Some background Culture of Holly
Holly – more specifically the European holly, Ilex aquifolium – is commonly referenced at Christmas time, and is often referred to by the name Christ’s thorn. In many Western Christian cultures, holly is a traditional Christmas decoration, used especially in wreaths and illustrations, for instance on Christmas cards. Since medieval times the plant has carried a Christian symbolism, as expressed in the well-known Christian Christmas carol “The Holly and the Ivy”, in which the holly represents Jesus and the ivy represents the Virgin Mary. Angie Mostellar discusses the Christian use of holly at Christmas, stating that:
Christians have identified a wealth of symbolism in its form. The sharpness of the leaves help to recall the crown of thorns worn by Jesus; the red berries serve as a reminder of the drops of blood that were shed for salvation; and the shape of the leaves, which resemble flames, can serve to reveal God’s burning love for His people. Combined with the fact that holly maintains its bright colors during the Christmas season, it naturally came to be associated with the Christian holiday.
In heraldry, holly is used to symbolize truth. The Norwegian municipality of Stord has a yellow twig of holly in its Coat-of-arms.
The Druids held that “leaves of holly offered protection against evil spirits” and thus “wore holly in their hair”.
In the Harry Potter novels, holly is used as the wood in Harry’s wand.
In some Traditions of Wicca, the Holly King is one of the faces of the Sun God. He is born at Midsummer and rules from Mabon to Ostara
My sorrow, when she’s here with me,
Thinks these dark days of autumn rain
Are beautiful as days can be;
She loves the bare, the withered tree;
She walks the sodden pasture lane.
Her pleasure will not let me stay.
She talks and I am fain to list:
She’s glad the birds are gone away,
She’s glad her simple worsted gray
Is silver now with clinging mist.
The desolate, deserted trees,
The faded earth, the heavy sky,
The beauties she so truly sees,
She thinks I have no eye for these,
And vexes me for reason why.
Not yesterday I learned to know
The love of bare November days
Before the coming of the snow,
But it were vain to tell her so,
And they are better for her praise.
MY BICYCLE, THE ARTIST
a clean slate
of white-snowed sidewalk,
its studded tires
sculpting a piece
of modern art
out of winter
for the city.
Bicycles and Poetry in Lisbon
Cycle chic fashion
Our slow bicycle movement
Poetry in bike lanes
Sartorialist’s on two wheels
reclaiming this cities
The bicycles were a forged parent-permission slip
I lifted myself over the tear in the truck’s seat cover, not sliding
Not perforating further for today.
The road was short, short enough to have ridden the bicycles from first start to real start.
But that would not have been exotic
Connection is exotic, and channels must be followed through an antfarm
Proper etiquette must be observed with touch-me-nots
The bicycles were easier to lift from the bed with two
I gave him that, passing a front end, and jammed the wheelspokes with a jabbed finger
So that the damp spinning would not flick his face with groundwater
I expected it to hurt. My expectation tapped lightly.
That narrow pock-marked blacktop was my windtunnel
The air stroked its thumbs over my eyelids and I ached to push, breathe, push further
He held me back with his slow handlebars,
His slow kickstand clicking.
Pedaling slowly is more difficult than flying.
One finds gladness in choosing leaves to crunch with an inch-wide tire
And high-fiving low-hanging branches is socially satisfying.
He smiles behind the white mustache, and I don’t mind.
Last weekend I visited the National Museum of Ireland in Dublin, to take a good look at some of the pagan/ per-christian objects that they have on permanent display.
One of the items that really captured my attention was the Corleck Hill – Carved stone head, a sculpture in the form of a triple deity. I think this stone is fascinating and provides a mythological link between per-christian Ireland and the wider world, well before the 1st century AD.
I have spent sometime this week doing a little study on the stone head and reading as much as I can find about its form, so I just wanted to share some on the images I took from the visit and some of the details I have found so far.
The Corleck Hill stone head
Object Number: IA:1998.72
Stone HeadCarved stone head. Early Iron Age, 1st – 2nd century AD. Known since it came to scientific attention in 1937 as the Corleck head, this three-faced stone idol was found in the townland of Drumeague, Co. Cavan around the year 1855. It appears that it was one of a number of carvings found, including a bearded bust now known as the Corraghy head that was later built into a barn in the nearby townland of that name. Thomas Barron, the local historian who brought the three-faced head to the attention of the National Museum spent a lifetime researching the local traditions concerning the find and he concluded that the figures were associated with a shrine located at Drumeague Hill. Nearby is Corleck Hill where it appears that between 1832 and 1900 a Passage Tomb surrounded by a stone circle and a circular embankment 70 yards in diameter were dismantled. The site of these monuments was the center of an important Lughnasa festival that celebrated the harvest, an ancient Celtic tradition that survives into modern times. Other Celtic stone heads have been found in the vicinity such as those from Corravilla and Cavan Town and the find place of the three-faced idol is but twelve miles distant from Loughcrew, Co. Meath. A little further north there is another group of Iron Age stone carvings that appear to be centred on the vicinity of Emhain Macha, the main political and ritual site of ancient Ulster. The likelihood is that the Corleck Head was associated with a shrine reflecting Romano-British traditions located close to where the carving was discovered. The three-faced carving is the finest of its type and there is a small hole in the base to assist its being stood securely, perhaps on a pedestal. One of the faces is heavy browed and all of them have bossed eyes, a broad nose and slit mouth. One of the mouths has a small circular hole at the centre and this feature is also found on two of the Co. Armagh carvings and on another from Woodlands, Co. Donegal. There are several examples of this feature from Yorkshire the best known occurring on two three-faced idols from Greetland, near Halifax. The feature also occurs on a stone head from Anglesey, Wales. H. 33cm; Max. W. 22.5cm.
What is the triple deity
A triple deity (sometimes referred to as threefold, tripled, triplicate, tripartite, triune or triadic, or as a trinity) is a deity associated with the number three. Such deities are common throughout world mythology; the number three has a long history of mythical associations. Carl Jung considered the arrangement of deities into triplets an archetype in the history of religion.
In mythological and its art,three separate beings may represent either a triad who always appear as a group (Greek Moirai, Charites, Erinnyes; Norse Norns; or the Irish Morrígna) or a single deity known from literary sources as having three aspects (Greek Hecate, Diana Nemorensis). In the case of the Irish Brigid it can be ambiguous whether she is a single goddess or three sisters, all named Brigid. The Morrígan also appears sometimes as one being, and at other times as three sisters, as do the three Irish goddesses of sovereignty, Ériu, Fódla and Banba.
The Matres or Matronae are usually represented as a group of three but sometimes with as many as 27 (3 × 3 × 3) inscriptions. They were associated with motherhood and fertility. Inscriptions to these deities have been found in Gaul, Spain, Italy, the Rhineland and Britain, as their worship was carried by Roman soldiery dating from the mid 1st century to the 3rd century AD. Miranda Green observes that “triplism” reflects a way of “expressing the divine rather than presentation of specific god-types. Triads or triple beings are ubiquitous in the Welsh and Irish mythic imagery” (she gives examples including the Irish battle-furies, Macha, and Brigit). “The religious iconographic repertoire of Gaul and Britain during the Roman period includes a wide range of triple forms: the most common triadic depiction is that of the triple mother goddess” (she lists numerous examples).
More ( A fascinating read !!!)
On Saturday I spent the day in Dublin , shopping and visiting different Museums , including the National Museum of Ireland .
One of my main interests in doing so was to take a fresh look and the Derrynaflan Hoard, I posted on the items in this collection and about the Island of Derrynaflan , county Tipperary – last October.
The Derrynaflan chalice is one of the most amazing historic items to view and the story (Below) of how it was discovered just as fascinating. Seeing this hoard just make you wonder how many more items like it have yet to be found or sadly never will be.
The following two images are from Saturdays vistit :
Island of Derrynaflan
The Island of Derrynaflan is located in County Tipperary and these days it is surrounded by recovered drained land that is harvested for it’s peat, this peat being turned into fuel.
The images below and the text are from my post last year :
Discovering the Hoard
The Derrynaflan hoard is one of the most spectacular hoard discoveries in Ireland, which led first to an increase in enthusiasm for metal detecting as a hobby, but ultimately contributed to the prohibition of unlicensed searching for archaeological material.
On 17 February 1980, Michael Webb and his son, also called Michael, discovered a significant hoard of early church treasure in Derrynaflan, in the townland of Lurgoe, County Tipperary, using metal detectors (Kelly 1994: 213; O’Riordain 1983: 1). The hoard included a chalice, a bronze strainer ladle and a paten (a kind of small plate) (and see Ryan 1983 for a detailed description), and the discovery was described as ‘one of the most exciting events in the history of Irish art’ (Stalley 1990: 186). The large monastic enclosure in which the hoard was found was partially protected as a National Monument (Kelly 1993: 378). The finders reported their discovery to an archaeologist from University College Cork, Dr. Elizabeth Shee Twohig (Kelly, pers. comm., 2012), who advised them that they must take the finds to the National Museum of Ireland in Dublin (Houses of the Oireachtas 1986; O’Riordain 1983: 1). Under Irish law at that time, the finders were entitled to a reward for making the discovery, in this case decided at IR£10,000 (Houses of the Oireachtas 1986), although this was initially rejected by the finders as insufficient compared to the value of the find (Kelly 1994: 213).
Six years later, the High Court made a ruling that the find or its value (estimated at IR£5.5 million) should be returned to the finders (Kelly 1994: 113). The public mood turned against the Webbs, who were shown on the main evening television news drinking champagne to celebrate the ruling. Ireland was then in deep recession with massive public service cuts which led to resentment that the Webbs might benefit to the tune of IR£5.5 million from the public purse (Kelly, pers comm., 2012). A year later, in 1987, a further final judgement was delivered by the Supreme Court that the Derrynaflan Hoard in fact belonged to the state and not to the finders (Kelly 1995a). The finders finally received a reward of IR£50,000 (Kelly 1994: 214).
The impact of the case on Irish law concerning the protection of heritage was significant. Debates in the Seánad Éireann (upper house of the Irish Parliament) in 1986 indicate the split in opinions regarding the validity of the claim of the finders to the hoard (as had been decided in court the previous year), with one Senator suggesting that the state should have been trying to prove that the Webbs had no legal claim to the hoard, one Senator regarding such discoveries as no more than looting, and another claiming that the finders should instead be praised for the care with which they removed the hoard from the ground and for going to the National Museum to report the discovery (Houses of the Oireachtas 1986). In 1987 the National Monuments (Amendment) Bill, which included clauses on metal detecting and ancient shipwrecks (another area becoming vulnerable to looting), passed through its final stages in the Dáil Éireann (lower house of the Irish Parliament) (Gosling 1987: 23).
Ireland’s National Monuments Act 1930 had prohibited the excavation of archaeological objects other than under license (Kelly 1995a). However, the maximum fine for a successful prosecution at that time, at IR£10, proved not to be a strong deterrent (Kelly 1995b: 235). The discovery of the Derrynaflan Hoard had reputedly contributed to the growth of the metal detecting hobby in Ireland, which by the time of the discovery saw hobbyists searching not only ploughed land and other locations away from archaeological sites, but also on known archaeological sites (Kelly 1993: 378). A 2012 Irish news item, which described an athlete as having ‘more gold than they found in Derrynaflan’ (Keane 2012) indicates that the finding of the hoard is still recalled in Irish popular memory. However, with the National Monuments (Amendment) Act 1987, ‘it became illegal to search for archaeological objects with metal detectors or other electronic detecting devices without license’. A further National Monuments (Amendment) Act 1994 specified the state ownership of archaeological objects, and made it ‘an offence to trade in unreported antiquities, or withhold information about archaeological discoveries’ (Kelly 1995a). Under the 1994 legislation, the maximum penalty was also increased to a fine of IR£50,000 and five years imprisonment (National Monuments (Amendment) Act 1994, Section 13). The National Monuments (Amendment) Act 1987 had been in preparation for many years and so was not a direct reaction solely to the controversy surrounding the hoard (Kelly, pers. comm., 2012), although there were observations made that the upsurge in metal detecting as a result of the discovery led to changes in the law (Kelly 1994: 214).
A visit two Derrynaflan island Gallery
Three Poems all with the title ( Window ), By : Milind Phanse , John David Morris Meriwether and Drew Renquest
By : Milind Phanse
I sit by the window looking out
And see myself reflected,
Outside the glass looking in.
Reality and illusion facing off each other,
Or is the window the only reality ?
Separated by two ghosts,
perhaps imprisoning just the singularity
By : John David Morris Meriwether
I don’t want to get up from my seat,
because every time I walk around,
and sit back down,
I’m a different person.
By : Drew Renquest
You see so much yet stand so still
To wonder what is out there while dust gathers on your sill.
Such memories that you’ve witnessed but can speak none
I can maybe only recall one.
Craving to wander
I’d gladly trade,
How I would love to sit and watch the
I just want to share a study of an old door way I found on a local farm, what I found interesting about this door was was the old wood that’s been bolted together a long time ago in order to help keep the surrounding stone in place. Its almost as old as the stone and I wonder which is keeping each other from falling down ?