Of all the ancient remains in the County Louth connected with Christian antiquities, the ruins of Mellifont and Monasterboice are by far the most interesting and important. They are only two miles apart, and only about four from Drogheda. Starting from there both places can easily be seen in one day. There is not, even in the beautiful and picturesque county of Louth, a more beautiful location for a church or monastery than the glen in which all the remains of Mellifont is to be seen. It is not a mountain glen; there is no wildness or savageness about it; it is simply a depression in a rich lowland country, with luxuriant crops of grain and grass all round it, and a clear rushing river flowing through it,—supremely beautiful in summer-time and charming even in winter. In summer and autumn days when the hills around it are radiant with flowers of almost every hue, Mellifont even in its desolation is worth journeying a hundred miles to see.

But in spite of the beauty of the glen in which the ruins are situated, and in spite of the beauty of what remains of the ruins themselves, no right-minded person, no matter what his creed or nationality may be, can look on Mellifont without being not only pained but shocked at the desolation that has been wrought upon it, and the traces of barbarism, hate, and vandalism that stare him in the face. Why such uprooting was done in Mellifont one can easily understand, but how it was done is a puzzle. Here stood probably the largest and most beautiful of all Irish monasteries, but hardly a square foot of it remains overground, save the baptistry and chapter house. The walls have been levelled down to their very foundations. A building of such enormous size must have had high walls, but hardly a vestige of them remains. If they were blown up by gunpowder, the material of which they were made would remain, if it had not been carried away. Few traces of the walls are to be seen, consequently one must conclude that the greater part of the very stones of which they were built has been removed to some place of which no one now alive knows anything. A mill was built close by the river about eighty years ago, but it contains in its walls few, if any, of the stones of Mellifont. They had disappeared long before the erection of the mill. The spoilers of Mellifont were not satisfied by uprooting it, for they seem to have removed the greater part of the stones of which it was built. If Mellifont had not been so razed to the ground it would, even in its nakedness and desolation, be one of the most beautiful ecclesiastical ruins in Europe, and would attract a hundred visitors for the one it attracts now.

Mellifont is one of the few Irish ruined abbeys that has a Latin instead of an Irish name. No one seems to have yet found out what its Irish name is, or if it ever had one. Our annalists almost invariably call it the “Drogheda Monastery.” The Four Masters call it “Mellifont” only once. In the “Annals of Loch CÉ” it is called the “Great Monastery,” for there seems no doubt that it was the largest house of the kind in Ireland. The extent of the church itself can now be distinctly traced, thanks to the excavations that were made by the Board of Works some years ago. It was 180 feet in length, with proportional breadth; the entire area covered with buildings was fully an English acre, and there were evidently many outlying buildings connected with, or forming part of the monastery, hardly a trace of which now remains. The small chapel on a hill outside of the monastery is thought to have been founded by St Bernard at the time the monastery was built. There is also about the fourth of what was once a strong castle remaining. It was evidently built after the Anglo-French invasion, but by whom seems not to be definitely known.

Mellifont was founded in 1142, and richly endowed by O’Carrol, Prince of Oriel. He was famed for his generosity and piety. The establishment was built for the Order of Cistercians. From the middle of the eleventh century to the middle of the twelfth was the time when most of the large abbeys and monasteries of Ireland were founded; and many of them, like that of Cong, were built in places that had long been occupied by smaller and plainer ecclesiastical structures like those remaining in Clonmacnois and Monasterboice. The renaissance of Irish ecclesiastical architecture in the eleventh and twelfth centuries is, probably, attributable to two things—the cessation of Danish plundering and the conquest of England by the Norman-French. The Danish military power in Ireland got a blow at Clontarf from which it never recovered; after that battle there were comparatively few monasteries raided, and the Irish began to erect large and costly structures in place of the small and often severely plain churches of an earlier period. The Norman-French introduced into England what is called a Romanesque ecclesiastical architecture that was much superior to that of the Saxons; and it seems certain that the Irish copied, to a certain extent, the style of building adopted by the conquerors of the Saxons; but the invasion of Ireland by those same conquerors in the latter half of the twelfth century seems to have arrested the development, not only of architecture, but of almost everything that tended to benefit the country. Most of the great churches and abbeys of Ireland were erected before Strongbow set foot in it. It is strange and hard to be understood how it came to pass that, terrible as were the ravages of the Danes, they put no stop to the development of Art in Ireland. Monasteries would be raided and churches burned by them many times within a few years, but this seems not to have put a stop either to the establishment of monasteries or the building of churches. Lord Dunraven says, in his book on ancient Irish architecture, that “it is remarkable that the fearful struggle with the Norsemen, which lasted for over two hundred years, and ended in their final defeat in 1014 [at Clontarf] does not seem to have materially paralysed the energies of the Irish nation as regards their native arts.” It is, however, certain that it was not until the military power of the Norseman was broken that ecclesiastical architecture became a real glory in Ireland. But the Anglo-French invasion seems to have put a stop, not only to the development of architecture, but of art of all kinds. It is a strange fact that the heathen Dane should have been less of a curse to Irish art than the Christian Englishman.

The first mention of Mellifont by the Four Masters occurs under the year 1152, when a great synod of three thousand ecclesiastics was held there. It was in Mellifont that the woman whose crime is supposed to have been the cause of the English invasion of Ireland died in the year 1193. This was Dearvorgil, the faithless wife of O’Ruarc, whom Moore has called “falsest of women.” It is, however, now thought by most of those who have studied Irish history closely that Dermott MacMorrough’s relations with this lady had nothing whatever to do with his banishment. They point out the fact that it was about ten years after Dearvorgil had been restored to her people that MacMorrough was banished, and maintain that the true cause of his banishment was in order to re-impose the tribute on the province of Leinster, the Danes being no longer able to assist the Leinstermen as they were wont to do. The other provincial rulers wanted to have the King of Leinster put out of the way, for, as he was a warlike man, they knew he would fight to the bitter end for the protection of his province. If this version of the matter is true, it goes far to free Dermott MacMorrough from the odium that rests on his memory.

Monasterboice is one of the oldest places connected with Christianity in Ireland. Its foundation may have been as old as the time of St Patrick, for Buite, from whom it takes its name, and by whom it probably was founded, died in the year 524. There seems good reason to believe that “Buite” is the original form of the now very plentiful name “Boyd,” but how Monaster Buite got twisted into Monasterboice is a mystery. The situation of this ancient place is not nearly so picturesque as that of Mellifont. There is no rushing river and no deep glen. Still the situation is good, and the country around very fine, and, like most parts of Louth, well cultivated. The peculiar glories of Monasterboice are its crosses and its round tower. There are three crosses, two in good preservation, but one was so broken that it had to be patched or fastened into solid stone work. It is most likely that it was purposely destroyed, for barbarians have done their best to cut down the great cross that stands in the same enclosure—the finest of all ancient Irish crosses. It must have taken days for a strong man with a heavy sledge-hammer to make such a deep indentation in the hard stone of which the cross is made. It was its extreme hardness that saved it from destruction and defacement. But hard as the stone of those crosses may be, it cannot resist the action of the elements, for the sculptures with which they are covered are now so effaced by time and weather, that they seem little more than masses of unintelligible tracings; but when those noble crosses were fresh from their makers’ hands they must have been magnificent specimens of early Irish art.

The round tower of Monasterboice is one of the finest in Ireland. Its top has been broken off by lightning, but what remains of it is 110 feet in height. It must have been at least 130 feet high when perfect, which would make it one of the highest of the round towers of Ireland. The mason work is of the very best kind, although the stones are uncut, and were evidently found in the immediate neighbourhood of the tower. There is a peculiarity about this tower which is not to be seen in any other structure of the same kind—it is not quite perpendicular. The author of the great book on ancient Irish architecture, already referred to, says that “it leans to one side on the north-west, and has a very peculiar curve. Where the curve commences a distinct change of masonry is visible. When the tower was built to this height the foundation began to settle down, and when this was perceived the builders very skilfully carried up the building in a nearly vertical line, so as to counteract the tendency to lean and to preserve the centre of gravity.” It seems a pity that the Board of Works does not repair this splendid structure, and put a new top of antique model on it; it would be, if perfect, the grandest of Irish round towers.

Monasterboice became a ruin many centuries before Mellifont; the latter continued to be a Catholic religious establishment down to the time of Elizabeth, but Monasterboice seems to have been abandoned in the twelfth or thirteenth century. The last notice of it, or any one connected with it, by the Four Masters, is under the year 1122, when they record the death of Fergna, “a wise priest.” What caused this famous establishment to be abandoned, or at least to cease to be mentioned in Irish annals at such an early period, seems enveloped in a good deal of mystery. It was plundered more than once by the Danes, and it may be that any wooden buildings it contained were burnt by them and never re-erected, for, like Clonmacnois, what remains of its two churches shows them to have been so small that they could not accommodate any large number of persons. Being so near Mellifont may also have led to its abandonment when the latter place became one of the greatest religious houses in Ireland. If Monasterboice was not so large as Mellifont, its abbots and professors seem to have been greater scholars and harder workers than those of the great monastery. Flann of Monasterboice was one of the most noted literary men of ancient, or rather of mediÆval, Ireland, for he flourished in the eleventh century. He is considered one of the most truthful and correct of Irish annalists, and has left behind him important works that have been preserved to the present day.

The country in the vicinity of Mellifont and Monasterboice is not only very fair to look on, but highly interesting in an archÆological point of view. The town of Drogheda, the nearest place to the interesting ruins treated of in this article, is the only place in their vicinity where hotel accommodation can be found. It is full of historic interest and curious remains of the past. But to the antiquarian, to one who wants to see monuments as old as the Pyramids of Egypt, the Brogha na BÓinne, or burghs of the Boyne, should be a great attraction. They are the most colossal things of the kind known to exist in any part of Europe. One is known by the name of New Grange, and the other is called Dowth. Both places are on the Boyne, and only a few miles west of Drogheda. They are enormous, partially underground caverns, lined and roofed with great flag-stones. They are entirely pre-historic, and are supposed to have been used as places in which to deposit the ashes of the dead; but their real use can hardly be more than guessed at. It is generally thought by archÆologists that they were erected by the Tuatha de Danaans, who occupied Ireland before the Milesians; but authentic history is silent about these gigantic structures. More than a dozen of such structures were discovered some years ago in the Sleeve na Caillighe Hills, near Oldcastle, in the County Meath. They are just like those in New Grange and Dowth, but not nearly so large. The flat stones that form the linings of those curious caverns or tumuli are covered with incised and generally semi-circular markings. They bear all the appearance of being writing of some kind, but no clue to its interpretation has yet been discovered. These markings were certainly not made for fun; neither could they have been made for ornament, for they are not ornamental. There are thousands of them, counting what are in the tumuli on the banks of the Boyne and in the same kind of places in the hills near Oldcastle. It is a pity that no one competent for it has ever tried to decipher this curious writing, for writing of some kind it certainly is. When the cuniform inscriptions on the bricks of Assyria have been interpreted, it is strange that no one has tried to find out the meaning of the writing on the stones of these Irish tumuli.