Have you tried the ash pit?

'HAVE YOU TRIED THE ASH PIT?' Author(s): Mary Cahill, Andy Halpin, Carol Smith and Stephen d'Arcy Source: Archaeology Ireland, Vol. 28, No. 1 (Spring 2014), pp. 30-34 Published by: Wordwell Ltd. Stable URL: https://www.jstor.org/stable/23631128 Accessed: 24-03-2020 13:21 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Wordwell Ltd. is collaborating with JSTOR to digitize, preserve and extend access to Archaeology Ireland This content downloaded from 37.228.225.13 on Tue, 24 Mar 2020 13:21:09 UTC All use subject to https://about.jstor.org/terms 'HAVE YOU TRIED THE ASH PIT?' Mary Cahill, Andy Halpin, Carol Smith and Stephen d'Arcy on excavating magic in Fairview. PI. 1—No. 8 Royal Terrace Right: Pl. (Inverness Road), Fairview, Dublin. Below: Pl. PI. 2—Rear of No. 8 Royal Terrace, showing location of the ash pit. the National Museum of Ireland we In the Irish aAntiquities Division of operate system whereby a curator (the Duty Officer) is always available to the public during office hours. This means that members of the public can easily contact an archaeologist if they wish to report a discovery or make an inquiry. It also means that the Duty Officer is often the first person to hear about an exciting new discovery. For one Duty Officer (MC), one of the most unusual requests for assistance ever was made by Stephen d'Arcy in late October 2012. Stephen called to Kildare Street to ask for advice on how he might deal with the contents of the biscuit box he had with him. The objects in the box were amongst the most damaged and fragile ever brought to the museum—so much so that it was with great reluctance that the objects were disturbed for a cursory examination. 30 Archaeology Ireland Spring This content downloaded from 37.228.225.13 on Tue, 24 Mar 2020 13:21:09 UTC All use subject to https://about.jstor.org/terms 2014 Left: Left: PI. 3—Magic lantern Pl. slides exposed 3—Magi in the the section through section the ash pit. throu Below: PI. 4—The ash pit after excavation. Below: Pl. 4—The Gospels and a song-book. The family called them the ash pit books. Afterwards, John Stanislaus Joyce, their father, frequently called out 'Have you tried the ash pit?' when the family needed anything. Aware of this, Stephen d'Arcy thought that he must check out the possibility that the finds from the ash pit were connected to the famous family who had once lived at 8 Royal Terrace. Although he made some inquiries about the finds, it was not until October 2012 that he had time and opportunity to investigate the possibilities further. This was the point at which the National Museum became involved. This story started when Stephen d'Arcy boundary wall. Stephen, a professional Why would we become invo bought a house in Inverness Road, gardener, was preparing this part of the such a discovery? Magic lantern Fairview, Dublin 3, in 2004. He bought the garden for planting when he discovered the suburban garden ash pit seem house as a restoration project because of its walls of the ash pit. At first he thought that from the usual inves historical association with James Joyce. they were the footing for a barbecue stand, burials and bog butte The Joyce family had lived at No. 8 Royal but he quickly realised that he had archaeological nature of the Terrace (now Inverness Road; PI. 1) for a discovered something quite different when the possible connection t period during 1900-1. The family were fragments of glass with images began to historical persons and events gradually falling into such poor emerge from the pit. At this stage, having with the discipline of archaeological circumstances that they often had to leave removed some of the glass fragments and inquiry. The only way to remove the one rented house for another at short recognised them as magic lantern slides, remaining slides in the pit safely was by notice, the houses becoming smaller and Stephen decided to backfill the pit and seek excavation (Pis 3 and 4). Their possible less well furnished with each move. While help to identify his finds. historical connection to the house and its living at Royal Terrace, James Joyce was James Joyce's brother, Stanislaus, occupants might be determined by attending University College Dublin. The related in his book My brother's keeper how recording the stratigraphy of the pit and house and its environs are mentioned in two books had been found in the garden at the relationship of the slides to any other Portrait of the artist as a young man, as Royal Terrace—an edition of the four objects. The condition of the slides was Stephen Dedalus makes his way to college through the back lanes and hears the Vincent's Asylum In over . Stephen to J§p the * '|_ V the . become Terrace was as a terrace V .. houses two storeys over garden house a small with an outhouse, and a long garden on levels Each to house a was communal provided with Pv an v \ ash pit located beside the outhouse on the upper | j \ ,'V, „ H This rectangular f V. structure was used for depositing ashes, J<C night pits the soil were and cleared contents other out used as domestic from time manure to for refuse. time Ash and gardening and agriculture. At Royal Terrace the ash rW ^Jb9 pits were built in pairs separated by the wi Archaeology Ireland Spring This content downloaded from 37.228.225.13 on Tue, 24 Mar 2020 13:21:09 UTC All use subject to https://about.jstor.org/terms 2014 31 *■■ title and the number in the sequence of - the story being told, but all these paper elements had disappeared. It was intriguing to discover that some of the jLg\ * subjects identified appeared to find a « strong resonance within the published /J ' S works of James Joyce, e.g. the hymn t " • * a 'Jerusalem the Golden' is referenced in / "A"- 5p| Ulysses. Our own research a | ♦ jjji Wy with Joycean scholars and m K | | % 1 J specialists revealed James Joyce's strong , interest in pre-cinema moving imagery |. and early cinema. We were extremely cautious, however, and did not draw any « ^JojjjgK^ conclusions from these discoveries. 1 '8|B " * Delving into the complex world of the HhB magic lantern was a challenge for a ■IWlPyW JJp prehistorian and a medievalist, but we B H ifl received great assistance from colleagues, KOf ^8BL 7T"£ ** * ■ j| especially from Prof. Kevin V I -**- jl TCD's School of Drama, Film an _ B . ; MM He arK' Emer Rockett are authors of a 9| major source work, Magic lantern, M.. \V 'Sjfedfc&a panorama and moving picture shows in Ireland, 1786-1909. We also found several ; on-line resources on magic lantern slides, projectors and related paraphernalia. LUCERNA, the magic lantern web resource (www.slides.uni-trier.de), was Above: 5—In a scene based based on David Above:Pl.PI. 5—In a scene on David indispensable in identifying similar Scott's original drawings drawings for for The The pilgrim's pilgrim's subjects and titles. A partial set of slides progress, progress, Christian Christian meets meets Discretion Discretion and andrepresenting John Bunyan's The pilgrim's her sisters. her sisters. progress was initially difficult to identify , _ .. c .., . . , but with help from the John Bunyan Left: PI. 6—David Scott s original print ^ j j Left: Pl. 6—David Scott's original print from the 1851 edition of The pilgrim's from the 1851 edition of The pilgrim's progress, progress, publishedpublished by A. Fullarton. by A. Fullarton. Right: PI. 7—Thomas Right: Pl. 7—Thomas McBratney, the McBratney, the Presbyterian preacher who used Presbyterian lay preacherlay who used magic lantern shows as part of his magic lantern shows as part of his missionary work in Ireland. missionary work in Ireland. also a major concern. Stephen had such as the journey of the three wise men described how some images had vanished to Bethlehem (the Epiphany) and the when exposed to the air, and so recovery marriage feast at Cana. Others clearly and conservation of the slides had to be represented the text of hymns such as considered. While we explored the 'Jerusalem the Golden' and 'Hark! The possibility of excavating the ash pit, we herald angels sing'. Some, although also began attempts to identify the slides obviously religious in nature, were not so in the biscuit tin. Although familiar with easily identified, while some were random magic lantern slides from the NMI's own scenes from stories with themes relating collection of slides of monuments and to morality, the dangers of drink and objects, those from the ash pit were of a idleness. The costumes suggested a late totally different sort, with various types of Victorian date, with a hint of Edwardian production and processing represented hats in one slide. This task was made and many different subjects or narratives doubly difficult because of the condition present. Some we could immediately of the slides. Usually each slide will have identify as scenes from the life of Jesus, a label detailing the manufacturer, the 32 Archaeology Ireland Spring This content downloaded from 37.228.225.13 on Tue, 24 Mar 2020 13:21:09 UTC All use subject to https://about.jstor.org/terms 2014 MAGIC LANTERNS Left: PL 8—A scene 8—A from Christie's ol Left: Pl. scen Scene Scene 19, 'Christie 19, began 'Christ to be afra Treffy Treffy was getting was worse getti and worse (Bamforth & Co.). (Bamforth & Co.). difficult, but NMI conservator Caro oversaw this part of the work. O complete and fragmentary slides were excavated. Luckily some title slides were found which helped to identify the stories. Tiny labels found on some slides show that they were procured from Lizar's, a well .. SKi known supplier in Glasgow and Belfast of fl C ■ JBmi optical equipment including lanterns and IIW I s , Mm\ ! slides. "Sk?" fin One of the most illuminating stories is called In His Steps, subtitled What would HI Jesus do?, by Charles M. Sheldon. This book, published in 1896, has sold over HbK-i in magic lantern sets (PL 9). The central W "W'Jr ■ L—-L- K£: message is to live one's life by always considering what Jesus would do in any given situation. This was a message that any Christian preacher would wish to communicate. Following the excavation, further Society was recognised as a set based on Given the biblical and religious nature of research at the Presbyterian Historical drawings by the Scottish artist David Scott, many of the slides and the exhortatory and Society of Ireland in Belfast produced originally published in 1851. These slides moralising nature of others, such as the detailed information about Thomas were beautifully hand-painted (Pis 5 and story known as Christie's old organ (PL 8), it McBratney and the activities of the 6). began to look like Mr McBratney was the Presbyterian Mission in Ireland. The We also researched the ownership and most likely candidate for ownership of the an tenants of 8 Royal Terrace and its magic lantern slides. The census showed expended on slides and projectors. In 1907 neighbours. The terrace was owned by its that in 1901 he was living in Athlone and a report on Lantern Services noted that 'in builder and individual houses were rented working as a colporteur—a person who various places agents have conducted separately. We used Thorn's Directories to distributes religious tracts. In the lantern services with very best results' and compile a list of tenants, and the intervening period he had moved to Dublin remarked that in the south large numbers invaluable Census of Ireland records for and became a lay preacher. of Roman Catholics attended, 'singing 1901 and 1911 for further information on The excavation of the ash pit took place hymns most heartily'. Thomas McBratney households. This led to a highly significant over a week in February 2013, directed by spent sixteen years working as an open-air discovery. In 1901 the Joyce family was Andy Halpin. Excavating an ash pit is not missionary, travelling all over Ireland to sharing the house with the Hughes family unlike excavating a Bronze Age cist burial, fairs and markets, preaching wherever he but they had left by August 1901. The as the area to be excavated, confined by its could gather a crowd together, and, in spite house was occupied by a number of people concrete walls, is similar and the ashy of bad weather, occasional animosity and subsequently. In 1918 it is recorded as deposit is also reminiscent of cremated the odd missile, built a reputation as a great being let to Thomas McBratney (PL 7). This deposits. Modern debris was removed before preacher. In Dublin open-air meetings were man had also lived at No. 10 Royal Terrace the undisturbed layers were encountered. held in the Phoenix Park and at the from 1907 before moving to No. 8. The Unfortunately, when we came on the glass Custom House. On one occasion in 1914 in 1911 census revealed that Mr McBratney slides, rather than having been placed in the a town in County Laois he is described as and his family were Presbyterians and his pit in their slotted boxes they seem to have holding the attention of an aggressive occupation was that of an evangelist. Mr been thrown in without any protective crowd for fifteen minutes 'while the story McBratney, a Scot with northern Irish covering and in broken sequences. They of redeeming love was proclaimed'. After roots, lived with his wife, Martha, and were almost all in very poor condition, his death the McBratney family continued children at No. 8 until his death in 1921. making excavation and removal extremely to live at Royal Terrace until the 1930s. Archaeology Ireland Spring This content downloaded from 37.228.225.13 on Tue, 24 Mar 2020 13:21:09 UTC All use subject to https://about.jstor.org/terms 2014 33 MAGIC LANTERNS History of the magic lantern The history of image projection is long and complex, but the earliest recognisable projectors date from the seventeenth century. Technological developments in the nineteenth century using gaslight to project the images greatly improved the visual effects, leading to the rapid development of new types of projectors and increased sophistication in the nature of the shows presented, with effects such as dissolving images and the illusion of real movement. Different types of slides were also developed. In many ways, magic lantern projectors which pre-date photography are the precursors of outmoded 35mm slide projection and its digital successors (PI. 10). The excavation at Fairview produced several types of slides, all of which are typical of late It seems likely that during a clear-out of inventiveness but also in its illusory and nineteenth-century and early the house the slide collection and other fantastical capacity to charm its audience, twentieth-century commercial domestic rubbish were thrown into the The chance discovery in the ash pit in production. Each slide consists of ash pit. Fairview reminds us that archaeology can be two sheets of glass VA'in. In the late nineteenth century magic as relevant—and revealing—in AD 1900 as (8.255cm) square. The images lantern slides and projectors became more in 1900 BC. ■ were produced by painting on affordable and available. Many the glass and binding the sheets organisations, theatrical, educational and Acknowledgements of glass together with tape. proselytising, recognised that moving We are very grateful to all our NMI Once photography became images provided a powerful way to colleagues and to specialists in other commonplace, many images influence people. It was the beginning of a disciplines for their advice and assistance, were produced as 'stills'. Scenes new form of mass communication. None especially Prof. Kevin Rockett, Prof. Bob from a story were posed by of this was lost on the young James Joyce Owens, Dr Nathalie Colle-Bak and Dr Keith actors—sometimes the 'actors' as he made his way through the streets of Williams, and to the Ward-McBratney were family members or staff of Dublin. Lanternism was all around—it family in Canada, the manufacturers. These so- could amuse, instruct and convert; it could MAGIC LANTERNS called 'life-model' slides were change perceptions, shock and titillate. Its AND produced in black and white and magical effects lay not only in its technical later tinted by hand. One of the Above: Pl. 9—A most prolific British companies, Above: pl 9~A scene from His StePs bT Dissolning View Apparatus, SLIDES, AND EPFEOTS, scene Of the Highest CUM. from In 80LD & SILVER MEDAL8 AWARDED (1884-6) Hi For Optical tod Mechanical excellence. Charles M. Sheldon; possibly Sc Bamforth's, still exists. Their well- charles M- Sheldon; possibly Scene 15, 'If Bole Maker of the Registered Christ were editing a paper, do known cartoon seaside postcards christ were editin9 a PaPer- do Vou honestly TRIPLE LANTERN, would print three colu were developed from the think think He would Print He three «l«"nns of a prize fight company's magic lantern slides. Pr'ze b9bt in it? (Bamforth & Co.).in it?' The Luke Bl-unlal Lantern, (Bamforth And the 8-Wiok Paraffins & C TRIPLEadvertisement LANTERNS, PHOTOGENIC LANTERNS. For more information see Right: PI. Right: 10—An advertisement Pl. for a 10—An Prices from £25 to £100. Prioes—£3:10:0 to £10:10:0. sophisticated www.magiclantern.org.uk and sophisticated triple lantern sold by J.H. www.slides.uni-trier.de. Steward,Steward, dealersdealers and manufacturers, and manufacturers, triple lantern ILLUSTRATED CATALOGUES gratis, post-free to all parts London. 34 Archaeology Ireland ofsold the World. 406, 66, & 456, STRAND; 54, CORNHILL, LONDON. Spring This content downloaded from 37.228.225.13 on Tue, 24 Mar 2020 13:21:09 UTC All use subject to https://about.jstor.org/terms 2014