In this essay, the development and role of wedge tombs in Ireland will be discussed with particular attention to their distribution, orientation, when they were being built, function, form, folklore as well as discussing a few excavated examples.
The wedge tomb is the most common megalithic monument in Ireland with 505 known (O’Brien 1999, 7). Wedge tombs are found across Ireland but 75% are located in the western half of the country, with high concentrations in Sligo, Clare, Tipperary, Cork and Kerry (Waddell 2010, 106). The western bias as Jones (2007, 219) explains is possibly due to the Atlantic seaboard connections, while eastern Ireland had more connections with Britain, this could also show how the wedge tomb was introduced to Ireland, the early metallurgists travelling from Europe to Ireland, bringing with them knowledge of metal working and introducing the gallery tomb tradition as seen in the Armorican “allées coverts” (O’Brien 1999, 11). The French gallery tombs are noted t have distinct similarities to the Irish wedge tomb, notably the presence of portico’s/antechambers, septal stones, chambers, orthostatic facades and their overall gallery form (Apsimon 1986 In: O’Brien 1999, 11).
Wedge tombs are orientated towards the setting sun; a possible suggestion from Jones (2007) is that they may have functioned as an opening to the Otherworld incorporating the symbolic dichotomy of light and life versus darkness and death. Likewise Scarre (2002, 160) mentions that these tombs brought believers into contact with the supernatural and were central to their beliefs. The belief in supernatural power was expressed through words and actions in ritual ceremonies, appeasing the tomb spirits and celebrating the community enduranc...
... middle of paper ...
... Coastal South-West Ireland. Galway, National University of Ireland.
- Ó’Nualláin, S. (1991). “The Megalithic Tomb Builders”. In: Ryan, M. ed. The Illustrated Archaeology of Ireland. Dublin, Country House.
- Parker Pearson, M. (2005). Bronze Age Britain. London: BT Batsford.
- Scarre, C. (2002). Monuments and Landscape in Atlantic Europe, perception and society during the Neolithic and early Bronze age. London, Routledge.
- Waddell, J. (2010). The Prehistoric Archaeology of Ireland. Dublin, Wordwell.
- Walsh, P. (1995). “ Structure and Deposition in Irish Wedge Tombs: An open and shut case?”. In: Waddell, J. and Shee Twohig, E. eds. Ireland in the Bronze Age, Proceedings of the Dublin Conference, April 1995”. Dublin, The Stationary Office.
- Zucchelli, C. (2007). Stones of Adoration, Sacred Stones and Mystic Megaliths of Ireland. Cork, The Collins Press.
Monuments and museums are arenas of public history and for the formation and articulation of identities and narratives.[1] Decisions taken as to the formation of museums and the selection, display and organisation of exhibits are influenced by criteria which are not necessarily politically neutral; these may especially involve devices of political elites to emphasise aspects of communal togetherness and thus exert control over communities.[2] Memory and commemoration of past events and generations is by its nature a political and contested act, especially in sharply divided societies.[3] It is no surprise that recently established governments and states should particularly concern themselves with the production of such forms of festivities, commemorations, and monuments.[4] As rulers of a sharply divided society, unionist elites in Northern Ireland in the aftermath of its eventful creation in 1920-1 had particular reasons to concern themselves, and did concern themselves, with such strategies of power.[5] The integration of the province's Catholic minority may have been, or may have been felt to be, beyond the rulers of Northern Ireland;[6] but this very fact heightened the importance of preserving the highest possible degree of political unity under unionist hegemony among the Protestant majority.[7]
To understand the unique aspects of a gorge created in just a few days, it is necessary to look back to the events which occurred 100,000 years ago. Described by James Lovelock in his book, The Age...
“A Pilgrim’s Visit to The Five Terraces Mountains”. Making of the Modern World 12: Classical & Medieval Tradition. Trans. Richard F. Burton. Ed. Janet Smarr. La Jolla: University Readers, 2012. 108-110. Print.
Rose, Mark, and Chester Higgins, Jr. "Of Obelisks and Empire." Archaeology. no. 3 (2009): 26-30. http://www.jstor.org/stable/41781290 (accessed November 24, 2013).
However, the artefacts brought to England from Benin in 1897 were an anomaly. The craftsmanship and sophistication were such that some were reminiscent of the beautiful figures in the Hofkiche, Innsbruck 1502-1563 (plate 3.1.12. Visited...
The ancient mythology of Ireland is one of its’ greatest assets. The glorious, poetic tales of battles, super humans, demigods and heroes ranks among the best of ancient literature. The book of the Dun Cow, (Lebor na huidre), was written around 1100 and contains stories from the eighth and ninth centuries. The Book of Invasions, (Lebor Gabala), tells how the mythical ancestors of the Irish, the God-like Tuatha Dé Danann, wrestled Ireland (or Erin) from misshapen Fir Bolg in fantastic battles. The Fir Bolg were traditionally linked to Gaul and Britain so the analogy between them and the invading English was complete.
It is obvious in this photograph that this soldier is taking great pride in guarding the Tomb of the Unknown. The first thing noticed when looking at this photograph from D. Myles Cullen is the white marble sarcophagus, or stone coffin. This is located in the very center of the photograph and is an important and well-respected monument. Engraved on the sarcophagus are the words
Clarke, D., & Maguire, P. (200). Skara Brae: Northern Europe's best preserved neolithic village ; (p. 14). Edinburgh: Historic Scotland.
...avia from a Spatial Point of View." World Archaeology. 1st ed. Vol. 45. London: Routledge, 2013. 27-45. Print. Archaeology of Religious Change.
The Marble Grave Stele is a horizontal piece that was embedded in a larger piece of marble. The inscriptions of the names of who died have long been lost. Thus, we must interpret for ourselves what the full meaning of the piece is. The artist of the piece is unknown, but it was constructed in Greece in around 360 B.C. during the Classical Era and stands at 171.1 centimeters in height. Its original location, as its name suggests, was at a gravesite; currently, it is located in New York City at the Metropolitan Museum of Art. The Stele was carved from marble. Overall, it is in good condition; however, the body of the woman on the left is missing with only her head surviving. Its stone frame in which it was set is also missing. This frame more than lik...
W. Raymond Johnson, The Journal of Egyptian Archaeology, (1996), pp. 65-82, Date viewed 19th may, http://www.jstor.org/stable/pdfplus/3822115.pdf?&acceptTC=true&jpdConfirm=true
GREECE & ROME. Archaeology [serial online]. November 1987;40(6):18. Available from: Academic Search Complete, Ipswich, MA. Accessed December 22, 2011.
The Stonehenge at Salisbury Plains has been shrouded in mystery even before the time of Christ, but the truth of the matter is that nobody truly knows how this monument came to be. The origins of this monument range from logical theories to totally far fetched science fiction and middle age theories. This site has been around for over 4 millennia, but before the stones were even erected or on British land, it was used as a burial site. Then comes the weird theories, like Merlin from the King Arthur tales using his powers to move all of the stones into their formation or extraterrestrials coming down from outer space and giving knowledge to the ancient people in the area. Aside from these theories that lack any form of logical reasoning, the most widely accepted theory is that the monument was created as a religious shrine for the Druids of the area.
For centuries, Stonehenge has been a structure of wonder for all those who see or hear about it; many people wonder how it was built and why. Over the years, Stonehenge and the similar surrounding structures have been heavily studied, with new discoveries found yearly. Construction of Stonehenge itself started around 2600 BC on the Salisbury Plain in England (Grimston, 2007). It is constructed of large stones brought from the Welsh mountains positioned into several circular patterns (Grimston, 2007). Not too long ago, a discovery was made near Stonehenge called Durrington Walls. This lesser known site is believed to be the home of the builders of Stonehenge and is very significant to the monument’s purpose. 200 feet away from there lies the most famous of the timber henges, Woodhenge (Rattini, 2008). After examining each site’s solstitial alignments and relation to each other structure, it is deducted that each would have played a pivotal part in a ritual that would have taken place thousands of years ago.
The use of rock-cut tombs and burial caves was inherited by the Israelites from the Canaanites. However, while the Canaanite Bronze Age caves were mostly crude and undefined, one can see the deliberate shaping of rock-hewn tombs in Israel and Judah. The most common type included a square room entered through a small square opening which could be closed by a large stone. Rock-cut benches on three sides of the chamber provided space for three bodies. More elaborate examples had an additional rear chamber. Both cave and bench tomb burials remained consistent in plan, body treatments, and categories of mortuary provisions throughout the Iron Age. The only variations were in relative wealth, and beginning in the 9th century BCE, a few lavish individual tombs were cut in Jerusalem and Gibeon, and twelve of these were probably for important political and/or religious functionaries (Bloch-Smith 1992). From Judah, the total number of reported tombs are 24 cave and 81 bench tombs from the 10th through the late 8th century BCE, and 17 cave and 185 bench tombs from the late 8th through the early 6th century BCE (Bloch-Smith 1992).