From Irish Pictures Drawn with Pen and Pencil Richard Lovett
Next in order of time, but supreme in historical and architectural interest, comes the unique Chapel of Cormac. This was begun by Cormac MacCarthy, King of Munster, in 1127, and consecrated in 1134 A.D. The entry in the Annals of Inisfallen runs: '1134. The church built by Cormac MacCarthy at Cashel was consecrated by the archbishop and bishops of Munster, at which ceremony the nobility of Ireland, both clergy and laity, were present.'
Notwithstanding its great age, the edifice is in very good preservation, and presents many features of special interest to the student of ecclesiastical architecture. It differs in several respects from the common type. It has no east window in the chancel, and no original west door; it has both a north and south entrance, and at each side of the end of the nave a tower rises, the southern to a height of 55 feet, the northern 50. In the southern tower is a staircase leading to some crofts or apartments situated between the interior stone roof, and the high external vaulted roof; the chancel arch, which is very handsome, and is not placed in the centre, but at the southern side of the dividing wall. The arch is decorated with numerous carved human heads. The whole building is 50 feet long by 18 wide.
The north door, of which we give an engraving, is very richly decorated. It doubtless formed the original main entrance to the chapel. It consists of five concentric arches or mouldings, supported by five columns and a double column. In the archway of the door is a sculpture representing a centaur shooting at a lion, which is tearing some other animal beneath its paws.
Crozier from Tomb
 Round Towers of Ireland, p. 313.
Charlotte Milligan Fox, sister of the poet Alice Milligan, was a founding member of the Irish Folk Song Society and an indefatigable field collector of Irish traditional music. Her singularly important work on Irish haprers is here presented for the twenty-first century reader. This edition of Annals offers a much greater number of illustrations than were included in the original 1911 publication, a full biographical introduction, an extensive bibliography of the writings of Milligan Fox and an appendix discussing the variant texts of Arthur O’Neills Memoirs.
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