I’ve kicked off this study Dublin 1 – an area that I really only associated with shopping and unfortunately – crime before now. The weather was thankfully on my side, washing the docklands over with a fine mist of sun as I worked my way down as far as Castleforbes road to start my survey. I was aware that there were no cottages down here but I wanted to walk the area that was only reclaimed from the water around 1717 and was originally used as industrial space for heavy industry like docklands, timber yards and glass making.

A little history of Dublin 1

Originally Dublin 1 would have been one of the most fashionable districts of the city thanks to the efforts of the Gardiner Estate. Amiens Street and North Strand road would have waterfront streets and Ballybough beyond it filled with rolling fields as depicted in Joyce’s the Dubliners (book of the year in the excellent scheme One city, One book in case anyone has not read it!). Streets like North Great Georges Street, Henrietta Street, Buckingham Street and of course Mountjoy Square were the height of sophistication before the decline of industrialisation brought large crowds to the city and the fashionable elite began to ebb out to the suburbs and leave their stately homes to be rented.

The decline was a number of factors, starting with the Act of Union which moved parliament to London and denied Dublin the ‘court’.  Thereafter,  Catholic Emancipation and the Famine both had their effects, as the rural masses poured into Dublin, seeking work and relief.

- Many thanks to Deirdre Durban for this contribution!   

Over time, the homes fell into disrepair and more and more families were packed into the dwellings as no new development was taking place to house the influx of workers and so the infamous Tenements were born. This is a story repeated around many parts of the city but it almost feels as if parts of Dublin 1 have never truly recovered from the century of abandon and poverty, with a high proportion of the remaining stock of Georgian buildings still segmented into impossibly small living spaces.

Though it is likely that cottage style dwellings were on the land prior to the construction of the grander architecture, there is no evidence of their existence either in the Archives or on the streets. No doubt estates like Aldborough and Gardiner had workers cottages on the land but there is little documented on this. What did emerge though were a new breed of cottages – not quite vernacular as they would have been built with at the very least a sketchy plan and in some cases were designed by architects and overseen by benevolent associations in an effort to alleviate the tenement crisis. Some industrialists built rows of cottages in the land adjoining their homes to house their workers in slightly better conditions but with time overcrowding and poor sanitation caused these cottages to become areas of extreme poverty. Most have simply disappeared with little photographic or physical evidence remaining.

It is my hope that by outlining the existing stock of cottages in the area and hopefully unearthing some clues as to the older stock – locals, historians, community groups and/or anyone with information will come forward and contribute their knowledge, photography, stories etc… to the project so I can document as much of this living history as possible. With every year that passes more and more of this history disappears with the people who have lived it and it is my sincere hope that I can in some way create a record of their existence and the existence of the everyday workers and their homes in Dublin City.

Seville Place

Green pins are cottages featured in the study

View Dublin City Cottages – D 1.1 in a larger map
The Dublin Artisan’s Dwelling Company built several workers dwellings in the Seville Place area around 1889 on the grounds of the old Vinegar Works.

First Avenue

Just off Seville Place is are the adventurously named First Avenue, Second Avenue, Third Avenue and Fourth Avenue.

First Avenue has the largest of the dwellings – terraced, two story, two or perhaps three bedroomed houses that featured plain rectangular fanlights, slight curving detail over the ground floor door and window and plain straight windows on the first floor. The roofs are slate with two chimney pots per house and external plain guttering. One lovely nod back to older times is the inclusion of a boot scraper built into the wall to the side of each doorway in each of the avenues in this development.

These cottages differ slightly from the Dublin Artisan Dwelling Companies documented plans in that they have an additional window over the doorway. I am unsure of what the original interior layout is so I would love if someone could let me know or send me a floor plan so I can clarify what plan they are based on.

Second Avenue

Second Avenue contains 17 single story cottages with two windows to one side of the door. Again they have the plain rectangular fanlight over the door the same boot scraper near the front door.

These cottages are the Dublin Artisans Dwelling Companies Type E cottage – a small internal porch leads you into the main living room with two small bedrooms off one side and a small scullery to the back of the cottage with a door leading out to a small enclosed yard with an outdoor toilet and coal bunker. Many of these have been converted into one bedroomed cottages and extended to include a kitchen and indoor bathroom.

Third Avenue

Third Avenue is a mix of Second and Fourth Avenue with the larger Type E – double windowed cottages to the south west of the street while on the north east the cottages are smaller with only one window to the front – Type A. It is in these smaller cottages that we can see the original glazing in numbers 50 and 52 – relatively ornate smaller panes create an attractive façade to an otherwise plain cottage. Unfortunately these have been removed from most of the cottages to make way for double glazing.

Fourth Avenue

Fourth avenue is 15 small single story, one bedroomed terraced cottages in the same style as the north east of second avenue. Here the original window details remain on numbers 60, 61, 63 and 64 and will hopefully be retained. It is a shorter street and with the small size of the cottages it comes across as quite unassumingly charming.

These are the smallest of all of the Dublin Artisans Dwelling Companies cottage types – Type A. The plan is a small internal porch entry to the main living room area which extends the entire width of the property with the fireplace situated on the party wall and adjacent to the bedroom wall. The bedroom is behind the living room with a chamferd entrance doorway and a window overlooking the yard. The hallway run alongside the bedroom and leads to the scullery and through the back door out into the yard which contains the outside toilet and coal bunker. Space is certainly a premium in this style of cottage and it would be interesting to see how they have been adapted to deal with the necessary kitchen and indoor bathroom

Oriel Street

There are three cottage/houses built here as part of the same development so they are worth mentioning. They are in the exact same style as those on First Avenue with the external walls rendered and the slight curvature over the ground floor door and window.

Again I am unsure which of the Dublin Artisan Dwelling Companies cottages they adhere to so I would like to know more about the internal layout.

Coburg Place

On a short stretch of street there are three different styles of cottages built adjoining each other. The first – numbers 25 to 21 are larger cottage style dwellings, with brick facades and brick detailing around the doors and over the windows. On numbers 24 to 21 the brick detailing is the same brick as the walls but on number 25 the detailing is in redbrick with the door detailing in the railway cottage fashion and the fanlight is a plain rectangular fanlight. Numbers 24 to 21 have plain semi-circular fanlights over the door and rounded brick detailing surrounding them. The roofs are slate with a parapet to the front to obscure the guttering. The chimney details are also similar on numbers 24 to 21 with 25 slightly more contemporary. Despite these differences, the four cottages are similar with similar stone coining details at the end of numbers 25 and 21 to give a book end feel to the terrace.

Numbers 21 and 20 are in a style similar to those on Fourth Avenue – Type A – smaller cottages with plain rectangular fanlights, exposed guttering and would have originally have been brick facades though number 20 has been dashed.

The last two cottages seem to blend the styles of numbers 25 to 21 with the two story dwellings on First Avenue. They are two story, brick construction with squared windows and redbrick detailing around the door, yet the detailing over the windows is the same as numbers 24-21 and they also have the parapet detail those cottages and the brick shared chimney with four flues for each dwelling – twice that of each house on First Avenue. What an odd combination – perhaps they were learning what worked visually and spatially as they built – I would love to know which of these cottages were built first!

Seville Place

There are two cottages remaining on the main street of Seville Place beside the funeral home. They are built in a style similar to numbers 21-25 Coburg Street with a parapet disguising the guttering, same brown stone with detailing around the plain semicircular fanlight over the door. These cottages are single story over basement with the basements large enough to count the dwellings as two storys but for the purposes of this study I will include them as single story over basement. Access to the basement is under the stone staircase that accesses the main door and there is one large front window on both the basement and upper levels.

The top of the building is built in traditional stone while the basement sections are smooth rendered over blockwork. On the right hand side the cottages are attached to a redbrick Georgian building and are semi-detached on the left hand side which allows me to see that they are quite deep. To keep the profile of the roof low, the pitch of the roof is repeated with a valley between for run off water and again the guttering is obscured in the design.

I don’t know much of the history of these two cottages – who built them, when, and the plan layouts so if anyone knows any of this information I would be delighted if they could let me know!

Seville Place – Other buildings

Despite the fact that this survey is on Cottages, it is impossible to leave these areas without including some of the other architecture on the street. In particular the large brown stone buildings that cap off the end of the Avenues. The building materials and detailing are the same as those used on the brown stone cottages on the same street and on Coburg Street so they were most likely built around or at the same time and by the same company/developer. They are three story buildings, the first two storys with large windows and the upper or garret with the typically smaller windows.

The convent building on the intersection of Seville Place and St. Laurence Place East is a stunning three story over basement, double fronted building that has been maintained by the religious orders. These days the religious orders can be thought of in a negative light but the fate of a lot of the beautiful architecture in Dublin City and further afield would be significantly worse if they were not being maintained so beautifully by them.

Here is a lovely quick account of the history of the building from Turtle Bunbury’s website

The Sisters of Charity

The merchant William Meagher, Lord Mayor of Dublin and Home Rule MP for Meath had his townhouse on Lower Sheriff Street in 1884. However, as the 20th century approached, North Wall was slowly evolving into one of the more impoverished inner city landscapes in Dublin. The tenement houses on Guild Street, Sheriff Street and Nixon Street were becoming dangerously overcrowded. Seville Place remained relatively prosperous, populated by naval pensioners, businessmen, lawyers and, latterly, artists. When Lord Aberdeen and the Lord Mayor went on a tour of Dublin City in April 1886, they visited ‘the extensive improvements being carried out in Seville Place’. Mary Aikenhead’s Religious Sisters of Charity opened their pretty red-brick Convent of St Laurence O’ Toole on Seville Place in November 1882. From here, the sisters visited the poor and sick, ran a primary school at East Wall, and served dinners from their large dining hall to poor men. In conjunction with the Catholic Social Service Committee, expectant mothers were also given nutritious dinners. The Sisters conducted a combined hostel for nuns and ‘business girls’, and a second one for girls out of employment. By Edwardian times, the Sisters were providing the celebrated ‘St. Anthony’s penny dinners’ to the poor. In 2003, the Sisters combined force with the North Inner City Drugs Task Force (NICDTF) to establish the Deora Project to provide counselling for those suffering loss as a result of bereavement, suicide and/or addiction.

 

 

 

Please feel free to comment on any aspect of the project, if there is incorrect information I would be delighted to hear the correct version and amend the article. My hope is to actively promote community participation so I can gather as much information as possible.

Relevant Links:

Dublin 1, Part II – North Strand Road Area
Dublin 1, Part III – Charles Street Great, Summerhill & North Circular Road Areas

Dublin City Cottages Project Outline

The next article on Dublin 1 will be published next Wednesday.

 

 

 

This project is a study into the Dublin City Cottages – the artisan dwellings of the city.

They are a much loved face of Dublin, from Stoneybatter to Portobello and Ringsend but very little research as been done into their history and impact on the city.

The aim of the project is to produce a comprehensive report into the origins and history of the Dublin City Cottages, how they have affected the growth and identity of the city and also how they are adapting to the requriements of modern living standards without loosing their architectural integrity.

I will be focusing on the following areas:

1.  The past:  Gathering as much information as possible on the streets and cottages that no longer exist.  There is very little existing documentation so my primary source of information will be those who lived there.  I am hoping to gather a better picture of these areas through the storys and knowledge of the older generation of Dublin.  With every year that passes access to that information through the people who lived there or were handed down the knowledge fades, I believe that this may be the last chance to document much of the Dublin City Cottages original history.

2.  The present:  I am currently documenting and surveying all of the cottages of the city center (the boundaries of the project are included below).

3.  The future:  I will be showcasing cottages that have been renovated and restored for 21st century living without compromising their unique aesthetic in their surrounds.  Hopefully this will inspire futher restoration and protection of these cottages.

Area being surveyed:

All of Dublin 1, 2, 7 & 8, also including Ballybough, East Wall, Ringsend & Irishtown. 

Can you help?

Needless to say this is a large project to undertake and I would be absolutley delighted to hear from anyone who can contribute in any form – large or small.  Even if it is just to register your interest and encourage the continuation of the project – I will be extremely grateful – everyone needs a little cheering squad!

I would especially like to hear from:

• Those who lived in or near any cottages prior to the 1960′s who might be able to provide descriptions or stories about the area.
• Those who currently live in cottages or have renovated a cottage to give their experiences with the process and showcase their renovation.

You can leave a comment below, email me at orla@cottageology.com or give me a call on 087 9807024

 Follow the project:

You can follow the project:

• here on Cottageology,
• Facebook at www.facebook.com/cottageology or
• Twitter at www.twitter.com/cottageology

 Thank you for reading this – please forward it on to as many people as you can!

 

I am currently working on a project to research and document the cottages of Dublin City.  Living in an area like Portobello gives an accute awareness of the quaintness of these city cottages, juxtaposed as they are against the modern city that surrounds them.  Much has been made of the grand architecture of the city with all architectural books and studies concentrating on their splendour and deservedly so.  My focus though – as usual – is on the every day homes of the every day folk, many of those cottages have set the scene for some of the most fascinating stories and events in Dublin history and I am hoping to document what I can of those stories.

Alongside documenting their history I would also like to showcase their evolution into modern 21st century homes.

So while I am busy in the planning stages of this project I am asking for any help that you or someone you know could give me – books you could reccomend, studies, contacts I could speak with, agencies that can help etc… Any and all information would be greatly appreciated!  My contact details are included at the end of this post.

 

Cottage Owners/Dwellers – history of your cottage, explaining the process of renovating your cottage and or the experience of living there.  No story is insignificant.

Architects/Engineers – Perhaps your clients are city cottage dwellers with a story to tell or you would like a project you undertook to be showcased.  Also any knowledge and/or contacts that you have would be of huge benefit.

Local Historians – If you are a historian and would like to help with this project I would be absolutley delighted to hear from you.

Local Authorities / Historical & Architectural Societies – No doubt I will be in contact but just incase my queries have not filtered through to the correct area, if any information could be provided it would be greatly appreciated.

 

The goal is to post a new article for each area, each week for six months and hopefully piece together a living history for Dublin’s City cottages.

If you have any questions or would like to help, please do not hesitate to contact me,

Kind Regards,

Orla Fitzmaurice
087 9807024  (Best time for contact 2pm – 8pm)
orla@cottageology.com

The following is a guest post from Mayo RIAI (Conservation Grade III) Architect – Mark Stephens. Mark also publishes the daily newsletter ‘The Architect Mark Daily‘  I am delighted to get an Architects advice and opinions on renovating Irish Cottages and I hope you enjoy the article.  Take it away Mark:

 

My starting point for any project is always, “If this was my
house, and taking the clients brief into account, what would be the
best possible thing I can do?” As an architect I’m aware at all
stages of creating an elegant, sustainable solution that the planners
are going to like but also that the premise of “the best solution for the
property” is one that holds well.  If I don’t like what I’ve designed
then how can I expect the clients to.

The premise of this post therefore is – if I were
given a traditional Irish cottage then what would I do with it? We’ll
need firstly to have a look at the design of these now neglected
Irish cottages and how they fit into 21st century living.

The Traditional Irish Cottage

The vast majority of what you see as ‘The Traditional Irish Cottage’
fall into a similar design; usually two bedrooms with a central
living and cooking space. This central living space was the heart of
the house which had an open fire for cooking and heating and
frequently had a small ‘outshot’ which would house a small purpose
built bed for Granny or Granddad to sleep in.

The cottage would have been built with whatever materials were to
hand; stones for the walls, salvaged timber and thatch for the roof.
Because of the scarcity of materials the house was only a single room
deep and due to the tax on glass, the windows would have been small and
vertically orientated (the lintel over the window spanning a shorter
distance).

The house would have been constructed by the owner with help from
neighbours and friends. It is these characteristics that Ireland is
now returning to in terms of new rural houses; the Cork Design Guide and the Mayo County Council Guidelines for Rural Houses
both favour new houses that are a single room in depth (approximately
7-8 metres), have vertically orientated windows and are constructed and
finished in traditional materials.

But returning to our premise, what would I do if given a 19th century
traditional Irish Cottage? Well, as you can see if the house is to be
lived in for any extended period then the accommodation is
insufficient by current day standards and the likelihood is that
you’ll need to extend the property. Luckily the planners are happier
when an existing property is extended (as long as all other planning
factors such as road safety and site percolation are acceptable)
rather than building anew. But what is the best way to sympathetically extend a traditional cottage without losing its original charm and
honesty?

Restoring an Irish Cottage

Let’s assume therefore that your cottage has fallen into disrepair and
firstly needs to be restored; we’ll need to tackle
this before we can even consider extending it. As an RIAI architect
accredited in Conservation (Grade III), the principle of ‘minimal
intervention’ is the primary concern in work of this type; that
is the minimal amount of work required in order to arrest the
disrepair and to give the building a future for many years to come.
This means using the correct materials and techniques to restore a
building back to its original integrity. For a traditional cottage
this means using lime mortars and renders for the stone walls, ideally
repairing the original windows or failing that, to install appropriately
proportioned windows and doors that are sympathetic to the cottage’s
period.

The importance of materials

The process of a house restoration takes time and care.  If
you’re employing someone else to do it, it can work out quite expensive due to the amount of time and care it can take to do the job right.  A gentle restoration of this type using
the correct materials and construction is not a process to be taken
lightly; it’s very easy to use incorrect materials that actually
increase the level of damp in a property rather than eliminating it.

Lime Render

The biggest problem with stone cottages is the prevalent use of
Portland Cement based renders on walls that originally would have
been finished in a naturally hydraulic lime based render. The problem
with modern cement based renders on walls of this type is that water
can penetrate any cracks in the render due to any slight wall movement
(walls were frequently built on no or little or no foundations
remember). This water then cannot find a way out of the building and
crystallises as salt deposits on the walls; these deposits show as
bubbled wallpaper or as salty crusts on the walls. The use of lime on
walls allows the walls to dry out naturally and is therefore essential
in restoring properties of this period.

For more information on using Lime in your building, the book ‘Lime Works’ by Patrick McAfee is a brilliant resource on lime for render, mortar and floors.

Insulation

Trying to obtain current levels of insulation in a traditional stone
wall of this type is nigh on impossible; by drylining internally you
will be drastically reducing the size of the rooms.  By insulating and
rendering externally you’ll be drastically changing the appearance of
the property. Instead (again with the premise that it’s my house and
wanting to do the best that I could) I would simply return to
the way the house was heated originally; by lighting a fire in
the fireplace! You could however increase the thermal efficiency of
the fireplace by installing a multi-fuel stove instead of leaving the
fire open.

Extending your Irish Cottage

So, you’ve carefully and diligently restored your lovely cottage but
in what manner should it be extended?

I love tradition and the traditional Irish cottage is a great landmark
in the collective history of Ireland (unfortunately tinged with
oppression and sadness of this period) and it is for these reasons
that it is essential that these landmarks are kept (rather than
demolished) and if at all possible restored and brought back to their
former glory.

But these houses are of a completely different time and period; and as
such I feel that any extension we make to them should be
indicative of today’s time; that is of the 21st century. In doing this – rather than slavishly copying the old – makes the building more
honest, more legible and ‘easier to read’. The beautiful cottage is
shown as ‘it would have been’ and the new section is shown as something
contemporary and of today’s time. Working in this way we actually
enhance the original house rather than detract from it.

A good way of achieving a successful junction between old and new is
to create a separation between the two, either through a step in
elevation or through the use of a lighter material such as glass that
creates a ‘separation’ between the existing and the new.

The conclusion therefore is not to be afraid of commissioning a
contemporary, elegant structure that connects to your lovely cottage;
doing this actually ‘sets-off’ the old rather than detracting from it
with a simple copy of the old.

If you have an Irish Cottage of this type and would like to discuss
further how you would like to restore and/or extend it then please do
not hesitate to CONTACT ME.

Mark Stephens RIBA MRIAI
Mark Stephens Architects
Rooskey, Foxford, County Mayo
Tel: 085 159 4084
Email: info@markstephensarchitects.com
Web: http://markstephensarchitects.com

It’s the month where daffodils give way to bluebells – fields of lavender that threaten to distract me while driving as I peer in over ditches.  They are a bright and welcome sight that cut the prevalent yellows of the early spring season.

The first few days of April are often referred to as the ‘borrowed’ or ‘borrowing’ days – meaning that they have borrowed the bad weather from March and that is certainly true of April this year.  The borrowing days are supposed to last anywhere between 3-8 days so we should be out of them by Easter Monday!  This saying comes from the old story of ‘An tSean Bho Riabhnach’ – the old brindled cow who laughed at the back of March’s weather as he managed to survive it only for it to be extended into April and skin him with its severity, for this reason these first few days were also called the ‘skinning days’ and by god I know the feeling after facing down a hail storm on April 3rd.

Lenten Fasting

We are all supposed to be fasting in preparation for Easter at this point, though it is rare to find many young folk observing this tradition these days.  In days gone by though you would have done without all manner of goodies for the past few weeks and especially this week in the run up to Easter Sunday.  All meat products were off the menu – that included eggs, milk, butter and all animal fats for frying.  This was a particular hardship as vegetable oils had not yet been introduced to Ireland and milk was used to leaven the bread.  As a result bread was made with a substitute of sourdough or yeast and those who did not have the skill or knowledge to make this type of bread made do with a flat oatcake type bread.  Children under seven were allowed milk – but only if they cried for it three times! The Irish cottage diet for early April generally consisted of dry bread, potatoes, porridge, salted fish, onions and black tea – yum, who needs weight watchers!

These days the closest we get to abstinence is Good Friday where there is a ban on alcohol from midnight Thursday until midnight Friday – the horror!  One of the funniest things you will see is the mad dash to the off licence around 9:30 Thursday evening as the masses prepare for the ultimate sacrifice – one day minus the pub.  Abstinence from alcohol was not required throughout lent but many people observed it for the entire duration in sympathy with the suffering of Christ.

Palm Sunday

Held on the last Sunday before Easter, this year Palm Sunday fell on April 1st – also known as April Fool’s day.  One member of each family would go to church to receive their blessed palm for the household to mark Jesus’s triumphal entry to Jerusalem.  The palm was generally boughs from conifer tress like silver fir, spruce, cypress or yew trees.  In some parts of the country it was tradition to bring your own palm bough to be blessed.  Our palm always hung above ‘gods picture’ over the main fireplace in the living room for the week leading up to Easter Sunday and provided a lovely fresh scent as the heat rose at night.

Easter Week

Of course one of the main tasks in the run up to Easter was the spring clean.  Inside the cottage, floors, windows, doors and children were scrubbed until there was not a speck of dirt to be seen, woodwork was painted and pots scoured.  Cloths were mended or if the means allowed – new clothes procured, children in particular were to be paraded in their finest for mass on Easter Sunday morning.

Outside the house the walls of the cottage would get a fresh coat of lime wash, the farmyard and Byre were swept and cleaned for fear of the wrath of neighbours – not to make ones stead as clean as possible was seen as slovenly and unworthy.

Good Friday

Most people did not eat before mid-day on Good Friday and would go bare foot in sympathy with the plight of the saviour.  From noon until 3pm was the time Christ was purported to have been hung on the cross and many chose to be silent during this time.  No blood was to be shed, wood worked or nails to be driven during this solemn period.

Outside the cottage, the farmer would sew a small crop to invoke a blessing on his yields for the year and eggs laid on this day were marked with an X to be eaten on Easter Sunday.  Chicks laid on Good Friday were said to become great laying hens.  Good Friday was and is still the day that people visit the graveyard to pay respects to those who have passed away.

Fishing off all kinds was deeply frowned upon on – either by net or by boat so those living by the shore would indulge in ‘bia tragha’ – or shore food only – mussels, crabs etc…

Easter Saturday

Easter Saturday was the blessing of the holy water which was to be sprinkled on each member of the family, over the hearth of the cottage, the byre, farmyard, animals and crops to ward off illness and danger.

In place of meat during the Lenten season, the household would have feasted on salted herring and as a celebration of the end of their Lenten sacrifice the poor old herring would be impaled on a pike and marched through the town. This was a type of mock funeral, held on Easter Saturday with the fish being whipped by the locals until it had been shredded or was dumped into the water at the end of the procession – often called the whipping of the herring.  I’ve never had the pleasure of seeing this ritual and have not even heard of it amongst the inhabitants of North Kerry but perhaps it still happens somewhere!

Easter Sunday

Dawn mass on Easter Sunday brought to an end the fasting as the entire village would gather on top of the hill to see the sun rising, symbolising the rising of the saviour from his grave.  Children and those who didn’t want to look directly into the sunlight viewed the sun rising in a pan of clean water which was often sneakily agitated by the adults for effect to show ‘The dance of the sun’.

And so with religious matters mostly dealt with, it was time to eat.  Eggs were the call of the day as they also symbolised fertility and growth – an altogether pagan view mixed in with Christianity, but that’s something us Irish do well – we don’t tend to fight or discard tradition, we just take bits of it and mould it around our current circumstances.  Easter Sunday feast consisted of a plate of eggs – including the ones marked with the X from Good Friday – the more you ate – the better the boast!  No one was to do without eggs that morning with the farmer’s wife making the gift of eggs to their labourers and poor neighbours.  For the children, the mother often dyed the eggs and painted them bright colours to engage and amuse them and this may be where the chocolate Easter egg phenomenon arrived from.

With meat back on the menu – the Easter Sunday meal was a riotous affair of spring lamb or roast veal or kid and potatoes with lashings of butter.  Even in my home today the tradition of roast lamb for Easter dinner is so strong that all would kick up a fuss if it was absent. Well off farmers would kill a cow especially for this feast and pass the lesser cuts down to their labourers and poorer neighbours which was where the tradition of eating Corned Beef and cabbage for some on Easter Sunday came from.

The young folk had a tradition called Clúdog or Clúideog – gathering eggs from neighbours and roasting them at the edge of the farm in the open air or in a dry shed. They later played games like rolling the eggs down a path – pitting their eggs against each other with the winner taking all.  Again the eggs were painted for this ritual and the colourful shells were often kept for the May bush.

The Cake Dance

With the longer days and the end of the abstinence from socialising the whole community would come together on Easter Sunday night to partake of the Cake Dance.  A large currant cake (also known as barnbrack) would be baked, festooned with ribbons and flowers and placed atop a central podium which everyone would dance around.  Music and festivity was in the air and usually courting couples competed to be named the best dancers and thus win the cake at the end of the night – a great privilege though the cake was then divided amongst all the dancers.  This tradition gave rise to the saying ‘That takes the cake’.

Easter Monday

Originally Easter Monday was a religious day of obligation meaning that there was no work that day, only mass.  As a result it became a great day for markets and festivities, of course with such events came merriment and devilment.  On seeing this – the bishop of Kildare & Leighlin – Dr. John Doyle petitioned to abrogate the day so it was no longer a day of obligation.  This put an end to the great tradition of Easter Monday, though it has seen a comeback with it being a Bank Holiday in Ireland in lieu of Easter Sunday – just try seeing any religious figure taking that away!