Saint Patrick’s Return to the Hill of Tara

The year 2000 AD return of Saint Patrick to the Hill of Tara. Happy Saint Patrick’s Day

To continue my posting “Climb Hill of Tara” my first submission of three Hill of Tara photographs to Getty Istock had two of the photographs returned for revision.

A statue of Saint Patrick fittingly welcomes visitors to the Hill of Tara, County Meath, Ireland. This statue of cast concrete was an existing statue donated by the Sisters of Charity, moved from an existing installation to the Hill of Tara in the year 2000 AD. The creator is anonymous, the is no plaque or other attribution on or around the statue.

The original statue was erected on the summit of the Hill of Tara shortly after Catholic emancipation in 1829, commemorated the events of 433AD when St. Patrick lit a bonfire on the nearby hill of Slane on the eve of Easter Sunday.

Lighting such a fire was contrary to the pagan laws of the time which dictated that the first fire lit that night be in Tara. Observing St. Patrick’s bonfire from afar, the chief druid of the ancient Gaelic capital predicted that if the flame were not extinguished that night, Christianity would never be extinguished in Ireland.
The saint’s bonfire continued burning and the next morning, Easter Sunday, St. Patrick entered Tara to convert the king and his followers to Christianity.

For the fenced statue of Saint Patrick the revieweR wrote:

Please provide a full description for the work of art featured in this image. Include the artist, date of creation, location, etc. Works of art created by someone other than yourself must be free of copyright protection to be considered. If this work of art is indeed under copyright protection, a property release signed by the copyright holder will need to be provided.

Hmmmm….What I do while capturing a photograph of a statue is take photos of any plaque, sign, whatever to acquire the name of the creator, how it came to be there, community connections. There was nothing around the statue nor the very informative Office of Public Works placards at the entrance.  I was proud to submit the statue photograph, as it turned out so well, and hoped for the best.

Last week, I put in a query to Ireland’s Office of Public Works (OPW), the agency responsible for the Hill of Tara, and did not receive a response when, for other queries, they were helpful.  This Saturday and Monday mornings, several hours of internet research revealed this history.

The original statue was placed on Tara sometime after the 1829 Catholic emancipation.  It was molded concrete, created by Thomas Curry of Navan at his own expense to honor the connection of Saint Patrick to Tara.

The OPW removed Curry’s statue 1992 for repair of a century of wear.  During the removal the statue was damaged beyond repair and, afterwards, was further damaged by vandals who decapitated and used it for target practice.

Initially, the OWP decided not to replace Saint Patrick citing the “pagan” nature of the place. After an angry meeting of local people at the Skryne Parish Hall.  In this meeting the local Rathfeigh Historical Society formed the “Committee to Restore St. Patrick to Tara.”  In turn, pressure was put on Michael D. Higgins, Minister for Arts, Culture and the Gaeltacht (and the OPW). It was decided a new statue was to be created, based on a competition, and instead of it former place at the hill summit (called Rath na Rí), it was to be near the entrance, outside the Interpretative Center, to offer a Céad Míle Fáilte to visitors and be seen on departure.

The outcome was the competition winner was rejected by locals.  The winning entry, by sculptor Annette Hennessy, did not follow competition rules that specified the statue incorporate traditional features to include shamrocks, harp, miter, a crozier and, perhaps, fleeing snakes. Hennessy’s design was of a shaven headed teenage boy in a short (“mini-skirt”) kilt, a handbag-shaped bell in hand.  She agreed hers was “not a traditional style statue” saying it “acknowledges our Pagan Celtic history.”

The rejection included a statement from Dr. Leo Curran, chairman of the Rathfeigh Historical Society, “We agreed that most of the monuments in Tara are from the pre-Christian era, but St. Patrick should be at the uppermost layer, representing Christian tradition extinguishing paganism.”

By this time, a new government and minister were in place.  The decision was made to search Ireland to find a suitable, existing, replacement statue.  By 2000 the present statue, donated by the Sisters of Charity, was in place at the Hill of Tara entrance.

At the end of this post I provide the two references from my internet research and from which many facts and all the quotes were used here.  I concluded the statue author was anonymous without copyright protection and submitted a revised image description, attaching a copy of my research.

What happened to my IStock photograph of Saint Patrick on the Hill of Tara? Getty accepted my application, published the photo and it is one of my top downloads, and earners.

Please browse my reasonably priced stock photography.  License a photograph, download and use it for your website or blog.  Click this link to browse all my Getty IStock Photography offerings.

Or click this link or any photograph or this link to select a print with custom framing from my “Ireland” Fine Art Gallery.

References :
“Should St Patrick stand again on Tara?” Independent, Dublin, Ireland March 17, 1999.
“Statue of Saint Patrick”, Meath Roots web site. The page includes photograph of the Thomas Curry statue.

Copyright 2024 Michael Stephen Wills All Rights Reserved

Newgrange X

Step into the ancient world of Neolithic monuments and discover the astounding astronomical knowledge of our ancestors. Explore the Newgrange Lightbox in Ireland and similar marvels across Europe, revealing a deep connection between ancient peoples and the cosmos. Join me in unveiling these architectural wonders.

Continue reading “Newgrange X”

Newgrange IX

Discover the mysteries of the Newgrange monument’s Entrance Stone, a showcase of exquisite Neolithic rock art. Explore spirals, lozenges, and geometric designs that define European megalithic art and delve into their potential meanings and cultural significance. Join me in uncovering the secrets of this ancient Irish wonder.

Continue reading “Newgrange IX”

Newgrange VIII

The Newgrange facade and kerbstones consists of stones from various locations, believed to be transported by sea and river.

The Newgrange façade and entrance of today is a creation from the large quantity of small stones unearthed and conserved during excavation given form by a steel-reinforced concrete retention wall. 

The brilliant white quartz cobblestones were collected from the Wicklow Mountains, 31 miles to the south.  Our guide called them “sunstones” for the way they reflect sunlight. In the following photograph is white quartz, the same excavated 1967-1975 from the Newgrange site and incorporated into the facade, I collected from “Miners Way” along R756 (above Glendalough).

You can also see in these photographs dark rounded granodiorite cobbles from the Mourne Mountains, 31 miles to the north.  Dark gabbro cobbles from the Cooley Mountains and banded siltstone from the shore at Carlingford Lough both locations on the Cooley Peninsula where my mother’s family still has farms.

The stones may have been transported to Newgrange by sea and up the River Boyne by fastening them to the underside of boats at low tide. None of the structural slabs were quarried, for they show signs of having been weathered naturally, so they must have been collected and then transported, largely uphill, to the Newgrange site. The granite basins found inside the chambers also came from the Mournes.

Geological analysis indicates that the thousands of pebbles that make up the cairn, which together would have weighed about 200,000 tons, came from the nearby river terraces of the Boyne. There is a large pond in this area that is believed to be the site quarried for the pebbles by the builders of Newgrange.

Most of the 547 slabs that make up the inner passage, chambers, and the outer kerbstones are greywacke. Some or all of them may have been brought from sites either 3 miles away or from the rocky beach at Clogherhead, County Louth, about 12 miles to the northeast.

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Copyright 2023 Michael Stephen Wills All Rights Reserved

Newgrange VII

Approaching Newgrange for the first time

Michael Joseph “Brian” O’Kelly was selected to undertake the direction of the excavation of Newgrange during a 1961 meeting of “those who had a professional interest in the monument” organized by PJ Hartnett, the archaeological officer with Bord Fáilte Eireann (Irish Tourist Board) and a former pupil of Professor O’Kelly’s. Excavation commenced in 1962 and continued every summer for a four-month season up to and including 1975.

The aim of the excavation was to discover as much as possible about the archaeological and historical context of Newgrange and the people who built it and to discover what its original finished appearance was so as to direct a reconstruction, conservation and restoration of the structure to its former condition and appearance.

The last year of excavation was 1975, Michael J. wrote “We determined in 1975 that that should be our last season of excavation at Newgrange. We had investigated approximately one third of the structure and we had discovered much about it that was new, both in its structure and in its ornament, while radiocarbon had pushed its date back by 1,000 years……”

“…We felt that the other two thirds should be left for a future excavator, who, working with new knowledge and perhaps with better methods and new scientific approaches, should have large areas untouched by us in which to test, check and re-evaluate our findings.” From The Restoration of Newgrange by Michael J.O’Kelly. Antiquity LIII, 1979.

“Between the bright sky and the long glittering silver ribbon of the Boyne the land looks black and featureless. Great flocks of starlings are flying across the sky from their nighttime roosts to their daytime feeding places. The effect is very dramatic as the direct light of the sun brightens and casts a glow of light all over the chamber. I can even see parts of the roof and a reflected light shines right back into the back of the end chamber.” The recorded words of Prof O’Kelly spoken in the tomb of Newgrange on the 21st December 1969.

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Copyright 2023 Michael Stephen Wills All Rights Reserved

Newgrange VI

Newgrange and Knowth mounds were built and stabilized by structural experts.

At the same time as the passage and chamber were being built, work on the mound was going ahead.

At Newgrange, and the main mound at Knowth, an area around the tomb was left clear for a platform of stones to encase and stabilize the chamber roofs.

Once the passage roof was complete, structural experts returned to the kerb and continued to set the slabs in place — either in sockets or on prop stones, so as to achieve an even top-line all-round the mound.

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Copyright 2023 Michael Stephen Wills All Rights Reserved

Newgrange V

Newgrange construction involved meticulous planning, stone architecture, artistry, and astronomical understanding.

The initial task for the builders of Newgrange involved recording the annual alignment of the rising sun over several years, which was likely achieved using timber posts as markers. Subsequently, the dimensions of the passage and chamber were determined, and the groundwork was prepared by digging sockets for the structural stones. This excavation process was carried out using antler picks and shovels crafted from cattle shoulder blades.

After the structural stones were carefully positioned and levered into their sockets, lintel stones for the passage could be lifted into place. The corbelled roofs of the cross-shaped tombs were built with great skill and finally capped by one slab. Sturdy timber scaffolding and bracing must have been used. As the stones were set in place, carvers and artists decorated the stones.

The whole process must have been overseen by social or religious leaders; the building of the tombs shows great skill in working and building with stone and knowledge of architecture, megalithic art and astronomy.

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Copyright 2023 Michael Stephen Wills All Rights Reserved

Newgrange IV

How we sheltered at the time of Newgrange construction

The Brú na Bóinne Visitor Center includes this tableau of the shelter of the ancient farmers who constructed Newgrange: the monument is in the background.

Notice the wicker fence in tableau foreground.

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Copyright 2023 Michael Stephen Wills All Rights Reserved

Newgrange III

How the builders of Brú na Bóinne clothed themselves

quiver, arrows

Flax and Nettle Fiber

Woven Dog Hair

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Copyright 2023 Michael Stephen Wills All Rights Reserved

Newgrange II

Early Irish farmers introduced crops and domesticated animals, aided by milder climate.

The people who built the passage tombs at Brú na Bóinne and elsewhere in Ireland were farmers, a way of life which by this time had become well established in Ireland.  All the mainstays of early farming life — cereals such as wheat and barley, and domesticated animals such as cattle, pigs, sheep and goats — were introduced to Ireland by early farmers.  T

he climate was warmer and drier than it is today which meant that the growing season was longer and winter was shorter and milder.  The main crops grown appear to have been emmer wheat and naked barley.  Flint knives and blades were used for cutting meat.  Simple wooden ploughs with stone tips were probably used. 

The cattle were Bos taurus longifrans, large animals with forward facing horns which were kept primarily for farm work and meat.  Cattle may also have been important in a ceremonial sense; cattle bones were sometimes placed in a very deliberate way in the ground.  Sheep were probably like Soay sheep today, without a woolly fleece and probably used mainly for their meat.  Dog and pig bones have also been found.

Copyright 2023 Michael Stephen Wills All Rights Reserved