As we are approaching the traditional Twelve Days of Christmas I thought it fitting to give you Twelve views of Ballydehob’s iconic viaduct. Our West Cork village of Ballydehob has many claims to fame. It has been the centre of a great Irish art movement in the mid-twentieth century (have a look at this site). But earlier – between 1886 and 1947 – it was an important stop on the Schull & Skibbereen Tramway. This was a three-foot gauge railway line which must have been a great wonder to those who witnessed it in its heyday. There are fragments of it still to be seen, but its most monumental structure remains with us: the twelve-arched viaduct at Ballydehob.
Above: Brian Lalor was one of the creatives who settled in Ballydehob back in the artists’ heyday (he is still here today). The railway viaduct was a great source of visual inspiration to him and to his artist colleagues.
Here (above) is another Lalor work depicting the viaduct (many thanks, Brian). Behind the arches in this print you can see the former commercial buildings on the wharf, now converted to private use. At first glance you might think what a fine masonry structure this is. In fact, most of it is mass concrete. Look at the close-up view of the arches below: they are cast and faced in concrete, albeit the arch-stones are made to look like masonry. Only the facing infills and the parapets are actually of stone. This is quite an innovative construction for its time. Barring earthquake it’s certain to endure.
I was not surprised to find how often images of this engineering feat have inspired artists and others working in creative fields. Here’s a particularly fine example from the days of the artist settlement around the village in the mid-twentieth century (below): this one is a batik by Nora Golden.
I really like this moody photograph by Finola: it demonstrates the elemental nature which repetition and shadow gives to the scene. (Below): we have to see the way over the top, now a public footpath. The railway was a single track narrow-gauge at this point.
The ‘Tiny Ireland’ creator – Anke – has sketched this wonderful caricature of our wharf area, showing the 12-arched bridge in context. Finola has written about Anke. You can buy your own piece of Tiny Ireland through her website, here.
How better to look at the bridge in context than this view from Aerial Photographer Tom Vaughan. Thank you, Tom, for allowing us to use this magnificent image. Here’s the link to his own website. You will find excellent gifts for the connoisseur here. The last of our ‘Twelve Arches’ (for now) has to show us the bridge in its rightful use. I think this postcard – from the Lawrence Archive -dates from the early 1900s. I can’t resist quoting the caption for the rail buffs among you!
. . . A Schull-bound train has stopped especially for the photographer: this is Ballydehob viaduct looking north. The train comprises GABRIEL, bogie coaches Nos 5 and &, brake vans Nos 31, 32 and 38 . . .
The Schull & Skibbereen Railway – James I C Boyd – Oakwood Press 1999
BAM is the Ballydehob Arts Museum, and regular readers will know that this is a project which has involved us over the past few years. The Museum was curated to collect, conserve and celebrate the work of artists who came to West Cork and – particularly – Ballydehob during the second half of the twentieth century, some of them settling in the hills around the village and living a Bohemian lifestyle based around the principles of John Seymour’s seminal work Self Sufficiency published in 1973. At that time I was involved in running an eccentric small bookshop in rural Devon, and that book was our all-time best-seller!
That’s John Seymour and his family in 1973, when the book was first published (upper picture) while the lower picture is a John Hinde postcard from around the same period showing Ballydehob. It looks a thriving, lively place with its coloured houses and shops, and I think those ‘Bohemians’ who are still with us today – and still have their homes in the village – would agree that it was in those days the centre of a very special world – of artists and craftspeople making a living and producing some exceptional work. Work that is being recognised, now, for its quality and unique character.
This is a wonderful photograph from the Museum archives: here you see four of the ‘Bohemians’ who were crucial to the Ballydehob project. On the left is John Verling – he and his wife Noelle produced the two plates on the header, Tree of Life and Jellyfish, and were central to the community, establishing their pottery at Gurteenakilla just outside Ballydehob in the early 1970s. John died in 2009, but Noelle still thrives in the area. Next is Pat Connor, still living and working – as an award winning ceramicist and sculptor – in West Cork. Beside him is Brian Lalor who, since those Bohemian days – has established a formidable reputation in Ireland as print-maker, artist and writer. Also, very relevant to this post, he is a co-founder and Curator of the Ballydehob Arts Museum! Fourth in line in the photo is watercolourist, David Chechovich, no longer with us. Here’s a photo from a couple of years ago showing Brian (left) with Leda May, another early arrival in Ballydehob and living and working right in the village to this day; also Pat Connor, and Carol James, who came over from England in 1974 and stayed on. They haven’t changed a bit, have they?
The Museum has a permanent home in Bank House, right in the centre of the village. As you might expect, it was once the local bank but – after closure – it was bought by the community and is currently finding fresh uses. This montage (above) is by Brian Lalor: he and I are imagining the building being livened up by a mural from Brian’s brush. Unfortunately, Covid has put a check on the Museum’s development over the last couple of years. But we are looking forward to getting things going again with a new exhibition for 2022. The photo below shows the Museum interior set up for the 2019 show.
Here is an article – well worth reading – on the West Cork artists and our Museum (thank you, Peter , for pointing me to this). Mentioned in the article are the subjects of our next proposed exhibition, to be held in 2022, if all is well. They are Ian and Lynne Wright. They arrived in West Cork in 1973 and established their home, ceramics studio and an environmentally sound habitat at Kilnaclasha, Skibbereen. They are still there, although Ian spends much of his time on another environmental project in Tobago. Using the name Cors’ it’s Ceramics they experimented with body casting slipware and began to produce specialised one-off bathroom fittings – humorous and often erotic. They were hugely successful. Here’s a pictorial review of some of their work to give you a taster:
Ian and Lynne (above, from one of their bathroom product catalogues) gave up their ‘cheeky’ ceramics in 2002 but both are still producing; Lynne with large, colourful bowls and Ian with body casts (pics below). BAM hopes to show a significant selection of examples from their lifetime of work. It promises to be a spectacular exhibition: Roaringwater Journal will keep you up-to-date with progress.
That’s Castle Island, above, beyond Gaelic Lord Finnin O’Mahony’s dilapidated realm at the entrance to Rossbrin Cove, in Roaringwater Bay. In the fifteenth century there would have been a hive of activity at Rossbrin: quays alive with fishing activity, boats being repaired and prepared, houses, stores and cellars – all full. Castle Island itself would also have been inhabited in those days, as were many of Carbery’s Hundred Isles. Skeam West – to the east of Castle, and roughly in the centre of all the islands of Roaringwater Bay, has the remnants of a church said to date from the ninth century (Fahy – Journal of the Cork Historical and Archaeological Society, Volume 67, 1962).
Upper – Castle island with its close neighbours in Roaringwater Bay; lower – the ancient church on nearby Skeam West, drawn by Fahy in 1962 (courtesy Cork Historical and Archaeological Society). Fahy suggested a ninth century date for this structure, although other commentators have suggested an earlier origin, possibly even before St Patrick’s time
We set foot on Castle Island for the first time in August of last year – during a reprieve in the Covid lockdown measures. Those days seem halcyon now, compared to our current scourge and severe restrictions. We have not been able to return, but I am setting out to bring my reporting a bit more up to date, as I have been provided with further information from a range of sources.
Approaching Castle Island in 2020: upper – view of the island from the shore in Rossbrin townland; centre – proceeding to the island from Rossbrin Cove; lower – the quay on Castle Island, reportedly built in the early 20th century by the Congested Districts Board: “…the beach that it is laid upon was the best natural landing point on the island, well sheltered from the Atlantic swell …” (Mark Wycliff Samuel – The Tower House of West Cork, UCL 1998)
The history of the population of Castle Island is enigmatic and somewhat contradictory. Here is a quotation copied from the Ireland Bywayssite but uncredited and undated; I can find no other link containing the same information, but it must originally have been written when the island was still inhabited:
. . . Castle Island (Meadhon Inis – “middle island”) lies about 2km offshore, east of the mouth of Schull Harbour on the Mizen Peninsula. The island derives its English name from a ruined C14th Tower House, one of 12 built by the powerful O’Mahony clan in the area. The 1837 census recorded 89 people living on the island. At present there are fewer than 30 permanent residents, who make their living from farming . . .
quoted by ireland byways.co.uk
You will find some accounts which suggest that Castle Island was inhabited only up to the 1870s. These are incorrect: there is no doubt that the island was the home to a number of families in the 1890s as they suffered evictions then. It also seems questionable that the expense of constructing a substantial pier could have been justified only for the benefit of those who might run their cattle and sheep on a deserted island (as happens today). It is possible, therefore, that regular population of the island continued into the early years of the 20th century.
The remains of substantial houses exist on Castle island today: some do not seem to be as ruinous as would be expected if they had been unoccupied for well over 100 years
Recently, my attention was drawn to a Land Register folio recording the title for one of the parcels of land comprising Castle Island: ” . . . a burden, dated April 14, 1904, indicates that the property was transferred at that time subject to the right of . . . Jeremiah Regan to be supported clothed and maintained in the dwellinghouse on the said lands . . . ” That would imply, for sure, that there was at least one person who had the right to live on the island in the twentieth century.
Details from the ruined houses at the settlement of Wester, Castle Island: upper – brick and render chimney stack in reasonable condition; centre – elements from timber window frames still in existence; lower – traces of paint on an internal rendered wall
Accounts of the evictions which occurred on Castle Island have been well summarised in a Mizen Journal article by Liam O’Regan in Volume 6, 1998. The article is much too long to be included here, but it’s worth anyone’s while ferreting it out to get a vividly descriptive picture of the island in the 1890s.
Here’s a brief summary of the eviction story: the villain is on the left, above – he is Thomas Henry Marmion JP, principle landlord of Castle Island. He lived from 1839 to 1921 and – incidentally – his father (who had the same name) was said to have been responsible for providing the ‘soup kitchen’ at the Steam Mill, Skibbereen during the Great Famine of the 1840s. Notwithstanding this, recorded history does not have much that’s good to say about the Marmions, who in the eighteenth century had been land agents for the Bechers and Townsends. At the beginning of March 1890 (as reported, somewhat floridly, in the Cork County Eagle):
. . . A few days ago, the sheriff’s officer from Skibbereen made his appearance in Schull, surrounded by a force of police, on an evicting expedition. After a short delay, they proceeded to the water’s edge where their galleys were found to await them and the sheriff’s representative having secured himself in one of the crafts, the whole party proceeded to sea for a distance of some three miles when they landed on Castle island. This wild and sea-washed home of a few small farmers and fishermen is the property of Mr Thomas Henry Marmion . . . whose interest in recent years appears more of an incumberance or embarrassment than any advantage as the poor creatures who live in it (misnamed farmers) and on the many islands surrounding it, have to live chiefly on the profits of the sea. The fortification of Jerry Nugent was the first laid siege by the invading army, Jerry’s offence being that he owed a few years’ rent which he found impossible to pay and he was, therefore, sent adrift on the sea-washed rocks where he had a full view of the passing emigrant ships which will probably bear him away to seek out a livelihood in the land of the stranger . . .
Cork County Eagle, march 7th, 1890
There’s much more – and it’s a harrowing story – not untypical, of course, of what was happening all over Ireland during the nineteenth century. In the portrait gallery, above, the figure in the middle is a ‘hero’: he is William O’Brien MP, a founder of the National League who, in September 1890 visited West Cork and held a meeting on Middle Calf island to support the case of tenants evicted from Castle Island and the Calves. On the right is James Gilhooly, MP, Bantry, who was chairman of the ‘All for Ireland League’ and who strongly supported the Castle Island tenants and attended many official meetings on their behalf. Matters rumbled on laboriously into the mid 1890s: eventually, it seems that the introduction of new land purchase acts (benefitting tenants), enabled six tenants to return to, and continue to occupy, Castle Island. As yet I have found no further records to help us establish how long occupation of this sparse rocky outcrop in Roaringwater Bay continued into the twentieth century.
The Mizen Journal, Volume 5 1997, has published a study by Anthony Beese of the place-names on Castle Island. I have been unable to locate this article online, but here is Anthony’s excellent map, above.
When we visited the island on a brooding August day we sensed its many ghosts, perhaps including those who returned over a hundred years ago and, possibly, lived out their working lives there. I have called this post ‘Facts and Fictions’ . . . You have had the facts. After I wrote my first post, last year, I received a communication from a writer: William Wall. I was delighted to learn that he had written a book – Grace’s Day – published in 2018, part of which is set on Castle Island. I obtained the book and read it avidly: it has opened up for me a new dimension in the story of the island – and it’s thoroughly believable.
. . . A long time ago I had two sisters and we lived on an island. There was me and Jeannie and Em. They called me Grace, but I have never had much of that. I was an awkward child. I still am all these years later. Our house had two doors, one to the south, one to the north. Its garden looked towards the setting sun. It was a garden of apple trees and fuchsia and everything in it leaned away from the wind. Dry stone walls encircled it and sheep and children broke them down. My mother lived there with us. Boats came and went bringing food and sometimes sheep, and there were times when we lived by catching fish and rabbits, though we were not so good at either . . .
Grace’s Day – a novel by William Wall, published by new island books 2018
William Wall is familiar with West Cork: he has stayed here many times, and has visited Castle Island. It’s not just the island, but the whole story of 1960s West Cork that has been his inspiration. Readers of this Journal will be aware of my own interest in the days when Ballydehob became the hub of an artists’ community: I have helped to set up the Ballydehob Arts Museum, which has celebrated this era and is now in ‘suspended animation’ due to the Covid outbreak. I also look after a website for the Museum. Grace’s Day is set in this era, and follows the unconventional lives of a family who is ‘getting away from it all’ and trying to survive following the then prevalent bible of self-sufficiency. It’s perfectly feasible that an abandoned island in Roaringwater Bay could be the setting for such a romantic pursuit of ideals. I won’t give away any spoilers, but one more extract could help to persuade you that this book is for you. You should find it in all good bookshops: please support them in these tricky times.
. . . One day on our island my sister Jeannie ran in to say that she had seen a whale in the sound and I ran out after her, my mother calling me: Grace, it’s your day, take Em. But I was too excited. And there were three fin whales making their way into the rising tide. We heard their breathing. It carried perfectly in the still grey air, reflected back at us now by the low cloud. The sea was still and burnished. We ran along the rocks watching for their breaching. We decided it was a mother, a father and a calf. They were in no hurry. When we reached the beacon, a small unlit concrete marker indicating the western edge of the island, we watched them breaching and diving into the distance until we could see them no more. But they left behind their calmness and the unhurried but forceful sound of their blows . . .
GRACE’S DAY – A NOVEL BY WILLIAM WALL, PUBLISHED BY NEW ISLAND BOOKS 2018
Our own view of Castle Island in the distance, surreally shadowed by the full moon’s glimmer, while the Fastnet Lighthouse winks away on the horizon
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