Ogham stone, Baile An Reannaigh, Co. Kerry
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Stone Monuments
A single storm at the end of the eighteenth century undid centuries of concealment.
When it struck the site known as Cill Mhic Uíleáin on the Dingle Peninsula, it exposed a remarkable cluster of early medieval material: seven ogham stones arranged in a rough semi-circle atop a mound, a possible fragment of an eighth, a cross-inscribed stone, slab-lined graves, quantities of bone, and the ruins of several houses. Ogham is an early Irish script, typically carved along the edge or face of a standing stone as a series of notches and lines, and most examples date from roughly the fourth to the seventh centuries. The antiquarian John Windele visited and sketched the scene in 1838, recording what must have been a striking arrangement of inscribed stones clustered around funerary remains.
The collection did not stay together for long. In the mid-nineteenth century, Lord Ventry removed six of the seven ogham stones from the site. Four of them, numbered one to four, were repurposed to line the driveway of Burnham House, now Colaiste Íde, between Dingle and Ventry. The remaining two, numbers five and six, were taken to Chute Hall near Tralee, in the townland of Tullygarran, where they remain today. The seventh stone was left at the original location. The stone documented here is number five, now at Chute Hall: it stands just under a metre high, tapering from 0.51 metres at the base to 0.18 metres at the top. Its inscription has partially worn away, making a confident reading difficult. The scholar R.A.S. Macalister offered two different interpretations across his career, reading it first in 1897 as G[E]BB[AI]S MAQQ[I T]AN[AI]S and then, in 1945, as LUBBAIS MAQQI DUN....S. The discrepancy in the opening letter hinges on his observation that two scores on either side of the arris, the raised edge along which ogham characters are typically cut, appear to mark a deliberate correction by the original carver, who may have mistakenly begun with a D before correcting to an L. It is a small, quietly fascinating detail: evidence of a stonemason pausing, realising a mistake, and trying to put it right somewhere in the early centuries of the first millennium.