THE CELTS: AN ISLAND FASTNESS

PATRON: DR.PATRICK MURPHY

In 700 B.C. Ireland was covered in oak forests and inhabited by the Celts. They lived by Brehon laws and Celtic customs, still in force in the 12th century. The main section of this panel shows the ritual coronation of a Celtic King, presided over by a Brehon Druid, and watched by the warriors with their chariots. The ceremony involved a symbolic union between the King and a pure white mare - the union of the earthly and the divine.

The top border shows Celtic symbols such as women warriors, the brown and white bull of Queen Maedbh and the Brehon punishment. The lower border depicts aspects of early Christian Ireland - St. Brendan sailing to America, a decorated gold chalice and book shrine, St. Bridget with her cross, and the door of Clonfert Cathedral showing evidence of the Celtic preoccupation with sacred heads.

Started in 2005. Completed in 2009

Stitched at the home of Phil Pearson in The Deeps, Crossabeg, and Johnstown Castle

Stitched by: May Carty, Eileen Cowman-Coughlan, Ann Duggan, Tess Dunphy, Avril Harvey, Gillian Hearn, Patricia Jones, Mary Kidd, Mary McDonald, Margaret O’Dowd, Phil Pearson, Peggy Rossiter, Eithne Scallan, Josephine Carey, Ann Kierans, Niamh Tierney, Charlotte Warham, Joy Fletcher, Mary Somers, Geraldine Barry, Patricia Baynes, Maureen Clarkin, Sinéad McGlynn Parks, Alice Turner-McElween.

THE ABDUCTION OF DERVORGILLA

PATRONS: PADDY & PATRICIA QUINN

In 1153, Dermot MacMurrough, High King of Leinster, who resided in Ferns castle, abducted Dervorgilla. She was the wife of his enemy Tiernan O'Rourke, King of Breffni. He brought her from the O’Rourke castle in the west of Ireland to Ferns in Wexford. Brehon tradition allowed her to take her dowry with her if she wished to leave her husband. For his impudence, Dermot was fined a ransom of 100 ounces of gold. More seriously, two of his sons were held hostage pending payment of this ransom. O'Rourke formed a coalition to oust Dermot from his kingdom when this ransom was not paid.

The top border shows the harsh reality of life in Celtic times. Dermot's son Eanna was blinded, and another son beheaded because of the actions of their father. The lower border shows Dermot's allies fleeing Ferns. Dermot set fire to his castle rather than allow it fall into the hands of his enemies.

Started in 2004. Completed in 2007

Stitched at the home of Ann Mackey at Effernogue in Ferns.

Stitched by: Teresa Hiney, Ann Mackey, Joan Morris, Anne Peppard

ARROGANT TRESPASS: THE NORMANS LANDING AT BANNOW STRAND

PATRON: DR BRIGID O’ CONNELL and DR CONOR BURKE.

Ousted from his Kingdom, Dermot was left with little option but to seek help from Henry ll in England. Henry introduced Dermot to Richard de Clare, the Norman knight better-known as Strongbow. He agreed to help Dermot regain control of his Kingdom. In May 1169, the promised help of an army of 30 knights and 360 soldiers landed at Bannow in Co. Wexford. The main panel shows Dermot meeting Robert Fitzstephens, the leader of this group, as the soldiers set up camp at Bannow in Co. Wexford.

The top border shows the circumstances which led to the Norman arrival in Ireland. Dermot met with Henry ll in Aquitane to ask permission to raise troops, and there was a subsequent reading of the proclamation to do so in Bristol. The lower one shows various adventures connected with Robert Fitz Stephens and his knights, many of whom were blood relatives, having Princess Nesta of Wales as a common ancestor.,

Started in 2001. Completed in 2007

Stitched in Duncannon Fort

Stitched by: Frances Delaney, Alice Downes, Brenda Fletcher, Joy Fletcher, Maura Hodman, Mary Wallace, Cis Wallace, Anna Walsh

THE SIEGE OF WEXFORD

PATRON: VICTOR STAFFORD

The town of Wexford was promised to Robert Fitzstephens during negotiations with Dermot MacMurrough. The weakness in this was the fact that Wexford was an independent Viking city state, only paying token dues to the Kings of Leinster. Their main links in Ireland would have been the Viking settlements of Dublin and Waterford. Following an unsuccessful attempt to take the town by force, Dermot sent his bishop to agree a settlement with the Norse men. By doing this he fulfilled his promise to Robert Fitzstephens, and thereby ensured the allegiance of the Vikings and Normans as he began his quest to regain his kingdom.

The top border shows scenes from Viking life including a stave church and Norse coinage. The lower border shows the siege itself, Princess Nesta of Wales in the centre with the flags of her lovers, and Giraldus Cambrensis writing his account of the event.

Started in 2004. Completed in 2009

Stitched in The Irish Heritage Park, Johnstown Castle and the home of Ann Kierans in Wexford

Stitched by: Bridget Butler, Patricia Butler, Christine Butler, Jean Conlon, Eleanor Doyle, Joan Doyle, Susan Doyle, Ann Duggan, Eithne Fitzpatrick, Sylvia Tracey, Jo Hassett, Gillian Hearn, Ann Kelly, Ann Kierans, Margaret McDonnell, Brenda Morrissey, Rita Morton, Mary Somers, Róisín Prendiville, Tess Reynolds, Frances Riley, Tressan Scott, Lucy Small, Thalia Smithwick, Joan Foley, Hanna von Engelbrechten, Charlotte Zimmermann, Deborah Reidy, Helen Moriarty, Sinéad McGlynn Parks.

BATTLES IN THE KINGDOM OF OSSORY

PATRONS: MICHAEL and NOREEN HANRAHAN

During the summer of 1169, Dermot began his campaign to take back his kingdom. He was particularly interested in taking the Kingdom of Ossory, or Kilkenny as it is known now. The king who presided over this area, McGiolla Padraig, had been responsible for the blinding of Dermot's son Eanna. This panel shows Dermot and his allies, both Norman and Flemish, in the thick of battle. His army, numerically smaller than that of his enemy, but influenced by Norman military tactics, helped him defeat his enemies. History relates that the streets of Freshford ran red with the blood of the Ossory men.

The upper border shows Dermot with the severed heads of his enemies, and the Flemish attempting to flee in boats to Wales. The lower border shows the two armies confronting each other. The loose formation of the Ossory men fell victim to the organized strike of the international contingent.

Started in 2005.

Stitched in Woodstock Museum in Inistioge, Grennan Mill and Grennan Craft School in Thomastown. Currently being stitched in Rothe House, Kilkenny

Stitched by:Anne Ryan, Noreen Smith, Maggie Belcher-Dunne, Mary Ann Browne, Alexis Bernstorff, Maura Dimond, Lorna Donlon, Karen Egan, Coral Goldfarb, Molly Hunt, Olivia Keane, Mary Nolan, Linda Williams, Felicia Hulme-Beaman, Áine Furlong, Florence Quirke, Catherine Hill, Bevan O’Daly, Sarah Pierce, Thalia Smithwick, Catherine Ryan, Siobhán Tulloch, Friederike Grace, Kay Messant, Noleen Smith, Alice Smith, Grace Fegan, Kay Roche.

6. The Marriage of Isabel de Clare and William Marshal

This panel demonstrates how much cultural and material heft attended the two marriages of Aoife Mac Murrough and her daughter, Isabel de Clare. When Aoife married the Norman knight, Strongbow, it legitimised his claim to province of Leinster.

WILLIAM MARSHAL: THE FLOWER OF CHIVALRY

PATRON: DR ANN MOLONEY

William Marshal was born in 1147, the youngest son of a minor nobleman. As the younger son he would have had no inheritance and would have had to make his own way in life. He became a champion tournament knight and quickly became a loyal supporter of the Plantagenet kings of Anjou. This panel shows the three ages of William. He is seen first as a young knight when he was tasked with training the young Prince Henry in the ways of battle. The second image is of William as the tournament knight. Legend says he fought in over 400 battles, and never tasted defeat. Finally we see William at the pinnacle of his career. Following his marriage to Isabel he became Earl of Pembroke, Lord of Leinster, and one of the most important noblemen in Europe.

The top border shows scenes from William’s life, most importantly ensuring that King John signed the Magna Carta. The border also shows his five sons, who all married but had no children, and his five daughters with their Norman noblemen husbands. The lower border shows further scenes from his life, and the effigy of his tomb which can be seen in Temple Church in London.

Started in 2005. Completed in 2007

Stitched at the home of Phil Pearson at The Deeps, Crossabeg, and the home of Mary Somers in Oylegate

Stitched by: Sister Josephine Carey, May Carty, Eileen Cowman-Coughlan, Ann Duggan, Angela Dunne, Tess Dunphy, Avril Harvey, Gillian Hearn, Patricia Jones, Mary Kidd, Mary McDonald, Margaret O’Dowd, Phil Pearson, Peggy Rossiter, Eithne Scallan, Mary Somers, Niamh Tierney, Charlotte Warham, Margaret Walker

EX VOTO TINTERN ABBEY: WILLIAM MARSHAL’S STORMY CROSSING TO IRELAND.

PATRON: SIR ANTHONY O’REILLY

Despite marrying in 1189, it was 11 years later before William and Isabel could visit their vast estates in Ireland. In the main panel William can be seen sheltering one of his children from a horrendous storm as they cross the Irish Sea. The panel shows William praying to Our Lady and vowing to build an abbey in her honour at their point of landfall if they land safely in Ireland. He fulfils this promise by building Tintern Minor in Saltmills, where it still stands. It was a Cistercian Abbey, a daughter house of Tintern Major in Wales.

The top border shows the circumstances surrounding his marriage, galloping through France to London to claim his bride. This marriage confirmed his position as Lord of Leinster. The lower border shows William in the service of the kings of Anjou, Henry ll, his successor Richard the Lionheart, and Richard's brother John.

Started in 2004. Completed in 2009

Stitched in Poulfur Parochial House

Stitched by: Eileen O’Leary, Mary Bassett, Ann Chapman, Maimie Chapman, Dolores Gallagher, Kathleen Hearn, Mary Maher, Catherine Moore, Mary Moran, Juliette Nolan, Frances Riley, Margaret Wheeler, Virginia Thorne, Charlotte Zimmermann, Deborah Reidy, Brigitte Jasper.

EVENING: THE LIGHTHOUSE AT HOOK HEAD

PATRON: AVAILABLE FOR PATRONAGE

Hook lighthouse stands as an enduring legacy of the Normans in County Wexford. It was built by William and Isabel around 1207 and is said to be the oldest intact operational lighthouse in the world. It was built on the site of the original bonfire which was kept alight for centuries by the Welsh monks of Dubhain. This was essential for William to ensure safe passage of ships through the treacherous estuaries of the Wexford coast. He needed to provide safe trade routes to his new town of Ros Ponte, the present-day New Ross.

The top border shows the potential of trade with exotic countries of the East. The lower border shows the monks tilling the land beside the original bonfire. Also shown are the Welsh emblems of the daffodil and the leek, and the ruins of Dubhain’s old church.

Started in 1999. Completed in 2003

Stitched in Templetown and Poulfur near Fethard

Stitched by: Eileen O’Leary, Kathleen Hearne, Ann Chapman, Claire Montgomery, Mary Bassett, Juliette Nolan.

HUNT IN THE FOREST OF ROS

PATRONS: MARY and RORY O’DONNELL

This panel shows William and Isabel with her MacMurrough cousins, learning how to negotiate the rough terrain of their lands. Hunting is a tradition in Ireland that goes back to ancient times and features strongly in Celtic literature and legend. Ireland had a wealth of stags, wild boar, hares and pigeons. We see the various methods of hunting in Ireland in the thirteenth century, including the dogs and falcons that they would have used.

The top border illustrates the importance of hunting in the Norman world and shows details of falconry and deer hunting. The bottom border shows William planning the building of his new town, Ros Ponte. An essential element was a bridge which would facilitate passage to neighbouring Kilkenny and beyond.

Started in 2000. Completed in 2003

Stitched in Babs Crean’s home near Clonroche

Stitched by: Babs Crean, Noleen Butler, Eva Gill, Eileen Hassey, Mary McKenna, Emily Murphy, Sheila Pissani, Bessie Purcell, Mary Roche, Stephanie O’Connor.

GOTHIC GLORY; THE BUILDING OF THE PARISH CHURCH OF ST. MARY’S IN 1210

PATRON: DERMOT DESMOND

Around the year 1207, William and Isabel began work in earnest to create the town of New Ross. They planned to create a town and port that would rival that of nearby Waterford. The building of St. Mary’s Church in 1210 was a symbolic moment for the town. Believed to be the grandest of the early Irish Gothic churches, it was a major development for the blossoming town. Positioned high above the town, the parish church of St. Mary’s cathedral-like presence reflected the level of importance attached to the new town itself. It is believed that Isabel was responsible for its creation. To this day, a heart shrine, possibly Isabel’s, remains within the church.

The top border shows the legendary saints of the area, St Moling, St Fintan, St Abhan, St Aidan. The lower border shows Dundry stone being imported in ships from Bristol. This soft stone was used for carvings in the church. Also shown is the motte and bailey of Old Ross, the original place of the Norman settlement. This area became a deer park for hunting purposes.

Started in 2003. Completed in 2005

Stitched at Eva Nevill’s home in Bawnmore, New Ross

Stitched by: Jean Barry, Eva Nevill, Colette Brand, Kitty Cullen, Brenda Fletcher, Joy Fletcher, Sister Cecilia McGinn, Kathleen Ryan, Sheila Walshe, Vina Warren.

THE THRIVING PORT OF ROS

PATRON: ALLIED IRISH BANK, NEW ROSS

This panel shows the busy town in approximately 1220. New Ross had become one of the finest ports in Europe. William brought Italian bankers and shipping merchants from Europe to exploit the wealth of his great town. Such was its importance that by 1230, up to 400 ships could be seen berthed on its quays. The main export of the town was wool. Livestock such as horses, hounds and falcons were also exported from the town.

The top border shows the main imports of silk and wine. The lower border shows horses being loaded for export, and sheep being shorn prior to the export of their wool. The two ships in conflict indicate the rivalry between the ports of Ros Ponte [New Ross] and Waterford.

Started in 2004. Completed in 2007

Stitched in Babs Crean’s home near Clonroche

Stitched by: Babs Crean, Carol Gibbon, Noleen Butler, Eva Gill, Ann Kierans, Mary McKenna, Emily Murphy, Stephanie O’Connor, Mary Somers, Kitty Cullen, Olivia Keane.

THE WALLING OF ROS: SIXTEEN GUILDS PROTECT THEIR TOWN

PATRON: ALLIANZ INSURANCE

For its first sixty years of existence, the town had no protective walls. This was unusual at the time, but the wealthy town was protected by Isabel's relatives, the MacMurrough chieftains, who lived in the hinterland of the town. It was the unrest amongst some of the Normans in town that caused the townspeople to come together and build a protective wall stretching for a kilometre and a half around the town. The sixteen trade guilds of the town each took their turn digging the trench for the wall. While the men rested on a Sunday the women of the town took over the work.

The top border shows the work of the trade guilds. These included the masons, the armourers, the blacksmiths and the weavers of the famous mantles. The lower border shows a poet writing a long poem recounting the building of the wall. The original of this famous poem is preserved in the British Museum. This border also shows the fighting between the de Burgh and Fitzgerald families.

Started in 2006. Completed in 2016

Stitched in New Ross

Stitched by: Rosa Ronan, John Ronan, Kay Dolan, Mary Rochford, Margaret Wheeler, Pat Brennan, Stephanie Atkins, Maureen Clarkin, Babs Crean, Karol Cullen, Ann Curtis, Maura Dimond, Elisa Foley, Sonia Foley, Brigitte Jasper, Ann Kierans, Mary Maher, Lillie Malone, Louise McCaul, Marie McWilliams, Jean Morris, Phil O’Brien, Ann-Marie Nolan, Colette Brand, Frances Riley, Thalia Smithwick, Deborah Reidy, Elaine Howlin-Sutton, Susan Synott, Pam Tegner, Virginia Thorne, Ann Walsh, Sheila Walshe, Teresa Young, Ann Fogarty, Eileen Nolan, Patricia Banville, Aine Furlong, Molly Hunt, Maggie Belcher-Dunne.

EXCHANGE: THE IRISH AND NORMANS MINGLE AT THE FAIR

PATRON: WEXFORD COUNTY COUNCIL

This panel depicts one of the annual fairs about 1220, when New Ross is beginning to realise its full potential. To the side a foreign jester entertains the crowd, while in the background the Italian bankers and tax collectors can be seen standing behind their chequered cloth. The stalls, full of goods and produce, once more reflect the success of the port of Ros.

The top border shows the produce arriving into the town for sale. Swine were a tremendously popular farm product. Deer hounds and wolfhounds were both exported. Working horses - that is ordinary horses used for drawing carts – were also traded. There would have been a strong slave trade in and out of New Ross at that time. The bottom border shows what went on at the fair, apart from the trading element. People in the stocks are being pelted with snowballs – one of the fairs was on December 8th. There are pedlars selling food to children. Falcons are being bought and sold. Scribes have set up tents to offer their services to the largely illiterate population.

Started in 2009. Completed in 2016

Stitched in New Ross

Stitched by: Rosa Ronan, John Ronan, Pat Brennan, Kay Dolan, Karol Cullen, Mary Rochford, Maureen Clarkin, Stephanie Atkins, Patricia Banville, Colette Brand, Margaret Brennan, Giselle Chojnacki, Maura Dimond, Patricia Banville, Ann Fogarty, Elisa Foley, Dolores Gallagher, Heike Huelswitt, Brigitte Jasper, Lillie Malone, Peggy Molloy, Jean Morris, Catherine Murphy, Ann Marie Nolan, Phil O’Brien, Ann O’Brien, Deborah Reidy, Frances Riley, Thalia Smithwick, Elaine Howlin-Sutton, Claire Dillon, Susan Synott, Joshua F Torto, Sheila Walshe, Margaret Wheeler, Eileen Nolan, Nell Pollen.

THE SHEAF OF CORN – THE DISTAFF DESCENT

PATRONS: 100 STITCHERS

This panel shows the distaff, or female, descent of this story. To the right of the panel the daughters of Isabel and William sit in the garden singing and playing music. On their left the spirit of Aoife, sheltering beneath the MacMurrough emblem - the sheaf of corn - keeps a watchful eye on her granddaughters.

The top border shows Irish cultural artefacts of the time - the early Irish churches, the MacMurrough charter horn, Dermot’s castle at Ferns, and the famous Tara brooch. Also shown are the pillars at Baltinglass where Dermot had established an order of Cistercian monks. The five daughters of William are depicted, having their complicated dowries drawn up by a legal scribe, resulting in the breaking up of estates in Carlow and parts of Kilkenny and Wexford. On the bottom border there are cameos of the European preoccupations of the time. The daughters might be discussing these contemporary topics. There were arguments as to whether the man of the sword or the man of the pen was the most desirable. The tradition of troubadours with their lutes and poems started in Aquitaine, before spreading to the rest of Europe. There is a vignette of the Cathars, depicting the terrible crusade which was taking place in the south of France in Languedoc. Because of her interesting exploits on the Crusades, the highly intrepid Eleanor of Aquitaine was also much discussed across Europe.

Started in 2005. Completed in 2012.

Stitched at Eva Nevill’s home in Bawnmore, New Ross

Stitched by: Rosa Ronan, John Ronan, Eva Nevill, Colette Brand, Pat Brennan, Karol Cullen, Margaret Wheeler, Kitty Cullen, Mary Rochford, Ann Curtis, Elisa Foley, Florrie Grace, Ann Hanlon, Catherine Hill, Joy Fletcher, Patricia Jones, Elizabeth Malone, Sister Cecilia McGinn, Ann Marie Nolan, Phil O’Brien, Ros Power, Frances Riley, Kathleen Ryan, Virginia Thorne, Sheila Walshe, Vina Warren, Ann Kelly.