St. Brandanus: A 14th Century Graphic Novel. Part 2

There are several versions of the Brendan story (that’s a Harry Clarke Brendan, above, from Tullamore), and some of the stories in one version might not be present in another. This particular version is told in a series of illustrations, each one captioned in what Biedermann calls “faulty monastic Latin.” It is contained in a much larger work, the Krumauer Bilder-Codex (or Illustrated Codex), and occurs at the end after many other stories of saints. A Codex, by the way, is a book, rather than a scroll. In the 14th century, vellum was used as the main writing material. The drawings are line drawings in pen and ink. They are simple, but in Biedermann’s opinion ‘joyful.’ I agree. Here’s one of the stories.

While they were walking on the island with Saint Brendan, a certain young man met them, filled with the radiance of the sun.

And that young man boarded the little ship with them and vanished from their sight.

I love the way you see only his legs disappearing up into the clouds.  St Brendan, although happy to see the radiant youth in the first illustration, is looking a little grumpy in this one. “What did we do wrong, that he left us”, I can hear him say. You may note, by the way, that in some illustrations the monks are depicted in a curved shape, like Brendan in the first line drawing above. This convention, known as the S-curve, is also seen in medieval stained glass windows, such as this one from the Exeter Museum.

Here’s another one, from St Helen’s Church in York. This S-curve was a way of introducing some sense of movement into a figure of a saint or monk, and was a typically gothic element, perhaps an attempt to make the figure less rigid.

The illustrations are laid out on facing pages, so you read top left, top right, bottom left, bottom right. Although the Brendan story has four illustrations per two-page spread, most of the stories in the Krumauer Bildercodex have six, or occupy three horizontal spaces instead of two. Here’s an image of a typical lay-out, although I don’t know what story is being told in it.

At some point there is a need for a new boat. No problem – Brendan sticks his staff in the ground and immediately a tree springs up. The monks set to work on it and in no time have carved out a boat.

In the next illustration they are at sea and raising a sail. Aha – I hear you cry, but now there are only three of them. And what kind of sail is that? And also – surely they were in an Irish curragh – what about all the hides? Alas – the Codex provides no answers to our urgent questions, although the story-teller who used the illustrations as he narrated to an eager audience may have done all that. We don’t know who commissioned the Krumauer Bildercodex, although since a production like this was time-consuming and expensive, it may have been a noble patron or a monastery. 

One of the most famous of the Brendan stories is that of the giant fish, sometimes called Jasconius, and often referred to as a whale. 

The caption reads: Here they found an island which stood upon a fish, and they hung a pot over a great fire, wanting to boil a sheep, and the fire began to burn the fish, and the fish moved the island. 

Here is Whitley Stokes’ translation of the story from the Book of Lismore

Now after the Easter had come the great sea-beast raised his shoulder on high over the storm and over the wave-voice of the sea, so that it was level, firm land, like a field equally smooth, equally high. And they go forth upon that land and there they celebrate the Easter, even one day and two nights.

After they had gone on board their vessels, the whale straightway plunged under the sea. And it was in that wise they used to celebrate the Easter, to the end of seven years, on the back of the whale, as Cundedan said :

Brenainn loved lasting devotion

According to synod and company :

Seven years on the back of the whale :

Hard was the rule of devotion.

For when the Easter of every year was at hand the whale would heave up his back, so that it was dry and solid land.

Since this is one of the most celebrated of the Brendan legends, it is not surprising that it is the story we see most often depicted in stained glass windows. Above is a beauty by Ethel Rhind of An Túr Gloine, in St Brendan’s College in Killarney. And of course, below, one by George Walsh, this one from St Brendan’s Church, the Glen, in Cork.

I will conclude this post with five illustrations for the story of the Golden Bridle, called the Silver Bit in the account I am using. This version is from the esteemed Canon O’Hanlon, (below) from his Life of St Brendan, in Volume 5 of his Lives of the Irish Saints (available online at https://archive.org/).

It is obvious, since the illustrations track so closely, that O’Hanlon was using the same translation as the Bilder-Codex. But I should warn you that in his translation the demon is cast in the form of a black child, an ‘Ethiop,’ as it is in other versions too. In the Codex it is simply referred to as a demon and depicted as a horned beast with a tail.

But, while they slept, Brendan saw a child, black as an Ethiop, holding a bit, and playing before the unfortunate brother, in whose eyes he made it glitter. The saint arose, and he passed that night in prayer till day. When morning dawned, the monks rose as usual, to give praise to the Almighty, and afterwards to regain their ship. Once more, the table was found furnished, as on the day preceding; and thus, for three days and for three nights, the Lord prepared food for his servants. There, too, for three whole days, by the Divine will, they rested on that isle. 

Then they returned to their ship, when Brendan said: ” See, brethren, doth not one of you carry off something from here?” “God forbid,” they replied, “that a robbery should dishonour our voyage.” “Then,” said St. Brendan, “behold, our brother, whom I warned yestereve, has now in his robe a silver bit, that the devil gave him this night.” The brother instantly flung that bit en the ground. . .


. . . and fell at the feet of the man of God, crying: “Father, I have sinned: pardon! pray for the salvation of my soul.” And, at the same moment, all fell down to pray for their brother’s salvation. 

Rising up, they saw the wretched Ethiop escape from the guilty man’s bosom, howling and crying : “Why drive me, O man of God, from my abode, where for seven years I have dwelt, and thus expel me from my inheritance. Brendan immediately turned to the brother, and said: “Receive promptly the Body and Blood of Christ, for thy soul is about t leave thy body, and this is the place of thy burial. But, thy brother, who came with you from the monastery, shall find his place of sepulture in hell.” Whereupon, that penitent monk received Holy Eucharist . . .

. . . and his soul departed; but, it was received by Angels, in the sight of the other monks. His body was then buried. Also, St. Brendan had ordered the expulsed demon, in God’s name, to hurt no person, until the Day of General Judgment.

There’s more of course, and I am undecided whether to continue next time or come back to it later. I’ll sleep on it, and dream of the Land of Promise and of picnicking on the back of a whale.

Part 1 is here.

St. Brandanus: A 14th Century Graphic Novel. Part 1

I am fond of telling people (because I read it somewhere) that the Voyage of St Brendan the Navigator was a “medieval best seller.” But I have just acquired a book (above) that made me look more closely at that claim. And yes, it’s a true statement, and my book is part of a sprawling tradition of stories about our own beloved St Brendan, that were written across medieval Europe in many languages over several centuries.

This statue of Brendan dominates the town of Bantry. It’s by Ian and Imogen Stuart

I’m mainly illustrating this post with images of St Brendan in stained glass or other art forms. Since he’s one of our favourite Irish saints here, this isn’t hard. But the next post will be illustrated by images from the book, St Brandanus: Der Irische Odysseus. This post is mainly background about St Brendan and his legendary journey.

Willy Earley’s Brendan, St Brendan’s College, Killarney

Brendan’s Navigatio is perhaps best understood as one manifestation of the deep well of mythology that many of our stories have come from. St Brendan sets out from Ireland with several companions (the number changes from version to version) and journeys over the sea for several years. Along the way he encounters wonderful islands, strange creatures, demons and whales, colonies of feathered men and beautiful women. Many miracles keep him and his companions alive and moving onwards towards the Land of Promise.

This window by Ethel Rhind of An Túr Gloine is also in St Brendan’s College in Killarney

This great Irish tradition of seafaring pilgrimage is called Immram and is part of a wider-world mythological treasury that includes Sinbad the Sailor and Odysseus, as well as some other Irish saints. Brendan’s tale is based on a pre-Christian legend called Immram Brain (the full text of which can be read here). Here’s a good summary, courtesy of (unlikely as it seems) the University of Texas in Austin.

The text relates how a mysterious woman appearing in the fort of the protagonist, Bran son of Febal, tells him about a magic apple-tree on the island of Emain Ablach, a terrestrial paradise far away to the west of Ireland and abode of the sea-god Manannán mac Lir, which she describes as a place Without sorrow, without grief, without death, without any sickness, without debility from wounds.

Subsequently, Bran sets out to find this island with three times nine companions: on their way they encounter the sea-god, who directs them to an island inhabited by laughing people, after which they reach a different island inhabited exclusively by women. There, Bran and his retinue spend many blissful years, not noticing the passing of time. When finally Nechtan, one of Bran’s companions, is overcome by homesickness, they decide to return to Ireland but are warned by the queen of the island not to set foot on Irish soil. Upon their arrival, Nechtan disregards the warning and immediately crumbles to dust, as they had spent so many years on the magic island that they were well past their dying age; Bran on the contrary remains on the boat and, after telling their adventures to some onlookers on the shore, sets out again for new adventures.

Readers who are familiar with Irish mythology will immediately recognise the similarity of Nechtan’s story to that of the famed warrior Oisín, who goes to live with the beautiful Niamh of the Golden Hair in TIr na nÓg (the Land of Youth), and to whom the same fate befalls when he returns to Ireland. 

The muscular statue of a mature Brendan in Fenit, Co Kerry, which is the work of Tadgh O’Donoghue. Below is another image of this wonderful work

But to get back to Brendan – the story of his voyage became the principle Immram of the Middle Ages. Originally written in Latin as early as the 9th century, by the 12th century, it was one of the most popular medieval legends, with versions in many languages: French, Italian, English, Dutch, German, Irish, Welsh, and more. In fact, more than a hundred manuscript versions survive. That does not include the Life of Brendan from the Book of Lismore, compiled in the 1480s, and wonderfully translated by Whitley Stokes, even though that Life contains the voyage within it.

Just to give you a flavour of Stokes’ language, here a little extract from the Life:

So Brenainn, son of Finnlug, sailed then over the wave-voice of the strong-maned sea, and over the storm of the green-sided waves, and over the mouths of the marvellous, awful, bitter ocean, where they saw the multitude of the furious red-mouthed monsters, with abundance of the great sea-whales. And they found beautiful marvellous islands, and yet they tarried not therein.

Brendan and his foster-mother, St Ita. In Killorglin, by George Stephen Walsh

The thing about all these manuscript versions of Brendan’s Navigatio is that none except a couple is illustrated. My recent acquisition (thank you, Innana Rare Books!) is a book about one of only two fully illustrated versions, although isolated illustrations crop up here and there. The book was published in 1980 and is a work of scholarship by Hans Biedermann. Biedermann was a highly respected Austrian academic and an expert on symbolism and mythology. A professor at the University of Graz, he died in 1990, aged only 60. This is the only photograph of him I have been able to find.

This means, of course, that the book is in German, and no English translation exists. I turned to my favourite AI tool, Perplexity, to help me with the translations and it provided me with a page-by-page summary. 

This window is in KIllorglin and is by James Cox. It emphasises the scholarly monk in the main panel, leaving the seafarer to the predella

A digression – I am as concerned as you all are about the use and mis-use of AI. For the purpose of this project I used Perplexity as an AI-powered search engine, translator and research assistant, asking it to fact-check items for me, and to dig deeper into sources and references. Because the book is in German, and some of the sources I consulted are in European libraries, I couldn’t have done it without this kind of help. Perplexity also ‘fixed up’ the photograph of Hans Biedermann above, from the tiny fuzzy image which was all I could find online. The writing, however, is all my own – don’t worry, none of this was written by a chatbot.

A detail from a George Walsh window

I am also painfully aware that I am many words in and I haven’t actually shown you what the book is all about. It contains facsimile reproductions of 62 plates from the Krumauer Bildercodex, Codex 370, which is a manuscript kept at the Austrian National Library. The plates illustrate the voyage of St Brendan. There is a minimum of text, in the form of captions in Latin in Gothic script. It is, in essence a graphic novel – and it dates to 1360!

Caption reads: Here the holy abbot Brendan, serving God and the blessed Mary with all his strength, had under him nearly three thousand monks

Next week we will get into the illustrations and look at what may have been the origins and the purpose of the manuscript. They are all pen and ink line drawings – above and below is a foretaste.

Caption reads: Here they set out upon the sea, sailing, and came to an island.

Part 2 is here

Air India Disaster 40 Years On – Dignity, Love, Remembrance

I keep coming back to this story. I wrote about it first when the anniversary was the 30 year mark. And again two years ago when there were new developments in Canada. If you are not familiar with the story, please go now and read Amid Unbearable Tragedy – a Model for the World (Updated).

I attended this year’s ceremony – the 40th anniversary. It remains the single largest mass murder in Canadian history and the deadliest aircraft bombing ever. In fact, it remained the deadliest terrorist attack involving an airplane until September 11, 2001. 

There was a large turnout this year. Family members still come, including my new friend Sanjay Lazar, who contacted me in advance of the ceremony. His is a story tragic beyond belief – he lost his parents and his sister in the bombing, and became in time a spokesperson for airline safety and a trade union champion. 

He comes every year, as does Dr. Padmini Turlapati, who spoke about her two sons, Sanjay, whose body was recovered, and Deepak, who is still out there. Unbelievably, she made us laugh with her funny stories about the boys.

One particularly moving speaker was Hardeep Singh Puri, Indian Minister of Petroleum and Natural Gas. Himself a Sikh, what he said was captured beautifully by Amanda in her daily blip:

Towards the end one of the speakers spoke of the utter futility and horror of terrorism and urged us to look around  – here he said was what it was all about –  kindness, goodness and love. I looked – a very multi-cultural gathering, Sikhs, Christians, Muslims, Hindus, Indian, Canadian, British, Irish from all walks of life-  all joined in sorrow and support, humanity at its best.

Amanda was undone by the performance of the local schoolchildren. As she mopped her eyes a very large Mountie in full dress uniform put his arm around her and patted her shoulder. It was a lovely moment.

Micheál Martin, grave and respectful, spoke the words I have used in my heading, dignity, love and remembrance. It perfectly summed up the feeling of the day. It was echoed by Gary Anandasangaree, Canadian Minister of Public Safety, who came to Canada as a child refugee, fleeing terrorism in Sri Lanka, who condemned terrorism in all its forms and spoke to the frustration of the family members who are still without answers. 

In the last three years there have been high-profile assassinations of Sikh leaders in Canada, including the chief suspect in the bombing, and this has led to the closure of each others embassies in the midst of accusations by Canada that India was behind the murders. Meanwhile, India accused Canada of harbouring terrorists. Mark Carney, the new Prime Minister, has been working quietly behind the scenes to normalise relations again, with success. 

This year it seemed that something has shifted – ten years ago, even two years ago, there was more emphasis on the anger at the botched investigation, the utter frustration at the lack of answers and the failure of the Canadian government to hold anyone to account. This year people spoke mainly about moving towards a sense of peace. The emphasis was on support and love, on getting along in our multi-cultural societies, on respecting each others’ cultures and on mourning with each other for those who will never return.

The central point of the commemoration is Ken Thomson’s beautiful sculpture, a sun dial set to the exact time the bomb went off.

Sherkin Friary

The Franciscan Friary on Sherkin Island (also called the Abbey) was established by Fineen (Florence) O’Driscoll, chief of the wealthy O’Driscoll clan, which had its headquarters in what is now Baltimore, but which, in the middle ages, answered to the name of Dún na Séad – Fort of the Jewels (how’s that for flaunting your wealth?). We know this because Fineen applied to the Pope himself for permission to found a friary. The Pope was Nicolas V, here seen in his portrait by Rubens. Although he was only Pope for eight years he was highly influential and responsible for many church innovations (such as the Vatican Library) and buildings (he started St Peter’s Basilica). He’s certainly giving Rubens the side-eye.

Ann Lynch, who excavated the Friary between 1987 and 1990 (source of much of the information below) tells us that Nicolas, despite being so busy in Rome,  

. . .in 1449, mandated Jordan Purcell, bishop of Cork, his dean, and a canon of Ross to license and to found a friary in his territory in honour of God, St. John and St. Francis. . . This reference is thought to refer to Sherkin Island (also known as Inis Arcain) and the licence explicitly states that the friars are to be under the jurisdiction of the Observant movement. There is no reference to building the friary however until 1460-2 when the  founder is given as Florence O’Driscoll.

The Franciscan Friary on Sherkin Island, Co. Cork, Excavations 1987-1990,

Ann Lynch, 

Journal of the Cork Historical and Archaeological Society, 2018, 55–127

The Observant Movement aimed to restore the order’s focus on poverty, simplicity, and communal living as originally envisioned by Saint Francis. They did indeed seem to have lived a simple life – the only comfortable room in the place, and one use for communal living, was the chapter house, below.

The siting of the Friary, close to Dun na Long Castle (see last week’s post) was not unusual in medieval Ireland, apparently. The castle was supposed to provide protection for the Friary, while the Friary afforded spiritual benefits to the castle inhabitants and the O’Driscoll chiefs. However, as we have seen last week, this didn’t go according to plan. The Waterford men sacked the castle in 1538 and plundered the Friary, setting it alight, and leaving it badly damaged.

They also made away with the Friary bell, as well as some chalices and other valuables. Below is the base of the famous Timoleague Chalice, probably very similar to what was stolen. You can read the story of the Timoleague chalice here.

While the Friars fled for a while, they did return and lived at the friary until the last of them, Fr Patrick Hayes, died sometime after 1766. The Bechers took possession of it at that point and held on to it until they handed it over to the Commissioners of Public Works in 1892. It has been in the care of the State since then.

In form, the Friary is fairly typical of Franciscan houses in Ireland, with a long nave and chancel church, a bell tower, a cloister, side chapels, and a chapter house and refectory. 

The nave and chancel run slightly north of east-west, due to the lie of the land. The West window has three lights and attractive tracery. We know that these would have contained stained glass, since fragments were found during the excavation, but we don’t know what they would have depicted. One of the charming features of this window are the heads – two still present although the one at the apex is too worn to make out, and a third indicated by a gap at the base of the hood moulding.

I am tempted to see a female saint in  the one head that is still fairly complete. After all, St Mona is the patron saint of Sherkin, so why would it not be her?

The tower or belfry, situated between the nave and the chancel, is a familiar feature of Franciscan Friaries – we see the same thing (although on a larger scale) in Timoleague.

The base of this Sherkin tower has a little decorative carving – a very welcome note of frivolity in what is overall a plain building. Although, of course, we do not know how it was decorated: it may have had frescoes and painted walls and have been quite colourful, although generally the strictly observant friaries were not highly decorated.

The chancel (the inner sanctum) also has an eastern three-light tracery window, identical to the one at the west end. There are various niches in the walls in the chancel, and I am wondering if one of them might be an Easter Sepulchre. I have just been learning about these in the latest Archaeology Ireland magazine, in a fascinating piece by Christiaan Corlett. You can read more about them here. In essence they were resting places, from Good Friday to Easter Sunday, of the crucifix, the Host and various other sacred elements, all of which would have been contained in a carved box, which was then deposited in the niche. This niche certainly fits the bill, except that it is on the south wall, rather than the more normal north wall.

The cloister was filled with rubble when Ann Lynch started her excavations. Nothing of it was to be seen, but as you can see the excavation revealed a small but perfectly formed feature.

And it seems that this is where the monks were buried! As the friars were pacing the cloister walk, intoning their office, they were walking on ground above the bones of their brethren who had died before them. Twenty four of them were found, aligned with their heads to the west and their feet to the east. There were no grave goods: they were buried as simply as they had lived.

Later, in the 17th and eighteenth centuries, the west end of the friary was used as a fish palace – a place for curing fish and packing them into barrels. The holes in the walls in the image below would have held press-beams. See Robert’s post Fish Palaces and How They Worked, for more on this. Somehow that seems like an ignominious end for a place built as a focus of worship. 

Today, the first thing you see as you step off the ferry is the friary, peaceful and beautiful in its island setting. It has seen its fair share of turbulence, of industry and of neglect. Now it reminds us that life goes on despite all that, but it never stays the same.

Dún na Long Castle, Sherkin Island

Last week I left you at the threshold of the Castle and Friary on Sherkin, promising to come back to them this week. As I read up about them, though, I realise that each deserves a post of its own, so we are going to look at the Castle first.

What we see now is a pale shadow of what the castle looked like in the 15th century. The Friary was built in 1460 and the castle, or tower house, around the same time, maybe a few years later.

The builder of both was Florence O’Driscoll, chief of the wealthy and warlike O’Driscoll clan, whose headquarters were in Baltimore. It was one of a series of O’Driscoll Castles, which also included Oldcourt, Rincolisky, Lough Hyne and Ardagh, as well as Dún an Óir on Cape Clear, Dún na nGall on Ringarory Island. If you have not already done so, take a look at my posts on Dún an Óir, the Fort of Gold, on Cape Clear Island – it will give you some background into the operations of the O’Driscolls and their network of Castles. And this page has a list of all my castle posts and browsing them will explain all the terminologies, such as bawn, or raised entry

Like the O’Mahonys to the west of them, the O’Driscolls derived their income from control of the waters of the eastern side of Roaringwater bay – and specifically control of the fisheries. And that income was considerable: enough to build all those castles, to mount a fleet of ships, to import the finest wines from France and Spain, and enough to endow a friary where Franciscans could pray for the souls of Florence and his descendants so they could be assured of safe passage to Heaven.

Dún na Long (Fort of the Ships) was strategically sited indeed. It had a good view across to Baltimore but more importantly of the entrance to the inner waters – anything that sailed between Sherkin and the mainland was immediately spotted. It was also very close to the Friary, and could defend it if necessary – although that didn’t quite go according to plan, as can be seen from the top photo, a picture of the Battle of the Wine Barrels that took place in 1537 between the O’Driscolls and a force from Waterford, come to take their revenge on the O’Driscolls for their constant raiding of the cargo ships.

Let’s take a closer look at that drawing to see how the artist represents what Dún na Long looked like originally. Due to the shape of the promontory it occupies a long and narrow space, rather than the square or rectangular area we have come to expect, of a tower house surrounded by a Bawn wall (see Illustrating the Tower House). So the bawn wall is there, but elongated to run the length of the promontory. The tower house itself occupies a central position and there is one corner tower on the landward end. Note that the artist shows a huge cannon on the seaward end of the castle. This would have been unusual for an Irish castle, but there is some evidence for it. In the 1895 Journal of the Cork Historical and Archaeological Society, a  Mr H T Fleming notes this:

Wandering around the ruins, it is possible to see the remains of what was once there. The central tower now stands to only two stories. There is an entrance on the ground level, but this is an enlargement of what was originally a window ope. The actual raised entry was in the west wall – you can see it in the photograph below, although it has been much altered. It probably looked like the ground floor and raised entry configuration at Dunmanus Castle.

There is a pronounced base batter, Samuels, in his Tower Houses of West Cork, provides a sketch plan which shows how impressively thick the walls are. 

When he was doing his field work, in the 90s, there was still a roof on the pig shed built onto the west wall and he provides this photograph of how the central tower looked at that time.

The small corner tower can be clearly seen in the photo below as Amanda is wandering down to the castle. 

That tower occupies the corner position on the bawn where the wall that runs along the landward side meets the wall that runs along the sea, closest to the Friary.

In the sketch, you can see the Waterford force has made its way onto the land and is firing at the castle from that side. What is left of this wall has been extended using modern concrete block.

After the battle of Kinsale in 1601, the current clan chief, another Finghín, handed over the castle to the Spaniards, who in turn surrendered it to the English under Captain Harvey. Since that time it has led an anonymous and ignominious existence as a cattle or pig shed.

Nowadays, the site is much tidier than when I have visited in the past. A picnic table provides a pleasant spot to look out over the sea and think about what life was like in this castle in the 15th and 16th centuries. 

Exploring Sherkin

On  a gorgeous day in May, Amanda and I set off to have a day for ourselves on Sherkin Island. No reason, just because it’s there and it’s wild and beautiful and historic.

We caught the 10:30 ferry from Baltimore. It’s a short ride, but along the way you pass the Beacon and get a great view of the Sherkin lighthouse.

We decided to take a Horseshoe Trail – I have provided a map showing our outbound walk in red and our return walk in Blue. It was all easy walking, no steep hills, and since the weather had been so clement in May we didn’t need boots (although Amanda is seldom parted from her wellies).

The Horseshoe Trail is well marked, but narrow, and fringed by wildflowers. I had trouble identifying this one – is it Charlock? Or some kind of Mustard? 

The trail leads down to vistas over Horseshoe Harbour on the south side of the island – a secluded and beautiful cove with Thrift covering the foreshore and Bluebells and Stitchwort in abundance everywhere.

I was fascinated by this little house, standing sentinel over the harbour. What a situation – and it obviously has a history. Above the door is the Papal insignia along with Anno 1932 Congressus. 

This, of course, is a reference to the Eucharistic Congress, held in Dublin in 1932. Here’s a wonderful account of that time by West Cork Historian, Kieran Doyle

It was the biggest thing to happen in the new state. My parents used to talk about it. Dad was in the Phoenix Park (along with a quarter of Ireland’s population) to hear John McCormack singing Panis Angelicus. Perhaps it was that experience that persuaded him to study for the priesthood. Fortunately for this blog, he discovered his error after a year, and my mother a few years later. But take a listen to what my father heard in 1932.

My mother, by the way, was found of quoting Brendan Behan who said that during the Eucharistic Congress, “Grafton Street was lousy with Bishops”.

But I digress! Let’s get back to Sherkin – although if anyone knows more about why this attractive cottage sports a 1932 Eucharistic Congress sign, do leave a comment.

Our next stop was St Mona’s Holy Well. This is a discrete little well tucked into the hillside of a fern-covered valley. Although Amanda had to battle her way to this well when she first visited, this time we discovered that a recent pilgrim had cleaned up the well and provided very welcome signage. Amanda’s blog provides lots of detail and a link to more information about St Mona, patron saint of the island, who has given her name to the townland of Kilmoon. 

We enjoyed a coffee (I had packed a flask, fearful of a caffeine withdrawal) overlooking Horseshoe Harbour (photo by Amanda) before setting off back to join the main road through the island. My top photo shows the terrain leading to and from the well – we had the real sense of being in a hidden valley.

A detour brought us to a piece of archaeology – a cupmarked stone. Robert and I visited this several years ago and he wrote about it here, so you can take a look at the stone with its 14 cupmarks. I am not giving the location of this as it is on private land

We stopped for a sit-down along the way – the little cafe wasn’t open, but a sleepy cat presided over our rest stop and the Free Palestine sign provided the backdrop.  

On we went then, to Cow Strand where a lovely surprise awaited – good coffee and snacks and a teepee to sit under – it was pretty hot by now (photo by Amanda).

From there we walked to the magnificent Silver Strand, with a view to Cape Clear. 

Sherkin Island is home to the medieval castle, Dún na Long (Fort of the Ships) and a magnificent ruined Friary. A wander around these two monuments was our final destination and to my enormous surprise, as it had never happened before, we were able to go inside the friary. The next blog will take up the story from there.