Saint Manchan, his Miraculous Cow, and his Shrine

I was in the little two-horse train which labours west from Clara to Banagher and the outlook was desolate. There was another chap in the carriage. He sat hunched up in the corner with his nose to the window. One glance convinced me that it was useless to say anything and there the two of us kept on staring rather lovingly at a wilderness of bog stretching away to the Slieve Bloom Mountains. It seemed to me that there was a kind of promised land on the other side. On past a few scattered farm houses some grey boulders and the ruins of a church. I found myself thinking dismally enough of the tourists. After all what do they get? Just ruins, ruins and more ruins – the saddest ruins in Europe. Then suddenly I heard my friend of the opposite corner speak in a mournful kind of way with his nose still glued to the window – “That’s Leamanaghan, a quare kind of place, decent people, too, the best in the world, people who’d give you all the milk you could drink but wouldn’t sell a drop of it for all the gold in Ireland and it’s all by raison of a cow, Saint Manchan’s cow.”

 

(St Manchan By Tomas O’Cleirigh, Midland Tribune 27th April 1935)

Upper – Finola is featuring the work of stained glass artist George Walsh this week. We were fortunate to find his portrait of Saint Manchan and his cow in the  little church at Baher , Co Offaly, on our travels. Centre – The Church of Saint Manchan

(From Robert’s diary, 2012) – St Manchan had a Cow, a miraculous animal that was always in milk, and the people of Leamonaghan had the milk for free (and, to this day, will not charge anyone for a pint straight from the herd). We tramped through a field of cows as we searched for St Manchan’s holy well: they gazed at us with some disdain. The well is a curious affair – old stones, concrete and rather ugly. The water is alive with tadpoles. We were tentative as we sampled the rank, slow moving stream – but it gave us the gift of credulity!

This detail from the Harry Clarke Studio window at St Manchan’s Church (dating from 1931) shows the miraculous cow

I went through a storm of real Irish rain to see Leamanaghan that very evening. It is four miles from Ferbane in County Offaly and hidden away in a vast bog region which is dotted with scattered boulders of magnesian limestone. The general depression is summed up in the name – Liath Manchan – the grey land of Manchan. Aye! The grey, lonely, chill land of Manchan. Saint Manchan lived here and died in AD 664. That might have been only yesterday, however as far as the good neighbours are concerned because he is the one subject over which every man, woman and child can get really voluble. I was taken to see the ruins of his church and then down to his well and heard how when you are sick you should pray here, walk three times round it and then go back and leave a little present for the saint himself in the window of the church . . . I was told that on the 24th January when all the rest of the world works, the people of Leamanaghan just take a holiday and make merry because it would be the unpardonable sin to think of work on their Saint’s day.

 

(Tomas O’Cleirigh, 1935)

The twelfth century shrine of St Manchan securely displayed in the church today, with the Harry Clarke Studio window behind it

St Manchan died in a plague which he had asked God to bring on his sinning people. After his death, his herdsmen – Bohooly (from which the name Ua Buachalla – or Buckley – is derived) found it necessary to call upon the Saint to help recover the Community’s cattle, which had been stolen by raiders. Manchan duly appeared, but one of his faithful herdsmen was so overjoyed to see his old master again that he threw his arms around him. This he should not have done, as he was a mortal sinner: the Saint fell into a heap of dry bones, but the cattle were recovered. We learn that Manchan’s bones were gathered up and taken to Clonmacnoise, where a fine casket was made to house them, out of yew wood, bronze and gold. Nearly a thousand years later we stumbled on this same shrine in the little church at Boher which carries the Saint’s name, with a glorious representation of itself shining out from a Harry Clarke Studio window set behind it. It resided in a case of armoured glass, alarmed and watched by cameras  – incongruous…. and ineffective: the day after we saw it there the shrine was stolen in broad daylight, evidently after only a few minutes’ work. (Robert’s diary, 2012)

It’s wonderful that we can see the actual reliquary containing St Manchan’s bones returned to the church at Boher, Co Offaly, close to the ruins of the monastery at Leamonaghan which the Saint founded in the seventh century. Although it has suffered some damage over the centuries, the detailing is exquisite: it is one of Ireland’s finest medieval treasures 

They have all kinds of stories about the good saint but the best one of them all explains why Leamanaghan people don’t sell milk. Here it is: Saint Manchan had a cow – a wonderful cow that used to give milk to the whole countryside – good, rich milk for which no charge was ever made by the saint. Then, the people of the neighbouring Kil Managhan got jealous and watched for their chance. One fine day when Manchan was absent they came and stole the cow and started to drive her along the togher through the bog back home to Kil Managhan. The good cow, suspecting something was wrong, went backwards and most unwillingly, fighting, struggling and disputing every inch of the way. Now she’d slip designedly on the stones: again she’d lie down but every where she went, she managed to leave some trace of her rough passage on the stones of the togher. The marks are there to this day, – hoof marks, tail marks – every kind of marks and the chef-d’oeuvre of them all has a place of honour at the entrance to the little school. Alas! In spite of that very gallant resistance, the cow was finally driven to Kil Managhan. There, horrible to say, she was slain and skinned.

 

(Tomas O’Cleirigh, 1935)

The shrine wonderfully depicted in the Harry Clarke Studio window at St Manchan’s Church, Boher

Prior to being housed in the church the shrine had rested in an ancient chapel. This burned down, but the shrine was rescued and then was kept in a thatched cottage nearby: legend has it that the ruin of this cottage became the unprepossessing holy well that we had found . . . Miraculous cows; plagues; holy wells; a modern theft – St Manchan’s bones do not rest lightly in his casket. The stories tell that Manchan was a tall man with a limp. When the shrine was sent to the British Museum some years ago for refurbishment, the experts examined the bones and proclaimed that they belonged to a tall male who had suffered from arthritis. (Robert’s diary, 2012)

Remarkably, St Manchan’s Shrine has been exactly replicated. This full-sized copy of the reliquary is in the National Museum of Ireland: all the ‘missing’ figures and details have been restored. The drawing dates from 1867, and is a plate in a book titled The Towers and Temples of Ancient Ireland by Marcus Keane MRIA. In that book it is said that the copy belonged to Sir William Wilde, and it may well have been commissioned by him. It is likely that the Harry Clarke Studio modelled their version of the shrine on the replica, rather than on the original

In the meantime, the saint returned, missed his cow, and straightaway started in pursuit. He succeeded in tracing the thieves by the marks on the stones and arrived just at the moment when she was about to be boiled. He carefully picked the portions out of the cauldron, pieced them together, struck at them with his stick and immediately the cow became alive again. She was every bit as good as ever, too, except that she was a wee bit lame on account of one small portion of a foot which was lost. She continued to supply the milk as before, and, of course, no charge was made by the saint. Ever since the famous custom still lives on, and good milk is given away but never gold by the loyal people of Leamanaghan. Now, can any lover of the grand faith of Medievaldom beat that?

 

(Tomas O’Cleirigh, 1935)

A detail of the original Shrine in St Manchan’s Church

There’s one more piece to this Saint’s story: the fame of his miraculous cow grew and the people of neighbouring Kilmonaghan were jealous, and sent out some rustlers to drive the cow over into their own parish. The cow proved reluctant and stalled and slipped all the way, leaving hoof marks on the many stones that lay on the road. Those marks are still on the stones to this day (they say) and the Saint was able to follow her tracks and recover her. (Robert’s diary, 2012)

Saint Manchan, depicted in stained glass: Harry Clarke Studio (left) and George Walsh (right). Both can be seen in the church at Boher, Co Offaly

The very old vellum books state that Manchan of Liath was like unto Hieronomus in habits and learning. I can well believe it. Some distance away from the church is the little rectangle cell which he built for his mother – Saint Mella. Cold, austere and with no window, you get the shivers by even looking at it. There is also a large flag-stone on the togher leading from the well, and they say the saint and his mother used to meet here every day and sit down back to back without speaking a word because the saint had vowed never to speak to a woman!

 

(Tomas O’Cleirigh, 1935)

Ways West!

Many of you will know that I was a frequent traveller between Cornwall and West Cork from the 1990s and onwards – until I happily met with Finola and we came and settled permanently here in Nead an Iolair just a few years ago. We have never looked back! But I have often wondered about the various ways in which that journey was made – not just in the last century, but three or four thousand years ago… For we do know that tin mined in Cornwall was brought across to the west of Ireland then, in order to manufacture Bronze – the ‘supermetal’ of those advanced times: it symbolized strength and gave wealth and status.

MV Julia, the car ferry which plied between Cork and Swansea: top picture – in her heyday, when she operated throughout the year. Above – Julia leaving Cork in 2012 after the closure of the Fastnet Line. Her name was changed to Wind Perfection and she became a floating dormitory for workers on the offshore wind farms in the North Sea

Not only tin was brought from Cornwall. A study carried out in 2015 by universities in Southampton and Bristol – (using laser ablation mass spectrometry) – concluded that many of the gold artefacts in the National Museum of Ireland and dating from the Bronze Age were manufactured from gold imported from Cornwall – even though there were rich supplies of gold being extracted in Ireland. Author Chris Standish suggests: 

…It is probable that an ‘exotic’ origin was cherished as a key property of gold and was an important reason behind why it was imported for production…

Gold artefacts from Ireland: left – Tyrone Lunula, early Bronze Age; right – Gleninsheen gold gorget, late Bronze Age (photos courtesy National Museum of Ireland)

I would really like to know what type of boat was used all that time ago to bring that precious metal across the Irish Sea. Some have suggested that it would have been a forerunner of the currach – implying a small hide-covered boat. But metal was heavy – even if it was smelted into ingots before the journey: something larger than a currach must surely have been needed. My own not-too-distant memories of having survived a night crossing in the MV Julia, from Swansea to Cork, in a Force 9 storm – with the thudding of huge waves against the steel hull and ominous creakings and crashings coming from the car decks below – lead me to think that any craft that had to traverse those seas in all weathers had to be substantial and sturdy.

A traditional currach in Dingle, Co Kerry – without its covering skin of hide or canvas

I began to research types of craft that were used in the Bronze Age: examples have been found, some preserved underwater or in bogs. These included ‘log boats’ such as the 14 metre long Lurgan Canoe in the National Museum, which doesn’t seem ideally suited to cargo carrying – especially on open sea. The most likely candidate comes from the Mediterranean: the Uluburun Shipwreck, found underwater in Turkey in 1982.

The Uluburun was a cargo boat: we know this because much of its load was intact when the wreck was found. Amazingly, archeologists were able to pinpoint its route: the ship set sail from either a Cypriot or Syro-Palestinian port and was probably heading for a Mycenaean palace on mainland Greece. It was wrecked in the late 14th century BC. The boat was constructed of cedar planks with morticed and tenoned joints and carried a huge cargo: 500 copper ingots; one ton of tin (which when alloyed with the copper would make around 11 tons of bronze); around 150 Canaanite jars, some filled with glass beads, many others with olives and some with an ancient form of turpentine; 175 glass ingots; African blackwood (ebony); ivory; tortoise-shells; ostrich eggs; Cypriot pottery and oil-lamps; a trumpet; quartz, gold, faience, amber, weapons, tools, pan-balance weights and a gold scarab… The list goes on.

Underwater archaeology: it took ten years to excavate and recover the cargo of the Uluburun vessel

This was in the Mediterranean, not in the Irish Sea. But it’s perfectly possible that the marine technology of those times extended to the northern outposts of Bronze Age Europe. We have to be very clear in our minds that we are looking at a sophisticated society capable of metallurgy, communication and long-distance travel.

Coming back to my own journeys from Cornwall to Ireland, I mourn the passing of the Swansea Cork Ferry, in those days by far the best way to get me and my car to the west of Ireland: I have good memories of arriving in the Lee estuary at daybreak and, excited to be here, watching the sun rise as we sailed up through Cobh to Ringaskiddy. On other journeys I also came over by air: there was a wonderful flight in a small aircraft from Exeter going to Cork. The homespun Devon airport in those days was unsophisticated: on one occasion I lined up to have my luggage checked by security and was asked to take my concertina (a constant travelling companion) out of its case for inspection. I was then asked to play it – in front of the queue – and everything stopped so that the serenade could be heard! It was a small aeroplane – about a dozen seats in the cabin, with the pilot up front – no partition. As he started the engines his broad Cork accent came over the speakers: “…let’s see if we can get this thing off the ground…” He succeeded and – once in the air and cruising at a lowish altitude – got out packs of sandwiches and passed them around. I thoroughly enjoyed watching the outline of Cornwall (exactly as it’s shown in the atlas!) passing below us, to be replaced shortly by the distinctive – and similar – geography of south-west Ireland, soon followed by a sketchy and invariably bumpy landing on Cork’s runaway – especially in any sort of stiff breeze.

Air Lingus Regional flights – operated by Stobart Air – now directly connect Cornwall with Cork. Photo – Trevor Hannant

It’s exciting that – just in time for Uillinn’s West meets West exhibition of Cornish artists, there is finally a direct link from within Cornwall to Cork! A new Air Lingus Regional flight – operated by Stobart Air started operating this month and it’s already popular: extra flights have been added to the planned timetable to cater for higher than expected demand. These flights leave from Newquay Airport and are very reasonably priced. I wish them every success… Back in the day, my journey from Newlyn to Skibbereen via the ferry took all day and a night: the new flight barely takes an hour.

Depart here for West Cork! Newquay Airport, in Cornwall

When the Swansea to Cork ferry stopped running the West of Ireland felt the loss: tourism numbers dropped significantly and businesses which relied on visitors suffered. Things have improved since then, particularly with the Wild Atlantic Way initiative. Hopefully the new air link will lead to increased business between the two western outposts of Britain and Ireland, hearkening back to historical times when close links were first forged. Meanwhile, please don’t forget to come along to West meets West and see the work of contemporary artists from Cornwall. The artists (some of whom will have flown over on the Newquay service!) will be speaking about their work at 12 noon on Saturday 3 June, and I will be giving a gallery talk on Saturday 10 June – also at 12 noon – about the many historic links between Cornwall and the West of Ireland. West meets West – the work of contemporary Cornish artists, at Uillinn, Skibbereen, from 3 June to 8 July. Opening at 6pm on Friday 2 June.

Travelling from Cornwall to Cork: Off to Skibbereen – painted by Newlyn Artist  (and Irishman) Stanhope Alexander Forbes in 1901