A Serene Walk in Glendalough: Nature and History Unite

Find here a serene visit to Glendalough, highlighting the ancient beauty of its landscape, monastic history, and the deep sense of peace felt among the gravestones.

We arrived in Glendalough on a bright spring morning, a gentle breeze carrying the scent of grass and distant water. Even before stepping out of the car, I sensed something ancient in the air, as though the centuries themselves lay waiting among the stones. The peaks of the Wicklow Mountains rose around me, their slopes draped in verdant forests that whispered of forgotten tales. In the distance, shimmering like a secret, the Upper Lake beckoned under the watchful hush of rugged hillsides. I took a deep breath and started my wander.

One of the lakes for which the valley is named, above the headstones in the mid-distance

Walking through the monastic settlement, I felt enveloped by a hush both reverential and oddly comforting. The path led me to a cluster of gravestones leaning gently askew, each marked by Celtic crosses standing guard over the memory of those buried below. One cross, carved from sturdy stone, immediately drew my attention with its intricate knotwork etched deep into the surface. The front of it bore swirling designs reminiscent of interwoven vines—symbols of eternity, continuity, and faith. I found myself imagining centuries of pilgrims, each pausing here, hands gently resting on the weathered carvings, offering up their prayers and hopes.

Memorial from a mother to her 6 year old son and husband

A bit farther on, I came upon a small grouping of headstones bowed in silent unity. Ferns and moss carpeted the ground in bright greens, creating a natural tapestry that wove together life and memory. The slightly overgrown grass softened the entire landscape, allowing each stone to stand quietly yet firmly in the earth. From behind these markers, I caught my first glimpse of the shimmering lake, framed perfectly by the slopes of the valley. The water’s surface reflected the sky’s azure brilliance and accentuated the gentle hush that fell upon the graveyard like a comforting quilt.

As I paused to take a few photographs, I felt a hint of magic floating through the air—an indefinable sense that beyond what my eyes perceived, an age-old spirit thrived. The Celtic symbols on the headstones seemed alive, their swirling knots hinting at the cycle of life and death, the oneness of the world, and the bridging of earthly existence with the mystic realm. I found myself recalling old Irish legends: stories of saints who could converse with animals, of spirits dwelling in hidden glades, of holy wells that healed weary travelers. It felt as though those tales were all around me, wrapped in the tapestry of this timeless valley.

Looking out toward the remains of the stone church—its walls crumbled yet proud—my imagination conjured the chanting of monks, their voices echoing off the surrounding hills. The same forest that sheltered me now would have encircled them all those centuries ago, shifting from season to season. It was easy to picture them gathering by the lake’s edge, cups of cold, clear water cupped in their hands, or moving reverently among the graves of those who had come before them. Here, time seemed an illusion. The line between past and present faded as I stood among these enduring stones.

Winding paths of grass guided me to another section of the cemetery, where weathered inscriptions told the stories of families, lineages, and deep connections to the land. Some headstones were so old that the lettering had nearly eroded, but others still proudly bore legible names and dates. Names like Power, Byrne, and Keane were etched in memory, followed by poignant words of affection and devotion. The place felt both solemn and comforting at once—a harmonious interplay of remembrance, reverence, and the gentle pulse of nature.

Valley walls are dramatic and steep

A sudden breeze rippled through the trees, setting the leaves to dance and carrying the lilt of birdsong across the valley. I turned to admire the view once more, and there, between towering yew trees, the lake glowed like a polished mirror. Soft clouds glided overhead in a pale blue sky. The entire scene seemed woven from a single, unbroken strand—mountain, forest, gravestone, lake, and sky merging in a spellbinding harmony. It was the kind of moment that invited awe, a moment in which to lose oneself and yet feel more fully found.

I left the cemetery with a deeper sense of peace than I had known in some time. The photographs I took may capture the beauty of Glendalough’s ancient crosses and serene landscape, but it’s the intangible hush of centuries and the gentle brush of magic that remain with me. With every step back toward the car, I felt the warmth of timelessness, and as the day’s golden light enveloped the stone monuments behind me, I carried away a tiny spark of the valley’s enchantment—a reminder that some places are truly touched by the divine.Look closely at the carved scroll at the foot of the cross.

For more background of this site, see my posting “The Cloigheach of Glendalough.”

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Discovering San Xavier del Bac: A Desert Gem

San Xavier del Bac, known as the “White Dove of the Desert,” embodies rich history and spirituality, blending Indigenous and Spanish influences, while remaining a vibrant community centerpiece today.

I remember how the rising sun washes the mission’s white adobe walls in soft gold. Mission San Xavier del Bac stands about 10 miles south of downtown Tucson, on the San Xavier Indian Reservation of the Tohono O’odham Nation.​

Before sunrise, I climb Grotto Hill, just east of the mission. A well-worn path and a few stone steps lead upward, passing stations of the cross and a humble grotto shrine nestled in the slope. As I ascend, the soft golden light gathers. Ocotillo stems and saguaros dot the hillside, their long shadows stretching over the desert floor. Reaching the top, I find a lone white cross planted firmly into the rocky soil. The cross is simple, yet it holds a quiet gravity – a silent witness to the prayers and hopes of those who have come here. I stand beside it to catch my breath. Below me spreads the mission complex, glowing white and rose in the gathering dawn. From this height, the scene is breathtaking: the desert expands in every direction, painted in brushstrokes of copper, violet, and gold. The distant Tucson mountains catch the first light. There is a profound peace up here. It’s easy to imagine Father Kino himself climbing a similar hill, surveying this “Water Place” and dreaming of a mission that would stand the test of time.

Often called the “White Dove of the Desert”​the church gleams against the wide Sonoran sky, its twin bell towers and central dome radiant in the glow. In this moment, the 18th-century mission seems to hover between earth and heaven – a bright vision in the desert, tethered by history and faith.

I walk toward the old mission, feeling the crunch of desert sand beneath my feet and brushing past creosote bushes and prickly pear cacti. There is a hush here, broken only by a gentle breeze and the distant coo of a dove – as if nature itself respects the sanctity of this place. In my mind I rell that this mission was first founded in 1692 by the Jesuit missionary Father Eusebio Kino​, who encountered the O’odham community living at this oasis they called Wa:k, meaning “Water Place”​

The springs have long since gone dry, but the name lives on, a reminder that this now-arid land once nurtured life-giving water. The church before me isn’t the original Kino saw, but the one begun in 1783 under Spanish Franciscan friars​ who raised these walls with the help of O’odham artisans. I marvel that I am standing before a structure over two centuries old – the oldest European-built structure in Arizona​– yet still alive with spirit.

Stepping into the courtyard, I tilt my head back to absorb the facade’s details. The ornate Baroque façade is a symphony of carved plaster and painted relief, an exuberant blend of Moorish, Spanish, and Indigenous influences. Faded yet still vivid, saints and angels watch from their niches on the church front. Every arch and cornice is edged in shadow and dawn light, revealing craftsmanship considered one of the finest examples of Mexican Baroque architecture in the United States​

The front entrance is flanked by intricate scrolls and whimsical carvings – floral motifs, seashell patterns, and statuary wearing serene expressions. I gently run my fingers along the weathered wooden doors, feeling the grain that generations of hands have touched. Through a crack in the door, I catch a glimpse of the dim interior: candles flicker on the altar and the air carries a hint of melted wax and sweet incense. The sanctuary seems to exude centuries of devotion. Even outside, I sense a whisper of ancient prayers in the silence.

As the day progresses, the world feels alive again. A pair of children laugh and chase each other across the dusty plaza, their voices echoing off the thick adobe walls. Nearby, the aroma of fresh frybread lingers – evidence of Tohono O’odham vendors who often set up stands by the church, selling frybread “popovers” and Indian tacos to visitors. This mingling of old and new, sacred and every day, makes the mission feel utterly genuine, the heart of a living community. I see an elderly O’odham woman in a shawl kneel at a side shrine, lips moving in quiet prayer, and I realize that for the Tohono O’odham, this mission is more than a historic landmark. It is a living spiritual home that continues to anchor their community. Indeed, the church is still an active parish that serves the local O’odham families, with regular Masses and gatherings held within its walls​

The sense of continuity is palpable – the faith that built this place in the 18th century endures unwaveringly today.

Standing in front of San Xavier del Bac, I feel a personal connection that is hard to put into words. The centuries-old mission glows fresh in morning light. I close my eyes and sense the presence of all who have been here before – the O’odham villagers, the Spanish padres, the countless pilgrims and visitors. In the stillness, time blurs. Past and present mingle in the desert air. When I finally turn to leave, my heart is quiet, uplifted by the encounter. In this sacred and remote place, I have touched a living history and felt the embrace of a peace that transcends centuries. I carry that gentle peace with me into the day, grateful for the memories of light, silence, and the enduring soul of San Xavier del Bac.

Bibliography

  • Wikipedia. “Mission San Xavier del Bac.” (2025).
  • National Park Service. “San Xavier del Bac Mission.” (2021).
  • Patronato San Xavier. “History of the Mission – Timeline.” (2025).

Kinsale Walking Tour

Kinsale, a historic seaport in County Cork, showcases unique architecture and geography, with its streets and houses built on steep inclines near the river Bandon.

The first of a series of idiosyncratic posts from a 2014 walking tour of Kinsale.

Text from an poster behind glass accessible to all and sundry. Directory 1846 Munster, Kinsale with the villages of Cove and Scilly. Kinsale is a seaport, parliamentary borough and market town in the parishes of Saint Multose and Ringcurran barony of Kinsale, County of Cork, 172 miles s.w. from Dublin, 121/2 s and 11 e.s.e. from Bandon; eligibly situated near the mouth of the river Bandon or Glasson, (as it was formerly called), which here forms a capacious and square harbor, accessible in nearly all weathers, and navigable for vessels of any tonnage. the origin of this place, from its great antiquity, is but imperfectly known, and the derivation of its name is compassed by doubt. Cean Taile (Cionn tSáile), signifying in Irish “Headland in the Sea” is said to be its ancient appellation. (see more in the photograph).

Here we are on Emmet Place. There is a row of houses built along a steep alley named “The Stoney Steps.” At top is the aptly named Higher O’Connell Street.

From the informative poster…The streets rise in a singular and in regular manner of acclivity of an eminence called Compass Hill, the house ranging tier above tier, many of them on sites excavated in the solid rock, while other are perched on the level of some projecting crag: the descent is exceedingly precipitous, and the dwelling are inaccessible to carriages, except from the summit of the hill or from Main street, which takes a circuitous course along the shore of the harbor.

Click Me for the next post in this series.

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