10 
stance, it is rendered the more probable that such was the 
ease from the space left at the end of the inscription, appa- 
rently for the insertion of the date of their deaths. If this 
conjecture be correct, it will follow that the monument must 
be older than the year 1401, and the troubled state of the 
country at that period will sufficiently account for the fact 
that the inscription after the death of the parties to whom 
it relates was never completed. 
Dr. Todd next directed the attention of the Academy to 
the fresco painting, where the principal inscription, imper- 
fectly read by Dr. O'Donovan in 1838, but now completely 
restored by Mr. Curry, asks the reader to pray for the 
souls of Malachy, of Finola, and of Conor O’Eddichan, who 
caused the monumental fresco to be made. The last word is 
somewhat doubtful; it may be either jécit, in which case Co- 
nor O’Eddichan would appear to have been the artist, or a 
contraction for fecerunt, in which case we must infer that Ma- 
lachy, Finola, and O’Eddichan united in getting the fresco 
executed. The former is probably the true reading: 
The fac-simile of the fresco which had been executed for 
the Committee of the Great Exhibition was hung up upon 
the wall of the meeting-room of the Academy, and Dr. Todd 
proceeded to make the following remarks upon it :— 
There can be very little doubt that the Finola mentioned 
in it was the same Finola ni Conchubhuir, who was married to 
the O’Kelly, and whose name occurs in the former inscription ; 
and Malachias is beyond all question the Latinized form of 
her husband’s name, Maelseachlain. If so, this painting was 
executed after their deaths, as it begins, Ora pro animabus, 
and Conor O’Eddichan was probably the artist; it must, there- 
fore, be dated in 1403, or soon after. The sfone was proba- 
bly placed on the spot where they were actually married, 
and the fresco painting on the nearest wall that was found 
large enough for the purpose. 
The fresco is divided into two subjects. On the upper 
