We’ve done quite a few posts over the years about old maps – we are both fascinated by them. So I’ve decided to draw all those posts together into a new Menu Page, so you can easily find any post you’re interested in.
Several posts went into detail about maps from the Elizabethan period. The Elizabethans were map-makers and they had a special interest in drawing up maps of Ireland – to confiscate tracts of land from the rebellious Irish and assign them to colonisers. Jobson was the cartographer who mapped Munster: two posts detail the maps drawn up for that purpose.
There’s a mysterious map in the British Public Record office – nobody knows who did it, but it was obviously done in the period following the Battle of Kinsale in 1601. While some of the elements are obvious, others are not, and pouring over a map like this raises as many questions as it answers. I titled the two posts Elizabethan Map of a Turbulent West Cork.
Two posts, Mapping West Cork, drew on maps from the David Rumsay Map Collection – a man who has done the world a great service by collecting and digitising maps from all over the world. These are very early maps by famous cartographers Mercator (done in the late 1500s) and Blaeu (from his 1655 Atlas). I’ve updated this post recently.
John Speed’s map, dating to 1611, although largely based on Mercator’s work, is more detailed and adds all kinds of interesting details about people and cities.
Robert’s post Roaringwater Bay in 1612 is about the Dutch Pirate Map. As he says in his post: The thing that sets the 1612 map apart, however, is that it was made in secret, and largely from surveys only carried out at sea. Also, it was specifically intended to enable a Dutch fleet to assail the pirate strongholds which became numerous around the area from Baltimore to Crookhaven, centred on Roaringwater Bay and ideal for forays into the wider Atlantic trade routes.
A series of three posts, all written by Robert, explored the world of the Down Survey – conducted by William Petty under the instructions of Oliver Cromwell, and like the Jobson maps, done for the purposes of assigning land to colonisers.
Finally, there’s Griffith’s Valuation – a series of detailed maps done by Sir Richard Griffith in the 19th century for the purpose of putting values on every square perch of land. Robert wrote about Griffith in The Rocky Road to Nowhere, and I used the Valuation in my post What the Forest Was Hiding.
We will update The Magic of Old Maps page as we write any new posts. I am leaving you with a new map – it’s the joint work of Robert and Peter Clarke, and the original hangs in the Bank House, Ballydehob’s Tourist Information Centre.
If you want to browse the David Rumsey map collection for yourself, it’s here.
We were unexpectedly in County Wicklow, and had a day or two of sunshine. To take advantage of this, we found our way up to the Great Sugar Loaf, with every good intention of climbing to its peak – 501 metres above sea level. I’ll come clean and mention that the starting point for the walk is already halfway up this elevation – and also we didn’t make it all the way on this occasion, as we were heavily overdressed! Only yesterday we still seemed to be in the grip of a very harsh winter, so had assumed that gloves, scarves and thick jackets would be the order of the day. In fact, quite a few other climbers were clad in tee shirts and shorts…
The upper view was taken on the path going up to the top – this morning. The lower view – taken a couple of years ago from Bray Head – gives a good impression of the Great Sugar Loaf (the furthest peak on the right) as the high point in a range, rather than a lone conical summit. There is also a Little Sugar Loaf which – in this view – is the high point in the central range in the photo. From other places, the ‘Little’ loaf also appears like a conical ‘peak’. Have a look at the pic below, where I have tried to show both ‘cones’ in the same view.
This photo, which dates from the early 1900s, is taken from the old beach in Greystones: the Little Sugar Loaf is over to the left, while the ‘Great’ one is at the left end of the further ridge (photo by William Alfred Green (1870–1958) – courtesy of Ulster Folk Museum). Below – the same view of the two ‘sugar loaves’ taken from the Marina, Greystones, today.
Here’s another view of the ‘Great’ loaf, with further pics of today’s adventures below, including the prospects from on the hill:
The area deserves considerable further exploration. The extracts below are from the Schools Folklore Collection, recorded in the 1930s: valuable commentary and memories collected from local inhabitants.
. . . If we were to visit Kilmacanogue over a hundred years ago it would present to us a very different appearance from what it does now. Our journey would be by the end of the Sugar Loaf Hotel of today, up the school lane, turning west for about a quarter of a mile and crossing the present day Rocky Valley road and following in a south-western direction along the foot of Sugar Loaf mountain. On our left was a church (in Brerton’s Garden) but not even the ruins of this remain. It is said the monks fled from this church in the Penal days, burying behind them their gold chalice, which still lies hidden in the field still know as the Church field. The road leading from Kilmacanogue to Kilmurry (now known as the Old Road) was the Coach Road between Dublin and Wexford. At the Kilmurry end there is a plot of ground about one acre known as Kilmurry Green which is believed to have been an old burial ground. The lane leading off from this road to the present main road near Kilmurry Dispensary locally known as Connolly’s Lane is supposed to have been lined with houses. The field on the North side of this lane (now in the possession of Miss Powell) is called the Street Field which indicates that a village must have been there at one time. The south part of Kilmurry Green contains the sites of two buildings – the stones, are still to be seen there, which marked the foundation of the gable. Traces of graves remain, though the place has not been used as a burying ground within any person’s memory . . .
Schools folklore Collection Kilmacanogue, Bray Teacher: Caitlín Ní Chuinneáin
The Great Sugarloaf was a popular subject for artists. Examples are these watercolours: from Views of Bray and the Sugarloaf, County Wicklow, circa 1820 John Henry Campbell (1757-1828) – Whytes.ie. Back to the Schools Folklore Collection: we were particularly interested in the mentions of Red Lane, where there was evidently once a church, burial ground and holy well: it is said that none of these are visible today, but we will pencil in some further visits to have a closer explore.
. . . At the Southern extremity of Kilmurry bordering on Calary are two ruins which are popularly called Leghteampall or the Monasteries. These ruins stand in two adjacent fields, separated by a narrow lane (Red Lane). They lie east and west of each other in the Kelly’s and Whelan’s land, that in the west forming a square of thirty two yards each way. On the south side stands an angle of ancient wall built of stones and mortar 4′ 2″ high 2′ 2″ thick. There is a clump of stones and thorns at the north side 30′ long by 12′ broad and 2’2′ in height. There is an ancient holly tree in full vigour at the south-east angle a cross is cut in the tree and funerals stopped here and recited the prayers for the dead. About thirty yards east of there are the traces of an ancient church. A few stones of irregular shape remain in the foundation of the south wall; the stones appear to have been carried away from the north side within a comparatively late period. A heap of stones and rubbish occupies the place of the western gable, along which lies a large shapeless lump of a stone, having at the top a rudely formed cavity 7″ deep and 9″ in diameter at top, narrowing gradually to the bottom. This was a holy water stoup, one of the rudest ecclesiastical antiquities. An ancient decayed ash tree stands on the north of the church and graves may be traced in several places around it, though it has not been used as a burying ground for a long time. About a furlong south west of this place is a holy well called Bride’s Well (in Chapman’s Lane) at which Patrons were held, but none was held there within the last forty years . . .
Schools folklore Collection Kilmacanogue, Bray Teacher: Caitlín Ní Chuinneáin
This winter scene is courtesy of Wiki Commons: we would like to visit at that time of the year, although the mountain may well not be hospitable then. Below – that’s the somewhat unusual gateway to the car-park at the Great Sugarloaf: take care when entering!
Our journeys in search of important Irish archaeology can take us a long way from home. Today’s subject – the impressive Rathgall Hillfort – is located in County Wicklow, on the east side of the island. But it is well worth a long journey: its size is impressive – it occupies an 18 acre site. And the history of the place goes as far back as the Neolithic age. We visited on a brisk spring day, when the clouds were determined to contribute to our appreciation of this monument.
The size and longevity of this hillfort push it into a rare category. The substantial central rampart of stone walling is medieval, but the outer rings of stone and earth appear to have considerably earlier dates.
. . . Rathgall was a site of quite exceptional importance in the centuries spanning the birth of Christ, an importance that was clearly pan-European. The variety of structural information that the excavation yielded is unprecedented in the Bronze Age and the extraordinary concentration of artifactual evidence from the site has not been matched elsewhere in the country. Rathgall opens a wide range of questions concerning, not merely the nature of the Ireland’s later Bronze Age, but also the role of the hillfort in contemporary cultural developments . . .
Professor Barry Rafferty 2004
Plan of the hillfort and surrounding earthworks taken from the site notice board. Red lines indicate the site excavations. This board states that:
. . . Rathgall Hillfort is a hilltop settlement enclosed and defended by four concentric ramparts which can be dated to the early and middle Neolithic period . . . The outer three ramparts are stone and earthen banks and are likely to be prehistoric in date. Within the central enclosure there is evidence of metalworking, a cemetery and a round house; all dating to the Late Bronze Age . . .
The two photographs above are taken from the time of archaeological investigations which commenced in 1969. The results of those excavations, which covered a number of years, have yet to be formally published. [Late edit: Elizabeth Shee has informed us that the findings will be published this summer by Wordwell, through the work of Katherina Becker of UCC. Many thanks, Elizabeth, we will look our for that]. The investigations found evidence that this was the site of an important and busy Bronze Age factory for metalworking (axe and spearheads, swords) and for pottery, jewellery and glass beads. In total over 50,000 pottery fragments were found, as well as 3,000 bronze and gold artefacts.
Rathgall from the early OS map. The importance of the site was realised and kept in use by successive generations.
Our knowledge of the societies that centred their life on settlements such as these in Ireland is sparse: here, and elsewhere, we are left with evidence of their stone structures (which will outlast us) but also intriguing finds – the following quotations summarize some of Professor Rafferty’s work here (courtesy of Rath Community Group and The Heritage Council):
1969 – 1971. . . It took over 3 years to dig out the entire 15 metre wide section of the inner circle. Within an hour of starting work, he [Professor Rafferty] had located pottery pieces. Over 10,000 finds were from the inner circle; glass objects, clay moulds, stone and gold objects. Post holes indicate that there was a small house-like structure within the circle. The ditches were filled in with black material among the stones. An oval pit was discovered near the centre of the house. It had a carefully placed large boulder on top of black material almost covering the pit. The pit had been back filled in with yellow clay around the boulder. When the black clay was taken out, they found a small gold-plated copper ring, 1 cm wide approx, embedded in burnt baby’s bones. They came to the conclusion that this was a ritual burial pit . . .
1972 – 1973 . . . They moved to the southern slope of outside of the inner circle and were getting 400 finds per day. Prof Rafferty got down to prehistoric levels after 1 foot in some places. This area was “jampacked with artefacts, glass, gold, animal bones, pottery and basket remains.” Rabbits had done a lot of damage and stones were removed by people over the years. They found hundreds of clay mould fragments embedded in a black clay-like substance. Clay moulds are always broken when found as they could only be used once. The moulds were made for swords or whatever was needed: copper was poured in and in order to get out the sword etc, the mould had to be broken. He found a smaller crucible with traces of lead in it, parts of blades of swords or rapiers, spearheads, cauldron legs but not the cauldron . . .
1974 . . . In Bronze age times people were buried crouched down in a foetal position and put in a clay pot. The remains of a female and child were discovered in such a clay pot at Rathgall, buried in a pit underneath large slab stones. Eighty eight glass beads were uncovered, which is the largest quantity found in any Bronze Age site in Ireland. These beads are 1 – 3 cm wide, mostly circular in shape, blue-green in colour and with a hole in them. This collection is unprecedented in the late Bronze Age of Ireland and is also one of the largest from a single site as yet discovered in Western Europe (Rafferty and Henderson 1987). Prof Rafferty found a 2cm twisted gold cylinder with its ends finely hammered and a dark green glass bead mounted in the middle, 2 – 3cm wide. Tiny delicate loops of gold were attached to each end. This is an object of great beauty and advanced technological expertise. He also found a metal disc with mercury gilding on it. Mercury gilding was used to stick gold to bronze. He got this piece analysed by the British museum and the piece was dated back to 1000 BC. Before it was analysed, the Irish professionals were uninclined to believe that this came from Ireland as nowhere in the world had mercury gilding been found that dated back further than 400 BC. Prof Rafferty felt that this emphasised the exceptional importance of the Rathgall site . . .
While visiting this site I was reminded of an adventure we had last summer in Northern Ireland. You’ll find it here. There we discovered The Giant’s Ring: that earthwork struck us as ‘gigantic’. But it only occupies an area of 2.8 hectares. Our latest exploration is over 7 hectares! That makes it Cyclopean, surely! While this Co Wicklow site has been examined by archaeologists, we certainly don’t yet have all the answers as to why it existed, nor do we know everything we would like to about those who built it. We just can’t help expressing a sense of wonder at this – and other – artefacts which have made their marks on our landscapes. We are grateful to those who have explored and labelled these sites, and also to those who make sure they are conserved for our future generations, who might find more answers than we do as to their origins.
Harry Clarke’s window in St Brigid’s Church of Ireland, Kilbride, Co Wicklow, is a bit of a mystery: simultaneously one of his most beautiful and his most mis-described windows. It’s almost as if there’s some kind of spell on it – whoever shall describe this window shall be led down erroneous pathways*. I hope this post will break that spell and set the record straight.
This is the whole window, which occupies the wall behind the altar. It’s a three-light window and the tracery above includes a small roundel with a crucifixion scene.
When it comes to Harry Clarke, there is no more authoritative source than Nicola Gordon Bowe. Hers are the shoulders upon which all of us stand to gain insight and understanding of the man and his work. She didn’t make many mistakes. However, inexplicably, she described this window as a ‘Resurrection’. In The Life and Work of Harry Clarke, she states that: As a result of the St Stephen Lea-Wilson Window in Gorey, Clarke was asked by the Earl of Wicklow to design a Resurrection window for the parish church of Enerily and Kilbride, Co. Wicklow near the Earl’s estate, Shelton Abbey. Several pages further on, she says Harry . . . spent 9 February with the Earl of Wicklow discussing a further window for the small church of Enerily and Kilbride near Arklow.
The central figure is of Christ as he was paraded before Pilate, who washed his hands of the affair and declared, as he presented him to the Jews, Ecce Home – Behold the Man. As described in John and Matthew, he is bound, crowned with thorns, holding a reed (Harry has chosen a bulrush), and clad in a scarlet robe. He is standing on steps (as frequently depicted in paintings) and under his feet the cloth may represent his own clothes, stripped from him
She describes the finished window thus: In the three-light Resurrection, the figure of Christ in the centre light stands at the foot of a staircase, robed in ruby, crowned with thorns and bearing the palm of martyrdom. The ruby glass is carried into the border, into the side traceries where it is neither painted nor acided, and is echoed in the medallion showing The Crucifixion in the centre of the rose tracery above. It is also used in the figure of Christ, which appears in each of the quatrefoil panels of the side lights which, set in rich borders of ruby, blue and green, seem inspired by medieval glass. A rich blue dominates four medallions showing miracles of the Lord. The medallion in the lower right-hand light features a self-portrait of the artist, a halo over his untidy hair, and huge eyes giving him a haunted look while above, the resurrection theme is evocatively illustrated by the miracle of Lazarus. This window is much enhanced by the rough, unplastered wall in which it is set.
Clarke’s Jesus in this window is one of his most striking depiction of suffering and compassion
However, the dedication on the window is to Hugh Melville Howard, younger half-brother to the Earl of Wicklow, and donated not by the Earl, but by Hugh’s widow. Hugh had died in 1919. The date might make you suspect that this was a war memorial window, but in fact, Hugh died of pneumonia at the age of 36. This must have been a tragedy indeed for his wife, May Sands, the only daughter and heiress of New York lawyer and real estate mogul, Benjamin Aymar Sands. They had married in America in 1908 – a high society wedding, every detail of which was gleefully reported in the New York Times. At the time of his death they were living in Bellevue House in Delgany and had two children. The window was not installed until 1924.
Christ and the Children
So there seems to be a disconnect between the original idea for a Resurrection Window for Kilbride, and the final product, which depicts not, indeed, a Resurrection image but that of the suffering Jesus, mocked by his tormentors, scourged, bound with ropes, crowned with thorns, carrying a reed to stand in for a sceptre. This is the image that is known as Ecce Homo – Behold the Man.
Matthew 27: 26-31
Then released he Barabbas unto them: and when he had scourged Jesus, he delivered him to be crucified. Then the soldiers of the governor took Jesus into the common hall, and gathered unto him the whole band of soldiers. And they stripped him, and put on him a scarlet robe. And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand: and they bowed the knee before him, and mocked him, saying, Hail, King of the Jews! And they spit upon him, and took the reed, and smote him on the head. And after that they had mocked him, they took the robe off from him, and put his own raiment on him, and led him away to crucify him.
John 19: 1-5
Then Pilate therefore took Jesus, and scourged him. And the soldiers platted a crown of thorns, and put it on his head, and they put on him a purple robe, And said, Hail, King of the Jews! and they smote him with their hands. Pilate therefore went forth again, and saith unto them, Behold, I bring him forth to you, that ye may know that I find no fault in him. Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate saith unto them, Behold the man!
I surmise that, whereas the original idea, as proposed to Harry by the Earl, may have been for a Resurrection-themed window, the final central image, of suffering and preparation for death, would have seemed more apt to May, the grieving widow.
The Raising of Lazarus
May and Hugh had been married in a charming country church called St Andrews Church of the Dunes in the heart of the Hamptons on Long Island. It was an Episcopalian church patronised by wealthy New Yorkers who had country houses in the area. Episcopalian services focus on the sacraments, similar to a Catholic Mass, and the church was filled with stained glass, some by Tiffany.
This is relevant because Ecce Homo, despite being a staple of Renaissance imagery (Titian alone did several versions, including the one above), is not a frequent choice for Church of Ireland windows. I can identify only eight windows (of 3,198) which contain Christ in this state of having been scourged or mocked. (There are, on the other hand, one hundred and eleven Resurrection windows.) If it was May, rather than Lord Wicklow, who had the final say in the central imagery, I can see how her background in a more Catholic form of worship might have made her more amenable to an Ecce Homo depiction, and that therefore what started out as a Resurrection Window (with supporting Resurrection-themed medallions), ended as a window depicting suffering, healing, and children.
The Raising of the Widow’s Son at Nain
Four medallions are placed on either side of the central figure of Christ. Three relates to the theme of Resurrection and/or healing – The Raising of Lazarus (Top Left); The Raising of the Widow’s Son at Nain (top right); and Christ’s Healing Ministry (bottom left). The final medallion is Christ Blessing Children (bottom right), perhaps a reference to hope that May’s children, now fatherless, would find comfort.
Christ’s Healing Ministry
In the medallion above, Gordon Bowe identifies a self-portrait of Harry, peering in on the right-hand side (below). Harry has done this in other windows, often more immediately recognisable than here. The parade of sick, palsied, bandaged and leprous sufferers are typical of Harry’s affinity to the macabre.
In the cinquefoil tracery at the top of the window is a small roundel containing the Crucifixion. Although tiny, it is as full of detail as are the medallions.
David Lawrence, in his entry in Gloine, correctly identifies the medallions, and uses Christ as Martyr for the central figure, perhaps because he (like Gordon Bowe) interprets the ‘sceptre’ that Jesus is carrying as a palm, the icon of martyrdom. In Strangest Genius, by Lucy Costigan and Michael Cullen, the authors simply repeat the description and background as gleaned from the work of Gordon Bowe (although without credit, as seems to be their practice), along with the errors, and add one of their own, describing the reed as a ‘lily. . .denoting his virtue.’
Gordon Bowe often uses the term jewel-like to describe Harry’s ability to make his windows sparkle and shimmer and to use advanced techniques (such as plating and acid-etching) to create depth and allow the sun to refract through the glass. The window in Kilbride is a master-class in how he achieves this effect, especially in the decorative areas between the scenes, as in the one above. No photograph can do justice to this effect.
David Caron, Editor of The Gazetteer of Irish Stained Glass; Ruth Sheehy, author of The Life and Work of Richard King; and Paul Donnelly, expert researcher on the Harry Clarke Studios, in front of the Ecce Homo window on a recent visit. Together, we discussed the most appropriate title for the window. Like most Church of Ireland churches, Kilbride is closed most of the time, and therefore the window is not easily accessible. I am very grateful to the Rev Barrett for allowing us to view and photograph the windows last week. Besides the photographs in Gloine, I can find no other images of the window online, so I hope this post will clarify what this window is actually all about.
This post was originally published several years ago, but I have edited and updated it, so am giving it another airing.
Old maps are magical places to get lost in. Pouring over them, trying to identify what I know now, attempting to look at the territory with a seventeenth or eighteenth century mindset – well, several hours have gone by and I realise it’s dinner time. I’m going to share some of my favourites with you in a couple of posts. Mostly, the maps I am using are from the marvellous David Rumsey Map Collection where the maps are free to use for non-commercial use under the Creative Commons license. We are very grateful to you, David Rumsey – what a service to mankind!
The first map here is by the famous Gerhard Mercator (1512-1594) and Iodocus Hondius (1563 to 1612) and it was published in an Atlas in 1607, after Mercator’s death. The map, therefore, predates the Atlas and was probably done in the late 1500s.
Who was Mercator? This is him, courtesy of Britannica, and his influence on mapmaking was incalculable – he really was the father of modern cartography.
In the 1500s, globe-making was a precise and difficult art. Mapmakers often etched their maps onto paper that they then painstakingly pasted onto paper mache spheres. Old maps had problems, however. Mapping a three-dimensional globe onto a two-dimensional map always involves some distortions, but early maps had serious issues for navigators. They were mostly elliptical and struggled to capture the curvature of the Earth for sailors who were plotting a course. Sailors using them were constantly twisting, curving, and recalculating to compensate for their maps’ deficiencies.
In 1569, Mercator developed a better, more accurate projection. Although the execution was difficult, the basic idea was simple: Imagine a globe with a paper cylinder wrapped around it — Mercator projected that globe onto the paper and then unwrapped it. He then expanded degrees of latitude as they approached the poles, which distorted land, but allowed the directions to be clearer.
We can recognise some things in this map and not others. Croke is Crookhaven, Doun Logh is Dunlough (or Three Castle Head) and Doun boy is Dunboy Castle home of the O’Sullivan Beares. We can also see Roße – this is Rosscarbery, with the symbol of a church, and Kynsale. But after that I was stumped. However, one clever reader (thank you, Philippa Barry!), when I published this first, added Currently doing some reading on Bantry and O’Sullivan Bere, so getting familiar with placenames. In the first map Kylmyiunoge might be Kilmacomoge, Ardhey is Ardea Castle on the Kenmare River. Looks like Timeoleague is in there too.
The second map is from 1655 and it’s from Joan Blaeu’s Atlas Major. Blaeu, a Dutch cartographer, lived from 1596 to 1673 and this map is from his Atlas Maior of 1665, considered one of the greatest achievements ever in Atlas publishing. It was also the most expensive book you could buy in the 17th century – worth a year’s wages for a skilled craftsman. The first thing we notice, of course, is that this version is in colour, but you could also buy an uncoloured version for a hundred guilders less. Given printing capabilities of the time, each copy must have been hand-coloured.
There is much more detail now, and more recognisable elements. It’s a wonderful record of what the major sites were then – sites which nowadays hardly exist, or exist as ruins. Let’s take it from east to west.
I recognise Dunowen and Dundeedy, and Ringer must mean the area now known as Ring. The letter C denoted a Castle (or Manor House) as in C Perles. or Castle of Pearls, which is Dun Na Séad (Fort of the Jewels), the O’Driscoll Castle at Baltimore. But what is C Ray? There was a tower house at Castlefreke built by Randal Oge Barry in 15th century, maybe that’s it? And, even more intriguingly, what is C Never?
Moving on to Roaringwater Bay and its hinterland, we find Artenay, now known as Ardintenant Castle, one of the ruins of what was once a string of O’Mahony Castles. Ardintenant was the home of the Taoiseach, or clan chief, which is why it would be marked on the map. Other O’Mahony Castles are Dunmanus (Donemay), Dunlough (Dow lough) and Leamcon. Territories of the McCarthy’s, the O’Donovans, Sir Peter Carew and O’Mahonys are given, but also an O’Coner clan, about whom I have no knowledge. The Sheep’s Head is divided into Moenter vary (Muinter Bhaire) at the north end and Shepes head at the south end. Mizen Head has already acquired its name, although I suspect Eragh is a form of Ivaha, the old name for the Mizen Peninsula. Could C Skyrt be Castle Donovan – no other castle is located in this general area?
Finally, on to Beara – we immediately recognise Bear Island, or the Great Island, as it was known historically, and Dunboy Castle, as well as Dursey Island. C Lauras, may be Lauragh, although Lauragh is on the north, not the south side of Beara. I need an expert here, to find other place names that equate to modern sites. So take a browse dear readers, and let me know what you find.
We are used to searching out archaeology in the Irish countryside. More unusual, perhaps, is finding examples in an urban setting. Here’s one – at Cromlech Fields, Hackettsland, Dublin.
This particular example of a prehistoric structure has survived the encroachment of the city suburbs and is, in fact, in good condition and apparently accepted as part of the landscaping in a dense housing community. It is well-placed in a slightly sunken setting within a substantial green area. It is known variously as the Shanganagh Portal Tomb, Hackettsland Cromlech, or Ballybrack Dolmen. And it’s ancient: portal tombs can date back four or five thousand years – some even more. This arrangement of stones has seen civilisations evolve significantly, but it sits there unchanged.
The historic 25″ OS map of Ireland – surveyed from the late 1890s and into the early 20th century. It is clear from this edition that the ‘dolmen’ was still sited in open country at that time.
Illustration from: A Hand-book of Irish Antiquaries by William F Wakeman, 1903.
. . . We cannot conclude our notice of this class of monuments without making some mention of the very interesting example remaining at Shanganagh, near the village of Loughlinstown, and not far from the ancient church of Killiney. Though inferior in size to several which we have already described, its dimensions are considerable; and as it remains, to all appearance, in its original state, the student will find it an object well worthy of his attention. The covering stone measures in length nine, in breadth seven, and in thickness three and a half feet, and is supported upon four stones. The highest part of the pile is nine feet above the level of the adjoining field . . .
William F Wakeman
You may want to be aware of the full range of portal tombs in terms of relative scale. Have a look at my post here from a few years ago: it features the largest of the Dolmens in Ireland (and, perhaps, in the world). That one provides challenges in terms of how it was constructed: the capstone, which has been raised on to supporting rocks, is estimated to weigh over 160 tons. Also, this post from Finola offers detailed information on these structures generally. Here is a nineteenth century view of how such monuments were erected:
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