54.6083, -7.8714]]>
In 1632 the Protestant authorities decreed that all buildings on both Station Island and Saint's Island should be demolished and the masonry thrown into the lake because of the 'extremely abusive and superstitious' nature of the pilgrimage: this task was successfully executed by the Anglican Bishop of Clogher (Pinkerton 1857, 67-9). Despite the obliteration the pilgrimage survived and even flourished (Campbell 1789, 151), except for the subterranean purgatory element. This was replaced by an aboveground building, as indicated on the plan of the island published in 1666 (Carve 1666) and mentioned in subsequent written accounts. The pilgrimage was again closed down in the 1780s on the pretext of dangers that might befall pilgrims as a result of overcrowding (Harbison 1991, 60). Once more these measures foiled and the pilgrimage to St. Patrick's Purgatory continues to thrive into the 21st century.

The structure named ‘Caverna Purgatory’ on Carve’s 1666 map no longer exists as the entire island has been subject to continuous development and building activities over the past two centuries. The location indicated here can only be considered as indicative of its former presence on the island. Even the existing so-called penal beds cannot be considered of any great antiquity. Miscellaneous ecclesiastical remains on the island include a cross-shaft (DG101-004002-), the broken head of a cross (DG101-004003-) and a small font (DG101-004001-). (Carve 1666; Campbell 1789; Curtayne 1976; Lacey et al. 1983, no. 1592, pp. 280-2; Picard and de Pontfarcy 1985; Dowd 2015, 217-20).]]> Townland: STATION ISLAND
Scheduled for inclusion in the next revision of the RMP: No]]>
Coenensz made nearly every page into a miniature work of art by framing his texts and illustrations by borders, edges and cartouches painted in water colour. He must have realised the special value of his book, as appears from the minutes of the court sessions in Leiden from 1583. They contain a note indicating that Coenensz asked permission for his book and his collection of dried fish ‘to be shown on the coming free annual fair and the festival of the relief of the city [3 October], receiving from every person five cents and from those wanting to see the book twenty-five’. So looking at his book was five times as much as marvelling at his dried fish. Coenensz certainly cashed in on his knowledge. On the reverse of folium 11 he even promoted it:

'Whoever reads or studies it
May spread the word to Another
that he may see and hear'.

One of the marvels of the sea that the inhabitants of Leiden could admire in the book was ‘The true Portrait and size of this whale that has been captured on the ij of July AD m.d.lxxvij’, painted in water colour over two pages. Coenensz had drawn this whale after an engraving that had appeared in the same year (1577). Drawing and caption record an event that would also be considered newsworthy in our own time: a whale cast ashore. The whale depicted here landed in shallow waters, the Scheldt near Doel above Antwerp, and attracted a lot of attention. A few years later Coenensz made a second book, based on this manuscript, the whale manuscript, which is now in Antwerp; a third, also with drawings of whales, is part of a collection in Cologne.]]> ]]> 54.600640, -7.846374]]>