Nick Hogan

Rock Art 3D

There’s a concentration of prehistoric rock art around Castletownshend and I am currently writing a paper about that for the next issue of the Journal of the Skibbereen and District Historical Society. There are seven individual pieces of rock art: as part of the research I recently visited the one stone I hadn’t seen yet. Fortunately, we had the company and assistance of Conor Buckley of Gormú Adventures (been on one of his marvellous walks yet? If not, try this one, or this one or this one.) who, as a native of the area, knows everyone and introduced us to the landowner, the genial Bill O’Driscoll.

The townland is Farrandeligeen – isn’t that a wonderful name? A dealg is a spine or thorn or prickle, and therefore a deilgín is a small one of those. So it can be translated as the Land of the Thorns, which can be blackberries or blackthorns – and this being West Cork, probably both. An old saying is Is beag an dealga dhéanfadh braon – the tiniest thorn can cause big problems. Thorn in a hiking boot, anyone?

The land lived up to its name. Bill took us to where he knew the rock art was, and that’s when we encountered the deligeen bit. Fortunately he had a stout fork with him, and took to hacking and bashing his way through the thorns, while we stood back and offered encouragement. The first place proved unfruitful and he moved a few metres away and soon struck gold. Among the brambles, earth, gorse and general undergrowth there was a hint of something white. This turned out to be a bag filled with stones – the very bag he had put there to remind him that this is where the rock art was – but so many years ago that it had slipped his mind until now.

And so the stone gradually came into view until I could finally get down to clearing it off with my gloves. (I was sorry I hadn’t brought the red socks.) This stone is already in the National Monuments Records as a ‘Cupmarked Stone’ (CO151-013) and is described as having ‘at least ten cupmarks’. Bill told us that his father had said he remembered the stone standing upright – it had fallen to its present position flat on the ground since his father’s time.

For more on what a cupmarked stone is, and how it fits in to the general category of ‘Rock Art’, see my post The Complex Cupmark. For now, quoting from that post:

The cupmark is the most basic and numerous element or motif of rock art in Ireland and elsewhere. In the examples labelled rock art in County Cork, they occur with other motifs, principally concentric rings, sometimes with radial grooves, and a variety of curved or straight lines. They can be incorporated within a motif (as in cup-and-ring marks, rosettes, or where enclosed by lines) or they may be scattered, seemingly randomly, over the surface of the rock, between and among the other motifs. 

. . . patterns of straight lines, or of rough circles or semi-circles, can be made out in several of the stones we have recorded to date.

Rock art is widespread across the Atlantic coast of Europe and is believed to date from the Neolithic, about 5,000 years ago. The cupmark as a motif, however, continued well into the Bronze Age, since we find it on wedge tombs and boulder burials. We do not know what the significance of the cupmark is, but it must have held a special meaning to the carvers since it persisted over time and space.

We got the rock cleared enough to identify the cupmarks and I put a button in each one to make sure it showed up – sorry, those are not gold coins. Some of the cupmarks are tiny. You can look at the cupmarks as a random scatter, or as in the quote above, you can see two groups, in which a cupmark is surrounded by a semicircle of four others. 

It was hard to get the rock clean enough to see detail so I decided to carry out a photogrammetric survey, the object of which is to end up with a 3D image from 2D photographs. That involves taking LOTS of photos (in this case, 100) of the stone, working my way systematically across the surface of the stone at three different levels, keeping the camera settings consistent.

Conor had his drone with him – a new experience for us! He took photos and videos of the stone in its general location, capturing me doing the photogrammetry and also a good indication of the amount of undergrowth that had to be cleared out of the way before the rock came into view. (Thank you, Bill!)

I sent the photographs off to UCC, to the Department of Archaeology, where Nick Hogan generously processed them for me, using the Department’s specialised software. The results are fascinating!

First of all, it looks like there are more than just cupmarks on this rock. A long line stretches from the far left (in this image) cupmark to the right hand grouping. There is a hint of a circle around the bottom left cupmark. The three large cupmarks in the right grouping appear to be conjoined, and there is a line from from the far right cupmark to the end of the stone.

You can view the render in what is called Matcap, which creates it in a metallic view (above and below). On a grey day with no shadows, and still lots of mud on the stone, none of this was obvious to the naked eye. There is a possibility that these new elements, rather than being carved, are natural contours in the rock itself. We haven’t had time yet to go back and check this out more carefully, but we will have to do so – and update this post! If indeed the lines turn out to be carved, that fact will elevate the rock from a Cupmarked Stone to Rock Art. Watch this space.

If you’d like to see the 3D render for yourself and have fun turning it this way and that, you can click here. Let me know if you spot anything else! It was good to be out in the field again after a long winter of cold wet weather. It was great to have Conor and his drone along and to meet Bill, who is committed to keeping safe this precious part of our heritage.

Brian’s Sketchbook: The Signal Towers

Brow Head Buildings

We have received a unique and treasured gift – a sketchbook from the 1980s of prehistoric and historic sites around West Cork. It’s the work of our good friend, and national treasure, Brian Lalor, artist, writer and printmaker. For an overview of his style, check out the retrospective of his work at Graphic Studio Dublin. Or browse the long list of his books, including the magnificent Encyclopaedia of Ireland, which he edited.

Marconi Station, Brow Head

Brow Head: (above and below) on the right is the Napoleonic-era Signal Tower; the other buildings date mainly from the time of the Marconi Telegraph Station, taken from a different angle than the sketch above

Brian has studied both architecture and archaeology and to that adds the keen observant eye of the artist. As a result these sketches, although, as he explained, often hastily done during a brief visit to a site, are accurate, detailed and charming in equal measure. They were made on field trips with the Mizen Archaeological & Historical Society in the 1980s. This was an active society, publishing a well-regarded journal from 1993 to 2004 and leading regular field trips for members.

Brow Head ruined building

The sketches, just over 50 of them, were made for the most part between 1980 and 1987 so besides their intrinsic artistic value, they also constitute an important record of the state of the site 30 years ago, allowing us a comparison with its current condition. My intention is to visit (or re-visit) a lot of the sites, with his sketches in hand and show our readers both how beautifully Brian captured the structures or artefacts at the time and whether there are any changes visible from then to now. I decided to start with the Signal Towers on Cape Clear and Brow Head, and a third tower on Rock Island that may or may not be contemporaneous.

Wolfe Tone front

Theobald Wolfe Tone – detail of the statue in Bantry town square

In 1796 the French navy, partly at the invitation of Wolfe Tone and the United Irishmen, staged an unsuccessful invasion of Ireland, sailing into Bantry Bay. Several raids followed in 1798. Although all were quickly quashed, a panic about the possibility of a French invasion spread throughout Britain and Ireland. A series of Napoleonic-era fortifications and viewing towers were constructed around the coast in locations with panoramic views, and within sight of each other, to spot foreign shipping activity and raise the alarm. On the east coast, these mainly took the form of Martello Towers and were stocked with heavy armaments, but here in the south west defensible Signal Towers were built not to house artillery but as advanced-warning stations. Here and there they were complemented by batteries and other fortifications – but that’s a story for another day.

Cape Clear Signal Tower

The Cape Clear Signal Tower

Signal towers were built around the coast to the same plan – tall square towers with first-floor entrances and machicolations. From a distance, they look like the medieval tower houses I have posted about on several occasions but up close they are shorter and the windows are bigger. Internal staircases and partitions were made of wood, not stone and have generally not survived, so the signal stations are essentially shells. in both the Cape Clear and Brow Head example, the exterior slate cladding has survived remarkably well.

Brow Head Detail - signal tower

Brow Head Signal Tower – detail from Brian’s sketch

In his excellent article for the Irish Times, Nick Hogan describes the towers, how they were staffed, the accommodation provided and how the signalling was done:

The signalling system, referred to as an optical telegraph, required that each signal station be visible to its counterparts on either side. Sending a message involved raising and lowering a large rectangular flag, a smaller blue pendant and four black balls in various combinations along a system centred on a tall wooden mast. The stations also communicated with ships.

Cape Clear Towers

Signal Tower and Original Fastnet lighthouse, Cape ClearTop: Brian’s sketch of the Signal Tower and Lighthouse on Cape Clear Island, done in 1982; Below: how it looked in June, 2016, 34 years later

While many signal stations are lonely and isolated buildings glimpsed on distant headlands, abandoned since the mid-1800s, both the Brow Head and Cape Clear buildings had further phases of use. In Cape Clear a lighthouse was built in 1818 – a forerunner of the Fastnet Rock Lighthouse. It was so often shrouded in fog that it was abandoned in the 1840s. The buildings attached to the signal tower, built of brick and concrete, probably date to this period of occupation. The signal tower is built of stone, using techniques not far removed from medieval construction methods. The lighthouse provides a wonderful contrast, being built of cut granite blocks expertly measured, shaped and fitted. 

Cape Clear Deatil - Lighthouse

Cape Clear Lighthouse, detail from sketch

In June of 2016, when we visited, it looked exactly as it had to Brian and the Mizen field group – an indication, perhaps that somebody is looking after the site and that the few visitors who come (it’s quite a hike to get there) respect the heritage. [Edit: Since I wrote this, Brian has pointed out that in the Cape Clear Signal Tower there is a porch under the machicolation in his drawing that has since disappeared. The outlines of the porch can be clearly seen in the photographs of the signal tower.]

Cape Clear Lighthouse

Brow Head is easier to access, and as a result there is more graffiti in evidence, but the changes to the site since Brian’s sketch are more the result of time and climate than any damage by humans. This is a complex site with multiple periods of occupation. The signal tower is there, of course, looking exactly as it did in the 1980s. Beside it is a network of buildings dating from the the early years of the 20th century: this is what remains of the Marconi Telegraph Station. Read all about this in Robert’s piece on Marconi, In Search of Ghosts. Besides the Marconi Station a Second World War Look Out Post was occupied here in the 1940s – little remains of this small concrete building except the characteristic half-round shape and a section of wall.

Brow Head octagonal?

Finally, on Brow Head there is a mysterious building that Brian labels ’14 – ’18 Gun Emplacement. This building no longer exists, and the ruinous remains that litter the ground seem robust enough to fit this inscription. Or do they? So – a mystery, and obviously  more research needed on our part. If any of our readers can help – let us hear from you!

Brow Head Detail - gun emplacement

The last tower is on Rock Island. It is clearly visible from the Brow Head Signal Tower ( a requirement for the placement of signal towers) but, strangely, it is one of two very similar towers on Rock Island, and while they are similar to each other, they are quite different from the classic signal tower design. However, both the National Monuments site  and the National Inventory of Architectural Heritage listings name them as Napoleonic-era Signal Towers, and perhaps that is indeed what they are.

Rock Island Tower

Brian’s sketch of the Rock Island Signal Tower

However, in discussion with Brian, he pointed out that most of the buildings on Rock Island were developed as part of a major Coast Guard installation around the same time as the Marconi Station, and we wonder if there might be a connection – that is, that these are Coast Guard-related Watch Towers, rather than Napoleonic-era Signal Towers. Once again – more research needed! [Edit: See comment from Navtell in comment section, below.]

Rock Island Signal Station

Rock Island Second TowerThe two towers on Rock Island: similar to each other but quite different from the classic Signal Tower on nearby Brow Head

This is only my first foray into Brian’s Sketchbook. Look out for more posts in the future and in the meantime, join with me in being grateful that a precious resource like this survived numerous moves and that we have the opportunity to learn from it.

Cape Clear Detail - Signal Tower

The Cape Clear Signal Tower