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2016 PHOTO BLOG

SOUTH OF THE LIFFEY

SCULPTURE AND OTHER FORMS OF PUBLIC ART

I HAD A CANNOT COMMUNICATE WITH BATTERY ERROR

It should be mentioned that the batteries are/were original Canon product and I have included a detailed discussion of the issue which may be of interest I you ever consider buying a used Canon 5D MkIII.

On 6 April 2025, I photographed Bolton Street using a Canon 5D Mark III. This camera, which I acquired a few years ago, has recently presented some intriguing technical challenges. My local camera dealer, aware of my extensive collection of Canon lenses (despite my shift to Sony mirrorless systems), offered me an unused 5D Mark III at a very favourable price. The camera had been won in a competition and remained unused for several years. I agreed to purchase it, provided he could supply a GPS attachment.

Currently, I am in the process of evaluating my photographic equipment, deciding which cameras to retain. I opted to use the Canon 5D Mark III for a week. However, upon powering it on, I encountered a 'battery communication error'. Subsequent attempts with different batteries yielded the same error, and the display panel went blank, rendering the camera unresponsive.

After several hours of troubleshooting, I discovered that removing the SD card allowed the camera to restart. Inserting an old CompactFlash (CF) card enabled normal operation. Reinserting the original SD card caused the camera to crash. Replacing it with a new SD card resolved the issue.

This problem prompted me to investigate the Canon 5D Mark III's operational characteristics, particularly concerning memory card compatibility and reported issues.

Canon 5D Mark III: General Operational Considerations

The Canon 5D Mark III, although a robust professional DSLR, has documented limitations. Some users report less flexibility in RAW file shadow recovery and inferior high ISO performance compared to the Canon 6D. The autofocus system, while adequate, exhibits weaker low-light sensitivity at its centre point than the 6D. This indicates trade-offs in specific photographic scenarios.

The 61-point autofocus system, while offering advanced tracking, requires considerable expertise to master, potentially leading to challenges in capturing fast-moving subjects. The complexity of this system suggests sensitivity to operational conditions and external factors, such as memory card insertion.

Additionally, reports of image sharpness issues, often attributed to lens calibration or wide-aperture lens characteristics, highlight potential operational challenges.

One particularly relevant account describes erratic camera behaviour following a low battery state, including spontaneous photo capture and unresponsive controls. Prolonged removal of the battery, lens, and memory card, to discharge an internal 'keep alive' capacitor, resolved the issue. This suggests the camera’s electronic systems are sensitive to power fluctuations, potentially linking my battery communication error to a past low battery or unexpected power-down scenario affecting peripheral communication.

SD Card Compatibility and Limitations

The Canon 5D Mark III features dual memory card slots for CF and SD cards. However, the camera’s SD card implementation has limitations. It is not recommended for high-speed burst shooting, as speeds are capped at approximately 20MB/s, despite supporting UHS-I SD cards. When both CF and SD cards are inserted, write speed defaults to the slower card, hindering CF card performance.

The camera does not support UHS-II SD cards, limiting high-speed card potential and potentially contributing to communication issues. Some photographers advise using the SD card slot sparingly, primarily for wireless transfers via Eye-Fi cards, and relying on CF cards for image capture.

Reports of the camera not stopping writing to both SDXC and CF cards, while different from my issue, indicate potential instability in memory card handling. Recommendations include formatting cards within the camera and using faster CF cards.

Simultaneous use of both card slots can reduce the camera’s buffer size, suggesting shared system resources and potential performance degradation or communication errors.

Firmware Updates and Memory Card/Battery Issues

Firmware updates often address bugs and improve performance. The latest firmware, version 1.3.6, primarily corrects PTP communication and update process vulnerabilities, not directly addressing SD card or battery communication issues.

However, earlier firmware, such as version 1.2.1, addressed memory card-related problems, including LCD monitor freezes during Live View and issues with Eye-Fi cards, demonstrating Canon’s awareness of memory card compatibility.

User Experiences with Similar Issues

User forums reveal reports of physically damaged SD card slots and instances where the camera powers on without an SD card but shuts down upon insertion. This mirrors my issue, suggesting a link between SD card insertion and power system errors. Recommendations include reformatting SD cards (FAT32 for cards 32GB or smaller, exFAT for larger cards) and trying new cards.

Other users report 'Error 2 - card cannot be accessed' and complete SD slot failures, further indicating potential SD card interface issues.

Interplay Between SD Card and Battery Communication Errors

While battery communication errors can occur independently, my issue appears triggered by SD card insertion. It is possible my 'battery communication error' is a power-related issue stemming from SD card communication difficulties. The camera might draw excessive power or experience instability when accessing the SD card, resulting in a battery monitoring error.

Cleaning battery contact points is a general troubleshooting step. Canon’s error code documentation does not explicitly mention SD card-triggered battery communication errors, suggesting it may be uncommon or misreported.

The fact that memory card issues can cause complete power-offs indicates a deep integration between memory card interface and power management, supporting the possibility of a link between these issues.

SD Card Age, Speed Class, and Brand Impact

The Canon 5D Mark III is compatible with SD, SDHC, and SDXC cards, with a suggested maximum capacity of 128GB, although larger cards are often supported. The camera operates UHS-I cards at Class 10 speeds and does not support UHS-II cards."

WEDGE SHAPED HOUSE

27 GREENVILLE TERRACE DUBLIN 8

WEDGE SHAPED HOUSE

A WEDGE SHAPED HOUSE [27, 27A, 27B GREENVILLE TERRACE]

Greenville Terrace and Greenville Avenue are situated within the larger area commonly known as "The Tenters," a neighbourhood whose development is intrinsically linked to the Fairbrother's Fields housing scheme. This scheme holds considerable historical significance as one of the first major public housing projects undertaken by the newly established Irish Free State in the early 1920s.

WATER FOUNTAIN

LORD EDWARD STREET

WATER FOUNTAIN

I BET THAT YOU NEVER NOTICED THIS WATER FOUNTAIN ON LORD EDWARD STREET [AT THE RATES OFFICE BESIDE CITY HALL]

Georgian Grandeur and Financial Ruin: The Story of Newcomen Bank and its Architect
The distinguished building on Lord Edward Street, currently serving as the Dublin City Council Rates Office and situated beside City Hall, boasts a rich history intertwined with the work of a notable Irish architect and the dramatic failure of a prominent banking family. Originally designed as the Newcomen Bank by architect Thomas Ivory, the structure has witnessed significant transformations since its construction in the late 18th century, including the addition of a public fountain.

Thomas Ivory: Master of Georgian Dublin

Thomas Ivory (c. 1732–1786) was a significant figure in the architectural landscape of Georgian Dublin. Initially trained as a carpenter, he developed his skills in architectural draughtsmanship and became the first master of the Dublin Society's Architectural School in 1759, a position he held until his death. While some of his ambitious designs, such as those for the Four Courts and Newgate Prison, were not ultimately executed by him, Ivory left a lasting mark on the city with his refined Palladian and Neoclassical style. His most celebrated work is the King's Hospital, or Blue Coat School, in Blackhall Place, a commission he won in 1773. Newcomen Bank, designed around 1781, stands as another key example of his elegant and precisely detailed architectural output, notable for its use of high-quality materials like Portland stone.

Newcomen Bank and the Fate of Thomas Viscount Newcomen

Newcomen Bank originated from an earlier banking business in the 1720s, with the Newcomen family becoming prominent partners. Sir William Gleadowe-Newcomen, 1st Baronet, commissioned Thomas Ivory to design the new bank building on what is now Lord Edward Street in 1781. The bank operated successfully for a period, but its fortunes changed dramatically in the early 19th century. Sir William's son, Thomas Gleadowe-Newcomen (1776–1825), who became the 2nd Viscount Newcomen upon his mother's death in 1817, inherited the bank's management. However, unlike his predecessors, Thomas Viscount Newcomen reportedly lacked financial acumen and accumulated significant debts, including substantial borrowings from his own bank. These financial difficulties ultimately led to the collapse and closure of Newcomen Bank in 1825, a ruin that also befell other prominent families connected to the institution and tragically culminated in the Viscount's suicide.

The Building's Evolution and the Addition of the Fountain

The original Newcomen Bank building, constructed of Portland stone, was initially smaller than its present form. In the 1820s, following the bank's closure, the building was acquired by the Hibernian Bank and later, in 1884, by Dublin Corporation. The significant expansion mentioned in various accounts, where a mirror-image was built and the two parts linked by a portico, likely refers to alterations made after the Newcomen family's ownership, potentially during the Hibernian Bank's tenure or later by the Corporation.

My photographs show the water fountain on the Lord Edward Street side of the building, which corresponds to the north elevation. Historical records indicate that Lord Edward Street was created in 1886, and the north elevation of the former Newcomen Bank building was remodelled by Dublin Corporation architect Daniel J. Freeman in 1884 to create a frontage onto this new street.

Based on this information, the fountain was not part of the original building designed by Thomas Ivory in 1781, as the Lord Edward Street elevation it adorns was added or significantly altered a century later. It was installed as part of the remodelling works undertaken by Dublin Corporation around 1884, coinciding with the creation of Lord Edward Street. While the specific commissioning document for the fountain itself was not found in any of my searches, it is highly probable that it was commissioned by Dublin Corporation as part of the broader public works and street improvements in the area under the direction of the City Architect's office during that period. Public fountains were often installed in urban areas in the late 19th century for public health and convenience.

THE TIMBER YARD

AND NEWMARKET STREET IN THE COOMBE

THE TIMBER YARD

NEWMARKET STREET AND THE TIMBER YARD [A NEW RESIDENTIAL DEVELOPMENT IN THE LIBERTIES]

The Timber Yard in Newmarket, Dublin, refers to a residential development built on the site of a former timber yard, located in the historic Liberties district. It's notable for its modern design, which integrates well with the surrounding area and provides a sense of place. The development features apartments and ground-floor commercial units, contributing to the regeneration of the area.

MARKS ALLEY WEST

IS IT IN THE COOMBE OR IS IT IN NEWMAKET

MARKS ALLEY WEST

MARKS ALLEY WEST [IS IT IN THE COOMBE OR IS IT IN THE NEWMARKET AREA OF DUBLIN]

Many people disagree when I describe West Marks Alley as being in The Coombe. An even greater number disagree when I suggest it is in the Newmarket area of Dublin. As a result, I commissioned some research. While the full report was complex and difficult to read, some key findings shed light on the matter:

Synthesis of Findings: The analysis reveals several important points regarding the location of Marks Alley West:

Its precise geographical position off Francis Street places it physically in the immediate area between the eastern end of The Coombe street and the rapidly developing Newmarket Square.

"The Coombe" refers both to a specific, historically significant street and a broader, less formally defined neighbourhood shaped by historical institutions and associations.

"Newmarket" identifies a distinct historical market square and a surrounding area currently undergoing significant, officially designated regeneration (SDRA 15), which is reshaping its contemporary identity and functional reach.

Various sources present conflicting or overlapping affiliations. Some property documents explicitly link Marks Alley West to The Coombe, while transport data and its proximity to major modern developments align it closely with Newmarket.

The overarching label "The Liberties" is also frequently used.

Historically, both The Coombe and Newmarket developed within the same administrative framework (The Liberties) and shared a common industrial heritage, suggesting a historically integrated urban fabric rather than sharply divided neighbourhoods.

Addressing the Ambiguity: Based on the available evidence, there is no single, definitive answer as to whether Marks Alley West belongs to The Coombe or Newmarket that satisfies all criteria.

Its affiliation depends on the context being prioritised:

Historical Association and Formal Convention: Evidence from property listings, comparative property data, transport descriptions, and its proximity to the historical centre of St. Luke's Parish suggests a strong historical connection and potentially an established formal or postal address association with The Coombe.

Functional Geography and Contemporary Context: Its immediate physical adjacency to Newmarket Square, its inclusion within walking distance metrics for Newmarket Street stops, its position relative to major modern developments, and its location within an area targeted for integration with Newmarket under the City Development Plan indicate that it is functionally adjacent to, and increasingly integrated with, the modern Newmarket area.

Overlapping Zone within The Liberties: From both a geographical and historical perspective, Marks Alley West occupies an overlapping, transitional space where the distinct identities of The Coombe and Newmarket merge within the broader context of The Liberties.

Final Determination: In conclusion, while historical precedent and certain formal conventions may continue to associate West Marks Alley with The Coombe, its physical location and the significant impact of ongoing regeneration efforts centred on Newmarket Square mean that it is increasingly perceived, and functions, as being immediately adjacent to, or effectively part of, the revitalised Newmarket area. It exists within a transitional zone between these two historic localities, fundamentally remaining within the wider Liberties district but strongly influenced by the contemporary dynamism of Newmarket.

CORNMARKET AREA

13 APRIL 2025

CORNMARKET AREA

CORNMARKET AREA OF DUBLIN [PHOTOGRAPHED 13 APRIL 2025]

The Cornmarket Area of Dublin: Origins, Development, and Current Status

The Cornmarket area of Dublin, situated within the city's historic centre, holds a significant place in its urban narrative. This report aims to provide a comprehensive investigation into the origins and development of this area, its present-day condition, and the notable architectural and historical structures that are located within it. By examining the multifaceted history of the Cornmarket, a deeper understanding of Dublin's evolving urban landscape can be achieved.

The area encompassing the Cornmarket lies within the oldest settled parts of Dublin, with evidence indicating habitation as early as the mid-5th century. This early settlement, known as Átha Cliath, meaning "town of the hurdled ford," highlights the area's fundamental importance as a key crossing point over the River Liffey. The strategic positioning of this settlement on a prominent ridge overlooking the river not only offered natural defensibility but also presented considerable advantages for the facilitation of early trade. The sustained presence of human activity in the Cornmarket area for over a millennium underscores its enduring role as a central and vital location within the city of Dublin. The initial benefit provided by the ford likely established this area as a crucial nexus for subsequent urban growth and development.

The appellation "Cornmarket" was adopted for this area following the erection of a notable marble water cistern in 1308. This public amenity was commissioned by Jean le Decer, who served as the Mayor of Dublin, and was situated in close proximity to Newgate Street. The construction of such a significant structure suggests a growing formalisation of the area as a centre for commercial activity during this period. Newgate, which functioned as a principal gateway in the city wall on its western side, and is now encompassed by the Cornmarket, further contributed to the area's burgeoning popularity as a place for the sale of grain. This directly addresses the primary function that the Cornmarket would come to serve in the ensuing centuries. The economic importance of the Cornmarket in its early years was further underscored by King John's Charter. This royal decree mandated that foreign merchants were permitted to purchase only specific commodities – namely corn, hides, and wool – exclusively from the citizens of Dublin, thereby establishing the Cornmarket as a vital node within the city's broader economic framework. The erection of the water cistern appears to have been a pivotal event that facilitated the area's recognition as a dedicated marketplace for corn. Furthermore, the royal charter served to cement its significance within the larger trade networks operating in the city at the time.

Beyond its primary function as a trading hub, the early Cornmarket area also served other public purposes. To the northwest of the Cornmarket, the Bull Ring was a designated space for martial combat training. Historical records indicate that from at least the reign of Elizabeth I, the city's youth would gather here four times annually to receive instruction in military skills. This suggests that the area's significance extended beyond mere commerce into aspects of public life and civic engagement. The Brehon Laws, an ancient Irish legal system, provide evidence of the early cultivation of corn in Ireland. During the medieval period, the Cornmarket played a critical role in the large-scale export of grain to England, Scotland, and Wales. This highlights the area's enduring agricultural and economic importance on a broader scale. Records from the 14th century, including complaints registered against bakers and documented fluctuations in the price of wheat, offer insights into the Cornmarket's integral role in the city's food supply mechanisms and overall economic stability. Keyzar's Lane, which connected the Cornmarket to Cook Street, became the site of a significant event in 1496 when Mayor Jenico Marks was fatally wounded whilst attempting to quell a disturbance among the city's inhabitants. This incident suggests that the area was not always peaceful and could be subject to social unrest. Furthermore, from 1485, Newgate Prison was initially situated within the Cornmarket area, indicating a more sombre aspect of its early history, as it served as the city's primary place of detention. The initial history of the Cornmarket area reveals a dynamic and multifaceted space that was central to the life of early Dublin. It functioned not only as a vital centre for trade but also as a venue for public gatherings, military exercises, and even as the location of the city's principal prison, demonstrating its pivotal role in the social and economic fabric of the time.

Throughout the Middle Ages, the Cornmarket flourished as a vital centre for the grain trade, solidifying its position as an important and busy part of the city. The establishment of St Thomas's Abbey in the 12th century, located near what is now Thomas Street to the north of the Cornmarket, further contributed to the prosperity and commercial activity of the broader area known as the Liberties. Thomas Street, in particular, evolved into a vibrant marketplace, attracting merchants and traders and enhancing the economic dynamism of the entire district. The strategic location of the Cornmarket in proximity to significant religious and administrative hubs, coupled with its established role in the grain trade, likely underpinned its sustained prosperity during these centuries. The subsequent development of the Liberties as a thriving commercial area further amplified the economic activity in the vicinity of the Cornmarket.

However, by the early 18th century, the primary location of the Cornmarket underwent a significant change, being relocated to Thomas Street. This move was necessitated by the increasing congestion in the original area, largely attributed to the activities of individuals known as "Pluckers in." These people would stand in the streets, actively trying to entice potential customers into nearby shops, thereby impeding the flow of traffic and making passage through the Cornmarket increasingly difficult. This relocation marked a notable shift in the area's principal function as the central marketplace for grain. Following this move, the original Cornmarket area experienced a change in its character and the types of businesses operating there. It became predominantly occupied by haberdashers, who dealt in small items for sewing, woollen drapers, who traded in woollen cloth, and dealers in linens. This transition indicates a move away from its specific role as a grain market towards a more diversified mercantile area catering to different needs. In the early 19th century, the Wide Streets Commission was established with the aim of improving the layout and flow of traffic within Dublin. The efforts of this commission eventually led to the disappearance of the physical corn market hall that had been situated on Thomas Street. This reflects the impact of planned urban development initiatives on the area's physical infrastructure and historical function. The early 19th century also witnessed the construction of a new Corn Exchange on Burgh Quay. This development further diminished the significance of the original Cornmarket area as the primary location for trading in grain. The establishment of this new, purpose-built facility highlights the influence of evolving urban needs and infrastructure on the historical roles of different areas within the city. Additionally, Newgate Prison, which had been located in the Cornmarket since 1485, was relocated to Green Street in 1781. This change further altered the character of that particular part of the Cornmarket area. The functional and physical changes experienced by the Cornmarket area over time illustrate the dynamic nature of urban development and the ways in which different parts of a city adapt to evolving economic and social conditions.

Despite the relocation of the main corn market, the area around the original Cornmarket and Christchurch continued to be a bustling part of medieval Dublin. Tradespeople and craftspeople maintained a strong presence, providing essential services and goods to the town's inhabitants. The area we now recognise as Cornmarket has largely been shaped by 20th-century urban planning, specifically the widening of roads to create the thoroughfares of High Street and Bridge Street. This significant physical alteration has redefined the area's layout and likely influenced its contemporary atmosphere. The Liberties area, which encompasses the Cornmarket, also underwent substantial industrial development in subsequent centuries. Industries such as brewing, distilling, tanning, and weaving became prominent, contributing to the diverse and evolving character of the area over time. While the Cornmarket itself transitioned away from its primary role as a central grain market, the surrounding district remained a vital hub of commercial and industrial activity, demonstrating its capacity to adapt to the changing economic landscape of the city. The 20th-century road widening project represents a more recent and impactful intervention that has shaped the physical form of the Cornmarket as it exists today.

Presently, the area known as Cornmarket primarily functions as a busy transportation corridor, with High Street and Bridge Street serving as major traffic routes. Despite this modern infrastructure, remnants of the area's rich history can still be discerned. Sections of the old city wall, which once formed the boundary of medieval Dublin, are preserved at Cornmarket and in Lamb Alley. Additionally, St Audoen's Arch stands as the sole surviving gateway to the old city, providing a tangible link to its medieval past. The area's proximity to Christchurch Cathedral, a significant architectural and historical landmark, continues to draw visitors and contributes to the area's overall character. Notably, Cornmarket Group Financial Services Ltd., a financial services company offering investment and insurance brokerage predominantly to public sector employees, maintains its Dublin office at Christchurch Square, Dublin 8. The presence of this substantial commercial entity, named after the area, is a significant aspect of its contemporary status. Furthermore, the Cornmarket and Christchurch area serves as a location for filming, suggesting that it retains a degree of visual appeal and historical ambiance. The current status of the Cornmarket area reflects a confluence of its historical legacy and modern urban functions, primarily serving as a vital artery for transportation whilst still holding pockets of historical and commercial relevance.

Historically, the area's commercial activities included haberdashers, woollen drapers, and linen merchants. Today, the commercial activities in the Cornmarket area are varied. Cornmarket Group Financial Services Ltd. stands as a major business presence, as mentioned previously. Retail businesses also operate in the area, such as Farrow & Ball, a paint and wallpaper shop located at 14-15 Cornmarket. Additionally, MRCB occupies the premises at 10-13 Cornmarket, functioning as a commercial property that houses retail spaces, offices, and a dental clinic. The vicinity of Christchurch Square further contributes to the commercial landscape, featuring establishments such as the Leonardo Hotel Dublin Christchurch 20, a Spar convenience store 61, and a variety of other retail outlets and service providers. The current mix of businesses in the Cornmarket area reflects its transformation from a specialised grain market to a more general urban commercial zone, catering to a diverse range of needs and services.

The overall atmosphere of the Cornmarket area today is characterised by its function as a busy thoroughfare for vehicular traffic. This suggests a dynamic and potentially high-energy environment. However, the presence of significant historical remnants, such as the surviving sections of the medieval city wall and St Audoen's Arch, imbues the area with a tangible connection to its rich past, lending a sense of historical character amidst the modern activity. The close proximity of Christchurch Cathedral, a prominent landmark with centuries of history, further contributes to the area's historical and potentially tourist-oriented ambiance. The wider Liberties area, in which the Cornmarket is situated, is known for its diverse and vibrant atmosphere, featuring an eclectic mix of antique shops, vintage boutiques, art galleries, bars, and cafes. Moreover, the area surrounding Christchurch Square offers a variety of restaurants, cafes, and bars, contributing to the local vibrancy. The present-day character of the Cornmarket area is therefore a blend of the functional aspects of a major transportation route and the enduring presence of its medieval heritage, enhanced by the cultural and commercial activity of the surrounding Liberties district.

The Cornmarket area of Dublin is home to several buildings of significant architectural and historical note, each contributing to the rich tapestry of the city's heritage.

Christ Church Cathedral stands as a pivotal landmark, with its construction commencing around 1172, replacing an earlier wooden structure dating back to approximately 1030. This makes it one of the oldest buildings in Dublin, founded by the Norse King Sitriuc 'Silkbeard' and Dúnán, the city's first bishop. Throughout its history, the cathedral has been the site of significant events, including the 'crowning' of Lambert Simnel as Edward VI in 1487. In the 1870s, the cathedral underwent extensive restoration, largely funded by the whiskey distiller Henry Roe and overseen by the architect George Edmund Street. The architectural style is predominantly Gothic, with surviving Romanesque elements that date back to the 12th century. Notable features of the cathedral include its medieval crypt, which is the oldest surviving structure in Dublin 25, prominent flying buttresses, and a belfry that holds a world record for the number of change-ringing bells. The cathedral is also connected to Synod Hall (Dublinia) by a covered footbridge that was constructed around 1875.

Adjacent to the cathedral is Synod Hall, also known as Dublinia. This building was constructed around 1875 by George Edmund Street as part of the broader reconstruction of Christ Church Cathedral. It originally served as the Synod Hall for the Church of Ireland until 1983 and now functions as the Dublinia Viking and Medieval history museum. The architectural style is characterised as robust First Pointed Gothic, featuring simple buttresses, circular turrets, and plate tracery. The structure incorporates the tower of an earlier church that dated back to the 17th century. As previously mentioned, Synod Hall is linked to Christ Church Cathedral by a covered bridge, distinguished by its elaborate limestone detailing and stained glass windows.

Located at 10-13 Cornmarket stands a building constructed in 1877 as a warehouse for James H. Webb & Company, who were clothiers and woollen drapers. The design of this seven-bay, four-storey structure is attributed to McCurdy & Mitchell and features ornate granite detailing. Originally, the ground level was designed with large display windows, indicative of its commercial purpose. However, when the building was repurposed as local health offices in the 1950s, these ground-floor windows were bricked up. More recently, the building has undergone substantial refurbishment by HSE Estates, with the intention of housing the HSE Communications Office there. This renovation included the restoration of the timber sash windows on the main façade and the reinstatement of the original ground floor profile, reopening the building to the street.

At 14-15 Cornmarket, another notable building was constructed in 1866 to serve as a bank. It now operates as a shop, Farrow & Ball. The architect, Charles Geoghegan, employed an Italian Gothic style for this former Royal Bank building. The building is characterised by its decorative polychrome brick parapet and ornate render detailing on the ground floor. A more recent addition is a third storey with a flat roof.

St Audoen's Church, belonging to the Church of Ireland, stands as the sole remaining medieval parish church in Dublin, with its construction dating back to around 1190. It is dedicated to St Ouen of Rouen. The church features a 15th-century bell tower that houses the oldest set of church bells still in use in Ireland, cast in 1423. Its architectural style is a blend of Romanesque and Gothic, with later Neo-Gothic elements incorporated. Inside, the church contains the Portlester tomb, dating from 1482, as well as memorials to various notable families. The church is situated adjacent to the surviving portions of the old city wall and St Audoen's Arch.

Nearby stands St Audoen's Church, belonging to the Roman Catholic denomination. This church was built between 1841 and 1847, exhibiting a Greek Revival architectural style. The design is credited to Patrick Byrne, with a portico added later between 1898 and 1902 by George Ashlin. Due to the steeply sloping site, the church incorporates a double-level crypt at the rear. It is also notable for housing the National Shrine of St Anne.

Although no longer standing, the site of Newgate Prison holds historical significance. It was initially located in the Cornmarket area from 1485, serving as the primary prison for the city. Before its use as a prison, it functioned as one of the city's main gates. In 1781, the prison was relocated to Green Street. The original site of Newgate Prison is now occupied by Saint Michan's Park. The prison played a notable role in the penal history of Dublin for several centuries.

Another historically important structure, no longer extant, is the Corn Market House on Thomas Street. Completed in 1725, it was one of Dublin's earliest dedicated corn exchanges and was situated near Newgate and the Black Dog jail, in the area now often referred to as Cornmarket. It was a long, two-storey building featuring an arcaded facade with 13 arches and a central cupola. Due to its inconvenient location and the obstruction it caused to street traffic, the Corn Market House was demolished in 1818 by the Wide Streets Commission.

The site of the Black Dog Prison also contributes to the area's history. Located in Newhall Market, which is now known as Cornmarket, it was built on the grounds of Browne's Castle. Before becoming a prison, it operated as a tavern, from which it derived its name, and served as a place of confinement from at least the 17th century. From the early 18th century, the Black Dog Prison functioned as Dublin's primary debtors' prison. By the late 18th century, it was replaced by newer prisons, including the relocated Newgate Prison and a new Sheriff's Prison on Green Street. The site of the Black Dog Prison is situated between Upper Bridge Street and St Augustine Street, to the north of Cornmarket, and no physical remains of the structure are currently visible.

The Cornmarket area and its surroundings have witnessed recent developments and are subject to planned changes that will shape its future.

Recent developments include the refurbishment of the building at 10-13 Cornmarket by HSE Estates. This project aimed to house the HSE Communications Office within the premises and involved the restoration of the building's original facade. Additionally, a building at 61-63 Thomas Street has been undergoing redevelopment to transform it into a multipurpose space that will include a large office area and a new restaurant. The property located at 12-13 Cornmarket & 7/11 Augustine Street has been put up for sale as a retail investment opportunity. Furthermore, the Land Development Agency (LDA) has unveiled plans for the redevelopment of the Digital Hub campus, situated near Thomas Street. These ambitious plans envision the creation of affordable housing alongside commercial, cultural, and community facilities. The wider Liberties area, in which the Cornmarket is located, is also the focus of ongoing regeneration efforts by Dublin City Council, including the implementation of the Liberties Greening Strategy. These recent activities indicate a renewed focus on the area, balancing the preservation of its heritage with the introduction of contemporary uses.

Looking ahead, several planned changes are expected to further transform the Cornmarket area. The LDA's masterplan for the Digital Hub site is anticipated to be finalised, with the phased delivery of the proposed development commencing from 2024 onwards. There is also the potential for additional development and conservation projects within the broader Liberties area, driven by Dublin City Council's strategic initiatives. Notably, Cornmarket financial services has introduced a 'Sustainable Business Impact Award,' suggesting a growing corporate emphasis on environmental responsibility and community engagement. These planned changes indicate that the future of the Cornmarket area will likely be characterised by a combination of private sector development, public sector-led regeneration projects, and an increasing awareness of the importance of sustainability and community involvement in urban development.

In conclusion, the Cornmarket area of Dublin presents a rich and layered history, evolving from its earliest origins as a strategic settlement and river crossing to its significant role as a central marketplace for grain. Over the centuries, the area has witnessed substantial development and change, including the relocation of the market and its subsequent transformation into a hub of commercial and industrial activity. Today, whilst primarily functioning as a busy transportation route, the Cornmarket retains its historical significance through surviving remnants of its medieval past and its proximity to iconic landmarks. Notable buildings such as Christ Church Cathedral, Synod Hall, and the former commercial warehouses stand as testaments to the area's architectural heritage, whilst the sites of Newgate Prison and the Corn Market House serve as important reminders of its historical functions. As the Cornmarket area looks to the future, recent developments and planned changes indicate a continued process of urban evolution, balancing the preservation of its unique heritage with the introduction of new uses and a growing focus on sustainable and community-oriented development. The Cornmarket remains a vital part of Dublin's urban fabric, reflecting the city's dynamic history and its ongoing adaptation to contemporary needs.

ANTIQUES DEALER

O'SULLIVAN ON FRANCIS STREET

ANTIQUES DEALER

O'SULLIVAN ANTIQUES ON FRANCIS STREET [WELL WORTH A VISIT EVEN IF YOU ARE ONLY WINDOW SHOPPING]

Having rented a house just off Francis Street for about a year in the late 1970s, I must admit I enjoyed living there. However, the area has changed considerably for the better since then, and I particularly appreciate the recent upgrade to Francis Street itself. I hope the improvements planned for Meath Street prove equally successful.

O'Sullivan Antiques stands as a notable establishment on Francis Street in Dublin, a thoroughfare renowned for its historical significance as the heart of the city's antique trade.

Since its foundation in 1990, the business has become an integral part of this vibrant district, contributing to its enduring reputation as a destination for those seeking unique and historical items. Francis Street itself boasts a rich history, evolving over centuries to become the central point for antique commerce in Dublin.

From its very beginning, O'Sullivan Antiques strategically positioned itself on Francis Street, a location long recognised as Dublin's antique trade hub. This deliberate choice suggests an immediate intention to become a key player in the established market. The business quickly established a specialisation in "fine Georgian and Regency period furniture," later expanding its offerings to include pieces from the Victorian and Edwardian eras. Their inventory is particularly noted for featuring furniture crafted from high-quality materials such as mahogany, rosewood, satinwood, and walnut. This focus on specific historical periods and premium materials indicates a commitment to offering valuable and sought-after antiques.

Further solidifying its reputation within the industry, O'Sullivan Antiques holds membership in several prestigious antique dealer associations, including the Irish Antique Dealers Association, CINOA, and The Art and Antique Dealers League of America. These affiliations underscore the business's adherence to professional standards of practice and authentication, lending credibility and trust to its dealings. Demonstrating significant growth and ambition, O'Sullivan Antiques has also expanded its operations beyond Ireland to include a gallery in New York, USA. This transatlantic presence highlights the business's success in reaching an international clientele and accessing a broader market for fine antiques. The Dublin gallery itself is situated at the address 43-44 Francis Street, occupying a set of historically significant buildings that will be explored in greater detail later.

The timing of O'Sullivan Antiques' establishment in 1990 coincided with the cusp of a period of notable economic and cultural expansion in Dublin during the late 1990s and early 2000s. This timing may have provided a favourable environment for a business specialising in luxury items like antiques, as increased disposable income and a growing interest in heritage and historical artefacts could have contributed to a stronger market. Furthermore, the initial strategic decision to locate on Francis Street, coupled with memberships in esteemed associations, suggests a clear business strategy focused on gaining immediate credibility and attracting a discerning customer base interested in high-quality period furniture. This proactive approach to building a strong reputation likely played a crucial role in the business's sustained success and longevity within the competitive antique trade.

Francis Street has long been recognised as a significant location for those interested in fine furniture and the skills of accomplished craftspeople, with its reputation dating back to the 18th century. This enduring association with quality and craftsmanship provides a rich historical backdrop for O'Sullivan Antiques. To formally acknowledge and promote the area's unique identity, the established traders on Francis Street collaborated in October 2003 to create Dublin's first Antiques Quarter. This collective effort underscored the continued importance of Francis Street as a central hub for antique commerce in the 21st century, with O'Sullivan Antiques playing a part in this shared identity. To mark this significant development, a guide to Francis Street was published in 2003, showcasing its diverse array of antique shops, art galleries, and restaurants. This initiative demonstrates a unified approach among the businesses to attract visitors and reinforce the street's image as a premier destination for antiques.

The historical roots of Francis Street extend much further back in time, with its origins tracing to medieval Dublin. As early as 1200, it was known as Great Street, highlighting its significance as a major thoroughfare. Over the centuries, the street's name evolved, reflecting changes in the area's history and influence. By 1325, it was referred to as the King's Highway, and from 1337 onwards, it became associated with St. Francis, taking names such as St Francis's Street, St. Francis Street, and St Fraunces Street before settling on its current name by 1610. The name "Francis Street" itself originates from the Franciscan monastery that was established in the area in the 13th century, with the land for its foundation granted in 1235. This early connection to a significant religious order played a crucial role in shaping the area's development and identity. Adding to the historical fabric of the street is the Church of St Nicholas of Myra (Without), which has stood on Francis Street as a place of worship since at least the 12th century. This long-standing presence underscores the area's historical depth and its enduring importance within Dublin's social and religious landscape.

The transformation of Francis Street from a medieval thoroughfare to a specialised hub for the antique trade over centuries illustrates the dynamic nature of urban spaces and the persistent appeal of fine craftsmanship and historical artefacts. The progression from its early designation as "Great Street" to its 18th-century emergence as a centre for furniture and skilled artisans, culminating in its formal establishment as an Antiques Quarter in 2003, indicates a sustained economic and cultural focus on antiques in this specific location. Factors such as historical infrastructure, the presence of skilled artisans, and consistent market demand likely contributed significantly to this long-term trend. Furthermore, the collaborative spirit among the traders in 2003 to officially form and promote the Antiques Quarter suggests a strong sense of community and a shared dedication to preserving and enhancing Francis Street's reputation as a key destination for antique buyers. The publication of a guide served as a coordinated marketing strategy, indicating that the antique businesses recognised the advantages of working together to attract a wider audience and further solidify the street's esteemed reputation.

O'Sullivan Antiques' Dublin gallery is situated at 43-44 Francis Street. The buildings at this address hold significant historical value, believed to have been constructed around 1730. This places them among the earliest remaining structures on Francis Street, predating the establishment of O'Sullivan Antiques by over two centuries and linking the business to the street's early architectural heritage. Architecturally, the premises consist of a two-bay three-storey house to the north (number 43) and a two-bay two-storey house to the south (number 44), now unified by a full-width shopfront that was added later. This alteration likely reflects the evolving commercial function of the street over time.

Historical records from the 1860s reveal that number 43 was occupied by a whip maker, while number 44 served as a lodging house. These diverse uses illustrate the variety of commercial and residential activities that characterised Francis Street in the mid-19th century, highlighting its role in the daily life and economy of Dublin. By the early twentieth century, both numbers 43 and 44 were listed as a shop and dwelling, indicating a notable shift towards their primary use for commercial purposes and setting the stage for their eventual occupancy by an antique shop. O'Sullivan Antiques also extends to the adjacent building at 42 Francis Street. This terraced two-bay three-storey house was built around 1800 and in the 1830s was occupied by James Healy, who operated a grocer's and spirit dealer's shop. This provides a similar historical context of commercial use for the neighbouring building, further illustrating the street's commercial evolution. The late nineteenth-century shopfront that runs along the length of numbers 41 and 42 signifies a period of significant architectural change on this part of Francis Street, reflecting the increasing importance of retail and the desire for more prominent and appealing shopfronts.

The architectural characteristics of the buildings housing O'Sullivan Antiques, such as their early to mid-18th-century origins (Nos. 43-44) and the construction of No. 42 around 1800, clearly demonstrate the deep historical roots of the business's location. The fact that these structures have stood for centuries, witnessing significant periods in Dublin's history, adds a tangible layer of historical continuity that is particularly fitting for an antique shop. The transition in the use of these buildings from primarily residential and various commercial trades to a focus on retail, culminating in their current role as antique shops, mirrors broader patterns of urban development and the specialisation of commercial areas like Francis Street. The variety of past businesses, including a whip maker, a lodging house, and a grocer, indicates that Francis Street once served a wider range of needs for the Dublin community before it became predominantly known for its antique trade. This historical diversity contributes to the unique character of the street and provides a richer context for understanding its present-day identity as a hub for antiques.

Analysing customer reviews and testimonials available online offers valuable insights into the longevity and reputation of O'Sullivan Antiques since its establishment in 1990. These perspectives reflect the experiences of individuals who have interacted with the business over the past three decades. Recurring themes in customer descriptions include "high-quality antiques," the feeling of "stepping back in time," and the description of the shop as an "Aladdin's Cave". These positive sentiments highlight the core aspects of the business's appeal and its success in creating a unique and engaging shopping experience.

Reviews found on platforms like Google and Wanderlog generally portray O'Sullivan Antiques in a positive light. The business has received ratings of 3.9 out of 5 on Wanderlog based on Google reviews, and a perfect 5.0 out of 5 from another source. Many reviewers specifically mention the helpfulness and friendliness of the staff, contributing to a positive customer experience. While some reviews note that the items can be "expensive," they also consistently emphasise the "high quality" of the antiques on offer, suggesting that customers perceive the prices as justified by the value and authenticity of the merchandise. Notably, a testimonial from Daly Antique Services, a fellow business in the antique trade, praises O'Sullivan Antiques for their prompt service and the high quality of their work, indicating positive professional relationships within the industry.

The consistently positive feedback regarding the quality of the antiques and the unique atmosphere cultivated by O'Sullivan Antiques ("stepping back in time," "Aladdin's Cave") indicates that the business has successfully established a strong brand identity. This identity centres around offering a carefully curated selection of high-end, historically significant items and providing a memorable shopping experience for its customers. The recurring positive comments about the staff, coupled with the acknowledgment of higher prices for quality items, suggest a business model focused on delivering a premium experience with knowledgeable and attentive service, thereby justifying the cost for discerning buyers. This approach has likely contributed to the business's sustained success and longevity in the antique trade.

MOLLY'S BAR

101 FRANCIS STREET

101 FRANCIS STREET

WAS THE DOLL SOCIETY

MOLLY'S BAR [101-103 FRANCIS STREET IN DUBLIN CITY]

Molly's Bar, located at 101-103 Francis Street in Dublin 8, occupies a pivotal position within The Liberties, a historically rich and dynamic neighbourhood in Dublin city. This report examines the evolution of this specific address, tracing its recent transformations within the hospitality sector.

To contextualise Molly's Bar's current presence, we will explore its immediate predecessors, the drag bar Doll Society and the establishment Societal Collapse, and their connection to the nearby Jackie's bar. Understanding the historical context of Francis Street itself is crucial to comprehending these changes. This thoroughfare boasts a history dating back to at least the medieval period. Records indicate it was known as "Great Street" around 1200 AD, evolving through "King's highway" in 1325, and finally becoming St Francis Street by 1610. This enduring presence underscores its continuous importance as a route and location within Dublin.

Beyond its role as a thoroughfare, Francis Street has held religious and social significance. A church has stood on this street since at least the 12th century, with the current St. Nicholas of Myra Church dating back to 1829. This church served as the registration point for Catholic births at the nearby Coombe Hospital from 1783 to 1967. Furthermore, the late 19th and 20th centuries saw Francis Street develop into a significant commercial hub, exemplified by the Iveagh Markets, which operated from 1906 until the 1990s on the site of a former brewery, Sweetman's, established in 1791.

Historical records from the 14th century confirm Francis Street's existence, and by the 18th century, it had become a bustling area inhabited by prosperous merchants and traders, even gaining a literary connection through Jonathan Swift. However, the early 20th century saw socio-economic shifts, leading to tenements and urban decay. More recently, Francis Street has undergone revitalisation, emerging as a centre for antique shops over the past 30 to 40 years, alongside new bars, restaurants, and retail outlets. Adding to its historical profile, Francis Street was also a recognised centre for clay pipe manufacture during the 18th and 19th centuries, evidenced by archaeological findings at numbers 134-143.

Focusing on 101-103 Francis Street, planning records from 2014 reveal a proposal for an additional storey to an existing four-storey mixed retail, office, and residential development. This indicates the building had already undergone significant development, establishing its current mixed-use nature. The same document mentions the demolition of the fire-damaged "The Horse and Jockey" pub for student accommodation, suggesting 101-103 Francis Street, or part of it, may have previously housed a public house.

Hotel booking websites list 101-103 Francis Street as the location for both a "2 Bedroom Apartment Near Historical Christchurch" and a "Stylish And Private Room In Central Dublin", confirming residential units within the building. Renewed planning permission in 2014 for an additional floor further supports this mixed-use development. This information suggests a significant redevelopment in the early 2010s, with retail or hospitality space at ground level and residential units above. The reference to "The Horse and Jockey" hints at a prior public house, setting the stage for its more recent hospitality incarnations.

The building transitioned into Doll Society, a drag bar, in spring 2023, operating for approximately 18 to 21 months before becoming Molly's Bar in December 2024. Doll Society was a vibrant, "pink brunch-focused bar" with a "Barbie feel," featuring neon signs, leather seating, and flower walls. It offered "savage cocktails," themed brunches, and drag performances, with "crazy performers dancing on tables." The bar aimed for an Instagram-friendly aesthetic, featuring a photo booth and a "pink sun-trap beer garden." Reviews praised its lively atmosphere and entertainment, though some noted service inconsistencies and crowding.

Preceding Doll Society was Societal Collapse, described as "kind of a cocktail bar with kind of food," which closed in early 2023. While details are limited, it appears to have been a similar venue.

Both Doll Society and Societal Collapse were operated by the same individuals as Jackie's bar at 43 Francis Street. Jackie's has a 1990s and early 2000s Irish nostalgia theme, evident in its decor, music, and "nostalgia filled cocktails." The shared ownership suggests a coordinated approach to the local hospitality market, with Jackie's focusing on general nostalgia and Doll Society on a flamboyant drag theme.

The most recent transformation occurred in December 2024 with the opening of Molly's Bar, a "normal" pub under the Galway Bay Brewery group. This represents a shift from a themed drag bar to a traditional brewery-owned pub, offering Galway Bay Brewery beers alongside classics.

Francis Street itself features a diverse nightlife, including Jackie's, The Liberty Belle (a traditional pub since 1845), and the former Anti-Social (a cocktail and fast food establishment). The recent addition of new bars and restaurants alongside antique shops indicates a growing hospitality sector.

The Liberties, where Molly's Bar is situated, has a rich history dating back to the 12th century. Its autonomy and distinct jurisdiction shaped its character. The area experienced periods of prosperity and hardship, from the influx of Huguenot weavers in the 17th century to the industrial era and subsequent urban decay. Recent revitalisation has blended antique shops and markets with new businesses and a growing cultural scene.

In conclusion, 101-103 Francis Street has undergone various transformations, reflecting the dynamic nature of Francis Street and The Liberties. From a potential former public house to themed cocktail bars and now a traditional pub, this location mirrors the neighbourhood's evolution. The address holds a significant place within Dublin's social and commercial history, reflecting the ever-changing urban landscape.

FULL MOON

PAINT-A-BOX BY SARA MANEIRO REY

ASSOCIATED PHOTO BLOG POST

FULL MOON

FULL MOON AT CHRIST CHURCH [PAINT-A-BOX BY SARA MANEIRO REY]

Magical new artwork ‘Full Moon’ by Spanish artist Sara Maneiro Rey @sarosky.studio Artwork located at Winetavern Street/Cook Street @thelibertiesdublin 8.

LUIGI MALONES

CEASED TRADING 13 APRIL 2025

CEASED TRADING 13 APRIL 2025

RELATE PHOTO BLOG POST

LUIGI MALONES FINAL DAY IN DUBLIN [SUNDAY 13 APRIL 2025]

Myself and a group of friends met up for a meal at Luigi Malones once a week for about seven years (2000 - 2008) so I was a bit upset when I discovered that the restaurant's final day was today.

My favourite restaurant Eatokyo On Capel Street closed at the end of January and I expect further bad news about another restaurant within the next month. I should also mention that Desi Crew on South Richmond Street has also closed a few weeks ago. Note: Eatokyo in Temple Bar has survived and is doing very well.

The establishment of the Luigi Malones brand in Ireland can be traced definitively to 1997. Multiple sources confirm that the first restaurant under this name opened in Stillorgan, a suburb of Dublin, during that year. This marks the formal beginning of the restaurant chain within the Irish market. My family home was in Stillorgan but I have no recollection of the restaurant in Stillorgan.

In 1999, a significant strategic move occurred with the relocation of the Dublin operation from Stillorgan to the heart of the city's cultural and nightlife quarter, Temple Bar. The new premises were located at 5-6 Cecilia Street , occupying two floors and a mezzanine level within a building noted for its historical significance, with records dating back centuries. This relocation positioned the restaurant prominently within a high-footfall area, catering to both locals and the significant tourist traffic in Temple Bar.

The brand identity cultivated during this period centred around the motto "For Food – For Fun – For Friends!". The menu concept drew inspiration from international travels, aiming for broad appeal with a mix of cuisines. Core offerings included popular Italian-American style dishes such as freshly made pasta, pizzas, and Buffalo wings, alongside signature desserts like their Toblerone Cheesecake.

Interestingly, promotional materials on the restaurant's own platforms reference an earlier connection to Munich, Germany, specifically mentioning serving Fischer's Helles beer there in the late 1980s. The narrative states, "When Luigi's moved to Ireland, we brought Fischer's with us". While this detail forms part of the company's self-presented story, potentially relating to a prior venture by the founders or a conceptual origin, it does not alter the documented founding date and location of the Irish Luigi Malones chain. The consistent reporting across various sources points to Stillorgan in 1997 as the inception point for the business entity analysed in this report. The phrasing used regarding the move to Ireland further suggests that the Irish operation, starting in 1997, is considered distinct from any previous activity in Munich.

Cork Branch

The expansion into Cork occurred in 1999, coinciding with the move to Temple Bar in Dublin. This suggests a period of significant growth and investment for the brand. The Cork restaurant was established at 1-2 Emmett Place, a prime city-centre location directly opposite the Cork Opera House.

Described as one of the largest restaurants in Cork , the venue became known for its distinctive interior decor. Notable features include a large, two-sided clock reportedly originating from St. Pancras Station in London, serving as a centrepiece around the bar area. There is also an anecdotal belief that one of the propellers from the historic Vickers Vimy aircraft, flown by Alcock and Brown on the first non-stop transatlantic flight, is displayed within the Cork restaurant , adding to its unique character.

The Cork branch successfully established itself and has demonstrated considerable longevity. It remained operational following the closure of the Dublin branch in April 2025. As part of the Dublin closure announcement, it was confirmed that the Cork restaurant would honour any outstanding gift vouchers issued by the Dublin location. The restaurant maintains an active presence, listed on various dining platforms with current operating hours and contact information readily available. It appears integrated into the local dining scene, mentioned in contexts ranging from family outings to general restaurant discussions.

Limerick Branch

Luigi Malones also operated a branch in Limerick City. It was situated in a prominent location on O'Connell Street , opposite The Royal George hotel , in premises that historically housed a Woolworths store and, even earlier, the original site of a local bank. Like its sister restaurants, the Limerick venue was noted for its decor and catered to a broad audience, including families, with specific meal deals and kids' menus advertised. Its presence is confirmed by mentions in online forums discussing Limerick dining options around 2006.

However, the Limerick expansion ultimately proved unsuccessful. The restaurant ceased trading in January 2011. News reports from June 2011, discussing plans by another restaurant group to take over the vacant unit, explicitly state that the Luigi Malones closure occurred in January of that year due to "financial difficulties".

The failure of the Limerick branch represents an important data point in the chain's history. Occurring more than a decade before the Dublin closure, it demonstrates that the brand was not immune to financial pressures and that profitability challenges existed within the group well before the difficulties experienced in Dublin in the 2020s. This suggests that factors beyond localised issues, potentially related to expansion strategy, operational costs, or specific market conditions in Limerick at the time, could impact the viability of individual branches within the chain. It serves as an early indicator that the group's financial health was not uniformly robust across all locations or throughout its entire operational history.

The closure of the Luigi Malones restaurant in Temple Bar on April 13, 2025, marked the end of a 28-year trading history at that location. Over the years, it had become a well-known establishment, described as "iconic" or "beloved" and frequented by various groups, including long-term patrons and visiting students.

The closure announcement released by the restaurant operators presented a clear narrative regarding the decision to cease trading.

Primary Catalyst - Street Works: The immediate and decisive factor cited was the impact of extensive street works undertaken directly outside the restaurant premises in early 2025. The announcement expressed "deep frustration" that the business had been "effectively barricaded" for three months.

Critically, these works significantly overran their initially communicated schedule; the operators stated they were told the project would take one month but it ultimately lasted over three. This prolonged disruption directly caused turnover to "plummet". The resulting financial loss was described as "the straw that broke the camel’s back," making continued trading impossible without damaging stakeholders. This explanation was consistently reported across multiple news outlets covering the closure.

Contributing Factors: Alongside the acute impact of the street works, the owners acknowledged underlying pressures. These included the "gradual but general decline in trade in Dublin City Centre for various reasons known to myself and others compounded by "inflationary pressures that have made it impossible for our operation to trade at a profit". This aligns with broader commentary on the challenges facing the hospitality sector, with the CEO of the Restaurants Association of Ireland noting the "razor-thin margins" in the industry when commenting on the closure.

TUDOR ROAD

DUBLIN 6 AREA OF DUBLIN

TUDOR ROAD

TUDOR ROAD [RANELAGH AREA OF DUBLIN]

Tudor Road is located in the desirable Dublin 6 area, specifically within the Ranelagh neighbourhood. This area is known for its affluent residential character, its proximity to Dublin city centre, and its vibrant local amenities. Here's a breakdown of what makes Tudor Road

It is primarily a residential street, characterised by attractive and often substantial family homes.

The area is highly sought after, which contributes to the relatively high property values.

PHOTOGRAPHING TREES

PHOENIX PARK 9 APRIL 2025

PHOTOGRAPHING TREES

I LIKE PHOTOGRAPHING THE TREES IN PHOENIX PARK [9 APRIL 2025]

Phoenix Park in Dublin is renowned for its expansive green spaces and diverse collection of trees. Here's a look at the variety you can find, and some of its notable arboreal features:

Variety of Trees:

The park boasts a wide range of tree species, contributing to its rich biodiversity. Common varieties include:
Oak (Quercus robur)
Ash
Lime
Sycamore
Horse Chestnut
Hawthorn
Beech
Evergreens
Key Features:

The park contains various woodland habitats, and also scattered trees within parkland areas.
There has been extensive tree planting over the years, to maintain and replace older trees.
The horse chestnut trees within the park create some very impressive avenue's. These trees have had problems with horse chestnut bleeding canker, and there has been work done to combat this disease.

It's important to note the presence of semi-natural oak-ash-hazel woodland, which is a valuable habitat.

The park's older trees contribute significantly to its historical landscape. Determining the single "oldest" tree can be difficult, but many mature oaks and other species are centuries old.
The park is also home to protected plant species, showing the importance of the parks biodiversity.

THE DOOR TO CHINA

A MURAL RATHER THAN A RESTAURANT

THE DOOR TO CHINA

THE DOOR TO CHINA IS A MURAL NOT A FIVE STAR RESTAURANT [ON LANE BEHIND HOUSES ON MOYNE ROAD]

It has come to my attention that some online sources incorrectly identify 81 Moyne Road, Rathmines, as the former location of a Chinese restaurant, "The Door To China," purportedly boasting a five-star rating. This is a misrepresentation. In actuality, 81 Moyne Road is a private residence. The confusion may stem from the presence of a street art mural located on a lane situated behind the property.

To clarify the nature of 81 Moyne Road, it is a Victorian home situated in a desirable residential area. Property listings describe the address as being within the "lush and leafy heartland of Dublin 6," a location noted for its proximity to both St Stephen's Green and the Beechwood Luas stop. The residence itself, having undergone a comprehensive refurbishment and extension, offers approximately 2,200 square feet of living space.

The accommodation comprises an entrance hall, drawing room, dining room, open-plan study, kitchen, and family room. The contemporary extension features floor-to-ceiling glazing, providing ample natural light and views of the rear garden. Upstairs, the home includes four bedrooms and a family bathroom. The property also benefits from a large, private, walled and fenced rear garden with a decking area.

Key features of the residence include high ceilings, sash windows, ornate plasterwork, and fireplaces, blending period charm with modern amenities such as a bespoke kitchen with granite worktops and designer appliances.

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