NORTH OF THE RIVER

AT DRUMCONDRA BRIDGE NOW NAMED FRANK FLOOD FLOOD BRIDGE

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Our Lady’s Park is a small, 0.37-hectare (0.91-acre), boomerang-shaped park nestled on the banks of the River Tolka in Drumcondra, Dublin. Located next to Frank Flood Bridge (formerly Drumcondra Bridge, renamed in 2018), the park is notable for its statue of the Virgin Mary.

A History of the Site

Before becoming a public park, the triangular section of land opposite Fagan’s public house was occupied by a row of single-storey dwellings known as Tolka Cottages (or Botanic Cottages). Built before 1890, these cottages housed workers from a nearby flour mill (now the site of the Millmount House pub). Their proximity to the River Tolka, however, made them susceptible to flooding. In December 1954 [Marian Year], a severe flood caused significant damage to the area, inundating Glasnevin, Drumcondra, Fairview, Ballybough, North Strand and East Wall. Deemed a safety hazard after this event, the cottages were demolished.

The area was also once home to a factory owned by Irish confectioners Lemon’s Pure Sweets, leading locals to refer to the area as “Lemon’s Park.” Lemon’s ceased trading in 1983. In the summer of 2012, Dublin City Council officially named the park “Our Lady’s Park.”

Marian Statues: Symbols of Faith and Devotion

Throughout history, statues of the Virgin Mary have served as powerful symbols of faith and devotion for Catholics worldwide. Often found in churches, homes, and public spaces, these artistic representations invite contemplation, prayer, and a sense of connection to the divine.

Marian statues are diverse in style, size, and material, reflecting varied cultural and artistic traditions. Some depict Mary alone, serene and contemplative, while others portray her with the infant Jesus, highlighting her role as the Mother of God. Others capture specific events from Mary’s life, such as the Annunciation, the Visitation, or the Pietà.

The meanings associated with Marian statues are equally diverse. They can represent Mary’s purity, grace, and compassion, or serve as reminders of her role as intercessor and protector. In many cultures, Mary is venerated as a source of comfort, hope, and guidance.

The act of erecting a Marian statue often carries special significance. It can commemorate a particular event, honour a local community’s devotion, or express gratitude for a perceived blessing. The Marian Year of 1954, declared by Pope Pius XII, saw a surge in the creation and dedication of such statues, many of which remain as testaments to that period of intense Marian devotion.

Our Lady’s Park and the Question of Origins

The statue of the Virgin Mary in Our Lady’s Park has intrigued and puzzled researchers. While often assumed to be a “Marian statue” connected to the 1954 Marian Year, closer examination reveals some intriguing ambiguities.

Unlike many Marian statues from that era, which typically bear plaques commemorating their dedication during the Marian Year, this statue has only a simple inscription: “Ave Maria.” This lack of explicit reference to the Marian Year, combined with the National Inventory of Architectural Heritage’s dating of the statue to between 1950 and 1955, raises the possibility that it may not be directly associated with the 1954 events.

Adding to the intrigue, James Joyce mentions a “faded blue shrine of the Blessed Virgin” near the Tolka bridge in his 1916 novel, “A Portrait of the Artist as a Young Man,” suggesting a long-standing tradition of Marian devotion at this location that predates the 1950s.

Could this statue represent a continuation of that older tradition, rather than a direct response to the Marian Year? Could it have been erected for another reason altogether, perhaps to commemorate a local event or to express personal devotion? These questions remain open, inviting further exploration and adding a layer of mystery to this seemingly simple statue.

While its exact origins may remain elusive, the statue in Our Lady’s Park serves as a focal point for contemplation and prayer. Whether directly linked to the Marian Year or not, it stands as a testament to the enduring power of Marian devotion and the enduring presence of religious symbolism in Dublin’s landscape.

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