4 10 581 https://collections.ecu.edu/files/original/25/797/Map_of_Munster.png 112148bd6c4ac363e27d44f461b3f137 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Map of Munster Plantation Subject The topic of the resource Ground Floor Parlor Description An account of the resource Spenser the administrator would have taken a keen interest in the extent and progress of the Munster plantation. As a government official, he was intimately familiar with Ireland’s lawcourts, including those concerning property rights. As one of the main grantees, or “undertakers,“ of the plantation, he received over 3,000 acres of land around Kilcolman. He was himself embroiled in legal controversy over these lands, most notably with his powerful Old English neighbor, Lord Roche. This map, contemporary to Spenser’s time on the plantation, indicates the locations of plantation holdings and their undertakers, as well as pre-existing places and lordships. The size and shape of this map indicates its origin as calf-skin, or vellum, which is stored in a folded position but is shown here hung on the wall. For an example of a contemporary map by Francis Jobson with Spenser’s and Raleigh’s names listed on it, click here. Literary Connections In Spenser’s prose tract, A View of the Present State of Ireland (c. 1596), Eudoxus spreads out a map of Ireland in order to better comprehend where his partner in conversation, Irenius, wishes to place military garrisons for the defense of the realm. Such garrisons would allow the government to better control the countryside: <blockquote>though perhaps I am ignorant of the places, yet I will take the map of Ireland before me and make my eyes in the meanwhile my schoolmasters to guide my understanding to judge of your plot. (View 99)</blockquote> Spenser’s poetic imagination has been described as “cartographic” in many particulars, in both method and subject matter. To give only one example, after the huge dragon is killed at the climax of Book I, canto xi of The Faerie Queene, most of the rescued townspeople gather around the beast in shock and awe, <blockquote> Whiles some more bold, to measure him nigh stand, To proue how many acres he did spred of land. (FQ I.xii.11.8-9) </blockquote> The killing of the dragon has close analogies with the defeat of rebels in Munster, followed by the attainder and plotting out of their lands with the help of maps. Links: <a href="https://folgerpedia.folger.edu/Mapping_Early_Modern_Worlds" target="_blank" rel="noopener">https://folgerpedia.folger.edu/Mapping_Early_Modern_Worlds</a> [accessed 1/30/18] [Folger Shakespeare Library exhibit on maps] Creator An entity primarily responsible for making the resource Dr. Thomas Herron Source A related resource from which the described resource is derived Bibliography: Rudolf Gottfried, “Irish Geography in Spenser’s View.” English Literary History 6.2 (1939), 114-37. Bernard Klein, Maps and the Writing of Space in Early Modern England and Ireland (NY: Palgrave Macmillan, 2001). Swen Voekel, “From Irish Countries to English Counties: State Sovereignty and Territorial Reorganization in Early Modern Ireland.” Archipelagic Identities: Literature and Identity in the Atlantic Archipelago, 1550-1800. Ed. Philip Schwyzer and Simon Mealor (Aldershot: Ashgate, 2004), 92-112. William J. Smyth, Map-making, Landscapes and Memory: A Geography of Colonial and Early Modern Ireland, c. 1530-1750 (South Bend: University of Notre Dame Press, 2006). https://collections.ecu.edu/files/original/25/817/Mether.png 42052c23daf9026c3f5ad78146b8084f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mether Subject The topic of the resource Tower House Parlor Description An account of the resource On the table in the Tower House Parlor sits a “mether,” which is a four-sided, four-handled Irish drinking vessel carved of wood. Other examples are found in the Great Hall. An example from the 16th century with the provenance “Kilcolman, Co. Cork” is currently in the Limerick Museum. Other tabled objects here, in the Great Hall and in the Ground Floor Parlor, are modeled after Tudor-era facsimiles in wood and pewter found at Barrycourt Castle, Co. Cork. Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Publisher An entity responsible for making the resource available Links: <a href="http://museum.limerick.ie/index.php/Detail/Object/Show/object_id/213" target="_blank" rel="noopener">http://museum.limerick.ie/index.php/Detail/Object/Show/object_id/213</a> [accessed 12/5/2013] [The mether in the Limerick museum] https://collections.ecu.edu/files/original/25/804/Mural_St_Christopher.png ff10915a1cdf03f483e64d7f56926313 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mural of St Christopher Subject The topic of the resource Tower House Chapel Description An account of the resource On the west wall, facing the window, is a mural of St Christopher carrying the boy Jesus across the river. At his foot is a snake, representing sin and the devil, who is trodden underfoot. St Christopher does not appear in the Bible but was popularized in late-medieval Europe by the Golden Legend of saints’ lives, written by Jacobus de Voragine in the mid-13th century. Artistic representations of Christopher appeared at the time in many countries, England and Ireland included. No traces of wall paintings have been found at Kilcolman. This example is copied from a late medieval English mural, currently in St Peter’s and St Paul’s Church in Pickering, North Yorkshire, England. Any such mural at Kilcolman, had it existed, would not, presumably, have been commissioned by Spenser himself. More likely, it would have been a hold-over from previous, Catholic tenants such as the Desmonds, who as members of the “Old English” ethnic group claimed English and Welsh ancestry. Religious murals are known to have been painted in Irish tower houses, and a few tantalizing remnants survive today. For example, St Christopher with the Christ child is portrayed along with other images (including an ecclesiast, probably Bishop Colman) in a mural at the tower house of Ardamullivan, Co Galway. The tower house was held by a cadet branch of the O’Shaughnessy dynasty. T. Crofton Croker describes (in 1824) fragments of frescoes he found in ruined Buttevant Friary (in Doneraile, near Kilcolman), which Spenser owned in 1598: “Some traces of fresco painting are yet to be seen on the wall of one or two recesses in the nave:—a patchwork halo of red and yellow, confined by a strongly marked black outline, and part of an orange-coloured ladder with a bit of green drapery, however the antiquary may regard them, did not give my companions very high ideas of the state of excellence attained by the monastic professors of this art in Ireland.“ Irish saints typical for the Munster region in the medieval period would have included Patrick and Finbar. Kilcolman was named after St Colman of Cloyne, who flourished in the late sixth/early seventh century A.D. A small ruined church, Templetaggart Church, which may or may not be associated with St Colman, stands 1720 yards south of the castle, on the far side of the lake/bog. The fields to the north and northwest of the castle also held medieval churches named after the saint. Photo credit: Jackie Selby Brooks Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Source A related resource from which the described resource is derived Bibliography: T. Crofton Croker, Researches in the South of Ireland (London: John Murray, 1824): 115. Andrew Hadfield, Edmund Spenser: A Life (Oxford: Oxford UP, 2012): 219, 222. Karena Morton, “A Spectacular Revelation: Medieval Wall Paintings at Ardamullivan.” Irish Arts Review Yearbook 18 (2002), 104-13. —, “Irish medieval wall painting.” Medieval Ireland: the Barryscourt Lectures I–X. Ed. J. Ludlow and N. Jameson (Kinsale: Gandon Editions, 2004), 313-49. —, "Illustrating History." Irish Arts Review (Spring 2010), 96-101. David Newman Johnson, “Kilcolman Castle.” The Spenser Encyclopedia (Toronto: U of Toronto P, 1990), 416-22: 419. https://collections.ecu.edu/files/original/25/798/Narwhal_horn.png 32c2d88cae4b7303f4d584a6ffd0b5e6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Narwhal, i.e., "unicorn" horn Subject The topic of the resource Ground Floor Parlor Description An account of the resource The spiral horn from the narwhal was sometimes mistaken in the Middle Ages and Renaissance for a more fantastic object, a unicorn horn. Spenser’s New English contemporary on the Munster plantation, Sir William Herbert, lists a ’unicorn horn’ in the inventory of his household goods at Castleisland, Co. Kerry, a residence formerly owned by the earl of Desmond. Literary Connections Unicorns are a quintessential fantasy-animal of the middle ages, both then and now, and are often associated with virgins and/or princesses in peaceful garden settings, as in the famous tapestries now in the Cloisters museum in New York. Surprisingly, however, the beast appears in the Bible as a violent animal (Job 39.12-15), beaten only by its enemy, the lion. Spenser uses this idea in an epic simile describing the battle of Guyon, the hero of Temperance, with the wrathful villain Pyrochles, in Book II of The Faerie Queene. Guyon is compared to a treed lion, and Pyrochles to a unicorn that charges the tree and sticks its horn into it, thus trapping itself and so becoming a “feast” for the lion: <blockquote> Like as a Lyon, whose imperiall powre A prowd rebellious Vnicorne defyes, T’auoide the rash assault and wrathfull stowre Of his fiers foe, him [i.e., the Lion] to a tree applyes, And when him ronning in full course he spyes, He slips aside; the whiles that furious beast His precious horne, sought of his enimyes Strikes in the stocke, ne thence can be releast, But to the mighty victor yields a bounteous feast. (FQ II.v.10) </blockquote> Guyon wins the day, and the moral is that wrathful behavior will undo itself, no matter how great its powers. The passage also has a political dimension in that Guyon is associated with the “Lyon,” a symbol of both the English monarchy and (in this stanza) “imperiall power.” Against it, the unicorn becomes “prowd rebellious.” This description suits any Irish rebel —or any rebel at all— from Spenser’s point of view. As Clarence Steinberg has written, both Pyrochles and his equally angry brother Cymochles have Irish characteristics. They could allegorize Irish rebels in particular; they certainly capture the essence of the “prowd” wrath of Spenser’s enemies. Spenser mentions the narwhal in The Faerie Queene but calls it a “Monoceros.” It appears in a list of dreadful sea-monsters that were transformed from men into fish-shapes by the evil witch, Acrasia: <blockquote> Most vgly shapes, and horrible aspects,… Bright Scolopendraes, arm’d with siluer scales, Mighty Monoceros, with immeasured tayles. (FQ II.xii.23.1, 8-9) </blockquote> Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Source A related resource from which the described resource is derived Bibliography: Jonathan Bouchier, “Spenser: Description of Fishes.” Notes and Queries 93 (March 1896), 228-9. Rev. Kieran O’Shea, “A Castleisland Inventory, 1590.” Journal of the Kerry Archaeological and Historical Society 15-16 (1982-3), 37-46. Clarence Steinberg, “Atin, Pyrochles, and Cymochles: on Irish emblems in The Faerie Queene.” Neuphilologische Mitteilungen 72 (1971), 749-61. John Webster and Richard Isomaki, “Pyrochles, Cymochles.” The Spenser Encyclopedia. Ed. A. C. Hamilton (Toronto: U of Toronto P, 1990), 574-5. https://collections.ecu.edu/files/original/25/818/Elizabeth_Boyle_Portriat.png 0b0fcc38b9cfab05d5aaffda8aea796e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Elizabeth Boyle Subject The topic of the resource Tower House Parlor Description An account of the resource This portrait is an imaginary rendering of Elizabeth Boyle, Spenser’s second wife, and fellow occupant of Kilcolman Castle. It is a Photoshopped composite of other portraits of the period. There are no extant portraits of Boyle, although her headless effigy is found praying at the tomb of her third husband, Robert Tynte, in Kilcredan, Co. Cork. This portrait and the one next to it, a hypothetical one of Spenser, are presented as if they formed a pair, commissioned for their wedding day in 1594. The two oak leaves on the bare tree represent the couple. Further description of the recreated portrait (by Joyce Joines Newman) can be found <a href="http://core.ecu.edu/umc/Munster/PDF/invented_portrait_EB.pdf" target="_blank" rel="noopener">here</a>. Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Source A related resource from which the described resource is derived Bibliography: Amy Louise Harris, “The Tynte Monument, Kilcredan, Co. Cork: a reappraisal.” Journal of the Cork Historical and Archaeological Society 104 (1999), 137-44. https://collections.ecu.edu/files/original/25/799/Elizabeth_I_portrait.png d2e1b594f6fa1362c1c29b2df2110410 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Queen Elizabeth I Subject The topic of the resource Ground Floor Parlor Description An account of the resource This oil portrait is copied from a painting currently owned by the Elizabethan Gardens, Manteo, North Carolina. It is a variant of the famous Ditchley portrait and was probably painted in the 1590s by the studio of Marcus Gheeraerts the younger. There is no evidence that Spenser owned such a portrait. If he did own one like it, he may have displayed it in a semi-public place, as a demonstration of his property, taste and political connections. In the early modern period, public display of paintings was unusual, and so the painting hangs here, in the Ground Floor Parlor, rather than in the more public Great Hall. Picture galleries existed in early modern Ireland, for example at Ormond Castle, Carrick-on-Suir, whose attached Elizabethan mansion was built in the 1560s by Thomas Butler, tenth earl of Ormond and cousin of Queen Elizabeth I. Ormond’s castle at Kilkenny also held paintings in the early modern period. Paintings were typically hung alongside tapestries (such as those in the house of Busyrane and viewed by the heroine Britomart in The Faerie Queene III.xi). For this reason a tapestry also hangs in this room (Ground Floor Parlor: Tapestry). It is questionable whether or not a mid-level functionary and new landowner such as Spenser could afford such luxury items, but it is possible. A painting of Elizabeth, the “Virgin Queen,” would call attention to Spenser’s complex relationship with his monarch. She was his patron and employer. In 1590, after Spenser visited the court and presented his poetry there, the queen granted him a sizeable pension of 50 pounds per annum. In Ireland, Spenser served as administrator of his estate on behalf of the English crown, and therefore any authority he had ultimately emanated from the queen in London. Enter the parlor and you not only met Spenser’s family, but a likeness of her majesty as well. Literary Connections Spenser paints a complicated picture of Queen Elizabeth in his poetry. The queen was a powerful patron and subject of his work. She is allegorized as “Gloriana” or the inspirational Fairy Queen of The Faerie Queene (Great Hall: Mantelpiece on this website), and she is praised elsewhere in fulsome terms in his poetry (in “Colin Clouts Come Home Againe”, for example). In Book I of The Faerie Queene, the main hero of the epic, Prince Arthur, sees Gloriana in a dream vision and is inspired towards virtuous action on her behalf: <blockquote> Whiles euery sence the humour sweet embayd, And slombring soft my hart did steale away Me seemed, by my side a royall Mayd Her daintie limbes full softly down did lay: So fayre a creature yet saw neuer sunny day. Mostly goodly glee and louely blandishment She to me made, and badd me loue her deare; For dearely sure her loue was to me bent, As when iust time expired should appeare. But whether dreames delude, or true it were, Was neuer hart so rauisht with delight, Ne liuing man like wordes did euer heare, As she to me deliuered all that night; And at her parting said, She Queene of Faries hight. ...From that day forth I lou’d that face diuyne; From that day forth I cast in carefull mynd, To seeke her out with labor, and long tyne,… (FQ I.ix.13-15) </blockquote> Simultaneously, Spenser’s satiric nature led him to criticize the queen and her court. Elizabeth appears to be satirized for her pride and worldly decadence in the figure of “Lucifera,” who rules over the House of Pride earlier in Book I: <blockquote> High aboue all a cloth of State was spred, And a rich throne, as bright as sunny day, On which there sate most braue embellished With royall robes and gorgeous array, A mayden Queene, that shone as Titans ray, In glistring gold, and perelesse pretious stone; Yet her bright blazing beautie did assay To dim the brightnesse of her glorious throne, As enuying her selfe, that too exceeding shone. (FQ I.iv.8) </blockquote> This portrait hanging in the ground-floor Parlor captures some of that same ambiguity: it shows the richly adorned Queen Elizabeth in all her splendid majesty but, uncharacteristically for such a portrait in this period, it does not hide her age. The mortal corruption of her flesh and her vanity is evident: wrinkles, veins, jewels and lace all command our attention. Like Oliver Cromwell in a later age, she has been painted “warts and all,” but with a difference. Links: <a href="http://www.npg.org.uk/research/programmes/making-art-in-tudor-britain/tudor-and-jacobean-painting-production-influences-and-patronage-december-2010/extended-abstracts-and-videos/the-manteo-portrait-of-queen-elizabeth-i.php" target="_blank" rel="noopener">http://www.npg.org.uk/research/programmes/making-art-in-tudor-britain/tudor-and-jacobean-painting-production-influences-and-patronage-december-2010/extended-abstracts-and-videos/the-manteo-portrait-of-queen-elizabeth-i.php</a> [Abstract of paper by Sara N. James and Larry E. Tise, “Case Study: A portrait of Elizabeth I at Manteo.” Presented at the conference, Tudor and Jacobean Painting: Production, Influences and Patronage. National Portrait Gallery, London, December 2, 2010.] Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Source A related resource from which the described resource is derived Bibliography: Douglas Brooks-Davies, “Lucifera.” The Spenser Encyclopedia. Ed. A. C. Hamilton (Toronto: U of Toronto P, 1990), 441-2. Christopher Burlinson, Allegory, Space and the Material World in the Writings of Edmund Spenser (Cambridge: D.S. Brewer, 2006), ch. 3 (“Galleries: Space, Mythography, and the Object”). Jane Grogan, Exemplary Spenser: visual and poetic pedagogy in The Faerie Queene (Aldershot: Ashgate, 2009), ch. 2 (“Spenser’s Gallery of Pictures”). W.H. Herendeen, “Gloriana.” The Spenser Encyclopedia. Ed. A. C. Hamilton (Toronto: U of Toronto P, 1990), 333-4. Brendan Kane and Valerie McGowan-Doyle (eds), Elizabeth I and Ireland (Cambridge: Cambridge UP, 2014). Anna Riehl, The Face of Queenship: Early Modern Representations of Elizabeth I (NY: Palgrave Macmillan, 2010). https://collections.ecu.edu/files/original/25/800/Raleigh_Portrait.png f6d85688b123adc4a49044e242a75d84 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Sir Walter Raleigh Subject The topic of the resource Ground Floor Parlor Description An account of the resource This oil portrait is copied from one currently hanging in the Wilson Library of the University of North Carolina-Chapel Hill. It is thought to have been painted in the 1590s. There is no evidence that Spenser owned such a portrait. He did, however, paint a complicated picture of Sir Walter Raleigh in his poetry. Raleigh was a fellow planter in Munster and a powerful patron and subject of his work, notably The Faerie Queene. (See Spenser and Raleigh) It is conceivable that Spenser would have owned a likeness of Raleigh and wished to display it in a semi-public space, so as to remind himself and others of his powerful patron. Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU https://collections.ecu.edu/files/original/25/819/Spenser_portrait.jpeg bd6c115be6c410c386f6bd5b7ca1e747 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Portrait of Spenser Subject The topic of the resource Tower House Parlor Description An account of the resource This portrait of a middle-aged man is modeled loosely on that painted by Benjamin Wilson in 1770, long after Spenser’s death, which was based on an engraving made in 1727 by George Vertue of a supposed portrait of Edmund Spenser in the collection of John Guise. The sitter’s dress would suit Spenser’s relatively modest means. Spenser was described in his time as having short-cut hair. No authoritative likeness of Spenser is known to exist. This portrait and the one next to it, a hypothetical one of Spenser’s second wife, Elizabeth Boyle, are presented as if they formed a pair and were commissioned for their wedding day in 1594. Further description of the recreated portrait (by Joyce Joines Newman) can be found <a href="http://core.ecu.edu/umc/Munster/PDF/invented_portrait_ES.pdf" target="_blank" rel="noopener">here</a>. Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Source A related resource from which the described resource is derived Bibliography: Andrew Hadfield, Edmund Spenser: A Life (Oxford: Oxford UP, 2012): 413-8. Tarnya Cooper and Andrew Hadfield, “Edmund Spenser and Eizabethan Portraiture.“ Renaissance Studies 27.3 (June 2013), 18-21. https://collections.ecu.edu/files/original/25/821/Privy.png 0ed5335412adf5e47c64346a2ed6191f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Privy a.k.a garderobe or toilet Subject The topic of the resource Privy (garderobe) Description An account of the resource Archaeological remains from Spenser’s privy indicate an ample and healthy diet enjoyed by his household, including various game and high-quality wheat. Moss could have served for wiping. Waste would have fallen down a two-story chute, exiting out the south side (or back) of the castle, where it would have been shoveled away and/or disinfected with a covering of lime. Two-seater privies were not uncommon. An example is found today in Barryscourt Castle, Co. Cork. Newman Johnson refers to modern-day Kilcolman’s missing “stone” privy seat although a wooden seat (as here) could also have been in place in Spenser’s time. Placed on the seat for reading is a treatise on the flush toilet, A New Discourse of a Stale Subject, called The Metamorphosis of Ajax (1596) by the inventor of the device, the courtier poet and epic translator Sir John Harington. Another privy lies on the east end of the Great Hall. Literary Connections In The Faerie Queene (1590), Spenser describes a castle, the House of Temperance, in figurative terms as like a human body. There is a privy attached by “conduit pipe” to the kitchen, which represents the stomach in Spenser’s allegory: <blockquote>But all the liquour, which was fowle and waste, Not good nor seruiceable elles for ought, They in another great rownd vessell plaste, Till by a conduit pipe it thence were brought:  And all the rest, that noyous was, and nought, By secret wayes, that none might it espy, Was close conuaid, and to the backgate brought, That cleped was Port Esquiline, whereby It was auoided quite, and throwne out priuily. (FQ II.ix.32)</blockquote> Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Source A related resource from which the described resource is derived Bibliography: Eric Klingelhofer, Castles and Colonists: an archaeology of Elizabethan Ireland (Manchester: Manchester UP, 2010): 121 [fig. 5.8 shows cross-section drawing of Kilcolman tower ruin with garderobe and garderobe shaft indicated.] —. “Edmund Spenser at Kilcolman Castle: the archaeological evidence.” Post-Medieval Archaeology 39.1 (2005), 133-54. David Newman Johnson, “Kilcolman Castle.” The Spenser Encyclopedia (Toronto: U of Toronto P, 1990), 416-22. https://collections.ecu.edu/files/original/25/820/Raleigh_Window.png 089559c9a7c77984465a0618fa69da87 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Object Descriptions from Centering Spenser Subject The topic of the resource Objects Source A related resource from which the described resource is derived Centering Spenser, Dr. Thomas Herron, ECU Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raleigh's window Subject The topic of the resource Tower House Parlor Description An account of the resource Remains of this south-facing, ogee-headed window still exist in the wall of the tower house. For a contemporary picture from the castle exterior. The view from the window would be of the marsh adjacent to the castle. The window is dubbed “Raleigh’s window” today because, as legend has it, Spenser and Raleigh sat here and smoked pipes and conversed when Raleigh visited Kilcolman in 1589 (see Spenser and Raleigh). Literary Connections Raleigh’s visit to Kilcolman is immortalized in Spenser’s pastoral poem, Colin Clouts Come Home Againe (1595). Spenser’s alter-ego Colin Clout describes this encounter as beginning outside, under an alder tree: <blockquote>One day (quoth he) I sat, (as was my trade) Vnder the foote of Mole that mountaine hore, Keeping my sheepe amongst the cooly shade, Of the greene alders by the Mullaes shore: There a straunge shepheard chaunst to find me out, Whether allured with my pipes delight, Whose pleasing sound yshrilled far about, Or thither led by chaunce, I know not right: Whom when I asked from what place he came, And how he hight, himselfe he did ycleepe, The shepheard of the Ocean by name, And said he came far from the main-sea deepe. He sitting me beside in that same shade, Prouoked me to plaie some pleasant fit, And when he heard the musicke which I made, He found himselfe full greatly pleasd at it: Yet aemuling my pipe, he tooke in hond My pipe before that aemuled of many, And plaid theron; (for well that skill he cond) Himselfe as skilfull in that art as any. He pip’d, I sung; and when he sung, I piped, By chaunge of turnes, each making other mery, Neither enuying other, nor enuied, So piped we, vntill we both were weary. (Colin Clouts Come Home Againe 56-79).</blockquote> The “shepheard of the Ocean” is Raleigh. Spenser’s description of a “piping” contest is a pastoral conceit, indicating that they shared poetry with one another (whether or not they actually played pipes as well). In the distance is “Mole,” Spenser’s name for Galtymore, the highest mountain in the nearby Ballyhoura Hills to the north of Kilcolman. Creator An entity primarily responsible for making the resource Dr. Thomas Herron, ECU Source A related resource from which the described resource is derived Bibliography: William Oram, “Spenser’s Raleghs.” Studies in Philology 87 (1990), 341-62.