Heritage Ireland Magazine-Winter 2024

Welcome

of the Office of Public Works

Welcome to the latest edition of the Heritage Ireland magazine, brought to you by the Office of Public Works.

As the year comes to a close, it is an appropriate opportunity to reflect on the important work undertaken by our team of dedicated experts, administrative staff, operational staff, guiding teams, gardeners, architects and more. Together, we look after the buildings, landscapes and collections entrusted to us and make them available to over 15 million visitors each year.

Visitor interest in Ireland’s cultural legacy continues to grow, as do our efforts to underscore the importance of preserving such invaluable assets for future generations.

Throughout the Autumn and Winter, we have provided high-quality and authentic interpretative experiences at our heritage sites for the benefit of visitors - from Halloween workshops for families to art exhibitions, and the festive centrepiece that is Christmas at the Castle.

We aim to give visitors the opportunity to explore the links between people and communities, to look at what brings us together and what connects us. Barryscourt Castle, Co Cork and Emo Court House, Co Laois will re-open to the public in 2025 following careful conservation works and appropriate furnishings of historic interiors. We look forward to welcoming visitors through those doors, and providing a renewed opportunity to engage with cultural heritage.

Without our dedicated staff, who care for and continue to work diligently at our heritage sites, our visitors would not be able to experience all that is on offer. On behalf of the Management Board, I would like to take this opportunity to thank you sincerely for your commitment and hard work, and wish you all a safe and happy Christmas.

John Conlon Chairman

Autumn at Portumna Castle. Credit: Giacomo Di Blasi

Winter at the National Botanic Gardens Glasnevin. Credit: Mateusz Sklodowski, National Botanic Gardens Guide Team

Front cover image

Round Tower, Glendalough, Co Wicklow Credit: Chris Hill

Picture Gallery, Kilkenny City. Credit: Brian Morrison

Welcome

I am delighted to share the latest edition of the Heritage Ireland magazine with you. While this edition highlights the work undertaken by the Office of Public Works, it also showcases the beauty of our cultural heritage and the pride we take in sharing these rare and cherished places with our diaspora and international partners.

A core purpose of the Office of Public Works is to conserve and protect the heritage assets in its care. It is fantastic to see the great progress at Barryscourt, Carrowmore, Dún Aonghasa and Magazine Fort. It is a testament to all involved that these fantastic sites will be reopening in the near future.

The Office of Public Works is committed to providing the best possible experience to visitors with additional needs. You can read more about the Just A Minute (JAM) and Alzheimer Patient Interaction through Digital Arts (AIDA) projects on pages 15 and 16.

Cultural heritage provides a bridge to engage with others, a space where we can learn and come to know the values and histories that have shaped our modern world. Read about the intriguing

talk held at Kilkenny Castle for Culture Night, our jam packed days in the sunshine at the National Ploughing Championships and the collection of portrait miniatures donated by Edmund Corrigan to the Irish Georgian Society (IGS) on display at Doneraile Court.

As 2024 draws to a close, it is an opportunity to reflect on all the fantastic events our sites have hosted throughout the year, and the dedication and enthusiasm demonstrated by our Heritage colleagues. From exciting collaborations with Transport For Ireland Local Link, Other Voices, and RTÉs Tracks and Trails- our sites were the backdrop for some amazing and diverse projects. Many of our sites have been the recipients of numerous, well deserved awards this year, and we congratulate them on their success.

I hope you all have an opportunity to participate in some of the wonderful events planned over the festive period, across our sites, and not forgetting our festive showpiece, Christmas at the Castle.

Nollaig Shona daoibh go léir.

Rosemary Collier Head of Heritage Services and Capital Works Delivery, The Office of Public Works

Patrick Pearse’s Cottage, Connemara, Co Galway. Credit: Christian McLeod

Rathfarnham Castle guided tour, Dublin. Credit: Fáilte Ireland

Family Tour of Trim Castle, Co Meath. Credit: Fáilte Ireland

Northern Lights at Portumna Castle, Co. Galway. Credit: Giacomo Di Blasi

Contributors

Maelle Champenois is a French native with a background in French literature and media. Working for the OPW for the last 22 years, she has managed the dedicated team of guides at Kilkenny Castle since 2018.

Eimear Cuddihy is a member of the Heritage Marketing and Trade Promotion Team in the OPW. She attends many overseas and domestic trade and consumer events. She previously worked as a Guide/ Information Officer at Dublin Castle and with IMMA. Eimear has a BA in Italian and English from Trinity College Dublin.

Fionnuala Doherty is the Head Guide and Education Officer at Dublin Castle. She completed a BA (Hons) in Fine Art at NCAD and an MA in Cultural Policy & Arts Management at UCD. For over a decade she has worked in various arts organisations in Ireland and abroad. Her interest lies in making the museum accessible, interactive and relevant to visitors.

Shauna Fox has been working for the OPW for 8 years across multiple sites. She now works in Heritage Marketing, highlighting the OPW’s historical sites across Ireland. Her studies include English and History, Film, Journalism, and Marketing, all of which have allowed her to pursue her passions for writing, mythology, Irish history, and film.

Mary Heffernan read economics, politics and philosophy at Trinity College Dublin followed by postgraduate studies in art and design history completing the Purser Griffith diploma. Mary completed the Chartered Director Programme IoD/IMI. Mary is an Alumni of the Attingham Trust and a founding member of OMARC an archive project OPW/MU. Mary sits on the Fabric Committee of Christ Church Cathedral.

David Hicks has written books about the architectural and social history of the Irish Country House. He has presented numerous lectures and has been featured by numerous media outlets speaking about the architectural history of Ireland.

Rebecca Kavanagh has been working for the OPW since 2017. She initially started at the National Botanic Gardens in Glasnevin and is now part of the Communications unit’s digital marketing team.

Stephanie Kennedy holds a Masters in Cultural Event Management and works at Dublin Castle. She worked on an EU Erasmus + project finding ways to remove barriers to engagement for people living with dementia. She has run dementia friendly tours at Dublin Castle. She was a member of the Muse Tech working group, examining how digital technology interacts with heritage sites.

Contributors

Michelle Monks holds a Masters degree in Art History and Cultural Policy from University College Dublin. Currently a guide at Ennis Friary, she has also had the opportunity to work on Scattery Island. With a strong interest in digital marketing, Michelle is passionate about researching and developing historical content both for Ennis Friary and for her personal blog.

Dr Thomas Nelligan is a guide at the Rock of Cashel and runs a website –www.thestandingstone.ie – where he has written hundreds of articles about places of historical interest in Ireland. He has also written for several magazines and journals.

Lorcán Ó Cinnéide is Manager of the OPW Blasket Centre on Kerry’s Dingle Peninsula. He has a life-long interest in the heritage of the Blasket Islands and a wealth of senior previous public and private sector experience, particularly in the marine sphere.

Liam Ó’Culbáird is from Swords, Co. Dublin and has a keen interest in all areas of history and culture. He is involved in many groups including the GAA, Comhaltas Ceoltóirí Éireann and Conradh na Gaeilge. He currently works from the OPW’s Dublin office at 1 George’s Quay.

Dave Robson has worked as a guide/ information officer in Kilmainham Gaol since 2016. He studied History and English in UCC and holds an MA in the Irish Revolution. His poetry often centres on Irish History.

Lorcán Scott took-up the post of Biodiversity Officer with the Office of Public Works, based in 1GQ, in March 2024. His earlier career began with the NPWS and later as Wildlife Officer at the Heritage Council. He is responsible for the delivery of the ‘OPW Biodiversity Action Strategy 2022-2026’.

Carmel Shaw has a BA in History and Sociology from UL and is the Head Guide at Ennis Friary. Carmel worked in various administrative roles in the private sector before joining the guide team in Ennis in 2003. She is interested in both built and natural heritage and, in particular, the social history that links the two.

Giacomo Di Blasi

Conservation Updates News

Four Courts Dome Repairs Project

The final phase of works to conserve the iconic dome of the Four Courts is now into the second year of a 30-month programme. One of the landmarks of Dublin, the Four Courts was constructed between 1776 and 1796 to designs by Thomas Cooley and eminent architect, James Gandon.

The Four Courts Dome Repairs Main Contract was awarded to PJ Hegarty & Sons. Their first step was the provision of custom designed scaffold access and structural propping to the entire dome drum. The installation of scaffolding commenced in August 2023, during the courts summer recess period, to minimise disturbance to the Courts Service.

This phase focuses primarily on the twenty four Portland Stone capitals. The stone capitals are in poor condition having been damaged by past events, including a major fire at the Four Courts during the civil war in 1922. A century later, each capital is now being carefully removed from its position under the dome for a detailed structural examination.

Carving of replacement capitals was carried out by Irish Natural Stone Ltd. in Co. Clare. Each intricate replacement capital has been painstakingly handcarved by a team of stonemasons, with over 900 hours of work required per capital. The masons used the same traditional techniques as in James Gandon’s day, to create moulds and templates before carving. The capitals are then carved and finished by hand from blocks of Portland Stone in accordance with best conservation principles. On completion, the capitals are transported to the Four Courts for installation.

The works are anticipated to be completed by end of 2025. The OPW, with main contractor PJ Hegarty & Sons, held open days recently for guided public visits during Heritage Week and Open House 2024.

Phoenix Park Magazine Fort Restoration Works

The first phase of restoration works at the Magazine Fort in Phoenix Park is now over one year on site. The aim of the current works is to restore the Rampart Walls, Magazine Building and early 20th century metal ‘Bakery’ Building through structural stabilisation and repair works to make the buildings weathertight.

The Magazine Fort, a star-shaped fort in Phoenix Park, was designed by John Corneille and constructed in 1735. With a history spanning three centuries, the fort was occupied by the British Army until 1922, then transferred to the Irish Armed Forces after the AngloIrish Treaty. The Irish Army used the fort as an ammunition store until it was demilitarized and transferred to the Office of Public Works in 1988.

The repair works to the south, east and north Rampart Walls are complete and works are progressing on the north walls, as any visitor to this area of the park may have observed. The external repair works to the Magazine Building

are also complete, including roof repairs and re-rendering the façades with lime harl, and repointing the east façade. The metal ‘Bakery’ building exterior repairs are also progressing. Restoration of the original entrance, the Duke of Dorset Gate, will begin in January 2025, to reconstruct the missing archway using original stones found in the fort and new carved stones, all based on historical evidence and best conservation principles. The works are anticipated to be completed in Summer 2025.

The OPW, with main contractor Kelbuild, specialist stone and lime subcontractor Nolans Group, and Archaeology Plan archaeologist services, held open days recently for guided public visits during Heritage Week and Open House 2024.

Carrowmore Restoration Works

Carrowmore Megalithic Cemetery, nestled in the heart of Neolithic north-west Ireland, is a testament to the rich history and architectural prowess of our ancestors. Historically, Carrowmore holds immense significance as it is the oldest and densest concentration of Neolithic tombs in Ireland. The graves at Carrowmore are believed to predate Egypt’s pyramids, dating back to around 3500BC. This makes Carrowmore one of the largest and oldest of Ireland’s megalithic complexes.

Today Carrowmore is under the careful management of the Office of Public Works who are currently facilitating site renovations and installations of new exhibitions, including an update to the permanent exhibition housed in an old cottage on the site. The site will be re-opened to the public in spring 2025.

Barryscourt

Castle

Barryscourt Castle, located in County Cork, is a remarkable example of a restored Irish Tower House. Dating back to the late 14th or early 15th century, the castle was the seat of the Anglo-Norman Barry family. Its architecture features an outer bawn wall and largely intact corner towers.

Works commenced in 2016 on re-pointing and grouting external walls to stop water ingress. Both the M&E upgrade and the National Monuments fabric repairs projects are well in hand. Works are on target for completion for the start of the visitor season for March 2025.

Dún Aonghasa works

Dún Aonghasa, also known as Dun Aengus, is the most famous of several prehistoric stone forts on the Aran Islands in County Galway. The fort stands at the edge of a 100-meter-high (330 ft) cliff, providing stunning views of the Atlantic Ocean.

The exact construction date of Dún Aonghasa remains uncertain, but most structures are believed to date back to the Bronze Age and Iron Age which would make the site over 3000 years old. The name “Dún Aonghasa” refers to the pre-Christian god Aonghas or the mythical king Aonghus mac Úmhór.

Carrowmore

Credit: Alison Crummy

Barryscourt Castle exterior Credit: Photographic Archive, National Monuments Service, Government of Ireland

Dún Aonghasa Stone Fort Credit: Photographic Archive, National Monuments Service, Government of Ireland

Fabric repair and upgrade in the form of re-grouting, re-pointing, lead works and dripstone repairs have been carefully and expertly executed by the Mallow District Works Team who are to be congratulated on the superb job they have carried out over a number of years, including the difficult Covid period.

Currently plans are underway to renovate the coach house building with the aim of installing guide accommodation, interpretation and a café in the building.

Fáilte Ireland funding was secured for the upgrade of the interpretation at the visitor centre. This project has almost completed design stage. The objective is to create both new a new indoor visitor experience within the existing reception building and outdoor resources in a number of locations to deepen the visitor enjoyment and understanding and create a more immersive experience for all visitors.

EU Just Transition Fund Programme

The Office of Public Works announce funding to enhance Visitor Experience at four OPW sites in Ireland’s Hidden Heartlands

The Office of Public Works (OPW) welcomes the Just Transition funding to develop four OPW heritage sites in the Midlands. The project will have a total investment of €12,368,730 through Fáilte Ireland’s Regenerative Tourism and Placemaking Scheme, co-funded by the EU and the Government of Ireland under the EU Just Transition Fund.

CLONMACNOISE:

The investment will address the redevelopment and expansion of the existing visitor centre to transform the visitor facilities and further the OPW’s modern energy and sustainability standards.

CORLEA TRACKWAY & VISITOR CENTRE:

The Just Transition Funding will support the development of a feasibility project exploring the sustainable development of the project and its interactions with the wider destination including developments along the canals and the neighbouring peatlands.

Emo

Credit:

EMO COURT:

The investment will include the development of a site assessment to review national and international best practice and prepare site development plan, building on the conservation management plan of the site, which can act as a road map for the future potential development of key activities and visitor experiences.

ROSCREA CASTLE & DAMER HOUSE:

The investment will include the development of accessible visitor services, improved visitor interpretation experiences, and improvements to the courtyard and garden facilities at the site.

Damer House, Roscrea, Co Tipperary Credit: Tipperary Tourism

Corlea Trackway, Visitor Centre, Co Longford. Credit: Fáilte Ireland

Court, Co Laois

Fáilte Ireland

JUST TRANSITION FUND: SPOTLIGHT ON CLONMACNOISE

Clonmacnoise is an unparalleled, outstanding example of an early medieval insular monastic city, unspoilt by later modern development and set within a magnificent landscape, parts of which have not changed much since the monastery’s founding.

The existing Clonmacnoise Visitor Centre building was constructed by OPW in the early 1990’s and opened to the public in 1993. In the almost 30 years of its operation, the Centre has become one of the most heavily and consistently visited sites within the Heritage portfolio managed by OPW. It is now planned to invest in this iconic site to create a world class visitor experience. The project will include the following:

– New external welcome point with seating, bike parking, interpretation and outdoor Café

– New Internal Reception space and meeting point

– New Indoor exhibition spaces with artefact displays, immersive AV projection and audio experience

– Upgrade of High Crosses display with new interpretation & digital interactives

– External landscaped Interpretation & Wayfinding

– Transform the visitor facilities and improve the OPW’s modern energy and sustainability standards

This project is among the first round of approved investment grants for projects announced by Fáilte Ireland that are being delivered as part of its Regenerative Tourism and Placemaking Scheme, under the EU Just Transition Fund. The EU Just Transition Fund maps out a process for transition in the midlands as the region comes to terms with the cessation of peat production and endeavours to embrace new opportunities. This funding will help in the development of these sites, to provide a world class visitor experience, provide further accessibility to the sites and drive tourism in the midlands area.

The investment will:

– Enhance the experience of visitors and staff

– Position the site better in terms of accommodating visitor volumes

– Support the development of a more sustainable and integrated tourism product in the Midlands, helping to support local communities and enterprise in the transition away from fossil fuel production

– Create a stronger dynamic within the visitor presentation to address its potential future UNESCO designation

Clonmacnoise Monastic Site, Co Offaly. Credit: Kevin Griffin EU Just Transition video still

OPW Awards 2024

FEB 2024

CIE Tours Annual Awards of Excellence

Dún Aonghasa were honoured as Merit Winners. Merits are awarded to hotels and tourists attractions that achieved a customer satisfaction rating of 92% or higher - an outstanding achievement!

MARCH 2024

RIAI Silver Medal for Conservation and Restoration 2014–2016

The National Gallery of Ireland’s Historic Wings Refurbishment project by Heneghan Peng Architects and Blackwood Associates Architects and the OPW. The winning entry has been described as displaying both ingenuity and restraint in its approach, working with the existing buildings and unlocking dormant potential to reinvigorate the gallery. The jury commended the project for bringing both light and space deep into the heart of the building but not allowing bold moves to distract from the integrity of the historic buildings.

JUNE 2024 RIAI Awards

Sustainability and the Workplace

Fit-out categories – Tom Johnson House – The Department of the Environment, Climate and Communications HQ

The jury described the building as an “excellent example of a large-scale retrofit that has achieved great operational energy improvements. This entry goes beyond the RIAI climate challenge targets and is an exemplary retrofit project for Ireland that can be applied to other buildings, making an important contribution to climate change action.”

The Research Award

OPW and Shaffrey Architects for their guidance document “Approaches to Improving the Energy Performance of Heritage Properties in State Care.”

The 9th Civil Service Excellence and Innovation Awards

Delivering in a Dynamic Environment Ukraine Rapid Build Housing project.

Irish Construction Excellence Awards

Innovation in Construction – Company T/O over €500m Category Ukrainian Rapid Modular Homes –awarded to the OPW and Sisk.

NOVEMBER 2024

2024 International Green Flag Awards

The Green Flag Awards, administered by An Taisce Environmental Education in Ireland, recognise and encourage the provision of good quality parks and green spaces that are managed in environmentally sustainable ways. Twelve OPW sites were among a group of 120 Irish public parks, gardens and voluntary run green community sites across the Republic of Ireland who received their 2024 Green Flags. The OPW sites receiving Green Flags include Altamont House and Gardens in Co. Carlow, Battle of the Boyne Visitor Centre in Co. Meath, Derrynane Historic Park in Co. Kerry, Fota Arboretum & Gardens and Garinish Island in Co. Cork, Glebe House and Gallery in Co. Donegal, Grangegorman Military Cemetery, Irish National War Memorial Gardens, The Iveagh Gardens, Royal Hospital Kilmainham, St. Stephen’s Green and The Phoenix Park in Dublin.

In addition to the Green Flag award, the OPW received 6 Green Heritage Site Accreditation awards. These include Altamont House and Gardens, the Battle of the Boyne Visitor Centre, Derrynane Historical Park, Garinish Island, the Irish National War Memorial Gardens and Royal Hospital Kilmainham.

Ireland’s Climate Change Leadership Awards

Tom Johnson House awarded the Green Building Project of the Year.

Having regard to principles of Universal Access the Office of Public Works is committed, where feasible, to ensure that the public heritage sites in its care are as accessible as possible to all users. The OPW is committed to providing the best possible experience to visitors with additional needs and, accordingly, provides relevant training to the visitor-facing staff at our heritage sites.

JAM Card

Cathleen Carolan & Margaret McHugh

OPW Heritage Services is delighted to announce that we are now a JAM Card friendly organisation. The JAM Card© was created in 2012 by NOW Group, a social enterprise that supports people with learning difficulties and autism who want a discreet way to ask for Just A Minute of patience when they need it. Members can show their JAM Card while shopping, ordering food, using public transport and much more. As long as the business in question is JAM Card friendly, they will know what the cards mean. It is a simple idea that makes a big difference. It was originally developed by and for those with learning difficulties and disabilities, but has now expanded to include anyone with a hidden disability or communication barrier (e.g. people with head injuries or who have had a stroke) when they need more patience and space in a given situation.

The JAM card is available in card or app form. The JAM Card is a discreet, silent and easy device for telling others that you need ‘Just A Minute’ in any scenario. It provides an easy way for businesses to identify people with communication barriers and hidden disabilities to give them quality customer care based on their needs. When a person decides to use the service or business, they can discreetly present their JAM Card to inform staff that they need ‘Just A Minute’ (JAM) of patience and understanding. The JAM Card app works the same way as the card, but gives you more great benefits. A personalised message can be added to tell others as much or as little as you want about your reasons for needing some extra time.

As part of the OPW’s participation with the NOW Group, Margaret McHugh in Visitor Services has rolled out training to OPW staff working in all our Heritage Sites. This training consisted of an E-learning module which introduces the concept of JAM Card, as well as hidden disabilities and communication barriers. It provides a great introduction to the JAM Card. Training is continuously provided to our new staff members on an ongoing basis.

Further training was delivered to a number of staff on Understanding Inclusion. The theme of this training is ability not disability! This course sets out to identify barriers and misconceptions around disabilities. As a result of this training, both staff and management have a better awareness of inclusion, it also encourages greater awareness on how to proactively address inclusion both within the workplace and for the service being provided.

In order to promote our participation with the NOW group and show our acceptance of the JAM Card, look out for marketing material displayed across our sites including: A3 posters, A5 Strut Cards and Window Stickers.

Working with this wonderful organisation allows us to take actions to make real changes addressing the barriers experienced by many of our visitors. The JAM Card partnership provides us with the expertise to continually review the services we are providing, while developing and implementing new practices to address communication barriers.

The Custom House reception Credit: Siobhán Treacy

AIDA Alzheimer patients

Interaction through Digital Arts

Stephanie Kennedy

In Ireland today, over 64,000 people are living with dementia. About two thirds of these live at home, cared for by family members. Living with dementia can be an isolating experience; people frequently withdraw from social activities that they had previously enjoyed. Cultural heritage is a group of resources that form the bedrock of our identity. These resources have a fundamental role in the well-being of individuals and society.

The AIDA project was set up to find ways to help people living with dementia and their families to access heritage tours and activities. Funded by the EU Erasmus + scheme, the project brought together seven teams from six EU countries.

In Ireland, we used slow looking techniques and storytelling sessions to look at a selection of paintings and artefacts. At each session, visitors shared a journey of exploration with their spouse, family member or carer. The OPW guides, trained in the Azure methodology, facilitated these sessions. One of the aims of the session was to reset the relationship of patient/carer to a playful moment for the couple as they participate in heritage and art together. Even where cognitive decline is present, creative artistic activities are still an important and meaningful way of communication.

One of the aims of the AIDA project in Ireland was to use the opportunity

to adapt the Azure methodology to the unique offering of the OPW. We have run sessions in Dublin Castle, Glendalough and Kilkenny Castle, adapting the methodology to telling stories from history using historical artefacts and historic buildings. During 2024, we have continued to innovate with the methodology and have run Azure sessions on themes such as the social season in Dublin Castle.

The AIDA piloting sessions ran in Castletown House during March and April 2023. Visitors agreed to participate in an EU wide psychological study of the personal benefits of engaging with heritage tours and activities. The results of the study showed that participants experienced improvements in their quality of life and communication skills after participating in AIDA sessions. They also reported increased levels of happiness and an interest in continuing to visit heritage sites.

Who do you think you are exhibition -

AIDA tour in Dublin Castle

Credit: Stephanie Kennedy

AIDA tour in Kilkenny Castle

Credit: Kate Fitzmaurice

AIDA tour in St. Patrick’s Hall Dublin

Castle. Credit: Fionnuala Doherty

AIDA tour in Castletown House

Credit: Stephanie Kennedy

National Ploughing Championships

Rebecca Kavanagh

Basking in warm autumn sunshine, this year’s National Ploughing Championships was a vibrant celebration of rural life, drawing over 250,000 visitors. The Office of Public Works made the journey down, offering an exciting look into the rewarding roles available in one of Ireland’s most unique workplaces.

Visitors to the OPW stand experienced an immersive virtual reality tour of their heritage sites. This behind-the-scenes journey allowed people to step into the shoes of gardeners and guides at stunning locations like Tintern Abbey and the JFK Arboretum, and glimpse into what it’s like to work in these iconic settings, where staff play a vital role in preserving Ireland’s history and landscapes.

Adding a creative flair to the event, Irish illustrator Aileen Crosby wowed visitors with her stunning art piece, capturing the essence of life at the OPW. It served as a visual reminder of the organisation’s deep connection to Ireland’s cultural heritage and natural beauty.

Throughout the three days, the OPW’s team was on hand to chat with visitors about the diverse career paths on offer— from apprenticeships to their exciting new Engineering Graduate Development Programme. For those passionate about history, nature, and making a real impact, the OPW’s message was clear: this is a workplace where careers thrive, and where every role helps protect, as well as shape, the future of Ireland.

OPW tent at the National Ploughing Championships Credit: Government Information Service

Poetry on the Gaol

Dave Robson

One morning in Kilmainham

Walking through hallways that are quiet now

I wonder at the voices, long silenced

By the cold sharp winds of history

Scars upon limestone walls tell stories

I’d never have heard, but for walking down

These dark hallways on a cold morning.

Nameplates speak of figures hailed and damned

By those born after their final breath.

So many suffered here for ideals

For hunger, for shelter and for death.

Men, women, children- the rich and poor

I wonder…

Who is more remembered?

The Patriot Or orphaned dead?

All the same. By cold dark hallways

Kilmainham Gaol Imagery This page credit: OPW Opposite page credit: Dave Robson

Memories of Stone

My stone body quakes at gun shots that scare the crows from my harsh skin, while sandbags protect me from wound.

My old yard is different now.

No jailers to stand and glower at prisoners wasting away through the fine art of stone breaking but by suffering of a different kind. Dignified men are led out to stand and wait for the bullets to strike them down.

Then their dignity is taken their bodies shot.

Old and young men writhe on the ground while their blood melts unto me.

Their blood, their bodies, communion Young men shoot, old men shout as their victims lie upon me old men deliver mercy.

Easter has long past, Christ is risen.

But my yard for labor, for reforming work, for resurrection is now a yard of death. 13 at my head, 1 at my feet.

Was it that he could not stand?

That he had to sit on a chair at my feet his eyes barely open though still shrouded The priest blessed him.

Old men shout. Young men shoot. Then after the shooting is done young men cry.

Their tears melt into my stone skin, body and blood rests in my yard and then a miracle.

Wine into blood, blood into stone, stone into life.

To my side is the door through which men and women like them have walked and sometimes have stayed.

Now more old men, young men, young women, old women walk upon me.

Not to work, not to repent, not to guard. But to learn, to feel, to experience life from death.

Do they know, can they know what I know?

For I am the one who listens to them I listen to the ghosts of the past. The ghosts of 1916.

For I am a stone being, I cannot speak.

But I am the one who remembers those men.

I remember many men and women.

If I could talk, what stories could I tell?

From the Blasket Islands to Springfield Massachusetts

A Well Worn Path

Lorcán Ó Cinnéide

Manager, Ionad an Bhlascaoid – The Blasket Centre

For the past twenty five years, a group of Dingle Peninsula businesses make their way to Springfield Massachusetts for the Big E – the Eastern States Exposition – a three week event that draws 1.7 million visitors. It is a well worn path in both directions and very much a meeting of friends.

Springfield has an amazing connection with West Kerry and the Blaskets, very much evidenced by the gathering of the city’s great and good, including many Blasket descendants, at a recent exhibition opening in Springfield Museums which celebrated the heritage and impact of the Blasket islanders in that part of the world. The temporary exhibit was the first fruit of a Memorandum of Understanding signed last May between the OPW and the

Museum. The guest of honour was the remarkable Mairéad Kearney-Shea, at 102 years young, longtime Springfield resident and the only surviving woman born on the Great Blasket.

That the OPW and the Blasket Centre in particular would be represented at such an occasion and at the Big E is a natural expression of the deep and very much current ties of history, kinship and friendship that are so important to nurture today. My visit, which followed a similar trip by then Minister Patrick O’Donovan in September 2023, allowed me to reach out and thank places such as the John Boyle O’Reilly Club, the Sons of Erin and the Irish Cultural Centre of New England who regularly organise tours to Ireland and see the Blasket Centre as a highpoint of their trip.

Irish Cultural Centre of New England. Credit: Lorcán Ó Cinnéide

My Springfield trip coincided with that of a Kerry County Council delegation led by Cathaoirleach Breandán Fitzgerald and Irish Consul General, Sighle Fitzgerald. This significant combined representation was noted and greatly appreciated by our Western Massachusetts friends, at all levels.

Springfield is an intrinsic part of the Blasket story. Waves of Blasket emigrants sought a place where they could deal with the enormous dislocation of leaving their native home in a place where they could at least share their language and culture and have a supportive community network. That difficult transition and their subsequent success in their new country is the foundation of a shared and invaluable heritage that is enormously important – on both sides – now and into the future.

Attending the exhibition opening Credit: Lorcán Ó Cinnéide

Máiread Kearney-Shea: the only surviving woman born on Great Blasket Island Credit: Lorcán Ó Cinnéide

The Museum of Springfield History Credit: Lorcán Ó Cinnéide

Irish Sign Language Tours

Experience Ireland’s History with our free ISL Tours

View our participating sites

Cathal Noonan

Winter Wonderland

Lorcán Scott Biodiversity Officer Office of Public Works

As we leave behind John Keats’ ‘season of mists and mellow fruitfulness’ nature gives us a number of signals to show we are indeed moving into winter. As the days grow ever shorter, and leaves turn golden, a number of key OPW sites display some of Ireland’s most marvellous natural events. With the arrival of the first frosts in the Phoenix Park, Dublin, we begin to see and hear the battles of fallow deer bucks that the annual rut places on offer. With a population of approximately 600, the Phoenix Park fallow deer herd will be punctuated by mature bucks, pumped with hormones, that bellow and posture around the grasslands of the 15 acres, each seeking to win their right to service a harem of between 20 – 30 does. These bucks lock antlers, with no fear or thought for anything but winning and can, at times, leave opponents severely wounded. The sound of clashing antlers demands your attention and it is a real thrill to watch these battles, from a safe distance.

But deer are not the only mammals to mark early winter at the OPW sites, bats too, our only true hibernators, seek out ‘swarm sites’ at a few known locations around the country. Dunmore Cave, Co. Kilkenny, is thought to be Ireland’s premier swarming site for the myotis species, brown long-eared, Daubenton’s and Natterer’s bats. Recently, and under licence, Bat Conservation Ireland opened the world of swarming bats to guests, at Dunmore. Using a harp trap (catches bats without any physical harm) and thermal imagery, a new world of wonder was revealed to all who attended. At swarm sites males and females gather from late October, to display their health and fitness, with males following females at highspeed around the caverns of Dunmore cave, in total darkness, for about two weeks, after which they will mate, with females holding the sperm in contained packages, and only after their emergence in spring, will they self-impregnate if they are in a condition to do so.

Fallow Buck Phoenix Park

Credit: Lorcán Scott

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Dunmore Caves and InfraRed at Dunmore Caves

Credit: Lorcán Scott

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BCI Bat Swarm Dunmore

Credit: Lorcán Scott

By the time November arrives things tend to take on a quieter phase across the animal kingdom, feeding-up to ensure they are in condition to survive the winter temperatures, storms and long nights. But this is not a universal limiting time for Irish fauna and flora, each winter tens of thousands of wildfowl species migrate from the high-Arctic to take advantage of Ireland’s moderate winter temperatures. With few snow events in Ireland, especially along our coastal sites, many birds find refuge at estuaries, mudflats and inland waterways where they can feed and sit-out the winter. In recent decades we now witness small flocks of Light-bellied Brent geese moving onto amenity grasslands around Dublin city and some OPW sites such as St. Enda’s Park, Pearse Museum, and along parklands being redesigned for nature-based solutions for flood attenuation on the Poddle system, which are known to provide solas for hungry geese. The northern winds, that drive our swallows south, will also carry a range of ‘winter thrushes’, species such as fieldfare, redwing and, on occasion, waxwing, will seek to keep ahead of snow-laden Siberia and Scandinavia and feast on our haws, sloes and holly berries, where available and it is for this

reason the OPW are seeking to ensure hedges in our management can be as fruitful as possible.

So, while a number of the guiding services at the OPW sites close-down for the winter months, the staff and guardians of semi-natural habitats associated with the OPW sites continue to manage them, to ready them for the coming spring. From our earliest inhabitants, to the present, we look forward to the break from cold short days, to the anticipation of what the New Year will bring, best marked by the light-vault at Newgrange Co. Meath. Once the light reaches the back chamber we can once again think about new growth, new life and the promise of spring/summer.

If you are visiting an OPW site this winter, why not log any fauna or flora records with the National Biodiversity Data Centre (www.biodiversityireland. ie ), as a citizen scientist you are helping us to understand the importance of these locations for our rich biodiversity and help us manage them for future generations of both people and wildlife.

Monasteries of the Moy

David Hicks

Growing up in the hinterland of the ancient edifices of Rosserk and Moyne Abbey in Co. Mayo left a distinct impression on me, and an acute awareness, since childhood, of ancient Ireland. Both buildings, now preserved by the OPW, occupy a tranquil and picturesque outlook as the River Moy ebbs by. These ancient ruins sit in a landscape peppered with historic landmarks such as standing stones, the ruin of a 13th century castle across the river and a nearby Holy Well, Tobar Mhuire, housed in a small stone building erected in 1799. This is the landscape that shaped me, inspired my love of architecture and my appreciation of the craftsmanship of the past.

Rosserk Abbey was founded in the 15th century by the chieftain of the Joyces, a powerful family of Welsh origin, who settled in Connacht in the 13th century. The friary of Rosserk housed a community of friars of the Third Order of St. Francis, or the Tertiaries. Unusually this order consisted of married men and women who wished to lead

a Franciscan life, but because of their marital status, were not able to join the First Order (friars) or the Second Order (nuns). Prior to the construction of the abbey, the area was called ‘Ros Serce’, named after a miracle working female saint called Searc, a disciple and alleged sister of St. Patrick who resided there. It is speculated that the foundation of the abbey at the Rosserk site occurred somewhere between 1400 and 1441 as the Tertiaries enjoyed wealthy patronage in medieval Ireland. The buildings are grouped around an open cloister, three sides consist of vaulted chambers with a church on the remaining side, topped by a bell tower. The kitchen, dining hall and dormitories were located at the first floor level. The abbey has an intact double piscina topped by angels carved in stone, this is a recess with a stone basin for washing sacred vessels used during religious ceremonies. In the late 16th century, the abbeys of Rosserk, Moyne and Rathfran, were sacked and burnt by Sir Richard Bingham, English Governor of Connacht. By the 1800’s Rosserk had

Rosserk Abbey on the River Moy Credit: David Hicks

been abandoned for over two hundred years and walls in many places were on the verge of collapse. In the 1880’s the abbey was taken in to the care of the Commissioners of Public Works who ensured that walls were secured, stonework pointed, and window tracery restored with the original pieces found in the surrounding debris. Works to this National Monument were carried out in Rosserk in 1883, under the direction of the architect, Mr. Thomas Newenham Deane R.H.A.

Further down the river towards the ancient village of Killala, sits the larger and imposing ruin of Moyne Abbey. Set further back from the River Moy, Moyne rests in luxuriant green fields, its high tower can be seen for miles around. The Franciscan Friary of Moyne was founded by Mac William de Burgo in 1455, and the building was consecrated in 1462 by the Bishop of Killala. Moyne once possessed a valuable library, being a provincial school of the Franciscan order, together with an infirmary and a mill for grinding corn. A well preserved enclosed cloister exists at the heart of the building, an enclosed walkway where the friars prayed and meditated. The more rudimentary elements of monastic life were also accommodated within the abbey walls, including a kitchen and dining hall, sacristy, chapter house and the dormitories. The monastery was burnt in 1590 by Sir Richard Bingham, the English Governor of Connaught. The friars left after suffering persecution at the hands of Bingham, and the lands of the abbey came into the possession of Edmund Barrett. Later it was owned by an English widow, she allowed the friars to return to the Abbey in 1606, where they remained

Sunset at Moyne Abbey

Credit: David Hicks

Moyne Abbey Cloister

Credit: David Hicks

until 1618. Moyne was later owned by the Lindsay family who demolished part of the monastery with gun powder. In 1718, the abbey came into the possession of the Knox family, Francis Knox, the son of William Knox of Castle Rea, took up residence at Moyne after his marriage to Dorothea Annesley. It is said that during the sacking of the abbey, a soldier by the name of Knox killed the last abbot of Moyne. Parts of the abbey were still habitable and Francis re-modelled a wing of the monastery and lived there. After the Knox family left Moyne, the property was bought by the Kirkwood family who are associated with nearby Bartra Island.

In the early 1900’s the predecessors of the OPW carried out works to stabilise the structure, access at this time could only be granted by requesting a key from the caretaker’s cottage. Over the last century, since both monasteries passed into the care of the OPW, their constant care and attention over the decades has ensured that these ancient structures have endured, and continue to fascinate all those who visit them.

Carved figure on Rosserk Abbey Credit: David Hicks

Rosserk Abbey, Co. Mayo

Credit: David Hicks

Feature

The Oldest Grave at the Rock of Cashel

Thomas P. Nelligan

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The Rock of Cashel

Credit: Thomas Nelligan

Late medieval grave slabs

Credit: Thomas Nelligan

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Sarcophagus in Cormac’s Chapel

Credit: Thomas Nelligan

Grave Slabs in St. Patrick’s Cathedral

Credit: Thomas Nelligan

Despite the Rock of Cashel being a singularly unique collection of medieval buildings perched dramatically on a natural limestone outcrop, questions from visitors often concern not the buildings, but the graveyard. While people are always intrigued to hear that the Rock of Cashel is still an active burial ground, one of the most common questions we receive is ‘which is the oldest grave?’ The answer to this question is not as simple as it might seem. While graves from the eighteenth and nineteenth century can be seen dotted throughout the graveyard, older graves can be found inside Cormac’s Chapel and St. Patrick’s Cathedral, although most are not in their original location.

Within Cormac’s Chapel sits a large sarcophagus of early-twelfth century date. Thought to be the tomb of Tadhg Mac Carthaig, the brother of the chapel’s builder, Cormac Mac Carthaig, it now sits against the west wall of the chapel.

Its original location is unknown, but it was likely placed in a recess in an earlier church on the site that no longer stands. Elaborately carved with intertwining animals in the Urnes style, it likely dates to the mid-1120s, shortly before the construction of the chapel between 1127 and 1134. However, excavations carried out in and around Cormac’s Chapel in 1992 and 1993 revealed graves possibly as old as the sixth century which could have formed part of an early royal graveyard at the site connected to the traditional kings of Cashel, the Eóganachta. These, then, would be the oldest graves on the site. However, none of these are marked above ground level. Several medieval grave-slabs can also be found inside St. Patrick’s Cathedral. In the early-nineteenth century Archdeacon Henry Cotton made an effort to collect the better examples of carved stone at the Rock and gather them together within the confines of the cathedral. Many of these are

illegible but the earliest identifiable slab dates to 1503 and belongs to a Julius O’Kearny, an attendant of St. Patrick’s Cathedral. This, then, would be the earliest identifiable grave with a date attached to it. A second slab, located in a side chapel in the north transept, dates to 1506 and belongs to Patrick Connolly, Burgess of Cashel, and Joanna Wale, his wife. Several others date to the early-sixteenth century including

the grave-slab of the Archdeacon of Cashel, Robertus Hackett, who died on 10th December, 1510. However, one small fragment of a grave-slab in this area may date to the late-thirteenth or earlyfourteenth century. All that remains is the bottom of the slab which shows a pair of pointed shoes, and the bottom of a cloak that reaches the figures ankles. While no inscription survives, the style makes it clear that it is from this time period. Another

slab, again from the late-thirteenth or early-fourteenth century, is hidden away inside a mural passage in the nave of the cathedral, where it has been reused as a lintel stone. Considering this portion of St. Patrick’s Cathedral dates to the latethirteenth century, the slab likely dates to this period or earlier as there is no evidence that the slab was inserted later.

In the two side-chapels of the north transept, are the remains of sixteenth century altar-tombs, again collected together by Archdeacon Cotton. In the north side-chapel, the remains of an altar-tomb depicting various saints can be seen, produced by the famed O’Tunney school of sculpture. In the south side-chapel of the north transept are the very well-preserved remains of a second altar-tomb, again depicting saints, this time produced by the Thurles school of sculpture. While much of these tombs have now been lost, they likely

had a full effigy on top. These may not be the earliest tomb sculptures to have survived on site, but they are certainly some of the finest.

With graves dating back possibly as far as the sixth century, and the earliest identifiable grave-slab dating to 1503, the graveyard continues to intrigue visitors. The questions we receive show a desire from visitors for a human connection to the site, one that goes beyond history and architecture, and one that connects people to those for whom the Rock of Cashel was part of everyday life.

Altar tomb from the Thurles School

Credit: Thomas Nelligan

The Education Programme at Dublin Castle

Fionnuala Doherty

Since launching our Education Programme in May 2023, we’ve sought to enable access to the art collection and history of Dublin Castle, through the offering of History Tours, Art Tours, Talks, Workshops and Demonstrations to members of the public (families, adults, those living with dementia), local youth groups and Irish organisations. It’s all been a learning process, and one that we’re excited to be involved in.

Prior to the design and build of the Education Room in September 2023, our social media platforms needed to disseminate information in a way that was accessible and engaging. We chose specific paintings, textiles and sculptures to discuss art terminology like chiaroscuro, stuccowork, memento mori and contrapposto in a way that was user-friendly. We grouped specific artworks together under themes like Birds in the Collection, Art Inspired Recipes and L’Influence Française to capture varying audience demographics. We created a Quiz Time highlight on our Instagram page encouraging users to test their understanding of Dublin Castle’s art

collection and history. In January 2024, we announced Astrology as the theme of the Education Programme and this has anchored our decisions regarding familyfriendly workshops and social media posts throughout the year. The theme has been an enjoyable way to explore the history of the site, encouraging new links to be made between artworks.

Since May 2023, the Education Team has designed and delivered over 100 individual events as part of our Education Programme. In this year alone, we delivered over 70 free educational events on site, including talks, tours, workshops and demonstrations. In August, we hosted 13 educational events, 11 of which took place during National Heritage Week 2024. It was a wonderfully diverse programme made possible by the talents of the Guiding Team and external collaborators. From Apollo Marks inspired by the stuccowork ceiling of the Apollo Room to Origami Skull Bookmarks inspired by painterly depictions of St. Jerome, we had lots of fun and engaging activities to offer members of the public. We ended the

Secret Agent Tour at Dublin Castle

Credit: Fionnuala Doherty

Credit: Fionnuala Doherty

Credit: Fionnuala Doherty

week on a high, celebrating Wild Child Day with the delivery of a Bird-Box Workshop inspired by those hanging in the trees of the Dubh Linn Gardens.

Following the success of the Focal an Lae social media posts and our Turais Trí Ghaeilge, we launched our very first Caint agus Comhrá session in October 2024. This drop-in session will be a monthly event in the Education Room of Dublin Castle. The purpose is to provide a space and framework to speak Irish in a comfortable, relaxed and historically rich setting. It’s another mode of engagement and one that we’re excited to offer as part of our Education Programme.

Based on the popularity of our Respond to the Artwork workshops, we’re continuing to adopt ‘slow-looking’ strategies in leading our family-friendly and dementia-inclusive sessions at Dublin Castle. These workshops offer participants space, time and guidance in discussing the art elements as they relate to chosen artworks in the collection, before completing an appropriate art activity. It’s a format

that captures active learning across all age groups, and one that we’re keen to develop in upcoming years.

Currently in development is our Educational Video Series, which will provide insights into selected artworks in the collection. These short videos will assist teachers, students and members of the public in learning about the collection in a way that is art-specific and student friendly. We’d like these videos to be part of an ongoing project that complements the Art History curriculum at postprimary level.

We recently launched our Painting Pursuit Educational Resource, a trail that celebrates the artwork of the State Apartments and challenges detectives of all ages to decipher clues hidden in the paintings. It’s been a fun project to lead, and will complement both the ‘Death in the Collection’ tour and ‘Secret Agent’ tour at Dublin Castle.

Moving forward, we’re excited about the inclusion of a Portfolio Preparation Course and regular drawing sessions within our Education Programme.

Apollo Mask Workshop at Dublin Castle

Owl Mask Workshop at Dublin Castle

@dublincastleopw

@opwdublincastle

@dublincastleOPW

This interest stems from personal experience studying and teaching observational drawing in the classroom setting. Given how fortunate we are to have life-sized plaster cast statues in the collection, there is lots of scope for developing Bargue and Cast Drawing classes in upcoming years.

On a final note, I’d like to extend my thanks to the staff at Dublin Castle for their ongoing support towards the work of the Education Team. Since establishing our Programme in 2023, progress has been accelerated through the build of the Education Room, the expertise of the Guiding Team and the contributions of external historians and artists. It’s all been in the pursuit of an engaging programme of events, and we look forward to developing more learning opportunities for people in the future.

The

Mission of the Education Team at Dublin Castle

Our mission at Dublin Castle (OPW) is to make the site (and its collection) accessible to varying demographics and groups living in Dublin. These include adults, families, schools and community outreach groups.

The aims of the Education Team are as follows:

– To promote the site and its collection in unique ways.

– To facilitate the interpretation of our site and its collection using interactive modalities.

– To collaborate with Dublin-based groups, organisations, schools and individuals in the creation of a diverse and enriching programme of tours, workshops and talks.

We are delighted to collaborate with Dublin-based schools, community groups, youth groups, care centres, hospitals, artists and designers in the creation of our Education Programme. Please email dublincastleeducation@opw.ie if you wish to collaborate with us on an ongoing / one-off basis.

Stay up-to-date on the work of the Education Team through our e-newsletter and our social media platforms. Just email dublincastleeducation@opw.ie to be added to our mailing list!

Sample Workshop Crafts put together by the Dublin Castle Education team

Credit: Fionnuala Doherty

Medb of Connaught: Power, Land, & Sovereignty

Shauna Fox

Queen. Warrior. Goddess. Medb of Connaught was many things within Celtic mythology.

As Queen, Medb ruled over the province of Connaught, overseeing her kingdom from her seat of power at Rathcroghan.

As Warrior, Medb raised an army against Ulster to ensure she would gain possession of the Brown Bull of Cooley.

As Goddess, Medb represented fertility and sovereignty, offering men the power of kings through marriage.

With the mounds of Rathcroghan, and the cairn at Knocknarea said to symbolise parts of Medb’s body, it signifies the legacy that she left within Irish pseudohistory - her powerful

connection to the land that is written in the earth itself.

According to mythology, the epic battle known as the Táin Bó Cúailnge (Battle of Cooley) was incited during a seemingly innocuous conversation between Medb and her then husband/consort, Ailill Mac Máta. What started as a bed-time discussion turned into one of the most brutal fights in pseudohistory.

“In Ailill’s herd there was a magnificent bull called the White-horned and Medb had none to touch it.”

Queen Medb

Credit: Joseph Leyendecker ©Alamy

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Rathnadarve

Credit: Rathcroghan VC

Rathcroghan Mounds, Co. Roscommon

Credit: Fáilte Ireland

Opposite Page Knocknarea, Co. Sligo

Credit: Photographic Archive, National Monuments Service, Government of Ireland

As comparisons are made between the couple over who has the greater fortune, the most prized possessions, they realise they are equal in all things… bar one. Where Ailill is in possession of Finnbennach, the great White-Horned bull (who was once owned by Medb), Medb has nothing to match.

Knowing that the only way to surpass Ailill’s fortune is to obtain the Brown Bull of Cúailnge, Medb rallies troops of men behind her from her seat at Rathcroghan, and goes to war against Ulster when the bull’s owner refuses to hand him over.

There are two ways of reading Medb’s actions here:

The first is to see her decision to go to war as juvenile and trivial, risking people’s lives for mere belongings, just to win a competition against her husband. The second, however, provides us with a more nuanced depiction of Medb’s character, as Queen, but also as a woman. According to Sylvia Brinton Perera, Medb’s decision to go to war

signifies a determination to maintain independence, to retain and protect her power over herself and her land, from what Perera calls “the rising patriarchal Celtic aristocracy.”

Ailill receives his power, his authority, via his marriage to Medb; without her, his rule is not legitimate, demonstrating the influence that Medb holds. As the recognised Sovereign of Connaught, her authority over the lands of Rathcroghan and its people is power that Medb does not want to lose. Her being is so tied to Rathcroghan that her bodily functions actually alter the landscape when her menstrual blood creates the earthwork channels known as the Mucklaghs.

The Táin Bó Cúailnge symbolises Medb’s fight to remain equal to her husband and retain the lands that are so much a part of herself.

“I have never heard in all Ireland of a province run by a woman except this one.”

Ailill confirms the power that Medb has within Connaught with this statement, which is why only Medb can determine who becomes king through a sacred marriage ritual.

This ritual involved the chosen man becoming so drunk that it would grant him access to the spiritual world, thus receiving the knowledge required to rule a kingdom. The word mead has a close correlation with Medb’s name, meaning ‘drunken one’ or ‘she who makes drunk’. Perera notes that in other folklore, as well as Celtic, the goddess of sovereignty is not only the one serving the drink, but is also the drink herself, therefore giving her future king the power and knowledge to rule alongside her divine self. Only those kings selected by Medb were recognised by the people.

However, if the king was no longer fulfilling his duty, both as ruler and husband to Medb, the failure would be reflected in the land. Land that Medb is visible in.

At Rathcroghan, its earthworks and mounds reflect Medb’s bodily fluids and her physical form.

At Tara, where Medb’s father was King, the henge Rath Maeve is named after her (which could also refer to her predecessor Medb Lethderg).

At Knocknarea, Queen Medb’s Cairn is a symbol of the life/death cycle, representative of pregnancy in its rounded shape among the mountains, while also being Medb’s supposed resting place.

According to Gerard Mulligan, parts of Rathcroghan may have been deliberately created to represent Medb, “allowing the king to be ‘physically’ close to the goddess” even when she is not there, always maintaining that connection to his source of power.

The reach of Medb’s power across Ireland cannot be underestimated. Whether as Queen, Warrior, or Goddess, Medb holds sway over kings, wars, and the landscape. Despite warring opinions of her character, Medb is one of the best known ‘players’ in Celtic Myth, to the point that many Irish monuments are associated with her name.

It makes it hard to deny that Medb of Connaught is anything but legendary.

Sources:

– Brinton Perera, Sylvia. Celtic Queen Maeve and Addiction: an archetypal perspective, 2001.

– Dictionary of Irish Biography. Medb Chruachna, contributed by John Carey.

– Lehmann, Edyta, 2008. ‘And thus I will it’: Queen Medh and the Will to Power Jstor.

– Mackillop, James. A Dictionary of Celtic Mythology, 2004.

– Mulligan, Gerard, 2011. Archaeology and Myth: a consideration of the ancient royal site of Rathcroghan. Jstor.

– Neolithic Cúil Irra, Co. Sligo –Knocknarea / Carrowmore / Carns Hill 2017. Jstor.

– Ó Cathsaigh, Tomás, 2002. “Táin Bó Cúailnge” in Coire Sois, The Cauldron of Knowledge. Ed. Matthieu Boyd. Jstor.

– Waddell, John, 1983. Rathcroghan: a royal site in Connacht. Jstor.

– Waddell, John, 2009. Rathcroghan, Co. Roscommon: where the Táin Bó Cúailnge began. Jstor.

A day in the life

Focal lenár nOifigeach Gaeilge Liam Ó’Culbáird

Dia duit, or should that be Dia dhuit? The former is correct when writing and the latter when speaking. Another one of the many little quirks that adds to the richness of the Irish language (Saibhreas na Teanga).

Hello, is mise Liam and I am delighted to be the new Irish language officer with the Office of Public Works. I joined the civil service relatively late in life but was very fortunate to land at the ‘Board’. I started as an Executive Officer with National Historic Properties before joining the Conservation Architects as a Higher Executive Officer. I then saw the advert for Irish language officer, applied, was successful and now I work with the Policy Unit. Each role has suited me greatly because I have a keen interest in history and culture.

I am also a late-comer to the Irish language. When young, there were no Gaelscoileanna in my locality. There was no Irish at home but my parents were always sympathetic towards the language. I was twice packed off to the Gaeltacht and did not particularly enjoy the experience, or so I thought. I achieved a Grade C in ordinary

Irish at Leaving Cert. I then became an apprentice and drifted from the language but something always kept me interested. I was in my mid-30s when the flame rekindled. I started attending conversation groups, listening to the radio and reading voraciously. I developed a network of like-minded friends and through that improved my fluency.

My main role is the promotion of An Ghaeilge within the organisation and advising on compliance with the Official Languages Act 2003 and 2021. There have been recent developments in this area that mean that we in the OPW have increased legal responsibilities when it comes to Irish and its role in our work. My role is to guide and assist staff to ensure that the Office meets its obligations.

In addition to the legal compliance aspect of my work, it’s also important for me to promote the recreational activities available in Irish.

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Irish Language Tour at Dublin Castle.

Credit: Shauna Fox

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Liam ag caint faoi Edward Fitzgerald.

Credit: Fionnuala Doherty

Some initiatives that are proving successful are:

– ‘Lón le Gaeilge’– going from strength to strength. A monthly on-line get-together in a relaxed environment where people can practice their cúpla focal in a supportive environment.

– Irish language tours – In addition to OPW sites in Gaeltacht areas, Irish language tours are now available at many heritage sites including Rock of Cashel, Dublin Castle, Casino Marino, Pearse Museum, Royal Hospital Kilmainham, Custom House Visitor Centre, Kilkenny Castle, Emo Court and others.

– Staff Irish language courses – The numbers of staff availing of Onelearning Irish courses is increasing each year. These are of great benefit to team members and are completely free of charge.

– OPW representation – We introduced a popular Seastán Gaeilge (Irish stand) at this year’s Ploughing Championships, we were represented at An tOireachtas in Killarney (the annual language and culture event) and we are now advising on plans for the development of a Gaeltacht Quarter in Dublin’s south city centre. OPW is actively working with many of the Irish language promotion bodies to help raise the profile of the Irish language.

The Official Languages Act was introduced in 2003 and it gave legal status to the Irish language. The primary objective of the Act was to ensure improved provision of public services through the Irish language. The Act was strengthened when amended in 2021. As a government agency, the OPW must comply with all requirements of the Act. Oifig an Choimisinéara Teanga (OCT) is the Language Commissioner’s Office, an independent statutory office operating as an ombudsman service and as a compliance agency. I am the contact person between the OPW and OCT and I am pleased to say that we have established a good working relationship with the team at the Commissioner’s office.

If a breach of the Act is reported, OCT will open a case and contact us. I will liaise with them to remedy the breach and rectify the problem. In order to do this I require the cooperation of the OPW staff. I am absolutely delighted with the co-operation and buy-in that I have witnessed so far. Thank you all! The main areas of complaint relate to non-compliant signage, lack of Irish language information leaflets/publications and Irish language communications answered in English. These are all easily rectified and once a breach is identified we all learn from it. The OPW is making great progress in meeting our requirements under the Act.

In summary, tá a lán déanta ach tá níos mó le deanamh (a lot is done but there is more to do). If I can be of assistance to anyone please do not hesitate to make contact. The easiest way is via gaeilge@opw.ie Tá mé ag súil go mór le cloisint uait. Ádh mór!

Portrait Miniatures and the Irish Country House

Mary Heffernan

A catalogue of the collection of portrait miniatures donated by Edmund Corrigan to the Irish Georgian Society (IGS) for display at Castletown and Doneraile Court has been published by the IGS in October, 2024. It provides comprehensive catalogue descriptions on the sitters in the portraits and the houses they resided at. Author Kevin Mulligan has unearthed vast quantities of information that connects miniature to miniature, family to family, house to house adding significantly to our understanding of the interlocking family and social histories of Irish country houses. Paul Caffrey, leading expert on miniatures notes ‘few historic family collections of miniatures survived in Ireland making this a truly remarkable collection of national importance’.

In addition to the detailed catalogue entries and images of sitters there are carefully sourced illustrations of the houses the sitters lived in. The watercolours, pen and ink drawings and paintings of the houses, topographical

views and landscapes work especially well. Kevin weaves a magically interwoven account throughout the 221 catalogue entries.

William Laffan contributes a fascinating essay on the history of portrait miniatures which sets the context to the significance of Edmund’s collection and the links to literature are particularly effective.

The background to the making and researching of the catalogue goes back to 2016 when miniatures of the Boyle and Fitzgerald families were presented on loan to Castletown and went on display in the Print Room. The following summer Donough Cahill, Director of the Irish Georgian Society (IGS) raised the possibility of a substantial miniature collection being made available for Castletown on long-term permanent loan. The Collection was to be donated to the IGS by Edmund Corrigan. Following agreement with the Director of National Historic

Properties, Rosemary Collier, Dorothea Depner and I progressed plans for the Edmund Corrigan Collection of portrait miniatures, in association with the Castletown Foundation, to be housed at Castletown. By the middle of 2018 the IGS was getting ready to transfer the miniatures and it was agreed that a small selection of the miniatures would be housed at Doneraile Court –Edmund had fundraised for the earlier conservation works at Doneraile Court in the 1980’s and wanted to support OPW’s work now in presenting suitable and interesting collections at Doneraile. Ludovica Neglie made the first inventory of the collection investigating provenance with Edmund.

The Chairman of the Castletown Foundation (CF) David Sheehan together with the late Jeanne Meldon, Director and former Deputy Chair of the CF commenced work on how best to display the miniature collection. Pat Murray, another Director of the CF, had been supporting Edmund in his collecting and together plans started to come together. David knew that Edmund was clear the style of presentation was to be Country House and David Sheehan designed a scheme for the Lady Kildare Room. Conservation of the Lady Kildare Room and bringing it into visitor tours had been under discussion for some time. The arrival of Edmund’s collection and the

challenge of how best to display it was the catalyst to the conservation project. Jeanne had a wonderful knowledge of the families and the houses and gave much time and effort into organising the groups by family and houses. David Hartley at Castletown took control of the care of the miniatures working to David’s layouts for the room and Sandra Murphy took charge of ensuring the guiding team prepared for interpreting the collection to visitors. Joanne Bannon, Historic Collections Registrar, led on the loan agreement documentation between OPW and the IGS in line with the Museum Standards Programme of Ireland (MSPI). The cases for display of the miniatures were at the house including the Luggala bookcase from the Green Drawing Room, upcycled unused frames and furniture from the Farmyard. It all combined to make a most suitable receptacle for the collection. A beautiful porcelain desk set donated by the late Della Howard through the London Chapter of the IGS is part of the displays in the Lady Kildare Room and it was the late John Redmill and John Berger who presented that to Castletown. In parallel work was beginning to take off on the upgrade and conservation of the Ground Floor at Doneraile Court.

It was so special that Edmund could be present when Doneraile Court – a house he had fundraised for and donated

–

All images show Portrait Miniatures. Credit: Edwin Davidson, Castletown Foundation

Source:

“Portrait Miniatures and the Irish Country House: the Edmund Corrigan Collection” by Kevin B. Mulligan, Irish Georgian Society, 2024

several paintings to – re-opened in June 2019. He could see the interiors come back to life with two stunning framed displays of his portrait miniatures. It was another day of great celebration when in the final few days – unknowns to us - pre Covid lockdown – we gathered on 6 March, 2020 to view the collection installed in the Lady Kildare’s Room together with the celebration to mark the acquisition of the Duchess of Leinster portrait by Reynolds – a joint purchase by the OPW/CF and the Friends of the National Collections of Ireland (FNCI). It was a delight to see Edmund enjoy seeing the miniatures presented so magnificently. When the second phase of Doneraile Court was completed we were delighted that Edmund was able to view

the displays in May 2023, just months before his untimely death. The two interiors of Castletown and Doneraile fittingly bookend the Foreword to the newly published catalogue on the Edmund Corrigan Collection. A job well done and a fitting testimony to excellent outcomes for Ireland’s cultural heritage from the careful nurturing of private philanthropy with charitable and public institutions. The Edmund Corrigan Collection at Castletown and Doneraile Court is something we can all be proud of.

The Rich Heritage of Co. Clare

Building awareness of the unguided sites the OPW conserve and present in County Clare.

Carmel Shaw

Michelle Monks

Dysert O’Dea Romanesque

Door stone carvings

Credit: Michelle Monks

Killone Abbey

Credit: Adrian Donnelly

Ennis Friary and Scattery Island are the only two guided OPW sites in county Clare (to date).

Situated in a county with such a rich heritage our guides are regularly questioned about other sites visitors encounter while traveling through the county. Quin Friary and Clare Abbey regularly feature here in Ennis and our guides over the years have compiled a brief handout to inform those wishing to learn more on these nearby sites. A service I believe many of our colleagues around the country also provide, giving information on sites other than their own.

In conjunction with the Visitor Services 2024 project to promote the unguided sites within the OPW portfolio, the Ennis Friary guide team undertook a project to discover and promote a selection of

our Clare unguided sites. Twelve were chosen to display some of the variety of our built and social heritage. Many of the sites have a link to the O’Brien clan, former kings of Thomond and founders of Ennis Friary, and thus a link to our own site. This research is kept on file in hard copy at reception for our guides and visitors and is available through our social media for all to access.

During the 2024 season, the Ennis Friary Guides embarked on an exciting journey to uncover some of County Clare’s most extraordinary, but often overlooked, historic gems. Starting as a bi-monthly Facebook campaign, our goals included raising public awareness of Clare’s many historic sites, expanding our own online community, and inspiring visits to Ennis Friary itself.

Throughout the season, we researched and visited sites spanning from the Stone Age to the Medieval period, sharing insights on structures such as portal tombs, ring forts, abbeys and castles. One thing we hadn’t anticipated was how deeply the research would impact us. As a team, we’ve shared quiet moments, excitedly recounting the discoveries we’ve made about the places we’ve chosen to explore. We’ve shared stories that bring Clare’s rich history to life, such as:

– The fierce, bloody battle fought between two opposing O’Brien factions at Clare Abbey

– The ancient inauguration site of Magh Adhair were the O’Brien Kings of old dramatically chose to perch atop the tomb of a mighty Firbolg warrior

– Kilnaboy Church, a site of sacred pilgrimage once believed to house a relic of the true cross

– And captivating discussions on the breathtaking medieval stone carvings that still stand proudly at some of these historic heritage sites today!

With the Ennis Friary’s Guides’ shared passion, we haven’t only shared Clare’s wonders with others through social media, we’ve also deepened our own appreciation and love for this beautiful county we call home.

This social media campaign has culminated in the “Unmanned Sites of County Clare” series, now accessible on the Ennis Friary Blog. With Ennis Friary closing for the winter season, we hope to encourage our followers and history enthusiasts to explore these historic sites in person and through our digital content, enhancing their connection and appreciation to Clare’s historical past.

To find out more about the Unmanned Historic Sites of County Clare please see https://ennisfriary.wordpress. com/2024/10/08/unmanned-historicsites-of-co-clare/ for further details.

Carving at Kilnaboy Church

Credit: Michelle Monks

Clare Abbey

Credit: Michelle Monks

Drumcliffe Church and Round Tower

Credit: Pearse Grimes

Sheela na Gig at Kilnaboy Church

Credit: Michelle Monks

Gleninagh Castle.

Credit: Teri Brandon

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Buy one at select OPW Heritage Sites or online at heritageireland.ie

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Events

Heritage Week at Rathfarnham Castle

Jeanie Rochford

Heritage week 2024 was themed Connections, Routes and Networks. Inspired by the artefacts discovered at Rathfarnham Castle, such as fans, shoes, hairpins, jewels, and fabric fragments, I gave a talk on fine clothing in 18th century Ireland as seen in the paintings of the Loftus family of Rathfarnham Castle. In the process I learned how connected Ireland was to international trade and the routes travelled by the silks, lacework, furs, hats, fans and jewels imported here. Many of these precious items travelled to Ireland via the network of colonies of the British empire. In addition, local industries sprang up in Ireland to keep the aristocracy in thread, lace, stockings, shoes, wigs and poplin.

Nicholas Loftus, Marquis of Ely, chose to wear Irish Linen in his 70th birthday portrait, on display in the anteroom at the Castle. I also found that 18th century aristocratic women in Dublin took advantage of their social visibility by choosing to only wear fabrics of

‘Irish manufacture’ at important state occasions. They exercised their patriotism by supporting the poor of Irish society in the deliberate choice of Irish-made fabrics.

The Liberties of Dublin was famous for velvets, silks and poplin; a woven blend of wool and silk, which was included in Queen Victoria’s trousseau in 1840. In his portrait, Nicholas Loftus the first earl, appears in a silk velvet coat and breeches. The Loftus family had access to the finest textiles through their connections, both at home and abroad and they were a part of a network which generated and consumed Irish manufactured clothing of the highest quality.

Tour of Rathfarnham Castle Credit: Fáilte Ireland

Heritage Week at the Rock of Cashel

Thomas P. Nelligan

Heritage Week 2024 at the Rock of Cashel proved to be a resounding success with crowds flocking to the site to avail of the free entry offered on Heritage Week’s first weekend. A talk given by Dr. Louise Nugent about Pilgrimage in Medieval Tipperary was insightful and fascinating for all who attended. Later in the week guides conducted bilingual guided tours of the Rock of Cashel in Irish and English. These tours were very well attended and proved to be extremely popular with visitors who got to try out their Irish language skills in a supportive environment while connecting with and learning about one of Ireland’s most iconic heritage sites.

D’éirigh go hiontach le Seachtain na hOidhreachta 2024 ar Charraig Phádraig. Bhí na sluaite i láthair ar an chéad deireadh seachtaine toisc go raibh saorchead isteach chuig an suíomh. Thug Dr. Louise Nugent léacht an-spéisiúil agus léargasach faoi thurais sna meánaoiseanna i dTiobraid Árann. Bhí turais dátheangacha (Gaeilge agus Béarla) ar siúl ag na treoraithe ar Charraig Phádraig níos déanaí sa tseachtain. Bhí go leor cuairteoirí i láthair agus thaitin na turais sin go mór leo. Fuair siad deis a scileanna Gaeilge a thriail i dtimpeallacht tacaíochta agus iad ag foghlaim faoi cheann de na suíomhanna oidhreachta is cáiliúla in Éirinn.

The Rock of Cashel Credit: Liam Murphy

Events

Culture Night at the Castle

Maelle Champenois

The second last Friday of September, Culture Night, has been a highlight of the event calendar at Kilkenny castle for over a decade. Every year, for one night, Kilkenny Castle opens its door to the public and offers a unique opportunity for tourists and locals alike to discover or rediscover the Castle under a different light.

festival “Kilkenny’s Toil and Trouble” which is running until November. The intriguing figure of Alice Kyteler was such a popular topic that a second date in November had to be organised to facilitate those unable to secure a seat on the night. With 120 attendees to the talk and over 550 visitors to the period rooms, this year was one of our most successful Culture Nights so far.

Credit: OPW Kilkenny Castle

Visitors can wander through the magnificent Victorian period rooms and exhibitions at their own pace. They can discover our collections and chat with our knowledgeable guides about anything from the medieval origin of the Castle to the craftsmanship of those involved in the restoration and conservation of the building.

This year, Kilkenny Castle also hosted a free talk by historian and podcaster, Fin Dwyer: “Alice Kyteler: Witch, Victim or Feminist Icon?” 2024 marks the 700 years anniversary of the infamous Kilkenny witch trials and it seemed fitting to include as part of our Culture Night, a presentation on the woman at the centre of the first witch trial in Ireland. This event was part of a wider programme organised around Kilkenny’s newest

We look forward to opening our doors and turning the lights on again next September for the 20th edition of Culture Night. Once again, we will strive to make Kilkenny Castle more than just a historic landmark but a welcoming space within our vibrant community, for people to connect, explore and exchange.

Kilkenny Castle, Culture Night 2024

The image was created by Rosa Ballester Cabo from Cartoon Saloon for Kilkenny’s Toil and Trouble Festival

Credit: Kilkenny County Council / Cartoon Saloon

Open House

Eimear Cuddihy

Open House is an invitation to go behind the scenes at some of Ireland’s most historic places. Organised by the Irish Architecture Foundation, the 2024 festival ran from the 12th-20th October.

IAF Director, Emmett Scanlon outlined that “this festival of architecture is a chance to unite, to go behind the scenes, to get under the skin [and] read Dublin beyond the headlines”. As part of Open House and Open House Junior, OPW sites organised some wonderful events around Dublin city at Rathfarnham Castle, Farmleigh House, National Botanic Gardens Glasnevin, Casino Marino, Custom House Visitor Centre and Dublin Castle.

At National Botanic Gardens, ‘The Plant Palaces’ Tour explored two of the iconic 19th century glasshouses onsite. Likewise, Farmleigh House focused on the architectural history, design and development of the building from the 18th century Guinness family home to today’s state guesthouse.

Open House at Rathfarnham Castle examined the Elizabethan fortified house commissioned in 1583 by ArchbishopChancellor of Ireland, Adam Loftus.

Tours at Casino Marino also traced the architectural history of the 18thcentury pleasure house, with a guide narrating this wonderful example of Irish Neoclassicism. Open House allowed visitors to view Sir William Chambers’ extraordinary design and the 16 finely decorated rooms within. This includes the Zodiac Room which has a domed ceiling and represents the sky with astrological symbols modelled around its base.

Open House Tour of Dublin Castle focused on the State Apartments and Chapel Royal. The Chapel Royal is a spectacular gothic revival designed by Francis Johnston. Guides spoke about the carved stone heads adorning the doors, windows, and spires of the Chapel’s exterior. There are over 100 of these stone heads carved by John and Edward Smyth. They include figures like Queen Elizabeth I, St. Patrick, Johnathon Swift and Mary Queen of Scots as well as angels, grotesques, saints and archbishops.

Open House at Dublin Castle’s Chapel Royal Credit: Fionnuala Doherty

Recent Exhibitions Autumn 2024 Events

BEYOND CHAOS & ROOTS

Dublin Castle Coach House

“Beyond Chaos” is an exhibition by the Textile Journey Collective. This is a union of all-island art practitioners with various access needs at all stages of their careers. The collective consistently shares skills and ideas to serve the community through diversity and inclusion initiatives. The work in this exhibition is in two strands: the personal practice of each artist and the outreach work they have done with communities. The personal pieces are developed behind closed doors and share artists’ personal messages. The community installation incorporates work from people from around the globe, and work developed through the Irish Department

of Education’s inclusion and diversity programmes, the Bulgarian Ministry of Agriculture, and the Irish expat community in Australia.

“Roots: a Dialogue in Textile and Poetry” is a collaborative project between element15, a collective of textile artists based in Co. Kildare and poet, Jane Clarke. The exhibition of new textile artworks gives visual expression to the quiet, powerful words of the poet. It speaks to the eternal human concerns of living, loving, and dying and opens doors into memory, emotion, ideas, and possibilities, offering both solace and disturbance.

Both exhibitions are running simultaneously from September 26th 2024 – January 19th 2025. Roots

Credit: Shauna Fox Beyond Chaos

Credit: Shauna Fox

Passages of Time

Credit: Maria O’Hanlon Péisteanna

Credit: Siobhán Treacy

PASSAGES OF TIME

Farmleigh

“Passages of Time” is a solo exhibition by artist Christine Lennon Carey that was held in Farmleigh’s Cowshed Theatre from October 6th –November 3rd 2024.

It was a retrospective response to the series “A Sense of Place”. Carey uses her art to explore the themes of time and place, moving the viewer with her narrative of place, through the medium of paint. Two of Carey’s paintings were purchased by the OPW Art Management Department.

“It is through the manipulation of place, the seen and unseen, that drives me forward, seeking to capture the essence of the visual while triggering the viewer’s emotions as they are enlightened. Generating a memory of being present.”

PÉISTEANNA

Casino Marino

Inspired by the recently discovered Bram Stoker short story Gibbet Hill, artist Paul McKinley has created a body of work that delves into the psychological horror of this gothic story. McKinley’s art was exhibited at Casino Marino from October 4th – November 6th 2024.

McKinley captures Stoker’s words and brings them to life with such colour and vibrancy, complementing the themes weaved within the text.

Gibbet Hill was originally published in 1890 in a Dublin newspaper, a precursor to Dracula, but was lost to time. It was only recently discovered again by amateur historian and Stoker enthusiast, Brian Cleary in the National Library of Ireland archives.

The OPW was delighted to be part of this monumental literary find by hosting McKinley’s artistic expression on one of Ireland’s most famous writer’s stories; bringing what was once hidden back into the light.

Christmas at the Castle Events

Christmas at the Castle will run from November 28th to December 18th. Set in the heart of the nation’s capital, Christmas at the Castle will have something for everyone, with a boutique open air Christmas Market and an array of festive offerings.

The historic courtyard of Dublin Castle will be filled with traditional Christmas market stalls featuring an array of decorative crafts and inspiring gift ideas. Come and indulge in traditional fare sold by artisan producers and soak up the festive atmosphere. There will be also be a vintage carousel on site for children.

With over 1,000 years of history in Dublin Castle and plenty of festive food, crafts, music and entertainment – there will be something for everyone to enjoy this festive season

Carnival, Dublin Castle. Credit: Dublin Castle Smaller image Credit: Mark Stedman

Christmas at Farmleigh 2024

Winter in Dublin

Christmas at Farmleigh is back again this year. We will be celebrating for three weekends leading up to the big day itself. Each Saturday and Sunday we will have our Food and Craft markets selling great produce and handmade items, making ideal Christmas gifts. The markets will be full of Christmas cheer with live music and festive displays.

Farmleigh House itself will be open to the public and dressed in holiday style. The ballroom will have a variety of choirs performing Christmas songs each weekend.

There will be storytelling, puppet shows, horse and carriage rides and much more.

Farmleigh at Christmas is a free event but performances will be ticketed on a first come basis.

Farmleigh at Christmas is running 10:00-17:00

Saturday and Sunday

7th/8th/14th/15th/21st/22nd December 2024

Craig Savage, Farmleigh House.

Dublin’s many attractions, hotels and companies come together early in the year to start planning for the Christmas and New Year’s period. For the OPW team, it is an opportunity to meet our peers and link in with other events taking place. Each year, Dublin is lit up as part of the Dublin Winter Lights Festival and the Custom House Visitor Centre is lucky enough to participate. The evenings become darker earlier but the Custom House lights up for everyone to see. It’s also a time of year for us to welcome our annual carol singers for an afternoon of festive cheer before closing for the Christmas period. It takes place in the

atrium of the Visitor Centre and gets everyone into the Christmas spirit. The man who gave us our greatest gift here, the Custom House itself, James Gandon died on Christmas Eve in 1823. We commemorate his memory on the 22nd December with a special tour about his life and contribution to Dublin City. We continue to spread the Christmas spirit on social media by joining the Visit Dublin Campaign to advertise our seasonal events. When we return after the Christmas break, we still have the stunning Winter in Dublin lights to help bring the festive cheer into the New Year.

Christmas at Farmleigh Credit: Maria O’Hanlon

Winter in Dublin at Custom House Visitor Centre. Credit: Shauna Fox

Winter Solstice

Newgrange -

Joanne Clarke

Newgrange chamber

Credit: Photographic Archive, National Monuments Service, Government of Ireland

Winter Sunrise

Credit: Siobhán Rhenish

Christmas Fair at Oldbridge Events

The annual lottery draw for exclusive access to the Newgrange chamber at sunrise on the mornings of the Winter Solstice took place at the Brú na Bóinne Visitor Centre on Monday 7th October. OPW staff were joined by pupils from the local national schools of Donore, Knockcommon and Slane.

The pupils were given the important task of selecting the 38 winners from the 18,809 applications received. The lucky winners are drawn from counties across Ireland and locations around the globe, including Canada and the United States, Austria, Spain and the UK.

The winners, along with a guest, will have access to the Chamber for sunrise on one of the days between 19th and 23rd December.

The Winter Solstice is an astronomical phenomenon which marks the shortest day and the longest night of the year. In the Northern Hemisphere, the Winter Solstice occurs on December 21st or 22nd, when the sun shines directly over the tropic of Capricorn. At Newgrange, the passage and chamber are aligned in a south-easterly direction, facing the rising run at the winter solstice for several days around December 21st. A small window-like opening above the doorway, known as the roof box, allows the light from the midwinter rising sun to penetrate the chamber and dramatically illuminate it. This event can last for up to 17 minutes depending on weather conditions.

The countdown begins... Christmas fair time. On the 30 November & 1 December over 14,000 visitors will descend on Oldbridge to enjoy our Christmas market.

Alongside the wonderful artisan food and craft stalls, we will have seasonal music to kick start the celebrations and get you in the Christmas Spirit. Enjoy browsing through our fair stalls, meeting

the artisans and food producers behind the wonderful creations and tasty treats. And why not treat yourself and your loved ones to delicious treats and unique gifts.

Pop on your Christmas jumper and winter woolies and join our Christmas celebrations this festive season. Merry Christmas everyone!

Christmas Fair team 2023

Newgrange Solstice 2024

Experience the magic of the rising sun at our UNESCO World Heritage Property

View the livestream here

Ken Williams

Ross Castle

Credit: Fiona Fitzgerald

Acknowledgements

A sincere thank you to the Editorial Team and all the contributors to this Winter 2024 edition of the Heritage Ireland magazine.

The knowledge and passion for heritage across the organisation is wonderful to see, and we welcome submissions for the Summer 2025 edition.

Maeve McCormack, Assistant Principal, Visitor Services

Editorial Team:

Sinéad Maye (Editor)

Eimear Cuddihy (Deputy Editor)

Shauna Fox (Deputy Editor)

Graphic Designers: Penhouse Design

Winter snow, Rock of Cashel, Co. Tipperary.

Credit: Brian Morrison