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The Textile Heritage Of Monaghan
The Unexpected Weaver: My Journey into the World of Textiles
I’d often wondered, “Where did I come out of?” when it came to weaving, my choice of career. As far as I knew, my family tree didn’t include any weavers. My father was a cobbler, a master of shoes, while my mother deeply loved colour, particularly the violet end of the spectrum, which she passed on to me. Yet, the seeds of my textile passion were planted early on.
Early Inspirations: Colour, Fabric, and Childhood Memories
My next-door neighbour, Molly, was a dressmaker. As a child, I often sat under her big, red-covered table, playing with fabric scraps as she treadled her Singer sewing machine. I remember the vibrant colours of the threads—turquoise, yellow, and vibrant pink—as they intertwined to create a beautiful tweed suiting material. These early experiences left an indelible mark on me, sparking a fascination with textiles that would shape my future.
Serendipity and Study: Discovering the Linen Legacy
Growing up in Castleblayney, I had no great knowledge of Monaghan textile history or any direct connection to weaving or looms, except through George Eliot’s writings in “Silas Marner, The Weaver of Raveloe,” which was part of my Leaving Cert curriculum. My path into weaving seemed serendipitous, a twist of fate that brought me back to my roots.
As a final-year textile design student, I chose to write my thesis on the development of the linen industry in Ulster, including my home county of Monaghan. Despite Monaghan, Cavan, and Donegal becoming part of the Irish Free State after Partition, I felt a deep connection to the linen heritage that spanned the border with Northern Ireland.
Researching the linen industry in pre-Internet times was challenging. While I found ample information about the industry in Northern Ireland, information about Castleblayney and its surroundings was sparse. My great-uncle’s stories about flax pulling and countryside celebrations were the only threads I had to follow. Desperate for more, I placed an advert in The Northern Standard asking for information. Without a phone, I relied on letters.
Piecing Together the Past: Oral Histories and Forgotten Mills
Two men, Peadar Murnane from Ballybay and John Ward from Lough Egish, answered my call. Peadar visited my home and shared his knowledge, while John took me on a tour of Laragh village, showing me where McKeans’s weaving mill once stood. I saw the mill race, bleaching green, mill workers’ cottages, and the iconic St. Peter’s Tin Church. Their help was invaluable in completing my thesis and uncovering the textile heritage of Monaghan and its connection with the story of Irish Linen.
Fast forward 38 years, and I am working on my new website, reflecting on my journey and local textiles heritage. In recent months, I’ve delved deeper into this story, guided by Shaun O’Byrne from Laragh and Michael Burns from Castleblayney.
Coming Full Circle: Weaving My Ancestral Threads
The most fascinating revelation from Michael was that our ancestors, mine included, who lived in the countryside around Castleblayney, were linen weavers. They grew the flax, ‘retted’ it by soaking for a few weeks, and then dried it by spreading it on the land beside the flax hole. The stooks were brought into their homes and beaten to break the outer stem. The long linen fibres were combed and spun by the women, who then passed the spun linen thread to the man of the house to weave it into linen cloth on a loom. These skills were passed down through generations but had been forgotten in more recent times. This discovery felt like a homecoming, reconnecting me with my roots. Now I think that I am honouring Monaghan’s traditional textiles. There is even a typical Monaghan-style weaver’s cottage, a three-roomed single-story house with the chimney in the centre, in line with the front door. The chimney was centrally placed so two fires could burn, one to warm the loom room on one side of the wall, and the other to warm the parlour. Building a jamb wall with a little window eliminated the draft from the door.
Aghnamullen and the Rise of Linenopolis
Shaun’s account of Aghnamullen—Achadh na Muileann in Irish, meaning “the field of the mills”—traced the linen story from cottier farmer weavers to entrepreneurs who brought multiple looms under one roof. This exploration of the Monaghan textile history expanded my sense of place, revealing how the local landscape, towns and villages evolved due to weaving, especially linen weaving.
From the 1780s, millwrights strategically placed mills to maximise waterpower, looking at the water source and how it would feed the mill wheel. The first mechanised spinning mill in Ulster opened in 1826 in Aghnamullen. As weaving became mechanised, Ulster earned the nickname “Linenopolis,” with mills and specialised weaving centres spreading across the province.
One such notable mill was McKean’s Mill in Laragh. New mechanical looms were transported by railway to Castleblayney and then by cart to Laragh, where the mill flourished, supported by satellite scutching and spinning mills. Mill villages grew around these factories, with schools, shops, and churches. The mill workers lived in cottages with names like Shuttle Row and Spinners Row, which were built and owned by the miller. To operate Laragh Mill seven days a week, Mr McKean bought a bespoke prefabricated church, which he erected in Laragh village, anticipating that Protestants could use the church for Sunday Worship at 10 am and Catholics could use it for Sunday Mass at noon. This plan didn’t work and was used only by Protestants in the Church of Ireland. Read more. (link to https://www.discoverireland.ie/monaghan/st-peter-s-tin-church-laragh)
Monaghan textile history uncovered
Today, remnants of this rich textile history dot our landscape—mill races, mill ponds, sluice gates, and the occasional chimney stack. Castleblayney developed as a market town due to the flax and linen trade, with Petticoat Lane, the Linen Market and Henry St bearing testament to its vibrant past. The Linen Market was the hub of business in the town. The weavers brought their fabric there to have it examined, measured and stamped with a red wax seal, after which it was stored until Market Day. Buyers from Portadown and Belfast came to the town to buy the certified linen. Castleblayney expanded around the linen trade, and Lord Blayney eagerly widened the streets to enhance the appearance of and accommodate the prosperity of his town.
Reflecting on my journey, I see how deeply intertwined my life is with Monaghan’s textile heritage. My weaving is not just a craft and a career that I happened upon but a continuation of a legacy that spans generations, connecting me to my ancestors and the land we share.
Unravelling the traditional textiles of Monaghan
County Monaghan, nestled in the heart of Ireland, boasts a rich textile heritage deeply woven into its cultural fabric. This legacy, spanning centuries, is prominently reflected in the intricate lace-making traditions of Carrickmacross, Clones, and Monaghan Town. Each region has its unique story, intricately tied to the local community and historical events, showcasing the resilience and creativity of the women who pioneered these crafts.
I have long believed that there is a great story to tell about Monaghan’s textile heritage, particularly its traditions in the county. Indeed, there is great potential for sharing our story with textile enthusiasts from across the globe. It was natural for me to write about it and look at the three distinct types of lace. I am familiar with both Carrickmacross and Clones Lace.
However, I only knew of the existence of Belgian Lace and not much of the story until very recently, when I welcomed The Embroiderers Guild of Ireland Tour to Swallow Studios. My eyes fell on a lady in the group as soon as they arrived. I felt I knew her, but from where I didn’t know. So, when the tour was over, I had to ask her if I knew her and if she was local. Her name is Adrienne, and she wasn’t local, but had spent time in Monaghan a few years ago working on the celebrations for the centenary of the arrival of the Belgian refugees to the town. Standing in my studio, this woman was the granddaughter of one of the Belgian refugees and had written a chapter for a book celebrating the centenary. She is the granddaughter of one of the De Neve sisters. This was a surreal moment in the context that I had been working on this piece with only a little awareness of the Belgian Lace story.
Carrickmacross Lace: A Legacy of Appliqué
In the southern part of County Monaghan, Carrickmacross is renowned for its distinctive appliqué lace. This exquisite craft was introduced in the early 1820s by Mrs. Grey Porter, the wife of a local rector. Seeing the need for economic opportunities for women in the area, Mrs. Porter taught them the art of lacemaking. This skill provided a means of income and fostered a sense of community and empowerment among the women.
The craft’s legacy was perpetuated by the St. Louis nuns, who ensured that the traditional textiles of Monaghan and lace-making heritage continued for generations. The intricate designs of Carrickmacross Lace, characterised by delicate motifs applied onto a fine net background, became highly sought after. This lacemaking tradition extended beyond Carrickmacross, reaching Culloville in County Armagh, considered Carrickmacross’s natural hinterland. Today, history is preserved, and the work of today’s makers is housed in The Lace Gallery in the Market Square.
Clones Lace: Crochet Craftsmanship
To the west of County Monaghan lies Clones, a town famous for its unique crochet lace. This lace-making tradition was introduced by Cassandra Hand, another rector’s wife, in the mid-19th century. Cassandra saw the potential for crochet lace to provide a supplementary income for local women and dedicated herself to teaching them this intricate craft.
Clones Lace, known for its distinct crochet floral and spiral patterns, gained international recognition. Today, the tradition is championed by Máire Treanor, who has played a pivotal role in reviving and promoting Clones Lace. Máire runs an annual lace summer school in Clones, attracting students worldwide and ensuring this delicate art form thrives. The Canal Stores in Clones houses a permanent exhibition dedicated to Clones Lace.
Bel-Broid Lace: The Belgian Connection
In the northern part of the county, Monaghan Town is home to the fascinating story of Bel-Broid Lace, which has its origins in the turmoil of World War I. In 1914, fifteen Belgian refugees arrived in Monaghan, including the De Neve family from Mechelen. Lady Leonie Leslie facilitated their relocation, and the Urban Council provided housing in the repurposed military barracks, which was aptly renamed Belgian Square.
Accustomed to city life, the De Neve sisters were struck by the impoverished conditions of the local women. They began visiting farms, travelling by horse-drawn cart, to teach the embroidery skills that were second nature to them. This initiative quickly became a vital source of supplementary income for many families.
The De Neve sisters and local retired postmaster Charles McNally founded the Bel-Broid company (short for Belgian Embroidery). By 1919, Bel-Broid had flourished into a thriving factory employing over 200 townspeople. Their trousseau and chemise products, known for their fine craftsmanship, were featured in prestigious magazines like Vogue and Tatler, and the Bel-Broid Salon in Dublin’s Suffolk Street became a hub of fashionable activity. Some fine examples of Bel-Broid Lace garments are in Monaghan County Museum at the newly opened Peace Campus.
Preserving a Rich Heritage
The lace-making traditions of Carrickmacross, Clones, and Monaghan Town are not just historical footnotes but living practices that continue to enrich the cultural landscape of County Monaghan. These crafts represent the resilience, ingenuity, and collaborative spirit of the women who have passed down their skills through generations.
Today, visitors to the county can explore these traditional textiles of Monaghan and this rich heritage through workshops, museums, and festivals dedicated to lacemaking. The legacy of these crafts is a testament to Monaghan’s textile heritage’s enduring beauty and significance, ensuring that the intricate art of lacemaking in its various forms remains a vibrant part of the county’s cultural identity for years to come. When I bought my first loom in 1987, the first threading I set up was a Swedish Lace pattern, gleaned from Margaret Porter Davidson’s excellent book on four-shaft patterns, a veritable bible for a young textile designer starting her career. There was no grand plan here – I liked the look of this threading and decided to start experimenting with it. This was the beginning of the handwoven lace tweed cloth I designed and wove for the Cleo suiting fabrics. Years later, when I set up my loom again in Swallow Cottage and once again threaded up Swedish Lace, I realised that Monaghan’s lace-making heritage was in my DNA and I was becoming a part of that story too.
