The Black Mills Roscrea

ROSCREA: HERITAGE TOWN

THE BLACK MILL, ROSCREA, OFFICIAL OPENING, 24 APRIL 2006

St. Crónan’s Cross,The Black Mill.

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Roscrea, one of Ireland’s foremost heritage towns, added another jewel to its crown in April this year with the opening of the Black Mills.

Already boasting significant historical treasures such as Roscrea Castle, the Franciscan Abbey and Damer House, the Tipperary town can, justifiably, be very proud of its rich historical and heritage importance.

The Black Mill dates from the first half of the 18th century and is located near the 11th century Round Tower and 12th century Romanesque church on the Eastern approach to the town.

The Black Mills building itself and the surrounding land have been in State care since 1991 following the conclusion of a number of agreements between OPW, the local Lions Club and business interests with the various landowners at the time.

When the property came into State care it was clear that there was an extreme amount of work required if it was to be restored and made accessible to the general public. The acquisition of the property was also seen as the ideal opportunity to protect St. Cronan’s Cross and to provide interpretative material on the monastic settlement which was located in this part of Roscrea. St. Cronan’s Cross was relocated to the Mill building. Given the level of deterioration of the stone due to a combination of weathering, damage by traffic and vandalism, this was the only way to fully protect it for future generations.

Works to the building itself were undertaken through a combination of OPW’s own workforce and outside contractors. The core conservation to the walls, windows etc was expertly undertaken by the staff of Kilkenny National Monuments. Other elements of the project such as the roof were undertaken by Michael O’Brien Building and Engineering Contractors, ably assisted by a number of sub-contractors for various specialist elements, and Buttimer & Co. Ltd undertook the steel work.

The project architect was Flora O’Mahony.

A special artwork called “Verbum” by Pamela Hardesty was commissioned under the Per Cent For Art scheme, details of which can be found elsewhere in this publication. A further artwork by sculptor, Werner Groll a crafted wooden statue of St. Cronán is also on display at the newly refurbished Mill.

The Mill is open to visitors daily from mid-March to the end of October, and forms part of the complex of OPW-managed monuments in Roscrea, which include the 13th century Castle and Damer House, an 18th century Queen Anne style building set in the Castle courtyard.

For further information on visiting these heritage attractions in Roscrea, please telephone 0505 21850.

The 11th Century Round Tower, Roscrea.

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BLACK MILLS MUSEUM, ROSCREA, CO. TIPPERARY

“VERBUM” AN ARTIST’S PERSPECTIVE

I first visited the site for the proposed artwork on a cold November morning, and was amazed and delighted to discover that the Black Mills building houses a 12th century high cross and is concerned primarily with the early medieval Christian heritage of Roscrea.

Pamela Hardesty “Verbum”, 2006 160cm square “page”; 130cm diam X 5cm “ring”. “page”: etched and fired, stained, clear glass units; stainless steel and enamelled wire. “ring”: gold leaf-edged clear glass units; enamelled wire.

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When I moved to Ireland in 1986 it was as a result of my strong interest in the art and theology of early Christian Ireland. I spent my first several years travelling around the island with my Harbison’s Guide in hand, searching out the remnants of the great monastic and ecclesiastical built heritage. Over the years I have continued this interest through my art as well as academic research. I am very honoured to present artwork in a space that also holds the 12th century Cross of St. Cronan. I found that this saint is connected to the Book of Dimma, held in Trinity’s collections. Initial research led me to the wonderful legend connected with this manuscript— that St. Cronan caused the sun to shine for 40 days and nights so that the book could be finished. There is a beautiful symbolism in the light drawing forth the Book, the Word . . . and I began to evolve a vision of a page of text floating up to a ring of gold.

ring, it appears to crown the text, to honour it. It is also in axis with the High Cross and its Crucifixion image. I hoped to present a contemporary Christian image to honour and dialogue with this 12th century expression.

Overall I tried to create a work in sympathy with the simplicity and the primitive, stone-and-steel spaces of the reconstructed Mill. I had to respond to a skylight light source. I didn’t want to detract from the real purpose and focus of the Museum, so I aimed for a quiet, mysterious presence rather than any strong colour statement or complex imagery.

I am happy that the work seems to sit well in the space, and I hope that it will enhance the experience of moving through the Museum, and the contemplation of its Christian heritage as displayed in the precious stone artefacts.

What developed is a large square of text fragments etched onto clear glass. The text was kindly provided

by Trinity’s Early Manuscripts Dept. It is taken from a photograph of an actual page of the Book of Dimma, Pamela Hardesty, a beautiful form of Latin and some excerpt from the April 2006. four Gospels. The layers of etching glow white under the skylight overhead. Above this floats the sun image, a ring of gold leaf-lined small glass units. This ring is echoed in the page in a ring of a crown-ofthorns image in plaited enamelled wire. All around these thorns the glass is burned and stained, as if the crown were scorched or branded into the page.

Through this I tried to show the imprint of Christ into our awareness through the fiery energy of the intellect, the Logos. From above, looking across the

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