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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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              <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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                <text>"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"</text>
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                <text>Lough Derg--Folklore--Education--Disputes</text>
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                <text>A description of the power given to unexplained natural phenomena in Irish folklore, and the character of the storytellers</text>
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                <text>Henry Newland, 1804-1860</text>
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                <text>Newland, Henry, The Erne, Its Legends and Its Fly-Fishing, pp. 228-29</text>
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                <text>Digitised by Internet Archive, originally from University of California</text>
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                <text>xiv, 395 p. plates. 20 cm</text>
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                <text>Fishing memoirs</text>
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                <text>54.620679, -7.902967</text>
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                <text>http://hdl.handle.net/2027/uc2.ark:/13960/t4qj7g05s</text>
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        <name>colonialism</name>
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              <text>i.&#13;
In a girdle of green, heathy hills, &#13;
In song-famed Donegal, &#13;
An islet stands in a lonely lake, &#13;
(A coffin in a pall), &#13;
&#13;
A single stunted chesnut tree &#13;
Is sighing in the breeze, &#13;
While to and fro “the Pilgrims” flit, &#13;
Or kneel upon their knees; &#13;
&#13;
Down to the shore, from North and East, &#13;
From Antrim and the Bosses, &#13;
Come barefoot pilgrims, men and maids, &#13;
Through water-ways and mosses; &#13;
&#13;
And some from Dublin city, far, &#13;
Where sins grow thick as berries, &#13;
From Sligo some, and Castlebar, &#13;
Come crossing by the ferries. &#13;
&#13;
ii. &#13;
Oh ! blessed Isle, a weary wight, &#13;
In body and in spirit, &#13;
Last year amid your pious ranks &#13;
Deplored his deep demerit; &#13;
&#13;
And though upon his youth had fall’n &#13;
A watchful tyrant’s ban. &#13;
Though sorrow for the unfought fight, &#13;
And grief for the captive man, * &#13;
&#13;
Peopled his soul, like visions &#13;
That cloud a crystal sleep, &#13;
These sorrows there pass’d from him — &#13;
’Twas his sins that made him weep. &#13;
&#13;
And forth he went, confess’d, forgiven. &#13;
Across the heathy hills, &#13;
His peace being made in heaven, &#13;
He laugh’d at earthly ills. &#13;
&#13;
iii.&#13;
Oh ! holy Isle, a ransom’d man &#13;
On a far distant shore, &#13;
Still in his day-dreams and his sleep &#13;
Sits by the boatman’s oar; &#13;
&#13;
And crosses to your stony beach &#13;
And kneels upon his knees, &#13;
While overhead the chesnut-tree &#13;
Is sighing in the breeze; &#13;
&#13;
And still he hears his people pray &#13;
In their own old Celtic tongue, &#13;
And still he sees the unbroken race &#13;
From Con and Nial sprung; &#13;
&#13;
And from departing voices hears &#13;
The thankful hymn arise — &#13;
That hymn will haunt him all his years, &#13;
And soothe him when he dies. &#13;
&#13;
iv.&#13;
Oh, would you know the power of faith, &#13;
Go ! see it at Lough Derg; &#13;
Oh, would you learn to smile at Death, &#13;
Go ! learn it at Lough Derg; &#13;
&#13;
A fragment fallen from ancient Time, &#13;
It floateth there unchanged, &#13;
The Island of all Islands, &#13;
If the whole wide world were ranged. &#13;
&#13;
There mourning men and thoughtful girls, &#13;
Sins from their souls unbind; &#13;
There thin gray hairs and childish curls &#13;
Are streaming in the wind ; &#13;
&#13;
From May till August, night and day, &#13;
There praying pilgrims bide — &#13;
Oh, man hath no such refuge left, &#13;
In all the world wide ! </text>
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                <text>"Lough Derg" by Thomas D'Arcy McGee</text>
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                <text>"In a girdle of green, heathy hills, &#13;
In song-famed Donegal, &#13;
An islet stands in a lonely lake, &#13;
(A coffin in a pall)..."</text>
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                <text>D'Arcy Magee, Thomas, The poems of Thomas D'Arcy McGee : with copious notes: also an introd. and biographical sketch, pp. 483-86</text>
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                <text>P.J. Kenedy, New York</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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                  <text>Digital Derg: A Deep Map</text>
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                  <text>CC BY, sui generis database</text>
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              <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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                <text>Yeats' reflection on the affinity for bodies of water within the Irish poetic imagination and psyche</text>
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                <text>Yeats, W. B. (William Butler), The Celtic Twilight, p. 135.&#13;
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                <text>Digitised by Internet Archive, sponsored by University of California Libraries</text>
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                <text>Public domain</text>
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                <text>https://archive.org/details/celtictwilight00yeatrich</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>'Vis booc'. Adriaen Coenensz. S.l., 1577-1580. With watercolour drawings made by himself. - Provenance: Jacob Visser collection, 1809. - 78 E 54, fol. 53v-54r</text>
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                <text>Curator's description: "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."</text>
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                <text>Adriaen Coenen, 1577-80</text>
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                <text>Public domain worldwide</text>
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                <text>317 x 215 mm.</text>
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                <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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                  <text>James L. Smith</text>
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                  <text>Digital Derg: A Deep Map</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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                <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>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>Four Masters Press, Dublin</text>
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                <text>1835 [2000]</text>
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                <text>Transcribed and edited by Michael Herity, MRIA</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="7891">
                <text>Citation for the purposes of criticism</text>
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            <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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                <text>54.616218, -7.876212</text>
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                <text>DD_0170</text>
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        <name>debate</name>
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        <name>Folklore</name>
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        <name>John O'Donovan</name>
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        <name>letters</name>
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        <name>nineteenth century</name>
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        <name>Oral History</name>
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        <name>reliability</name>
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        <name>religion</name>
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        <name>scientism</name>
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        <name>tradition</name>
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        <src>https://digitalderg.eu/files/original/33f20780b941288134b58a871018d71c.PNG</src>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Medievalism</text>
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            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
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                  <text>Lough Derg--Irish Identity--Medievalism--Nostalgia</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
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                <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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            <element elementId="39">
              <name>Creator</name>
              <description>An entity primarily responsible for making the resource</description>
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                  <text>James L. Smith</text>
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              <name>Publisher</name>
              <description>An entity responsible for making the resource available</description>
              <elementTextContainer>
                <elementText elementTextId="3195">
                  <text>Digital Derg: A Deep Map</text>
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              <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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              <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>
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              <name>Format</name>
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              <name>Language</name>
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                  <text>Lough Derg</text>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Portuguese portolan chart of Ireland</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Fifteenth century--Cartography--Ireland--Purgatory</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>A portolan chart of Europe by Grazioso Benincasa, showing the Aegean</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="3205">
                <text>Grazioso Benincasa, 1470</text>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="3206">
                <text>British Library, Western Manuscripts Collection</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="3207">
                <text>1470</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Owned and digitised by British Library</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3209">
                <text>Creative Commons Attribution Non Commercial licence</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="3210">
                <text>Vellum; 3 ft. 1 in. x 1 ft. 11 in</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Latin</text>
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            <description>The nature or genre of the resource</description>
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                <text>Portolan chart</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>DD_0197</text>
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          <element elementId="53">
            <name>Abstract</name>
            <description>A summary of the resource.</description>
            <elementTextContainer>
              <elementText elementTextId="3214">
                <text>This chart of Europe was drawn by Grazioso Benincasa at Ancona in 1470. It illustrates the detailed complexity of late portolan charts. Constantinople is in the centre, Crete at the foot and the intervening archipelago practically calls out for the fuller treatment provided by contemporary books of islands. The use of red to distinguish the more important place-names is a common feature on portolan charts.&#13;
&#13;
Authorship of this portolan is confirmed by the inscription at the neck: Gratiosus Benincasa Anconitanus Composuit Ancone anno domini mcccclxx. Die viii Octubrie. Benincasa was one of the most active 15th century Italian chart makers. The Bay of Cardigan is not shown on this map, the Welsh coast and that of northern England is a smooth curve, dating this chart to pre 1550. Scotland is an island, the knot tying England and Scotland is typical of Benincasa, who reproduced the standard nautical chart with this new feature. Ireland is shown with the fabled land mark, the Purgatory of St Patrick, an inland loch with many islands. The text records that there are 368 islands. A dark red circle to the left of Ireland is marked “Brazill”, known to exist due to classical legend, the location and form however are obviously as yet unknown. [Anthilia] is marked under the skin of the neck. This chart is interesting in that it shows the expansion of Portuguese knowledge of the coast of Africa. Spain and Portugal were hunting for the New World. The east coast of England is the most accurate area of Britain depicted on this chart. Crosses around the coast indicate rocks, a peril to ships. London is marked in red and the Thames is indicated.</text>
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                <text>54.616218, -7.876212</text>
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            <name>References</name>
            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
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              <elementText elementTextId="8476">
                <text>British Library. Additional MS, 31318A</text>
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        <name>British Library</name>
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        <name>cartography</name>
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        <name>fifteenth century</name>
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        <name>Grazioso Benincasa</name>
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        <name>islands</name>
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      <tag tagId="162">
        <name>purgatory</name>
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