Bantry Historical Society

‘This is Our History’: The Abbey Graveyard Project in Bantry

All over Ireland there are local history heroes working to recover the heritage represented in the numerous historic graveyards that dot the country. Few groups have taken on as daunting or as important a task as the Abbey Graveyard Project Team in Bantry.

Team members Dorann Cafaro, Teresa Moran, Geraldine Mullins, Bernard O’Leary and Seamus O’Shea

First of all, this graveyard is enormous, stretching over several acres, and secondly, the ‘old’ section has been largely untended over the centuries and so is characterised by long grass, lichen growth and tumble-down headstones. While this is understandable, as the families of those buried here have themselves passed or moved away, it makes for a very challenging environment. It also provides a startling contrast to the ‘new’ sections, where all is order and neatness, for the most part. In the image below the ‘old’ section is at the back.

The team, however, is undaunted! If anything, they seem energised by the task ahead of them. After all, as Teresa Moran said in the Zoom presentation on the project – this is our history. 

More recent history – this is the moving and beautiful memorial to those who died in the Whiddy Island Disaster of 1979

I was privileged to spend some time with them recently, on the invitation of the project team. Besides an extraordinary level of commitment, the group has a wide variety of skills between them, something that is key to a project like this – historians, computer folk, genealogy experts, keen-eyed decipherers of faint inscriptions. 

In the background is Pat Crowley, the indefatigable researcher behind the Durrus History/West Cork History website – following up on clues and names and records in his own inimitable way.

This is a project that is being done properly – that is, using best practice as developed by Eachtra, an archaeological consulting company that provides training on this type of survey and which maintains the site Historic Graves.

An example of a recording sheet

On this website, take a look, for example at Grave 31 from the Abbey Graveyard – photographed, numbered, geo-located on the map. It’s the headstone of Cornelius Leary Senior, who died in 1797 aged 88. The script is beautifully incised – the work of a master carver. Such a headstone is a real treasure, both for the information it contains and as evidence of the craftsmanship that went into a memorial like this for those who could afford it.

In this still from the Zoom presentation, Jacinta shows how a Drone Survey, using geo-tagging technology, can assist in providing a super-accurate map of a graveyard. Drone surveys are expensive, but the Bantry Team successfully raised the funds to commission one.

Sadly, many of those buried in the Abbey Graveyard, and in similar graveyards across the country, lie under stones with no inscription. But that does not mean that that is always impossible to identify them. Amazingly, in some areas, the knowledge of who lies under what stone is held by the elders of the area, who remember the size and shape of a field stone, especially chosen for a burial plot. That’s one of the reasons this kind of project is so vital to undertake before those memories disappear forever.

Dorann Cafaro takes the recording exercise  one step further and uploads all the records into the massive international website Find a Grave. This is particularly helpful for the descendants of emigrants who are searching for family and cannot access the information any other way. So many people now are becoming expert in genealogy and this is one of the major tools that the advent of the internet has provided for them. It’s an enormous undertaking though, to upload all those records – we are all grateful for people like Dorann!

This chest tomb is the grave of Honoria O’Sullivan, sister of Daniel O’Connell

The Abbey Graveyard, as its name suggests, began as a burial ground surrounding a Franciscan Abbey, built in 1460 by Dermot O’Sullivan and demolished in 1602 by his descendant, the tragic Donal Cam O’Sullivan Beare, in order to prevent the Earl of Thomond from taking it over. Only a few random stone remain, now incorporated into an altar.

This area was one of the epicentres of the Famine – a period rigorously researched and chronicled by Geraldine Powell in her new book A Want of Inhabitants. Bodies from the workhouse – 3,000 in all, most of whom died of infectious diseases between 1847 and 1850 – lie buried in the Famine Pits, and were unmarked until Tim Healy caused a Celtic Cross to be erected in 1899 (below). However, as one of the team members, Bernard O’Leary reminds us, there were other horrendous period when large numbers of people died – of cholera in the 1820s, yet another mini-famine on the 1880s, and of TB, which was still killing thousands of people every year in Ireland up to the 1950s.

Paddy O’Keefe, noted Bantry historian, conducted the first survey of the graveyard in the 1950s and the project team has mined the database he created. This has been particularly useful, since it was done 70 years ago and some headstones that have since eroded were readable then.

Paddy also wrote about the early map of Bantry and Beare (see my post Elizabethan Map of a Turbulant West Cork and Elizabethan Map of a Turbulent West Cork 2: The Story) on which the Franciscan Friary is clearly shown (below).

Deciphering a headstone can be a real head-scratcher, especially if it’s badly weathered or covered in lichen. Geraldine Mullins showed me several where she had figured out the inscription – she has been developing a real eye for it. Lighting becomes important – strong slanting sunlight does wonders, or a bright torch shining from the side. One particular example only became clear under tinfoil! As with best archaeological practice, the team do not advocate the use of rubbing, chalking or cleaning with stiff brushes or chemicals, all of which can promote further deterioration of a headstone in the long run.

One of the exciting finds has been that of a headstone with an inscription in Irish – highly unusual! This might seem strange, since Irish was the language of most of the people buried in this graveyard, but it has to be viewed within the context of the colonial administration. Headstones were considered an official record, and the official language, under British rule, was English. After the foundation of the State, of course, Irish inscription became much more common. Geraldine has sent me the text and translation and I append it at the end of this post. As you can see (below) it took real study to make out this inscription!

Have a look at the Zoom Seminar on the Bantry Historical Society’s website, and browse what’s been uploaded so far to the Historic Graves website. It’s very much a work in progress. And if you have any information at all that might help the committee, do get in touch with them through the Bantry Historical Society contact page.

Headstone of Owen O’Sullivan, who died in 1822 has a carved top section featuring a crucifixion, two winged heads and an angel blowing a trumpet

Or better yet, take a wander through the graveyard itself and see what you can find.

Many thanks to Geraldine Mullins for sharing resources used in this post, and to all the committee members for so graciously spending time with me and answering questions.

Text and Translation of Irish Inscription

Gac naon do calam liocht /  

cathuil ui neill is cuimhine do /  

leifis an rann so g[e above]arrtha an /  

gaoghalge caoin le cheile an tathair /  

an mac 7 an naomh spriod /  

[g]uidheach do rai[.]h Dia trochurac /  

air anom do bhi ansa corp so /  

ata fan liag Amen 

Everyone of the noble, warlike line of Ó Néill and Conn, who will read this verse inscribed in beautiful Irish, pray to the Father, Son and Holy Spirit together, that God may be merciful to the soul that was in the body that is beneath this stone. Amen. 

Rock Art: Returning to Derrynablaha

Three years ago Finola and I both wrote posts about a remote valley in the Kerry hills, north of Sneem, where some iconic examples of Irish Rock Art can be found: Derrynablaha Expedition by Finola, and my own Glen of Ghosts. I think it’s time to revisit this hauntingly beautiful place, and its ancient carved stones which could date back 5,000 years, to Neolithic times.

All the examples of Rock Art illustrated in this post can be found in the townlands of Derrynablaha and Derreeny, Co Kerry

When Finola visited the valley in 1972 and 1973 she explored and recorded 23 marked stones, all within the townland of Derrynablaha: these were illustrated in her UCC thesis The Rock Art of Cork and Kerry. Between 1986 and 1996 The Iveragh Peninsula Archaeological Survey undertook further detailed research, resulting in a comprehensive volume published by Cork University Press: this contains a 30 page section on Rock Art and includes many of Finola’s drawings. The book lists 26 known examples, now, in Derrynablaha with a further 7 stones in the adjacent townland of Derreeny.

Cork University Press volume (left) which includes many of Finola’s drawings (sample page,right)

My introduction to prehistoric Irish Rock Art came in the early 1990s when I first visited West Cork to look at a piece of land which my friends Danny and Gill had purchased, with a view to building themselves a house: I was to be the designer. We walked the 5 acre site at Ballybane West and discovered a large, flat outcrop of rock some 30 metres long by 10 metres wide, the surface of which was covered with strange carved motifs. These intrigued and occupied me for many years. Eventually I made contact with the Department of Archaeology at University College Cork and unearthed Finola’s thesis. Finola had visited ‘Danny’s Rock’ during her explorations: she and I have just completed a comprehensive article on Rock Art in the environs of Ballybane West for a forthcoming edition of the Journal of Bantry Historical Society, due to be launched on 10 May.

Because of the number of pieces of Rock Art at Derrynablaha, as recorded by Finola, I set out to visit the site and was fortunate, I think, to locate several of the pieces there: they are hard to find. My most significant impression of the place was its isolation and loneliness: when Finola was there decades before, the O’Sullivan house was occupied – a family home and working farm – now it was a ruin returning to nature. No one lives in that valley today: it is home to sheep and eagles.

The most iconic piece of Rock Art in Derrynablaha is high up on the slopes of a mountain: there is no path, and the trek is across bogs, boulders and streams. Also remember that all the land is private – farmed now by another O’Sullivan from a neighbouring valley – and permission has to be sought in advance of any attempt to visit. Strict rules apply, understandably, to the use of gates and fences and no dogs will be permitted. The iconic piece is probably Ireland’s most important. When you stand up there, on a good day, you can see to distant horizons and take in outstanding views: time for reflection, perhaps, on what inspired our forebears to create such panels in these places – was it where they lived? Or did they assemble there for celebrations? The mountainside seems to present a natural platform here, with the carved rocks a central focal point. The work involved in carving these motifs would have been significant and time-consuming – they had only stone tools.

When we give talks about Rock Art we ask a question: Is it art? Some of it is certainly pleasing to the eye – the iconic Derrynablaha carvings are. But they also appear random, as though new carvings have been squeezed in amongst older ones: maybe the proliferation of motifs – or the number of carvers involved – was more important than any particular visual effect or relationship. We don’t ever try to answer that question, nor guess meanings for things we can never know. It’s enough – for me, at least – to experience these ‘footprints’ of former souls in such wild places.

We go far out of our way to look for Rock Art. It would take more than a lifetime to see every piece in Ireland. Some would argue that such a pursuit would be pointless – seen one, seen them all. It is true that the motifs are similar, although variable, across Rock Art panels, not only in Ireland, but in Britain and on continental Europe. That in itself is remarkable: 5,000 years ago humankind was making identical marks on rock surfaces all over its world. For me, however, it’s not really the motifs – spectacular though many of them are. It’s the places that they mark which are meaningful. Rock Art took me to the mountainside in that lonely Kerry glen and showed me a most incredible view across townlands and counties: I see it as inspiration, relevant as much in the 21st century of this struggling world as it was, perhaps, thousands of years ago, when the same world was a little bit newer.