This week as a substitute for our cancelled lectures during Covid we list some of the older books on Offaly History and some of which are still of use and must be consulted. The list is by no means complete and does not cover archaeology or geology. By older we mean studies mostly published before 1920 and many being diocesan histories. One book that is essential to look at is the Dublin Society survey of the county in 1801. This is the first book published about County Offaly/King’s County and deserves a read before moving on. John O’Donovan when preparing the ordnance survey memoirs in the 1830s had occasion to use Coote, among other books, and considered Coote a blockhead and worse. Yet, there are some nuggets for those who are patient. Coote was trying to promote for the Dublin Society (later Royal Dublin Society) agricultural education. The farming societies were not started until the 1840s and wilted in the Famine years. It was the 1900s before countrywide education in agricultural methods began with Horace Plunkett, agricultural cooperation and the Department of Agricultural and Technical Instruction.
Everywhere in the world today, the role and validity of public art, particularly statues of historical figures, is under scrutiny. At the same time it is the policy of our new Government to place an increased emphasis on urban quality-which presumes the installation of even more public art. This could be a recipe for conflict but much can be learnt from an examination of the history and experience of the provision of sculpture in County Offaly, and its errors and successes.
The Three Tests
I suggest that three criteria, all of which are of course totally subjective, apply to any reconsideration of the role of public art. The first is the continuing historical acceptability of the person or event which is commemorated. In Offaly, it is beyond doubt that the Manchester Martyrs Memorial in Birr or the War of Independence Memorial at the Courthouse in Tullamore would pass that test. The second is the intrinsic artistic quality of the work and ‘Saints and Scholars’ by Maurice Harron on the Tullamore bypass is generally agreed to be both striking and imaginative. Finally, there is the work’s contribution to a planned urban ensemble and in this respect both the Downshire Memorial in Edenderry and the Barnes-McCormack Memorial in Banagher which close vistas or reflect their settings, would qualify. It gets a lot trickier however when a work satisfies some of the criteria but not all.
For example, in our capital city the statue of Daniel O’Connell, the ‘Liberator’, marks the entrance to the fine boulevard which bears his name and having been designed and executed by the greatest Irish sculptor of his day John Henry Foley, it clearly fulfils all three criteria of artistic worth, civic design contribution and an historically enhanced reputation.
However, further along the same street the statue of Horatio Nelson failed the public acceptability test and along with its beautiful and blameless Doric pillar, was blown up in 1967.
Interestingly, Birr provides a precisely similar scenario. The image of the third Earl of Rosse in John’s Mall is also a fine example of Foley’s skill, and the reputation of ‘The Astronomer Earl’ has grown over the years. The statue, by virtue of its scale and location, is an integral part of a well-designed public space. Thus all three criteria are fulfilled.
In nearby Emmet Square stands the finest urban ensemble in Offaly and the only extant example in Ireland of the use of a central column as a focus for a public plaza. Whatever about the artistic merit of his statue which stood atop its elegant Doric pillar, the brutal reputation of the Duke of Cumberland was anathema to many and the discovery of a crack gave a valid excuse for its removal by Birr Town Council in 1915. Had Dublin Corporation adopted the same approach, the column upon which Nelson stood and which contributed to the scale and architectural character of O’Connell Street, might still be with us but as in Birr, we would probably still be debating a suitable replacement to cap it.
The issue of whether existing public art is still relevant and making a contribution to its locality can sometimes be contentious, but the location and nature of new public art is always pure dynamite, as the persistent vandalism of the Luke Kelly statues in Dublin (whether for aesthetic reasons or not) demonstrates.
Ideally public art requires public consensus and the smaller communities of Offaly who have got together to commission and install works of high artistic quality to celebrate their own local heroes or legends have shown the way in this regard and their approach deserves study and emulation.
Killeigh commemorates its famous local greyhound ‘Mick the Miller’ with a beautiful bronze piece by Elizabeth O’Kane. Cadamstown remembers local boxer Dick McRedmond in a lovely stone bust by Dermot Scully. In Ballycumber the wonderful little ‘Pilgrim’ trudges wearily to Clonmacnoise along the Erry Way in a delightful work by local artists Gerry Dooley and Lorie Quinn.
It is acknowledged by everyone that in Offaly both semi-State and local authorities have been to the forefront in providing good public art. The ambitious installations provided by Bord na Mona in the Lough Boora Discovery Park make it one of the best sculpture parks in Europe and it is the calling card of Offaly Tourism. Through its operation of the Percent for Art scheme, Offaly County Council has provided many imaginative and successful works in every part of the county, most recently Holger Lonze’s ‘Cruinne’ in Geashill and the ‘Marker Stone’ on top of Croghan Hill by Ciaran Byrne.
The elephant in the room however, is that almost all of these are in rural, village or remote locations and therefore their theme and siting is relatively uncontentious. A proposal to install a major piece of sculpture in the centre of any of the principal towns of the county on the other hand would immediately raise the questions of where, who, why, by whom and at what cost and inevitably cause a row. Nonetheless, busy central public spaces, both existing and planned, should now be the first choice locations for new artwork and these issues must be faced and a reasonable public consensus sought.
The county capital, Tullamore town centre has only three significant sculptural works, the two long established War Memorials and the 1999 ‘Pot Stills’ in Market Square by Eileen McDonagh. The recent Street Enhancement Scheme which might have provided the opportunity for the installation of a significant new work, instead inexplicably and without giving public notice, required the removal of the Memorial to the Dead of the Great War from O’Connor Square, despite its designation as a Protected Structure. Following an outcry and Ministerial intervention, it was saved but its generous planted setting vanished and it now stands looking a little lost and unhappily compromised by car parking. A more considered and consultative approach to our urban heritage is urgently required
A Phoenix arises?
The installation of a fine new piece of sculpture to adorn the historic centre of Tullamore is long overdue and the imminence of a new town plan presents the opportunity for its delivery. Hopefully, unlike its predecessor, the new plan will include a coherent vision for the preservation and enhancement of the town’s architectural heritage.
It might also follow the lead of other local authorities and outline the role that urban art would play in making the centre more attractive and even suggest where new sculpture or installations might be placed. The Offaly County Council Public Art Working Group could then initiate a debate as to appropriate subjects. One relatively uncontentious idea that has been around for years and which would certainly stimulate the imagination of a talented artist, would be that of the Phoenix- the symbol of the town.
This is now the time to start the debate on how Tullamore can celebrate its history, remember those who made a contribution to it and furnish its historic centre with new and exciting public art.
A new book comprising a selection of fifty of the poems and ballads of Edward Egan of the Meelaghans, Tullamore has just been published by Offaly History. The book was edited by Michael Byrne, Anne O’Rourke and Tim O’Rourke and is a fitting tribute to a man who died 80 years ago and in his time was revered throughout the midlands for his timely poetic commentaries on the social and political scene in his native county and his appreciation of all that was beautiful within a day’s walk of his home place.
Leaving to one side the work of the Ordnance Survey in the 1830s, the work of Petrie at Clonmacnois, and that of Cooke at Birr in 1826 and 1875, the references to and work done or written up on the historical sites of north Offaly in the nineteenth century are hard to come by. Fr Cogan published historical material on the Offaly parishes in the diocese of Meath in his three-volume work, 1862-1870; Thomas Stanley corresponded with the Royal Society of Antiquaries (RSAI) in 1869 in regard to the nine-hole stone or bullaun at the Meelaghans while Stanley Coote contributed an illustration of Ballycowan Castle for the Memorials of the Dead – a published record from the 1880s to the 1930s of selected tombstone inscriptions in Ireland and in County Offaly.
Ballinagar village is in the townland of Ballinagar. A small stream borders Ballinagar from its neighbouring townlands. For this article I walk along this stream to see what it can tell us about the past.
At Ballymooney bridge the stream enters the Tullamore river. The road here is called the Killeigh road. Over the years various road improvements and land reclamation works have changed this area completely. Before the late 1700s the stream entered the Tullamore River nearer to Ballycrumlin. A new road was constructed between Killeigh and Daingean and the Ballycue stream as it was known became a road drain. In 1808 local landowner’s Rev John Webb, Daniel Commins, James Digan and Rich Cleary got grants to work on drains between “the new bridge and where the old stream of Ballycue had been turned into a road drain” They also had to build five gullets or channels for water between Ballinagar and Ballina. William Steuart Trench who managed the Digby estate from 1857 to 1871 saw the potential of the land here and undertook a huge drainage scheme and redesigned the field system around Ballymooney House. He remarks after his drainage scheme that “land in Ballinagar that had previously lain in permanent water, where cattle were in constant danger of drowning were now good areas of pasture .”
Santiago de Compostela became an international pilgrimage destination in the twelfth century, at a time when the doctrine of purgatory was widely promulgated and the idea of indulgences was gaining popularity. The local archbishop, Diego Gelmírez (d.1140), promoted the cult of St James and the shrine in the Cathedral of Santiago became one of the three major pilgrimage destinations of the Christian world. This offered those living on the Atlantic edge of Europe an accessible alternative to Rome and Jerusalem.
There were two separate phases of the Santiago pilgrimage from medieval Ireland. The earlier phase, beginning in the thirteenth century, was a distinctly Anglo-Norman one, with pilgrims drawn from towns on the east and south coast. During the second phase – in the fifteenth century – Gaelic pilgrims from throughout Ireland, including the midlands, displayed a strong interest in going to Santiago. They almost invariably made the pilgrimage in jubilee years, when the feast of St James (25 July) fell on a Sunday and special indulgences could be earned.