Poulnabrone Dolmen and Portal Tomb is one of the most Dramatic megalithic sites in Ireland, it has superb sculptured form and is easily access from the road.
During the summer months it must be one of the most visited dolmens in the country. The day I visited and took these pictures it was overcast and grey, so there was less visitors than I can imagine at other times. When the site was excavated in 1986 they found some human remains some 16 adults and children plus some of their artifacts, together they dated the tomb to around 3600 B C.
The entrance some 2 meters high faces north, The capstone is tilted at the usual angle for a Doland of this type, it measures about 3 1/2 metres long and some 2 metres wide.
The name Poulnabrone means ‘ the hole of the sorrows’ There are many other interesting sites near poulnabrone including the Wedge tomb at Gleninsheen and Baur South and the Stone Fort at Caherconnell.
Situated on Karst limestone, in a field east of the Ballyvaughan – Corrofin Road the Poulnabrone Dolmen is one of Irelands more accessable megalithic structures.
Over the last few weeks I have been doing my best to find time each day to get outside and draw, Today I stopped at a local public Gardens that has some amazing paths, winding their way between some old trees. Its a great location that I hope to draw many times over the winter months.
Today as an exercise, I gave myself one hour to complete a sketch, using pencil and an ink pen on paper, in order to capture as best as I am able a sense of the path as it gets deeper into the trees along side it, as it does so the light falls dramatically.
I enjoy very much these one hour exercises, working quickly as possible yet as best as I can, I feel it is helping to build my ability to see whats in front of me and then how to use basic drawing tools represent this view on paper.
Knockroe Passage Tomb, County Kilkenny
Knockroe Passage tomb is located in a picturesque setting on the slopes above the Lingaun River and old slate quarries which were abandoned in the early 1900’s. The site dates to around 3,000 BC and has many similarities to the far more famous examples such as Newgrange and Knowth in the Brú na Bóinne complex in County Meath.
Originally Knockroe would have been a similar tomb to Newgrange, albeit on a smaller scale. It is likely that it too would have had an earthen mound surrounded by large kerbstones. However unlike Newgrange, Knockroe has two burial chambers, located at the eastern and western sides of the feature. These tombs are exposed, and had long ago lost their earthen cover. Many of the stones lining the passageways of these tombs at Knockroe are highly decorated with megalithic art such as spirals, hollowed ‘cup marks’, and zig-zags. You can still find them in their original locations, and when you see them it is impossible not to wonder about the possible meaning of the decorations – was it purely decorative or did it have a deeper symbolism, and what messages may be in that symbolism? You can also still see the quartz which possibly would have formed a wall around the entrance to the passageways.
Also like Newgrange, Knockroe is aligned with the Winter Solstice. Every year around the 21st December people gather at Knockroe to witness the sun setting in perfect alignment with the length of western tomb.
Knockroe is one of a group of tombs located in this region, all of which are aligned with the large
mound on the summit of Slievenamon in County Tipperary. Knockroe is one of those wonderful sites that you can’t help to keep thinking about long after your visit, without being encumbered with its earthen mound, Knockroe is like the stony skeleton of a Neolithic passage tomb.
The Water Replies
Maybe we have washed our hands
and drunk deep and swam
and think we know her,
but water’s reputation goes before her like a flood:
she does not suffer fools or gadflies.
Therefore I have prepared some questions.
Where do you get your ideas & your tide from?
Don’t say the moon – that’s really pretentious.
But as I clamber down the coast
I lose my footing and spend our allotted time
tossed around in her backwash,
pummeled by tiny stones.
When I am baptised I ask the water
Where have the demons gone?
Were they hiding behind the H, the 2 or the O?
I emerge finally able to see that I have not changed,
that I can of myself do nothing, that water decides.
On the towpath behind the church
I wring out my jacket. I ask the water:
Will you convey these thoughts away?
These itching hatreds, toothache of jealousy,
These squalid appetites and dog thirsts?
Just as far as the next city will do.
The ripples of the moon’s tablature.
When was the last time you cried, and why?
I ask the water. I ask the water:
Do you have plans later?
The Sound of the Sea
By : Henry Wadsworth Longfellow
The sea awoke at midnight from its sleep,
And round the pebbly beaches far and wide
I heard the first wave of the rising tide
Rush onward with uninterrupted sweep;
A voice out of the silence of the deep,
A sound mysteriously multiplied
As of a cataract from the mountain’s side,
Or roar of winds upon a wooded steep.
So comes to us at times, from the unknown
And inaccessible solitudes of being,
The rushing of the sea-tides of the soul;
And inspirations, that we deem our own,
Are some divine foreshadowing and foreseeing
Of things beyond our reason or control.
Loop Head Lighthouse, county Clare, Ireland
I have just spent a few days visiting County Clare, west Ireland, finishing with a visit to the great Loophead lighhouse. As you can see the day was very typical for a Septembers day here in Ireland, wet and windy.
It was still possible to visit the top of the lighthouse however which was great fun in the strong breeze.
I have very much enjoyed visiting some of Ireland’s lighthouses over the years from the north coast down to Hookhead, on the south coast, these remote location with their lighthouse keepers buildings that would have been both a place of work and a home, all year around and in all weather conditions, are a great reminder of the past.
A past that has almost gone but can in places like these still be felt very strongly.
Sometime back I found this video and have shared it before with other lighthouse posts, its still very much worth sharing again however as it reflects on the family life’s of Ireland’s lighthouse keepers …..
Here is a little history of the Loophead lighthouse
The first lighthouse on Loophead was one of four known Irish stone vaulted cottage type lights built about 1670. These cottages accommodated the lightkeeper and his family in two or three rooms and had an internal stone stairway between two of the rooms leading up to a platform on the roof where a coal burning brazier or chauffer was positioned. Part of the old cottage with its battered outside wall can still be seen near the lightkeepers’ dwellings.
The light must have fallen into disuse towards the end of the 17th century because it was re-established in 1720 after aldermen and merchants of Limerick petitioned the Irish Parliament in 1717 for a light on the Head.
The cottage-lighthouse with its coal fire was replaced in 1802 by a more conventional lighthouse, built by Thomas Rogers, who was also the contractor. The tower was about the same height as the present tower with four rooms and a lantern. The ground floor room was an oil store and access to the first floor or entrance room by an outside staircase of 19 steps. An internal spiral staircase connected the other two rooms and lantern. The twelve-foot diameter lantern contained twelve oil lamps, each with its own concave parabolic reflector. The reflected light shone through a 22″ diameter convex lens of solid glass, not unlike the ‘bottle glass’ or “bulls-eye” fitted into windows of modern psuedo-Georgian houses.
By 1811 the keeper was living in an adjoining cottage, rather than in the tower.
Loop Head Lighthouse, county Clare, Ireland , Gallery
Sand Flesh and Sky
By Clarence Major
Our ropes are the roots
of our life. We fish
low in the earth,
the river beneath runs through our veins,
blue and cold in a riverbed.
When the sun comes up,
the moon moves slowly to the left.
I tie the logs and limbs together,
holding them in place.
The ocean beats them
smooth like rock.
Here my sense of time is flat.
I find in a strip of damp sand
footprints and marks of hands,
and torn pieces of flesh.
Night is a beast.
The tide moves, gushing
back and forth.
Sunlight touches our faces,
turning us, turning us, turning us
in our morning sleep.
Wild woodbine was beyond my reach
in the thick hedges round Lough Gill.
The heavy scent filled the house for days
when my father brought it in
and it stayed fresh far longer
Because I loved the delicate
pink and white wild rose
he picked it too, cursing the thorns, muttering
“it dies too soon,
you’d be better leaving it alone”.
Yet once, when my mother
swept its petals from the floor
I saw him rescue one
and place it carefully
in the small wallet
where he kept her photograph.
In that open field
If you do not come too close, if you do not come too close,
On a summer midnight, you can hear the music
Of the weak pipe and the little drum
And see them dancing around the bonfire
The association of man and woman
In daunsinge, signifying matrimonie—
A dignified and commodiois sacrament.
Two and two, necessarye coniunction,
Holding eche other by the hand or the arm
Whiche betokeneth concorde. Round and round the fire
Leaping through the flames, or joined in circles,
Rustically solemn or in rustic laughter
Lifting heavy feet in clumsy shoes,
Earth feet, loam feet, lifted in country mirth
Mirth of those long since under earth
Nourishing the corn. Keeping time,
Keeping the rhythm in their dancing
As in their living in the living seasons
The time of the seasons and the constellations
The time of milking and the time of harvest
The time of the coupling of man and woman
And that of beasts. Feet rising and falling.
Eating and drinking. Dung and death.
Dawn points, and another day
Prepares for heat and silence. Out at sea the dawn wind
Wrinkles and slides. I am here
Or there, or elsewhere. In my beginning.”
– T. S. Eliot, Four Quartets, East Coker No. 2, 1, 1940