Mizen Mud: Recipe for a February Exploration Day

Muddy Boots

It’s been a wet, wet winter, but when the sun shines in February (which it does, honestly!), we are out exploring. This particular day our companions were Jessie, Brandon, Amanda and Peter and our accompaniment was MUD, and lots of it.

Explore Group

Amanda took the photo of the group, and the one of my muddy boots

We had goals – Amanda was after some elusive holy wells and Robert wanted to find the pirate steps at Canty’s Cove for his talk on William Hull and the Leamcon Pirates’ Nest, part of the Ballydehob spring lecture series, ’Talks at the Vaults.’ Jessie is a professional tour guide, wanting to learn more about the Mizen. Finally, I wanted us to swing by Dunmanus Castle so I could check out a few construction details.

Dunmanus Castle and bridge

Dunmanus Castle on its knoll, surrounded by water

You don’t actually need goals like this to go out exploring, but it helps. It gets you into places you wouldn’t normally go, down tiny boreens, into farmyards and across fields. You end up knocking on doors and meeting people who know all about the well, or the old stones, or the legends of the place, or who owns what field and whether he minds people tramping through it. On this occasion we met, for the first time, the near-legendary Pat McCarthy, one of the writers of Northside of the Mizen, and a huge authority on this area. We’ve promised ourselves a return visit with him as we weren’t able to stay long enough for a good talk.

Budds

The best way to start a day like this is with excellent coffee, in Budds of Ballydehob, where we assembled with our map to plot our course. It was off then to Toormore and the Altar wedge tomb. On this occasion we weren’t actually after the wedge tomb (although I can never resist a photo of it) but the little holy well across the road.

Altar Wedge Tombe

Our next stop was Dunmanus, to take a good walk around the castle with the camera, looking for details I had missed on previous visits.

Dunmanus Castle ground floor entrance details: The bar-hole for barring the door once inside; the spud stone and the hanging eye. The hollows are for the pole that the door swings on

And then on to Canty’s Cove. You can read Robert’s post, Canty, for more about this place and its association with Canty the Pirate. Finding the steps wasn’t easy and it was a big thrill when we finally figured out where to look.

from Canty's House

This is the inlet with the pirate steps. Photographing them involved hanging over the edge with someone holding on to your ankles

Pirate Steps

How would you like to climb up these with a keg on your back?

By then we were starving – this exploring is hungry work – so we repaired to O’Sullivan’s of Crookhaven for one of their famous crab sandwiches. Even at that early date the sunshine was so inviting that people were sitting outside with their sandwiches and their pints.

water pump at Crookhaven

Crookhaven Pier

From Crookhaven it’s a quick trip to Lissagriffin, where there’s a medieval church and a bullaun stone doing double duty as a holy well/wart well. The church has a panoramic view over the salt marshes behind Barley Cove Beach as well as interesting architectural features.

Lissagriffin Doorway

Our next holy well was right by the side of the road a couple of miles further east – labelled so we couldn’t mistake it.

Callorus Oughter

Amanda inspects Tobareenvohir – or Tobairín an Bhóthar, the Little Well of the Road

The final one was harder to find and necessitated negotiations of some seriously muddy fields. Tobairín Brón (Little Well of Brone) was in the general vicinity of where we ended up, along with a small monastic site – all very brambly and hard to decipher. But what a place – a view clear out to the Fastnet Rock, with Knockaphuca looming behind us. Cnoc an Phúca means the Hill of the Mischievous Spirit – it’s been tamed, presumably, by the large cross erected on its peak.

Monastic site

Knockaphuca

Fastnet Rock

Read Amanda’s post for her take on the four wells we visited that day.

By then the sun, so warming earlier in the day, had been overtaken by high cirrus clouds, and we were donning jackets and gloves and remembering that it was only February after all. As if to make up for its lack of warmth, it treated us to a magnificent solar halo (I’ve always called them sun dogs)  as we made our way back to the cars.

Sun dog

We were never much more than 30 kms (or about 40 minutes) from home but in that distance we managed to see heritage sites dating from the bronze age through the medieval period up to the recent past, surrounded all the time by the magnificent scenery of the Mizen. You can do this anywhere in Ireland. Using the Historic Environment Viewer of the National Monuments Service, define the area you want to explore, pick your fancy (ring forts? medieval churches? cross slabs? megalithic tombs? castles? rock art?), and off you go.

Peter and Amanda in a holy well

A holy well looks back at Amanda and Peter

Now, if you’ll excuse me, I’m off to buy some wellies…

Mosaics and Maharajas, Part 2

East Window

The more I look into the Church of the Ascension in Timoleague the more fascinating it becomes. Last week I concentrated on the mosaics and the story of the Maharaja, but what I failed to say is that the mosaic tiles were made by Minton, as were the encaustic tiles on the floor. Minton is known for its bone china but in fact it was also was the leading producer of British ceramic tiles during the 19th century.

Encaustic Tiles

The encaustic floor tiles as well as all the mosaic tiles were made by Minton

The windows were also produced by the most famous British stained glass artists of their day, as we shall see. Taken as a whole then, the architecture and decoration of this singular church leads us directly to Augustus Pugin, one of the giants of the Victorian Age, and locates it in the highest echelons of the Gothic Revival Movement. This hidden gem is even more of a jewel than I suspected!

Pugin

Who was Augustus Pugin? Born in 1812, son of a French emigré draughtsman and an English mother, Pugin trained in his father’s workshop, becoming proficient in design and drafting by aged 9. Conversion to Catholicism and a visit to Nuremberg in Germany convinced him that the greatest expression of church architecture was High Gothic and he set about challenging, and ultimately revolutionising, the prevailing design norms of the Victorian period. He was incredibly prolific and influential, such that today when we think about Victorian architecture and gothic revival, we are really thinking about the work of Augustus Pugin – even though he died in 1852 at the early age of 40.

The signature of the Warrington Stained Glass Company on the East Window

Pugin designed several churches in Ireland (mostly Catholic), especially in Wexford, where you can follow the ‘Pugin Trail’. (I don’t know who wrote the Wexford Pugin Trail brochure, but it is one of the best explanations of his style and influence that I have read.) While he did NOT design the Church of the Ascension, his influence is everywhere in evidence, along with the use of his favourite suppliers – Minton for the mosaics and tilework and Warrington, Lavers and Westlake, and Mayer for the windows.

Church interior looking east

Hallmarks of gothic revival: a beautiful hammer-beam ceiling, tall pointed windows with simple Y tracery, everything to lead the eye upwards

The real art of making stained glass in the medieval style had been lost and during the 18th century colour was mostly painted directly on the glass using an enamel technique. But part of the gothic revival ethic was to base manufacturing technology as closely as possible on the original so there was also a re-discovering of real stained glass processes where the colour was fired directly into the material and sections of glass were separated by lead. This art was revived in the 19th century by artists and craftspeople who studied medieval glass and learned through trial and error how to make it again.

The Presentation

The Presentation, East Window

Let’s start with the East Window, the work of Warrington. William Warrington was one of the leading stained glass artists of his day. Like Pugin, he was a student of the gothic style and he strove to reproduce glass work as close as possible to medieval models. He had trained with his father as a painter of armorial shields, an influence that can be seen in his designs. He wrote a book in 1848 on The History of Stained Glass, but fell afoul of the group called the Cambridge Camden Society (or CCS) who had set themselves up as the arbiters of taste in all things related to church architecture. Partly this was the outcome of class prejudice: the CCS, all university educated men, did not believe that a “mere artisan” should be allowed to have an opinion of what they saw as their own exclusive preserve.

supplicants

Detail from The Raising of Dorcas, East Window

By any standards, this is a beautifully executed window. According to the Wikipedia article, Warrington’s figurative painting strives towards the Medieval in its forms, which are somewhat elongated and elegant, with simply-painted drapery falling in deep folds in such a way that line and movement is emphasised in the pictorial composition. His painting of the details, particularly of faces, is both masterly and exquisite.

Raising Dorcas

The Raising of Dorcas, East Window. In this story, from the Acts of the Apostles, Peter prays over the dead body of Dorcas, who returns to life

This is all clearly visible in the East Window, a masterful set of three lights depicting the Crucifixion in the centre, Raising Dorcas on the left and the Presentation in the Temple on the right. Note the use of heraldic motifs above the main panels, and the tall medieval-style spires of foliage, all typical of Warrington glass.

East Window heraldic

For some reason, this was all too much for the Bishop of Cloyne when he came to consecrate the new chancel in 1861. Cloyne Cathedral itself was a true medieval building but much simpler in its interior decoration. The Bishop obviously had less sympathy with this new style of highly decorated church interiors and objected in particular to the East window, which he viewed as similar to the ‘graven images’ popular in the Catholic churches.

On the cross

He refused to conduct the consecration unless the window was covered in a cloth. The cloth, apparently stayed up a long time, and when it came down the window continued to attract opprobrium – it was even attacked and broken on at least one occasion! It’s hard to understand now how such a beautiful piece of devotional art could have inspired such an over-the-top reaction.

Jesus Walking on the Sea

The Sermon on the Mount by Lavers and Westlake

Three sets of windows in the nave are by Lavers and Westlake, yet another of the London-based stained glass firms that responded to the new demand for gothic-revival glass windows in 19th century Britain. Nathaniel Westlake was another scholar of stained glass, publishing a four volume work, A History of Design in Painted Glass, and also a decorative painter of wall and ceiling panels. He was considered one of the leading exponents of stained glass art with a style considered to be Pre-Raphaelite. He worked with William Burges for a while – the one who designed every aspect of St Fin Barre’s Cathedral in Cork – who recommended him to the firm of Lavers and Barraud. In 1868 he became their chief designer and was responsible for much of the success of the firm, which captured a large share of the booming stained glass industry. Unlike Warrington, however, Westlake did not clash with the CCS, probably because his partner, Lavers, was a member of that society.

Loaves and Fishes detail

A detail from the Lavers and Westlake Loaves and Fishes window showing Westlake’s Pre-Raphaelite tendencies

The three windows by Lavers and Westlake are in the nave on the north and south walls. Those on the north wall depicts the Miracle of the Loaves and Fishes and the Sermon on the Mount. That on the south wall is of Jesus Walking on the Water.

Loaves and Fishes Detail

Jesus Walking on the SeaAbove, detail from the Loaves and Fishes. Below, Jesus Walking on the Water

The final window on the south wall is by the firm of Mayer and the subject is The Good Centurion. Franz Mayer and Co was possibly the busiest stained glass company of all and are actually still in business under the name Mayer of Munich. The founder, Franz Mayer, started a company dedicated to “…a combination of fine arts, architecture, sculpture and painting…”. This firm was officially recognised by the Vatican so it was very popular with Catholic churches and there are many examples of Mayer windows throughout Ireland. In 1865 the firm opened a London branch, which supplied this window.

The Good Centurion

The Good Centurion, a window by Mayer of Munich and London

There are three more windows in the south transept, these ones by the firm of Clayton and Bell. They are very fine indeed and I particularly like the east and west window pair which depict, apparently, Life and Death, for their wonderful luminous colours.

Clayton and Bell windows, detail 

There are several more noteworthy features of this fine little church (the pulpit, the carved wooden furniture) but I think I will leave it at that for now. I’ve learned a lot about the Gothic Revival Movement through this exercise, and about some of its chief practitioners. I’ve been struck, as the reader might be, at how British (rather than Irish) the influences are in this church, but that of course was very much a function of the times. At some point I will write about the enormous Catholic church that dominates the village, with a view to showing how the great era of Catholic church building in Ireland finally led to an emphasis on Irish architecture and Irish artisans. For a very brief word on that, you can read my post A Tale of Four Churches.

Timoleague Three Churches

Timoleague. On the left are the ruins of the medieval friary, the Catholic Church dominates the hilltop, and the Church of the Ascension is behind the green building on the far right

And as for Augustus Wellby Northmore Pugin – you can learn more about this complex genius through the BBC Program Pugin: God’s Own Architect, available on YouTube.

Words on Roaring Water

from Brow Head

…Anyone who has glanced even cursorily at the map of Ireland, will have noticed how the south-west corner of it has suffered from being the furthest outpost of European resistance to the Atlantic. Winter after winter the fight between sea and rock has raged on, and now, after all these centuries of warfare, the ragged fringe of points and headlands, with long, winding inlets between them, look as though some hungry monster’s sharp teeth had torn the soft, green land away, gnawing it out from between the uncompromising lines of rock that stand firm, indigestible and undefeated…

Naboth’s Vineyard, Somerville and Ross, Spencer Blackett, 1891

hedge and wall

So constantly entranced am I by the character of this remote corner in which we have chosen to settle (in my own experience – admittedly somewhat geographically limited – it is the most beautiful landscape in the world) that I am always excited when I discover that others have shared the same feelings. Consequently I am forever looking out for references to the coastline and country around Roaringwater Bay – particularly descriptive writing – in the wealth of books on West Cork that are harboured by local bookshops, libraries, and our own shelves here at Nead an Iolair: we are most fortunate that some of these books, especially the now out-of-print ones, came with the house! I have sifted through a few of the words: essays, extracts from novels, historical treatise and guidebooks that support my own feelings about the place. All are taken from writers I admire and thoroughly recommend. I present them here for you to take in, together with some hopefully seductive illustrations from the locality, in support of my thesis that there is no better place to be alive.

rosbrin cove days

…I believe that in West Cork water runs uphill. There is a small lake on the very summit of Mount Gabriel, nearly fourteen hundred steep feet above the Atlantic level. Small it is, but so deep that when, once upon a time, a heifer was lost in it, she came out in Schull harbour, on her way to America! (Or that is what the people tell you.)…

 ‘Happy Days!’ – Essays of Sorts, Somerville and Ross, Longmans, green and Co, 1946

stone beach

…There was a line of tables up the middle of the pier, each with its paraffin lamp smoking and flaring in the partial shelter of a fish-box, and each with its wild, Rembrandtish group of women splitting the innumerable mackerel, and rubbing lavish fistfuls of coarse gray salt into each, before it was flung to the men to be packed into barrels. The lamps shone fantastically on the double row of intent faces, on the quickly moving arms of the women, crimsoned to the elbows, on the tables, varnished with the same colour, and on the cold silvery heaps of fish…

Naboth’s Vineyard, Somerville and Ross, Spencer Blackett, 1891

cappacolour

…Think of a wandering road in – let me say West Cork… The way is rough and stony, and (most probably) muddy, but it can claim compensating charms, even though it can hardly fulfil any of the functions proper to respectable roads. And in its favour I would claim the broken varying lines of the hills against the sky. The untidy fences, with their flaming furze bushes, or crimson fuchsia hedges; their throngs of vagabond wild flowers, that can challenge the smug respectability of a well-kept garden. And the inevitable creatures, the donkeys, the pigs, the coupled goats, the geese, that regard the highroad as their lounge and playground. No doubt they exasperate the motorist in a hurry (as are all motorists) but for more tranquil wayfarers they can offer entertainment, almost charm…

‘Happy Days!’ – Essays of Sorts, Somerville and Ross, Longmans, green and Co, 1946

fuschia colour 2(Ireland) …is a land of surprises. She has the gift of unexpectedness, of uncertainty: her people, like her looks, and her weather, can be sometimes charming, often exasperating, but seldom commonplace. Is there another country, reasonably civilised, in which, in the course of a casual idle stroll, records of pre-history can be met with in any field, unconsidered, or found (as I have known) an immense cup-marked stone, built into the wall of a cow-house, ignored by the descendants of those who were once its worshippers? And yet, in characteristic contrariety – as is our way in Eire – in the field next to that cow-house, you can see that the plough has turned aside from its rightful course in respect for a little old deformity of a thorn-tree, which has asserted, for possibly a thousand years, its right to be reverenced and feared…

‘Happy Days!’ – Essays of Sorts, Somerville and Ross, Longmans, green and Co, 1946

sun rays

…In the mirror that memory will sometimes hold for us, I can see Rahyne Glen at four o’clock on a silver autumn morning before the sun has reached it. Opposite, just below the rim of the steep western side of the glen, there is one of the memorials of an older race and its religion. This is a broad slab of pale stone, leaning sideways against the hill, having, somehow slipped off the stones on which it had been supported. The sunlight falls full on it; it catches the eye and holds it. It is a dolmen, and the pale slab was its cap-stone. It marks the grave of a chief. He might have been content with his resting-place, had beauty of scene appealed to him (which seems improbable). Whether contented or no, he has lain there (if the archaeologists may be believed) undisturbed, through all the long centuries. If he were to look out now on those familiar hills he would see no change. His hills have defied civilization. All would look as it might have looked on any fair September morning during past thousands of years. And, I suppose, the pink ling, and the purple heather and the gold of the low-growing autumn furze, would then have spread the same carpet of colour over the hills… The wild stream comes storming through the thorn-bushes of the glen as fiercely as ever it did when the Chieftain and his warriors washed their spears in it… Beyond the glen the country rises, in long swathes of dim green, and purple, and misty blue, to a curving line of hills, and farther and higher still – for the viewpoint is a high one – a narrow flashing line tells of the silver plain below, which is the Western Ocean…

‘Happy Days!’ – Essays of Sorts, Somerville and Ross, Longmans, green and Co, 1946

roaring water

…The indented contours of Raring Water Bay enclose a maze of minute inlets and islands. The name derives from a stream which flows down the side of Mount Kidd amidst a landscape of bracken and boulders. The torrent roars in the narrow gaps and gullies as it rushes towards the sea. The little inlets penetrate the land like miniature fjords and create a sense of safe haven from dangerous seas. Their piers, long abandoned except for the occasional fisherman’s or tourist’s boat, are overgrown and tumbled-down romantic ruins, quiet spots for sighting a lone heron at low tide, grey against grey water. In the narrow defile where the roaring water debouches into the bay nature has done much to reclaim the territory usurped by human purpose. Perhaps, like the closing of a wound, this former embarcation point, which saw many thousands flee a country unable to support them, is being bound in ivy and decorated with wild fuchsia to heal the scar…

West of West – An Artist’s Encounter with West Cork – Brian Lalor, Brandon Book Publishers, 1990

gabriel side

…The islands of the West Cork coast are rather grandly referred to as Carbery’s Hundred Islands, but only Clear Island and Sherkin now sustain a viable population – though, like the other islands off the west coast, there is a steady draining of young people to the cities on the mainland for education and employment. Horse Island off Schull is evocative of the vanished communities of these islands. Silhouetted against the skyline, this piece of low-lying land appears like an old-fashioned, gap-toothed saw; a dark bulk of rock with triangular projections – the gable ends of a row of roofless cottages – biting into the clouds…

West of West – An Artist’s Encounter with West Cork – Brian Lalor, Brandon Book Publishers, 1990

kilcoe days

…Three or more centuries ago, before the landscape of West Cork became bound by a web of roads and fences, its contours would have been best understood when seen from above, from the heights of Mount Kidd or Mount Gabriel. Parallel ribs of rocks and hills, dividing up the pasture land, extended from the base of the mountains to the coast, where long fingers of rocky promontories projected out into the sea. There was a natural order to everything…

West of West – An Artist’s Encounter with West Cork – Brian Lalor, Brandon Book Publishers, 1990

rosbrin shadows

… Beyond Whitehall I rode out to the point at Cunamore where the road ended at a small pier which was the nearest point to Hare Island, also known as Inishdricoll. There was no regular ferry across, but the post boat went over several days a week, and the schoolmistress crossed daily to teach the dozen remaining children. It is a much less dramatic island than Cape or Sherkin, a low-lying slab of land with golden beaches. One road leads to a little village nicknamed Paris – probably a derivation of ‘pallace’ – once the centre of a fleet of lobster boats. Now I listened to an old man lamenting the terrible decline.

   “John has gone and Dennis has died, and we’ll die too, and then the foreigners can have it all.” Already half a dozen of the houses had been bought up by strangers.

   One by one the smaller islands became deserted. It is a long time since they were densely populated, but until quite recently they supported a certain number of families. Only a few years ago I visited Horse Island, just opposite Ballydehob. The last people there, an elderly couple, were living all alone. It was summer, and the old man was sitting in a chair outside his house, his feet in a basin of water. His wife, behind him, fed hens. Next year they were gone. The house, still intact and comfortable, stood empty, the linoleum in place, last year’s calendar on the wall. Down by the pier a plough had been thrown into the water where it looked like a gesture of despair…

The Coast of West Cork – Peter Somerville-Large, Victor Gollancz Ltd, 1974

rosbrin cool

…West of Ballydehob the laneways ran into each other like the veins of a leaf. Many of them were untapped; they seemed empty, with little life except for cattle or a white horse browsing in watery fields beside them. Most seemed to end up at the sea, and each little turn had its own alignment to the bay. One looked across the islands with Kilcoe standing squat and menacing on its headland; the next inlet had a view across to Horse Island; another lane climbed to a hill to where one could see the sweep from Baltimore Beacon and the Gascanane to the shattered tower of Rosbrin castle…

The Coast of West Cork – Peter Somerville-Large, Victor Gollancz Ltd, 1974

Afternoon in Ballydehob 04.2014

…May Day in Schull was the day for ‘bringing in the green’. But the ancient custom is dying out. Only a few branches of green leaves were tied on doors, and a twig of fuchsia dangled from the handle of a bike. “Old pishoges,” an old man muttered as he carefully arranged sycamore round a drainpipe…

The Coast of West Cork – Peter Somerville-Large, Victor Gollancz Ltd, 1974

altar

…Colla harbour and pier is the nearest point to embark for Long Island. Horse Island, Castle Island and Long Island lie in a line just outside Schull harbour. A tradition, quoted by Smith, claims that they were once all one island. “In the latter end of March, AD 830, Hugh Domdighe being monarch of Ireland, there happened . . . terrible shocks of thunder and lightning . . . at the same time the sea broke through the banks in a most violent manner. The island, then called Innisfadda, on the west coast of this country was forced asunder and divided into three parts”…

The Coast of West Cork – Peter Somerville-Large, Victor Gollancz Ltd, 1974

december sun over rossbrin

…From the vicinity off Dunanore, we obtain a view of the coast and the surrounding open, which is one of surpassing beauty, when the summer sun is setting in the far west. Towards the south, as far as the eye can reach, the broad expanse of the Atlantic is stretched before our gaze, the distant horizon dotted here and there by some white sail, or the dark hull of one of those leviathan steamers which ply their busy trades between the Old World and the New. Cape Clear is the first land which greets the American tourist or the returning emigrant on his approach to the old country, and the last cherished spot of his ‘own dear isle’ which bids adieu to the Irish peasant, when he parts, perhaps for ever, from his native country…

Sketches in Carbery, County Cork: its antiquities, history, legends, and topography – Daniel Donovan, McGlashan & Gill, 1876

down below

Perspectives on Irish History

Occasionally we review books that we think will interest our followers. Here are two which I recommend without reservation: Victorian Dublin Revealed and The Green Divide. Both are by Michael Barry, an engineer, writer and publisher who hales from Ballydehob and now lives in Dublin: he describes himself as an author and transport consultant and has spent much of his career with Ireland’s railways. Michael recently penned an article for the Irish Times in which he set out the highs and lows of producing books here: …There is the pleasure of receiving in one’s hand, a new book, straight from the press: perfectly laid out, high quality, the illustrations perfectly printed. It is the joy of creating something worthwhile – it is almost like seeing a child just born… and, balancing that, the frustrations of a literary world where British publishing dominates: …It is a hard world out there, one may have the best book in the world, but if you don’t have contacts in the press or radio, one doesn’t get reviewed or interviewed… Having read these two books from Michael I can confirm that he is a perfectionist: his writing is faultless and authoritative but, more than that, he generates an enthusiasm for his subjects. Pick up either of these volumes and I guarantee you will be hooked. If there is a word – unputdownable – then that perfectly describes them both. I didn’t know that I was so fascinated (as I now am) by the Irish Civil War: The Green Divide makes such a good job of describing that awful part of Irish history in all its perspectives. It is eminently readable and brilliantly illustrated – there are 400 pictures which include contemporary images, documents and posters as well as the author’s own high quality photographs.

Very different, but equally compelling, the book on Victorian Dublin is, indeed, a revelation. The architect in me immediately wants to go out and see all these places – houses, halls, churches, industrial archaeology – which I never knew existed. The level of research is breathtaking. Mary Leland, in an effusive review for the Irish Examiner, puts it well: …If modern life in Ireland began in the nineteenth century, so did modern architecture. Michael Barry makes this point time and time again in a book of sometimes startling illustrations . Here are pictures to remind us of what we have been ignoring because they seem so commonplace or constant. Barry is his own photographer and has a pleasing eye for detail. He also has a nice sense of historic irony…

I am including a few extracts from both of these volumes: in their brevity they cannot do the books justice. I am hoping you will be inspired to look out for these in your local bookshops (or to ask that they get them in – as we need to keep our bookshops going…!) Michael Barry has written much more: you will find full details on his Andalus Press website – there’s a lot to explore there too!

From: The Green Divide…
Left: two National Army soldiers billeted in a rural cottage – Barry comments ‘If they are city boys, this glimpse of how people in the countryside lived probably came as a shock’. Right: a propaganda poster by Constance Markievicz – ‘this one adopts a mystical theme, depicting male and female Republican fighters as The Bodyguard of the Republic’
Left: Republican activity – removal of two rails – led to this derailment on 15 August 1922 along the banks of the River Slaney on the Dublin & South Eastern Railway: the locomotive of the down Night Mail ran on the sleepers for over 150 metres before turning over. Right: in Lough Mahon, Upper Cork Harbour, Republicans scuppered a dredging barge (distant) and the steamer ‘Gorilla’ to impede passage upriver.
Left: In July 1922, the Irish republican Army published this newspaper advertisement warning Dublin public house proprietors that their premises could lose their licences for plying soldiers with (too much) drink! Right: the ‘schloss-style’ former RIC Barracks at Caherciveen, Co Kerry, now a museum: it was set on fire during the Republican retreat from the town in August 1922.
From: Victorian Dublin Revealed…
Left: ceramic door surround in the National Museum, with carved door by Carlo Cambi of Siena; Cambi’s carvings adorn a wide range of Dublin buildings. Centre: ‘poetry in stone and iron’ – entrance gates to Howth Castle and Demense. Right: ‘heroic engineering’ – a pipe bridge over the Dargle River.
Older times. Left: the tram-yard at Dalkey. Right: oak vats in Vathouse 4 at the Guiness Brewery, 1980s; at the end of the nineteenth century it was the largest brewery in the world. ‘…They garner the succulent berries of the hop and mass and sift and bruise and brew them and they mix therewith sour juices and bring the must to the sacred fire and cease not day or night from their toil…’ – James Joyce, Ulysses.
‘A Byzantine jewel in the heart of the city’ – The University Church on St Stephen’s Green, established by John Henry (later Cardinal) Newman and designed by John Hungerford Pollen. It opened in 1856.

masonic hall

My personal favourite so far… the astonishing Grand Chapter Room in the Freemason’s Hall, Molesworth Street. The building, by Edward Holmes, dates from 1866. Evidently there is, within, an array of exotic rooms designed around fantastical themes. I can’t wait to get to see them! Will they let me in?

observatory

The South telescope at Dunsink Observatory, dating from 1868. Its 12 inch lens was the largest in the world when it was cast in Paris in 1829. The telescope mounting and rotating dome enclosure was provided by the Grubb Optical and Mechanical Works in Rathmines: ‘…the Grubb Works was a thriving hub of advanced optical technology during the nineteenth century. It produced astronomical telescopes which were exported all over the world…’ This telescope is still in working order.
Below: Michael Barry is gifted with an eye for detail: he spotted these three monkeys playing billiards on the elevations of Deane and Woodward’s Kildare Street Club (1859-61) – and wonders if it was a comment by the stone carvers on the rich and leisured denizens of the club?
three monkeys

 

Mosaics and Maharajas, Part 1

This week when we were passing though Timoleague I had a fancy to see inside the Church of the Ascension as I had heard it was ‘worth a look’.  Understatement of the century! What we saw was astonishing, beautiful, and overflowing with history and stories.

The key is kept at the Post Office on the main street – just ask

This Church of Ireland building is typical of the simple gothic revival style favoured by the funders – the Board of First Fruits. (Read more about this almost-forgotten organisation in a post from the always excellent Irish Aesthete.) Built from the ruins of an earlier (probably medieval) church it was consecrated in 1811 but enlarged later in the 19th century. The pointed-arch windows and the square tower with louvre vents are unremarkable features on the exterior, but open the door and step inside and you enter another world.

The mosaics are the most obvious (although by no means the only) glory of this church. Designed to commemorate members of the Travers family (yes, the same Travers whose memorials dot the walls of St Fin Barre’s) they cover the entire interior of the church, apart from the hammer-beam ceiling in the nave. They incorporate motifs in several traditions – Christian, Jewish and Islamic.

Above the west doorway is the Ascension scene – the apostles are rather conventional but I love their colourful robes and the flower borders. Below them is an angel font, similar to a pair in Tralee Cathedral, made of Carrera marble, with yet more mosaic detail.

Members of the Travers family are named in mosaic around the walls – Robert Valentine Travers of the Munster Fusiliers was only 22 when he fell at Gallipoli.

In the chancel, above the marble altar, the ceiling is covered in mosaic, as are the walls, some of which have been gold-leafed. The richness of the detail and the vision that dictated such a glorious conjunction of imagery and colour is jaw-dropping, and mark this little provincial church as part of the influential Oxford Movement of the Victorian era that aimed to return ornamentation and beauty to spaces of worship.

This is the great High Church and Low Church debate. A group called the Cambridge Camden Society promoted a return to gothic architecture: the classical style was seen as pagan, while the great gothic cathedrals of Europe represented the apex of Christian architecture. (More about this in the next post, which will concentrate on the stained glass.)

Installing mosaic is a time-consuming and expensive process – this one involved importing artisans from Italy and the parishioners eventually received help from an unexpected quarter. The final series of installations was paid for by an Indian Maharaja!

Madhav Rao Scindia was the Maharaja of Gwalior. He was wealthy and looking for places to  spend his money. What, you don’t believe that? Just read this story about the fabulous and secret treasure chambers of Gwalior. No – in fact, he was highly-educated ruler who did much to modernise his state but he was only 9 years old when he inherited the title.

The Maharaja in his prime

The British appointed as his surgeon and tutor an Irish doctor from Timoleague – Dr Martin Crofts. A long friendship grew, based on mutual respect (and shared tiger-hunting expeditions) and it is said that Crofts saved the life of the Maharaja’s son. 

Leaving for the Hunt at Gwalior by Edwin Lord Weeks

When Crofts died suddenly in 1915, after only a year of retirement, and was buried in Timoleague the Maharaja funded the completion of the mosaics as a memorial to his friend and mentor.

Thus, a tiny and obscure church in Timoleague invokes not only a great architectural movement but, like the memorials last week, echoes of the Empire and an unlikely international friendship. But this is not the last of the story – next week we will explore the other glory of this little church, the stained glass windows. In their own way they also link Timoleague to the great artistic trends of their age.

A detail from one of the windows

Part 2 can be seen here.

Outposts of Empire

St Patrick's Cathedral

There’s a class of monument in Ireland that I am only discovering as an adult. There is a reason for this – as a young person growing up in a conservative Catholic culture, it was verboten for us to enter (yes, even just enter) Protestant churches. I was used to a certain iconography – stations of the cross, statues, stained glass of saintly subjects – and very rarely did it include memorials to deceased individuals. That was confined to the graveyards.

St Fin Barre's

No modern Irish reader of this memorial at St Fin Barre’s Cathedral in Cork could fail to be aware of its incongruities

As our readers will know by now, Robert and I never pass an open church without poking around inside. Last year, in The Love Which He Bare Her, I wrote about the wonderful memorials I have discovered to women, cataloguing their many virtues. That was for St Valentine’s Day so since it’s still February I thought I would do a similar post for men. There are lots – poets, priests and philosophers, benevolent and erudite – but the ones I have been most taken by are the military memorials* we have discovered in Protestant churches.

St Barrahanes 2

Irish men served in the British army all through our long and complex history together. My father served in the Second World War although he saw no combat. My maternal grandfather was a Sergeant in the Welsh Fusiliers stationed in Dublin where he met my grandmother, whose own father had served in India and Afghanistan.

Left: My father, Hugh Finlay, during his time in the British Army, stationed in Belfast during the Second World War. Right: The grave of my Welsh grandfather, William Owen Roberts, in The Hague, Holland. He saw action as a young man in the Boer War. He died of the Spanish Flu on his way home from the First World War.

Although this was part of family lore, it received no attention in our history lessons. Once again – there’s a reason for this. It’s been succinctly expressed by Turtle Bunbury in his book The Glorious Madness:

The Glorious MadnessFor those who returned to Ireland after the war, the horror of their experience was magnified by the realisation that everything they fought for amounted to nought and that anyone who thought otherwise was no longer welcome. Although many of those who won independence for the Irish Free State had formerly served in His Majesty’s forces, there were powerful elements within the new order that would obligate the country at large to throw an unforgiving eye upon ex-servicemen of the British Empire. In time the hostility became amnesia and the Ireland of my youth in the late 20th century seemed to have a history in which the only war the Irish ever fought was for freedom from Britannia’s rule.

Turtle’s book opens our eyes to the vast numbers of Irish men and women who fought in WWI and their reasons for doing so – reasons as diverse as their backgrounds. Read the chapter on Tom Kettle and Emmet Dalton, for example, or the piece on Liam O’Flaherty (author of The Informer) or that on Cork’s famous son, Tom Barry, as well as those on members of the Anglo-Irish aristocracy such as Lord Desmond FitzGerald, or famine-survival emigrants such as Knox D’Arcy who helped found BP Oil. Thankfully, the collective amnesia is being faced now and memorials to WWI dead are springing up in country graveyards around Ireland.

First World War Grave

A new slab at Abbeymahon church near Courtmacsherry remembers Denis Driscoll, a local man who fought in WWI

Besides the first and second World Wars, though, the military memorials that have caught my eye have celebrated the courage and sacrifice of Irish men who devoted their lives to a career in the British army and navy even before the 20th century. But why are these memorials inevitably found in Protestant churches and not Catholic? Besides the conventions of iconography and the collective amnesia referred to above, there is, yes you guessed it, a reason for this.

St Fin Barre's 2

As part of a minority but ruling class in Ireland, Church of Ireland members often saw themselves as standard bearers of Empire. As a community they were on the whole (with many notable exceptions) conservative and unionist and looked to Britain for education for their children. Many families had generations-long traditions of sending their sons to serve in the army or navy. (While Irish Catholics also served, it was predominantly in the ranks of foot-soldiers and to escape unemployment at home, rather than as career officers.) British military valour and sacrifice, therefore, loomed far larger in the consciousness of Protestant families than in Catholic ones.

St Barrahanes

According to Martin Maguire in his paper Our People”;  the Church of Ireland in Dublin and the culture of community since Disestablishment**, The most powerful and emotional bond with Great Britain, and within the Church of Ireland community in Dublin, were memories of the first World War… After the war Remembrance Day became one of the most solemn occasions in the year, one which strengthened the sense of being a special community and, despite national independence, maintained the close identity between the Church of Ireland and the community of the British Empire… The loss of a great many young men to a population which was already unstable was traumatic.

St Patricks 2

But this is also true of all the preceding wars, and this is reflected in the church memorials we see in the Protestant churches. Battles and engagements in places we never learned to think about about in school as being part of our collective heritage (the Burma War? the Siege of Lucknow?) are eulogised in these tablets and plaques. Soldiers are honoured by their companions, and lamented by their families. Their bravery and accomplishments are lauded and potent symbols such as crossed spears and empty helmets represent their sacrifice.

St Fin Barre's 4

Being an ‘Outpost of Empire’ doesn’t sit well with our ideas of what Ireland is now and this year in particular we will be celebrating our independence from all that that phrase invokes. But these memorials serve to remind us of the complexity and plurality of our history, and in many case of our own family history.

Brabazon Family c.1898-1900 (1)

The Brabazons, about 1900. Great-grandfather John Edward had served in India and Afghanistan and wears a military medal. Great-Uncles Michael and James wear the uniforms of army cadets***. Marie, my grandmother, who married William Owen Roberts, is in the middle at the back

*The Memorials in this post come from three churches: St Fin Barre’s in Cork City, St Barrahane’s in Castletownshend (Co Cork) and St Patrick’s Cathedral in Dublin.

**Available at: http://eprints.dkit.ie/75/1/Our_People_Laity_of_the_C_of_I.doc

** *More information from my cousin, Shauna: The two boys are wearing the uniform of the Royal Hibernian Military School. More information about that establishment here.