The Love Which He Bare Her

Nothing beats a romantic walk in a graveyard

Nothing beats a romantic walk in a graveyard

In honour of the upcoming St Valentine’s Day, and of course because it’s now officially spring, my thoughts have turned to love. As we travel, here in West Cork, and in Ireland generally, we have a habit of dropping into churches. I’ve been struck by the eloquence – the purple prose – of memorial inscriptions in many Church of Ireland  (Protestant) churches, dating from the 18th and 19th Centuries. Why only in those churches? There weren’t many Catholic churches in Ireland until after the Catholic Emancipation Act of 1829. In the wave of Catholic church building that followed that Act there are few examples of individual memorial tablets on the walls: instead, the walls are filled with Catholic iconography, such as the Stations of the Cross and statues of saints.

Although most memorial tablets commemorate men (particularly ministers, soldiers and noblemen) here and there you can find memorials to couples, or to beloved women, erected by their ‘disconsolate husbands’ or by a grateful parish. The first two below are from the ruined Muckross Abbey in Killarney. Here we found a stone erected by Stephen Coppinger of Cork, recounting the many virtues of his cherished Helen. The Coppingers were a Catholic family, one of whose members was the infamous Walter Coppinger of Coppinger’s Court.  Another, Elizabeth Coppinger of Barryscourt, in 1760 in defiance of the Penal Laws joined with Nano Nagle and five other Cork ladies in founding a Convent of the Ursuline order in Cork.

Helen Coppinger's memorial tablet

Helen Coppinger’s memorial tablet

Erected by Stephen Coppinger of the City of Cork in Memory of his late Wife HELEN Whose Accomplishments and Goodness of Disposition were her lowest Recommendations. Her solid Understanding, her diffusive, tho. judicious Charity, and strict Adherence to every Principle of the Christian Religion, the Duties of which she never ceased to perform, her Patience and Resignation during a lingering and tedious course of Sufferings, rendered her an Object of Admiration to all who had the Happiness of knowing her. She lived beloved and died lamented the 9th of August 1802. Aged 49 Years.

Also in Muckross Abbey we found this stone to Lucy Gallwey – so generally esteemed that the inhabitants of Killarney erected the memorial. A little sleuthing on my part discovered that Lucy was born Lucinda Grehan in Dublin, and that she and Christopher Gallwey had nine children.

Lucy Gallwey

Lucy Gallwey

Lucy

Wife of Christopher Gallwey of Killarney, Esq. This monument was erected By the inhabitants of Killarney and its neighbourhood to testify The deep sense of those amongst whom she lived And the Exemplary fidelity With which she discharged the relative duties of wife mother and friend as well as to perpetuate the recollections of the many benefits she conferred upon society and to hold up to the emulations of posterity her active useful yet unostentatious exercise of the most ardent charity directed by a singularly sound and well regulated understanding. She died the 14th of December 1829 aged 57

In St Patrick’s Cathedral in Dublin we came across this lovely plaque for Elizabeth, Viscountess Doneraile. (In the same Cathedral is an enormous memorial to the Boyle family built by Elizabeth’s great-grandfather Richard Boyle, Great Earl of Cork – but that’s a whole story in itself.) I love the wording of this one – not just that he loved her, but sincerely respected her.

Elizabeth, Viscountess Doneraile

Elizabeth, Viscountess Doneraile

      ELIZABETH, VISCOUNTESS DONERAILE

Wife of the Right Hon Hayes Sentleger, Lord Viscount Doneraile, Daughter of the Right Hon Joseph Dean, Lord chief Baron of the Court of Exchequer in 1715, and of Margaret Boyle, Daughter of the Hon. Roger Boyle, of Castlemartyr, in the County of Cork, Esq. She departed this life on the 3rd day of Dec, 1761, in the 59th Year of her age. She lived universally esteemed & died universally lamented. Her disconsolate husband, with whom she lived in perfect harmony forty Years, hath caused this Monument to be erected in testimony of the Love which he bare her, and as a memorial of his sincere respect for her many great & amiable Virtues.

Here’s one from Cloyne. And what a lovely thought – to have years of uninterrupted conjugal affection and then to “gently fall asleep.”

James and Lucinda Hingston

James and Lucinda Hingston

The final one is also from St. Patrick’s Cathedral in Dublin and it’s for Stella, whose real name was Esther Johnson, lifelong friend and companion of Dean Swift. At his request, he was buried alongside her.

Stella

Stella

Dear Reader, do you have a favourite memorial tablet erected by a disconsolate husband, or extolling conjugal affection? If you do, post them to our Facebook page – we’d love to see more of these.

Stella - Swift's Beloved

Portrait of Stella

I’m now busy composing a suitable epitaph for myself…let me see, er, amiable accomplishments Well regulated mind joined with admirable charity. The kindness of her disposition was matched only by the elevation of her thoughts. Natural perfections. Guess I’ll keep working on it. The emulations of posterity can wait a while.

The Deer Stalkers

Young Sika stag in the Glendalough Highlands

Sika stag in the Glendalough Highlands

Having spent many years in Northern Canada, surrounded by moose, elk, caribou and deer, I was intrigued to learn that Ireland also has a significant population of deer. The Red Deer is our only native species, preserved thanks to the work of private conservationists in Kerry and now reaching healthy population numbers. Fallow Deer are the ones you see in parks (like Dublin’s Phoenix Park), although there are lots of wild ones too, descendants of those introduced by the Normans in the 12th Century. Finally, there are Sika Deer, introduced by Lord Powerscourt in Wicklow for his demesne, but now numerous in wild herds in the Wicklow Mountains and elsewhere. Here in West Cork there are occasional sightings of both Red Deer and Sika Deer – including narrow misses by drivers.

Deer hunting has become a sport in Ireland and the licensing laws are constantly being examined and refined. Deer in parks are generally protected, and Red Deer may not be hunted at all in County Kerry. The Wild Deer Association of Ireland, an ‘independent, national organisation for deer management and conservation,’ represents ‘those involved  in deer management, deer stalking and people with an interest in the conservation and well-being of Ireland’s wild deer herds.’ Their excellent website is packed with information for any questions you might have about wild deer. Deer management is not uncontroversial in Ireland, as attested by a recent article in the Irish Times by naturalist Michael Viney.

Upper Lake, Glendalough

Upper Lake, Glendalough

Having grown up in Wicklow, I had become interested in the work of Fran Byrne, a wildlife and landscape photographer of the highest calibre, and when we saw that he was leading a Deer Photography Workshop in the Wicklow Mountains we jumped at the chance to enrol.

Deer on the horizon!

Deer on the horizon!

The word ‘workshop’ conjures up an image of earnest participants wearing name badges and writing on flipcharts, but Fran had warned us that this was not what we were signing up for. Having met our fellow participants (great group!) on Friday night, we gathered on Saturday morning, picked up our packed lunches from the hotel and set out, equipment in hand, to hike up to the highlands above the Upper Lake at Glendalough. (Glendalough, one of the most historic and beautiful places in Ireland, deserves its own post some day.) Once I saw our route I was glad to be carrying my tiny Panasonic Lumix camera rather than the enormous equipment of the other enthusiasts, because this was a HIKE.

Getting up to the head of the glen was arduous enough, but then we struck out across the trackless wild country. It was rough and wet, there was a biting wind (this was January, after all!) but Fran promised us that the deer, after recent snowfall, would be down from the higher ground and we had a good chance of sightings. And suddenly, there they were!

Stag and pricket

Stag and pricket

At this time of year the stags are rejoining the females and hanging out in herds. We saw male-only groups, females with young ones, and mixed groups. Our eyes gradually tuned in to the tell-tale white rumps moving through the bracken and rocks as we scanned the hillsides. Some of the deer, particularly one doe, seemed unbothered by our presence, others ran skittishly when we approached. I was grateful for the long lens on the Lumix, which allowed me to get some good shots where we couldn’t get too close.

Martin in full camouflage

Martin in full camouflage

Back at the hotel we downloaded our photos, Fran gave us pointers on processing the images and we admired each other’s captures. An excellent dinner and lots of chat later, we were all yawning after our exertions. But back we went again the next day, groaning and stiff but determined to get up to the high ground again.

After the clear blue skies of the previous day, we were presented with a mist that descended on us and worsened during the morning. Nevertheless, having taken  a different route we were rewarded again by good sightings.

Hind feeding

Hind feeding

We were particularly lucky to be joined by Joe Murphy, a deer expert and leading member of the Wild Deer Association. He filled us in on the current state of Irish deer populations, what threatens them (their only predator is humans), modern management practices and hunting regulations. He also volunteered to climb above one small herd to see if they would move away from him and towards us. Unfortunately, a lone hiker heading up into the hills scattered them before they started down.

Two prickets

Two prickets

Browsing near the stream

Browsing near the stream

I’m not sure when I was last as footsore and achy as I was last Monday morning, but it was worth every creaking bone and every throbbing muscle. If you’d like to do the same, contact Fran Byrne through his Facebook page. And don’t worry, you won’t have to slog up the mountain to take a workshop with him as he also does woodland rambles and garden walks. Mind you, he did describe our exertions as “leisurely” at one point, so be prepared!

There are wild goats on the cliffs too

There are wild goats on the cliffs too

Raw Material

The art of building: West Cork Arts Centre on opening day

The art of building: West Cork Arts Centre on opening day

On the last day of January (traditionally the last day of winter and St Brigid’s Eve) the new West Cork Arts Centre opened its first exhibition in Skibbereen. We have taken a great interest in this building during its construction: the very strong architecture has aroused a lot of negative comment in the community, but now that it is virtually complete the general view of it seems to be mellowing a little. For my pennyworth this bold, modern insertion into the townscape has provided Skibbereen with a new visual focus and with great potential for a successful future.

A specially commissioned glass sculpture by Michael Ray graces the entrance hall, and incorporates the names of sponsors of the building

A specially commissioned glass sculpture by Michael Ray graces the entrance hall, and incorporates the signatures of sponsors of the building

The name of this new building is Uillinn – it means ‘elbow’, a reference to the angled plan of the building and its cantilevered location over a bend in the Caol Stream that snakes through the town’s back yard. Dublin based Architects Donaghy and Dimond won the international design competition in 2009: have a look at their plans for the building here.

One of the exhibits is titled ‘Flying Colours’ and is a project by the West Cork Education Centre in collaboration with local Primary School children: stairways and circulation spaces in the new centre are alive with colour and creativity. How wonderful that these children can feel they have played such a significant part in this new venture.

The fabric of the building is lively and well considered

The fabric of the building is lively and well considered

This building simmers with potential: the gallery spaces and facilities are impressive and architectural elements are well detailed. Skibbereen has been given a high quality civic building that will last for generations: it’s now got to be used creatively.

Sam Thorne

Sam Thorne

It’s no coincidence that one of the speaking guests at the opening was Sam Thorne, artistic director of the Tate St Ives Gallery in Cornwall. Comparison between West Cornwall and West Cork is inevitable: both regions have a history of attracting artists because of the very particular light that comes from close proximity to the Atlantic coastline. Also, artists have been drawn to these places because of enduring lifestyles that are simple, basic and close to nature. Thorne made the perhaps surprising statement that West Cork is home to more artists per capita than both Paris and London.

'Blinkers' - Angela Fulcher 2015

‘Blinkers’ – Angela Fulcher 2015

Sam Thorne said that having a community of artists contributes all kinds of different aspects to a region. One of the simple ones is tourism. “That’s been a really important thing in St Ives over the past two decades,” he said. “The gallery contributes £11m (€14.6m) every year to the local economy in St Ives – three times that which was anticipated when the gallery opened… So there’s a very real powerful impact that having artists there, having art there, creates for the community.” He added that the St Ives Gallery now needs to extend its buildings and anticipates over £80m coming into the local coffers over the next few years.

tate

Phenomenal success: the Tate Gallery, St Ives, Cornwall

I spent many years in Cornwall and watched the development of the Tate Gallery in St Ives. It has become a year-round tourist destination: in all seasons – and in all weathers – the streets of the little town are crowded with visitors who are, of course, using the local shops, b + bs and restaurants. It has also created problems: overloaded car parks, strained infrastructure. But surely this is better than closed shops and failing businesses?

Of course, Skibbereen is not St Ives – and our Arts Centre doesn’t have the backing of a body like the Tate, with its enormous resources of historical art. But there are great possibilities nevertheless: Ireland has a wonderful art heritage, much of which is seldom seen outside of the big city galleries. And there are strong links between Irish artists and Britain which could be delved into. Think of the Newlyn School artists – Alexander Stanhope Forbes and Norman Garstin were both Irish; Cornwall was also home to Breon O’Casey and Tony O’Malley. Other artists moved from Cornwall to the west of Ireland, including Nancy Wynne-Jones, Conor Fallon and – mentioned above – Michael Ray.

Impressive gallery spaces call for dynamic works

Impressive gallery spaces call for dynamic works

The St Ives Tate works so well because it is able to show the ‘big names’ – but it also encourages young and local artists, whose output often interacts with the historically established works. There is no reason why the Skibbereen centre couldn’t build on similar links: wouldn’t it be wonderful if we could see paintings by the likes of Jack B Yeats, Paul Henry, Sara Purser or Daniel Maclise on our doorstep – complimented, of course, by the very best of home grown talent? The ‘big names’ would be the crowd-pullers – at least initially: these are the building blocks for forging a lasting reputation.

headphones on

Works in progress: the centre contains studios and workshops

The new building still awaits its official opening: this will happen in the summer and the President of Ireland – Michael D Higgins – will have that honour: a scoop for Skibbereen! The Board of the West Cork Arts Centre – and the sponsors and donors – have moved mountains to realise the vision of this building. Now it’s down to creativity and dynamism from the team – and to enthusiasm and encouragement from us, the visitors, whose support is vital to this building’s future success.

quirky

Future Archaeologists at Work

Kilcoe National School Fourth Class - archaeologists of the future!

Kilcoe National School Fourth Class – archaeologists of the future!

A joint post by Robert and Finola, with additional photographs by Kilcoe National School.

Out of the blue this week came a message though the Roaringwater Journal Facebook page: The pupils of 4th class in Kilcoe NS have completed a history project for Discover Cork: Schools Heritage Project, on Archaeology in their local area. Their model and project book are on display tomorrow Tuesday January 20th from 2-3pm in the school hall. They invite you to come and see their work as you already do so much wonderful research on the area.

Delighted, we headed off to the school and were quite bowled over by what we saw. The students had been on field trips to several different types of monuments – a standing stone, a stone pair, a holy well, a cairn, a fulacht fia, a cillín and a ringfort. They had recorded their visits, their questions, and what they learned about each site. The formal archaeology was of interest to them, but also the stories and traditions about each site. They interviewed elderly community members and landowners and looked up the records for their area from the National Folklore Commission.

Once they had gathered all their notes and photographs they constructed a model showing each of the sites, a scrapbook of their records and drawings, another one showing what they had learned about the prehistoric way of life in West Cork, and a large photograph album charting their progress through the whole project.

Impressive as the work was that the children had put into this project, even more striking was their bubbling enthusiasm for what they had done and learned. Each table was manned by one or more of the students, ready to chat with us, show us the model or the photos, and explain everything. And how articulate and open and bright they were! Smiling and cheerful, but also earnest about their subject and falling over each other to add bits of information. It was totally captivating.

They had hiked up to a cairn – a large and mysterious feature on top of a prominent hill. It was said that you could see 15 churches from it. However, the cairn is now surrounded by tall trees as a result of a forestry plantation and therefore there is no longer any view from it. Local people had protested the plantation at the time, concerned that this cairn and its views should be preserved intact, but had lost the battle. In this write-up, I was touched to see a a photograph of my old friend, Bernard O’Regan, the local amateur archaeologist who, 40 years ago, had taken me to see several of the rock art panels in West Cork.

Visiting the Holy Well

Visiting the Holy Well

What a great project these children undertook – hats off to their teacher and the supportive community. The future for conservation and archaeology in West Cork is in safe hands! A huge thank you to Kilcoe National School for the invitation, and to their official photographer for sharing with us the superb photographs of the field trips.

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

Wedge Tombs: Last of the Megaliths

Altar Wedge Tomb on The Mizen Peninsula

Altar Wedge Tomb on The Mizen Peninsula

In Ireland, the tradition of building megalithic (mega=large, lithos=stone) structures that included chambers to house the dead (such as the Boyne Valley Passage Grave complex, or the Court Tomb of Creevykeel) belongs to the Neolithic period, which ended around 2500 BC. About this time, a new style emerged of stone ‘galleries’, oriented towards the setting sun. Their distinctive shape – narrower and shorter at the eastern end – gives them their common name, wedge tombs. This tradition appears to have flourished for about 500 years.

Altar, side view

Altar, side view

In other areas of Ireland wedge tombs were often covered by a mound, but there is little evidence for this in West Cork. The closest parallel to wedge tombs outside of Ireland are in Brittany where allées couvertes date from this period. They are associated in some parts of Ireland (although once again not in West Cork) with Beaker pottery, a distinctive kind of vessel widely distributed across Western Europe. This was a time in which the population was expanding, farming practices were intensifying and a brand new technology was being introduced – it was the dawn of the Copper Age. Thus, we can speculate that wedge tombs mark the confluence of two forces: the new continental technologies of pottery and metalworking and the indigenous tradition of erecting megalithic chambered tombs.

Wedge tombs occur mostly in the western half of Ireland, including many in County Clare such as the Parknabinnia tomb pictured below.

 The largest wedge tomb in Ireland is near Fermoy, north of Cork City. It is typical of many Irish wedge tombs in featuring double walling, evidence of a surrounding cairn, and a sealed end chamber. Interestingly its name, Labbacallee, means the Hag’s Bed – the hag, or wise woman crops up frequently in Irish mythology.

In contrast to Labbacallee, wedge tombs in West Cork are generally smaller and simpler, comprising only one chamber and lacking a covering cairn. However, the distinctive wedge shape is preserved along with one other defining feature: wedge tombs are invariably oriented towards the setting sun. The funerary rite was that of cremation. Votive offerings of white quartz pebbles and small deposits of metal have been found in excavations.

Toormore wedge tomb,  now in someone's garden

Toormore wedge tomb, now in someone’s garden

Prof William O’Brien has excavated wedge tombs in West Cork and studied them, and the culture in which they were built, extensively. Here’s what he has to say, in his book, Iverni, about the society that produced them:

Whereas monuments like Newgrange could only have been built with a large organised input of labour over a long period, the building of wedge tombs was undertaken by small kin groups…This was a small scale society, comprised of local, clan-like groupings…The tomb was a type of shrine, sanctified by an association with ancestors and used for periodic offering and sacrifice to supernatural powers.

A striking aspect of Neolithic, Chalcolithic (Copper Age) and Bronze Age monuments in West Cork is their consistent orientation towards solar events such as sunrise and sunsets on the equinoxes, solstices and cross-quarter days (see our post on Bohonagh stone circle, for example). In this regard, wedge tombs are remarkably consistent in being oriented towards the West. Here’s O’Brien again:

Wedge tombs served as funnel-shaped openings to the Otherworld, facing the descending or setting sun to emphasise the symbolic dualism of light/life and darkness/death.

Toormore, side view

Toormore, side view

Looking for a wedge tomb closer to home, we set out yesterday to find the nearby Kilbronogue site, using the information from the National Monuments Service as a guide. We have found in the past that the mapping of sites is not always accurate and after an hour or two of tramping through a large and very muddy area with a helpful neighbour and his son we had to admit defeat – either the map was wrong, or the monument had disappeared in the recent fieldwork by a digger. Desperately hoping it was the former and not the latter, we found out who owned the land and went to call on him today. Stephen Lynch turned out to be a friendly, cheerful and very knowledgeable organic farmer – he assured us that the tomb would never be damaged in any way and not to worry, he would take us to it. Whew! Half an hour later we were trudging up a path that Stephen had had cut through his ash plantation – on we went and suddenly there it was in front of us – a classic wedge tomb, oriented to the west, built with large slabs that may have been cut from the rock face behind it.

Kilbronogue wedge tomb with its guardian, Stephen Lynch

Kilbronogue wedge tomb with its guardian, Stephen Lynch

Stephen told us the tomb had been used as a mass rock in penal times and that the Protestant farmers who owned all the farms that bordered on the rock had cooperated in allowing the masses to take place – an indication, Stephen said, of the long tradition of friendship between Catholic and Protestant farming families in this area. As with the Altar wedge tomb, also used as a mass rock, we marvelled at how a sacred site, built at least four thousand years ago, would retain its aura of veneration over the millennia, to be used again for religious purposes in the historic period.

Kilbronogue, side view

Kilbronogue, side view

Perhaps the most spectacularly situated wedge tomb we have been to is high on a hill overlooking Bantry. This one is known as Queen Medb’s Tomb and from it there are expansive views of the Beara, Sheep’s Head and Mizen Peninsulas. Climb up to it on a clear day, as the sun is sinking into the sea: in the presence of such awe-inspiring scenery you will find yourself contemplating how the mysteries and the wonders of Irish history and prehistory are written on its landscape.

Queen Medb's Tomb

Queen Medb’s Tomb