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                <text>Station Island Archaeological Survey</text>
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                <text>It is traditionally believed that a monastic settlement was founded on the nearby Saint’s Island (formerly St. Dabheog's Island) in the fifth century by St. Patrick who installed Dabheoc as the first abbot (see DG101-001001-/002-/003-/004-/005-/006-/008-). The primary concern of the monastery was to minister to the needs of the pilgrimages to the ‘cave’, known as St. Patrick's Purgatory, on Station Island. Some sources suggest that the original cave had been located on Saint's Island and that the pilgrimage was later transferred to its present location (Leslie 1961, 9-10). The Lough Derg pilgrimage was famous throughout Europe in the middle ages and a large literature grew up around it (Curtayne 1976; Harbison 1991). Several unsuccessful attempts were made to quash the pilgrimage and include legislation, papal prohibitions, adverse propaganda and the destruction of physical structures. In 1494 a Dutch Augustinian wrote to Pope Alexander V pronouncing the site 'a sham'. The Pope subsequently ordered its closure (Harbison 1991,59). In 1497 the cave was supposedly demolished, as a 'fictitious thing', on St. Patrick's Day ... by authority of Pope Alexander VI (MacRitchie 1901, 85). However, the Annals of Ulster recorded for the year 1497 that the 'demolished' purgatory was not the real one prompting the suggestion that the Augustinian canons closed down a 'false' cave, thus conveniently allowing the pilgrimage to the original to continue (Harbison 1991, 59).&#13;
&#13;
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.&#13;
&#13;
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).</text>
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                <text>Compiled by: Paul Walsh</text>
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                <text>Archaeological Survey of Ireland</text>
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                <text>National Monuments Service, Department of Arts, Heritage and the Gaeltacht, Ireland</text>
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                <text>12 April 2017</text>
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            <name>Rights</name>
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              <elementText elementTextId="3141">
                <text>Creative Commons Attribution 4.0 International licence</text>
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                <text>Archaological survey summary</text>
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                <text>Class: Structure&#13;
Townland: STATION ISLAND&#13;
Scheduled for inclusion in the next revision of the RMP: No</text>
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                <text>54.6083, -7.8714</text>
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                <text>DG101-004</text>
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                  <text>A collection of items detailing the medievalisms of Lough Derg's pilgrimage, the continuing process of creating the Middle Ages through the lake and its islands.</text>
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                  <text>James L. Smith</text>
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                  <text>Digital Derg: A Deep Map</text>
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              <name>Date</name>
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                  <text>2019</text>
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              <name>Rights</name>
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              <elementTextContainer>
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                  <text>CC BY, sui generis database</text>
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                  <text>Lough Derg</text>
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              <text>"I have argued with a Dr of Salamanca about Oral tradition; he produced logic and ingenious subtlety; I produced facts, that had fallen under my own eye; he adduced the accuracy of the Antediluvian pedigrees and other traditions; I produced the inaccuracy of what Oral tradition has preserved in Donegal in 1835, a more tangible epoch (era). He urged the perfection of the human memory; I urged the imperfection of my own, and the acknowledged treachery of those men of genius and sound learning, and quoted the vulgar and common place proverb 'Vox audita perit, litera scripta manet.' He argued from the immutability of the tradition of the Church; I from the forgeries of the middle ages and strikingly from these about Lough Derg in particular; from the fact that no six persons will (or can) separately relate the same story in the same words, order, or detail, and from the difficulty with which a case of open robbery can be proved to the satisfaction of men of wisdom and acquaintance with the laws of nature and Society. We ended like Mr. Owens and the American Preacher - the latter produced the Bible, the former his own twelve tablets."</text>
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          <description>The type of object, such as painting, sculpture, paper, photo, and additional data</description>
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              <text>Hand written letters held in Royal Irish Academy</text>
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                <text>Lough Derg--Ordnance Survey--Description--John O'Donovan</text>
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                <text>A debate over the reliability of oral history, in which O'Donovan cites the heterogeneity of County Donegal local stories</text>
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                <text>John O'Donovan, 1806-1861</text>
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                <text>Letter from John O'Donovan, Pettigoe, October 28th 1835, pp. 241-42, O’Donovan, John, Ordnance Survey Letters, Donegal: Letters Containing Information Relative to the Antiquities of the County of Donegal Collected during the Progress of the Ordnance Survey in 1835, pp. 119-20</text>
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                <text>Transcribed and edited by Michael Herity, MRIA</text>
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                  <text>Digital Derg: A Deep Map</text>
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                  <text>CC BY, sui generis database</text>
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              <text>"'It is quite true,' said the Parson, 'that the legends of every locality take their tone from the character of the scenery, and that in so great a degree, that a person acquainted with the place would always distinguish a true legend from a fabrication. There would be an incongruity in the latter, — a want of character. It would be as if an artist, painting this landscape, thought fit to decorate these islands with elms or beeches. You would see at once, from the character of the scenery, that the thing could not be, — it would be out of character. In nine cases out of ten, the legend is simply an attempt made by an unlettered, but imaginative people, to account for natural appearances by supernatural agency ; therefore the natural appearances must exist.'&#13;
&#13;
'I understand you,' said the Captain : 'you mean, for instance, that when the charitable monk is said to have crossed the Erne on a supernatural pathway, there must be a pathway of some sort to account for the legend.'&#13;
&#13;
'Exactly so,' said the Parson. 'We, with our knowledge, can account for that pathway, by the very natural solution, that the debris washed down by the river in its furious passage from Belleek to Clogh-or must settle as soon as they have cleared the gorge, and are carried into stiller water ; and wherever they do settle there will be a ford. But, in earlier times, men were ignorant of the doctrines of specific gravity, and had recourse to the supernatural ; hence the Ballagh na Monach.' 'Or again, the other day, when the weather fell so calm at Lough Melvin, the Scholar, a stranger to the place, was struck at once with the resemblance of that reef of rocks to a ruined bridge. Had he seen the moon shining along it, the resemblance would have been stronger. Hence the legend. Had there been no such resemblance, there would have been no such legend : had that resemblance existed in this lake, the legend would have been of a darker and gloomier character.'"</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="3166">
                <text>1577-80</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3167">
                <text>KB: National Library of the Netherlands, digital collections</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3168">
                <text>Public domain worldwide</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Format</name>
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              <elementText elementTextId="3169">
                <text>317 x 215 mm.</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Dutch</text>
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            <name>Type</name>
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              <elementText elementTextId="3171">
                <text>Manuscript book. Paper, 410 leaves. With watercolour drawings made by himself. - Provenance: Jacob Visser collection, 1809. - 78 E 54, fol. 53v-54r</text>
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                <text>DD_0195</text>
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              <elementText elementTextId="3174">
                <text>In 1577, at the age of 63, Adriaen Coenensz from Scheveningen, a Dutch fishing port, started his Vis booc. Over a period of three years he collected all kind of information about the sea, the coasts, and coastal waters, fishing grounds and marine animals: 410 pages written by an expert. Throughout his life he had earned his living from the sea, as fisherman, as wreck master of the county of Holland, and from 1574 as official fish auctioneer at Scheveningen.&#13;
&#13;
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:&#13;
&#13;
'Whoever reads or studies it&#13;
May spread the word to Another&#13;
that he may see and hear'.&#13;
&#13;
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.</text>
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              <elementText elementTextId="8157">
                <text>54.616218, -7.876212</text>
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            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
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              <elementText elementTextId="8474">
                <text>https://galerij.kb.nl/kb.html#/en/visboek/page/95/zoom/2/lat/-62.512317938386914/lng/1.7578125</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="3191">
                  <text>Medievalism</text>
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            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
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                <elementText elementTextId="3192">
                  <text>Lough Derg--Irish Identity--Medievalism--Nostalgia</text>
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              </elementTextContainer>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3193">
                  <text>A collection of items detailing the medievalisms of Lough Derg's pilgrimage, the continuing process of creating the Middle Ages through the lake and its islands.</text>
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              </elementTextContainer>
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              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3194">
                  <text>James L. Smith</text>
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              </elementTextContainer>
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            <element elementId="45">
              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="3195">
                  <text>Digital Derg: A Deep Map</text>
                </elementText>
              </elementTextContainer>
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              <name>Date</name>
              <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                  <text>2019</text>
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              </elementTextContainer>
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            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="3197">
                  <text>CC BY, sui generis database</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="42">
              <name>Format</name>
              <description>The file format, physical medium, or dimensions of the resource</description>
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                  <text>Omeka Collection</text>
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              <name>Language</name>
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                  <text>English</text>
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              <name>Type</name>
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                  <text>Digital Collection</text>
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              <name>Coverage</name>
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              <elementTextContainer>
                <elementText elementTextId="3201">
                  <text>Lough Derg</text>
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        <element elementId="1">
          <name>Text</name>
          <description>Any textual data included in the document</description>
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            <elementText elementTextId="1168">
              <text>"Some French writer that I read when I was a boy, said that the desert went into the heart of the Jews in their wanderings and made them what they are. I cannot remember by what argument he proved them to be even yet the indestructible children of earth, but it may well be that the elements have their children. If we knew the Fire Worshippers better we might find that their centuries of pious observance have been rewarded, and that the fire has given them a little of its nature; and I am certain that the water, the water of the seas and of lakes and of mist and rain, has all but made the Irish after its image. Images form themselves in our minds perpetually as if they were reflected in some pool. We gave ourselves up in old times to mythology, and saw the Gods everywhere. We talked to them face to face, and the stories of that communion are so many that I think they outnumber all the like stories of all the rest of Europe. Even to-day our country people speak with the dead and with some who perhaps have never died as we understand death; and even our educated people pass without great difficulty into the condition of quiet that is the condition of vision. We can make our minds so like still water that beings gather about us that they may see, it may be, their own images, and so live for a moment with a clearer, perhaps even with a fiercer life because of our quiet. Did not the wise Porphyry think that all souls come to be born because of water, and that 'even the generation of images in the mind is from water'?" (p. 135)</text>
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          <name>Original Format</name>
          <description>The type of object, such as painting, sculpture, paper, photo, and additional data</description>
          <elementTextContainer>
            <elementText elementTextId="1169">
              <text>Monograph</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="1154">
                <text>"The water, the water of the seas and of lakes and of mist and rain, has all but made the Irish after its image"</text>
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          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="1155">
                <text>Poetry--W. B. Yeats--Water--Irish mentalities</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="1156">
                <text>Yeats' reflection on the affinity for bodies of water within the Irish poetic imagination and psyche</text>
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          <element elementId="39">
            <name>Creator</name>
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              <elementText elementTextId="1157">
                <text>W. B. Yeats, 1865-1939</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="1158">
                <text>Yeats, W. B. (William Butler), The Celtic Twilight, p. 135.&#13;
</text>
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            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="1159">
                <text>A. H. Bullen</text>
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            </elementTextContainer>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1902</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="1161">
                <text>Digitised by Internet Archive, sponsored by University of California Libraries</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="1163">
                <text>Monograph</text>
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            <name>Language</name>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Folklore</text>
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                <text>Text</text>
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            <name>Identifier</name>
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              <elementText elementTextId="1166">
                <text>DD_0070</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="7704">
                <text>Public domain</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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              <elementText elementTextId="8069">
                <text>54.616218, -7.876212</text>
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          <element elementId="75">
            <name>References</name>
            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
            <elementTextContainer>
              <elementText elementTextId="8249">
                <text>https://archive.org/details/celtictwilight00yeatrich</text>
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        <name>Folklore</name>
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        <name>Irish identity</name>
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        <name>mythology</name>
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        <name>W. B. Yeats</name>
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                  <text>Medievalism</text>
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                  <text>Lough Derg--Irish Identity--Medievalism--Nostalgia</text>
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                  <text>A collection of items detailing the medievalisms of Lough Derg's pilgrimage, the continuing process of creating the Middle Ages through the lake and its islands.</text>
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            <element elementId="39">
              <name>Creator</name>
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                  <text>James L. Smith</text>
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              <name>Publisher</name>
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                <elementText elementTextId="3195">
                  <text>Digital Derg: A Deep Map</text>
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              <name>Date</name>
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                  <text>2019</text>
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              <name>Rights</name>
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                <elementText elementTextId="3197">
                  <text>CC BY, sui generis database</text>
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                  <text>Lough Derg</text>
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              <text>"SCENE VII.&#13;
LUIS. — POLONIA.&#13;
&#13;
LUIS [aside]. True to my purpose on I go,&#13;
With footsteps firm and bosom brave,&#13;
Seeking for that mysterious cave&#13;
Wherein the pitying heavens will show&#13;
How I salvation there may gain,&#13;
By bearing in this life the Purgatorial pain.&#13;
[To POLONIA.]&#13;
Tell me, O holy woman! thou&#13;
Who in these wilds a home hast found,&#13;
A dweller in this mountain ground&#13;
Obedient to some sacred vow,&#13;
Which is the road to Patrick's cave,&#13;
Where penitential man his soul in life may save?&#13;
&#13;
POLONIA. O, happy traveller! who here&#13;
Hast come so far in storm and shine,&#13;
Within this treasury divine&#13;
To feel and find salvation near,&#13;
Well can I guide thee on thy way,&#13;
Since 'tis for this alone amid these wilds I stray.&#13;
&#13;
Seest thou this mountain?&#13;
&#13;
LUIS. Ah! I see&#13;
My death in it.&#13;
&#13;
POLONIA [aside]. My heart grows cold.&#13;
Ah! who is this that I behold?&#13;
&#13;
LUIS [aside]. I cannot think it. Is it she?&#13;
&#13;
POLONIA [aside]. 'Tis Luis, now I know.&#13;
&#13;
LUIS [aside]. Perhaps illusion it may be&#13;
To baffle my intent, and lead&#13;
My erring feet astray. — [to POLONIA}. Proceed.&#13;
&#13;
POLONIA [aside]. Say, can it be to conquer me&#13;
The common enemy doth send&#13;
This spectre here?&#13;
&#13;
LUIS. You do not speak.&#13;
&#13;
POLONIA. Attend.&#13;
This mighty mountain, rock bestrown,&#13;
Full well the dreaded secret knows;&#13;
But no one to its centre goes&#13;
By any path o'er land alone:&#13;
He who would see this wondrous cave&#13;
Must in a bark put forth and tempt the lake's dark wave.&#13;
&#13;
[Aside.] I struggle with a wish to wreak&#13;
Revenge, which pity doth subdue.&#13;
&#13;
LUIS [aside]. It doth my happiness renew&#13;
Once more to see and hear her speak.&#13;
&#13;
POLONIA [aside]. Within me opposite thoughts contend.&#13;
&#13;
LUIS [aside]. Ah, me! I die. — You do not speak.&#13;
&#13;
POLONIA. Attend.&#13;
This darksome lake doth all surround&#13;
The lofty mountain's rugged base,&#13;
And so to reach the awful place&#13;
An easy passage may be found:&#13;
A sacred convent in the island stands,&#13;
Midway between the mountain and the sands.&#13;
&#13;
Some pious priests inhabit there,&#13;
And for this task alone they live,&#13;
With loving zeal to freely give&#13;
The helping hand, the strengthening prayer —&#13;
Confession, and the Holy Mass,&#13;
And every needful help to all who thither pass.&#13;
&#13;
Telling them what they first must do,&#13;
Before they dare presume to go,&#13;
Alive, within the realm of woe.—&#13;
[Aside.] Let not this enemy subdue&#13;
My soul, O Lord!" (Act III, Scene VII)</text>
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          <description>The type of object, such as painting, sculpture, paper, photo, and additional data</description>
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              <text>Monograph</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="1002">
                <text>"Tempt the lake's dark wave"</text>
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          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="1003">
                <text>Theatre--Seventeenth Century--Pedro Calderón de la Barca--Saint Patrick's Purgatory</text>
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            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
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              <text>"The road from the village of Petigo leading towards Lough Derg, runs along a river tumbling over rocks ; and then after proceeding for a time over a boggy valley, you ascend into a dreary and mountainous tract, extremely ugly in itself, but from which you have a fine view indeed of the greatest part of the lower lake of Lough Erne, with its many elevated islands, and all its hilly shores, green, wooded, and cultivated, with the interspersed houses of its gentry, and the comfortable cottages of its yeomanry — the finest yeomanry in Ireland : men living in comparative comfort, and having in their figures and bearing that elevation of character which a sense of loyalty and independence confers. I had at length, after travelling about three miles, arrived where the road was discontinued, and by the direction of my guide, ascended a mountain-path that brought me through a wretched village, and led to the top of a hill. Here my boy left me, and went to look for the man who was to ferry us to Purgatory, and on the ridge where I stood I had leisure to look around. To the south-west lay Lough Erne, with all its isles and cultivated shores ; to the north-west, Lough Derg, and truly never did I mark such a contrast. Lough Derg under my feet — the lake, the shores, the mountains, the accompaniments of all sorts presented the very landscape of desolation; its waters expanding in their highland solitude, amidst a wide waste of moors, without one green spot to refresh the eye, without a house or tree — all mournful in the brown hue of its far-stretching bogs, and the grey uniformity of its rocks ; the surrounding mountains even partook of the sombre character of the place ; their forms without grandeur, their ranges continuous and without elevation. The lake itself was certainly as fine as rocky shores and numerous islands could make it : but it was encompassed with such dreariness ; it was deformed so much by its purgatorial island ; the associations connected with it were of such a degrading character, that really the whole prospect before me struck my mind with a sense of painfulness, and I said to myself, 'I am already in purgatory.' A person who had never seen the picture that was now under my eye, who had read of a place consecrated by the devotion of ages, towards which the tide of human superstition had flowed for twelve centuries, might imagine that St. Patrick's Purgatory, secluded in its sacred island, would have all the venerable and gothic accompaniments of olden time : and its ivied towers and belfried steeples, its carved windows, and cloistered arches, its long dark aisles and fretted vaults, would have risen out of the water, rivalling Iona or Lindisfarn ; but nothing of the sort was to be seen. The island, about half a mile from the shore, presented nothing but a collection of hideous slated houses and cabins, which give you an idea that they were rather erected for the purposes of toll-houses or police stations than any thing else."</text>
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