When I embarked on this project, aiming to create a visual
response to James Joyce's strong connections with Galway, I initiated my
journey with a map. But not just any map of Galway; I began with the
17th-century pictorial map of the city, a rare artifact housed in the James
Hardiman Library of the University of Galway. James Joyce himself possessed a
printed copy of this map, which he cherished during his time abroad. He took
pride in his affiliation with one of the Tribes of Galway and in his beloved Nora's
roots in this remarkable city.
My artistic endeavor involved extensive visual research,
not limited to this map but also encompassing other historical maps of Galway.
My process often commences with the exploration of maps to establish context. I
find great fascination in layering maps of the same area, revealing its
transformations over time, akin to conducting an archaeological dig where
others have laid the groundwork. As I began this journey, with one end anchored
in the 17th-century Pictorial Map and the other in the current Geohive map of
the city, I filled in the historical development and changes with various other
versions. From the outset, I knew that the final artwork would be set against a
backdrop of Galway's map, though the precise direction it would take remained
uncertain. Now, nearly ten months into the project, I believe it's crucial to
commence a blog, chronicling the stages of research, development, and the
eventual creation of the final artwork. Here's a glimpse of the remarkable 17th-century
Pictorial Map of Galway, which left an indelible mark on me when I visited it
in the Hardiman Library about a year ago.
The 17th-century pictorial map of Galway is a rare artifact,
surviving in only two known copies – one housed in the James Hardiman Library
of Galway University, and the other residing at Trinity College Dublin. This
monumental map comprises nine sheets organized into three rows and boasts
impressive dimensions of 6 feet 7 inches by 4 feet 6 inches. Historically, it
was affixed to fabric, mounted on wooden rollers, and later coated with
varnish, aging gracefully to acquire a rich brown hue.
The map's design and layout exemplify the quintessential
Renaissance cartographic style. A standout feature of this map is the
meticulous identification of 14 principal families along its lower border,
collectively known as the Tribes of Galway. These families, including Athy,
Blake, Bodkin, Browne, Darcy/D'Arcy, Deane, Font, French, Joyce, Kirwan, Lynch,
Martyn, Morris, and Skerritt, are celebrated as the town's founders. Of these
14, 12 trace their origins to the Anglo-Norman heritage, while the Darcy (Ó
Dorchaidhe) and Kirwan (Ó Ciardhubháin) families represent Normanized Irish
Gaels.
In 1912, Joyce described the map as follows: "The
strangest and most interesting historical document in the city archives is the
map of the city made for the Duke of Lorraine in the seventeenth century when
His Highness wished to be assured of the city’s greatness on the occasion of a
loan requested of him by his English confrere, the happy monarch. The map is
replete with symbolic expressions and engravings....The margins of the
parchment are adorned with the heraldic arms of the tribes, and the map itself
is nothing short of a topographical symphony, revolving around the theme of the
number of tribes. Thus, the map enumerates and depicts fourteen bastions, fourteen
towers on the wall, fourteen principal streets, fourteen narrow streets, and
then transitions to seven gardens, seven altars..., seven markets, and seven
other wonders."
Although Joyce appears to have drawn upon Hardiman's History
of Galway for his historical background, modern research has cast doubts on the
link between the map and the proposed treaty with the Duke of Lorraine. The
recurring use of the numbers seven and fourteen on the map remains enigmatic,
apart from their Christian religious symbolism and the broader Renaissance-era
fascination with mathematics and numerology. The map even features a piece of
Latin verse that mentions "Galway, Rome of Connacht, twice equals these;
She boasts twice seven illustrious families."
While the Christian religious significance of the number
seven is evident, as is the broader Renaissance interest in mathematics and
numerology, the true significance of the numbers seven and fourteen on this map
continues to mystify scholars. Speculations abound regarding hidden messages or
meanings, but conclusive explanations remain elusive.
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