Roadside travelers on Ireland’s N22 will spot a striking figure rising against the green hills: the Capall Mór unicorn statue. Shimmering with an almost spectral presence, this equine monument recalls the very heart of faerie, mythology, and folklore, blending centuries-old legend with the modern landscape. The choice of a unicorn, steeped in symbolism, acts as a visual anchor that links local mythic traditions to a living, breathing geography.

For folklorists and fantasy enthusiasts, Capall Mór isn’t just a whimsical roadside attraction. It stands as a marker of the persistent power of story, a testament to how mythic creatures continue to shape local identity and spark the imagination of anyone who passes by. This introduction offers a glimpse into how a single statue can channel the ancient echoes of fairy lore and legendary beings, inviting us to question where myth ends and reality begins.

Origins and Symbolism of Capall Mór

The Capall Mór statue bridges the worlds of fae, mythology, and folklore, calling forth imagery rooted deep in the Irish psyche. Its very name, meaning “Great Horse” in Gaelic, is a signal flare to anyone familiar with Celtic mythic tradition. Those traditions, teeming with shape-shifting faeries, heroic steeds, and spectral protectors, echo around the N22 installation and invite us to read every detail as a hidden code. The symbolic threads running through Irish history, horses, unicorns, warbeasts, and fae companions, are never far from the surface.

The Horse in Irish and Celtic Mythology

From epic tales to sacred ritual, few animals dominated Celtic mythology the way horses did. They walk beside deities and mortal heroes, moving easily between this world and the next. A central figure is Enbarr, the horse of Manannán mac Lir, the sea god. Enbarr could travel both land and ocean, carrying riders across impossible distances and even into the Otherworld. This gift for crossing borders set the horse apart as both a kin to the fae and a bridge between realms.

The significance of horses in Celtic lore was never only practical. They symbolized sovereignty, strength, and connection to the land, holding a prime role in coronation rites and sacred festivals. Horses were offerings to gods, signs of royalty, and protectors in battle. When we look at Capall Mór, with its flowing mane and proud posture, we catch glimpses of these powerful stories. The design channels not just wild beauty, but also the ancestral sense that a horse might be both an animal and a myth in flesh.

For a wider lens on the mythos surrounding magical beings in Irish tradition, consider exploring the rich histories of the Tuatha de Danann, legendary for their ties to both fae and sovereign rituals. Visit the Tuatha De Danann Lore Collection for more depth.

Unicorns, Warhorses, and Folkloric Hybrids

Why a unicorn, you might ask? In Irish folklore, hybrids often stand for the thin places where two worlds meet. The Capall Mór unicorn does just that, fusing the sacred status of the horse with a single spiraling horn borrowed from foreign myth and native faerie imagery. Unicorns have long represented purity and freedom, but in the Irish context, such a beast picks up additional meanings. It is the child of both warhorse and fairy-tale marvel; untamed, proud, and not quite explainable.

The Irish warhorse itself was always a creature shrouded in symbolism, from the thunder of ancient cavalry to its links with prosperity and sovereignty. Combine this with the widespread belief in supernatural steeds, kelpies, and water horses who could lure travelers into the bogs or lakes, and the unicorn starts to blur lines. Capall Mór stands at this crossroads, inviting those who pass by to question which world they’re passing through.

These motifs, blending violence, protection, and allure, are also well-trodden ground in faerie, mythology, and folklore lore. They reflect a truth central to Irish tradition: every marker on the land might double as a door to another story, another way of seeing. Whether you see Capall Mór as a guardian or a puzzle, its symbolism never sits still for long.

The Capall Mór Statue on the N22: Artistry and Local Impact

Commanding its spot along the N22, the Capall Mór unicorn statue stands as more than just a fanciful marker. Shaped by skillful hands, it fuses the sacred and the communal. Its profile is unmistakable against the surrounding hills; a bold, almost defiant statement that ancient tales still matter. This section explores the artistry, setting, and the powerful local resonance of Capall Mór, while also placing it within the broader tradition of Ireland’s folklore-inspired roadside art.

Sculpture Details, Location, and Public Reaction

Driving on the N22 outside Macroom, the Capall Mór statue comes into view like an apparition; a great horse frozen mid-gallop, horn piercing skyward. Crafted with meticulous attention to anatomy, its arched neck and wind-swept mane recall both the muscularity of Celtic warhorses and the impossible grace of unicorns in faerie, mythology, and folklore. The surface, often described as shimmering or spectral, is achieved with layered oxide finishes that shift in the ever-changing Irish weather. Some days it glimmers as though dusted with dew, and others it stands matte and ghostly, more memory than solid fact.

Created by local artist Don Cronin, Capall Mór was commissioned as part of a public arts initiative, with the intent to celebrate local identity while drawing the eye of passersby to the rich narrative history of the region. The placement, just off a busy roundabout, means thousands encounter it daily. For some, it’s a beloved familiar. For others, especially those with roots in nearby villages, the statue acts almost as a guardian watching over their routes to Cork or Kerry.

Public reaction has been anything but uniform. Children wave at it. Locals use it as a meeting point. Folklorists and artists see it as a signal: here, history meets whimsy. There’s even a steady stream of social media posts with visitors pausing to photograph and sketch Capall Mór, sharing its story far beyond County Cork. For many, the statue delivers a reminder that fae, mythology, and folklore aren’t relics; they’re alive in the land and the daily rhythm of Irish life.

Roadside Landmarks and Folkloric Art in Modern Ireland

Ireland’s roads have become galleries for mythic imagination. Sculptures inspired by legendary creatures and local folk heroes dot the countryside, forming a living trail of storied art. Capall Mór fits into a vibrant conversation, joining monuments like the Púca in County Clare or the Mighty Salmon statues found in towns crossed by ancient rivers. Each statue does more than decorate; it roots local stories into the landscape, making the invisible world tangible for travelers and neighbors alike.

What draws so many Irish communities to fae, mythology, folklore as artistic themes? Perhaps it’s the country’s love for the mysterious, or the conviction that every inch of land holds stories worth retelling. Folkloric art stands as a bulwark against forgetfulness, ensuring that creatures like the kelpie, púca, or Sidhe aren’t swept away by passing trends. Instead, they become fixtures as real as the trees and stones that surround them.

For a closer look at how defensive, myth-inspired sites have taken shape across Ireland, explore the Defensive Sites Overview, which highlights not only archaeological wonders but also monuments alive with narrative power. And if you find yourself fascinated by the murky overlap of monument and myth, the swirling legends of the Oweynagat Cave of the Cats offer a window into how sites and statues alike hold keys to Ireland’s ancient tales.

By weaving art, public memory, and folklore into everyday routes, pieces like Capall Mór do more than fill a landscape; they invite each of us to see the world with new, enchanted eyes.

Folkloric Connections: Capall Mór and the Fae Realm

Among Ireland’s roadside sculptures, Capall Mór stands apart. Its singular shape, echoing unicorn, warhorse, and spectral beast, ties it to stories much older than concrete or steel. The N22 statue doesn’t just inhabit the land; it charges straight into the well of fae, mythology, and folklore. Its form conjures up creatures that have haunted bogs, rivers, and borderlands for generations. By examining the folkloric currents below its surface, we find how Capall Mór brings the wild company of fae mythology right to the tarmac’s edge.

Kelpies, Water Horses, and Shape-Shifting Spirits

Ireland’s mythic tapestry is soaked in tales of unpredictable horse-spirits; creatures who blur the lines between the living land and the world of fae, mythology, and folklore. While the Capall Mór unicorn gleams in sunlight, echoes of darker, more dangerous water horses swirl around it.

Kelpies, for instance, are shape-shifting beings known to haunt the waterways, luring wanderers astride before vanishing into the deep. In both Scottish and Irish lore, kelpies appear as great black horses or glossy white mares, their beauty matched only by their deadly trickery. They entice travelers much like the shining surface of Capall Mór invites admiration, a reminder that enchantment often hides sharp teeth.

Some see the unicorn motif as an answer to these shadowy cousins. Where the kelpie ensnares, the unicorn sets free; where water horses threaten, the statue protects those traveling through uncertain ground. This blending reflects the complicated role horses play in native folklore, as both guardians and hidden dangers.

Consider this layering of meaning:

• The Capall Mór’s shimmering form: Not just a unicorn but a distant kin of the kelpie, hinting at transformation and risk.
• Shape-shifting legends: From historical accounts of the Kelpie to stories shared in local firesides, these stories press against the boundaries of the familiar, urging caution but stirring awe.
• Magical hybrids: By merging the unicorn with echoes of the water horse, Capall Mór taps into a deep well of mythic resonance, showing that fae, mythology, and folklore are not only about the light but also about shadow and ambiguity.

The next time you see the statue glinting in the rain, imagine its roots twisting down into the stories of shape-shifters and spirit horses. The fae are never far from the edges of Ireland’s roads.

Capall Mór’s Role in Modern Mythmaking

In the present day, Capall Mór acts as more than a static memorial to the past; it is alive with the ongoing work of mythmaking. Each traveler who pauses to wonder at its form becomes part of the statue’s living story. Its unicorn horn points less to a fairytale and more to the deep power of myth to shape how we see the world.

Modern interpretations of fae, mythology, and folklore rarely stand still. Capall Mór, by nature and by placement, draws in fresh meanings, inviting conversations between ancient symbols and everyday life. Its very existence helps keep Irish myth in daily motion, letting old tales breathe on new wind.

• Reinventing ancient figures: Unicorn or kelpie, guardian or trickster, the statue refuses a single definition. This invites each viewer to find their own story, blending communal lore with personal experience.
• Site of transition: Roadside statues like Capall Mór mark moments of crossing, both literal and symbolic. They guide us beside the old paths that spirits and heroes once walked, continuing the traditions found in legendary sites such as Oweynagat Cave of the Cats.
• Living fae mythology: Every glance or photo taken of Capall Mór adds another shade to the mythic color of the region. Here, past and present live side by side, shaping not only what we remember but how we look forward.

Capall Mór transforms folklore from artifact to experience, securing its place in the tangle of stories that mark Ireland’s highways. This statue reminds us that fae, mythology, and folklore remain unwritten at the edges, waiting for believers and skeptics alike.

Visiting Capall Mór: What to Know

The Capall Mór unicorn statue waits just off the N22 near Macroom, quietly carrying its layers of fae, mythology, and folklore into your road trip. Whether you’re chasing legendary sites or simply passing through, a visit to Capall Mór becomes more than a stop; it is an invitation to connect with story and landscape at once. Each detail of your trip unravels a thread, linking you to centuries of Irish imagination and living myth.

Travel Tips and Nearby Attractions

Planning a visit to Capall Mór is both practical and rewarding. The statue marks the roundabout between Macroom and Ballyvourney, making it easy to locate for those driving from Cork towards Killarney. The site is accessible year-round, but certain times enhance the experience:

• Early morning or late afternoon: The changing light brings out the unicorn’s spectral finish, making dawn and dusk the most photogenic.
• Spring and summer months: Longer days and mild weather allow for unrushed stops.

There’s no formal parking lot, but several lay-bys along the N22 offer safe places to pull over. Please be cautious, as traffic can move quickly. For those passionate about fae, mythology, and folklore, remember that this statue sits in the heart of a region teeming with legendary sites and scenic beauty.

Consider including these nearby attractions in your itinerary:

• Gougane Barra: A forest park and sacred site linked to Saint Finbarr, tucked into a mountain valley west of Capall Mór.
• The Gearagh: Europe’s last ancient post-glacial alluvial woodland, shrouded in mist and rich with stories.
• Macroom Castle: Once a fortress of Gaelic lords, it now offers gardens and riverside walks.
• Local trailheads: Ballyvourney, famed for its holy wells and historic church, provides insight into monastic traditions still surrounded by legend.

For those weaving folklore into their travels, road trip narratives and mythic sightseeing suggestions can be found by exploring more on Technotink’s Living Myth Collection – Page 6, where ancient stories color the modern journey.

Connecting with Ireland’s Living Folklore

A stop at Capall Mór does more than scratch the surface. This statue, shaped by legend and local pride, opens the door to what some call a “living folklore,” where ancient tales breathe in every hedgerow and roadside marker.

In Ireland, faerie, mythology, and folklore refuse to sit quietly in museums or old books. They seep into the present, shaping how communities see their land and share its stories. Capall Mór is an emblem of that ongoing dance between old belief and today’s wonder. Travelers often find, with each visit, that even a still statue can ignite fresh stories and questions worth carrying home.

Want a deeper journey through the heart of folk myth in Ireland? The broader Technotink Lore archive brims with tales and explorations, showcasing how storytelling and local legend remain woven into daily life. Each tale, from ancient faeries to modern-day myth-bearers, reveals how the Irish countryside never quite lets its legends go.

By pausing at Capall Mór, you don’t just mark a spot on a map. You join the living weave of fae, mythology, and folklore that turns every road into a path between worlds.

Conclusion

Capall Mór endures as more than a roadside curiosity; it stands as a living signpost to the strength of faerie, mythology, and folklore in Irish culture. The statue’s layered forms and mythical echoes offer a place where history, local memory, and fantasy all find their voices. For both folklorists and fantasy enthusiasts, Capall Mór is proof that old stories do not fade; they gather new life and meaning each day, shaped by those who witness, photograph, and share them.

The ongoing appeal of Capall Mór reminds us that the line between legend and landscape is often narrow in Ireland. This enduring bond between sculpture and story invites each traveler to become both observer and participant in a wider narrative, one that traces back to the earliest tales of faerie encounters. To explore more about these enduring traditions, visit the Niamh Oisin Folklore and Irish Mythology page for deeper insight into the lasting power of faerie myth.

By pausing at Capall Mór, we step into a tradition where art, story, and landscape create an ever-growing tapestry. The unicorn stands watch, not just as a symbol of legend, but as a guardian of Ireland’s living folklore; always present, always evolving. ~ Thomas Baurley, Techno Tinker, Folklorist, Photographer, and Traveler; Techno Tink Media.

References:

Ai 2025 Rightblogger assisted in article composition
Ai 2025 ChatGPT inspiration and idea generation.
Dunn, Brian 2025 “O’Donoghue/Ross”. Website referenced 6/27/25: O’Donoghue/Ross.
Kerryfineart.com 2025 “An Capall Mor” statue on the N22. Website referenced 6/27/25. Kerry Fine Art.com | East Kerry.
O’Cleary, Conor 2017 “Ireland’s New Art Gallery: The Highway.” Website referenced 6/27/25: Ireland’s new art gallery: the highway – The World from PRX.
Wikipedia 2025 “N22 Road Improvements.” Website referenced 6/27/25: N22 road (Ireland) – Wikipedia.

Sheela Na Gig: Unveiling the Mystery of These Medieval Stone Carvings

I’ve always been into carvings, especially gargoyles. I’m not sure why it took me so long to notice these relics of Medieval times and lore. Sheela Na Gigs are among the most intriguing figures in architectural history, leaving us with more questions than answers. These mysterious stone carvings of naked women, often displaying exaggerated genitalia, have been found on religious and secular buildings across Europe. Known for their stark and provocative imagery, they challenge modern concepts of modesty, femininity, and morality. But what exactly do these figures represent, and why were they created? Their story is as layered as the stone they were carved from, touching on themes of fertility, protection, and societal taboos.

Historical Origins and Placement

The origins of Sheela Na Gigs are rooted in Romanesque architecture, dating primarily between the 12th and 17th centuries. These carvings are most commonly found in Ireland, though examples have also been discovered in other parts of Europe, including England and France. Their prevalence on churches, castles, and other significant buildings suggests they held a vital cultural or religious purpose during their time.

Many Sheela Na Gigs are prominently placed over doorways, windows, and other entry points. This positioning has led historians to speculate that these carvings served as apotropaic symbols, designed to ward off evil spirits or bad luck. Their placement at thresholds—a symbolic space between worlds—seems to underscore this protective role. To explore further about their history and significance, the Sheela na Gig entry on Wikipedia provides excellent context.

Cultural Context and Symbolism

The symbolic meaning of Sheela Na Gigs is still hotly debated among historians and folklorists. Some theories connect them to the Celtic past, seeing them as remnants of pagan traditions. Others interpret them as fertility symbols, celebrating the power of the female body to create life.

However, another interpretation, rooted in Christian morality, portrays Sheela Na Gigs as warnings against lust and sin. Their grotesque and exaggerated forms may have served as reminders of the dangers of carnal desires, displayed strategically on church walls to deter parishioners. According to Sheela na Gig Theories, this duality—a mix of empowerment and admonition—highlights the layered meanings these figures held.

There is also an argument to be made about their apotropaic function. Similar to gargoyles, Sheela Na Gigs might have acted as guardians, their exaggerated and unsettling forms scaring away malevolent forces. This protective role aligns with their prominent positions near entrances and windows, areas often associated with spiritual vulnerability.

Etymology and Linguistic Significance

The name “Sheela Na Gig” itself is as enigmatic as the figures. Scholars have proposed various translations, with one popular interpretation rendering it as “old hag of the breasts” or “old woman on her haunches.” Both descriptions evoke the image of an aged, otherworldly figure, aligning with the carvings’ often emaciated and wizened forms.

The linguistic roots of the name are thought to intertwine with Gaelic and Old Irish, reflecting the deep cultural heritage of the regions where these carvings are most commonly found. For a deeper dive into Sheela Na Gig’s linguistic background and interpretations, explore this insightful resource on their significance.

Contemporary Interpretations and Reclaiming Symbolism

Sheela Na Gigs are much more than relics of the past. In recent decades, they’ve been embraced as symbols of empowerment, particularly within feminist and artistic circles. Organizations and individuals alike have used these carvings to celebrate female autonomy, sexuality, and strength.

Projects like Project Sheela have integrated Sheela Na Gigs into modern art, using them to address societal issues such as women’s rights and historical injustices. For example, their imagery has been famously used to shed light on abuses linked to the Magdalene Laundries in Ireland. These modern interpretations reclaim what was once a controversial figure and give her a voice in contemporary discourse.

Symbol of Female Empowerment

Many now view Sheela Na Gigs as a bold celebration of femininity and sexuality. Unlike traditional depictions of women in art, which often render the female form as an object of beauty, Sheela Na Gigs present it as raw and unapologetic. This stark portrayal serves as a counter-narrative to societal norms that have long sought to control or censor women’s bodies.

Feminist movements have drawn inspiration from Sheela Na Gigs, using their rebellious imagery to champion conversations around female liberation and sexual autonomy. This intriguing article from The Guardian examines how such symbols have been reinterpreted through a modern lens, highlighting their enduring relevance.

Reviving and Preserving the Sheela Na Gig Legacy

Efforts to preserve Sheela Na Gigs have grown in recent years, spearheaded by cultural organizations like the National Museum of Ireland. Unfortunately, many carvings have been lost to time, either destroyed due to religious objections or eroded by the elements. Still, mapping and documentation projects aim to safeguard the remaining figures, ensuring their stories are not forgotten.

There are still challenges to overcome. For much of history, societal taboos regarding female sexuality kept Sheela Na Gigs in the shadows. Today, advocates work to debunk myths and raise awareness about their historical and cultural importance. Learn more about these preservation efforts through resources like Sheela Na Gig.org, which offers a comprehensive look at their legacy.

Conclusion

Sheela Na Gigs remain a fascinating blend of history, mythology, and modern interpretation. Whether viewed as guardians, fertility symbols, or feminist icons, they continue to provoke thought and spark dialogue. Their ability to traverse boundaries—between past and present, sacred and profane—makes them uniquely captivating.

As we study these figures and their evolving symbolism, we are reminded of the complexity of human culture and belief systems. In a world that often seeks to suppress the unknown or controversial, Sheela Na Gigs stand as timeless reminders of the power and mystery of the human story.

The Fairy-Go-Round Fairy Fort
Dingle Peninsula, County Kerry, Ireland
https://www.fairyfortdingle.com/

During my 2023 December trompings around County Kerry on the Dingle Peninsula I pitstopped at this very cool Ring fort, also known as a “Fairy Fort”.  A tourist-attraction with a petting farm, this privately owned attraction is 10 km west of Dingle in the parish of Kilvickadownig. Its along the world famous Slea Head Drive.  This Ring fort, also known as a “Rath”, “Lios”, or “Fairy Fort” is a circular ancient pre-Celtic settlement and fort that is composed of a circular interior enclosed by a earthen bank and foss. There has been determined to be approximately 3-4 huts and souterrain that would have existed here. The bank rises approximately 4.2 meters above the base of the fosse and 2.5 meters above the interior. The entrance faces due East and is 3 meters width. 

Mythologically this is known as a Fairy Fort. The owners have called it the “Fairy Go Round.”   Historically, pre-Celtic forts and settlements were once attributed to be the circular fortified settlements of the pre-Celtic inhabitants of Ireland known as the Tuatha Dé Danann and Fír Bolg even though archaeologically we know they were built by humans during the Bronze age upwards towards 1000 CE.  Ring forts can be found throughout Northern Europe and are particularly abundant in the Isles like Ireland, England, and Scotland. Myth and legends surround these ruins and many superstitious will avoid them, believing them to be faerie domain and portals to the world of the Fae. Farmers who are superstitious will not farm nor develope near them, never altering the remains. Many believe the grounds are imbued with Druid magic. Even the cutting of the whitethorn trees (fairy trees) near them will often be believed to result in instant death upon whomever did the cutting. Others say that entering these fairy forts during the witching hours of 1 am – 5 am woulld never leave the fort alive. 

 This particular ring fort again is on private property shared with the public for a admission fee. In addition for entertainment of children, there is a animal petting farm on site with sheep, goats, lambs, kids, horses, and donkeys. 

by Thomas Baurley: 19 February 2024

Mass Rocks: Generally, a “Mass Rock” was used as an altar in the mid-17th century for Catholic masses in Ireland and Scotland or regions where the Protestants persecuted the Catholics. In Irish they were called Carraig an Aifrinn. These were popular occurrences during the Penal times (the 1690s to 1750s AD) (or 1690-1750 C.E.). England’s King Henry VIII started a massive religious persecution of the Catholic Church in Ireland, forbidding Catholics from holding mass. This ended during the Catholic Emancipation of 1829 CE. During this time, the Irish Catholics “clung to the Mass, crossed themselves when they passed Protestant ministers on the road, had to be dragged into Protestant churches and put cotton wool in their ears rather than listen to Protestant sermons,” stated Marcus Tanner in his 2004 book “Last of the Celts.”

As a result of persecution, clergy and their congregations sought out remote, hidden, isolated locations to hold mass and other ceremonies to observe Catholic Mass. Many of these locations were marked by large stones with etchings of a cross marked into them. It was extremely risky to be caught practicing during the persecution, resulting in harm, especially during Cromwell’s campaign and the Penal Law 1695. Under the 1704 Registration Act, Bishops were banished, and priests had to register to preach. “Priest hunters” were employed and set out upon the countryside to arrest unregistered priests and Presbyterian preachers under the Act of 1709.

The Penal Act made laws and enforcements based on:

• Restrictions on how Catholic children were educated
• Bans on Catholics holding public office
• Bans on Catholics serving in the Army
• Bans on Catholics voting
• Bans of Catholics inheriting Protestant lands
• Bans on celebration of Catholic Mass
• Execution or Expelling Catholic clergy from the country
• Taking Catholic land and distributing it amongst British Lords
• Dividing inherited lands equally between children to reduce land size held by individual Catholics

The Mass Rocks of Ireland

Again, while some occurrences are found in other places in the Western World with archaeological cross glyph remnants of crosses etched into stones, the “Mass Rock” concept is primarily found in Ireland and some occurrences in Scotland. It is defined as a “rock or earth-fast boulder used as an altar or stone-built altar used when Mass was being celebrated during the Cromwellian period (1650’s) and Penal times (1690-1750), with a recurrent use during the Covid-19 pandemic of 2020-2022. Many of these rocks/boulders often possess a inscribed or scratched/etched cross into the stone. (Archaeological Survey Database of Ireland) These are found in isolated places where religious ceremonies such as the Catholic Mass would be celebrated by the congregations, often in secret. Starting with Oliver Cromwell’s decimation of Ireland followed by William the III’s victories at the Boyne and Limerick under the Penal Laws, it was a dangerous time for the Catholics.

The infamous “Cathedral Cave” at the Isle of Eigg in Scotland is a good example. In 1698, the Inner Hebrides was predominantly Catholic, and the laity secretly attended mass at a Mass stone inside a large high-roofed coastal cave known as “the cave of worship.” These sites, too, have “mass stones” or “mass rocks” called Clachan Ìobairt, meaning “Offering Stones.”. These are remnants from when Roman Catholic priests were outlawed in Scotland.

Mass rocks had symbols of the cross either carved, scratched, or drawn upon them. Sometimes, a stone would be taken from a church ruin, brought to an isolated location, and have a simple cross carved at its top. This would mark the location of these secret masses.

Often held at night, the celebrants would trek out to the Mass rock in darkness with the clergy. They would kneel on the ground before the mass rock while others stood guard. A curtain was often drawn around the makeshift altar upon which a book, tablecloth, wine, water, and bread would be placed. The curtain would hide the identity of the person offering the Eucharist.

In addition to remote locales in the woods, cross-etched stones can be found at holy wells and graveyards, other locations where mass was found to be held.

Much historical and urban lore is associated with mass rocks, ranging from miracles to ghost stories. In the story of the widow’s hunger, cures, miracles, and protestant neighbors hiding or helping priests, the priest cannot stop for any reason with mass, or they’d follow in the tragic death of being shot or killed at the moment of transubstantiation. According to author Tony Nugent, the last Roman Catholic Priest to be killed at a mass rock was in 1829 at Inse an tSagairt, near Bonane in County Kerry. He states in his 2013 book Were You at the Rock? The History of Mass Rocks in Ireland that the priest was captured by a local woman and her five accomplices who ran a nearby shebeen splitting the 45-pound bounty. They beheaded him at a house near Kenmare, taking his decapitated head to Cork, and were denied the award because the Catholic Emancipation had just been signed into law, so they threw the head into the River Lee.

By the late 17th century, many were moved into thatched Mass houses. The Archaeological Survey of Ireland maintains a database for pre-1700 sites, and the National Inventory of Architectural Heritage maintains one for post-1700 sites. In 1979, the Pope recognized the importance of Mass Rocks as a historical reminder of the past persecutions that the Irish faced. After these outdoor sites stopped hosting open-air masses, they continued to have some use for pattern days and Christmas. Many of these sites were re-used when the 2020-2022 COVID-19 pandemic outlawed indoor gatherings, so many returned to mass rocks to celebrate mass. They are often used today for celebrations and Mass. Today, it is commonplace to find celebrations at Mass Rocks on June 20th for the Feast of the Irish Martyrs.

Mass Rock Sites:

Pike Woods Mass Rock, County Kerry, Ireland
A 23-hectare compact wood on the outskirts of Killarney, County Kerry, Ireland. Within a mature stand of mixed conifer and deciduous trees such as Sessile Oak, Ash, and Scots pine. Woodford River flows through Pike Wood, creating a microclimate that encourages numerous plant species to grow and critters to dwell. A “Mass Rock” can be found midway through the forest as an early 16th-17th century location for secret Catholic Masses. The 3d model sketch fab of the rock is here: https://sketchfab.com/3d-models/mass-rock-killarney-pike-wood-598a95e5c6814bd189e359646eec6726

REFERENCES:

• ACN Ireland undated “Ireland’s Mass Rocks”. Website referenced 2/19/24 at https://www.acnireland.org/journal/2021/5/27/irelands-mass-rocks#:~:text=Mass%20Rocks%20were%20in%20heavy,true%20to%20the%20Catholic%20Faith.
• Campbell, John 1984 “Canna: The Story of a Hebridean Island”. Oxfor University Press, p 91-92.
• Coillte undated Pike Wood. Website referenced 2/19/24 at https://www.coillte.ie/site/pike-wood/
• Ireland Lore undated “Mass Rocks of Ireland”: Ireland’s Lore and Tales. Website referenced 2/19/24 at https://irelandsloreandtales.wordpress.com/2021/03/29/mass-rocks-of-ireland/comment-page-1/
• MacLellan, Angus 2004 The Furrow Behind Me, Birlinn Limited. Pages 25-26. 42-43, 196-198.
• NMS undated Historic Environment Viewer: National Monument Service, “Mass Rocks”.
• Nugent, Tony 2013 “Were You at the Rock? The History of mass Rocks in Ireland.” Liffy Press. pg 152-154, 258.
• Power, Denis 1992 Archaeological Inventory of County Cork, Vol 3: Mid Cork, 1997, Duchas The Heritage Society.
• Sketchfab.com 2001 Mass Rock – Kilarney, Pike Wood 3D model. Website referenced 2/19/24 at https://sketchfab.com/3d-models/mass-rock-killarney-pike-wood-598a95e5c6814bd189e359646eec6726
• Tanner, Marcus 2004 The Last of the Celts. Yale University Press.
• The Tablet 2021 “How Mass Rocks are renewing the faith in Ireland”. thetablet.co.uk: The International Catholic News Weekly.
• Wikipedia undated “Mass Rock”. Wikipedia. website referenced 2/19/24 at https://en.wikipedia.org/wiki/Mass_rock

Tobar Ghobanatan Holy Wells and Shrine
Ballyvourney, County Cork, Ireland
https://wells.naiads.org/tobar-ghobnatan-holy-wells-st-abbans-well-and-st-gobnaits-well/

1ST WELL: ST. ABBAN’S WELL OR ST. GOBNAIT’S WELL
As you drive up to the Tobar Ghobnatan Statue, Well, Hut, Grave, Church ruins, and yard, you will see on your right a wrought iron archway with the letters spelling “HOLY WELL” along its top. Another sign labels it as the “Tobar Ghobnatan Holy Well”. When I walked through this archway, I immediately spied a 3/4 large ring of mushrooms known as a Fairy Ring. I had to walk around it 9 times to see if a gateway to the land of Fae would appear. Magical as the site was, alas, no gateway appeared that I was aware of. A short walk down the path you will find the well at the base of a wishing tree.

The tree is covered with rags or clouties, as well as many other trinkets placed there or tied to the branches as offerings and prayers. These are often cleaned up and removed by the church, occasionally, some say online. The well has steps down into it, but it can often be difficult to access without crawling on your knees to get to the magical waters.

There are two taps nearby where one can retrieve the water. This well is believed to be a lot older than the Christian occupation and creation of this monastic site, probably as a Fairy Well or Pagan Shrine. Today, visitors claim it is either St. Abban’s Well and/or St. Gobnait’s Well. From the Cult following, I would think it has more to do with St. Gobnait than St. Abban, even though technically, I’ve read it is primarily called St. Abban’s Well. The Other well is up the hill by St. Gobnait’s Hut and Statue. It’s unclear which Saint claimed which Pagan well when they took the land.

In Neo-Pagan practice and visitations of the site, the well is circled either three times clockwise, or in a trio set of three times three. It is conducted clockwise to gain something, pay tribute to the well, or weave a certain kind of magic. It is done counter-clockwise to unwind something, to banish something, or to undo a spell, curse, or action. It is common then to make an offering to the well or tree. The participant then goes to the well, collects water, offers it back to the earth, and then either takes a sip of the magical waters or splashes it on their face.

It is common to fill a bottle with the magic waters to take home. A bin of empty clean water bottles for those who forgot to bring a bottle is located along one of the rock walls. This well is a very common location for seamen to collect water from to bring to their boats used for safe passage during their expeditions.

In Christian/Catholic observation of the rounds, the “Our Father”, the “Hail Mary”, and the Glorias are spoken at each of the stations. At this station, they do a decade of the rosary and drink the water from the Well. According to the stations, the rounds, or the turas, this is station 10: St. Abban’s Well. Every year on the 11th of February, the parish priest would bring out a 13th-century wooden statue of St. Gobnait, upon which pilgrims would measure a ribbon against the statue and wrap it around the figure, then take the ribbon home to use for healing magic.

Next to the well is a large tree called a Wishing Tree, which is part of any number of such trees found on this monastic site. Covering this particular tree are offerings to St. Gobniat (and the ancestral water spirits or Naiads of this well) in the form of rags (clouties/clooties – pieces of cloth tied around its branches), prayers, trinkets, tokens, pictures, charms, and/or a variety of personal effects from undergarments, hair ties, belts, shoes, rings, jewelry, toys, prayer cards, or other effects. The belief behind pieces of cloth is that they are to get rid of an illness, and once the cloth decays, so will the illness. It is a concept of leaving something behind of themselves or their loved ones in need of healing.

Along the stone wall and around the well is an assortment of cups, jars, and/or bottles that someone can use to gather water from the well for drinking and/or blessing. As far as I know, the well water is not tested or certified, so drinking from such is at one’s own risk. Anything can get into these public wells, and a variety of items, from coins, pins, and garbage, are sometimes found thrown into them. When I visited, there was a large bin of washed-out plastic bottles for visitors to fill up with holy well water and take with them.

SECOND WELL: ST. GOBNAIT’S WELL (or ST. ABBAN’S WELL)

Again, like the well above, no one is clear on who claimed this Fairy Well, but it seems to be primarily associated with Saint Gobnait since it is located in front of her house, hut, or kitchen. Both wells are part of the pilgrimage and rounds regardless.

In Christian/Catholic observation of the rounds, the “Our Father”, the “Hail Mary”, and the Glorias are spoken at each of the stations. At this station, they do a decade of the rosary and drink the water from the Well.

To complete the pilgrimage the pilgrim walks down the road to St Gobnait’s well (Station 10). The pilgrim recites 7 Our Fathers, 7 Hail Mary, and 7 Gloria, one decade of the rosary, and drinks the water from the well. Like many holy wells in Ireland St Gobnait’s well is associated with a rag tree, and there is a tradition of leaving votive offerings at this tree.

Below is a photo of the tree taken when I last visited here in 2006, as you can see is covered with rags beads, and tokens left by pilgrims. I think it looks quite lovely. Since my last visit, most of these offerings have been removed, but a few are still to be found. This well seems a bit questionable as to the safety of the water but is still one apparently drunken from.

This well is in front of the round circular stone hut north of the statue called the “House of St. Gobnait” or the “St. Ghobnatan’s Kitchen”. Earlier evidence suggests that the site was an early pre-Medieval to Medieval bronze and ironworking site which operated out of this hut. Evidence for this comes from iron slag, a crucible, and other metalworking artifacts found during the excavation of the site. Evidence that the wells were Pagan shrines pre-dating Christianity combined with the metalworking has led some rumors to run wild that it could be the metalworking site of the Tuatha Dé Danann’s Smith known as Goibnui who share phonetic similarities to the name of Saint Gobnait.

There is no evidence found to this ‘hunch’ someone probably weaved online in a blog, but it does add a sense of urban lore to the site that would make it an exciting tidbit of the mythos. (Especially since there really exists no solid evidence of any of the Tuatha Dé Danann legend site locations except folklore) In this hut, pilgrims etch a cross into the stones atop this well as well as the entrance stones in the hut during their turas.Read more: Tobar Ghobnatan Holy Wells: St. Abban’s Well and St. Gobnait’s Well

BOTH WELLS:

Both of the wells are named after the Matron Saint of Ballyvourney and sacred Bee-Keeping mistress, Saint Ghobnatan (a.k.a. Saint Gobnait) of the holy pilgrimage site and monastic settlement known as “Tobar Ghobnatan“. This is the legendary home of St. Gobnait/Ghobnatan. It is located a kilometer south of the village of Ballyvourney where her church Móin Mór (a.k.a. Bairnech) was built. There are two holy wells at this site, both of which are believed to pre-date St. Abban and Gobnait’s arrival to the land, most likely Pagan shrines or Fairy wells. Today these wells are called “St. Abban’s Well” (most likely ‘FIRST WELL’) and “St. Gobnait’s Well” (most likely ‘SECOND WELL’).

There are several wells throughout Ireland (and other countries) dedicated to Saint Gobnait. There exists a dry well known as St. Debora, Deriola, or Abigails Well that is north of Ballyagran in a high field on the left of the road to Castletown which is believed to be the original Saint Gobnait’s Well. It is currently dry. Legends run wild of a white stag that can be seen at this well especially during February 11th, the Feast day of Saint Gobnait. There are other wells and shrines such as the church site in County Kerry at Dunquin which has a well near Dungarvan in Waterford.

Article by Thomas Baurley, Leaf McGowan, Technogypsie Productions and Research Services: technogypsie.net. © 2013, updated 2023: All rights reserved.

How to get here: Drive West from Macroom to Kerry on the N22. As you pass through Ballymakerry (Baile Mhic Ire), you will pass a church on your right-hand side and will take the first left-hand turn after the church that has a signpost. Follow the road 400 meters, and you will see the first (and main) holy well on the right. You’ll need to go up the hill a bit for parking as it is a very narrow road. Take the next right-hand road (near where you can park by a graveyard) up the hill to see the other holy well, statue, hut, church ruins, and main graveyard. There is also a modernized porta-toilet in this parking lot so you don’t have to use the bushes. The GPS coordinates are 79: W 1967 7688. Longitude: 9° 10′ 5″ W, Latitude: 51° 56′ 18″ N.

Bibliography and Recommended Reading:

• Inchigeelagh “Ballyvourney”. Website referenced and reviewed by Thomas Baurley on 12/21/13 at http://2009.inchigeelagh.net/inchigeelagh/ballyvourney.php.
• Matrifocus: Siofra Geoghegan “Gobnait: Woman of the Bees”. Website referenced and reviewed by Thomas Baurley on 12/21/13 at http://www.matrifocus.com/IMB05/ireland-gobnait.htm
• Megalithic Ireland “St. Gobnait’s House and Holy Well” website referenced and reviewed by Thomas Baurley at http://www.megalithicireland.com/St%20Gobnait%27s%20House%20and%20Holy%20Well,%20Ballyvourney.html
• Orthodox Church of America “St Gobnata of Ballyvourney”. Web site referenced 12/20/2013, reviewed by Thomas Baurley: http://oca.org/saints/all-lives/2013/02/11.
• Pilgrimage Medieval Ireland February 18, 2013 “Pilgrimage to St. Gobnait at Ballyvourney, County Cork”. Web site referenced and reviewed on 12/21/2013 by Thomas Baurley at http://pilgrimagemedievalireland.com/2013/02/18/pilgrimage-to-st-gobnait-at-ballyvourney-co-cork/.
• Wikipedia: The Free Encyclopedia. “Gobnait”. Web site referenced 12/20/2013, reviewed by Thomas Baurley: http://en.wikipedia.org/wiki/Gobnait.

 

Oweynagat Cave – Cave of the Cats

– Gateway to the Underworld and the Morrigan’s Palace.
Rathcrohan / Roscommon, Ireland

GPS: 53.79677, -8.31038
Article/Research by Thomas Baurley/Leaf McGowan
Techno Tink Media and Research, 10 October 2017

One of my most favorite sites in Ireland is the “Cave of the Cats” underneath the realm of “Rathcrohan“. It is officially called “Oweynagat” and pronounced “Owen-ne-gatt”.

The Cave is also labeled “Uaimh na gCat”, Irish translating to “Cave of the Cats”. When I first visited this site we had a tremendously hard time finding it. We found where it was supposed to be, but it lay behind fencing on a farmer’s field. We knocked on the farmer’s door, and there was no answer. A neighbor saw us, asked what we were doing and who we were, and he showed us the entrance, giving us permission to enter.

It was a small hole under some Fairy thorn trees. The Site is actually a natural narrow limestone cave that hosts a man-made souterrain at its entrance. This is seen by all as the official entrance to the Otherworld and home to the Morrigan or Medh. In the Medieval Period of Ireland, it was labeled “Ireland’s Gate to Hell”. It is a particular sacred site for the Pagan holiday and festival of “Samhain” or Halloween.

It is said that during the Feast of Samhain, the dead, their God/desses, and Spirits, would rise from their graves and walk the Earth. This cave is one of the main places where Spirits and the dead associated with the Fae and/or the Morrigan, would re-surface including creatures, monsters, and the un-dead. There exists an Irish legend based on the “Adventures of Nera” where a warrior is challenged to tie a twig around the ankle of a condemned man on Samhain eve, after agreeing to get him some water would discover strange houses and wouldn’t find water until the third house. Upon returning him back to captivity would witness Rathcroghan’s royal buildings destroyed by the spirits. After this, he must follow the fairy host to the Sidhe where he meets a woman who tells him the vision he saw will happen a year from now unless his mortal comrades are warned. He leaves the Sidhe and informs Ailill of his vision who destroys the Sidhe in response.

Some believe the “síd” or the Sidhe of this tale is either the Mound of Rathcroghan or Oweynagat, the Cave of the Cats. It makes the most sense that the Cave of the Cats is where the destructive creatures and fae emerged. There was a triple-headed monster called the Ellen Trechen that went on a rampage across the country before being killed by Amergin, father of Conal Cernach. There have been tales of small red birds emerging from the cave withering every plant they breathed on before being hunted to their death by the Red Branch. There are also legends of herds of pigs with similar powers of decay emerging from the cave until hunted and killed by Ailill and Medb.

The name itself, “Oweynagat” is believed to refer to the Magical wild cats featured in the tale of “Bricriu’s Feast” that emerge from this cave to attack the three Ulster warriors before being tamed by Cúchulainn. Some also claim that the cave was named after Irusan, the King of the Cats, who is featured in Irish fairy tales and hailed from a cave near Clonmacnoise (her home). Another tale from the 18th century CE tells of a woman trying to catch a runaway cow that fell into this cave (nevermind the entrance being too small) and followed it into this cave. It is said the cow and woman emerged miles away in County Sligo, near Keshcorran. There is also a legend of a woman that was told to have killed a monster cat in this cave, turning the woman into a great warrior, and this is why it’s called “Oweynagat”, Cave of the Cats.

The Birthplace of Medb

It is also believed that this cave is the actual physical birthplace of Queen Medb. The legend states that the Fairy Queen/Goddess Étain who was fleeing her human husband with her fairy lover Midir came here. Midir wanted to visit a relative named Sinech (the large breasted one) who lived in the cave. Within the cave was said to be a great otherworldly palace where a maidservant named Crochan Crogderg (“Blood Red Cup”) lived, and she had granted Midir and Etain entrance. It was here that Crochan was believed to have given birth to a daughter named “Medb“.

The Entrance

Nestled under a fairy tree in a farmer’s field (private property) is a small opening that really only looks large enough for a house cat to fit through. But if a human gets down on their hands and knees, can shimmy into this small hole, they will be presented with a small chamber that connects to a passageway that continually increases to a massive tunnel wider and higher than one could fathom. At the inner lintel of this entrance is an Ogham inscription that bears the words “VRAICCI…MAQI MEDVVI” translating to “FRAECH” and “SON OF MEDB”. Some also translate this to mean “The Pillar of Fraech son of Madb”. This is also seen as the birthplace of Medb. A second ogham inscription, barely visible, reads “QR G SMU” but has not been translated.

This beginning chamber is actually a man-made souterrain at the entrance to a natural narrow limestone cave. The souterrain was originally contained within an earthen mound that was later damaged by a road construction project in the 1930s. The souterrain is made of dry stone walling, orthostats, lintels, and stones that measure approximately 10.5 meters from the entrance to the natural cave’s opening.

The Tunnel

After crawling on one’s hands and feet, the passage increases in width and height, eventually one can stand up, and eventually, the tunnel becomes wide and tall enough that a small Giant could move through it. This is the passage of the Fae and leads to the Morrigan’s Lair. As one continues down, they’ll find a caved in shamble that is behind a muddy pool of water. If one successfully climbs up and over it, the passage continues to another area that is caved in. Apparently, workers on the surface planted a utility pole that collapsed this section of the tunnel. Beyond this is believed to be the Entrance to the Otherworld, and the Morrigan’s Lair. This is actually a natural limestone cave that has been mapped approximately 37 meters deep.

The Morrigan

The Queen of the Dark Fae, the Goddess of the Underworld, of Darkness, and Battle, rules the world of the Fae from this place. It is believed that every Samhain, is pulled on a chariot out of the Cave of the Cats by a one-legged chestnut horse alongside various creatures such as those mentioned above. Some also say on occasion she leaves the cave with a cow, guided by a giant with a forked staff, to give to the Bull of Cúailgne. She is also known to take the bull of a woman named Odras who follows her into the cave before falling under an enchanted sleep upon awakening to see the Morrigan who repeatedly whispers a spell over her, turning her into a river, the same river that feeds the muddy pool at the shamble.

Apparently, the cave is seen as a portal through which the Morrigan would pass in order to work with Medb as Goddess of Battle. She drove her otherworldly cattle into the cave every sunset. The Morrigan was blamed to have stolen a herd of cattle who belonged to a woman named Odras, and upon following to Morrigan to retrieve them, was turned into a lake by the Goddess. As is the story of Nera, a servant of Medb who met a Fairy woman here in this cave. He married her, and she warned him of Medb’s palace being burnt to the ground next to Samhain by the creatures of the otherworld. Upon hearing this, Medb stationed her forces in the cave each Samhain to protect Cruachan from destruction.

Rathcrohan is the legendary burial grounds of the Kings of Connaught. The region covers approximately 518 hectares hosting more than 20 ring forts, burial mounds, megalithic tombs such as the Relig na Ri (burial ground of the Kings), Rath na dTarbh (For the Bulls), and the Rathbeg. The archaeological site is massive, with earthworks spread over the region with the Grave of King Dathi (Last Pagan King of Ireland) as a 2 meter high standing stone being one of the few physical landmarks left that can be seen.

This is also the site of the mythical battle of the “Tain Bo Cuailgne” that remains in the hearts, minds, and folklore of the people of Tulsk and Rathcroghan recorded in the Ancient Irish Epic of the Tain Bo Cuiailgne, the “Cattle Raid of Cooley”. The Tain Bo tells the story of Queen Maeve of Connaught and her armies that pursued the Grat Brown Bull of Cooley, the mighty warrior Cuchulain who does battle with the armies here, and his foster brother Erdia as he defends the Brown Bull and the province of Ulster. There are a “Tain Trail Cycling and Touring Route” that re-traces the journey that Queen Maeve and her armies traveled from her Royal Palace at Rathcroghan across Ireland to the Cooley Peninsula in County Louth, the home of the Brown Bull. Rathcrohan hosts over 60 National Monuments here.

Bibliography/References:

• Druid School: Oweynagat Cave of the Cats. Website referenced January 2012.

• Fenwick, J. et al 1977 “Oweynagat”. Irish Speleology 16, 11-14.

• Hannon, Ed 2012 “Visions of the Past: Oweynagat Cave”. Website referenced 10/10/17 at https://visionsofthepastblog.com/2012/10/01/oweynagat-cave-souterrain-co-roscommon/.

• Mulranney, R. n.d “Caves of Ireland: Oweynagat Cave of the Cats”. Website referenced 10/10/17 at https://cavesofireland.wordpress.com/home/caves/oweynagat-cave-of-the-cats-co-roscommon/.

• Waddell, J. 1983 “Rathcroghan – A Royal Site”. Journal of Irish Archaeology 1.

• Wikipedia n.d. “Rathcroghan”. Website referenced 10/10/17 at https://en.wikipedia.org/wiki/Rathcroghan.

 

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Cross-posted from http://www.irishcentral.com/roots/history/Irelands-top-ten-haunted-destinations-PHOTOS.html?page=1
Kayla Hertz @irishcentral August 15,2014 12:45 PM

Wishing Steps
* The Rock Close * Blarney Castle, Blarney, Ireland * http://www.blarneycastle.ie *

Onwards with the quest for charms and blessings, just after kissing the legendary Blarney Stone for the gift of gab we wandered into The Rock Close of Blarney Castle. It was time to visit the wiley old witch of Blarney for a endowment of wishes. The witch requires the wisher to walk backwards up and down the steps with their eyes closed without stopping for a moment or thinking of anything other than the wish – then that wish will come true within a year. Of course I did it, and those who know me can only guess what my wish was … The roughly hewn 21-24 limestone steps climb up through an archway of limestone rocks. The steps can be wet and very slippery. Legend states that the witch was forced to do these blessings on the steps as a way for her to pack for her firewood she uses in the Witches kitchen located at the top of the steps. It is believed that if you go up the stairs early in the morning you will see dying embers in the fire pit of the Witches’ Kitchen and Stone which is supposedly lit every night by the Blarney Castle Witch.

The witch supposedly grants the wish within a year’s time. Others say a “year and a day”. My wish came true in precisely a year and 2 months. On June 28, 2010 I wished to be united with my soul mate and twin flame that previous prophecies said I’d meet. I also always had dreams as a child I’d marry an Irish woman. A year later in 2011 I was supposed to go to Ireland but while in Scotland ran out of money and called to tell my Irish friends I wasn’t able to come for a visit. They asked if I was going to Burning Man to which I replied, “I couldn’t afford it”. They had a position open for me as staff in helping build the Celtic dragon effigy for Ireland at Burning Man, so I went. I had a theme camp set up called “Tir na nOg” and was a base camp for the Irish crew. The night of the Effigy burn, I was a fire guardian and while watching the perimeter, had a friend from Colorado come fire spin for the event and she needed a safety person – unable to assist as I was already tied up with the boundary, I looked around the audience and saw a woman dressed like a leprechaun who was sober – I asked her to assist and she did. Afterwards I invited her back to our Tir na nOg camp, fed her fairy food and drink, and we fell in love. It turned out she was from Ireland, via the Pacific Northwest after working a summer on Vancouver Island, and lived in Cork – a stone’s throw from the Blarney Witch. She was looking for other Irish to hang out with. I moved to Dublin with her, two months later at the Stone of Destiny was inspired to propose to her, and we soon after married and gave birth to a beautiful son. So every year we return to the Blarney Witch to thank her for playing cupid. In our experience, we believe the wishing steps work.

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Witches Kitchen
* The Rock Close * Blarney Castle, Blarney, Ireland * http://www.blarneycastle.ie *

In the enchanted grounds of Rock Close in the fabled lands of Blarney Castle is the infamous Kitchen of the Blarney Witch. Archaeologically it is believed to have been a prehistoric dwelling potentially as old as the Neolithic (3,000-5,000 years old) if there is any connection of it to the The Rock Close Dolmen (Blarney Castle) or the Druid’s Cave and Circle. Atop her wishing steps is her kitchen. It has a chimney and fireplace within.

Offset from the kitchen is her stone. Apparently by legend she is bound and entrapped in the rock in servitude to bestow wishes upon those who walk up and down backwards the wishing steps while thinking only of their wishes and not letting any other thoughts drift in. In exchange, the Blarney guardians provide her firewood for this very kitchen so she can continue her spell craft and crazy brews while staying warm at night for when darkness falls she is magically released from the stone she is trapped within. Some say if you arrive early enough you can still see the dying embers of the fire as she lights a fire every night. Many believe that it was the Blarney Witch who really told McCarthy about the power of the Blarney Stone while others claim it was her who enchanted the stone as a “thank you” to McCarthy for saving her from drowning in the river. No one seems to know how she was entrapped into her rock. The Echoe Ghost Hunters investigated this area in 2010-2011 and claimed very strong EMP’s were recorded in the area of the Witches’ Kitchen. Most of the lore in this area is centered around the Witch of Blarney.

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The Fairy Glade in the Rock Close of Blarney Castle
* The Rock Close * Blarney Castle, Blarney, Ireland * http://www.blarneycastle.ie *

Not much is known of this glade except that fairies are rumored to flitter around the foliage. Of course this is more-less the Victorian image of small insect-like fairies that resemble tiny human-shaped beings with wings (better known as “pixies”) rather than a habitat for the human-form shaped Fae or Faeries like Elves, dryads, naiads, nymphs, faun, trolls, orcs, and various other hundreds of beings known as Faeries. Its a beautiful little garden section with a ring walk around. A new addition I noticed in 2013 was a wood carved stump chair with the Druid’s rays on it. Little altars and offerings abound throughout the glade. Since Faeries or fairies cannot be proven to exist, neither does any sound history or archaeology on this place being that it most likely was dreamt up by the Castle grounds owners in the early 1800’s when they landscaped and created the “Rock Close” around the prehistoric dwellings that were believed to be utilized by Druids and early Celtic peoples.

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