The stone steps and walkway were built in 1998 from stones leading to the Grotto on the old Hotel-Dieu Convent (demolished 1963) and Mount St. Joseph (demolished 1975) grounds. (Click on the stairs to view the Grotto).

This room served as the hospital of the First Hotel Dieu (1869 - 1870) and accommodated three beds. The desk belonged to Monsignor O'Keeffe, parish priest at St. Michael's from 1904 to 1934.

Fr. William Morriscy, the famous priest-healer of Bartibogue, is remembered in poetry by Michael Whalen. Poem and portrait of Fr. Morriscy are on the wall above the desk. Crucifix and candleholders on desk area are a gift of the late Helen Flaherty (1902 - 1981), member and benefactor of St. Michael's Museum Association.

The wall-clock and rocking chair belonged to Rev. John Shanahan, first resident pastor of St. Michael's Parish (1843 - 1846). Donated by his grand-niece, the late Margaret Veriker.

The iron instrument of the right of the fireplace was used for making altar breads in St. Margaret's Parish. Mary Anne (Flynn) McDonald faithfully did this work in the 1920s, 1930s and 1940s for her church. Mrs. McDonald's picture is on the mantelpiece above the iron. Donated by her son George McDonald. (Roll mouse over iron instrument and picture on the right of mantle).

Portrait of Anne O'Shea Donovan (1834 - 1909). Anne O'Shea was born in Nelson and was housekeeper to Fr. Michael Egan before her marriage to John Donovan of Renous in 1856. In 1851, at age sixteen Anne O'Shea finished a needlepoint image of her parish church, St. Patrick's in Nelson. To the left of the portrait is a picture of a large group of descendants of Anne (O'Shea) and John Donovan taken in Chatham in 1939. Portrait was donated by grand-daugheters Sisters Anne and Clarissa Donovan R.H.S.J. in 1978. (Roll mouse over portrait and poem)

The picture to the right of the door is of Daniel O'Connell, called the Liberator. O'Connell championed the cause of Catholic Emancipation in the Parliament of Westminster (1829). Michael Whalen, the bard of Renous, was so inspired by this scene of O'Connell that he was compelled to write the long poem on the right. O'Connell's picture hung in many homes in the nineteenth century, when the Ancient Order of Hibernians were active both socially and politically.