Auld Grey Mare St. Brigit's Cross Cross-Stitch Pattern (& More by Donna Amaral)

On 11 January 2011 Lynda H. posted her "Brigid's Cross - a Cross Stitch Freebie for Imbolc," which I wanted to share with you here.

If you are into cross-stitch, have a look also at a couple of the late Daughter of the Flame Donna Amaral's Brigit designs:

“The St Bride and St Bridget Churches in Scotland” by Heather Upfield

Detail of Centenary window (1908-2008)
St Bride's Roman Catholic Church, West Kilbride

Preface

This article has been written as a prayer and dedication to St Bride herself. Underpinning this research has been the deeply religious and mystical poem Little Gidding by TS Eliot, one of the Four Quartets (1942). Briefly, the poem was the result of a visit he made to the Church of St John at Little Gidding in England, and the insights he gained from that experience. It is my favourite poem of all time and lines kept coming back to me as I typed. Significantly, to paraphrase part of Stanza Three, when talking of the church building, he says that he isn’t there for mere reportage, but that:

   “…You are here to kneel
   Where prayer has been valid …”

Amen to that. In this piece on the St Bride and St Bridget Churches this is the fundamental truth which underscores my work.

1. Introduction

For over ten years, I have been faithfully recording sites dedicated to St Bridget in Scotland, where she is generally known as St Bride. In addition to features in the landscape, towns and sea, my list includes around ninety-plus ancient (and in the main disappeared) Pre-Reformation St Bride chapels, known as Kilbride (in the Gàidhlig) and Kirkbride (from the Norse). I will be coming back to my research over the next few months but thought I would start by giving some details about the thirty current St Bride/St Bridget churches in Scotland, which are ‘living’ and consecrated for use.

2. A Brief Explanation of the Denominations in Scotland

Firstly, it is important to understand the ecclesiastical system in Scotland, which profoundly differs from the rest of the UK. Instead of just two mainstream denominations—Protestant Reformed and Roman Catholic—in Scotland there are three. An Appendix at the end of this article, gives more detail about the history of and differences between the denominations, but briefly they are:

Church of Scotland. Protestant (Presbyterian). The Established Church in Scotland. Originated 1560 during the Scottish Reformation, which was led by John Knox. Completely did away with any ‘Popish or Roman’ worship and banned Roman Catholicism. Known as ‘The Kirk’.

Roman Catholic Church. After the Scottish Reformation, all their cathedrals, churches and chapels were taken over by the Presbyterians for their own use, and Roman Catholics were forbidden to have places of worship. They met in secret for services, but over time religious laws began to be relaxed and by the mid-nineteenth century the Catholic church was restored. Known as ‘The Chapel’.

Scottish Episcopal Church. Protestant, but considers itself principally Reformed Catholic. Originated in seventeenth century by Scottish Protestants who wanted to return to Pre-Reformation style of worship and traditions. Although having no connection to Rome, the Scottish Episcopal Church was also forced, at times, to meet in secret. Eventually, the Scottish Episcopal Church too was permitted to flourish.

It should be noted, that unlike in England, the Monarch is not, and never has been, Head of the Church anywhere in Scotland!

3. The St Bride/St Bridget Churches

The thirty Bridie Churches are listed below by denomination. It is immediately evident that all the historic Pre-Reformation church buildings dating back to the Celtic Church and Mediaeval period, are now in the hands of the Church of Scotland and have been since 1560. I have labelled these ‘Ancient’ in brackets to illustrate the connections. Also, it will be clear that there are no Roman Catholic or Scottish Episcopal Church buildings prior to 1858, as up till that point both denominations were holding services in houses and other sundry buildings, which continued for many years. It is interesting to note that a number of Churches and Chapels which are dedicated to St Bride have a connection to Clan Douglas (of Lanarkshire and beyond). St Bride is their Patron Saint.

When the Roman Catholic Church eventually constructed church buildings, they were very often financed by members of the congregation with some help from the Diocese. These small communities — in part made up of Irish immigrants fleeing to Scotland from the Potato Famine or coming to work as low-paid ‘navvies’ on Victorian engineering projects — were immensely poor. Their churches reflect that. They are simple buildings (some made of wood) for the Mass and Confession, with little in the way of decoration. In my discussions with Mael Brigde, we talked of “acknowledging the humility” of these buildings and she is absolutely right. Just because they are not grand does not diminish them as sacred spaces. The list of Catholic churches, therefore, is sparse in details because for some buildings, there is very little to write about. However, in some parts of the country, where there was more money, wealthy benefactors were able to invest in elaborate and glorious churches in the traditional style. What is crucial, though, is that these Irish communities brought with them across the sea a love of St Bridget, for they dedicated their churches to her, and it must have seemed like a small part of home.

For Scottish Episcopalians, St Bride’s importance has survived over the centuries, although only two churches are dedicated to her. I could find no links between these buildings and the Ancient churches of the Mediaeval period. St Bride is, however, considered one of the great Celtic Saints of Scotland. The Canon’s stalls in the Quire of St Mary’s Scottish Episcopal Cathedral in Glasgow (each of which is dedicated to a Saint) has a St Bride Stall. When a friend of mine was the first woman priest to be made a Canon of the Cathedral a good few years ago, she chose the St Bride Stall as her permanent seat!

Finally, there are two other St Bride Churches, which do not fit into the three-fold denominations listed above. They are in a section of their own entitled ‘Other’.

3.1 Church of Scotland:

Abernethy Kirk of St Bride, Abernethy, (Ancient), first church founded 460AD, first stone church built 590AD, current built around 1802. St Bride is said to have been buried here before her remains were transported to Kildare. Monastic settlement founded nearby in sixth century (or possibly earlier) dedicated to St Bride. By fifteenth century there are records of Priory of Abernethy, whose counter-seal had a figure of St Bride holding a pastoral staff in her left hand, with a nimbus around her head, and a cow at her feet on the right.

Bothwell Collegiate Church (dedicated to St Bride), Bothwell, (Ancient), on the site of former sixth century church, building dates back to 1398, with subsequent restoration and additions. Partially funded by Clan Douglas. Windows by Sir Edward Burne-Jones, Gordon Webster and Douglas Strachan. Houses the celebrated “Bothwell Embroideries” (twentieth century) one of which is The Life of St Bride.

Brydekirk Church of Scotland, Brydekirk, (Ancient), Current built in nineteenth century, close to remains of a Mediaeval chapel reported to have been in use about 1100AD (some evidence it was built on the site of a previous chapel), beside St Bryde’s Well.

St Bride’s, Douglas Valley Church, Douglas, meets for worship in St Bride’s Community Centre, following amalgamation of Parishes in Douglas Valley.

St Bride’s Ancient, Douglas, (Ancient) built fourteenth century, now partial ruin but consecrated for use. Steeple houses earliest known working clock in Scotland, said to have been a gift from Mary, Queen of Scots. Founded by Clan Douglas, and is the mausoleum for some of their antecedents.

Regarding the following Isle of Arran Churches, the Isle, (14 miles by sea from the mainland) is divided into two Parishes: Kilmory (Church of St Mary) in the west and Kilbride (Church of St Bride) in the east (a very happy pairing!). For such a small island (twenty miles long and ten miles wide) it is perhaps unusual that it has three current and living Churches dedicated to St Bride, with three Mediaeval Kilbride chapels. Given the fact that you can see the northern coast of Ireland from its southern shores and the proximity of the Isle with West Kilbride on the mainland, it is my own theory — which is completely unsubstantiated! — that St Bride landed on the Isle of Arran at some point.

St Bride’s Church, (Isle of Arran) Brodick, built 1910 in red sandstone, architects D & JR McMillan of Aberdeen. Square tower 53 ft high from whence a single cast bell is rung five minutes before the service. St Bride window (1958).

Kilbride Parish Church, Lamlash

Kilbride Parish Church, (Isle of Arran), Lamlash (Ancient), known as The Auld Paroch Kirk, ruins of Mediaeval chapel nearby, current built early 1880s.

Ruins of Mediaeval Kilbride Chapel, Lamlash

St Bride’s Church, (Isle of Arran) Lochranza (Ancient), ruins of Mediaeval chapel nearby, current built 1795, improved 1835 and 1895.

There are remains of a further Mediaeval chapel on the south of the Isle, at Bennan.

St Bride’s Church, Newtonmore, (Ancient), current church built 1955. Remains of sixth century chapel said to be in graveyard: “Ladh gu Cladh Brighde” (Churchyard of Bride).

Panbride Church, Panbride, (Ancient), original church dates from 1147, current built on the same site around 1851. The name of the town of Panbride means Bride’s Hollow (from Gàidhlig ‘Pann’ meaning ‘hollow’) or Bride’s Church (from corrupted Latin ‘fanum’ meaning church).

St Bride’s Church, Sanquhar, (Ancient) original church dates from Mediaeval period demolished 1827, current built 1828 on the site. Stained glass attributable to J T & C East Stewart 1930. Life of St Bride depicted in two-light window, 1949. St Bride’s Well close by.

St Bridget’s Hall-Church, Stonehaven, (Ancient), original church built 1394 near the present site by the Earl Marischal, Sir William Keith, and dedicated to St Brede (St Bride). Current built 1888 and converted to a multi-purpose community facility 1970. Used for worship on Sundays.

3.2. Roman Catholic:

Regarding the towns of East Kilbride and West Kilbride [below], each were originally just called Kilbride. It was not until the coming of the Railways in the nineteenth century that their names were changed, to avoid confusion for travellers as they are forty miles apart.

St Bride’s Church, Bothwell, original church of 1910 closed in 1940 due to damage from mine workings beneath the building. Congregation disbanded but worship eventually continued in Miners’ Welfare Halls in 1957. Current building completed 1973.

St Bride’s Church, Cambuslang, built 1900. Church now in use was originally meant to be church hall. Stained glass by Gordon Webster. Icons of St Joseph, St Bride and Christ in Glory by Petra Clare.

Our Lady and St Bride, Cowdenbeath, built 1921-1923, constructed by Reginald Fairlie.

St Bridget’s Church, Eaglesham, built 1858. Land provided by 13^th Earl of Eglinton. Interior comprises a roof of Californian redwood beams, large canvas of the Deposition of Christ from the Cross by de Surne, and a Madonna and Child statue from Ireland. In 2010 fire destroyed part of the Sanctuary, and the Church of Scotland gave permission for their hall to be used for worship till the restoration was completed in 2011.

St Bride, East Kilbride, built 1963-1964. Built by Gillespie, Kidd & Coia in a very modernist style. The 150 ft Campanile was demolished 1966 due to deterioration of brickwork. St Bride window and St Bride statue on exterior.

St Bride’s, Geirinis, Isle of South Uist, built 1966. Adjacent to the road-side shrine of St Mary, Our Lady of the Isles.

St Bridget’s Church, (Glasgow) Baillieston, built 1893. Beautiful little Gothic style gem! Originally worship took place in an adapted barn. In 1880 church cum school built, followed 1893 by current building by Pugin & Pugin (famous London based architects). Has a two-light window depicting St Bride and St Columba, by Shona McInnes, St Bridget statue on exterior above West door.

St Brigid’s Church, (Glasgow) Toryglen, built 1965. Church founded by Fr Patrick J Sheary, Parish Priest 1955. A letter to his parishioners survives: “My dear people — 25 years have come and gone since I was asked by the then archbishop to go to Toryglen and establish the new Parish of St Brigid - Mary of the Gael”.

St Brigid’s Church, Kilbirnie, built 1862, some extensions and developments in the twentieth century.

St Bride Church, Monifieth, built 1983. Designed by Brocks Brothers of Leeds. Originally, worship was held in a converted cottage, which became the hall when the new church was built. Modernist St Bride window by Gail Donovan

St Brigid’s Church, New Mains, built 1933. St Brigid statue, St Brigid Tapestry (2008) and first stained—glass window in Britain dedicated to The Luminous Mysteries of the Rosary. Original Chapel and School established 1871, now a Parish centre serving the community.

St Bride’s Church, Pitlochry, built in the twentieth century. Original church built 1949 from timber and destroyed by fire 1969. Current designed by A B Kennedy & Sons of Pitlochry. St Bride’s Cross carved by Henry Bain from Aberfeldy in the garden.

Our Lady and St Bridget, West Calder, built 1877.

St Bride’s Roman Catholic Church,

West Kilbride

St Bride’s Church, West Kilbride, built 1908. St Bride is said to have landed on the shore here around 500AD and founded chapels along the coast. Beautiful little building with St Bride statue in vestibule, beneath a glass ceiling which pours in diffused light (see photograph at the end of this article). Modern Centenary window in Vestibule (2008) in four lights (see detail of two lights in the title of this article).

3.3. Scottish Episcopal Church (part of the wider Anglican Communion):

St Bride’s Church, (Glasgow) Hyndland, building completed 1915. Original wooden church of 1899 provided by Clan Douglas, was hauled by traction engine from its location in Douglas Castle grounds, to Hyndland (some thirty miles). Begun in 1903, building work stopped through lack of funds and dissatisfaction with original contractors. Eventually the Incumbent funded the building of the tower and north aisle, but the south aisle was never built, giving the church an interesting interior. St Bride statue on exterior West Wall, St Bride mural in crypt. The link with Clan Douglas could possibly account for this Church being dedicated to St Bride.

Church of St Bride,

Scottish Episcopal Church, Onich

Church of St Bride, Onich, built 1874. On North wall, Chinnery-Haldane memorial windows show St Bride, St Patrick and St Columba. East window shows Christ Coming Again in Glory, with St Bride and St Columba at his feet in welcome.

At certain times, the Eucharist is celebrated in the Gàidhlig:

“Thoiribh buidheachas don Tighearna oir tha e gràsmhor. Agus mairidh a thròcair gu sìorraidh.” Litirdi Albannach, 1982

“Give thanks to the Lord for he is gracious. And his mercy endures for ever”. Scottish Liturgy, 1982

3.4. Others:

St Bride’s Anglican Church (Greyfriars), Dumfries, (Ancient), originally Church of Scotland, built 1727 as Greyfriars Church (after the local dispersed Monastery), rebuilt 1860. Stands on site of former Maxwell’s Castle, which had a St Bride chapel. When surplus to Church of Scotland requirements in 2009, purchased by Revd Andrew Crosbie and functions as an independent Anglican congregation, using both Scottish and English Prayer Books. It was his decision to dedicate this Church to St Bride. Original Abbey Church of the Greyfriars contained the shrine of Our Lady, Queen of the South (which gives its name to Dumfries and the local football team), which has been restored by present Incumbent.

Kilbryde Chapel, in grounds of Kilbryde Castle, Doune, (Ancient), Castle now the seat of Sir James Campbell, chapel built 1750 on site of original Kilbride Parish Church. Sir James informed me there are no significant architectural features. Original Castle built around 1460 and rebuilt 1870s. Chapel would originally have been a private chapel for the Castle incumbents and local villagers. It is now available for hire for Christian weddings, blessings etc of all denominations. Cottages in the grounds are available for self-catering holidays.

Collect for St Brigid’s Day

1 February

Deus, qui nos hodiérna die beátae Brigídae vírginis tuae ánnua solemnitáte laetíficas: concéde propítious; ut ejus adjuvémur méritis, cujus castitátis irradiámur exémplis.

O God, who dost this day gladden us by the yearly festival of blessed Brigid Thy virgin: mercifully grant that we may be helped by the merits of her whose example of chastity shines upon us with such lustre.

Daily Missal, by Dom Gaspar Lefebure OSB, 
                     of the Abbey of St Andre, 1943

APPENDIX

A Brief History

While the Reformation was being led by Martin Luther in Germany in the sixteenth century, in Scotland, around the same time, opposition to the Roman Catholic Church was being led by John Knox, who founded the Church of Scotland. His European influences were John Calvin and Ulrich Zwingler, who advocated a severe and austere method of reform. Principally, John Knox abolished the three-fold order of Bishops, Priests and Deacons, which

(1) dated back to the very earliest biblical accounts we have of the early Christian church and

(2) dated back to the original Celtic Church in Scotland, where there is evidence that St Columba was a bishop.

In their place were Ministers who were overseen by a Presbytery (the governing body at local level). All “Romish practices” were proscribed. The Mass was replaced by Holy Communion four times a year and new churches were built without a central aisle to prevent genuflection. The liturgy, colours, icons, singing, festivals, robes, candles, incense —Christmas Day itself!— all disappeared. Their attitude to the saints was that lessons could be learned from their lives, but any sense of veneration was prohibited, particularly where it involved St Mary (“Mariolatry”).

There followed a hundred years of bloody and systematic cruelty as Protestants and Catholics waged war against each other. Eventually the Presbyterians held sway in Scotland and became what we now call The Established Church. Roman Catholic cathedrals, chapels and churches were taken over by Presbyteries for their own use and it was forbidden for Catholics to have any places of worship. They held services in secret. Any early and Mediaeval chapels of Kilbride and Kirkbride not used by the Presbyterians, eventually fell into disrepair and the stones were taken away and used for other buildings.

During the seventeenth century, a group of Scottish Protestants who agreed with the basic tenets of the Reformation but were unhappy at losing all the pre-existing religious practices, formed the Scottish Episcopal Church. They recovered their roots in the sacred Isle of Iona and the traditions of the Celtic Church and restored the three-fold order of Bishops, Priests and Deacons. The Eucharist (The Mass) was resurrected with the Scottish Liturgy, colours, icons, singing, festivals, robes, candles, incense and Christmas Day. They honoured the saints, particularly St Mary. However, although they did not have any links with Rome, for a time they too were forced to hold services in secret. A key moment in their history was consecrating Samuel Seabury of Connecticut as the first bishop of the newly independent America, after the Church of England declined. The Scottish Episcopal Church is known as ‘a Broad Church’, meaning that some congregations prefer a more simple style of worship, where others go for something more splendid, and others in between.

Eventually, religious laws became more relaxed and there was greater freedom of worship. By the nineteenth century, church building began in earnest for all denominations, but particularly for Scottish Episcopalians and Roman Catholics who till then had no churches. Additionally, the Roman Catholic Church responded to the needs of the many Irish families who came to Scotland during the Potato Famine or looking for work. Since the mid-twentieth century the spirit of ecumenism has allowed for far greater interaction and dialogue, with all denominations being respected and coming together from time to time to celebrate and worship. And yes, in 1958 Christmas Day became a statutory holiday in Scotland!

Near life-size statue of St Bride, vestibule of St Bride’s Roman Catholic Church,

West Kilbride

© Heather Upfield 18 June 2018

All Photography by Heather Upfield, except exterior of St Bride’s Roman Catholic Church, West Kilbride by Emily Churchill and Church of St Bride, Onich by Paul Williment.

"Imbolc: A New Interpretation" by Phillip Bernhardt-House

I am republishing my review of Bernhardt-House's article in celebration of the fact that he has uploaded the paper to Academia.edu, making this hard-to-find piece easy to obtain. Thank you, Phillip! (Click here to view or download.)

 “Imbolc: A New Interpretation”, Phillip A. Bernhardt-House (pp 57-76) in Cosmos 18 (2002)

This intriguing article looks at the meaning of Imbolc from a new perspective—that of a connection with wolf and warrior cults originating with the Indo-Europeans and presenting in Roman and Celtic civilizations. Bernhardt-House has a broad knowledge of the literature and he brings together disparate pieces into a tantalizing whole. Where he himself concludes that his new etymology may be proved unsound, it nevertheless serves to “refocus our attentions on certain smaller aspects” of Imbolc, particularly the wolf aspect, which is “now beyond doubt as having been important to the holiday as it would have been observed in pre-Christian times” (pg 65-66).[1]

In approaching the subject, Bernhardt-House first looks at both Neo-Pagan and scholarly etymologies of the Irish word for the festival, Imbolc. While accepting the consensus meanings of milking and purification, he suggests an additional—and surprising—one.

If im has as its basis “butter”, olc is generally derived as “evil, bad, wrong” in Irish, both Old and Modern. But Kim McCone[2] traces this word back to the Indo-European root meaning “wolf”. Joining these two, Bernhardt-House offers “Imbolc as the 'butter-wolf'”, hoping to “shed some light on further images in Irish sources, as well as connecting this to a further complex within Indo-European ritual” (pg 60).

These images in Irish sources range from calendrical evidence linking February to wolves, the association of Candlemas in France and Belgium with the wolf (where a wolf sighting predicts the ending of winter), of Brigit herself with the bear and wolf, and so on, along with an examination of the period of time between Samhain and Imbolc and its association with warring, as well as hospitality.

Perhaps most interesting is the parallel drawn between the rites of the Lupercalia in Rome and Imbolc in Ireland, and their potential links to Gaulish deities and to earlier rituals. The link with purification in both festivals is already established; the writer points to a possible further link in purification with the use of milk or, in the Irish case, butter.

The young Roman priests, the Luperci, sacrificed a dog and a goat at the cave where Romulus and Remus were said to have been nursed by a wolf. The blood of these two animals was mixed and the youngest priest's forehead anointed with the mixture; this was then cleaned away using a piece of milk-soaked wool, which ritual was followed eventually by striking the general populace with goat-skin thongs for luck and fertility.

In a medieval story St Brigit removes the signs worn by men which signify their engagement in activities of war; Bernhardt-House suggests that if “some form of Brigid was one of the presiding deities of Imbolc, Brigit who was bear-mother in origin but could easily have been a wolf-mother in Ireland, might have been the deity who removed these warrior-signs and reincorporated the youthful fian-warriors into regular society, perhaps by the means of the purifying medium of milk, or, given the etymology I have suggested with imb-, perhaps even butter” (pg 64).

The details examined by the writer are greater in number and scope than suggested by this brief review, and it is worth tracking down the article through your local or university library.[3]

This is just the sort of thing that gets the creative mind churning along nicely. A very enjoyable article.

---

[1]     For a complete review of the wolf and werewolf in Celtic literature and an examination of that material, see Bernhardt-House, Phillip A., Werewolves, magical hounds, and dog-headed men in Celtic literature: a typological study of shape-shifting, Lewiston, NY: Edwin Mellen Press, 2010.

[2]     See my review above of his Brigit section, “Fire and the Arts” (etc) in Pagan Past and Christian Present in Early Irish Literature, Kim McCone (1990)

[3]     For a posting in the NeoPagan blogosphere see http://www.patheos.com/community/paganportal/2011/02/01/the-hidden-imbolc/. For a discussion  in a Celtic Reconstructionist forum of both the blog post and this peer-reviewed article, see http://community.livejournal.com/cr_r/351977.html In particular see the comment from  wire_mother: “I've read the original article from which PSVL derives this thesis (Bernhardt-House, Phillip A., "Imbolc: A New Interpretation", Cosmos 18 (2002), 57-76), and I buy the argument on the basis that OIr. olc very plausibly derives from PIE *wlkwo- "wolf" (which gives us English "wolf"!, and which through simple metathesis gives us *lukwo-, from which we derive e.g. English "lupine" from Latin) and also very plausibly shows semantic drift into its current meaning of "bad, evil" given the Christian experience of the youthful warrior/lycanthropic bands in Ireland; that it shows a definite relationship to Lupercalia, which seems to be a Latin reflex of the same ritual impulse; and the relationship of St. Brighid to the outlaw bands (all of which elements are discussed in that article by PSVL). For disclosure, I know both Prof. Bernhardt-House, the author of that article, and PSVL in person, and have discussed the issue with them many times, but even so, the three points I list here are more solid than even the assumption that we can derive pagan practices from e.g. folklore. That is, we have solid linguistic grounds (any linguist can easily derive that using tested rules of language change - one would have to dismiss nearly the entire field of linguistics to dismiss that point), solid comparative grounds (in the same region, even, and from a tradition which is linguistically closely related - one would have to dismiss the concept that religious ideas refer to the past in any way to dismiss that point, which would require one to dismiss the concept of any continuity of pagan religion at all), and solid hostile testimonial grounds (and the evidence for those youthful warrior-bands being also self-consciously, as well as community-consciously, considered to be "lycanthropic" is extensively documented across Europe, in the Celtic countries, and specifically in Ireland).”

Gail Arthur - Celebrancy and Storytelling

This summary is not available. Please click here to view the post.

Brigit's Cross: Repeal the 8th!

A not horribly accurate but wonderful short film urging a yes vote in this week's abortion referendum in Ireland.


Saint Brigid – Short Film #RepealThe8th from David Keeling on Vimeo.

From David Keeling.

Journey with Brigit, Goddess of Poetry: An Online Course with Mael Brigde

It's open!
After a change of hosts, registration for my course, Journey with Brigit, Goddess of Poetry, is open at last! This is an intensive course that both nourishes the writing (and reading) of poetry and connects the participant to the poet in Ireland, and poetry in our lives.
The classes come out one a day, and you are welcome to move as quickly or slowly as you like through each lesson.
I look forward to connecting with some of you in this forum.
Blessings on your pen!
Mael Brigde

Review: Picture Book - "The Story of Saint Brigid" by Clarke and Croatto

The Story of Saint Brigid by Caitriona Clarke, illustrated by Barbara Croatto, Veritas (2015), 23 pp..

This small, slender, and well produced picture book in one way resembles adult books about Saint Brigit more than most picture books: rather than telling a single, unfolding tale, it picks a number of items of information about the saint and briefly recounts them, opposite illustrations that highlight one of the items mentioned on each page. My limited experience with reading books to children suggests that this sort of thing is often of less interest than a gripping story line. Nevertheless there are times when this kind of thing is just the ticket, or is at least a pleasant way to learn a lesson—in this case, who is Saint Brigit? In this particular instance the book is aimed at Irish school children who will have heard often about her, perhaps even go to a school named for her, and so will be more inclined to be curious about the answer to that question than a child who hasn’t grown up knowing her name. Published by Veritas Publications, it comes from an unapologetically Catholic perspective.

I like the easy, conversational tone of the book, beginning with the first page, where Clarke addresses the child reading the book (or more likely having it read to them). “Have you ever heard of Saint Brigid? ... Maybe you have made a St Brigid’s Cross out of reeds? Maybe even your school is named after her!” This engages the child him- or herself, letting them know that this story is about their lives, too.

I was startled on the next page of text to learn of Saint Brigit’s mother that, “it is thought she was captured by pirates in Portugal and brought here as a slave—just like St Patrick …” I have never heard this before. I am more familiar with the suggestion that Broicseach was the daughter of Dalbrónach of the Dál Conchobair in County Meath. I am delighted to learn of another folk geneaology and would love to know where the idea started and how common the belief is in Ireland. In the fifteen hundred years since Saint Brigit’s birth there has been ample time for shifts in and additions to her stories, departures from the texts that I largely rely on for things like this.

I was also surprised to read that Brigit’s father, Dubhthach, had chosen to name his daughter after “the goddess of fire, who was thought to be gifted in poetry, healing, and craftsmanship.” Of course, there is no basis for this in any of the texts, but it is a neat way of connecting the two in the mind of the reader without supposing that they are the same person. This of course would get some backs up, but as I am of the opinion myself that they are not the same person, though they have grown together in our modern understanding, it doesn’t bother me at all, and I appreciate the nod to the goddess.

From this point on there are no surprises. We are told the familiar outline of Saint Brigit’s life, pared down drastically for the brevity of a picture book, and learn of the emphasis in her tales of generosity, compassion, and holiness. Her founding of a double monastery which was in time to produce great works like the (now lost) Book of Kildare is an addition which I favour, taking her out of the sweet holy girl category and placing her into the powerful efficient woman category—a good model for young people to be aware of.

We are told of the use of Saint Brigit’s Crosses in Irish homes for protection of people and animals against illness and their homes from fire, and of her holy wells in healing. There are some humorous elements, such as the expression of gobsmacked horror on the king’s face when Brigit’s cloak is spreading out over his land. The book concludes, “In her, Ireland can proudly lay claim to a wise and charitable woman who devoted her long life to the service of others.”

I have mixed feelings about the artwork that accompanies the text. Mostly, I like it. It is has a light touch which works well with the sparse, friendly writing. There are clean lines against colourful washes and a good sense of design, and there is, as mentioned above, a touch of humour in some of the images that appeals. What I don’t like, and this is purely a matter of taste, is how Croatta draws many of the human faces, which feel a bit awkward to me.

On balance, I like this book.