Prancing at Lughnasa? St Marcan’s Lough, Mayo

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A Long Tail – Image: Rafael Peñaloza/Flickr Commons (CC BY-NC-SA 2.0)

Last night I was reminded, via the Twitter Machine, of a great two-parter written by Christiaan Corlett – this time last year – entitled ‘Lughnasa at St Marcan’s Lough, Clew Bay, Co. Mayo’ (See Part 1 here and Part 2 here). St. Marcan’s Lough is the location of a medieval ecclesiastical site, now almost gone, on the shores of Clew Bay, Co. Mayo. Remains of possibly two churches and a leacht  recorded in the 19th & 20th centuries, no longer survive. An altar and holy well (Tober Marcan) show some sign of partial preservation and a cairn/pilgrim station located on the loughs foreshore is still exposed at low tide. A Childrens Burial Ground is depicted in the vicinity along with a crannóg/platform within the Lough itself.

There is considerable Lughnasadh type folklore and traditions associated with the site, with a particular emphasis on cattle being driven in the waters of the lough, originally a freshwater lake (during the first week of August – as a curative or preventative protection/charm) in and around the cairn/monument and holy well. Corletts articles goes into great detail on this and he draws parallels with other similar traditions and accounts of horse/cattle rituals at other suspected Lughnasadh sites in the country.

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No Horses for Courses: Christian Horror of Horseflesh in Early Medieval Ireland [Part 2]

(Continued from Part 1…)

Heavy Horses: Armagh’s Stone Sculptures

If the horse/kingship motif can be detected in some of the earliest patrician hagiography depicting the foundation of Armagh; then the ecclesiastical centre itself also provides us with firm archaeological evidence of its survival and continuity throughout the later medieval period. Two strange medieval stone carvings are known from the area of the cathedral/church, both of which depict a human figure with horses ears. Thought to be a medieval sculptural representation of earlier Irish literature involving kingship figures, the stone sculptures have also been interpreted as an ecclesiastical re-working of insular tales modeled on the classical mythology of King Midas. Continue reading