmarks

Row of cupmarks

What could be a standing stone is located a few metres away.

Standing stone?

Standing stone?

In comparing my original drawing, done 42 years ago, there wasn’t much I would change. Some cupmarks appear to have pecked areas between them which conjoin them in a dumb-bell motif. My original decision was that there were two dumb-bells, but perhaps now I would be tempted to say there were three or even four. However, this just illustrates the subjective nature of the recording process. Especially where lichen obscures the surface, decisions like this come down to professional judgement and experience: drawings can differ from one recorder to another, or even from one visit to another when lighting conditions show up more or less of the carving detail.

Original drawing, updated by Robert

Original drawing, updated by Robert

Robert

This earthfast boulder is a beautiful object – not least because of its setting. I love these Mizen landscapes – they have a very particular character. Large areas of rock outcrop are interspersed with the tiniest fields, tracks and bog. Here there are lakes close by – once natural features, they have been turned into reservoirs to serve local communities. The marked rock overlooks one of these – this one supplying nearby Goleen.

Mount Gabriel clearly visible from the Derreennaclogh stones

Mount Gabriel clearly visible from the Derreennaclogh rock

This example reminds me in some ways of the Derreennaclogh rock – it’s of similar size and shape. Also, at Derreennaclogh Mount Gabriel is prominent on the western horizon, and we’ve been told that the setting sun towards the short end of the year appears to ‘roll’ down the slope of the hill at times. At Castlemehigan the rock also looks out to Mount Gabriel – this time to the east. This is a relatively isolated piece of rock art: the nearest recorded example is at Cooradarrigan, on the far side of Schull. It’s tempting to think that the flat, table-like surfaces of both Derreennaclogh and Castlemehigan were considered significant to those ancient people – who made them notable by marking them – because of their settings which relate to unmistakable landscape features. Otherwise, one might question why large areas of flat rock surface in the immediate vicinities – ideal for carving – have apparently been left untouched.

Florence and Finola

Florence and Finola

Florence O’Driscoll, our guide on this expedition, proved to be a fund of information. He had farmed the land which had been his father’s before him. Finola must have met his father when she explored the rocks over forty years ago. Florence carried the stories of the rock from his father’s generation, and probably from generations before that. He told us that the rock had been used as a mass rock in penal times – and that the hill above it was known as Cnocan an Aifreann (the hill of the mass): there is what certainly appears to be a cross carved into the rock surface, close to the large basin (Finola did not record this in her original drawing – she will add it when we update the records). Florence told of the time that the ‘Tans’ (the Black-and-Tans) caught red-handed the Priest celebrating the mass: the Priest threw the crucifix into the lake below the rock (the lake was then smaller than it is now). Ever since then, says Florence, the lake has never run dry – and never will.

Look for the possible cross carving on the right

Look for the possible cross carving on the right

It’s interesting that stories carried through local tradition pay no heed to time or history. They don’t need to: the ‘story’ is a part of the rock, as much as the carvings are. Florence told the tales as if they had happened yesterday. I hope they will continue to be told as long as the rock continues to display its enigmas.

Mass in penal times (Maggie Land Blanck Collection)

Mass in penal times (Maggie Land Blanck Collection)

The Nativity – by Harry Clarke and His Studio

Images of the nativity are a special part of Christmas in Ireland – as witness the proliferation of Christmas cribs in every town and in half the shopfronts. In West Cork (and not too far away in Dingle) we are particularly fortunate to have examples of nativity images in stained glass by the famous Harry Clarke, and by the Studios that bore his name, including this one (above and below) in St Barrahane’s Church of Ireland, in Castletownshend.

We have mentioned Harry Clarke, Ireland’s most renowned stained glass artist, in several posts before, and no doubt will come back to him again – his gorgeous windows repay multiple visits. In going through the many photographs I have taken I realised that Harry Clarke, at least in the windows I have visited here in the south west, concentrated on only two representations of the Christmas story – the visit of the Magi (below), and the flight into Egypt.

His focus on the the visitation of the Three Kings, traditionally celebrated on January 6th, is poignant, for it was on that day that Harry Clarke died in 1931, after a long battle with tuberculosis. He was, like the Magi, travelling at the time, in a vain attempt to get home from a sanatorium in Switzerland. He was only 41.

On a visit to Dingle we were lucky to find the Díseart Centre of Irish Spirituality and Culture open and to be able to view the magnificent windows in a tiny church previously only open to the nuns of the enclosed Presentation order. One of the windows (above and below) was devoted to the nativity – once again, the Magi scene.

Clarke scholars will only assign a window as a true ‘Harry Clarke’ if it was designed and executed by him or under his close supervision. His studios carried on after his death and windows made at that time are labelled ‘Harry Clarke Studio’ windows. While the Castletownshend and Dingle windows are undisputedly Harry Clarkes, there is a differences of opinion about the ones in Timoleague. When the Timoleague church celebrated its centenary, the Southern Star ran a story with this entry:

Pride of place in the church must go to the beautiful Harry Clarke windows at the back of the church as you exit. Harry Clarke achieved fame for his unique style, his incredible use of colour, his decorative designs and the beautiful medieval-styled figures that have rarely found an equal in the medium of stained glass. These windows were put in place in 1929/’30 and were among the last to be made by Clarke who died in 1931. The windows were in memory of Rev Fr Timothy O’Hea PP (1912-1929) by the parishioners and by his successor as parish priest, Rev Fr  Jeremiah O’Driscoll (1929-’49).

However, these windows are not identified as Harry Clarkes in Nicola Gordon Bowe‘s authoritative book, implying that these are Harry Clarke Studio windows. They are certainly ‘in the Clarke style’, and very striking. Recent scholarship, in fact, has revealed that these windows were a collaborative effort between Richard King and William Dowling, both stained glass masters in their own right, working at the studios to complete orders while Harry was in the Swiss sanatorium.

The Kilcoe Church of the Most Holy Rosary has a stained glass rose window over the entrance. A sign states that it was made by Harry Clarke Stained Glass Ltd (the Studios), designed by T Clarke and installed in 1943. T Clarke, was Terence Clarke, Harry’s nephew, the son of his brother Walter. Like Timoleague, it is also in the Clarke ‘style,’ and although it certainly does not compare to Harry Clarke’s own work, it is beautiful in its own right and expertly done. One of the small windows of the rose depicts the flight into Egypt.

Shenanigans

running fox

The word shenanigan (a deceitful confidence trick, or mischief) is considered by some to be derived from the Irish expression sionnachuighim, meaning ‘I play the Fox’. That’s by no means the only definition of shenanigan that you’ll find, but – for me – it’s a good one.

The Red Fox stops by Nead an Iolair on most days. He’s such a frequent visitor that he’s trodden a furrow across the lawn – which he follows meticulously in order to keep his feet dry: he’s a fastidious creature is our Ferdia.

It’s a bit unkind, perhaps, to always think that the Fox is up to some kind of shenanigans. That would be playing up to his reputation of being cunning or sly. Our Ferdia is pretty open about why he takes an interest in us – purely and simply, it’s his stomach. His patter is always the same: he stands at the window and presses his nose against the glass, managing to look somehow downtrodden or neglected (we know he isn’t at all – in fact his current winter coat is magnificent: not just red, but with a silver grey sheen, and his legs, paws and ears are a beautifully velvety black).

on the wall 2

The Irish word for Fox is Sionnach, and there are stories that this animal was brought over here by the Vikings, who reputedly used them for hunting. Now the tables are turned: in Ireland Fox hunting is a legal sport (which it no longer is in Scotland, Wales and England), and we have very occasionally seen The Hunt crossing the fields during our travels. If you read the highly amusing Irish RM by Somerville and Ross you will quickly gather that actually apprehending a Fox is something very rare for The Hunt: more usually it results in a loss of balance, life or dignity for the participants. This is probably a realistic picture: Edith Somerville was herself a MFH and therefore had considerable experience in the matter.

Well, Ferdia’s ploy usually works, and he frequently deprives us of the last morsel on our own plates. I’m sure I’ve heard him chuckling to himself as he disappears off into the fields clutching a bone or three. Foxes are good family animals: generations can live together for a few seasons, helping to look after the succeeding offspring – the collective noun for Foxes is A Skulk. Ferdia himself has got his act together: if we give him some scraps he’ll eat a good chunk first and then carry the rest off home – which I’ve worked out is quite a distance away. That’s fair enough: as Alpha Male and number one provider it wouldn’t do if he was debilitated with hunger.

We have on occasion seen Ferdia lead another Fox into the garden – either a wife or a daughter, but they are so nervous that their visits are rare and short. Ferdia, on the other hand, is totally confident that he’s got us wrapped around his little finger… In the summer he has been sitting out with us on the terrace, passing the time of day in a very relaxed fashion.

img4954Only yesterday I noticed our Fox sorting out some scraps on the lawn. Suddenly, there came into view two magpies. As I watched, one of them hopped around to the front of Ferdia and he stopped what he was doing to chase it away. Immediately, the other Magpie jumped in and took a good helping. Ferdia rushed at this competitor, and Magpie number One hopped in and had his share… From which I deduce that the cunning of Magpies is equal to that of the Red Fox.

In folklore, the Fox has a big presence. The animal is said to be able to foresee events including the weather and its barking is said to be a sure sign of rain (the only time we heard Ferdia bark was when we hadn’t noticed him standing at the window).

It is thought to be unlucky to meet a woman with red hair when setting out in the morning, especially if you are a fisherman. We may assume that the woman is a Fox in disguise.

There are legends about both St Ciarán and St Brigid finding and taming a Fox, and there are medieval carvings in churches showing Foxes: in one instance a Fox is in a pulpit preaching to Geese!

Where does the word Fox come from? One theory is that it derives from the French word faux – false. Interestingly there is also a possible link to the flower – Fuschia – so prolific in the Irish hedgerows. Theories abound, but we know that the Fox is above us in the night sky, in the constellation of Vulpecula – once known as Vulpecula cum Ansere – Fox and Goose.

Vulpecula

The story of Fox and Goose has been immortalised in what is reputedly one of the oldest folk songs in the English Language: The Fox or Daddy Fox. This version is from the 14th century:

‘Pax Uobis quod the fox,

‘for I am comyn to toowne’

It fell ageyns the next nyght

the fox yede to with all his myghte,

with-outen cole or candlelight,

whan that he cam vnto the town.

When he cam all in the yarde,

soore te geys were ill a-frede;

‘I shall macke some of youre berde,

or that I goo from the toowne!’

when he cam all in the croofte,

there he stalkyd wundirfull soofte;

‘for here haue I be frayed full ofte

whan that i haue come to toowne.’

he hente a goose all be the heye,

faste the goos began to creye!

oowte yede men as they myght heye,

and seyde, ‘fals fox, ley it doowne!’

‘Nay,’ he said, ‘soo mot I the

sche shall go vnto the wode with me;

sche and I wnther a tre,

e-mange the beryis browne.

I haue a wyf, and sche lyeth seke;

many smale whelppis sche haue to eke

many bonys they must pike

will they ley a-downe.’

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Here’s a more accessible version:

The fox went out on a chilly chilly night

He prayed to the moon to give him light

He had many many miles to go that night

Before he reached the town-o, town-o town-o,

Many many miles to go that night before he reached the town-o.

He ran ’til he came to a great big pen

Where the ducks and the geese were kept therein

He said a couple of you will grease my chin

Before I leave this town o, town o, town o

A couple of you will grease my chin before I leave this town-o.

He grabbed the grey goose by the neck

And he threw a duck all across his back

He never did heed the quivvy quivvy quack

Nor the legs all a dang-ling down-o, down-o, down-o

He never did heed the quivvy quivvy quack

Nor the legs all a dang-ling down-o.

Old mother Flipper Flopper jumped out of bed

Out of the window she pushed her little head

Cryin’ O John, O John the grey goose is gone

And the fox is away to his den-o, den-o, den-o

O John, O John the grey goose is gone

And the fox is away to his den-o.

Well, the fox he came to his very own den

And there were the little ones, eight, nine, ten

Saying Daddy you better go back again

‘Cause it must be a mighty fine town-o, town-o, town-o

Saying Daddy you better go back again

‘Cause it must be a mighty fine town-o.

Well, the fox and his wife without any strife

Cut up the goose without any knife,

They never had such a supper in their life

And the little ones chewed on the bones-o, bones-o, bones-o

They never had such a supper in their life

And the little ones chewed on the bones-o.

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