THE STORY OF TWO PUBS
THE BLACK CAT AND DAVID CAMPION'S PUB AND NEARBY [BLACK MILLS STREET IN KILKENNY]
This is a area that I have yet to explore in detail and maybe I will do so when I visit the city in March 2025.
The Demise of Two Kilkenny Pubs: The Black Cat and David Campion's
Black Mill Street in Kilkenny City has recently witnessed the closure of two of its public houses: The Black Cat and David Campion's. While Campion's is currently on the market, The Black Cat is slated for demolition to make way for 23 new dwelling units, including a mix of houses, apartments, and duplex units. This blog post delves into the history of these establishments, explores the possible reasons for their closure, and examines the unique character of Black Mill Street and its surroundings.
Black Mill Street: A Glimpse into Kilkenny's Past
Black Mill Street, situated in the heart of Kilkenny's medieval quarter, offers a glimpse into the city's rich past. Located within 750m of Kilkenny's bustling High Street it is characterised by its narrow streetscapes and historic buildings, bearing witness to centuries of change and development. One notable structure on Black Mill Street is number 11, an architecturally significant building dating back to the late 19th century. The street's name likely originates from a watermill that once harnessed the power of the nearby River Nore.
The Black Abbey and Abbey Square: A Historical Tapestry
Just off Black Mill Street lies an area steeped in history, with the Black Abbey and Abbey Square standing as testaments to Kilkenny's enduring heritage. The Black Abbey, a Dominican priory founded in 1225 by William Marshal the Younger is dedicated to the Holy and Undivided Trinity. Its name, derived from the black cloaks worn by the Dominican friars evokes a sense of mystery and solemnity. The abbey played a significant role in Kilkenny's civic and religious life for centuries even enduring the devastating impact of the Black Death in 1349. Its most striking feature is the magnificent five-light window in the south gable of the fourteenth-century transept, the largest of its kind in Ireland.
Adjacent to the Black Abbey, Abbey Square holds its own historical significance. Originally home to St. Francis Abbey, a Franciscan monastery established in the 13th century, the area later housed the Smithwick's Brewery for 300 years. Today, Abbey Square is undergoing a transformation into a vibrant urban quarter, blending modern development with Kilkenny's medieval core. This redevelopment, which includes investment in high-quality public realm by Kilkenny County Council promises to breathe new life into this historic area.
The River Nore: Kilkenny's Liquid Lifeline
Flowing through Kilkenny City, the River Nore is a defining feature of the landscape. This 140-kilometer-long river, draining approximately 2,530 square kilometres has played a vital role in the city's history, providing a source of power for mills and facilitating trade and transportation. The Nore also enhances the aesthetic appeal of the area, offering scenic walks and picturesque views. Along its banks, one can find contemporary landmarks like "Adam's Virtual Hug," a sculpture that symbolises connection and hope.
The Closure of The Black Cat and David Campion's: Unravelling the Reasons
The closure of The Black Cat and David Campion's Pub raises questions about the challenges faced by publicans in Kilkenny and beyond. While definitive answers may remain elusive, several factors likely contributed to their demise.
Location-Specific Issues
While Black Mill Street enjoys a prime location in Kilkenny's medieval quarter, certain aspects of the area might have presented challenges for these pubs. The street's narrowness and limited parking could have deterred some customers. Additionally, the proximity to the River Nore, while offering scenic beauty, also carries the risk of flooding, which could have impacted business operations.
The Decline of Pubs in Kilkenny and Ireland
The closure of The Black Cat and David Campion's is not an isolated incident. Kilkenny has seen a significant decline in the number of pubs in recent years. Since 2005, the county has lost 41 pubs, representing an 18.1% decrease. This trend is mirrored across Ireland, with over 2,000 pubs closing since 2005, an average of 114 per year. This decline has accelerated since 2019, with an average of 152 pubs closing annually. The COVID-19 pandemic has also had a significant impact, contributing to the closure of 574 pubs since 2005. In contrast, Dublin has been the least impacted, with a decrease of just 2.8%.
History and Stories: The Black Cat and David Campion's
While specific historical information about The Black Cat and David Campion's Pub is limited, some details have been uncovered, offering a glimpse into their past.
The Black Cat
The Black Cat operated as a licensed premises and service station since 1972. It was located on the corner of Dominic Street and Blackmill Street, overlooking the Waterbarrack. Local historical records provide limited information about The Black Cat, but it is remembered as a familiar presence in the community. Nicholas Cleere, a dedicated family man and owner of The Black Cat, sadly passed away suddenly at the age of 70. A greyhound enthusiast, he celebrated a notable victory on his local track, winning the prestigious McCalmont Cup in 2002. Mr. Cleere also took great pride in the appearance of his establishment, earning Tidy Towns awards for best shop front presentation on two occasions.
David Campion's
David Campion's was a family-run neighbourhood pub that traded until 2018. The pub was run by Davy Campion and his wife Phil, who was known for her warm hospitality and remarkable ability to remember every customer's name. After Davy's passing, their sons and daughters continued to operate the pub. The building itself is a three-storey detached premises with an extensive yard. It is currently on the market for €395,000 and can be sold with or without the 7-day publican's licence. Despite its long history in the city, details about David Campion's pub remain scarce, but its legacy as a family-run establishment endures.
Interesting Facts and Anecdotes: Black Mill Street and its Environs
Black Mill Street and its surrounding area are steeped in history and folklore, with tales and anecdotes woven into the fabric of its existence.
One notable figure with a connection to Black Mill Street is James Stephens, the founder of the Irish Republican Brotherhood, who was born on the street in 1825. Stephens, a key figure in Irish history, dedicated his life to the pursuit of Irish independence.
Kilkenny itself holds a unique place in Irish history as the site of the country's only witch trials in 1324. Dame Alice Kyteler, a woman of wealth and influence, was accused of using poison and sorcery against her four husbands, sparking a scandal that captivated the city.
Another intriguing historical footnote is the Statutes of Kilkenny, a set of laws passed in 1367 aimed at curbing the assimilation of English settlers into Irish culture. These laws, with their curious prohibitions against intermarriage, speaking the Irish language, and even riding a horse without a saddle, offer a glimpse into the social and political tensions of the time.
Even remnants of Dublin's history have found their way to Kilkenny. In the Butler House gardens, one can find fragments of Nelson's Pillar, which was blown up in 1966. These remnants serve as a tangible link to a pivotal moment in Irish history.
These stories and anecdotes, passed down through generations, add to the rich tapestry of Black Mill Street and its surroundings, making it a place where the past and present intertwine.
Conclusion: The Changing Face of Kilkenny's Pub Scene
The closure of The Black Cat and David Campion's Pub reflects the broader challenges facing the Irish pub industry. The decline in pub numbers across the country, particularly in rural areas like Kilkenny, is a cause for concern. This trend, driven by changing demographics, economic pressures, and evolving drinking habits, has far-reaching implications for the social and cultural fabric of communities.
The loss of these pubs represents more than just the closure of businesses; it signifies the potential loss of vital social spaces and community hubs. Pubs often serve as gathering places, fostering a sense of belonging and camaraderie among locals. Their closure can lead to social fragmentation and a decline in community spirit. Furthermore, the economic consequences can be significant, with job losses and a reduction in local spending.
However, amidst these challenges, there is hope for revitalisation. Kilkenny's rich heritage, with its historic streets, iconic landmarks like the Black Abbey, and connections to figures like James Stephens, offers a unique appeal for tourists and locals alike. The redevelopment of areas like Abbey Square, with its blend of modern development and historical preservation, can attract new businesses and a diverse clientele, potentially breathing new life into the pub scene.
The closure of The Black Cat and David Campion's serves as a reminder of the need for adaptability and innovation in the pub industry. Publicans must respond to changing consumer preferences, embrace new technologies, and create welcoming and inclusive environments to ensure their sustainability. By learning from the past and embracing the future, Kilkenny's pub scene can thrive once again, contributing to the vibrancy and vitality of the city.
LADY DESART BRIDGE
THE LADY DESART PEDESTRIAN AND CYCLE BRIDGE [ACROSS THE RIVER NORE IN THE CITY OF KILKENNY]
Lady Desart and Her Enduring Legacy in Kilkenny
Ellen Odette Cuffe, Lady Desart, was more than just a woman of considerable wealth; she was a driving force in Kilkenny's history, leaving an enduring legacy of philanthropy and social reform. Born in London in 1857 to a prominent Jewish banking family, she married William Cuffe, the 4th Earl of Desart, in 1881. While not a native of Ireland, she became an integral part of the Kilkenny community, devoting her life to improving the lives of its citizens, especially after her husband's death in 1898.
Lady Desart's Importance in Kilkenny and Beyond
Lady Desart's influence transcended her philanthropic activities. She was a woman of significant social standing, admired for her dedication to public service and her passion for Irish culture. She served as President of the Gaelic League's Women's Committee from 1908 to 1933, playing a pivotal role in the rescue of an estimated 300,000 women and children. Remarkably, she was also one of the first women to serve in the Irish Senate, appointed in 1922, where she remained for 12 years until her passing. It is a curious fact that despite her own political achievements, she initially opposed women's suffrage, believing women should not compete with men in work or public life. This contradiction perhaps reflects the complexities of her time and her evolving views on women's roles in society.
Her dedication to the Irish language was particularly striking. She drew a compelling parallel between the Jewish revival of Hebrew and the Gaelic League's endeavors, actively championing the revitalization of the Irish language. This connection between her Jewish heritage and her support for Irish cultural identity underscores her deep appreciation for cultural preservation and national pride. In recognition of her tireless work in Kilkenny, she was granted the Freedom of the City in 1910, a rare and prestigious honour for a woman in that era.
Lady Desart's contributions to Kilkenny were extensive and diverse. She established vital institutions, supported local industries, and championed social causes. The following table provides a glimpse into the breadth of her endeavors:
Kilkenny Library: Donated the land, purchased for £600, and funded the furnishing of the Carnegie Library, which she officially opened on November 3rd, 1910 with a silver key supplied by P.T. Murphy, Jeweller.
Aut Even Hospital: Established Aut Even Hospital, providing essential medical care to the community.
The Woollen Mills: Restored and rebuilt a derelict woollen mill at Talbot's Inch, creating employment opportunities.
Kilkenny Woodworkers: Supported the Kilkenny Woodworkers, a group of skilled craftsmen inspired by the Arts and Crafts movement, who contributed to the city's architectural heritage.
Tobacco Growers Association: Backed the Tobacco Growers Association, demonstrating her commitment to diverse economic initiatives.
Talbots Inch Village: Developed a model village for mill workers, providing housing, a school, a recreation hall, and a dental surgery.
Irish Dairy Shorthorn Breeders' Association: Served as president of this association and presented the Desart cup for annual competitions.
Rescuing Jewish Children: Played a role in rescuing Jewish children from Nazi Germany in the 1930s.
Beyond these notable contributions, Lady Desart left a lasting impact through her generous philanthropy. Upon her death, her will revealed a bequest of £1,500,000, all of which was donated to various charities she supported throughout her life.
The Fate of Lady Desart and Her Family
Lady Desart's marriage to William Cuffe did not result in any children. When William died prematurely in 1898 at the age of 53, she initially sought solace with her family in Ascot, Berkshire. However, the death of her brother-in-law, Otway Cuffe, drew her back to Kilkenny, where she continued his work in the community.
The Desart family line continued through William's brother, Hamilton Cuffe, the 5th Earl of Desart. Hamilton and his wife, Lady Margaret Joan Lascelles, had two daughters, Lady Joan Elizabeth Cuffe and Lady Sybil Marjorie Cuffe. Tragedy struck the family when Desart Court was burned down. Hamilton, overwhelmed by the loss and lacking the resources to rebuild, handed the estate over to his niece, Lady Kathleen Pilkington. With the help of architect Richard Orpen and the building company McLaughlin & Harvey, Lady Kathleen restored the property, reopening it in 1926.
Lady Desart's Burial Place
Lady Desart passed away in Dublin on June 29, 1933, at the age of 75. She was laid to rest beside her husband in Falmouth Cemetery, Cornwall, England. Their shared tombstone is inscribed with a poignant testament to their enduring bond: "They were together in their lives, and in their deaths they shall not be divided." Her grave can be found in Section E, Row B, Grave 2 of the cemetery.
The Lady Desart Pedestrian and Cycle Bridge
The Lady Desart Pedestrian and Cycle Bridge stands as a modern-day testament to Lady Desart's enduring legacy in Kilkenny. This 130-foot long structure, gracefully spanning the River Nore from Bateman Quay to John's Quay, was officially opened on January 30th, 2014. It is the first bridge to be built in the city in over 30 years. Constructed at a cost of €600,000, the bridge not only provides convenient access to the city's main shopping area but also encourages residents and visitors to embrace walking and cycling as sustainable modes of transport. It is a fitting tribute to a woman who dedicated her life to improving Kilkenny, connecting the city's past and present while promoting a sustainable future.
Reasons for the Bridge's Installation
The construction of the Lady Desart Pedestrian and Cycle Bridge was motivated by a desire to enhance accessibility and connectivity within the city. It provides a safe and convenient route for pedestrians and cyclists, promoting a healthier and more environmentally friendly way to navigate Kilkenny. The bridge aligns with the Irish government's "Smarter Travel" initiative, which aims to reduce traffic congestion and encourage sustainable transportation options. Furthermore, the project demonstrated a commitment to environmental responsibility, with careful consideration given to the sensitive ecosystem of the River Nore during its construction.
Interestingly, the opening ceremony of the bridge was not without incident. A group of protestors gathered, not to oppose the bridge itself, but to voice their concerns about the proposed Central Access Scheme, which involved the construction of a larger road bridge nearby.
Historical Flooding and the Earlier Bridge
The Lady Desart Pedestrian and Cycle Bridge replaced an earlier suspension bridge built by Lady Desart in 1912. This original bridge was constructed to ensure the safe passage of workers across the River Nore from their homes in Talbot's Inch village to the Greenvale Woollen Mills on the opposite bank. Sadly, this bridge, a symbol of Lady Desart's commitment to the well-being of her workers, was destroyed by the Great Flood of 1947. This devastating flood, a consequence of rapidly melting snow after weeks of heavy snowfall, wreaked havoc on Kilkenny. The collapse of the bridge was attributed not only to the force of the floodwaters, which carried a large uprooted tree downstream, but also to the lack of maintenance on the structure following Lady Desart's death.
Flooding has been a recurring challenge for Kilkenny throughout its history. In 1926, the city experienced another calamitous flood, the worst in living memory at the time. Even further back, in 1763, a great flood swept away John's Bridge and Greensbridge, causing widespread damage and disruption. These events highlight the vulnerability of the area to the forces of nature.
Today, remnants of Lady Desart's original bridge can still be seen along the River Nore Linear Park. Maintenance work has exposed the concrete ramp leading up to the bridge, the steel column supports, and the suspension cables. To commemorate this piece of history, Canice Architects designed an interpretation panel featuring a brief history of the bridge, an etching of the old structure, and a mark indicating the water level reached during the 1947 flood.
For many years, the people of Kilkenny relied on the expertise of engineer Harry Shine to predict floods. Using a series of gauges upstream, he accurately forecasted flood events, giving residents valuable time to prepare and evacuate. In recent times, a new flood relief scheme has been implemented, offering a more permanent solution to this age-old problem.
Conclusion:
Lady Desart's legacy in Kilkenny is both profound and multifaceted. She was a philanthropist, a social activist, a businesswoman, and a politician. Her contributions were not isolated acts of charity but rather interconnected expressions of her deep commitment to the well-being of the Kilkenny community. She established essential institutions, fostered economic growth, championed Irish culture, and advocated for social justice. The Lady Desart Pedestrian and Cycle Bridge, a modern structure built upon the foundations of her earlier endeavours, serves as a powerful symbol of her enduring impact. It connects the city's past and present, reminding us that the actions of individuals can shape communities and leave a lasting legacy for generations to come. Her story continues to inspire, demonstrating the transformative power of vision, dedication, and a genuine desire to make a difference in the world.
SAINT KIERAN'S CEMETERY
ST KIERAN'S CEMETERY HEBRON ROAD IN KILKENNY [2017 LEGACY PHOTO COLLECTION]
St Kieran's Cemetery: A History
St Kieran's Cemetery, on Hebron Road in Kilkenny, is a significant landmark that reflects the city's evolving relationship with death and remembrance. While the cemetery was officially consecrated on 27 June 1931, the need for a new public burial ground in Kilkenny was first recognised as far back as 1875. This realisation stemmed from growing concerns about overcrowding and public health in the city's older graveyards. In 1907, a sworn inquiry was conducted to assess the condition of these burial grounds, revealing a dire situation with overcrowded plots and frequent disturbances of human remains during new interments. These concerns ultimately led to the establishment of St Kieran's Cemetery, which likely opened for burials soon after its consecration in June 1931.
Management and Regulations
Kilkenny County Council plays a crucial role in the administration and upkeep of St Kieran's Cemetery. City Hall on High Street oversees the cemetery's daily operations, ensuring its smooth functioning and adherence to established regulations. The Council maintains comprehensive records of all burial plots and interments, which are valuable resources for genealogical research and historical inquiries.
To ensure the respectful and orderly management of the cemetery, the Council has implemented a set of bye-laws that cover various aspects of its operation, including the purchase of grave spaces, the erection of headstones, and permissible activities within the cemetery grounds. These regulations provide a framework for maintaining the sanctity and serenity of this important community space.
In recent years, cremation has become an increasingly popular choice in Ireland, and St Kieran's Cemetery has adapted to accommodate this trend by incorporating a columbarium wall. This wall provides a dedicated space for the interment of ashes, offering an alternative to traditional burial practices and reflecting the changing landscape of funeral customs.
Notable Burials and Historical Figures
While St Kieran's Cemetery may not boast the same historical depth as some of Kilkenny's older burial grounds, it serves as the final resting place for many of the city's citizens. Research was conducted to identify any prominent individuals buried at St Kieran's, but unfortunately, the available historical records do not provide specific details about notable burials or historical figures interred within the cemetery. Further investigation into local archives and genealogical resources may uncover more information about those laid to rest in this hallowed ground.
Stories and News Reports
St Kieran's Cemetery has been featured in recent news reports, primarily concerning issues of anti-social behaviour and drug dealing within the cemetery grounds. These reports highlight concerns raised by community members and local representatives about the safety and security of the cemetery, prompting calls for increased security measures and community engagement to address these challenges.
The Mystery of the Low Walls
One of the most distinctive features of St Kieran's Cemetery is the low height of its surrounding walls, which stand at approximately waist height. This design choice, coupled with the apparent lack of stringent security measures, raises questions about the cemetery's vulnerability to vandalism and other disturbances. The reasons behind this architectural decision remain unclear from the available historical records. It is possible that the low walls were a deliberate attempt to create a more open and accessible space, fostering a sense of community and connection with the deceased. Alternatively, this design may reflect historical factors, budgetary constraints, or prevailing architectural trends at the time of the cemetery's construction. However, it is important to acknowledge that the accessibility afforded by the low walls may be a contributing factor to the reported issues of drug dealing and anti-social behaviour.
St Kieran and Kilkenny
St Kieran, the patron saint of the Diocese of Ossory, which encompasses Kilkenny, holds a significant place in the city's religious and cultural heritage. While his most renowned monastic site is located in Seir Kieran, County Offaly, it is believed that his original foundation may have been in Saighir. St Kieran's influence extended throughout the region, leaving an enduring legacy in Kilkenny.
St Kieran's College, a prestigious Catholic secondary school in Kilkenny City, stands as a testament to the saint's enduring presence. The college, named in his honour, has been a cornerstone of Kilkenny's educational landscape for centuries. Its motto, "Hiems Transiit" ("Winter has passed"), symbolises St Kieran's association with the arrival of spring and the promise of new beginnings.
The Origins of Hebron Road
The name "Hebron Road" has intriguing biblical roots, referencing the ancient city of Hebron in the Middle East. In the Bible, Hebron is closely associated with Abraham, a revered figure in Judaism, Christianity, and Islam. The Hebrew word for Hebron is derived from the word for "friend," signifying Abraham's profound connection with God. However, the historical records do not reveal how this name came to be adopted for a road in Kilkenny. Further research into local history and street naming conventions may shed light on this fascinating link.
THOMAS DRUMMOND MEMORIAL
THOMAS DRUMMOND MEMORIAL AT MOUNT JEROME CEMETERY [A LIFE OF SERVICE AND INNOVATION]
Thomas Drummond (1797-1840) was a Scottish-born officer, civil engineer, and public servant who made significant contributions to both engineering and Irish history. He is best known for his invention of the Drummond Light, a powerful limelight used in surveying, and for his impactful tenure as Under-Secretary for Ireland. This article delves into Drummond's life, explores his family history, and examines his lasting legacy within the context of Irish history.
The Thomas Drummond Monument in Mount Jerome Cemetery
Drummond's final resting place is in Mount Jerome Cemetery in Dublin. His dying wish was to be buried in Ireland, "the land of my adoption," a testament to his deep affection for the country he served. His grave is marked by an impressive monument, constructed of granite with a marble book atop a granite vault, situated prominently on the East Walk. This monument stands as a lasting tribute to Drummond's enduring impact on Ireland.
Early Life and Career
Born in Edinburgh in 1797, Drummond showed an early inclination towards mathematics. He received his early education at Musselburgh grammar school, then through private tutoring and at a small Edinburgh school. He continued his studies at Edinburgh High School and later at the University of Edinburgh, demonstrating a natural talent for the subject. In 1813, he enrolled at the Royal Military Academy at Woolwich and joined the Royal Engineers in 1815, where he quickly earned a reputation as a skilled surveyor. During this early part of his career, he was involved in public works in Edinburgh and participated in the trigonometrical survey of Great Britain and Ireland.
In the early 1820s, Drummond was assigned to a survey of the Scottish Highlands, a challenging project that further developed his surveying expertise. It was during this time that he began experimenting with limelight, having learned about its discovery through lectures by Sir Michael Faraday. This early work laid the foundation for his later invention of the Drummond Light.
While working on the boundary commission to redraw parliamentary boundaries for the Reform Act of 1832, Drummond's skills and growing reputation brought him to the attention of Lord Brougham. He gave a private demonstration of his light to the Lord Chancellor, and this connection led to further opportunities. In 1831, he even dined with the King at the Royal Palace in Brighton, a sign of his increasing recognition in society. He was subsequently appointed to head the boundary commission, where he worked with Lord Althorp, the chancellor of the exchequer, and eventually became his private secretary in 1833.
The Drummond Light and the Ordnance Survey of Ireland
In 1824, Drummond joined the Ordnance Survey of Ireland, where he continued to refine and utilise the Drummond Light. This innovative device, created by directing an oxyhydrogen flame at a block of lime, produced an intensely bright light source. It proved invaluable for surveying, enabling accurate measurements over long distances, even in challenging conditions and at night. Drummond reported that the light could be seen from 68 miles away and cast a strong shadow at a distance of 13 miles. While he did not invent limelight itself, he was the first to recognise and harness its potential for surveying and cartography.
During his time with the Ordnance Survey, Drummond also collaborated with Colonel Thomas Frederick Colby to produce self-compensating measuring bars, further enhancing the accuracy of their surveying work. He had aspirations to adapt his limelight for use in lighthouses, but the high cost proved to be a barrier.
Under-Secretary for Ireland: A Legacy of Reform
Drummond's most significant contribution to Irish history came during his tenure as Under-Secretary for Ireland from 1835 to 1840. This position placed him at the centre of the British administration in Dublin Castle, where he was responsible for the day-to-day operations of the government. He was widely respected for his impartiality and his dedication to improving the lives of the Irish people.
Before assuming the role of Under-Secretary, Drummond had temporarily left Ireland prior to the Reform Act 1832. Upon his return, he brought with him a wealth of experience and a commitment to reform that would shape his approach to governance.
One of Drummond's key achievements was the establishment of the Royal Irish Constabulary (RIC) in 1836. This professional police force replaced the existing system of local watchmen, which was often inefficient, partisan, and corrupt. Prior to establishing the RIC, Drummond had already taken steps to improve the Dublin police force, replacing 400 watchmen with 1,000 more capable constables. He firmly believed that peace in Ireland could be best achieved by trusting and fairly treating the Irish people, a radical notion at the time. The RIC, composed primarily of Catholic peasants, proved to be a more effective and impartial force, contributing to a period of relative stability.
Drummond also advocated for land reform and challenged the prevailing view that property rights were absolute. In a now-famous letter to Tipperary magistrates in 1838, he asserted that "property has its duties as well as its rights". This statement, which sparked public controversy and debate, argued that landlords had a responsibility to their tenants and should not use their power to unjustly evict them. This stance, while controversial, reflected Drummond's commitment to social justice and his belief in fair treatment for all.
In 1839, Drummond further demonstrated his commitment to Ireland by defending the government's Irish policy before a select committee of the House of Lords. This appearance highlighted his deep involvement in the political landscape of the time and his dedication to promoting policies that would benefit the Irish people.
Drummond's tireless work ethic and dedication to reform took a toll on his health. He died prematurely in 1840 at the age of 42, likely due to overwork and stress. His death was deeply mourned by many in Ireland, with Daniel O'Connell, a prominent Irish nationalist leader, serving as chief mourner at his funeral. A statue in his honour, sculpted by John Hogan, was erected in Dublin's City Hall in 1843 as a lasting tribute to his contributions.
Drummond's Family and Legacy
Drummond's parents, James Drummond and Elizabeth Somers, had connections to the Scottish literary world. His father was a member of the Society of Writers to the Signet, a prestigious legal society in Scotland, and his mother was the daughter of Whig writer James Somers. Thomas was the third of four children, with two brothers and a sister. His father died in 1800, leaving the family in considerable debt, which forced his mother to sell their estates and move the family first to Preston and then to Musselburgh.
In 1835, shortly before assuming the role of Under-Secretary for Ireland, Drummond married Maria Kinnaird, a wealthy heiress and the adopted daughter of critic Richard "Conversation" Sharp. Maria was described as an "accomplished, attractive, and intelligent woman" who actively supported her husband's work. Together, they had three daughters: Emily, Mary, and Fanny.
Unfortunately, the research material provides limited information about the lives of Drummond's wife and daughters after his death. Further investigation into genealogical records or historical archives might reveal more information about their marriages, families, and any notable achievements.
Drummond's family history can be traced back to the Lundin family, who descended from Thomas de Lundin, a natural son of King William the Lion. His paternal grandparents were Robert Lundin and Anne Inglis, daughter of Sir James Inglis of Cramond.
Conclusion
Thomas Drummond's life was one of remarkable achievement and unwavering dedication to public service. From his early days as a skilled surveyor, he honed his talents and developed innovative solutions to the challenges he faced. His invention of the Drummond Light revolutionised surveying techniques, enabling more accurate mapping and contributing to advancements in cartography.
Drummond's legacy, however, extends far beyond his engineering achievements. His time as Under-Secretary for Ireland cemented his place in Irish history as a champion of fairness, justice, and reform. He challenged established norms, advocated for the rights of the Irish people, and implemented policies that aimed to create a more just and equitable society. His establishment of the Royal Irish Constabulary, a professional and impartial police force, marked a significant step towards greater stability and security in Ireland.
While the available research offers limited insight into the fate of his family after his death, their story remains an important area for further investigation. Uncovering more details about the lives of his wife and daughters would provide a more complete picture of this remarkable man and his lasting impact on those around him.
Drummond's papers are located in the National Library of Ireland. For those interested in learning more about his life and work, historical accounts and biographies provide valuable insights. John F. M'Lennan's "Memoir of Thomas Drummond R.E., F.R.A.S." (1867) and the entry in the Dictionary of National Biography offer detailed accounts of his life and career.
HENRY ROE FAMILY VAULT
THE FAMILY VAULT OF HENRY ROE [I SUSPECT THAT HENRY ROE MAY NOT HAVE BEEN BURIED HERE]
The Rise and Fall of Roe Whiskey: A Dublin Dynasty
Mount Jerome Cemetery in Dublin, Ireland, is the final resting place for many prominent figures, including members of the Roe family, famous for their once-thriving whiskey distillery. A family vault in Mount Jerome bears the inscription "The family Vault of | HENRY ROE D.L | Mount Anville Park, Dundrum, Co Dublin". However, records from the cemetery office indicate that only "Baby CATHERINE ROE Died 1859" and "Baby HENRY ROE Died 1860" are interred there. This, coupled with the fact that Henry Roe died in England in 1893, suggests that he may not be buried in the family vault as the inscription implies. This intriguing detail serves as an entry point into the fascinating history of Roe Whiskey, a brand that experienced a meteoric rise, a dramatic fall, and an eventual revival in the modern era.
The Rise of Roe Whiskey
The story of Roe Whiskey begins in 1757 with Peter Roe, who established a small distillery on Thomas Street in Dublin. This distillery, powered by the largest smock windmill in Europe at the time, marked the beginning of a whiskey dynasty. In 1766, Richard Roe took over the Thomas Street Distillery, and in 1784, Nicholas Roe founded a separate distillery on Pimlico Street. This demonstrates the deep roots the Roe family had in the Irish whiskey industry. The windmill tower, now known as St. Patrick's Tower, still stands today as a testament to the distillery's early beginnings.
In 1832, George Roe took over the distillery and expanded it into a massive complex, covering 17 acres. Under his leadership, George Roe & Co. became one of the largest and most successful distilleries in Ireland, producing two million gallons of whiskey annually by 1887. The company's success contributed significantly to the golden era of Irish whiskey in the 19th century.
Upon George Roe's death in 1863, his nephew, Henry Roe, inherited the distillery. Henry continued to expand the business, further solidifying Roe & Co.'s position as a leading force in the Irish whiskey industry. Interestingly, during this period, a sort of "philanthropy competition" arose between Henry Roe and Benjamin Lee Guinness. Guinness financed the restoration of St. Patrick's Cathedral between 1860 and 1865, while Roe, not to be outdone, funded the restoration of the nearby Christ Church Cathedral between 1871 and 1878.
The Fall of a Giant
Despite its remarkable success, Roe & Co. faced a series of challenges that ultimately led to its decline. Instead of simply listing the factors, let's explore how these challenges unfolded and intertwined to create a perfect storm that brought down the whiskey giant.
The late 19th and early 20th centuries saw the rise of blended Scotch whisky, a formidable competitor that quickly gained popularity both domestically and internationally. This new rival put increasing pressure on Irish whiskey producers like Roe & Co., who were already grappling with the aftermath of the Irish War of Independence and the subsequent Civil War. These conflicts disrupted trade, destabilised the Irish economy, and created an unfavourable environment for businesses.
Adding to these woes, the introduction of Prohibition in the United States in 1920 dealt a severe blow to Irish whiskey exports. The loss of this crucial market significantly impacted the industry, and Roe & Co. was not immune to the fallout. Furthermore, the Dublin Distillers Company Ltd., which Roe & Co. had merged with in 1891, had overproduced spirit in the early 20th century, accumulating significant stocks of whiskey that proved difficult to sell in the face of declining demand.
These external pressures, combined with internal challenges, created a downward spiral for Roe & Co. Henry Roe's generous funding of the reconstruction of Christ Church Cathedral, while a testament to his philanthropy, may have strained the company's resources at a critical time. Ultimately, these combined challenges proved insurmountable, and the distillery finally closed its gates in 1926. All that remained of the once-sprawling distillery was the windmill tower and a pear tree that still flowers today. The closure marked the end of an era for the once-dominant Irish whiskey brand.
Henry Roe's Philanthropy
Henry Roe's generous funding of the reconstruction of Christ Church Cathedral may have strained the company's resources.
The Diageo Revival of Roe & Co.
Decades after the closure of the original Roe & Co. distillery, Irish whiskey experienced a resurgence. Diageo, the global drinks giant, recognised the potential of the Roe & Co. brand and took steps to revive it. Diageo invested €25 million to build a new distillery in Dublin, located in the former Guinness Power Station. This new distillery, situated in the heart of Dublin's Liberties district, a once poverty-stricken area now experiencing a revival with the establishment of many distilleries and breweries, opened in 2019.
To create a modern expression of Irish whiskey that honoured George Roe's legacy while appealing to contemporary tastes, Diageo adopted a collaborative approach. Master blender Caroline Martin worked closely with a team of Irish bartenders to develop a new premium blended Irish whiskey under the Roe & Co. name. This collaborative effort ensured that the new whiskey would not only be of exceptional quality but also resonate with today's whiskey enthusiasts and bartenders.
The new Roe & Co. distillery is equipped with state-of-the-art facilities and boasts a visitor experience that celebrates the history of Irish whiskey and the Roe & Co. brand.
The Roe Family and Their Legacy
The Roe family's influence extended beyond the whiskey industry. George Roe, the man who built the distillery into a powerhouse, was a prominent figure in Dublin society. He served as an alderman and Lord Mayor of Dublin in 1843. His nephew, Henry Roe, continued the family's involvement in civic affairs and was known for his philanthropy, particularly his contribution to the restoration of Christ Church Cathedral.
While available information provides limited details about other family members like George Roe Jr. and Peter Burton Roe, it's clear that the Roe family played a significant role in Dublin's social and economic landscape during the 18th and 19th centuries.
One interesting detail reveals that Henry Roe lived in Mount Anville Park, Dundrum, Co. Dublin. This residential area, located near Deerpark, is known for its proximity to amenities, schools, and recreational facilities.
Conclusion
The inscription on the Roe family vault in Mount Jerome Cemetery, while potentially misleading, offers a captivating glimpse into the rich history of Roe Whiskey and the Roe family. The fact that Henry Roe may not be buried there, as the inscription suggests, adds a layer of intrigue to the family's story and highlights the complexities of historical records.
From its humble beginnings in a small Dublin distillery to its rise as a leading Irish whiskey brand, Roe & Co. has left an indelible mark on the industry. The company's journey reflects the broader trajectory of the Irish whiskey industry itself, with periods of remarkable success followed by challenges and decline.
The factors that contributed to Roe & Co.'s downfall, such as the rise of Scotch whisky, Prohibition in the United States, and the turbulent political climate in Ireland, highlight the vulnerability of businesses to external forces.
Despite its eventual closure in 1926, the Roe & Co. brand has been revived in the modern era, thanks to Diageo's investment and commitment to preserving its legacy. The new Roe & Co. distillery, located in the revitalised Liberties district of Dublin, stands as a testament to the enduring appeal of Irish whiskey and the remarkable story of the Roe family. The distillery's state-of-the-art facilities and visitor experience ensure that the legacy of George Roe and his family will continue to inspire and captivate whiskey enthusiasts for generations to come.
The story of Roe Whiskey is a testament to the resilience and adaptability of Irish businesses. Despite facing numerous challenges throughout its history, the brand has persevered, ultimately finding new life in the 21st century. The questions surrounding the Roe family vault serve as a reminder that even within the most well-documented histories, mysteries and unanswered questions remain, adding to the richness and complexity of the past.
SIR RICHARD MORRISON
THE SIR RICHARD MORRISON VAULT [MOUNT JEROME CEMETERY MARCH 2017]
Sir Richard Morrison (1767-1849) was a prominent Irish architect who left an indelible mark on the architectural landscape of Ireland during the 18th and 19th centuries. His works, characterized by a blend of classical and Gothic styles, grace numerous public buildings and private estates across the country. This article delves into the life and career of Sir Richard Morrison, explores his family history, and examines the significance of his vault at Mount Jerome Cemetery in Dublin.
Family History and Early Life
Born in Midleton, County Cork, Sir Richard Morrison was born into a family with an architectural background; his father, John Morrison, was also an architect. While some accounts suggest he was initially intended for a career in the church, he ultimately followed his father's path and pursued architecture. His godparents were Frederick Augustus Hervey, the Bishop of Cloyne, and Richard Boyle, 2nd Earl of Shannon, individuals who held prominent positions in society. These connections may have provided young Morrison with valuable social and professional networks that would later benefit his architectural career.
Morrison began his architectural training as a pupil of the celebrated architect James Gandon in Dublin. Under Gandon's tutelage, he honed his skills and developed his distinctive style, which would later blend classical and Gothic elements. Through his godfather, the Earl of Shannon, he secured a position in the ordnance department in Dublin. However, he later abandoned this role to dedicate himself fully to his architectural practice.
In 1790, Morrison married Elizabeth Ould, the daughter of Reverend William Ould and granddaughter of the esteemed physician Sir Fielding Ould. The couple had at least four children, including William Vitruvius Morrison, who would later become his father's architectural partner.
Architectural Career and Importance
Sir Richard Morrison's architectural career spanned several decades and encompassed a wide range of projects, from public buildings to private residences. He was a leading architect of country houses in Ireland during his time, and his works are scattered throughout the country. His architectural style blended classical and Gothic elements, drawing on the traditions of earlier Irish architects such as Edward Lovett Pearce and Richard Cassels while adapting them to the Irish context. This resulted in buildings that were both elegant and functional, often incorporating distinctive features like elliptical entrance-halls.
Early Career and Public Works
Morrison's early career involved modifications to the cathedral at Cashel, where he designed a tower and spire for Archbishop Charles Agar. He dedicated his pattern book, Useful and Ornamental Designs in Architecture (1793), to Archbishop Agar. This publication was the first of its kind attempted in Ireland, showcasing Morrison's innovative approach to architectural design and his desire to contribute to the architectural discourse of his time.
He also designed courthouses in Carlow, Clonmel, Roscommon, Wexford, and Galway, as well as gaols in Enniskillen, Tralee, and Roscommon. These buildings reflect his understanding of classical principles and his ability to create functional and aesthetically pleasing structures that served the needs of the community. In Dublin, he designed Sir Patrick Dun's Hospital, a significant public building that showcases his architectural expertise.
Country Houses and Collaboration with William Vitruvius Morrison
Morrison was particularly renowned for his designs of country houses for the landed gentry. He often remodelled existing houses, adding castellated features to create a sense of grandeur and historical significance. Examples include Shanganagh Castle in County Dublin and Castle Freke in County Cork. He also designed a series of compact classical villas, including Bearforest, Bellair, Cangort Park, and Weston, demonstrating his versatility in adapting his designs to different scales and contexts.
From 1809 onwards, Morrison increasingly collaborated with his son, William Vitruvius Morrison. Together, they designed notable country houses such as Baronscourt in County Tyrone, Killruddery House in County Wicklow, Ballyfin in County Laois, and Fota in County Cork.
Later Career and Legacy
From 1807 to 1831, Morrison served as the architect to Trinity College Dublin (TCD). During this time, he completed the student accommodation in Botany Bay and designed an anatomy house, further contributing to the architectural development of the university.
In 1839, Morrison played a key role in the establishment of the Royal Institute of the Architects of Ireland, serving as its first vice-president. This initiative reflected his commitment to the advancement of the architectural profession in Ireland and his desire to promote high standards of design and practice. In recognition of his contributions to architecture, he was knighted by the Lord Lieutenant, Thomas de Grey, 2nd Earl de Grey, in 1841.
Interesting Stories and Accounts
While specific anecdotes about Sir Richard Morrison may be scarce, his life and work provide glimpses into the social and architectural context of his time. His connections to prominent figures such as James Gandon and the Earl of Shannon highlight his position within the architectural circles of late 18th and early 19th century Ireland. His marriage to Elizabeth Ould, a descendant of a respected physician, further cemented his social standing.
After losing his position in the ordnance department, Morrison moved to Clonmel, County Tipperary, where he established his architectural practice. This move proved to be a turning point in his career, as he gained the patronage of Archbishop Agar and began to receive commissions for significant projects.
The remodelling of Shelton Abbey in County Wicklow in 1819 exemplifies Morrison's ability to transform existing structures into romantic Gothic fantasies. This project, along with his other country house designs, reflects the prevailing taste for picturesque and historically evocative architecture among the landed gentry of the period.
The Sir Richard Morrison Vault at Mount Jerome Cemetery
Sir Richard Morrison died in Bray, County Wicklow, on 31 October 1849, and was buried in Mount Jerome Cemetery in Dublin. Mount Jerome Cemetery, established in 1836, is known for its Victorian funerary architecture and its association with prominent figures in Irish history. While the specific details about the design or appearance of Morrison's vault are not available, its presence in this historic cemetery further underscores his significance in Irish architectural history.
Conclusion
Sir Richard Morrison's contributions to Irish architecture are undeniable. His designs, ranging from grand country houses to important public buildings, shaped the built environment of Ireland during a period of significant social and political change. He was a leading figure in the architectural profession, contributing to the establishment of the Royal Institute of the Architects of Ireland and receiving a knighthood for his achievements. His legacy continues to inspire and influence architects today, and his vault at Mount Jerome Cemetery serves as a reminder of his enduring impact on the architectural landscape of Ireland. His ability to blend classical and Gothic styles, his attention to detail, and his sensitivity to the Irish context ensured that his buildings were not only aesthetically pleasing but also functional and enduring. He left behind a rich architectural heritage that continues to be studied and admired, solidifying his place as one of Ireland's most important architects.
THE INGRAM MEMORIAL
THE INGRAM FAMILY VAULT [ANOTHER IMPRESSIVE MEMORIAL AT MOUNT JEROME CEMETERY]
Note: The larger structure included in some of my photographs is the Cusack Family Vault.
The Ingram Memorial in Mount Jerome Cemetery
Mount Jerome Cemetery in Harold's Cross, Dublin, is a testament to the passage of time and the enduring power of memory. Amidst its serene landscape and intricate monuments, the Ingram Memorial stands out as a striking example of funerary architecture. This report delves into the details of this remarkable structure, exploring its design, the family it commemorates, and the symbolism woven into its form.
The Ingram Family in Dublin
While the specific Ingram family associated with the memorial requires further investigation, research reveals several prominent Ingram families with ties to Dublin. This section explores their stories, offering potential connections to the memorial and shedding light on the Ingram family's presence in Dublin's history.
John Kells Ingram: A Scholar and Writer
John Kells Ingram, a renowned scholar and writer, left an indelible mark on Dublin's intellectual landscape in the 19th century. Born in County Donegal in 1823, Ingram embarked on a distinguished career at Trinity College Dublin, where he served as a fellow and professor. His academic pursuits spanned economics, history, and literature, resulting in a prolific body of published works. Ingram's connection to Mount Jerome Cemetery is undeniable, as he was laid to rest within its grounds in 1907.
Rex Ingram: A Pioneer of Cinema
Another notable Ingram with Dublin roots is Rex Ingram, a film director who brought stories to life on the silver screen. Born Reginald Ingram Montgomery Hitchcock in Rathmines in 1893, Ingram's parents, Rev. Francis Ryan Montgomery Hitchcock and Kathleen Maria Ingram, were both Dublin natives. Ingram achieved international acclaim for his directorial work, with films like "The Four Horsemen of the Apocalypse" (1921) and "Scaramouche" (1923) solidifying his place in cinematic history. Though his career took him to the United States, Ingram's Dublin origins add another dimension to the Ingram family narrative. Further research into genealogical records and cemetery archives may unveil the specific Ingram family commemorated by the memorial and provide a deeper understanding of their history in Dublin.
The Ingram Memorial: Structure and Design
The Ingram Memorial commands attention with its distinctive architectural features and the enduring beauty of its construction material. This section explores the elements that make this memorial a unique presence in Mount Jerome Cemetery.
Portland Stone: A Timeless Material
Crafted from Portland stone, a fine-grained limestone quarried on the Isle of Portland in Dorset, England, the Ingram Memorial embodies elegance and permanence. This choice of material is significant, as Portland stone has been favoured for monuments and buildings for centuries, renowned for its durability and aesthetic appeal. Its use in the Ingram Memorial speaks to the family's desire to create a lasting tribute.
The significance of Portland stone extends beyond its physical properties. It has been used in the construction of iconic structures, including St. Paul's Cathedral and Buckingham Palace in London. Even the Monument to the Great Fire of London, a towering Doric column, is built from Portland stone. This association with grandeur and permanence may have influenced the Ingram family's choice of material, suggesting their intention to create a memorial that would stand the test of time.
Furthermore, Portland stone is the material of choice for Commonwealth war gravestones, including those commemorating British personnel who lost their lives in the First and Second World Wars. This widespread use in memorials further emphasises the stone's association with remembrance and commemoration.
Classical Elements and Symbolic Features
The memorial's design draws inspiration from classical architecture, with four fluted columns supporting a canopy and covering slab. Fluted columns, characterised by vertical grooves carved into their surface, are a hallmark of classical architecture, often used to convey strength and dignity.
The presence of ionic capitals atop the columns adds a decorative flourish, further enhancing the memorial's visual appeal. Ionic capitals, with their distinctive spiral scrolls, are often associated with knowledge and wisdom, adding another layer of meaning to the memorial's design.
Beneath the canopy, a Portland stone draped funerary urn rests on a pedestal. The urn, a classic symbol of mortality and remembrance, is draped with cloth, introducing a layer of symbolism. The draped cloth represents the veil between life and death, signifying the separation of the physical and spiritual realms. It also symbolises protection for the soul on its journey to the afterlife.
Interestingly, the use of a draped urn in the Ingram Memorial is notable because cremation was not a common practice in 19th-century Ireland. This suggests that the draped urn was chosen not for its literal association with cremation but for its symbolic representation of death and the soul's transition to the afterlife.
Unfortunately, the research material does not provide information about the construction date or architect of the Ingram Memorial. Further investigation into cemetery records or architectural archives may uncover these details.
Symbolism of the Funerary Urn
The funerary urn has been a symbol of death and remembrance since ancient times. In classical antiquity, urns were used to hold the cremated remains of the deceased, often adorned with elaborate decorations and scenes from mythology. This practice reflected the reverence with which ancient cultures treated their dead and their belief in an afterlife.
While cremation was not common in 19th-century Ireland, the urn retained its symbolic meaning, primarily representing death and the finality of earthly existence. It served as a reminder of mortality and the inevitable passage of time.
The draped cloth on the Ingram Memorial's urn adds another layer of symbolism. It represents the finality of death, the separation of the living from the dead. The drape also suggests a sense of peace and closure, as if the soul is protected and at rest.
In modern interpretations, urns are seen as vessels of memories, tangible links to the departed soul. They carry emotional significance, encapsulating sentiments and memories associated with the deceased. This contemporary understanding connects the historical symbolism of the urn with the personal grief and remembrance of those left behind.
THE CUSACK FAMILY VAULT
THE CUSACK VAULT [ONE OF THE MOST IMPRESSIVE AT MOUNT JEROME CEMETERY]
Note: The smaller structure shown in some of the photographs is the Ingram Memorial and it consists of four Portland stone fluted columns with iconic capitals that support a canopy and a covering slab that house a Portland stone draped funerary urn on a pedestal. I will discuss this in greater detail in a future post.
The Cusack Vault
Location: Mount Jerome Cemetery, Dublin, Ireland. It's situated along the 'Guinness Walk', a prominent path within the cemetery.
Construction Date: Erected in 1861.
Occupants: The vault was built for James William Cusack, a renowned surgeon of his time. He served as president of the Royal College of Surgeons in Ireland three times and was surgeon to Queen Victoria in Ireland. Several generations of the Cusack family are interred within the vault.
Architectural Significance: It's considered one of the most prominent and imposing monuments in the cemetery due to its size and elaborate design. The use of high-quality materials like granite and Portland stone also contributes to its grandeur. The design, with its Tuscan columns and entablature, evokes classical temple architecture, symbolising permanence and grandeur.
The Cusack Family
The Cusacks were a prominent family in Dublin, particularly in the medical field.
James William Cusack (1788-1861): The patriarch interred in the vault, he was a leading surgeon and held significant positions in Dublin's medical institutions.
Other Notable Cusacks: While James William is the most well-known, other family members also achieved prominence in medicine and other fields. The family's influence in Dublin society is evidenced by the size and prominence of their vault.
GEORGE HANLEY R.I.P.
A SIMPLE TRIBUTE TO GEORGE HANLEY R.I.P [WE MISS YOUR WIT AND WISDOM LOVED AND MISSED BY ALL]
A Quiet Corner in Mount Jerome: Reflections on Life, Loss, and Legacy
Mount Jerome Cemetery in Dublin is a place of grand monuments and sweeping statements etched in stone. It's where many of Ireland's most prominent figures have been laid to rest, their achievements and accolades immortalised in elaborate memorials. Walking through its avenues, one can't help but be struck by the weight of history and the grandeur of these tributes to the "great and the good".
But amidst the imposing mausoleums and soaring obelisks, there are quieter corners, simpler tributes that speak volumes in their understated eloquence. One such tribute first caught my eye in 2017: a modest plaque, standing alone, bearing the following inscription:
"George Hanley R.I.P. We Miss Your Wit And Wisdom Loved And Missed By All"
In a place where so many inscriptions boast of worldly accomplishments and social standing, this simple message struck a chord. It wasn't about what George Hanley did, but about who he was. His legacy, it seems, lay not in titles or wealth, but in the qualities that made him uniquely himself: his wit, his wisdom, and the love he inspired in those around him.
This unassuming plaque serves as a powerful reminder that in the face of loss, we are all equal. Whether a celebrated public figure or a beloved friend, the pain of absence is universal. "Loved and missed by all" is a sentiment that transcends social status, resonating with anyone who has experienced the grief of losing someone dear.
In the context of Mount Jerome, with its sometimes ostentatious displays of wealth and status, George Hanley's plaque offers a different perspective. It speaks of a different kind of wealth – the richness of human connection, the enduring value of personal qualities like wit and wisdom. It's a quiet testament to the idea that a life well-lived, filled with laughter and love, leaves its own unique and enduring legacy.
Of course, without knowing more about George Hanley, it's impossible to know his full story. Perhaps he was a person of great influence who chose a humble memorial. Perhaps he was an ordinary person whose loved ones chose to commemorate him in a way that truly reflected his character. Whatever his story, his plaque provides a moment of quiet reflection amidst the grandeur of Mount Jerome. It reminds us of the enduring power of human connection and the simple truth that a life filled with love and laughter leaves a mark that transcends any monument.
There's a certain beauty in the anonymity of this tribute. It allows us to connect with the sentiment without the distractions of a specific life story. The inscription itself becomes a universal story about the things that truly matter – wit, wisdom, and love.
Leaving George Hanley's story untold allows each visitor to bring their own interpretation and connect with the inscription on a personal level. It becomes a mirror reflecting our own values and the qualities we cherish in those we love.
Perhaps, in a way, this anonymity makes the tribute even more powerful. It reminds us that ultimately, it's not about worldly achievements or fame, but about the impact we have on others and the love we share.
imply prefer to enjoy the outdoors without any cost.
THE GROUNDS OF KILKENNY CASTLE
THE KILKENNY CASTLE ESTATE [THERE IS NO REAL NEED TO PAY TO EXPLORE THE CASTLE]
Kilkenny Castle's grounds offer a captivating experience, even without venturing inside the castle walls. Here's why you should consider a stroll through this historic landscape:
Extensive Parkland: The castle is nestled within 50 acres of expansive parkland, a tapestry of mature trees, verdant meadows, and tranquil woodlands. This provides ample space for leisurely walks, picnics, or simply unwinding amidst the beauty of nature.
The Lake: A picturesque man-made lake graces the grounds, offering breathtaking views and opportunities for wildlife observation. Ducks and other waterfowl are frequent visitors, adding to the serene ambience.
Formal Gardens: For those who appreciate structured elegance, the formal gardens provide a delightful contrast to the wilder areas of the parkland. Here you'll find the impressive terraced Rose Garden, a spectacle of colourful blooms and sophisticated design.
Sculptures: The grounds feature some notable sculptures.
In the Rose Garden: You'll find a statue of James Butler, 3rd Duke of Ormonde, a prominent figure in Kilkenny's history. This statue provides a historical connection and a glimpse into the past.
"Anchored Void" by Michael Warren: Located in a more secluded area of the parkland, this striking black steel sculpture offers a contemporary contrast to the historical setting. Its abstract form encourages contemplation and adds a modern artistic dimension to the grounds.
The Fountain: A beautiful fountain takes centre stage in the Rose Garden, its gentle water sounds creating a soothing atmosphere. It's a lovely spot to pause and appreciate the surrounding beauty.
Woodland Walks: Venture into the woods for a more immersive experience of nature. These paths offer a sense of seclusion and a chance to escape the city's hustle and bustle.
Family-Friendly: With a dedicated playground and vast open spaces, the grounds are perfect for families with children. The playground provides a safe and entertaining environment for kids to play, while the expansive lawns are ideal for games and activities.
Free Access: One of the most appealing aspects of exploring the grounds is that they are completely free to access. This makes it an excellent choice for budget-conscious visitors or those who simply prefer to enjoy the outdoors without any cost.
KILKENNY CASTLE MAY 2017
Kilkenny Castle, a prominent landmark in County Kilkenny, Ireland, boasts a rich and complex history spanning over 800 years. Its strategic location on the banks of the River Nore has made it a site of significance since its inception, witnessing periods of Norman conquest, powerful aristocratic families, sieges, and eventual restoration as a beloved cultural attraction.
Early History and Norman Origins
The story of Kilkenny Castle begins in the 12th century, following the Norman invasion of Ireland. Richard de Clare, 2nd Earl of Pembroke, better known as Strongbow, established a wooden fortress on the site in 1172. This initial structure served as a strategic military base, controlling a vital crossing point on the River Nore and asserting Norman dominance in the region.
Around the turn of the 13th century, Strongbow's son-in-law, William Marshal, Earl of Pembroke, replaced the wooden fort with a more substantial stone castle. This marked a significant development, transforming the site into a formidable defensive structure. The castle's design featured four large circular corner towers and a massive ditch, elements of which can still be seen today.
The Butler Dynasty
In 1391, the castle was purchased by the Butler family, who would go on to become one of the most influential families in Irish history. The Butlers, later Earls and Dukes of Ormonde, held ownership of the castle for over 500 years, shaping its architecture and its role in the region.
Over the centuries, the Butlers undertook numerous renovations and expansions, reflecting changing architectural styles and the family's evolving status. The castle transitioned from a purely defensive structure to a more comfortable and palatial residence. Notably, during the 17th century, the castle suffered damage during the Irish Confederate Wars and later at the hands of Oliver Cromwell's forces. However, it was subsequently restored and remodelled.
18th and 19th Century Transformations
The 18th and 19th centuries witnessed further transformations of Kilkenny Castle. The castle underwent significant renovations in the Georgian and Victorian styles, resulting in the building we see today. These works included the addition of new wings, grand halls, and decorative elements, reflecting the tastes of the time.
20th Century and Beyond
In 1967, Arthur Butler, 6th Marquess of Ormonde, sold the castle to the Kilkenny Castle Restoration Committee for a nominal sum of £50. This marked a turning point in the castle's history, as it was subsequently entrusted to the care of the Irish State. Extensive restoration work was undertaken to preserve and enhance the castle, transforming it into a public attraction.
Today, Kilkenny Castle stands as one of Ireland's most visited historic sites. Its well-preserved architecture, rich history, and beautiful parklands draw visitors from around the world. The castle's significance extends beyond its physical presence; it serves as a symbol of Kilkenny's heritage and a focal point for cultural activities and events.
Importance to the City and Area
Kilkenny Castle has played a crucial role in the development of Kilkenny city and the surrounding area. Throughout its history, the castle has provided:
Defence and security: In its early years, the castle offered protection to the inhabitants of Kilkenny and controlled vital trade routes.
Economic stimulus: The presence of the castle and the Butler family brought economic activity to the area, fostering trade and employment.
Cultural and social centre: The castle served as a hub for social gatherings, political events, and cultural exchange.
Tourism: Today, the castle is a major tourist attraction, contributing significantly to the local economy and promoting Kilkenny's heritage.
Attractions for Tourists
Several factors contribute to Kilkenny Castle's appeal as a tourist destination:
Historical significance: The castle's long and varied history offers visitors a fascinating glimpse into Ireland's past.
Architectural beauty: The castle's diverse architectural styles, spanning from medieval to Victorian, provide a visual feast.
Restored interiors: The castle's state rooms and exhibitions offer insights into the lives of its former inhabitants.
Parklands and gardens: The castle's extensive parklands and gardens provide a tranquil escape and offer stunning views of the surrounding landscape.
Cultural events: The castle hosts various cultural events throughout the year, including concerts, exhibitions, and festivals.
Kilkenny Castle stands as a testament to Ireland's rich heritage and a symbol of the enduring power of history. Its transformation from a Norman fortress to a beloved cultural landmark is a story worth exploring, making it a must-visit destination for anyone interested in Irish history, architecture, and culture.
SAINT JOHN'S GRAVEYARD
UNEARTHING YOUR IRISH ROOTS IN KILKENNY [A JOURNEY THROUGH ST JOHN'S CEMETERY]
Are you fascinated by your Irish heritage and eager to connect with your ancestors? A trip to Kilkenny, Ireland, could be the perfect opportunity to trace your family history and immerse yourself in the rich culture of the Emerald Isle.
Kilkenny, a charming medieval city in southeast Ireland, boasts a wealth of historical sites, including St. John's Cemetery. This ancient burial ground, located on Dublin Road, offers a captivating glimpse into the lives of past generations.
A Unique Burial Ground
The first thing you'll notice about St. John's Cemetery is the distinctive orange/brown hue of its gravestones. This unusual colouring sets it apart from many other Irish cemeteries and adds to its unique character.
The cemetery bears the marks of time, with some gravestones and monuments showing signs of decay. However, this only adds to its charm, offering a poignant reminder of the passage of time and the enduring nature of human memory.
A Rich History
St. John's Cemetery has a long and fascinating history, dating back to the 14th century. It was once the site of a leper hospital and a 17th-century Catholic chapel, highlighting its early ecclesiastical significance.
The earliest inscription found on a tombstone dates back to 1699, providing a tangible link to the past. The cemetery is also the final resting place of many prominent Kilkenny citizens, making it a treasure trove of local history.
Tracing Your Ancestors
If you're researching your Irish roots, St. John's Cemetery could hold valuable clues to your family history. Many of the gravestones bear intricate inscriptions, providing details about the deceased and their families.
With a little patience and perseverance, you might just uncover the final resting place of one of your ancestors, connecting you to your Irish heritage in a profound way.
Tips for Visiting St. John's Cemetery
Plan your visit: The cemetery is open to the public during daylight hours.
Dress appropriately: Wear comfortable shoes and clothing suitable for the weather.
Be respectful: Remember that this is a sacred place.
Take photos: Capture the beauty and history of the cemetery.
Share your experience: Let others know about your visit and what you discovered.
THE FISHERMEN MURAL
THE FISHERMEN MURAL BY FINTAN McGEE [ON ROCHES STREET LIMERICK JULY 2017]
Back in the summer of 2017, I wandered the streets of Limerick City, camera in hand, captivated by the explosion of colour that had taken over its walls. Limerick's street art scene was thriving, and I was determined to document it. At the time, identifying the artists and their works proved a bit of a puzzle, but through some online sleuthing, I've since been able to map out seventeen incredible murals.
One that particularly stands out is Fintan Magee's "The Fishermen" on Roches Street. This piece, with its ethereal figures seemingly intertwined with the flowing water, perfectly captures Magee's signature style. He's an Australian artist with strong Irish roots, and his work often explores themes of human connection, nature, and the ephemeral.
Magee's murals have a dreamlike quality, drawing you in with their flowing lines and muted colours. In "The Fishermen," the figures almost appear to be sculpted from water, their forms echoing classical art while remaining distinctly modern. It's a beautiful reminder of the interconnectedness between humanity and the natural world.
But this mural is more than just a beautiful artwork. It's also a tribute to a unique part of Limerick's heritage: the Abbey Fishermen. These fishing families, with names like Clancy, MacNamara, Hayes, and Shanny, lived and worked along the Shannon for centuries, their lives intertwined with the river's rhythms.
They fished the waters in their traditional "brochauns" – specialised boats that have been used on the Shannon since at least the 16th century. Their fishing rights and practices, passed down through generations, were deeply connected to the history of the Abbey area and even linked to ancient Irish law.
Sadly, much of the Abbey Fishermen's way of life has faded with time. Many of their homes have been demolished, and their fishing traditions have diminished. But Fintan Magee's mural keeps their memory alive, reminding us of the people who shaped Limerick's relationship with the Shannon.
While exploring Roches Street, keep an eye out for these notable buildings:
22 Roches Street: This building, now home to Hackett's printing company, has a fascinating past as a 19th-century corn store. Its architecture reflects the street's history as a centre of commerce and industry.
31 Roches Street: This striking red brick building dates back to the mid-19th century and is a well-preserved example of Victorian commercial architecture. It has housed a variety of shops throughout its history, most recently McMahon's Cycle World. Though currently unoccupied, its ornate shopfront and original features offer a glimpse into Limerick's commercial past.
Magee's "The Fishermen" is just one of many incredible murals that have transformed Limerick's urban landscape. If you're ever in the city, be sure to take a stroll and discover these hidden gems for yourself. You won't be disappointed!
A Few Facts about Fintan Magee:
He's gained international recognition for his large-scale murals, which can be found in cities all over the world.
His artistic influences range from classical masters like Caravaggio to contemporary street artists.
He often incorporates elements of nature into his work, creating a sense of harmony between humans and their environment.
CLONTARF BOAT SLIPWAY
CLONTARF PIER AND SLIPWAY [NEAR THE CLONTARF YACHT CLUB]
Clontarf Boat Slipway, which is a popular spot for launching small boats and kayaks, and also for swimming! It's located right by the Clontarf Yacht & Boat Club.
History: It's been around for a long time, dating back to 1875 when the Clontarf Yacht and Boat Club was founded. So it has quite a bit of history itself, just like the Baths!
Recent Popularity: It's seen a surge in popularity for sea swimming, especially since the Covid pandemic when boating activities were reduced.
Parking Issues: There have been some issues with illegal parking around the slipway, with people blocking access for those launching boats. Dublin City Council has installed bollards to try and manage this.
Accessibility: While the bollards have helped with parking, some kayakers have found it harder to access the slipway with their equipment. This has caused a bit of debate locally.
CLONTARF BATHS
CLONTARF BATHS AND ASSEMBLY ROOMS CONSTRUCTION PHASE [2017 LEGACY PHOTO COLLECTION]
The Clontarf Baths have a long and interesting history. Built in 1864, they were originally known as the Clontarf Baths and Assembly Rooms. They were popular with locals and visitors alike, and were used for swimming, water polo, and other aquatic activities.
The baths were closed in 1996 and fell into disrepair. In 2017, a €10 million redevelopment project began to restore the baths to their former glory. The project was completed in 2018, and the baths reopened to the public.
However, the baths have not been open to the general public since then. They are currently used by members of local swimming clubs and camps.
Here is some additional information about the Clontarf Baths:
They are located on Clontarf Road, in the Clontarf area of Dublin.
They are open from Monday to Friday, from 6:00 PM to 8:00 PM.
They are closed on weekends and public holidays.
Admission is free for members of local swimming clubs and camps.
For non-members, admission is €5.
There has been quite a bit of local reaction to the Clontarf Baths not being open to the public. It's been a source of frustration and disappointment for many residents. Here's a summary of the situation:
Expectation vs. Reality: When the redevelopment was announced and underway, locals were under the impression that the restored baths would be a public amenity, accessible to everyone. This expectation was fuelled by the fact that public money was used in the redevelopment. However, the reality turned out to be quite different, with access restricted to members of swimming clubs and private groups.
"Sink or Swim" Article: This controversy was well documented in an article in The Journal, titled "Sink or Swim: Inside the battle over access to the historic Clontarf Baths". It highlighted the anger and disappointment felt by many locals.
Council Involvement: Dublin City Council has been involved, putting pressure on the baths' operators to allow public access. They even launched an investigation to ensure the baths were operating in line with planning permissions.
Limited Public Access: In response to the pressure, the baths have occasionally offered limited public sessions, but these are infrequent and not a substitute for regular public access.
Ongoing Debate: The debate continues, with residents and local representatives pushing for a solution that allows the wider community to enjoy this historic facility.
In essence, many locals feel that the Clontarf Baths have become an exclusive club rather than the public amenity they were promised and expected. The situation highlights the tension between private investment and public good, especially when public funds are involved.
VICTORIAN TRANSFORMER
A FREESTANDING FINIAL-TOPPED CAST-IRON TRANSFORMER [DATING FROM 1900 AND LOCATED AT CONQUER HILL ROAD NEAR CLONTARF BUS GARAGE]
I delayed publishing this series of photographs as I could not determine what this structure actually was.
A Spark from the Past: Uncovering the Story of a Clontarf Transformer
Standing sentinel near the Clontarf Bus Garage on Conquer Hill Road is a piece of Dublin's history that often goes unnoticed. It's a cast-iron transformer, dating back to 1900, a relic from the days when electric trams were a novelty. This unassuming piece of street furniture holds within its intricate castings a tale of innovation, civic pride, and a link to one of Ireland's most famous battles.
The transformer was installed by the Dublin United Tramways Company (DUTC) as part of the electrification of the tram line running from Dollymount to Nelson's Pillar. On 19th March 1899, horses were retired, and the sleek new electric trams took over, marking a significant leap forward in Dublin's public transport.
What makes this particular transformer so interesting is the detail on its casing. Proudly displayed are the Dublin City arms and the city's motto, "Obedientia Civium Urbis Felicitas" – "The obedience of the citizens makes the city happy". This was a common practice at the time, reflecting the city's investment in this new technology and fostering a sense of civic ownership.
However, there's a curious omission: the name of the foundry responsible for casting this piece of industrial art. While similar transformers in England often bear the name of "The British Electric Transformer Company", this one remains silent on its origins. Perhaps it was the work of a smaller, local foundry, or maybe the nameplate has simply been lost to time.
But the story doesn't end there. Conquer Hill Road itself holds a fascinating connection to Ireland's past. The name harks back to the epic Battle of Clontarf in 1014 AD, where Brian Boru's forces clashed with Viking and Leinster armies. While the exact location of the battle is still debated, Conquer Hill Road lies within the broader battlefield area. It's possible that the hill offered a strategic advantage during the fighting or was the site of a key skirmish.
This unassuming transformer, standing on a road named for a centuries-old battle, serves as a tangible link between Dublin's past and present. It's a reminder that history is all around us, woven into the fabric of our everyday lives. So next time you find yourself in Clontarf, take a moment to appreciate this silent witness to the city's evolution, and let your imagination transport you back to a time of horse-drawn trams and epic battles.
CLONTARF PUMPING STATION
THE 2004 PUMPING STATION IN CLONTARF [A RATHER INTERESTING BUILDING]
Pumping Station in Clontarf, Dublin, built in 2004! It's a rather interesting building.
Not just a pumping station: This building, located at the junction of Vernon Avenue and Clontarf Road, actually houses three things:
The pumping station itself
A maintenance depot for Dublin City Council Parks Department
An ESB substation
Unique design: The building has a distinctive modern design. It's a single, angular structure that "rotates" across the site to maximise light and create interesting relationships with its surroundings (the road, the village, the sea wall, and even the docklands across the estuary).
Architects: It was designed by de Paor Architects.
Purposeful design: Each façade of the building serves a different function (pumping station, park depot, or electrical substation). Despite this separation, the interior is linked by a shared space for natural ventilation, which also cleverly incorporates toilet/shower facilities and a water tank.
Part of a larger plan: The pumping station was part of a broader initiative by Dublin City Council and the Royal Institute of the Architects of Ireland to improve and enhance the village centre of Clontarf.
RETRO WIND SHELTERS
RETRO WIND SHELTERS AND OTHER STRUCTURES IN CLONTARF [DESIGNED IN 1934 BY HERBERT SIMMS]
Herbert Simms and his Impact on Dublin's Built Environment
Herbert George Simms (1898-1948) was a prominent Irish architect who left an indelible mark on Dublin's urban landscape. Appointed as Dublin Corporation's first dedicated Housing Architect in 1932, he spearheaded a massive public housing programme during a period of significant social and economic challenges. His work, characterised by a blend of functionality and aesthetics, addressed the urgent need for improved housing conditions while also contributing to the city's architectural identity.
Simms's tenure coincided with a period of intense slum clearance and urban renewal in Dublin. He oversaw the construction of an impressive 17,000 new homes, responding to the dire living conditions of the working class. His approach was comprehensive, encompassing not just the design of individual buildings but also the wider urban planning context. He was committed to providing high-quality housing that was both affordable and aesthetically pleasing.
One of Simms's notable projects was the design and construction of a series of distinctive wind shelters along the Clontarf seafront in 1934. These shelters, with their elegant curves and Art Deco influences, serve as a testament to his design philosophy. They not only provide practical protection from the elements but also enhance the visual appeal of the promenade, contributing to a sense of place and identity.
These shelters, along with other structures like the bandstand and toilets, were part of a broader effort to improve public amenities and promote outdoor recreation. Their construction reflected a growing awareness of the importance of public spaces and the need for accessible leisure facilities for all.
Simms's architectural legacy extends beyond Clontarf. His work can be seen in various housing projects across Dublin, including the iconic Oliver Bond flats and Pearse House. These buildings, with their distinctive brickwork and carefully considered layouts, continue to provide much-needed housing while also serving as reminders of Simms's contribution to the city.
Simms's impact on Dublin's built environment lies not just in the quantity of housing he delivered but also in the quality of his designs. He demonstrated that public housing could be both functional and beautiful, enhancing the lives of residents and contributing to the city's architectural heritage. His work continues to inspire and influence architects and urban planners today, serving as a reminder of the power of design to improve lives and shape communities.
ST JOHN THE BAPTIST
ST JOHN THE BAPTIST CATHOLIC CHURCH [CLONTARF ROAD AND CHURCH GATE AVENUE]
St John the Baptist Church on Clontarf Road is a Catholic church with a rich history dating back to the 19th century.
History & Architecture
Early Years: The church was designed by renowned Dublin ecclesiastical architect Patrick Byrne. The foundation stone was laid in 1835, and it opened in 1838, though it wasn't fully completed until 1842.
Growth and Expansion: The church underwent significant expansion in 1895, thanks to the generosity of Mr Owison Allingham. He funded a 17-foot extension, a new high altar, pulpit, altar rails, sacristy, and bell tower. His sister, Miss Allingham, decorated the church's interior.
Parish Priests: Several notable parish priests have served St John the Baptist, including Fr Callanan (died 1846), Rev Cornelius Rooney (1846-1878), and Fr Patrick O'Neill (1879-1909). Fr Edward McCabe, a curate under Fr Callanan, went on to become Cardinal Archbishop of Dublin.
Parish Changes: The parish boundaries have shifted over time. Initially, Clontarf was part of a union of eight parishes. In 1879, this was split, with Clontarf then including Killester, Coolock, and Raheny. In 1909, Clontarf became a separate parish. With the growing population, chapels-of-ease were opened: St Anthony's in 1927 and St Gabriel's in 1956. These became independent parishes in 1966 but were reunited with St John the Baptist in 2009.
Holy Faith Sisters: In 1890, the Sisters of Holy Faith established a convent and schools for girls and junior boys in Clontarf at the invitation of Fr O'Neill.
ST ANTHONY'S CHURCH
Many are familiar with Saint Anthony’s Church on Clontarf Road, but fewer realise that the current parish church is actually situated behind an older building, a structure that once served as the town hall.
St Anthony's parish, Clontarf, was formed in 1966 when it separated from the historic Parish of Clontarf. The parish, located in the Fingal South East deanery of the Roman Catholic Archdiocese of Dublin, is served by a Church of St Anthony of Padua, built in 1975.
This modern church succeeded an older building of the same name which initially served as a chapel-of-ease. This older church, a protected structure, had previously been the Town Hall for Clontarf during the brief period when the district was incorporated as a town under the control of local Commissioners.
The parish encompasses the part of Clontarf from the junction of Howth Road with Clontarf Road, extending south of the Parish of Killester and then dividing the district along the line of Castle Avenue. This area includes the Garda station, a secondary retail area, and localities such as Seafield.
Interestingly, within the parish bounds, there was once a holy well, named for either St. Philip or St. Dennis. Located in the vicinity of The Stiles Road, this well is no longer visible.
St Anthony's Hall: A Building with a Rich History
St Anthony's Hall, previously known as St Anthony's Parish Church (Irish: Eaglais Pharóiste Naomh Antaine) and, before that, Clontarf Town Hall (Irish: Halla an Bhaile Cluain Tarbh), is a former ecclesiastical building and, even earlier, a municipal building on Clontarf Road. Today, it serves as a parish hall for St Anthony's Parish Church.
From Town Hall to Place of Worship
The township of Clontarf appointed town commissioners in 1869 following significant population growth, partly due to the area's popularity as a tourist destination and its development as a residential suburb of Dublin. In the early 1890s, the town commissioners decided to erect a town hall. The site they selected on the north side of Clontarf Road was generously donated by the local landowner, Colonel Edward Vernon, whose seat was at Clontarf Castle.
The new building, designed in the Gothic Revival style by William George Perrott, was constructed in red brick by Robert Farquharson and completed in 1896. The design featured a gabled main frontage facing onto Clontarf Road. The side elevations, each with six bays, were fenestrated by pairs of lancet windows and flanked by buttresses.
In 1899, the town commissioners were replaced by an urban district council, and the building on Clontarf Road briefly served as the meeting place of the new council. However, the town hall ceased to be the local seat of government in 1900 when the urban district was annexed by the City of Dublin.
A Hub of Republican Activity
The Irish republican, Michael McGinn, became caretaker of the town hall in 1901 and also keeper of the town hall library, which was established in the building in 1902. He played a crucial role in facilitating meetings of the supreme council of the Irish Republican Brotherhood at the town hall. It was at one such meeting in January 1916 that the supreme council agreed to a proposal from Seán Mac Diarmada that a rebellion should proceed "at the earliest date possible". At this same meeting, the leader of the Irish Citizen Army, James Connolly, was persuaded to join the rebellion. On 16 April 1916, another republican, Paddy Daly, was questioned in the town hall about his proposal to destroy the Magazine Fort in the Phoenix Park. The Easter Rising went ahead a week later.
The town hall, which had already started showing silent films, reopened after the First World War as a picture theatre in December 1919. After Michael McGinn's death, his wife, Catherine, became caretaker and provided accommodation for republican leaders during the Irish War of Independence.
From Civic Building to Sacred Space
The building was converted into a chapel of ease in 1926. The main frontage facing onto Clontarf Road was refaced in rusticated granite. The new facing featured an arched doorway, dressed with an ashlar granite architrave and enhanced with a carved shield in the tympanum. The entrance was flanked by two small arched windows, and there was a tripartite mullioned window on the first floor.
The building became a parish church in its own right, as St Anthony's Parish Church, in 1966. After a modern Catholic church was built for the parish just to the north in 1975, the original building was converted for use as the parish hall for the area and became known as St Anthony's Hall. The former presbytery at the back of the hall was demolished in 1998.
DUBBER CROSS AND NEARBY
EXPLORING DUBBER CROSS AREA AND NEARBY [THE DAY THAT I GOT LOST]
Charlestown was the homeland area name and much of the land there was owned by Mr. Melvin, the farmer. The locals that I encountered remembered the area well when it was all fields and distinctly rural.
In May 2017 I decided to get a bus at random and see where it brought me. I ended up at a place known as Dubber Cross near Charlestown Shopping Centre which is very close to the runways at Dublin Airport. You may notice landing jets in some of the images.
Charlestown Shopping Centre located in the northern end of Finglas. It opened in October 2007 and has two of the centre opened in October 2015. The second phase included a nine screen Odeon cinema and a Leisureplex which includes a Bowling alley and Quasar. However, I decided to explore the local area and to some extent got lost as my camera did not have GPS and my iPhoned had shutdown. To the best of my knowledge I photographed parts of Charlestown, Meakstown and Dubber Cross.
For those unfamiliar, townlands are ancient divisions of land, often with fascinating histories. Meakstown and Dubber Cross, nestled in northwest Dublin, are no exception. Meakstown sits east of the busy N2, while Dubber Cross lies just west, across the road. Both areas have witnessed significant changes over the years, evolving from rural landscapes to suburban neighbourhoods.
Dubber is in the Civil Parish of Santry, in the Barony of Coolock, in the County of Dublin. During my visit I meet a mother and her children and she told me that she was there to show the children their new house which was at the end of the lane. According to Google Maps the name of the lane is ‘Dubber Cottages’ but when I checked the sales information for Dubber House it was described as being located at the end of ‘Dubber Lane’. If her new house is Dubber House it is impressive.
Historically, Meakstown was known as "Baile Maidheac" in Irish, possibly meaning "Mac's town". Records show the area was once home to a substantial house and demesne lands, hinting at a more affluent past.
I had been lead to believe that Dubber Cross, derived its name from the Irish "Tobar na Croise" (Well of the Cross), a holy well that once existed nearby. However, after further research I believe that this is incorrect as there is a location named Tubber Cross in Ireland and it's a village located on the border of County Clare and County Galway. Tubber Cross is known for its historical connections, including a holy well and St. Michael's Church.
Today, both Meakstown and Dubber Cross are predominantly residential areas. Since my 2017 visit, further development has taken place, with new housing estates and amenities springing up. Despite this modernisation, pockets of green space remain, offering a welcome respite from the urban bustle.
WAVE BY ANGELA CONNER
I have fact-checked the information provided in various accounts and corrected the height of the sculpture, which is 39.3 metres, not 35.3 metres as sometimes reported.
Park West in Dublin is home to a striking piece of public art: Wave, a towering sculpture by renowned English artist Angela Conner FRBS. Standing at a remarkable 39.3 metres (129 feet), it claims the title of Europe's tallest wind and water mobile sculpture.
Crafted from polystyrene coated in layers of carbon resin, Wave's elegant form is anchored to a 7.6 metre (25 foot) deep pit filled with 9.5 tonnes of lead. This ingenious design allows the sculpture to gracefully sway and respond to the wind, creating a captivating spectacle of movement and balance.
Angela Conner, a celebrated sculptor with a global presence, is known for her dynamic works that often incorporate natural elements like wind and water. Her impressive portfolio includes large-scale sculptures displayed in public and private collections worldwide.
Interestingly, the initial inspiration for Wave came from observing saplings in Vermont. Conner was fascinated by their ability to bend and sway in the wind while always returning to their centre, a concept she found both visually and philosophically compelling.
Did you know? At the base of the sculpture, jets of water create a delicate spray that, when caught by the sunlight, produces a shimmering rainbow. This adds another dimension to the artwork, further connecting it to the natural world.
A SCULPTURE BY ORLA DE BRI
THE BASTARD SON OF SISYPHUS [A SCULPTURE BY ORLA DE BRI]
Because of intrusive street furniture and as I had to shoot into the sun this was much more difficult to photograph than I had expected.
This striking sculpture, "The Bastard Son of Sisyphus", by Orla de Brí, is located in Park West, Dublin. It offers a contemporary interpretation of the Greek myth of Sisyphus, condemned to eternally push a boulder uphill only to watch it roll back down. De Brí's work captures the futility of Sisyphus's task, reflecting the often- Sisyphean nature of modern life.
The sculpture features an 8ft high bronze figure, backed by imposing limestone megaliths, standing above a stepped waterfall. He contemplates a 5ft bronze sphere below, symbolising the burden we continually strive to overcome.
Unveiled on 21st October 1999, at the Park West launch day, the sculpture is unfortunately somewhat marred by its surroundings. Intrusive street furniture and the presence of high-tension transmission pylons detract from the artwork's impact. Photographing the piece also proved challenging due to the position of the sun, which created difficult lighting conditions.
Further Information:
To learn more about the artist and her work, please visit www.orladebri.ie.
Photographing into the Sun: Challenges and Solutions
Photographing a subject when the sun is directly behind it presents several challenges:
Silhouettes: The subject is often rendered as a dark silhouette against a bright background.
Lens Flare: Light can scatter within the lens, creating unwanted artefacts and reducing contrast.
Dynamic Range: The difference in brightness between the subject and the background can exceed the camera's capacity to capture detail in both.
Possible Solutions:
Change Position: If possible, reposition yourself to avoid shooting directly into the sun.
Use a Lens Hood: This can help to block some of the extraneous light causing lens flare.
Filters: Graduated neutral density filters or polarising filters can help to balance the exposure.
Exposure Compensation: Dial in positive exposure compensation to brighten the subject.
Shoot in RAW format: This allows for greater flexibility in post-processing to recover detail in highlights and shadows.
POISE BY ANGELA CONNER
POISE IS A SCULPTURE BY ANGELA CONNER [PARK WEST BUSINESS PARK DUBLIN MAY 2017]
I never got around to revisiting Park West Business Par
Evoking a sense of tranquility, 'Poise' is a captivating kinetic sculpture by renowned British artist Angela Conner. Known for her dynamic works that interact with natural elements, Conner has graced public spaces worldwide with her innovative creations. Here, in Park West Business Park, Dublin, 'Poise' features a large white circle, reminiscent of a celestial disc, that gently rotates in the wind. This movement casts ever-shifting shadows on the contrasting Yin and Yang form below, creating a mesmerising interplay of light and dark. Conner, a graduate of the Royal Academy Schools, has been pushing the boundaries of sculpture since the 1960s, with her works often exploring themes of balance, harmony, and the natural world.
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