This is kerb stone 78 at Knowth, located not far from the entrance to the western passage. It is one of 127 kerb stones at Knowth, of which 90 have megalithic art. But what do these symbols represent, if anything? Are they merely art for art’s sake?
American artist Martin Brennan published a book called The Stars and the Stones in 1984, having studied and drawn the megalithic art on almost all of the known decorated prehistoric stone sites in Ireland. Brennan’s overall supposition was that the ancient engravings at Neolithic sites such as Newgrange, Knowth, Loughcrew, and many others, were related to astronomy. His book was later republished as The Stones of Time.
The main plank of Brennan’s hypothesis was that the megalithic mounds and art are “interconnected, sophisticated calendar devices”. The summary on the back cover of the book says:
At critical times of the year, the rising or setting sun projects beams of light into the inner chambers of the mounds, illuminating specific images carved on the stones. Those images – seemingly abstract wheels, spirals, and wavy lines – suggest provocative new insights into their makers’ understanding of celestial cycles and the importance of those cycles in human affairs.
Brennan’s interpretation of kerb stone 78 (which he labelled as stone NW4 in his own personally devised numbering convention) is that it contains a diagrammatic representation of the moon through the use of what he calls “bijections or one-to-one correspondences with the phases of the moon”.
Brennan suggests that lunar imagery predominates on the kerb stones on the western portion of the great kerb of Knowth, where the crescents and arcs that dominate the imagery were generated by an interest in the moon and the division of time long before the age of mechanical clocks.
The crescents, waved lines and circles on Kerb 78 represent the phases of the moon, according to Brennan.
A ribbon-like development of the wavy line extends from the central image. The line follows a sequence shaped to fit the lunar month. The wavy line is transformed into crescents and then a full circle or full moon on the fourteenth count. A line divides the rest of the month, towards the end of which the crescents revert to the wavy line at the last quarter, defining a month of 30 days.
He proposed a second way of ordering the month using a different interpretation of the symbols. The top line counts from the first day of the moon as far as the seventeenth day, which is the day upon which the moon begins to wane. The sequence continues at the bottom of the stone, as far as day 27 and the last visible crescent. A final three-count wave represents the three invisible days of the moon.
Brennan's alternative lunar month count for kerb stone 78, Knowth.
The number 17 is often treated with special significance in connection with the moon, he says. "It may have had significance in a calendar of ritual. Usually it is the seventeenth phase of the moon which appears on the horizon and projects a beam of light into the mounds."
Brennan’s work is not without its detractors, and the analysis and categorisation of megalithic art has been an area of debate and dispute. Some scholars argue that the megalithic art is abstract and non-representative. Brennan, however, develops a comprehensive thesis around the astronomical symbolism and, coupled with his team’s important discoveries at Loughcrew and Dowth*, it all makes for a fascinating interpretation.
Kerb stone 78 at Knowth.
* Brennan, along with Jack Roberts and others, discovered that the southern passage at Dowth is aligned so that light from the setting sun on winter solstice reaches the stones at the rear of its circular chamber. They also discovered that Cairn T at Loughcrew is aligned so that a stone with solar emblems at the rear of its chamber is bathed with sunlight at dawn on the vernal and autumnal equinoxes.
"Myths are just stories," a historian once told me. As far as he was concerned, they were stories that were made up for sheer entertainment. In that mindset, myths are not metaphors for anything, and they certainly don't contain detail about real history, or any information such as astronomical data.
However, students of mythology know the truth is much more complex than that. Many myths are metaphorical. Some do refer to actual events. And there are stories that appear, in certain interpretations, to contain astronomical information.
My own view is that myths should never be dismissed as mere stories. However, the truth is that in most cases we can only travel so far along the road of hypothesis and speculation, no matter how well grounded it is, because often we are unable to discern the true age of a myth, or how it might have been altered by the voices of time.
In the case of Newgrange, Dowth and Knowth (the former two in particular), there are myths and folk tales that appear to offer a tantalising possibility - that they contain information about these sites and the function of these monuments that might go all the way back into deep prehistory. And so I will discuss some of these myths and folk beliefs in the context of possibility only - without drawing any definitive conclusions, except to acknowledge at the outset that I am excited about the possibilities, which may tinge my investigation with a hint of subjectivity.
Newgrange, Knowth and Dowth. Images by the author.
Joseph Campbell
I've written in several publications about the Venus connection at Newgrange. Joseph Campbell, writing in The Masks of God: Primitive Mythology, referred to a local story that suggested that at sunrise on one day in eight years, the morning star rises and casts its beam into the chamber. This story was recounted, it would appear, before the excavation and restoration of Newgrange in the 1960s, work which resulted in the leading archaeologist Michael O'Kelly witnessing, in 1967, the light from the winter solstice sun entering the chamber. Prior to the restoration, neither sun nor Venus (nor any heavenly body) could be seen from the chamber because of the subsidence of the passage cap stones during the five millennia since Newgrange was constructed.
Of particular intrigue is the fact that archaeologists maintain Newgrange was "sealed up" within a few centuries of being built after cairn material slipped off the top and covered the kerb and entrance, and that its passage and chamber lay concealed for about four millennia until local landowner Charles Campbell rediscovered the entrance in 1699AD.
Another folk belief in the 1930s, recounted recently in this blog, told how the Tuatha Dé Danann brought stones from the Mourne Mountains for the building of the mounds. During the excavations in the 1960s, it was indeed discovered that there were water-rolled granite cobbles at Newgrange (which had been hidden beneath the cairn slip). These, it has been revealed, came from the Cooley Peninsula, but have their origin in the Mournes.
In his 1990 paper, Time, Memory, and the Boyne Necropolis, John Carey examined aspects of two stories - one about Newgrange and one about Dowth. The Newgrange story, from Tochmarc Étaíne, The Wooing of Étaíne, tells of how the Dagda sent Elcmar away so that he might have illicit relations with Elcmar's wife, Bóinn. The Dagda worked a magic spell, so that Elcmar would seem that he is away for a single day, when in fact he had been away for nine months. Dagda lay with Bóinn and the child Oengus Óg was conceived and born. The Dowth story, from the Dindshenchas, told how the king, Bresal, had brought the men of Ireland to build him a tower to reach heaven. The king's sister cast a spell on the sun to make it stand still, so there would be endless day to allow the tower be built.
The myths of the Boyne monument appear to indicate control of time.
Carey makes a very interesting observation: "I am aware of no Irish legends associating the control or construction of sacred sites with the manipulation of time other than those which concern the tumuli of the Boyne valley."
In the tale Altram Tighe Dá Mheadar (The Fosterage of the House of Two Vessels), Manannán advises Oengus on how to take Newgrange from Elcmar: "Command him not to come (again) to the house from which he departs until ogam and achu are mingled together, until heaven and earth are mingled together, and until the sun and moon are mingled together." The mingling of heaven and earth could imply the mating of sky with the earth-mound Newgrange during winter solstice, while the latter reference to sun and moon being mingled might refer to an eclipse, something that I think is implied in the story about Dowth, in which the magic spell on the sun is broken when Bresal commits incest with his sister and a sudden darkness comes upon the land. (For further discussion of this theory, see Island of the Setting Sun, chapter 6.) I have discussed at length on the Mythical Ireland website and in my books the idea that the mound builders were competent astronomers, whose knowledge of the complex movements of the moon (and by extension the predictable patterns of eclipses) were recorded in stone, and inherent in the design of the monuments.
Ronald Hicks
Writing in 2009, Ronald Hicks of Ball State University suggested, in a paper entitled Cosmography In Tochmarc Étaíne, that the story of The Wooing of Étaíne was "meant as an allegory about lunar cycles in which Étaín represents the moon". These lunar cycles, writes Hicks, include the 19-year Metonic Cycle, which was"likely to have been of interest to the ancient Irish".
In one part of The Wooing of Étaín, Midir's wife Fuamnach became jealous of her husband's new wife, Étaín. By magic, Fuamnach turned Étaín into a butterfly (some versions say a fly) and raised a storm that buffeted the butterfly around Ireland for seven years.
At last, however, a chance gust of wind blew her through a window of the fairy palace of Angus on the Boyne. The immortals cannot be hidden from each other, and Angus knew what she was. Unable to release her altogether from the spell of Fuamnach, he made a sunny bower for her, and planted round it all manner of choice and honey-laden flowers, on which she lived as long as she was with him, while in the secrecy of the night he restored her to her own form and enjoyed her love.
There is only one "window" at Newgrange - the sky window, or roof box, as it's more commonly known. This aperture allows the sun to shine into the chamber on winter solstice. Perhaps the "sunny bower" is the chamber of Newgrange, illuminated by the rays of the rising sun on Winter Solstice. I discuss this and some of the other above mentioned myths about Newgrange in this video:
Many of you have probably heard the story of the Cailleach (hag or witch) of Loughcrew. The hills of Loughcrew are scattered with the remnants of a vast cluster of megalithic monuments that are thought to be up to 5,500 years old. There are four hills - all containing monuments, mostly megalithic cairns and passage-tombs. These are known today as Carnbane West, Carrickbrack, Carnbane East and Patrickstown Hill. The hills, three of them at least, were collectively known in the 19th century as 'The Witches Hops', and in the 17th as 'the Calliagh Steppes'. In some versions, Carrickbrack is omitted, and in the 15th century the remaining three were referred to as Trí Choiscéim na Caillighe, the three footsteps of the hag.
Climbing Carnbane East to see Cairn T, with (in the left background) Carrickbrack and Carnbane West.
There is an old poem told about the Cailleach of Loughcrew, that goes like this:
I am the Chailleach Beara
Many wonders have I seen
I have seen Carn Bawn a lake,
though tis now a mountain green. (1)
The story about the Cailleach tells how she came from the north and she tried to jump from hill to hill, some say from the Carnbane (the westernmost hill) to Patrickstown (the easternmost), alighting on the other hills in between. If she could succeed in this magical feat she would obtain great power. She was carrying an apron full of stones. As she jumped from hill to hill, she dropped some stones from her apron, forming the cairns on each of the peaks. When she reached Patrickstown (which is undoubtedly a Christian name, and perhaps we might some day learn what its original name was) she fell and broke her neck. According to Jean McMann, in her lovely little book Loughcrew - The Cairns - A Guide, a pile of stones at the bottom of the eastern slope of Patrickstown Hill was known until recently as the cailleach's grave.
In earlier times the hill we know today as Carnbane West was known just as the Carnbane (Carn Bán, the white cairn or the white heap of stones). The hill known today as Carnbane East was, it seems, known as Sliabh na Caillaigh, the mountain or hill of the hag/witch.
Cairn T on Carnbane East, formerly known as the Hag's Carn and Sliabh na Caillaigh.
There is no doubt in my mind that the story of the Cailleach of Loughcrew contains essences of an ancient creation or origin myth. This great woman, whose status has been reduced to an old crone, was probably a goddess of the land who was greatly venerated in ancient times. McMann says of her:
'This cailleach is famous in Irish folklore. Other storytellers have described her as a superhuman woman who could harvest a field faster than any man, a crone lamenting her youth, a banshee announcing a death, or a Christian nun. She is best known as Cailleach Bhéarra, but has been called by many other names, including not only Waura but Beri, Buí and Vera ... and may be a later version of the ancient pagan sovereignty queens whose consent was required for kings to rule. Some scholars think she represented wild nature, as a prehistoric earth goddess'.
Michael Dames, writing in 'Ireland, A Sacred Journey', suggests that "the apron is the divine womb, translated into the language of dress".
In this context, we can see the apron as a womb of creation, and perhaps, in the tradition of Marija Gimbutas, we can think of the cairns not so much as tombs, but more like wombs. As a creation or origin myth, the story of the Cailleach of Loughcrew shares some similarities with another origin myth, that which tells about how the River Boyne was formed. In that story, Bóinn approaches Nechtain's Well, something which is forbidden for a woman. The well gushes forth into a fountain, carrying Bóinn along as it creates the River Boyne. Bóinn is mutilated by the waters - she loses an eye, and her arm and leg are broken. Eventually, she is washed out to sea, where she is drowned. Her lapdog, Dabilla, is transformed into the Rockabill islands. In both cases, a female deity is credited with an act of creation, and in both cases at the end of the act of creation the women are killed.
But there is more to the story of the Cailleach of Loughcrew than meets the eye. I'm inclined to think that the imagery of a woman jumping from hill to hill forming cairns is, perhaps, some memory of an ancient astronomical system in which the sun and moon were seen to rise up out of various hills and cairns when viewed from other parts of the complex, and conversely they were seen to "set into" hills and cairns from other vantage points. I'm inspired in this aspect by the Cailleach na Mointeach, the "Old Woman of the Moors" at the Callanish stones in Scotland. The local people there refer to her as the "sleeping beauty" and once every 18.6 years, the moon at its major standstill southern extreme rises from some part of this sleeping beauty and sets again at the bottom of Mount Clisham. (2)
Until 1980, little was known about any astronomical aspect of the Loughcrew cairns. But in that year, Martin Brennan and Jack Roberts discovered the equinox alignment of Cairn T, during which the light of the rising sun on the equinoxes shines into Cairn T (photographed on left) and illuminates what Brennan described as "solar emblems" on the stone at the rear of the chamber. They also discovered that the chamber of Cairn L appeared to be aligned towards the November and February cross-quarter sunrises, and several other small cairns appeared to have alignments towards solar events. In some cases, the passage of a cairn is pointing towards another cairn. For instance, from the chamber of Cairn I on Carnbane West, the sun appears to rise over Cairn T on Carnbane East at the beginning of September.
The imagery of a woman, or goddess, jumping from hill to hill is, I think, possibly symbolic of a system of alignments from various parts of the megalithic complex, focusing on sunrises and moonrises, and also sunsets and moonsets. In the fullness of time, I think an even more comprehensive study of the alignments of Loughcrew will reveal an interest in the extreme lunar declinations, the minor and major standstills of the moon. At Dowth, for instance, my own studies of the alignments of its two known passageways indicates that the setting moon at both its major and minor southern setting positions might have been the primary, or even shared, targets of the southern and northern chambers, while the setting sun at winter solstice (southern chamber) and November/February cross-quarter days (northern chamber) were also targets. Perhaps the death of the Cailleach is allegorical, referring to the lunar extreme, and perhaps the "death" of one 18.6-year cycle and the beginning of the next one? The fact that she was said to have "come from the north is also interesting, because of the fact that the maximum northern rising and setting extremes of the standstill moon are located in the far northeast and northwest.
Until a more comprehensive study of possible lunar alignments at Loughcrew can be undertaken (and I must admit I would be very happy to be involved!) we can only reflect on the possibilities. We know that there are certainly solar alignments. We can't be sure that these alignments were an intended principal function of the monuments, but they constitute a fascinating and indeed almost mystical aspect of these ancient structures. To be lucky enough to have been witness to some of these alignments makes me feel an extraordinary connection with the builders.
We cannot know how far back the story of the Cailleach of Loughcrew goes. Certainly as Jean McMann acknowledges, "People have probably been telling stories about the Loughcrew hills for more than five thousand years".
Is it too bold a step, to wild a conjecture, to suggest that the story of the Witches Hops or the Cailleach's Steps is in fact some remnant of a very ancient myth, one which goes right back to the time when these cairns were constructed?
The illumination of solar emblems by equinox sunrise at Cairn T.
Addendum - watching the moon
Of interest to our discussion about lunar standstills at Loughcrew is the fact that a society carefully observing and recording the moon's cycles would become aware of several things. The number of sidereal months (the time it takes the moon to complete a circuit of the sky, ie from a particular place on the Zodiac back to the same place again) and synodic months (a particular phase back to same phase, eg full moon back to full moon) does not fit neatly into a solar year. 12 synodic months is 11 days short of a 365-day solar year. In fact, the number of lunations only fits the solar year after 254 sideral months, or 235 sidereal months, which is equal to 19 years. This 19-year cycle is known today as the Metonic Cycle. See this page for a further discussion of the Metonics.
Observers watching the Metonic Cycle would also naturally become aware of the rotation of the moon's nodes, and 18.6-year cycle during which the point where the moon's path crosses the sun's path (the moon's path is inclined to the ecliptic by 5.15 degrees, so its path intersects the sun's path at two points in the sky each month) appears to complete a full circuit of the sky. As this happens, the moon appears, at certain times during this 18.6-year cycle, to go through maximum and minimum extremes, which are observable by the moon's rising and setting places relative to the sun's solstice positions. When the moon's node is located exactly on the sun's solstice positions, there is a likelihood of eclipses occurring at the time of the solstices. Conversely, when the moon's nodes are located exactly on the sun's equinox points, not only is there a likelihood of eclipses at the time of equinox, but the moon's path will be at its maximum separation from the ecliptic at the sun's solstice positions. If the moon's declination is at that time within the range of the sun's path, we get what is termed the "minor standstill", while if its declination is outside of the sun's range, we get the major standstill.
It is possible the builders of Cairn T at Loughcrew were not exclusively focused on the equinox sunrises, but also on observing the moon, and in particular at those times when its node was crossing the ecliptic at the sun's equinox points. If this is the case, as we can merely speculate, then we can envisage observers within the rear recess of Cairn T watching for the rising moon at such times. The natural extension of this argument is that if the moon is visible through the aperture of Cairn T and is in the same position in the sky as the equinox sun*, then seven days later (i.e. one-quarter of a circuit around the sky), the moon will be at its major standstill rising position (provided it is on its ascending node when visible within Cairn T) or at its minor standstill rising position if it is on a descending node. In other words, the Hag's Cairn might have been used to indicate the times of the extremes of the moon, when an 18.6-year cycle was ending (the death of the hag?) and a new one was beginning.
(* Around the time the cairns were built. the spring equinox sun was positioned in the constellation we know today as Taurus, the bull, while autumn equinox sun was positioned in Scorpius.)
In this video, I explain some of the fascinating astronomical and mythical symbolism of today's Summer Solstice, and in particular I point out the very unique occurrence of the sun passing above Orion's hand - in the Milky Way - on this auspicious day.
Today is Summer Solstice, the maximum northerly declination of the sun, which occurs precisely at 10:34pm GMT (11.34pm local time) this evening. The sun's rising and setting positions in the northeast and northwest have reached a standstill and over the course of the next few days these positions will begin to retreat southwards. These are the longest days of the year.
If we could somehow blot out the sun, as happens during a total solar eclipse, we would see that the sun is presently located above the constellation Orion, in his outstretched arm. This is unique to our time. The sun's solstice and equinox positions are slowly drifting westwards through the zodiac due to a wobble of the earth's axis. The effect of this wobble is that the solstice/equinox points complete a circuit of the zodiac just once very 25,920 years.
In a few decades' time, the sun will have drifted out of Orion's hand on the summer solstice, moving gradually into Taurus (the bull constellation). It will not return to Orion's hand on Summer Solstice for almost 26,000 years. Eventually the autumn equinox sun will be in the hand of Orion, but not for another 6,500 years! And then in around 13,000 years, the winter solstice sun will be in the hand of Orion. I know it might be hard to believe, but by that time Orion will no longer be visible from Ireland. He will be too far south and only the stars of his upraised arm will be visible here.
Orion/Lugh/Cúchulainn/Fionn/Nuadu carries the sun across the sky.
There is some fascinating mythological symbolism involved in today's occurrence which I have explored before, especially in my book Island of the Setting Sun. There are several candidates for this constellation in Irish mythology. These include Lugh Lamhfada (Lugh of the Long Arm, or Long Throw), who may have been seen to control the movement of the sun, moon and planets along the ecliptic from his arm. Similarly, Lugh's son Cúchulainn, the chief character of the epic Táin Bó Cuailnge, is said to have fired a sliothar (ball used in an Irish game called hurling) through the mouth of a hound/cú (Leo), and was said to have fought best in ford water. Indeed the point where the sun sits on Summer Solstice is that point where the ecliptic intersects with the Milky Way galaxy, the river of the sky. This was Bealach Bó Finne (the Way of the White Cow), and its earthly equivalent was Abhainn Bó Finne (Boyne River). Fionn Mac Cumhaill was said to have thrown standing stones into the landscape from places like Hill of Tara and Slieve Gullion. I wonder if this myth/folk tale perhaps connects Orion with the solstices - it's possible that many standing stones have alignments towards the sun's solstices or the lunar standstills. If Fionn threw the stones, perhaps this is a reference to the alignment with such astronomical events which are seen to be controlled by this illustrious man in the sky. Fionn's name translates as "Bright Son of the Hazel" or "Starry Son of the Hazel".
"I am a light for every road and journey" - Lugh Lamhfada.
An equally illustrious character from the early Irish myths is Nuadu of the Silver Arm, King of the Tuatha Dé Danann, whose arm was chopped off in the first battle of Moytura. He had a new silver arm made for him by the Tuatha Dé Danann healer, Dian Cecht. Thus he was able to take part in the second battle of Moytura (Mag Tuired) in which the Dananns were victorious against the Fomorians. This myth inspired the famous scene in the Star Wars movies where Luke Skywalker (Orion is perhaps seen to walk through the sky) confronts the evil Darth Vader, who chops off his arm with a light sabre. Towards the end of the movie, we see that Luke is given a metal, robotic prosthesis, similar perhaps to Nuadu's new "silver" arm.
The full moon on summer solstice.
The symbolism of today's event is stark. A giant warrior/god/hunter/man carries the sun aloft across the sky, like an Olympic torch bearer, from dawn until dusk.
Tonight, as the sun sets, a full moon will rise in the southeast, in the other "crossing point" or "ford" of the sky where the ecliptic crosses the Milky Way. Full moons on the day of solstice are rare enough. The last one was in 1967. So today we are enjoying a special conjunction of astronomical events.
The moon will be accompanied in that region of the sky by the planet Mars, currently quite bright, and also the planet Saturn and the bright star of Scorpius, Antares.
Monument was thought to have been completely destroyed some time between 1748 and 1907
However, some of its largest stones might have been buried
For years I have been drawing attention to a monument, sadly destroyed, which has been dubbed 'Ireland's Stonehenge'. This was a remarkable and unique monument consisting of several concentric circles of stone, surrounded by a large earthen embankment, all of which was encompassed by ten enormous monoliths.
Ireland's Stonehenge was documented by antiquarian and astronomer Thomas Wright in 1748. His drawing is the only known representation of this once great monument, which was located in a townland known today as Carn Beg, not far from the town of Dundalk, in the north of County Louth. I first wrote about Ireland's Stonehenge in 'Island of the Setting Sun' in 2006.
A 3D recreation of the stonehenge (right) by Kerem Gogus.
This huge monument vanished from existence some time between Wright's drawing and brief description of it in 'Louthiana' (1748) and the construction of the Drogheda to Portadown section of the Dublin-Belfast railway line in 1855. Historian Henry Morris, writing for the County Louth Archaeological Journal (CLAJ) in 1907, gave us a tantalising insight into what the monument's purpose might have been when he wrote: "I have read or heard it stated somewhere that this place was the site of a school of astronomy. Its position on the plain, with a semicircle of mountains around would enable an ancient astronomer to observe and mark the places where the various heavenly bodies appeared on the horizon at different times of the year." Regrettably, Morris was unable to recall the source of this valuable detail.
Wright's all-too-brief description of this remarkable monument, from Louthiana.
Not long after Wright's drawing was published, the Armagh Road was built, probably in the 1750s, and there can be no doubt that this was a significant factor in the destruction of the stone henge. I overlaid Wright's drawing of the monument on to Google Earth imagery of the site and this makes it obvious that at least some of the monument was flattened for the purpose of the new road.
A crop mark of the monument on
a CUCAP photo from 1970.
I remember reading somewhere (although I cannot now recall the source) that the smaller stones were taken away and either broken up to be used as foundation material for roads, or were used as gate posts. Henry Morris could find no remains of the monument in 1907, saying that it was "Gone! Cleared away, its very site not exactly known". (For much more information, and sources, see Island of the Setting Sun - In Search of Ireland's Ancient Astronomers, chapter 5, 'The Giant Rings'.)
It wasn't until 1988 that the exact location of Wright's druidic temple was finally rediscovered. Archaeologist Victor Buckley was able to discern the monument's "footprint" in an aerial photograph which had been taken in 1970 for the Cambridge University Collection of Aerial Photographs.
There was some archaeological resistivity was carried out at the site in 2006, in advance of a proposed housing development which never happened once the Irish economy collapsed. Standing at the site, which is now part of a disused golf course attached to a hotel, it is very difficult to get any sense that it was anything other than a field. There are simply no stones remaining. None.
However, I've recently discovered something significant about what might have happened to the large stones - or at least some of them - in the most unlikely of sources.
Reading George Henry Bassett's 'Louth County Guide and Directory (1886), we find that early on, he makes reference to the area's antiquities:
The remains of antiquity are very numerous, and extend through every part of the county. They continue in very much the same condition that they were found more than one hundred and twenty-five years ago by Thomas Wright, author of Louthiana. His work was instrumental in stimulating the curiosity of many of the residents of the county in regard to the precise nature of the contents of the Danish and Irish forts and Druidical camps.
In this work in progress, digital artist Kerem Gogus has fantastically recreated
Ireland's Stonehenge in 3D based on Thomas Wright's 1748 drawing.
And here comes the most valuable information pertaining to what happened this once marvellous monument:
It had not the effect, however, of preventing a tenant, near Dundalk. from effacing the Druidical circle at Ballynahatna. Of the ten stones which were said to represent the generations from Adam to Noah, only one now stands in the original position. Most of the rest were dropped into holes sunk behind them, and covered at a sufficient depth to escape the plough.
This is most interesting. Bassett says that instead of bring broken up, like the smaller stones, the large ones were dropped into huge holes to bury them. This is quite exciting as it leads to the possibility that at least some of these large megaliths are still there - buried where they once stood. Perhaps this is information which might lead archaeologists towards further investigation of the site at Carnbeg?
Note: I am indebted to Kerem Gogus, the 3D artist, for all the effort he put in to recreating Ireland's Stonehenge so that we might get a better sense of what it looked like. Visit his website here:
This new star in Delphinus has been Nova Delphini 2013. Click image for large version.
This is a quick shot of the new nova in the constellation Delphinus which I shot from the front driveway a few minutes ago between gaps in the clouds. The "star" (it's really an exploding star) is easy to spot in this four-second exposure which was taken with my Nikon D7000. Read more about the nova here.
The skies over Ireland will be lit up this weekend with the best Meteor Shower of the year, with the peak occurring on Monday night. Called the Perseids, they are known for producing more fireballs than any other meteor shower during the year.
Counting the numbers of meteors seen is vitally important to monitor the long term development of this shower, so Astronomy Ireland is organising a Nationwide Perseid Watch.
All you have to do is count how many meteors you see every 15 minutes and report it on the society’s website (astronomy.ie) where you can also find further details.
No telescopes or binoculars are needed to see the Perseids as they are bright enough to be seen with the naked eye.
"The Moon will be out of the way so it is definitely worth going outside to try to see some bright Perseids," said David Moore, editor of Astronomy Ireland magazine. "Sometimes large pieces of debris enter the atmosphere and flare up extremely brightly as fireballs - these can often land on the ground! We want everyone to go outside every night over the weekend and take part in our Nationwide Meteor Watch"
Astronomy Ireland urges people to go outside this weekend and next week to observe the meteors to take part in the Nationwide Meteor Watch. By doing so, people all over Ireland can take part in real scientific research!
For more information on the Perseid Meteor Shower and how to take part in the Nationwide Meteor Watch please visit www.astronomy.ie. Some of these reports will then be published in Astronomy Ireland magazine in the coming months.
The Evening Star, Venus, setting behind Newgrange. Click image to see larger version.
More than 5,000 years ago, the people who built Newgrange peered out into the heavens and watched the movements of the sun, moon, planets and stars. They recorded some of these apparently complex movements on the giant stones which make up their enormous passage-mounds. A folk tale about Newgrange says that once in eight years, the morning star (Venus) shines into its chamber on the morning of the winter solstice. The above photo was taken coming up to summer solstice, with Venus on the opposite side of the sky to the winter solstice position. Mercury is also in this picture, higher up, above Newgrange, but is very difficult to see.
An eerie mist surrounds the cattle on the fields in front of Newgrange, with Venus to upper right.
Newgrange and Mound B with mist forming on the Boyne in the afterglow.
Many people who visit the ancient and magnificent Newgrange monument in the Boyne Valley are driven by some deep longing to connect with their most distant roots. The giant 5,000-year-old megalithic construction evokes awe and wonderment, and often a sense of melancholy for the community of people who created it from stone and earth in the remote past, a people now lost to time.
The cover of the new book
For the past three centuries, archaeologists, antiquarians, and researchers have been probing Newgrange in the hope of revealing something about its purpose, and something about the mysterious people of the New Stone Age who created giant structures using primitive technology. In this fascinating book, Anthony Murphy shows that Newgrange is not only a uniquely special place, but that its construction was carried out not by a grizzly mob of grunting barbarians, but rather by an advanced agrarian community who had developed keen skills in the sciences of astronomy, engineering and architecture.
Newgrange: Monument to Immortality goes deep into the mind and soul of our neolithic ancestors to better understand what led them to build this remarkable monument. In a deeply moving, poetic and philosophical exploration, Murphy looks beyond the archaeology and the astronomy to reveal a much more profound and sacred vision of a sophisticated people who were driven to create this marvellous testament to their time.
The book has gone to the printer and, all going well, should be available to purchase in late October. To pre-order your copy, visit The Liffey Press website.
