Showing posts with label inspiration. Show all posts
Showing posts with label inspiration. Show all posts

Monday, 1 May 2017

Bealtaine, Water & Sun~Enchanted Dew.


Bealtaine Eve, Oíche Bealtaine, and the supernatural prevails.

On May Day, the start of summer, especially in the moments before dawn, water was understood 
to possess magical qualities and in rural Ireland the Good People used this medium to meddle in the affairs of humans.

Folk belief was rich in traditions surrounding wells, rivers and dew at this time.



Tobar Geal, Bright / White Well, Co. Galway. 

The first water taken from the well after dawn on May Day, known as Barra-bua an tobair , 
sgaith an tobair, ‘the top of the well’ or ‘the luck of the well’, was collected from the surface using 
a milk-skimmer. 
This water, which brought luck to the household, was used as protection against evil intent and 
was saved for healing. 



Village well, Co. Offaly.

Where a water source was in a village or shared by neighbours there was rivalry 
between households to be the first to skim the well for luck after the sun rose on May Day.


So strong was the belief in Other-worldly forces that precautions were taken to protect the water supply from interference. 


Village pumps were also defended, especially at dawn on May morning and some were chained 
and locked overnight to prevent their use.


People sat guarding the well, salt or holy water was sprinkled around the site or a slip of mountain ash or piece of iron was placed in the water itself. 



Flowers collected on Bealtaine Eve were placed in wells to safeguard water and the health 
and livelihood of the community. Later in the day May flower water could be taken from the well
for use as a cure and as a means of protection.


However, it was not only the Good People who were believed to be abroad at this time. 
Certain individuals who harboured evil intentions would steal well water or dew from fields to appropriate the fertility, luck and prosperity of their neighbours.



The Hag of the Mill - LINK HERE


Those who worked charms were understood to be older women with supernatural powers, gained from invoking 
the devil or associating with the Good People. 
They obtained assistance from the Otherworld by crawling naked on May morning under an arch of briar then bathed naked in dew. 



Water was understood to hold a subtle connection to people and to animals which could be 
utilised by fairy and human alike.


Taking water from three different wells on May morning had the power of stealing the butter yield from the neighbours, whilst water taken from a point where 3 farm boundaries or townlands met, uisce na dtrí teorann, ‘water of three mearings’, was especially potent for use in magical workings and setting charms, so these areas were safeguarded.




Drinking place for cattle on the River Barrow.


Watch was often kept overnight at streams which flowed through farmland as the spots where cattle drank were also vulnerable. 
Strangers or Otherworld beings, who could approach in the form of wild creatures, were warned off with a shout or a blast from a shotgun.




To avert malign influence neither milk nor cow dung was permitted to fall into streams lest the water be used magically. 
Even after milking, hands to be washed elsewhere to avoid drawing unwanted attention to the contaminated water. 

Dew was of great value on the first day of summer.

In some places as much as possible would be gathered before sunrise in order to ensure enough money for the rest of the year.


Washing the face or rolling naked in May dew bestowed beauty as well as giving a resistance 
to sunburn, freckles, chapping and wrinkling of the skin in the following year. 

Dew was collected before sunrise by shaking long grass or herbs into a dish or by placing a clean cloth on the grass and wringing it out when soaked.
The most powerful dew was understood to collect on green corn or wheat.



Dew on May morning was considered most potent and walking barefoot through grass 
ensured healthy feet.


The collected dew was transferred into a clear glass bottle then placed on a window sill to stand in the summer sunshine. 
During this time any dirt settled at the bottom then the liquid was decanted. 
This process was carried out several times as the action of ‘sunbeams’ on the dew itself was considered purifying and increased its’ potency. 
By the end of summer the dew would look ‘whitish’ and could be kept for a year or two as a 
medicine to cure headaches, skin ailments and sore eyes.




Dew was at its’ most potent when used before sunrise on May Day especially when it was employed in the working 
of malevolent magic.
‘Stealing the butter’, increasing your butter yield at others’ expense, was accomplished by gathering dew from a neighbours’ field where their cows grazed whilst repeating a charm.

“Come butter come!
Come butter come!
Every lump as big as my bum!”

***

Today many May Day water customs have long been forgotten but the practice of washing the face in May dew continues.
Where did this reverence for dew originate?

The late folklorist Dáithí Ó hÓgáin wrote of a source of wisdom employed by the druid-poets which describes the action of sun on dew resulting in inspiration. 

imbas gréine, … defined in early literature as ‘bubbles which the sun impregnates on herbs, 
and whoever consumes them gains poet-craft.
This is a reference to dew.”




Ó hÓgáin goes on to say:

“Elsewhere there are highly significant references to druchtu Déa, (dew of a goddess), 
which in early poetic rhetoric was a kenning for the all-important 
ith ocus blicht (‘corn and milk’). ”

The land-goddess is fertilised by the sun, her body produces dew and the corn and milk which are essential for the nourishment for the community. 

As Ó hÓgáin theorised this may be an early understanding of agriculture and the partaking of dew an element in druidic ritual during summer.


At dawn tomorrow, when you wash your face in the dew, beware, 
you may be taking part in a tradition that stretches back further than you imagine.













Sunday, 8 January 2017

‘A Dark Beauty’ - Harry Clarke's Controversial Window.

Small panel, originally part of the Geneva window.
Now on permanent display in the HUGH LANE GALLERY, Dublin.


The windows of Harry Clarke are like jewels, strung out across Ireland. 

Long after visiting, their glowing colours,



eloquent faces



and subtle detail remain in the memory.



The artist, Henry Patrick Clarke, was born in 1889 in Dublin, where his father owned a decorating firm,
Joshua Clarke & Sons. 



The business later grew to include a stained glass workshop in which Harry became an apprentice whilst continuing his education at evening classes in the Metropolitan College of Art and Design.
Aged 25, Clarke married the artist, Margaret Crilley, and later, with his young family, spent time in London working as a book illustrator. 

Clarke’s first commission was to illustrate the Little Mermaid
by Hans Christian Anderson.


After the death of his father they returned to Dublin in 1921 when Harry and his brother, Walter, took over the business.
Clarke was later diagnosed as suffering from tuberculosis which was exacerbated by the use of chemicals and lead in his stained-glass work. Despite poor health Harry created over 150 windows, many on religious themes. 

However, it is his darker, secular windows with their astonishing blues, passionate reds and fanciful characters which really captivate me.


The glorious 'Eve of St. Agnes' window at the Hugh Lane Gallery, Dublin.



Details from 'The Eve of St. Agnes'.


In 1926, at the peak of his career, Harry Clarke was commissioned by the Irish Free State Government to create a masterpiece. His instructions were to make a window for the International Labour Building in the League of Nations, Geneva, which would be a gift from the Free State to promote Irish cultural identity internationally.

Harry’s vision was to combine words and images to illustrate the work of fifteen modern Irish writers. Of those to be included some were members of the Gaelic League, others were associated with the Abbey Theatre, some were ‘disgraced’ writers and several were Protestant.



The Geneva window, described by Thomas Bodkin as 
‘the loveliest thing ever made by an Irishman’. 

Images from THE IRISH ARTS REVIEW


A year later was he given permission to proceed with his design on the condition that he first present sketches to the Minister for Industry and Commerce, Patrick McGilligan.


The top tier of the window is dominated by two female saints.
 St. Brigid, from Lady Gregory’s play ‘The Story brought by Brigit’,
is surrounded by the flora & fauna of Kildare.

Joan of Arc, from George Bernard Shaw’s 'Saint Joan', 
stands in full armour against a backdrop of the Wicklow Mountains.



Clarke’s work on the Geneva window was interrupted by other commissions and by his increasing ill health.
With advancing tuberculosis in both lungs he was admitted to a Swiss sanatorium in 1929 and was forced to entrust the final stages of the window to his studio artists.



The second tier shows the embrace of lovers.

Christy Mahon holds Pegeen with her flaming hair & scarlet dress,
from Synge’s 'Playboy of the Western World'. 
Whilst, from Seamus O’Sullivan’s poem, 'The Others', 
a couple are watched from standing stones by dancing green spirits. 


He returned to Dublin in May 1930 and though still unwell, Harry completed the window. 



The thirds panel depicts James Stephens’s fantasy novel, 'The Demi-Gods'.
Here three phantoms startle Patsy McCann at the fire 
whilst his daughter, Mary looks on. 
The scene from Sean O’Casey’s 'Juno and the Paycock',
includes a bottle of Guinness standing on the table.


The finished Geneva window was then inspected by officials at the Government Buildings on Merrion Square, Dublin.


Image © Archive.com

The third tier begins with Robert Emmet dressed in the green uniform, 
from Lennox Robinson’s play, 'The Dreamers'. 
Next is Yeats’s 'Countess Cathleen', who sells her soul to the devil so that 
she can save her tenants from starvation.

After the viewing, President Liam Cosgrave, objected to the inclusion of the work of certain authors, feeling that the images ‘would give grave offence to many of our people’. 
Others were shocked at the nudity and sexuality portrayed and wanted to prevent its installation in Geneva.

“ a nation famed as a Catholic stronghold was to be represented as bizarre 
almost viciously evil people steeped in sex and drunkenness and, yes, sin. ” 


Image © donsdublinfiles.wordpress.com

The most controversial section, from Liam O’Flaherty’s novel, 'Mr. Gilhooley', 
shows the anti-hero drunkenly leering at his young mistress Nelly
whilst she dances in gossamer veils. 
To the right recline Deirdre & her lover Naisi from AE’s play. 


By this time Harry’s health had deteriorated again, forcing him back to the sanatorium where he received letters updating him about his creation. He was also awaiting payment for the Geneva window commission.



A scene of mourning, taken from Padraic Colum’s poem 'Cradle Song'. 
A young mother embraces her dead infant whilst the Virgin and Child appear above 
& men come in from the fields to pay their respects.

In George Fitzmaurice’s play, 'The Magic Glasses', 
Jaymony obtains a set of magic glasses that allow him to escape into 
a world of fantasy where all desires come true. 


On 6th January 1931, fearing that he would die abroad, Clarke began the journey home to Ireland.
Hours later, aged 41, Harry Clarke died in Switzerland. He never discovered the fate of his window.



The last panel depicts Seamus O’Kelly’s 'The Weaver’s Grave',
where a widow & a young gravedigger exchange glances between the tombstones. 
Finally, a minstrel from Joyce’s poem, 'Chamber Music', stands on a river bank surrounded by a lush landscape.

After his death Harry’s widow finally received payment. She was told by the government that they had decided against presenting the Geneva window to the League of Nations, instead it would remain in the buildings on Merrion Square.

Margaret Clarke did not want Harry’s masterpiece to be hidden from public view and she bought the window back from the State two years later, paying the full price of £450. 
The Geneva window was finally displayed in front room of the Harry Clarke Studios, in the Hugh Lane Gallery and in the Fine Art Society in London. One journalist wrote:


“ This was the last piece of work Harry Clarke ever did before illness took him away forever. 
In it he is at his most imaginative and the glory of colour, which was his chief gift, 
is a strange blend of dark beauty and almost spectral luminosity. ”



In 1988 Harry’s sons, David and Michael, sold the Geneva Window to Mitchell Wolfson 
of the Wolfsonian Museum in Miami, Florida, where it remains.



Harry Clarke was buried in the graveyard of the Catholic Cathedral of Chur, Switzerland. 
His widow marked the grave with a headstone commemorating Harry’s life as an Irish artist.




Margaret understood she had paid for Harry’s final resting place but in fact she had only leased it for 15 years and his remains were removed to an unmarked communal plot.
When Clarke’s son visited, in the 1970’s, there was no trace of his father's grave.


Self portrait by Harry Clarke.

‘He might have incarnated here from the dark side of the moon … 
Harry Clarke is one of the strangest geniuses of his time’  
- George AE Russell



To discover more about Harry's life and work visit: HARRY CLARKE.NET





























Sunday, 12 June 2016

By Stone, Whitethorn and Well.


It may have been that sacred springs and wells were understood by our ancestors to originate in the Otherworld, flowing from the earth into this world at special places, bringing healing, inspiration, wisdom and connection to deities.


Gold boat from the Brighter Hoard Co. Derry, thought to be a votive offering to Manannán Mac Lír.

Numerous deposits of votive offerings were made during the Bronze and Iron Ages in the lakes, rivers and bogs of Ireland indicating that water was an important part of ancient peoples’ lives and beliefs.

In Ireland there remain wells that are pre-Christian in origin


St. Mobhi’s Well, also known as Fionn MacCumhail’s Well. 
Photograph courtesy of Gary Branigan - Gary's book is available HERE
The construction has lead archaeologist Geraldine Stout to suggest that it may have been built around the same time as the great mound at Newgrange. 

and famous wells of mythology whose over flowing created the rivers of the island.


 Trinity Well, the source of the Boyne.

One such well was Tobar Segais, said to be surrounded by nine hazel trees.
When the hazelnuts, containing wisdom, fell into the water they were eaten by the Salmon, a creature who appears throughout Irish tradition associated with great knowledge. 


An Bradán Feasa, The Salmon of Wisdom courtesy of Séighean Ó Draoi.
More work by Séighean HERE

The legend of Tobar Segais explains that the only visitors allowed to approach the Well of Knowledge was Nechtan and his three cup bearers.
However, Boann, Nechtan’s wife, defies this taboo and visits the well where she walks around it three times, tuathal, anti-clockwise, against the course of the sun.

Unfortunately Tobar Segais, like most wells, should only be circled in a sun-wise direction and her offence causes the waters to rise up, drowning and dismembering Boann and creating the River Boyne, which bears her name.


Boann - the goddess whose essence forms the river.
More about Boann HERE

We cannot know the ancient rituals or beliefs associated with sacred springs and wells but the spiritual traditions which have grown around them may offer a glimpse into the past. 


Tobar Lugna, Co. Offaly.

With the arrival of Christianity many wells were consecrated by the early saints of Ireland and folk traditions were incorporated into the Christian rituals.
These older folk beliefs are thought to contain traces of much earlier practices of pilgrimage and veneration at well sites. 


Irish Roman Catholicism today includes devotions which take place on the feast day of the patron saint of the parish, these are known as ‘patterns’ and many are linked to rituals at wells. 
Sign explaining the pattern at ‘The City’ and holy well, Co. Kerry. 

Part of these prescribed rituals involved pilgrims ‘paying the rounds’, reciting a rosary whilst circling around the well site a number of times, always revolving deiseal, in the sun wise direction.  

Crutches and circling ritual at Doon Well, Co. Donegal. ©info@ihpc.ie

Often this circling is carried out three times, at others nine, with water from the holy well sipped at the end of the rounds. 
Occasionally holy water was taken away in bottles to be used at graves, in healing or sprinkled at the four corners of the home for protection.  

In the past patterns often ended with drinking, dancing and fighting and were so popular in rural areas that the church began to forbid these gatherings, describing the folk belief in the powers of the wells as pagan.


Bullaun stone at St. Manchan’s Holy well, Co. Offaly where sunlight and shadow creates the ‘mystical fish’.

Some healing wells were understood to contain a mystical fish, often a salmon or a trout, which appeared at certain times when the water was especially potent. 
As a sacred symbol the fish is known in both Irish mythology and Christianity. 


At St Kieran’s Holy Well, Castlekieran, Co. Meath, three trout are said to appear just before 
midnight on the first Sunday of August.
For those seeking to be cured the presence of the fish is taken as a sign that the healing
will be effective. 


Offerings continue to be made to wells, usually after drinking the water, with coins, holy medals, pieces of cloth and flowers left by pilgrims. 
Occasionally a pin or coin is put into the well water itself.


Offerings at St. Fachtnan’s Well on the Burren.


Offerings of daisies and rose petals at Ladywell, Co. Galway.

Another element of many well sites is the presence of a special bush or tree, usually a whitethorn, ash or oak.
Rags are often secured to the branches of these trees as an offering to the well or in the case of healing wells, in the belief that as the cloth rots away so does the illness.


Whitethorn & offerings at one of The Seven Blessed Wells of Killeigh, Co. Offaly.
The well dates to pre Christian times.

Holy wells are not only accompanied by trees.
There are numerous locations recorded as having some sort of stone nearby and this combination of water, tree and stone was incorporated into Christian ritual.


Stone, whitethorn and well at Tobereenatemple, Co. Clare.

Stones found near wells may consist of standing stones, enclosures or natural outcrops. 


The City, Co. Kerry.


The City, Co. Kerry 
The stones may be used as altars or utilised in ‘patterns’ with marks being scratched on the surface to indicate points within the rounds.

It is common to find a boulder with one or more depressions near to holy wells, known as a bullaun stone, although the formation and original function of bullauns is unknown.


Bullaun stone at Saint John’s Well, St John’s Point, County Down.

The presence of a well, a tree and a special stone marks these locations as sacred.

Unlike the great community gatherings at bonfire festivals of the past, perhaps our ancestors also visited these places alone, in silence, or circled sacred wells chanting or murmuring prayers as many do today?


The atmospheric Ráithin Well, Co. Clare.

Sitting by stone, whitethorn and well the modern world drops away and we are left with nature, 
deep peace and the spirits of the place.


St Fachtnan's Well, a place of solitude and silence.

This is the second of three posts about Sacred Water, you can read the first HERE