Lughnasagh sunset still shines into the passage of Cairn S, Loughcrew, more than five millennia after it was built

37 years ago, in 1980, Martin Brennan, Jack Roberts and their team of researchers made several significant discoveries relating to the astronomical alignment of several ancient chambered cairns (passage-tombs) in the Boyne Valley region. One such discovery, made in early August of that year, was the apparent alignment of the passage of Cairn S at Carnbane East, Loughcrew. Sitting in the chamber of the (now roofless) cairn, Brennan and his team saw that the Lughnasadh cross-quarter sunset was visible through the passage.

Lughnasadh sunset shines down the passage of the ancient Cairn S at Loughcrew.

Tonight, for the first time in my 18 years of research and photography, I witnessed what Brennan’s people excitedly discovered back then, and it was spectacular, as you can see. There is a story behind this photograph. With my son Luke accompanying, I drove an hour from Drogheda to Loughcrew this evening with the express purpose of witnessing and photographing this alignment. However, when we got there, a massive cumulonimbus cloud was looming over the whole western horizon. After sitting in the car for a few minutes, we figured that it was moving, albeit slowly, towards us. The sun was hidden. It was clear that this cloud was giving out a lot of rain. So we decided to sit it out. We arrived at 8pm. We knew the sunset would occur at about 9.10pm or so.

We sat and waited. Another man who had arrived with camera gear got out of his car and they went up the hill. “A big mistake,” I thought to myself. I could see the rain wasn’t far away and that it was extremely heavy. Sure enough, by about 8.25pm or so it was raining very heavily. The problem was that the cloud was moving extremely slowly. With no let-up in sight, we considered leaving. But having spotted a small patch of blue behind the grey sheets of rain, I decided we’d wait. In the meantime, the gentleman who had gone up earlier returned, quite soaked. After a few minutes, he left in his car.

“If needs be, we can leg it up the hill as soon as there’s any let-up in the rain,” I said to Luke. We planned our departure. When the rain finally started to ease, we made a dash for it. It was 8.45pm. Surely this was an exercise in futility?

As we ran up the hill (and it was a struggle for me, I can tell you, with the heavy camera equipment on my back), I turned and the sun was appearing beneath the huge black shower cloud. “We might be lucky yet,” I said as we scrambled up that hill. The thing about Sliabh na Calliagh is that, when you want to get up it fast, it seems to take every bit of your energy and determination. By the time we hit the last ascent, the steepest part, I was breathless to the extent of being in a state of near-collapse. Luke took the camera bag for the last stretch. What a fantastic companion to have on this trip – a sprightly, nimble and energetic 15-year-old.

After getting in through the gate, we reached Cairn S. I dumped the tripod on the ground, and ordered Luke to put the camera bag down. It was still raining, but the sun was out. I needed to act quickly. We might only have a minute or two to get a photograph. “Which camera?” I thought to myself as I worked out which would work better with remote flash. I decided on the D3X and quickly got set up with the 14mm f2.8 prime lens. It turned out to be a good decision. The photo you see above was taken with this setup. As you can see, the enormous cumulonimbus cloud occupied a huge portion of the sky – but crucially, the sun was out, and just at the right moment! What a capture. What a journey. What a brilliant climax after such an uncertain wait.

A wider view of the Cairn S Lughnasadh alignment from outside the chamber.

I actually got plenty of time to take photos then – with both cameras, and a variety of lenses. But within a short time the sun went in behind some cloud and the magical moment had passed. Nonetheless, we had captured it, in all its fabulous glory. We were wet. We were cold. We were out of breath. But boy were we happy.

After that, we relaxed a bit. The almost-full moon was out. We got lots of other photos – of Cairn S, of Cairn T, of the Hag’s Chair, of Cairn U, and Cairn V. But for now, the magical, mystical shot of the sunset from the chamber of Cairn S is putting a big smile on my face. I feel like I’ve caught up with not just 37 years of history tonight, but over 5,000 years of it.

Because of its short passage and wide chamber, it is obvious that Cairn S will align with the sun for some time. I will have to make a return visit in a couple of weeks to see if it is still aligned. 

Climbing Slieve Gullion to see Calliagh Berra's House, the highest passage-tomb on the island of Ireland

I was up at Slieve Gullion today and decided to go and visit one of the ancient archaeological gems of Ireland that I had never seen before - the Calliagh Berra's House. This is a passage-tomb with covering cairn located on the summit of Slieve Gullion in County Armagh, at 570m above sea level. It is the highest passage-tomb in Ireland.

Setting out on the ascent up the path towards Calliagh Berra's House on Slieve Gullion.

Thankfully, there's a roadway that brings you to a small car park that is already 360m above sea level, so the walk/climb on foot is only a further 200m or so in elevation. Still, despite our brisk pace, it took my teenage sons and I about half an hour to make the climb. It was a dull day, although not cold, with only a light breeze. All the time it felt like it was going to rain but it mostly held off except for a very light drizzle for a few minutes at the top.

Looking south from Armagh towards Slieve Fuad (Fews Mountains).

The pathway up the mountain offers some beautiful views over the surrounding countryside. This was an excursion that stirred some excitement for me. I have long been a visitor to Sliabh na Calliagh, Loughcrew, hills in Meath scattered with ancient megalithic remnants. The two - Loughcrew and Slieve Gullion - are not only connected through their eponymous hag/goddess, but also through an alignment involving winter solstice.

As you get to the top of the path the cairn finally comes into view.

The path twists and turns and has been nicely laid out with smooth rocks in places, gravel in others, and just turf pathways in others. However, about halfway up things become more steep and the climb is a wee bit more arduous. This was no deterrent for my 14-year-old twins, who looked as nimble as Legolas running along the mountain ridges of Middle Earth. We met a man who said he was waiting on a bus! I suggested perhaps he was waiting on a helicopter. Truth be told, it might even be possible that a fairy bus does pass this way every once in a while.

The Calliagh Berra's Lake on the top of Slieve Gullion. Beyond it is another cairn, called the Northern Cairn.

The top of the mountain is remarkable. It has a small lake on it, known as the Calliagh Berra's lake. There is a story about Fionn Mac Cumhaill and this lake, which is nicely recounted on the Ring of Gullion website:

Fionn walked up the slopes of Slieve Gullion to the lake near the summit to find a beautiful young lady sobbing on the water’s edge. Being a gentleman he enquired as to why she was crying; to which she replied that she had dropped her golden ring in the bottomless lake. Without a moment’s hesitation Fionn ripped off his shirt and dived in, swam down until he found the ring, grabbed it and returned to the top only to find an old hag laughing, the Calliagh Berra. The witch had tricked Fionn and he fell out on the lake’s shore as an old withered man. When Fionn came down the mountain, no-one recognised him, not even the Fianna! However, when his trustworthy Irish Hounds smelled the old man they knew that he was their Master. Fionn, the Fianna, and the hounds forced the Calliagh Berra to restore Fionn to his youth, but it is said that his hair remained white like an old man’s for the rest of his life, and that his fate is said to befall anyone who bathes in the lake to this very day. Are you brave enough to dip your feet in the Calliagh Berra’s lake?

The cairn itself is known as Calliagh Berra's House and is just one of many ancient megalithic remnants that is named in her honour. At last we got the opportunity to enter its ancient passageway. It seemed like I had been waiting to do this for a long time. I've only ever imagined what it would be like because I had never seen it before. You have to hunker down at the entrance which takes a bit of nimble movement, but once inside the main thing to concern yourself with is the rocks on the floor. It would be very easy to sprain an ankle in there because the floor is so uneven.

Inside the chamber of Calliagh Berra's House looking out through the passage entrance.

The chamber and rear recess of the passage-tomb on the top of Slieve Gullion.

You certainly get the sense of a devoted, determined and stoic people. They built this cairn out of rocks - large and small - on top of a mountain in a far-distant age (around 5,000 years ago, maybe more) at a time when there was no proper footwear, and nothing like construction site health and safety. Building passage-tombs must have been a dangerous occupation in those times. It takes effort just to climb the mountain. But then to start hauling stones around the place in the cutting wind and inevitable rain must have been an undertaking requiring a serious devotion to the task. Calliagh Berra obviously commanded a pious respect among the ancient megalithic builders.

Another thing that strikes you is the lack of megalithic art. And indeed the lack of enormous structural stones such as those you find at Newgrange, Knowth and Dowth - the large corridor orthostats, the bulky ceiling cap stones, the three-tonne kerb stones. This is a different type of structure to the Brugh na Bóinne complex. Similar in some respects, but different in others.

Sitting at the entrance of the passageway into Calliagh Berra's House.

They say first impressions last though. And Calliagh Berra's House made a deep impression on me. Such that I can say I would love to go back - and soon. Ideally in better weather, which makes for better photos. A trip up there for winter solstice sunset would be a distinct possibility. I'd love to see the sun shining in there as it sets beyond the distant hills of Loughcrew.

One thing that did slightly disappoint was the lack of a marker for Loughcrew on the direction plate on top of the cairn. However, even on a murky day like today the views are still beautiful. On a clear day, it's apparently possible to see the Slieve Bloom Mountains some 85 miles distant.

Upon turning to leave, it's not difficult to see how landscape made such a deep impression upon the imaginative and creative sensitivities of ancient people. Ireland is a beautiful country. I am reminded of this constantly. The journey back down the mountain created a greater awareness of that fact than the journey up. When you climb a hill or mountain, you are ever looking on ahead, upwards, towards the summit, the goal. You have a determination, and must concentrate your energies on getting there. On the way down, it's as if you have lightened your load, and the landscape unfurls beneath you. Even with the approaching rain, it looked heavenly. And that's a stark reminder of the real power that elevated megalithic sites must have had - engendering a sense of detachment from the sublunary world, providing an encroachment into the upper, divine levels, away from humdrum civilisation and altogether closer to something austere, numinous and regenerative.

The 12 days of Solstice - Day 6 - Venus, the Evening Star, in the winter twilight sky over Newgrange

It's Day 6 or 'The 12 days of Solstice' and today's image features Venus, the Evening Star, over Newgrange at dusk in winter. The cycles of the heavenly bodies were undoubtedly recognised by early societies across the world. At Newgrange, the yearly cycle of the sun is definitively memorialised through the alignment of its passage and chamber with Winter Solstice sunrise. Less well known is the fact that at certain times of the year the moon can also cast its light in through the roof box and into the passage and sometimes the chamber.

The bright planet Venus, which is the third brightest object in the sky after the sun and moon, follows a distinct pattern over the course of eight years, sometimes appearing in the mornings before sunrise for a number of weeks or months, and sometimes appearing in the evening after sunset. After eight years, this pattern repeats. Could the builders have seen and known this?

Joseph Campbell wrote about a folk belief in the Boyne Valley that suggested the morning star cast a beam of light into the chamber of Newgrange once every eight years, at dawn. Uriel's Machine authors Christopher Knight and Robert Lomas suggest that a series of eight markings on the lintel stone above the roofbox of Newgrange represent the eight years of the Venus cycle. Indeed, on one year out of every eight, Venus rises on the morning of the Winter Solstice around an hour before the sun and an observer prostrate in the chamber of Newgrange would be able to see it through the roofbox.

In her guise as the morning star, Venus was known in Ireland as caillichín na mochóirighe, the 'early-rising little hag'.(1)

As you can see from the image above, Venus is a brilliant object. Compare it with the several stars visible in the image, which are much fainter. It is said that in complete darkness, away from city lights, the light of Venus casts a shadow. The folklore recorded by Campbell suggests that, once every eight years, the Morning Star "may be seen to rise and cast its beam precisely to the place of the stone with the two worn sockets".(2)

References:
(1) Murphy, Anthony (2012), Newgrange: Monument to Immortality, Liffey Press, p.77.
(2) Campbell, Joseph (1991) [1959], The Masks of God: Primitive Mythology, Pengiun Compass, p.431.

Further reading:
Do the myths about Newgrange and the Boyne Valley mounds offer an insight into their function?

The 12 days of Solstice - Day 4 - the doorway of Síd in Broga (Newgrange) lit up in the beautiful winter twilight

It's day 4 of my series of photos called 'The 12 days of Solstice'. Today's image shows Newgrange at twilight, with its portal aglow, as if a fire was ablaze in its doorway. One can almost imagine the Daoine Sídhe (The good people, fairies) dancing and singing there in the winter twilight.

Welcome to Fourknocks! - a quick tour of ancient megalithic monument in photographs and video

A wide-angle view of Fourknocks from the northeast. It was excavated and restored in the 1950s.

Fourknocks is a small megalithic passage-tomb on a ridge in southeastern County Meath, about 9 miles (14.7km) miles from Newgrange. The passage of Newgrange actually points towards Fourknocks, although neither site can be seen from the other due to intervening hills. There were two mounds excavated at Fourknocks by archaeologist P.J. Hartnett in the 1950s - this one, labelled Fourknocks I, and a nearby mound known as Fourknocks II. The latter was found to contain a cremation trench, where it is thought the remains of the deceased were cremated before being placed in Fourknocks I. This is a small selection of photos and a video from Fourknocks I, showing several of its features.

The short passage leading into a large, egg-shaped chamber with three recesses.

The entrance lintel stone has been placed on its side in the chamber for protection.

The western or right-hand recess. It is the largest recess and has a small plinth stone within.

A view towards the entrance, showing the lintel (left) and the "guardian" stone (right) illuminated.

Zig-zag carvings on a lintel above the interior of the passage. Their meaning is not known.

Concentric circles on another stone near the passageway. The stone is known only as Stone B.

Honouring the ancestors at Fourknocks.

A faded spiral on Stone B.

Lozenges and zig-zags on the lintel of the southern (end) recess.

Don't forget to watch this short video from inside Fouknocks. It gives a brief idea of the size of the monument and some of the features inside.

Spend a few minutes at Newgrange enjoying the sights and sounds of evening in this beautiful video

This is a video of Newgrange in the evening time in summer. It's such a tranquil and beautiful place to spend time, as this video shows. Listen to the sounds of the birds and the animals and take yourself to this sacred spot overlooking the Boyne for a few minutes of bliss.

It is strongly advised that you watch this short video in full screen mode in high definition and with either good speakers or headphones. Enjoy!

Enjoy this short time lapse video of a beautiful summer dusk sky over Newgrange in the Boyne Valley

This is a short video made on Monday evening after sunset at Newgrange. It is a time lapse video, showing about six minutes of cloud movement compressed into about three. I hope you enjoy it. The sun has now passed its maximum northerly declination and so from here onward the days will be getting shorter again. However, for a couple of weeks there will still be a constant twilight glow on the northern horizon throughout the night. I love this time of year.

Dowth and the story of hunger - ancient monument built during a famine and almost destroyed during one too

I was at Dowth on the Summer Solstice, which was on Monday last. It was nice to be at Dowth on the longest day of the year, and quite fitting because of an ancient myth about the site. I was with a small group, talking about the mythology of the Tuatha Dé Danann, and the sun was beating down from its height at the very apex of its circuit through the zodiac. We could not see it, but at that moment the sun was being carried across the sky by the great constellation Orion.

Dowth at midnight tonight. Even with cloud cover, it's still bright enough to see. I added some kerb light!

There is a myth about how and why Dowth was constructed, contained in the Metrical Dindshenchas, the oldest versions of which are found in the 12th century Lebor na Nuachongbala (known as the Book of Leinster). As I sat there in the sunshine at Dowth, I wondered about the sudden darkness that is described in the Dindshenchas story about Dubthach/Dowth, the darkness that broke a powerful spell.

The king at the time, according to the story, was Bressal Bódibad (the second part of his name means "lacking in cattle", for reasons that will become obvious). He wished to build a "solid hill", in the likeness of the tower of Nimrod, "so that from it he might pass to heaven". It is said that "the men of all Erin came to make for him that hill" and that they came to do it all in one day.

The endless day of the Dowth myth might be Summer Solstice.

The king's sister cast a spell on the sun, so that "there should be no night but bright day till the work reached completion". Those of you familiar with my work will know that I think this is a reference to the Summer Solstice, when the daylight is pretty much continuous, and when the sun's rising and setting positions appear to halt on the horizon, i.e. the sun stands still. At this latitude, even in the middle of the night we get a constant twilight, giving enough light to enable us to see in the dark. This is obvious in the main photo above, taken tonight at midnight. Even with 90% cloud cover, it was still bright enough to see what I was doing without extra light.

The king's sister is not named in the surviving Dindshenchas verse about Dowth. However, as the work progresses, the King commits incest with her, and the spell is broken. Night falls suddenly. The men abandon the construction project. "Since darkness has fallen upon our work, and night has come on and the day is gone, let each depart to his place".

What's interesting about this grand project, which seems an extraneous project orchestrated by an egotistical and megalomaniacal king, is that the legend says it was built during the time of a great famine:

"In his time a murrain came upon the kine of Erin, until there was left in it but seven cows and a bull."

At the height of this famine, the king gathered all the men of Erin to this place to build him a tower so that he could reach heaven. Is this a description of slave labour? If there is any real substance to the myth as a record of actual historical events, it must be pointed out that surely the worst time to ask human beings to indulge in heavy physical work is when they are famished. However, that's what the story says. They built it during a murrain, with only eight cattle left on the whole island of Ireland to sustain its population. This aspect of the story is, we gather, allegorical. But it is interesting in light of a strange coincidence between myth and reality that has always been obvious to me but which I only came to realise the true significance of this past Summer Solstice a few days ago.

That coincidence is this - Dowth was said to have been built during a famine, and it was almost destroyed during one too.

Moving from myth into factual, recorded history, we skip forward in time to the 1840s AD. In the years 1847-48, R.H. Firth, at the behest of the Committee of Antiquities of the Royal Irish Academy, carried out a disastrous excavation of the Dowth monument which caused it considerable damage. A commentary in the Drogheda Conservative newspaper in 1856 describes it thus:

"...we find that beautiful tumulus literally torn to pieces".

The crater in Dowth left by the 1840s excavations.

Large amounts of cairn material were removed, and tossed over the sides, in an ill-fated attempt to find some treasure, or central chamber containing perhaps trinkets that might make men rich. But as I always say, the true treasure of Newgrange, Knowth and Dowth are not any material goods that might be found within them. Their true treasures are much, much deeper.

An even greater tragedy about the Firth excavation is the fact that this rich man's treasure hunt occurred during the Great Famine, when the failure of the potato crop due to blight caused death and starvation for hundreds of thousands.

"It is interesting to note that, in the middle of the Great Famine, during which a million Irish people died and another million emigrated, the esteemed gentlemen of the privileged class had nothing better to occupy their thoughts than an ill-conceived and unsuccessful 'treasure hunt' at Dowth, for which a special subscription had to be raised, while the population was suffering one of the worst calamities in Irish history". (Newgrange - Monument to Immortality, p.103, by this author)

Fascinatingly, there is perhaps a hint in the Dindshenchas myth about its future fate at the hands of Firth and his colleagues. Is this an example of the prescience of myth?

"From that day forth the hill remains
without addition to its height;
it shall not grow greater from this time onward
till the Doom of destruction and judgement".

A Brigid's Cross left at Dowth on the Summer Solstice.

Notwithstanding the obvious Christian intrusion into this verse, with its mention of judgement, the story suggests that no more would be added to Dowth's height. Could this be taken to suggest, perhaps, that something would in fact be taken from its height? Today, there is a large crater in the cairn (see photo above), and its height is much diminished as a result of this reckless "excavation" of the 19th century, if we could dare to call it an excavation. In essence, the myth's prophetical aspect has been substantiated through real events.

And the synchronism of events, mythical and real, leads us to consider the Dindshenchas verse as not mere poetry for amusement, but as a mytho-prescient work with far-reaching vision through the long and sometimes tortuous history of this island. It is not alone in that regard, and I am especially drawn to the Lebor Gabala - the "Book of Invasions" and how that presaged a series of real invasions, as if forecasting a dire series of raids before they ever happened. But that's for another day.

Tonight at Dowth, on St. John's Eve, I took some photos of the mound against the light of the midsummer sky. It doesn't last long, but I love the midnight twilight in the Boyne Valley.

Only the guardian of Fourknocks knows its true name

Inside the ancient stone chamber of Fourknocks, a seemingly small yet very impressive monument of the late Neolithic, there are a number of intricately carved stones, some pristinely preserved.

The lintel stone above the western recess at Fourknocks.

The modern visitor is able to see, at close quarters, the careful work of Neolithic artists, people who lived and died in a remote age, when only the most basic technologies were afforded use by human hands. At Fourknocks, the lozenge (diamond) and the zigzag predominate. The angular manifestation of the glyphs is curious. There is one stone, above the passage, bearing concentric circles, and another - the original entrance lintel - bearing a rough spiral, among other curious designs. Most of the other decorated stones are devoid of curvature, containing the distinct angles of diagonal and serrated patterns.

The stones of Fourknocks demand from us an answer, an answer to an unanswerable riddle - why is the spiral, so predominant at Brug na Bóinne, almost absent from this wondrous little passage-tomb, and why do the angles predominate? We can only answer the question with a question:

Who can know?

I have a theory. But that's all it is - a theory. Unfortunately, we cannot travel back in time to speak with the artists of the New Stone Age, whoever they were - farmers, astronomers, poets, priests or magicians. So we have to make do with our own speculations, and our own vivid imaginations. My theory is that the absence of the spiral is directly connected with the absence of the sun. No sun can shine into Fourknocks. Its passageway points to a place in the far north, some 15 degrees (approximately) east of north. No sun can enter into its cold interior. Fourknocks, whatever its other purposes might have been, was definitely not a solar observatory; not in its own right at least. (There are other mounds in the district, and who knows what secretly oriented chambers they might contain?)

The spiral is a convenient and potent symbol representing solar movement. Over the course of the year, the sun appears to wind a series of contracting and expanding spirals in the sky. At Newgrange, the great entrance stone, facing the sunrises on winter solstice, is adorned impressively with huge spirals, one of which appears to end in a line that seems to point in towards the entrance to the cave, perhaps beckoning the sun to "enter in here".

The "guardian" stone of Fourknocks, said to represent a human face.

There is no such theatrical meandering spiral at Fourknocks. Here, we see zigzag lines and diamonds, almost exclusively. Almost. There is one stone that stands out above all others. It is one of the chamber orthostats, positioned just to the right of the passageway as one looks out from the chamber. It is said, by some, to be a crude representation of the human face. Not having access to the artist, or the instruction manual from which he or she was working when they carved it, I can neither agree nor disagree with this contention. There are more angles, and diamonds, and curves. If it's a face, it's a strange one. And yet I find myself drawn to the idea that it is a type of "guardian" stone, if such a concept even existed when these structures were built 5,000 years ago. There is a stone in the western passage of Knowth that has been said, by some, to represent some type of guardian. It has an almost owl-like presence - the owl being the Cailleach of the night, its call often attributed to the Bean Sídhe, the woman who cries out before death. As a place of burial, Fourknocks might have needed just such a presence - a woman of the sídhe to watch over as the souls of the deceased crossed over from this world to the next.

Fourknocks is indeed a sad place. When it was excavated in the 1950s by P.J. Hartnett, the remains of at least 21 children were found, along with burnt and unburnt remains of adults. By the time its period of use was coming to an end, the entrance passage had been filled almost to the top with material, with three separate layers or deposits of human remains. The passage was deliberately blocked up. It was intended that Fourknocks be sealed off. And so it was . . . until the 1950s.

It is a sad fact that all of the burials/deposits were removed during the excavation. There is a sense that the monument has lost an aspect of its sacredness, that the final resting place of so many people would later be stripped out so that nothing of the burials remains.

In being sealed up, Fourknocks shares a history similar to that of Newgrange (which points towards it, incidentally). Archaeologists maintain that Newgrange was sealed for the best part of 4,000 years, until Charles Campbell and his labourers rediscovered the passage entrance in 1699. Fourknocks lay concealed in the landscape for a long time. Because it likely did not have a stone vaulted roof and thus it didn't have a large cairn covering it, it was lost to time. The name Fourknocks is said to be derived from the Irish na fuarchnoic, meaning "the cold hills". But I don't buy it. It doesn't "feel" like an authentic name for a complex of ancient monuments. And this I think its real name has been lost to time. Local historian Brendan Matthews once proposed to me the possibility that Fourknocks was derived from the "four cnocs", meaning the four cnocs or artificial mounds. That seems more plausible to me than the cold hills.

The proximity of Fourknocks to Clonalvy tempts me into looking for a link there. Clonalvy is from Cluain Ailbhe, the meadow of Ailbhe, whoever she might have been. It might also be connected with the Delvin River (Ailbine). I am curious about the mention of a possiblity that Clonalvy was the location of a monument called Lia Ailbhe, a huge standing stone described as the "chief monument of Brega", until it fell in 999 and was broken into four millstones by Máelaschlainn, the high king. That seems like an avenue worthy of research . . . for there is something that has been nagging away at me for years that is telling me to find out the real ancient name of Fourknocks.

Perhaps only the guardian of Fourknocks knows its real name?


(I will deal with some aspects of the angular art and connections to the cosmos in another post).

Neolithic passage-tomb construction - mutual cooperation or enforced labour?

I'm reading a fantastic book about ancient Ireland right now, written by an archaeologist. It's called 'The Origins of the Irish' by J.P. Mallory of Queens University and it's one of the best books about prehistoric Ireland that I've ever read. Admittedly it's not exclusively about prehistory, and admittedly I'm not finished reading it yet! But on almost every page Mallory is presenting interesting data and posing even more interesting questions. And so we arrive at page 77, and one of the major questions about the passage-tomb builders is given consideration.

The giant passage-tomb of Knowth and one of its satellites. Huge effort was required to build these monuments.

Mallory says that in the Mesolithic, hunter-gatherers considered most material possessions as impediments to mobility. In the Neolithic, however, the emergence of agriculture led to many changes in the way we lived. Interestingly, fish was apparently "off the menu" as there was a major shift from a marine diet to a terrestrial one. We should not be altogether surprised by that, but it seems to have been a fairly dramatic change. The landscape changed too – there was significant cutting down of virgin forests for the purposes of agriculture and monument building. (This, by the way, is mentioned in mythology. But let's not go there right now, lest we scare the archaeologists off . . . and I am well aware that many archaeology students do actually read this blog!)

Most significantly, the Neolithic generally sees the evolution of the concept of:

SURPLUS, WEALTH and SOCIAL RANKING.

"Or," as Mallory puts it, "if you prefer":

WASTE, GREED and DISCONTENT.

And so, as we sowed the seeds of agriculture in the Boyne Valley and other parts of Ireland, introducing a new way of life to the island, we also sowed the seeds of a modern civilisation that, despite all its benefits, has seen us painfully divorced from cosmos and the natural world, such that we're trying to kill our planet – by overpopulating it, by stripping it bare, by choking it and by many other means, insidious and foul. But that's not the main point of this blog post – even if it is a most pressing matter pertaining to our very existence right now.

The point (or rather the question), in terms of the whole idea of social ranking and wealth and "discontent", is this: were the monuments built by a community of people that was unified in its beliefs, and content to contribute to this mammoth effort to enshrine its beliefs, and perhaps immortalise its  "moment in time" monumentally in stone?

Or, as the result of a hierarchy – a system of social ranking – was that community coerced, compelled or otherwise forced into these monumental labours against its wishes?

I'd like to tell you that Mallory gives us a definitive answer to that question. But, despite his obvious brilliance, he does not have enough evidence to place himself on either side of the fence (let's call it a Neolithic palisade) that divides these two options. There might, of course, be a third option – it's possible that some people did it because they wanted to and some were coerced, compelled or otherwise forced.

However, Mallory does lean a little bit towards one side of the Neolithic palisade when he says this, to offer a glimpse at the theory he might prefer:

... while mutual cooperation is always possible, large labour projects have often been seen to indicate the emergence of some form of social elite.

Personally, I've always leaned towards the "we're all in this together" idea – and see in the monuments of the Boyne a collective and cohesive effort representing the endeavours of a community that was largely working as one. What is my evidence for this supposition? I'm not sure that I could give you anything concrete. I see monuments large and small, apparently built to a system based on alignments and on cosmology, representing an effort to record and understand the passing of time, and cycles, but also representing a spirituality, whose complete depth and complexity we might never understand. It doesn't "feel" like a project that was undertaken or completed under duress. But that's just a hunch.

What material evidence would there be, if there had been an elite, and they had compelled the population to haul the giant stones up the banks from the Boyne, and to sail to Cooley and Wicklow and perhaps other areas in search of materials? How would we know one way or the other? I don't have an answer to this question. Perhaps some of the archaeologists do.

Bone fragments in a basin at Knowth (reconstruction).

One thing that's been scarcely discussed, if at all*, is how the bone fragments that were found in Newgrange, and Knowth, and Fourknocks, came to be in the disintegrated state in which they were found. There were burnt remains. These, we are told, were from corpses that were burned on a pyre, and their ashes retrieved after it cooled down, for placement in the passage-tombs. The unburnt bones, however, are small and fragmented. A key question is how did they get to this state? By what process was a person's remains stripped, the carcase defleshed, and the bones then broken, or otherwise made into fragments? And could this be relevant to the question of whether the monuments were built by choice or coercion? (ie, does the disintegrated state of the skeletal fragments indicate or suggest a community where there was violence?)

At Newgrange, there were 750 bone fragments that were "unidentifiable". We don't know whether they were from humans or animals. That's a lot of unaccounted-for bits of bones. In the appendices of Newgrange archaeologist Michael O'Kelly's book about his excavations there, T. P. Fraher of the Department of Anatomy at UCC says:

Apart from some complete hand and foot bones, all human specimens consisted of small fragments.

It's been virtually impossible to tell how many people were interred in the chambers of some of our most famous tombs. At Newgrange, there are fragments from five individuals - but that's all that can be said. Maybe the fragments are from many more individuals? At Knowth's eastern chamber, there were fragments found representing something between 150 and 200 individuals.

Were these all the remains of cherished members of that community of mound builders and astronomers and farmers, lovingly brought to the interiors of the monuments following some ancient ritual of disintegration? Or might some of these bone fragments represent something more sinister – such as ritualistic sacrifice or even cannibalism?

In my own research, I have reached tentative personal conclusions, but it's always healthy to consider other options and possibilities. We are a long way from a full understanding of the people of the Neolithic – such a thing is scarcely possible unless we find a way to travel back in time. All we can do is look at what's there and try to figure it out as much as possible. The truth is that we can scarcely understand ourselves, and our own incongruous and destructive aspects that push us towards the brink of self-annihilation.

I like to think that we can learn something about ourselves by looking into the past. It's possible that Newgrange can teach us enough about ourselves so that we can learn to change for the better . . .

Addendum: I've also been reading Robert Hensey's new book, 'First Light - The Origins of Newgrange' and he adds the following in relation to community effort:

A centralised authority would have been necessary for the gathering of materials and construction work to be accomplished, yet a certain amount of willing cooperation and community 'buy-in' must have been present for the project to be a success. (p.118)

* At least not in the books I've read about the archaeology of the Neolithic/Boyne Valley. But there may well be some solid archaeological research into this area that I'm not aware of. 

Latest podcast: Newgrange and the place name 'Bro' or 'Broe' - from Brug na Bóinne, its ancient name

Above is my latest podcast, which this week focuses on the place name 'Bro', also written 'Broe', which is found at Newgrange and in its vicinity. William Borlase, in his 1897 second volume of 'The Dolmens of Ireland', refers to this name and talks about how local people at the time pointed out that the field in which Newgrange sits was called 'Bro Park', or Brugh Field. This could relate to the old name of Newgrange, Brú na Bóinne, originally Brug na Bóinne.

To hear the podcast, just click on the arrow in the orange circle above. The piece is just under five minutes long. I have recently started doing short audio clips about Irish myths and monuments, mostly related to the Boyne Valley. If you'd like to hear more of these, please do let me know. There are several ways to contact me:

1) Add a comment to this blog post.
2) Email me at mythicalireland@gmail.com
3) 'Like' the Mythical Ireland page on Facebook and interact there
4) Follow me on Twitter

I'd love to hear your feedback. Thanks.

The search for Amergin and Drogheda's Stone Age past

Drogheda Museum / Old Drogheda Society
Special HERITAGE WEEK lecture

Is Millmount really a passage-tomb? 

THE SEARCH FOR AMHAIRGIN – Looking deep into Millmount’s past …

By Kevin Barton & Conor Brady
THURS 22 AUG 2013 – 8pm
Governor’s House, Millmount Cultural Quarter

Using the latest geophys technology Drogheda Museum begin a year-long project to look deep into the ancient mound at Millmount in a search for Drogheda’s Stone Age …

It is thought that the mound at Millmount in Drogheda was originally part of the great Megalithic (“large stone”) Culture which flourished in the Boyne Valley from 5,000BCE to 2,000BCE and includes the internationally-famous tombs of Newgrange and Knowth. Its importance in our collective folk memory is underlined by the legend that the mythological figure Amhairgin (pronounced “Aver-gin”) the originator of song and poetry is buried there.

Because of the huge amount of structural changes on the mound over the millennia normal archaeological excavation is impossible but now through the wonders of modern electronic remote sensing (“geophys”) we can scan deep into Millmount and begin to unlock its secrets.

Leaders of the Project Team, Kevin Barton of Landscape & Geophysical Services  and Conor Brady, Lecturer in Archaeology at DKIT will launch the research programme with a special lecture in The Governor’s House Millmount on Thursday 22 Aug 2013 at 8pm.

In Early Irish mythology Amhairgin ("aver-gin") was the inventor of song and poetry as implied in his name ("Amhair"=singing; "gin" = give birth to). The extraordinary poem/song associated with him, Duan Amhairgine (The Song of Amhairgin), was therefore regarded by the Old Irish as the first song ever made and was always placed first in collections of poetry.

The power of this poem in Old Irish is such that a whole array of famous poets in many languages have attempted translations. Among them was the great English poet Robert Graves who said that “English poetic education should, really, begin not with Canterbury Tales, not with the Odyssey, not even with Genesis, but with the Song of Amergin.”

Many composers and songwriters have also set versions of the text to music including this one in the original Old Irish by Lisa Gerrard (of Dead Can Dance) from the BBC series "The Celts".

First passage-tomb discovered in the Boyne Valley for two centuries using new archaeological techniques

The first passage-tomb to be discovered in the Boyne Valley in 200 years has been identified by archaeologists using sophisticated imaging techniques.

The newly discovered mound, with circular enclosure,
shown on a colour LiDAR image. Reference: Boyne Valley
Landscapes Project. Data: Meath County Council/
Discovery Programme

Archaeological imaging and geophysics specialist Kevin Barton spoke about the discovery, made originally in 2010, at a recent Heritage Week presentation at the JFK Arboretum in County Wexford. He was giving a talk about possible new monuments discovered in LiDAR (Light Detection And Ranging) imaging of the Great Island area of Wexford.

The “new” passage-tomb, on the floodplain of the Boyne southwest of Newgrange, had showed up as a “blip” on LiDAR imagery of the valley, Mr. Barton said. Because of its situation in proximity to the Boyne monuments, it was considered that the feature warranted further investigation.

The newly discovered monument shown in gradiometry with
resistance overlay. The dark linear feature running from SSW-NNE
is believed to be a passage. The small dark circular area is the
mound. The outer enclosure is also faintly visible. © Davis et al

The site was given the designation “LP2” by investigating archaeologists. In the LiDAR image it appeared there was a central mound with a circular outer enclosure feature. The enclosure was “faint but identifiable” in the image.

Further work, in the form of ground-probing techniques called Magnetic Gradiometry and Resistivity was carried out, and revealed what appeared to be a weakly defined outer enclosure in addition to a distinct passage/chamber arrangement of the passage-tomb aligned towards the north-northeast.

Archaeologists became excited about the central mound, which they said “appears to show a clear passage and chamber arrangement with splayed terminals at the NNE. The central mound is clearly identifiable and measures c. 30m in diameter. This strongly suggests that the feature represents a hitherto unknown passage tomb.”

Kevin Barton demonstrating archaeological surveying
techniques at the JFK Arboretum. © Anthony Murphy.

Kevin Barton told the audience at his Co. Wexford talk that he believed it was the first passage-tomb to be discovered in the Brú na Bóinne complex in over 200 years. What makes the discovery very special is the fact that no archaeological digging took place to find it. It was discovered purely through LiDAR imaging and ground-probing techniques.

The area where the passage-tomb is located is close to the Boyne, straddling a modern hedgerow. The land has been under tillage and pasture at various times, and has probably been considerably ploughed over the years.

Commenting on the discovery, Anthony Murphy, author of Newgrange: Monument to Immortality said that it was just one of a number of exciting new features identified over the past few years in the Boyne Valley.

“This is incredible work by archaeologists using an array of new techniques. They have found a passage-tomb that has been hidden in the landscape for millennia, and they have found it without putting a single trowel into the ground.”

This is a wider LiDAR image of the Boyne Valley. The location of the new
monument is shown by the red circle. Map: Boyne Valley 
Landscapes Project. Source of data: Meath County Council/Discovery Project.

“I am particularly excited by the suggestion that the passage of this newly-discovered monument may point towards the north-northwest. If that’s the case, there are two possibilities which I’d like to see examined. One is that the passage points back up the slopes of the valley towards Newgrange. The second is that, because it points to the north-northwest, it cannot be aligned on a sunrise or moonrise, and one could propose a stellar alignment," Mr. Murphy said.

“It’s obviously far too early to say whether that’s the case. But I would definitely be interested in finding out whether there might have been an alignment to Deneb, the bright star of Cygnus, the swan constellation. The Brú na Bóinne area is linked with significant swan mythology. Indeed the owner of Newgrange, Aonghus Óg, was said to have taken the form of a swan. And the fields where this newly discovered mound is located have been the wintering ground for the whooper swans, which have been coming to Newgrange in large numbers for many decades, and possibly since the time Newgrange was built.”

But this newly-discovered monument might never be excavated. Kevin Barton said in his talk that archaeological digging is not only invasive, but destructive.

The new electronic arsenal employed by archaeologists is, however, providing the means to look under the soil without ever having to dig. And Mr. Barton said the equipment and the analysis of data were improving all the time. The new breakthrough is a testament to the exciting prospects of discovery in future of monuments that are currently hidden from view in the landscape.

Some of these new techniques have been employed at the Hill of Slane, where a mound, also surrounded by a circular enclosure, is thought by some to have originally been a passage-tomb, possibly as old as Newgrange, which was later re-fashioned by the Normans into a defensive motte.

Some new techniques will also be employed to examine the possibility that Millmount, in Drogheda, is also an ancient passage-tomb which was re-used by the Normans and later by the British who fortified the mound with a martello tower on top.

Acknowledgements: Steve Davis, Conor Brady, Kevin Barton and Will Megarry (archaeology); funded by the Heritage Council (INSTAR); Meath County Council (LiDAR imagery); the archaeologists are very grateful to the Redhouse family for access to the land.

Boyne Valley Landscapes Project: Steve Davis, William Megarry. Conor Brady, Helen Lewis, Thomas Cummins, Loreto Guinan, Jonathan Turner, Colman Gallagher, Tony Brown and Robert Meehan.

See Boyne Valley Landscapes Project Phase III Summary Report and Phase III Final Report.

Ever wondered what the inside of Dowth looks like?

This is one of the most interesting and useful videos relating to the Boyne Valley that I've seen in a long time. It's a fly-through tour of Dowth's northern and southern chambers based on laser scanning and gives you a real sense of what it's like inside. The survey work was carried out by David Strange-Walker of Trent & Peak Archaeology and Marcus Abbott of ArcHeritage. Thanks to Dr Steve Davis of University College Dublin, and the Office of Public Works, Ireland, for funding this project.

I was inside Dowth's northern chamber a number of years ago. I visited with a group, and we accessed this chamber through the souterrain, just as shown in this video. The imagery is from real scans, and is therefore incredibly accurate.

Those of you who have visited Dowth for the sunset at winter solstice might be familiar with the interior of the southern chamber, which is the shorter, circular chamber. However, the northern chamber is completely off bounds to the public - at least those who might never get the chance to go inside it can now do so virtually. Fantastic stuff.

Dowth and its sycamore tree like you've never seen them!

The huge sycamore tree growing out of the side of Dowth mound is one of its endearing aspects in my opinion. Dowth is now the only one of the three great mounds (Newgrange and Knowth are the others) that has not been "spoiled" by a modern redecoration. One of my favourite aspects of photography is a technique called "painting with light", and I can often be found in the countryside firing flashes and illuminating torches at monuments and other features. Of course, one of the challenges of the techniques used above is that one has to operate the camera - and one also has to illuminate the subject. In the first and second images, the camera fired while I was remote from it, shining a torch up at the tree. Thankfully on this occasion I had the assistance of my good friend, Richard Moore.

Newgrange then and now - pre and post excavation

Just some food for thought. These photos show Newgrange before, during and after the restoration/conservation work which took place during the archaeological excavation of the mound in the 1960s and 1970s. On top is a picture of the monument as it appeared before the archaeological work. The second picture shows the giant concrete wall which was added to the front of the mound. The main purposes of this wall are to prevent cairn slippage out over the kerbstones, which had happened previously in the Bronze Age, and to securely fasten the white quartz and granite cobble stones which form the modern facade. These stones were found to be on the ground, beneath the cairn slip material. The archaeologist deduced from experimentation that the quartz had to have been placed on the front of the mound in order to have ended up underneath the cairn slip material. Interestingly, some kerbstones had fallen over as a result of the cairn slippage. There was no quartz underneath the stones that had fallen over!