In the hot summer of 1779, two artists took a trip to Connaught. They were Gabriel Beranger, a Dutchman of the Huguenot faith, and his congenial companion Angelo Bigari, an Italian. The two men lived in Dublin. Beranger ran a print shop. Bigari designed and painted sets for the Smock Alley theatre. Being talented artists and members of the Dublin Antiquarian society, it was decided that they set out to draw historical buildings and antiquities for posterity, to commit them to canvas, lest they fall to absolute ruin and disappear forever.
One of their adventures was in the village of Straide, Foxford, county Mayo. Written as Strade at the time. They went to document the 13th century Strade Abbey. Beranger kept a journal of the expedition through Connaught. He wrote about their time in Strade. On the road into Strade, the axel on their cart broke. They arranged to have it repaired and went about their task. As the artists set up to capture an impression of the abbey, they were confronted by two irate ladies in genteel dress. A rumour had circulated that the men were keeping bad company, namely Richard (Dick) Twiss. In 1775, this wealthy Englishman, having travelled for a month in Ireland, wrote a very unflattering account of its inhabitants, while praising the scenery, save the Giant’s Causeway, he didn’t think it worth the trip). Twiss described the Irish as crude, ignorant and uncultured people. Twiss had not journeyed to Connaught, but had assured readers that the province was home to savages.
The ladies ranted at the stunned men, about the infamous Dick Twiss. One can only wonder how the scene appeared to the bewildered Bigari, who without a word of English or Irish, must have thought what is happening, what on earth had they done? Eventually Beranger managed to get a word in edgeways, protesting their innocence of any association with “the liar Twiss”. He added a few more insults about Twiss for good measure.
Beranger placated the ladies, convinced them they were there to document the monuments in this beautiful countryside. The antiquarians were invited to take refreshments, Beranger politely declined. He said they had to continue along their way, already delayed by the broken cart axel. In his diary though, Beranger wrote that they felt it would be prudent not to tarry, lest any other misinformed people set upon them. They took four eels from the river for their dinner and departed. We can be appreciative that Bigari, despite the drama, drew a wonderful sketch of the Abbey.
In that summer of 1779 Beranger and Bigari produced some fine artistic impressions of monuments and ruins in Connaught. At the time, their work was the most extensive archaeological survey undertaken in Ireland. There is no doubt we owe these two men a debt of gratitude for their artistic snapshots in time (Harbison 2002). Indeed, here at the Davitt museum we see it as a marvel to look at Angelo Maria Bigari’s rendition of Strade Abbey from that summer’s day in 1779.
Gabriel Beranger took other journeys throughout Ireland. Even though he found Angelo Bigari to be most agreeable company, this was the only trip they shared. In 2002 the archaeologist Dr Peter Harbison produced a wonderful book on the work of Beranger and Bigari in Connacht titled Our Treasure of Antiquities.
A Chamber Pot Rhyme
As for Twiss, a footnote.. An enterprising chamber pot manufacturer in Dublin, placed an image of Twiss on chamber pots with this verse:
Here you hold a liar,
Well deserving of hell-fire,
Everyone who likes may P—
Upon the learned Doctor Twiss