THE COOMBE MEMORIAL
My mother returned returned from London, where she was a ward matron and a midwife, immediately WW2 ended to work as a nurse at the Coombe Hospital but had to give up her job when she got married - a rule that made little sense.
The Coombe Memorial: A Dublin Landmark with a Rich History
Standing proudly in The Liberties area of Dublin, the Coombe Memorial is a poignant reminder of the legacy of the Coombe Lying-In Hospital, a landmark institution that played a pivotal role in maternity care in Ireland for over a century.
Today, the memorial serves as a tribute to the countless mothers who gave birth within its walls and to the dedicated staff who provided care.
History of the Coombe Hospital
The Coombe Lying-In Hospital was established in 1826, spurred by the tragic deaths of two women and their newborn baby who perished in the snow while attempting to reach the Rotunda Hospital. This incident highlighted the desperate need for maternity care accessible to the poor in the city's southside.
Led by the philanthropic Mrs. Margaret Boyle, a committee of benevolent individuals founded the hospital in the vacated building of the Meath Hospital on Meath Street. It officially opened its doors in 1829, providing vital maternity services to underprivileged women.
Over the years, the hospital expanded and evolved. It became a teaching hospital, training countless midwives and doctors, and contributing significantly to advancements in obstetrics and gynaecology. The Guinness family also became significant benefactors, financing the construction of a dispensary block.
In 1967, the hospital relocated to a modern facility in Dolphin's Barn. However, the original portico of the old building was preserved and transformed into the Coombe Memorial.
History of the Coombe Memorial
The Coombe Memorial is the surviving portico of the original Coombe Lying-In Hospital. This elegant structure, with its Doric columns and pediment, now stands as a testament to the hospital's legacy.
In addition to commemorating the hospital's history, the memorial also serves as a unique record of Dublin's social history. The rear steps of the portico are inscribed with the names of well-known street characters from 20th-century Dublin, adding an extra layer of historical significance to the site.
Financing and Maintenance
Financing: The initial construction of the Coombe Lying-In Hospital was funded through charitable donations and contributions from individuals like Mrs. Margaret Boyle. Later expansions and developments, like the dispensary block, were supported by benefactors such as the Guinness family.
Maintenance: Currently, the Coombe Memorial is maintained by Dublin City Council, ensuring its preservation as a valued historical landmark.
The Coombe Memorial stands not just as a physical reminder of a bygone era but also as a symbol of compassion, dedication, and the enduring spirit of Dublin. It's a place where visitors can reflect on the hospital's remarkable history, appreciate the contributions of its staff and benefactors, and celebrate the lives of the countless mothers and babies who passed through its doors.
The Coombe Memorial: A Dublin Landmark with a Rich History
Standing proudly in The Liberties area of Dublin, the Coombe Memorial is a poignant reminder of the legacy of the Coombe Lying-In Hospital, a landmark institution that played a pivotal role in maternity care in Ireland for over a century.
Today, the memorial serves as a tribute to the countless mothers who gave birth within its walls and to the dedicated staff who provided care.
History of the Coombe Hospital
The Coombe Lying-In Hospital was established in 1826, spurred by the tragic deaths of two women and their newborn baby who perished in the snow while attempting to reach the Rotunda Hospital. This incident highlighted the desperate need for maternity care accessible to the poor in the city's southside.
Led by the philanthropic Mrs. Margaret Boyle, a committee of benevolent individuals founded the hospital in the vacated building of the Meath Hospital on Meath Street. It officially opened its doors in 1829, providing vital maternity services to underprivileged women.
Over the years, the hospital expanded and evolved. It became a teaching hospital, training countless midwives and doctors, and contributing significantly to advancements in obstetrics and gynaecology. The Guinness family also became significant benefactors, financing the construction of a dispensary block.
In 1967, the hospital relocated to a modern facility in Dolphin's Barn. However, the original portico of the old building was preserved and transformed into the Coombe Memorial.
History of the Coombe Memorial
The Coombe Memorial is the surviving portico of the original Coombe Lying-In Hospital. This elegant structure, with its Doric columns and pediment, now stands as a testament to the hospital's legacy.
In addition to commemorating the hospital's history, the memorial also serves as a unique record of Dublin's social history. The rear steps of the portico are inscribed with the names of well-known street characters from 20th-century Dublin, adding an extra layer of historical significance to the site.
Financing and Maintenance
Financing: The initial construction of the Coombe Lying-In Hospital was funded through charitable donations and contributions from individuals like Mrs. Margaret Boyle. Later expansions and developments, like the dispensary block, were supported by benefactors such as the Guinness family.
Maintenance: Currently, the Coombe Memorial is maintained by Dublin City Council, ensuring its preservation as a valued historical landmark.
The Coombe Memorial stands not just as a physical reminder of a bygone era but also as a symbol of compassion, dedication, and the enduring spirit of Dublin. It's a place where visitors can reflect on the hospital's remarkable history, appreciate the contributions of its staff and benefactors, and celebrate the lives of the countless mothers and babies who passed through its doors.
BY NASSER AZAM
Sepian Blue by Nasser Azam - A Closer Look at the Artist and the Sculpture
The Enigmatic Sepian Blue
It's a curious fact that information about permanent public art installations at the Botanic Gardens can be so elusive. However, it's widely believed that this captivating bronze sculpture, recently relocated within the gardens, is indeed 'Sepian Blue' by Nasser Azam. Originally positioned near the main entrance, this monumental work has found a new home within the gardens' expansive grounds.
Update: A Sculpture in Context Legacy
A reliable source has confirmed that 'Sepian Blue' was initially exhibited at Sculpture in Context, Ireland's premier showcase of public sculpture, hosted annually at the Botanic Gardens. This prestigious event has unfortunately been cancelled for 2024 due to unforeseen circumstances. It's a testament to the sculpture's impact that it has been acquired as part of the Botanic Gardens' permanent collection.
Nasser Azam: An Artist's Journey
Born in Jhelum, Pakistan, in 1963, Nasser Azam relocated to London with his family at the age of seven. His artistic journey began in 1980, coinciding with his pursuit of a business degree at the University of Birmingham. Early recognition came in 1983 when he was featured in a BBC documentary.
Azam's artistic trajectory has been marked by extensive travels across Japan, America, and Europe. In 2007, he was appointed Artist-in-Residence at the County Hall Gallery in London, where he showcased a retrospective of his work. His notable 'Anatomica' series, merging imagery from fashion magazines and medical textbooks, was exhibited subsequently.
Sculpting Landmarks
Azam's sculptural achievements are equally impressive. In 2012, he unveiled 'Athena', a towering bronze sculpture standing over twelve metres tall at London City Airport. This remarkable work holds the distinction of being the tallest bronze sculpture in the United Kingdom.
His other notable sculptures include 'The Dance', a large bronze piece unveiled on London's South Bank in 2008. Azam's artistic contributions extend to the National Botanic Gardens of Ireland, where 'Sepian Blue' now resides.
Artistic Style and Legacy
Azam's semi-abstract painting style, often likened to that of Willem de Kooning, employs biomorphic forms and gestural marks to encode the human figure. His paintings typically feature a restricted palette, enhancing their evocative power.
In 2010, Azam acquired the Morris Singer Art Foundry, subsequently relaunching it as the Zahra Modern Art Foundry. This move underscores his commitment to supporting and advancing the art of sculpture.
SCULPTURE OF A SWAN
There is a sculpture of a Swan – Cosantóir (protector) at the entrance to the Liffey Linear Park in Newbridge.
Name of artist: Annette McCormack
Name of artwork: ‘Cosantoir’ - Protector
Year of installation: 2010
Medium: Bronze
Location: ‘The Strand’ park, Newbridge
Artist's Background: Annette McCormack is an Irish sculptor known for her figurative works in bronze. Her pieces often explore themes of nature, mythology, and the human condition. She has exhibited widely in Ireland and internationally.
Artwork Description: "Cosantoir," meaning "Protector" in Irish, is a bronze sculpture of a swan.
It's a life-size representation, capturing the bird's graceful form and powerful presence. The swan is depicted with its wings slightly raised, conveying a sense of both protection and vigilance.
Location and Significance: The sculpture is located in The Strand park, Newbridge, which is part of the Liffey Linear Park. The swan is a fitting symbol for this location, as the River Liffey is home to a variety of birdlife, including swans. The artwork adds a touch of beauty and meaning to the park, inviting visitors to appreciate the natural world and the importance of conservation.
LUKE KELLY STATUE
The Luke Kelly statue at Guild Street, located in Dublin's north inner city, has faced challenges since its unveiling in 2019. The bronze sculpture, created by artist Vera Klute, honours the renowned Irish folk singer and member of The Dubliners.
While the statue was previously targeted by vandals on multiple occasions, these incidents have not been reported recently. Notably, in 2020, a man was sentenced for throwing paint on the statue. Despite these past challenges, the statue remains a significant tribute to Luke Kelly and his contribution to Irish music.
Nearby, the old lifting bridge, the Sheriff Street Lifting Bridge, stands as a testament to Dublin's industrial past. Once a crucial part of the city's infrastructure, it facilitated the movement of barges and other vessels along the Royal Canal, while also accommodating road traffic. Although no longer operational, the bridge remains a recognisable feature of the landscape, reminding us of the area's rich industrial and maritime history.
While the statue was previously targeted by vandals on multiple occasions, these incidents have not been reported recently. Notably, in 2020, a man was sentenced for throwing paint on the statue. Despite these past challenges, the statue remains a significant tribute to Luke Kelly and his contribution to Irish music.
Nearby, the old lifting bridge, the Sheriff Street Lifting Bridge, stands as a testament to Dublin's industrial past. Once a crucial part of the city's infrastructure, it facilitated the movement of barges and other vessels along the Royal Canal, while also accommodating road traffic. Although no longer operational, the bridge remains a recognisable feature of the landscape, reminding us of the area's rich industrial and maritime history.
BRONZE COW
The bronze cow sculpture, aptly titled "Ag Crú na Gréine" or "Enjoying the Sun," was indeed a beloved feature of Wolfe Tone Park in Dublin. Crafted by Jackie McKenna, the life-sized cow was particularly popular with children who would often climb and play on it.
The relocation of the sculpture to Wood Quay in 2020 was intended to be temporary, while Wolfe Tone Park underwent a significant redevelopment project. However, years later, the cow remains at Wood Quay, tucked away and out of sight. This has caused disappointment among many locals, especially those with young children who fondly remember the cow as a part of their childhood experiences in the park.
The redevelopment of Wolfe Tone Park, which was completed in two phases between 2020 and 2023, has transformed the space significantly.
In 2016, the park was a simple green space with some mature trees and a central lawn. Today, it boasts a more structured design with a new feature lawn, additional seating areas, and improved lighting. Notably, despite earlier plans, the redevelopment did not include a playground, which has been a point of contention for some, especially families with young children. The historical significance of the park as a former graveyard is also more prominently acknowledged, with information panels and a respectful layout.
Public opinion on the redevelopment is divided. Many welcome the upgraded facilities and the more polished appearance of the park. However, others lament the loss of the park's former simplicity and the removal of some of the mature trees. The absence of the bronze cow and the lack of a playground are also common complaints, with many feeling that these elements added a unique and playful dimension to the park that is now missing.
In conclusion, the bronze cow sculpture holds a special place in the hearts of many Dubliners. Its continued absence from Wolfe Tone Park, along with the lack of a playground, is a source of disappointment for some, who feel that their return would restore beloved pieces of the park's identity. While the park's redevelopment has undoubtedly brought improvements, the loss of these elements serves as a reminder of the delicate balance between modernisation and the preservation of cherished features in public spaces.
The relocation of the sculpture to Wood Quay in 2020 was intended to be temporary, while Wolfe Tone Park underwent a significant redevelopment project. However, years later, the cow remains at Wood Quay, tucked away and out of sight. This has caused disappointment among many locals, especially those with young children who fondly remember the cow as a part of their childhood experiences in the park.
The redevelopment of Wolfe Tone Park, which was completed in two phases between 2020 and 2023, has transformed the space significantly.
In 2016, the park was a simple green space with some mature trees and a central lawn. Today, it boasts a more structured design with a new feature lawn, additional seating areas, and improved lighting. Notably, despite earlier plans, the redevelopment did not include a playground, which has been a point of contention for some, especially families with young children. The historical significance of the park as a former graveyard is also more prominently acknowledged, with information panels and a respectful layout.
Public opinion on the redevelopment is divided. Many welcome the upgraded facilities and the more polished appearance of the park. However, others lament the loss of the park's former simplicity and the removal of some of the mature trees. The absence of the bronze cow and the lack of a playground are also common complaints, with many feeling that these elements added a unique and playful dimension to the park that is now missing.
In conclusion, the bronze cow sculpture holds a special place in the hearts of many Dubliners. Its continued absence from Wolfe Tone Park, along with the lack of a playground, is a source of disappointment for some, who feel that their return would restore beloved pieces of the park's identity. While the park's redevelopment has undoubtedly brought improvements, the loss of these elements serves as a reminder of the delicate balance between modernisation and the preservation of cherished features in public spaces.
Apples And Atoms
Apples and Atoms, a sculpture by Eilis O'Connell, is a notable piece of public art on the Trinity College Dublin campus. Installed in 2017, it stands as a tribute to Ernest Walton, the renowned Irish physicist and Nobel laureate.
The sculpture is a dynamic and intriguing representation of Walton's groundbreaking work in splitting the atom. It features two large, polished bronze spheres interconnected by a network of smaller spheres and rods. The larger spheres symbolise the atom, while the smaller ones represent the subatomic particles released upon splitting. The arrangement of the spheres and rods suggests the complex and interconnected nature of the universe, while the reflective surfaces create a sense of movement and energy.
O'Connell's choice of materials and form is deliberate. The bronze, a traditional material used in sculpture, evokes a sense of permanence and significance, befitting a tribute to a scientific pioneer. The smooth, polished surfaces of the spheres contrast with the rough texture of the rods, creating a visual and tactile tension that mirrors the forces at play within the atom.
The sculpture's location on the Trinity campus is also significant. It stands near the Fitzgerald Building, which houses the School of Physics, where Walton conducted his groundbreaking research. This proximity reinforces the connection between the sculpture and Walton's legacy, inviting viewers to reflect on the profound impact of his discoveries.
Apples and Atoms is not merely a static monument; it is an interactive piece of art. Viewers are encouraged to touch and explore the sculpture, experiencing its tactile qualities and engaging with its intricate structure. This tactile engagement fosters a deeper understanding of the scientific principles that the sculpture represents.
O'Connell's sculpture has been well-received by the Trinity community and the wider public. It has become a popular meeting spot and a landmark on campus, sparking conversations about science, art, and the interconnectedness of knowledge. Apples and Atoms stands as a testament to Ernest Walton's enduring legacy and the power of art to inspire and illuminate.
The sculpture is a dynamic and intriguing representation of Walton's groundbreaking work in splitting the atom. It features two large, polished bronze spheres interconnected by a network of smaller spheres and rods. The larger spheres symbolise the atom, while the smaller ones represent the subatomic particles released upon splitting. The arrangement of the spheres and rods suggests the complex and interconnected nature of the universe, while the reflective surfaces create a sense of movement and energy.
O'Connell's choice of materials and form is deliberate. The bronze, a traditional material used in sculpture, evokes a sense of permanence and significance, befitting a tribute to a scientific pioneer. The smooth, polished surfaces of the spheres contrast with the rough texture of the rods, creating a visual and tactile tension that mirrors the forces at play within the atom.
The sculpture's location on the Trinity campus is also significant. It stands near the Fitzgerald Building, which houses the School of Physics, where Walton conducted his groundbreaking research. This proximity reinforces the connection between the sculpture and Walton's legacy, inviting viewers to reflect on the profound impact of his discoveries.
Apples and Atoms is not merely a static monument; it is an interactive piece of art. Viewers are encouraged to touch and explore the sculpture, experiencing its tactile qualities and engaging with its intricate structure. This tactile engagement fosters a deeper understanding of the scientific principles that the sculpture represents.
O'Connell's sculpture has been well-received by the Trinity community and the wider public. It has become a popular meeting spot and a landmark on campus, sparking conversations about science, art, and the interconnectedness of knowledge. Apples and Atoms stands as a testament to Ernest Walton's enduring legacy and the power of art to inspire and illuminate.
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