Small Rituals at Bealtaine.

Flowers left on the fairy thorn.

It has been a long, hard winter. 

The greening of the land was slow this year but a walk along the river showed blossoming blackthorn

and blue hills released from snow.

Further afield Knocknaman, THE HILL OF THE WOMEN was decked in new growth.

Cnoc na mBan, Knocknaman, Co. Offaly, site of ancient hilltop fires at Bealtaine.

In the past I’ve celebrated Bealtaine with friends, in circles and woods at bonfires and sacred sites.

These days I quietly acknowledge the changing year around my home with small rituals, 

visiting the special places in the local landscape.

May Eve, Oíche Bealtaine, brought a gentle warmth as I decorated the MAY BUSH besides my door to welcome the summer with flowers.  

Slips of Mountain Ash protected the house from unwanted attentions of those who roam on this night.

As the evening deepened I left butter on a fairy path for the Good Neighbours

and milk by the old stone.

During the days that followed there were offerings at the river,

 on whitethorn 

and water.

 And flowers to greet the Good People at the places where they gather.

Decorated fallen thorn by the fairy path.

On the path to the fairy mound at SHEEAN

Tonight, on the old date for Bealtaine, the traditional fires will be lit upon the Hill Of Uisneach 

and my own small bonfire will join with others to welcome another summer.

***

All offerings left on trees are removed at the end of my Bealtaine devotions.

Archaeology & The Art of the Ancestors.

Sketches of carvings within Brú na Bóinne by George Victor Du Noyer.

As an artist I am constantly inspired by the land of Ireland, her sacred sites and her people.

Cauldron detail from MÓR-RÍOGHAIN

For many years standing stones, cairns, rock art and archaeological finds have crept 

into my paintings.

Passage stone detail from AN CAILLEACH

Sometimes a single carving can inspire a larger painting.

Drawing of an antlered deer carving found by Eugene Conwell on a bone flake 

from Cairn H, Loughcrew.

Sketch, part of a new painting, 'Stone, Antler & Bone'.

With each view of these special places my respect for the skills of the ancient people of Ireland grows.

Carvings inside Cairn T, Loughcrew highlighted by the sun at Autumn Equinox.
More about this painting - AN CAILLEACH

Over centuries sites change, stones are taken for building or for private collections, finds removed to museums and carvings weathered or covered by lichen.

Lichen on a passage stone in the Mound of the Hostages, Hill of Tara.

Image © knowth.com

However, the meticulous recording by past generations of artists and archaeologists has left us with beautiful representations of the Art of the Ancestors.

Dublin born George Victor Du Noyer, 1817 – 1869.

George Victor Du Noyer, an Irish painter, geologist and antiquarian, was commissioned over several years by the Irish Ordnance Survey and the Geological Survey of Ireland to realistically illustrate many sites across the island. 

Du Noyer worked in watercolour and pencil and his sketches are works of art. 

Sketches of Cairns T and L, Loughcrew by George Victor Du Noyer.

Image from Durrus History

His legacy is a series of images as fresh today as they were in the 1800’s. 

Du Noyer’s sketches can be seen HERE

Around the same period J.J.A. Worsee, a Danish archaeologist, was commissioned by 

King Christian VIII of Denmark to record ‘Viking-age antiquities and monuments of Scandinavian character’ 

during his stay in Dublin. 

Illustration by James Plunket from 

‘An Account of the Danes and Norwegians in England, Scotland, and Ireland’. 

Worsee assigned James Plunket to prepare a series of watercolours showing artefacts in the collections of the Royal Irish Academy. These became known as The Plunket Watercolours or The Worsaae Drawings.

Now housed in the National Museum of Denmark, they consist of twelve large drawings depicting objects arranged by type and period. 

Each artefact, from the Neolithic, the Bronze Age and later is drawn to full scale, beautifully coloured, with great attention to detail.

As well as their artistic value the Plunket Watercolours record the provenance 

of some early finds of The RIA’s collection of Irish antiquities.

Plunket’s watercolours can be viewed HERE

In more modern times the work of the Irish-American graphic artist, Martin Brennan, 

not only recorded ancient art but challenged the way in which people viewed Ireland’s monuments. 

Images © Martin Brennan.

Together with his friends, Brennan observed and documented evidence showing that the function of the great passage tombs, such as Newgrange and Loughcrew, were not only burial mounds but were also used as astronomical observatories over 5,000 years ago.

Kerb stone 51 at Dowth, known as the ‘Stone of the Seven Suns’, © Martine Brennan.

His clear, clean illustrations, focussing on the carvings rather than the textures, provide us with an inventory of Ireland’s Megalithic Art as well as possible insights into the motivation of the ancestors.

Brennan’s book 'The Stars and the Stones', republished as
‘The Stones of Time’ can be ordered HERE

Today cameras and computers have replaced sketch books and pencils but recording the beauty and intricacy of these carvings and sacred places continues.

Stone 52 at the rear of Newgrange © Anthony Murphy of Mythical Ireland.

Photographers, such as Anthony Murphy, keep the tradition of the antiquarian and the art of the ancestors alive for future generations.

The ceiling stone in the end recess of Cairn T, Loughcrew 

© Anthony Murphy of Mythical Ireland.

Visit Mythical Ireland HERE

Long may they continue to inspire us!

Knockfierna, where Donn of the Dead rides out ....

In these short, dark days of the dying year the figure of Donn Fírinne haunts my imagination.

Donn, Lord of the Dead and Fairy King, rides out from his Otherworld palace beneath Knockfierna 

on his white horse, roaming the landscape of Limerick and beyond.

Knockfierna, Cnoc Fírinne, ‘Truthful Hill’ served as a local weather guide with predictions 

based on the appearance of the summit in the morning. 

In the past the Hill was known as Knock Dhoinn Ferinne, ‘mountain of Donn of Truth’.
Also called ‘The Black Hill’, it only rises to 949 feet but is visible from almost all areas of Limerick and from parts of Kerry, Cork, Tipperary and Clare.

Donn, once known locally as Donn Ainech, ‘the dark face’, had his palace, Brugh na Bruidhne, beneath the hill, entered through a deep hole in the hillside, Poll na Bruinne. 

There were dire consequences for anyone looking to investigate this entrance to the Otherworld.

Local stories tell of the Surveyor, Ahern, who, attempting to measure the depth of the hole, 

was pulled into it by his own plumb-line, never to be seen again. 

And there was Carroll Ó Daly who tried to “knock at the spirits’ door” by throwing a stone into 

Poll na Bruinne and had his nose broken when the stone was returned.

Untimely deaths were often attributed to Donn and to see him could portend a death or a momentous happening. 

He was also responsible for stealing children, leaving a changeling in their place. 

To others who saw his benevolence, he was as "quick to reward as to punish". 

A farmer was allowed into the palace to meet his brother and sister who had died many years previously and

 “both were restored to the farmer as a reward for his good service to Donn in preventing the dirty water from his yard over-running Donn’s palace grounds.”

The summit and remains of a cairn are now dominated by a 36ft cross erected in 1950.

Locals believed they would enter his palace after death and there are reports of several people meeting with Donn on the evening before they died.

Folklore also explains that they would be taken to the hill as they approached the end of their lives to enter the palace of Donn. 

This journey was known as the path of truth - "tá sé tá sí imithear shlí na fírinne", ‘he / she has set out on the path of truth’.

Beneath the summit of the hill lies Glownanérha, ‘the glen of broth’, which was known to be plentiful as Donn ensured that his people never hungered in the Otherworld.

View the complete painting of Donn HERE

Traditionally Donn Fírinne appears to mortals seated on a white horse and when the weather turned stormy at night locals would say "Donn is galloping in the clouds tonight”.

However, his excursions were not confined to Knockfierna. 

In Co. Clare he resided on Cnoc an tSodair, ‘Hill of the Trotting’,

as well as on the west coast, where as Donn na Duimhche, ‘Donn of the Dune’, he was seen riding a white horse across 

the sands at Dunbeg.

Looking towards Dunbeg dunes, where Donn rides with his fairy host.

Here Donn was known for his generosity; giving a gift of pipes, tobacco and matches to seaweed gatherers and a fistful of silver coins to a starving widow and her family.

The punishment for refusing his gifts was death.

As Fairy King, he was described as beautiful “like the blossom of flowers”, 

as “Lord of the grey and mossy rock, smooth hill and pleasant bower” and in the area surrounding Knockfierna it was customary to visit the hill at least once a year and place a stone upon the cairn at the summit, known as the Stricín, in honour of Donn.

At Bealtaine and Samhain offerings included eggs buried in hay and corn and parts of dead animals.

In particular a cock, ritually slaughtered, was bestowed upon Donn.

At Lughnasadh flowers and FRAOCHANS were offered.

My own pilgrimage to honour Donn took place at Bealtaine this year when Knockfierna 

was clad in gold and green. 

Unable to climb the hill my offerings were left in a field below the Stricín.

Sunset at Knockfierna - photo courtesy of Derek Ryan Bawn at The Tipperary Antiquarian

Now that winter is here I imagine the hill, silhouetted by the sinking sun,
resounding with hoofbeats as Donn Fírinne rides out.

The Mysterious Stone.

“ ’Tis a big yoke alright ” said Paddy,“ white and covered in circles, like someone’s taken a baked bean can to it.”

Paddy and the stone beneath a stump.

My neighbour was working for Coilte, the Forestry and his gang had cleared a section of coniferous trees up on the Slieve Bloom when Paddy came across a stone, the like of which he’d never seen. 

“Would you come and have a look?” he asked, so we agreed a day to meet.

Our destination was a small river valley lying between the shoulders of the hills. 

As we drove the landscape below stretched out as far as the Dublin mountains.

We climbed to Ballyhuppahaune and beyond. 

Past the last house and the old sheebeen.

Upwards until the road narrowed.

Ending in a forestry track, a silent place edged with mountain ash.

From there it was a hike across rough ground and islands of tree stumps until we reached the stone.

Composed of white sandstone, it was about half a metre wide, smooth and covered 

with perfect circles of of various sizes and depths. 

What was this ?

The day was warm, the valley peaceful, filled with birdsong and the murmuring Owenass River, 

so we sat and contemplated the boulder.

As my eyes wandered the designs, I saw cycles, suns, moons and carvings made by our ancestors. 

Excitement bubbled, ancient rock art in the Slieve Bloom!

But as I cleared pine needles and debris from the grooves I realised they were smooth, 

shouldn’t there be ‘pick marks’ made by tools? 

If not man made what were they? 

After a while Paddy asked what I thought and I admitted I was mystified. 

Later, I returned with friends and together we levered up the stone to peer beneath.

A few circles were marked on the underside.

We scrutinised it, we meditated on it.

Was it a bullaun stone? 

Was it rock art? 

Were those cup and ring marks?

We argued this way and that. 

After an hour or so we gave up and decided to seek the opinion of someone with more experience in rocks.

A length of white string was tied around the nearby tree stump as a marker, photographs were taken and still puzzled, we went home. 

***

The geologist, Dr. John Feehan, felt the stone was intriguing enough to make a site visit and a few days later he contacted me with his opinion: the circles were not hand carved but made by nature.

I was disappointed as my rock art theory went up in smoke, however John couldn’t say how the markings had been made.

As he sent his photographs and measurements to various geologists across the world to find the answer I eagerly awaited their conclusion, imagining huge bursting bubbles or some prehistoric creature leaving shapes in the sand.

But no answer came, the geologists were baffled too. 

Soon the stone was shrouded again in shadows and trees.

To this day the origin of The Mysterious Stone remains an enigma.

Perhaps Paddy was right. Maybe it was a man with a baked bean can after all.