THE REPUBLICAN PLOT
A WALK ALONG ROCHES STREET IN LIMERICK [AN AREA ONCE KNOWN AS PIGTOWN]
As Christmas is approaching it might be a good idea to discuss Limerick ham.
A Tale of Two Christmas Meats: Limerick Ham and Dublin Spiced Beef
When I was young my mother insisted in getting Limerick ham as well as the traditional turkey. At the time we lived in a remote area in Donegal and the logistics of supplying the Christmas table was/were more than complicated to say the least. One year my grandmother invited us to Dublin for a week at Christmas. Instead of ham my Grandmother served Spiced Beef and I was horrified as it looked like and tasted like mud or at least what I thought mud would taste like.
My childhood memory paints a vivid picture of Christmas culinary traditions! It seems my mother, like many Irish families, held Limerick ham in high esteem. Let's delve into why this ham is so special, and then explore the "muddy" depths of spiced beef.
Limerick Ham: A Christmas Crown Jewel
Limerick ham's reputation is built on centuries of tradition. Here's why it often graces the Christmas table:
Unique Production: Limerick ham is dry-cured, meaning it's preserved with salt and often sugar, but no water is added. This process results in a dense, intensely flavourful ham with a distinctive texture.
Smoked Flavor: Many Limerick hams are traditionally smoked over beechwood or oak, adding another layer of complexity to the taste.
Versatility: Limerick ham can be enjoyed hot or cold. It can be the centrepiece of the Christmas feast, and then its leftovers transform into delicious sandwiches, salads, and snacks.
My mother's dedication to sourcing Limerick ham, even in a remote area, speaks volumes about its cherished place in Irish cuisine.
Spiced Beef: A Dublin Tradition
My encounter with spiced beef highlights a fascinating regional difference. While ham reigns supreme throughout much of Ireland, Dublin has a long-standing love affair with spiced beef.
Origins: Spiced beef likely has roots in Jewish culinary traditions, brought to Dublin centuries ago.
Flavour Profile: Spiced beef is typically a brisket that's cured with salt, sugar, and a potent blend of spices like pepper, cloves, and pimento. It's then boiled or steamed, resulting in a rich, almost gamey flavour that can be quite strong.
Acquired Taste: As I experienced, spiced beef is definitely an acquired taste! Its unique flavour and texture can be polarising.
It's understandable why my young palate, accustomed to the familiar saltiness of ham, was taken aback by the intense spices and darker colour of spiced beef.
Bacon vs. Ham: A Meaty Distinction
Finally, let's clarify the difference between bacon and ham:
Cut: Both come from the pig, but bacon is typically taken from the belly, while ham comes from the hind leg.
Cure: Both are cured, but bacon is often cured with a greater variety of spices and smoked more heavily.
Cooking: Bacon is typically cooked until crispy, while ham is often roasted or boiled.
In essence, bacon is prized for its crispy fat and smoky flavour, while ham offers a leaner, more substantial meatiness.
My Christmas memory highlights the fascinating regional differences in Irish culinary traditions. While Limerick ham holds a special place in many hearts, Dublin's spiced beef offers a unique and bold alternative. Both meats contribute to the rich tapestry of Irish Christmas cuisine.
Roches Street was the epicentre of Limerick's bacon industry, and several factors contributed to its rise:
19th-Century Growth: The industry took off in the 1800s, with companies like Matterson's, O'Mara's, Shaw's, and Denny's establishing large-scale factories. These factories employed thousands of workers, primarily from Limerick city and the surrounding county.
Matterson's Bacon Factory: This was one of the largest and most well-known factories on Roches Street. They were known for their innovative techniques and large-scale production.
O'Mara's: Another prominent factory on Roches Street, O'Mara's also contributed significantly to Limerick's bacon output.
"Pigtown" Atmosphere: The area was characterised by the sights, sounds, and smells of the industry. The constant activity of pig deliveries, slaughtering, processing, and the transportation of finished products created a unique atmosphere.
Community Impact: The bacon industry was vital to Limerick's economy, providing employment and shaping the social fabric of the city. Many families had generations working in the factories.
Decline: Sadly, the industry declined in the latter part of the 20th century due to factors like increased competition from European imports, changing consumer habits, and the rise of supermarkets.
Additional Details & Verification:
Limerick City and County Council Archives hold extensive records and resources related to the Limerick bacon industry, including photographs, documents, and oral histories. These archives were crucial in compiling the book "Pigtown: A History of Limerick's Bacon Industry."
"Pigtown: A History of Limerick's Bacon Industry" by Ruth Guiry is considered the definitive account of this industry. It was commissioned by the Limerick Pork Butchers' Society and provides detailed research and insights into the history of the industry, the people involved, and its impact on Limerick.
The Journal.ie has published articles featuring firsthand accounts from former bacon factory workers, providing valuable personal perspectives on the industry's history and decline.
There are a number of buildings along Roches Street that are of interest.
No 15 Roches Street: A very plain but substantial former mill building. While seemingly out of context in this Georgian district, Roches Street was once dominated by large scale industrial activity. The vast scale of this structure, and the adjacent corn store, when viewed as an ensemble, forms a monumental and historic element to a streetscape stripped of much of its architectural interest.
No 22 Roches Street: A formidable building set around a long courtyard on three sides. With mainly the ground floor in use this structure lies largely unused. As one of a group of industrial buildings on this street they indicate to the source of the commercial wealth and industrial and agricultural activity centred in Limerick City. This building may have been part of the Bannatyne operations on Roche’s Street.
No 31 Roches Street: A formal Victorian building which, due to its height and good condition, holds a prominence on this side of Roches Street. The combination of the architrave surrounds, the corniced sill courses and the red brick combine to add artistic interest to the façade.
CELTIC CROSSES
A FEW OF THE MANY CELTIC CROSSES IN MOUNT ST LAWRENCE CEMETERY [LIMERICK APRIL 2022]
There is a large number of Celtic crosses in Mount St. Lawrence Cemetery, Limerick. It's a common sight in Catholic and non-denominational cemeteries across Ireland and beyond. These crosses, with their distinctive ring around the intersection of the arms, speak to a rich history and enduring symbolism.
The Cost of Craftsmanship
Historically, the complexity and size of a Celtic cross would have directly correlated to its cost. Intricately carved high crosses, made from durable stone like granite, would have been a significant investment, commissioned by those who could afford to commemorate their loved ones in a grand manner. The craftsmanship involved in shaping the stone, carving the detailed knotwork and figuring, and erecting the cross would have required skilled artisans and considerable labour.
Even simpler Celtic crosses would have represented a financial outlay. While not as elaborate as the high crosses, they still required skilled stone masons to cut, shape, and often carve inscriptions. The material itself would have added to the cost, particularly if transported from a distant quarry.
Celtic Crosses: A Brief Overview
The Celtic cross, with its distinctive ring, has its roots in early Christianity in Ireland and Britain. The ring is often interpreted as a symbol of eternity or the halo of Christ. While the classic form is instantly recognisable, there are variations in design and style:
High Crosses: These are the monumental freestanding crosses, often intricately carved with biblical scenes, interlace patterns, and figures. They were typically erected in monastic sites or as public monuments.
Grave Markers: These are smaller crosses, often simpler in design, used to mark individual graves. They may feature inscriptions, decorative motifs, or a combination of both.
Celtic Crosses with a Corpus: While the traditional Celtic cross does not include a depiction of Christ, some later versions, particularly in cemeteries, do feature a corpus (the body of Christ).
From Ancient Symbol to Modern Memorial
Although Celtic crosses have ancient origins, their widespread use in graveyards and cemeteries is a more recent phenomenon, dating back to the 19th century. This coincided with the Celtic Revival, a period of renewed interest in Celtic art, culture, and history. The Celtic cross became a popular symbol of Irish and Celtic identity, and its association with early Christianity made it a fitting choice for funerary monuments.
High Cross vs. Celtic Cross
Essentially, a high cross is a type of Celtic cross. The term "high cross" refers specifically to the large, freestanding crosses that were erected in early Christian Ireland and Britain. These crosses are distinguished by their size, their elaborate carvings, and their public or ecclesiastical setting. The term "Celtic cross" is a broader term that encompasses both high crosses and the smaller crosses used as grave markers.
THREE PRIESTS MEMORIAL
MEMORIAL TO THREE PRIESTS [FEATURES LATIN INSCRIPTIONS]
This really caught my attention but I had serious problems with lens flare, because the lens was wet because it rained just as I arrived, and it took a lot of effort and time to process the images to the stage that they could be published.
This memorial features a fascinating inscription! It commemorates three priests, likely brothers, with impressive careers. Here's a breakdown of the Latin and abbreviations, along with a translation. I've kept the original line breaks to preserve the inscription's structure.
Translation and Notes
Rmo. Timothero Shanahan / Eccl. sancti munchini parocho, diaec. limericien. Decano. Et vicario generali. / Qui fortitudinem, in juribus summi pontificis propugnando, / Et fidelitatem, in omni munere sacerdotali obeundo; testificatus. / Tandem, longinquitudine dierum, meritus, et virtutibus repletus. / Obdormivit in domino / xiv maii mcmxv, anno lxxxix suae aetatis et lix sacri presbyteratus / R.I.P. / Hoc monumentum, frates devotissimi, fieri fecerunt.
Rmo. - Reverendissimo (Most Reverend)
Eccl. - Ecclesiae (of the Church)
sancti munchini - (of Saint Munchin - likely a church in Limerick)
parocho - parish priest
diaec. - dioecesis (diocese)
limericien. - Limiricensis (of Limerick)
Decano - Dean
vicario generali - vicar general
Qui fortitudinem...propugnando - Who showed strength in defending the rights of the Supreme Pontiff,
Et fidelitatem...obeundo - and faithfulness in fulfilling every priestly duty; having testified (to these).
Tandem...repletus - At last, by the length of his days, deserving, and full of virtues,
Obdormivit in domino - he fell asleep in the Lord
xiv maii mcmxv - 14th of May 1915
anno lxxxix suae aetatis - in the 89th year of his age
lix sacri presbyteratus - and the 59th year of his sacred priesthood
R.I.P. - Requiescat In Pace (May he rest in peace)
Hoc monumentum...fecerunt - His most devoted brothers had this monument made.
Rev. Dionysio R. Shanahan / Qui in hac dice: per quinquaginta an[nos] strenue / Sancteque administrvit. Per multos an[nos] ut fidelis / Pastor parcecias de Askeaton st[sic] pat[ri] et stae[sic] / Mariae: in urbe: multo cum fructu rexit. Laboribus / Tandem infirmitatibusque confectus. novissima / quo securius provideret onus pastorale. maerens / Abdicavit. sagr[is] eccl[esiae] sacramentis munitis / Pie in domino requievit / Natus 1845 Presby: 1868 Mort 1924. / R.I.P.
Rev. - Reverendus (Reverend)
dice[cesi] - diocese
quinquaginta an[nos] - fifty years
strenue / Sancteque administrvit - he diligently and holily administered.
Per multos an[nos] ut fidelis / Pastor - For many years as a faithful pastor
parcecias de Askeaton - the parish of Askeaton
st[sic] pat[ri] et stae[sic] Mariae - [of] Saint Patrick and Saint Mary (likely churches within the parish)
in urbe - in the city
multo cum fructu rexit - he ruled with much fruit (success).
Laboribus / Tandem infirmitatibusque confectus - Worn out at last by labors and infirmities,
novissima / quo securius provideret onus pastorale - to provide more securely for the pastoral office in his last days,
maerens / Abdicavit - grieving, he resigned.
sagr[is] eccl[esiae] sacramentis munitis - fortified with the sacred sacraments of the Church,
Pie in domino requievit - he piously rested in the Lord.
Natus 1845 - Born 1845
Presby: 1868 - Ordained (Presbyter) 1868
Mort 1924 - Died 1924
Rmo. Giraldo Augustino Shanahan, / Ecll. S. Patrici Apud Thornaby-on-Tees. / Parocho. / Diae. Medioburg. Candnico, Ecrecia[sic] ob / Merita Titulo / Praelati domestico A Pio P.X ornato, / Qui. In comit. / Linerici Natus. In angl. Ann. Lui Pastor / Indefessus / Fideique catholicae intrepidus defensor, / Kal. Feb. A.D. MCMXIX. suae vero / Act. LXXIX. / Perculso crege ejus dolore incenti / Pie in Domino obdormivit. / R.I.P.
Ecll. - Ecclesiae (of the Church)
S. Patrici - Saint Patrick
Apud Thornaby-on-Tees - At Thornaby-on-Tees (location of the church)
Diae. - Dioecesis (Diocese)
Medioburg. - Middlesbrough
Candnico - Canon
Ecrecia[sic] ob / Merita Titulo - by the Church, on account of merit, with the title
Praelati domestico - Domestic Prelate
A Pio P.X ornato - decorated by Pope Pius X
Qui. In comit. - Who, in the county
Linerici Natus - of Limerick, born.
In angl. Ann. Lui Pastor - In England for many years a pastor
Indefessus - tireless
Fideique catholicae intrepidus defensor - and a fearless defender of the Catholic faith,
Kal. Feb. - Kalends of February (1st of February)
A.D. MCMXIX - A.D. 1919
suae vero / Act. LXXIX - in the 79th year of his age
Perculso crege ejus dolore incenti - his flock having been struck with grief at his loss,
Pie in Domino obdormivit - he piously fell asleep in the Lord.
Key Takeaways
This inscription honours three brothers who were all Catholic priests.
They served in various roles and locations (Limerick, Askeaton, Thornaby-on-Tees).
Their service was marked by dedication, faithfulness, and longevity.
The inscription highlights their virtues and accomplishments.
This translation and the notes should give you a good understanding of this detailed inscription.
Such a monument would have been a significant expense, especially in the early 20th century. While the inscription doesn't explicitly state how it was funded, there are a few clues and possibilities:
"Fieri fecerunt" - "had it made": This phrase, used in the inscription for Timothy Shanahan, suggests that the brothers commissioned and paid for the monument themselves. This is a common pattern with elaborate memorials, reflecting the family's desire to honour their deceased relatives.
The brothers' prominent positions: All three Shanahan brothers were high-ranking clergymen. Timothy was a Vicar General and Dean, Dionysius was a long-serving parish priest, and Gerald was a Canon and Domestic Prelate. These positions may have come with some financial resources or access to benefactors who could contribute.
Contributions from parishioners: It's possible that parishioners, especially those in Askeaton where Dionysius served for 50 years, may have contributed to the monument out of respect and gratitude for their pastors. This was not unusual, particularly for beloved priests.
Combination of sources: Most likely, the funding came from a combination of the brothers' own resources, contributions from family and friends, and perhaps donations from grateful parishioners.
Unfortunately, without further documentation (such as church records or family archives), it's impossible to know the exact funding sources. However, the inscription and the brothers' clerical careers provide some likely scenarios.
THE REPUBLICAN PLOT
WHEN I VISITED IN APRIL 2022 THE YEW TREES HAD BEEN REMOVED [THE HIGH CROSS AT THE REPUBLICAN PLOT]
The Republican Plot and the High Cross are not merely historical relics; they are living memorials. The ongoing efforts to preserve and enhance the site demonstrate the enduring respect and gratitude felt for those who gave their lives in the pursuit of Irish freedom.
The High Cross and the Republican Plot: A Story of Remembrance and Restoration
The Republican Plot in Mount Saint Lawrence Cemetery, Limerick, stands as a poignant symbol of Ireland's fight for independence. It is the final resting place of nineteen individuals who made the ultimate sacrifice during the War of Independence and the Civil War, including revered figures like Mayors George Clancy and Michael O'Callaghan, and Sean South. Dominating the plot is a magnificent High Cross, a testament to their bravery and a focal point for remembrance.
History of the Republican Plot
Established in 1921, the plot was specifically designated for those who died fighting for Irish freedom. The names of those interred are etched into the base of the High Cross, erected that same year, ensuring their sacrifice is never forgotten. The site has become a place of pilgrimage and reflection for those wishing to honour these heroes.
The High Cross: A Symbol of Sacrifice
The High Cross is a striking feature of the Republican Plot. Crafted from durable Kilkenny limestone and standing at 24 feet tall, it is a powerful symbol of remembrance. Its design is attributed to the renowned Irish sculptor, Oliver Sheppard. It's possible that the cross was formally blessed or unveiled in a ceremony in 1934, but it appears to have been erected in 1921 along with the establishment of the plot itself.
Oliver Sheppard: The Artist
Oliver Sheppard (1865-1941) was a key figure in the Irish art world. He is best known for his iconic statue of The Dying Cuchulainn, located in the General Post Office (GPO) in Dublin, a building synonymous with the 1916 Easter Rising. Sheppard's work often explored themes of Irish nationalism and mythology, making him a fitting choice to create this monument.
A 20-Year Struggle for Restoration
For two decades, the Limerick Republican Graves Committee, led by Desmond Long, fought to have yew trees removed from the plot. They argued that the trees were not part of the original design and were damaging the memorial plaques. Despite initial resistance from Limerick City Council, who claimed the trees were of "historical interest," the committee eventually prevailed.
Recent Developments and Ongoing Restoration
In 2019, the "unsightly" yew trees were finally removed. This victory for the committee marked a significant step in their efforts to restore the Republican Plot to a condition befitting the sacrifice of those buried there. However, as Mr. Long noted, further repair work is needed to ensure the site remains a fitting tribute to these heroes.
ROBERT POTTER MP
This Memorial caught my attention because of its shape, which I thought was by design, however today [28 November] I came across an old photograph http://www.flickr.com/photos/nlireland/31366311888/ which clearly shows that it was was originally a cross with the inscription Robert Potter MP. When I examined my photographs I noticed that the person in question is actually buried at Askeaton Abbey and the memorial was erected by his wife/widow Anne Potter.
Robert Potter (1799-1842): A Controversial Figure
Robert Potter was a prominent figure in Limerick politics during the early 19th century. He served as a Member of Parliament (MP) for Limerick City from 1832 to 1841. He was known for his strong advocacy for Catholic Emancipation and Repeal of the Union. However, he was also a controversial character, described as a "firebrand" and a "political maverick." He was involved in several duels and was known for his outspoken views. It's certainly possible that Robert Potter's early death at the age of 43 was due to a duel. He was known for his fiery temperament and involvement in several disputes, which could have led to such a confrontation. Unfortunately, I haven't been able to find definitive evidence confirming his death was caused by a duel.
Observations from the old image:
Celtic Cross: The memorial is is/was a Celtic cross, a traditional Irish form often used on graves.
Inscription: The inscription reads "Erected by Anne Potter in memory of her beloved husband Robert Potter MP who died 2nd Nov 1842 aged 43 years." This confirms that it was his wife who commissioned the memorial.
Material: The cross appears to be made of a light-coloured stone, possibly limestone or marble. This might explain its vulnerability to damage over time.
Damage: The cross seems to be broken at the intersection of the arms and the shaft. This could be due to vandalism, natural weathering, or even a falling tree branch.
Considering all images and the inscription, here are some possibilities for the broken cross:
Accidental Damage: Given the cross's material and location, accidental damage seems the most likely explanation. Strong winds, falling debris, or even accidental impact could have caused the break.
Symbolic Act: While still possible, the fact that the memorial was erected by his wife makes a deliberate act of vandalism by political opponents seem less likely. It's possible that the damage occurred much later and was unrelated to any political animosity towards Potter himself.
Natural Deterioration: The break could also be due to the natural weathering of the stone over time, especially if there were any pre-existing flaws or weaknesses in the material.
Anne Potter's Devotion:
The inscription and the elaborate nature of the memorial clearly demonstrate Anne Potter's devotion to her husband. Despite his burial elsewhere, she chose to create a prominent memorial for him in Mount Saint Lawrence Cemetery. This suggests a deep emotional connection to the place or a desire for his memory to be publicly honoured in Limerick City.
Askeaton Abbey (also known as Askeaton Friary) is a ruined medieval Franciscan friary located in County Limerick, Ireland. It sits on the east bank of the River Deel, just north of the town of Askeaton.
Here's a glimpse into its history:
Founded: It was founded for the Order of Friars Minor Conventual by either Gerald FitzGerald, 3rd Earl of Desmond, between 1389 and 1400, or by James FitzGerald, 6th Earl of Desmond, in 1420.
Reformed: The abbey underwent reforms in 1490 and 1513, becoming part of the Order of Friars Minor.
Troubled Times: Askeaton Abbey faced difficult periods, including plundering and abandonment in 1579 during the Second Desmond Rebellion. Some friars were even killed during this time.
Revival and Abandonment: Despite the hardships, it was revived in 1627, only to be abandoned again in 1648 as Cromwell's forces approached.
What Remains Today:
Although in ruins, Askeaton Abbey remains an impressive site. It's known for its:
Size and Extent: The abbey was a substantial complex, and the remaining structures give a sense of its former grandeur.
Architectural Features: Visitors can still see the church, north transept, sacristy, cloister arcade, and domestic buildings.
Cloister: The abbey boasts one of the finest medieval cloisters in Ireland, offering a peaceful and contemplative atmosphere.
Proximity to Askeaton Castle: The abbey is located near the equally impressive ruins of Askeaton Castle, making it part of a significant historical landscape.
BRASS BAND MURAL
ST JOHN'S BRASS AND REED BAND ON GARRYOWEN ROAD [THERE IS AN ATTRACTIVE MURAL AT THE SIDE OF THE BUILDING]
St John's Brass and Reed Band on Garryowen Road
A striking mural graces the side of St John's Brass and Reed Band's building on Garryowen Road in Limerick. Established in 1865, it's one of Limerick's oldest bands, contributing to the city's cultural development for over 150 years.
The band's home at 2 Garryowen Road shares its name with the famous Garryowen Football Club. This rugby union club, a mainstay of Limerick's sporting heritage, is known for its iconic "Garryowen kick" – a high kick designed to give the kicking team time to compete for the ball.
To celebrate the band's long history, Draw Out, a Limerick-based urban art initiative, commissioned Dublin-based artists Decoy and Without to create the mural. It features Jimmy McCormack, the band's current President, and former member Kevin Greaney, based on a 1958 photograph.
Decoy, known for his abstract shapes and patterns, and Without, with his background in sculpture and design, combined their unique styles to produce a vibrant and evocative artwork.
Draw Out, supported by Creative Ireland, Made in Limerick, and Limerick Arts Office, aims to create public art that inspires community engagement and celebrates local heritage. This mural is one of 29 original pieces across Limerick City, each reflecting the distinctive character of its area.
THREE SCULPTURES
LIMERICK PRISON FEATURES THREE SCULPTURES [HIGHLIGHTING FAMILY IMPACT OF INCARCERATION]
Limerick Prison has taken a unique step in acknowledging the human cost of incarceration with the unveiling of three powerful sculptures on its grounds. The artwork, created by Limerick City Build, serves as a poignant reminder of the impact imprisonment has not only on individuals but also on their families and the wider community.
One of the most striking pieces, entitled "The Space Between", features the silhouettes of a man, woman, and child. This evocative representation of a family highlights the often-overlooked consequences of imprisonment, as Human Rights Commissioner Teresa Blake noted at the unveiling: "It's an emotional piece that represents what goes missing when a person comes to prison."
This sentiment is echoed in the accompanying plaque for another sculpture, "The Divided Self", which reads: "The separation from family, community, and society is interwoven with the struggle for personal expression, creativity, and the survival of the spirit in an environment where freedom is denied." This piece, with its focus on the internal struggle of the individual, complements "The Space Between" by drawing attention to the psychological and emotional toll of incarceration.
The third sculpture, a silver bench named "Kathedra", provides a space for reflection and contemplation. While its symbolism may be less overt, it offers a place for visitors, families, and perhaps even those who have served time to pause and consider the complex issues surrounding imprisonment.
The unveiling of these sculptures coincided with the opening of a new family visiting area at Limerick Prison, further emphasising the institution's commitment to recognising the importance of family connections. This initiative has been praised by the Irish Human Rights and Equality Commission, with Commissioner Blake stating, "This is a fantastic statement about family that really links with the Prison Service core values."
By commissioning and displaying these thought-provoking sculptures, Limerick Prison has sparked a conversation about the human impact of incarceration and the importance of rehabilitation and reintegration. The artwork serves as a powerful reminder that while individuals may be imprisoned, their families and communities remain deeply affected, and the hope for a future beyond the prison walls endures.
SACRED HEART CHURCH
THIS WAS THE SACRED HEART CHURCH WHEN I PHOTOGRAPHED IT [THE CRESCENT LIMERICK APRIL 2022]
The Sacred Heart Church in Limerick city has undergone some changes in recent years and especially since I last photographed it in April 2022.
The church was previously under the care of the Redemptorists, but in 2006, it was entrusted to the Institute of Christ the King Sovereign Priest (ICKSP). This is a society of apostolic life of Pontifical Right within the Catholic Church. They are known for celebrating the Traditional Latin Mass and sacraments.
It seems the church building itself was in need of some refurbishment, and the ICKSP have been undertaking this work since they took over. This likely explains the renovations I witnessed in April 2022.
While the official name of the church remains Sacred Heart Church, it is now commonly referred to as Sacred Heart Church - Institute of Christ the King Sovereign Priest to distinguish it from other churches with the same name.
Sacred Heart Church: A History
Early Years: The Jesuits arrived in Limerick in 1609, but it wasn't until the mid-19th century that plans for Sacred Heart Church took shape. Construction began in 1864, designed by architect William Edward Corbett and overseen by Charles Geoghegan. The site chosen, interestingly, was once occupied by a grand Georgian residence called Crescent House, disrupting the uniformity of The Crescent and creating a focal point.
Architectural Significance: The church was dedicated in 1869, though some aspects remained unfinished for decades. It's described as a "gable-fronted barn style" Roman Catholic church. Over the years, it underwent several additions and alterations:
1900: William Henry Byrne drafted designs for a new façade (it's unclear if these were implemented).
1922: Patrick Joseph Sheahan designed an internal chapel.
1938: Sheahan (with the firm Sheahan & Clery) oversaw painting and decoration.
1920s/1930s: A Sacred Heart shrine was erected, marble altar rails were added, and Italian craftsmen created a sanctuary mosaic.
The Redemptorists: While initially a Jesuit church, the Redemptorists took over in the early 20th century. They served the parish for many years until declining numbers led them to hand over the church in 2006.
The Institute of Christ the King: Since 2006, the ICKSP has been the custodian of Sacred Heart Church. Their commitment to the Traditional Latin Mass has attracted a new congregation, and they've undertaken significant renovations to restore and maintain the building.
Changing Religious Landscape in Limerick
Limerick, like many Irish cities, has seen a decline in vocations and a shift in religious practices. This has resulted in:
Reduced Number of Priests and Religious: Many orders, like the Redemptorists, Dominicans, and Franciscans, have had to consolidate their efforts or withdraw from certain parishes.
Church Closures and Repurposing: Some churches have closed altogether, while others have been adapted for new uses (community centres, arts spaces, etc.).
Amalgamation of Parishes: To address the shortage of priests, parishes have been combined, with fewer clergy serving larger areas.
RUSSELL MEMORIAL FOUNTAIN
THE RUSSELL MEMORIAL FOUNTAIN [THIS IS A FAVOURITE OF MINE]
It rained almost constantly during my visit and it was especially heavy when I visited the People's Park in Limerick City.
Both Limerick and Belfast boast ornate Victorian fountains that have become cherished landmarks, each with a unique history and story to tell. While visually similar, their journeys through time and the figures they commemorate reveal fascinating differences.
The Russell Memorial Fountain, Limerick
A splash of vibrant red amidst the greenery of Limerick's People's Park, the Russell Memorial Fountain stands as a testament to Victorian craftsmanship and the enduring legacy of Richard Russell. Erected in 1877, this ornate structure commemorates a man who played a vital role in Limerick's industrial and social fabric.
Honouring a Local Benefactor: Richard Russell, a prominent businessman and owner of extensive flour mills in the city, was deeply respected for his fair treatment of workers and his significant contributions to Limerick's economic prosperity. The fountain, a gift from his employees, reflects the high esteem in which he was held.
A Park for All: The fountain's location in the People's Park is significant. Originally a private park for residents of the exclusive Pery Square, it was opened to the public in 1877, coinciding with the fountain's erection. This marked a shift towards greater public access and recreation, symbolising a more inclusive city.
Enduring Beauty: Though well-maintained over the years, the fountain underwent a significant restoration in 2009. This ensured its continued presence as a focal point in the park, a cherished landmark, and a reminder of Limerick's industrial and philanthropic heritage.
The Jaffe Fountain, Belfast
Across the island in Belfast, the Jaffe Fountain, painted a distinctive yellow, shares a striking resemblance to its Limerick counterpart. However, its history is marked by greater turbulence and relocation.
Honouring a Mayor: Erected in 1874, the fountain commemorates Otto Jaffe, a German-born businessman who served as Mayor of Belfast. Jaffe was instrumental in promoting Belfast's linen industry and fostering cross-community relations.
A Turbulent Journey: Unlike the Russell Fountain, the Jaffe Fountain has been moved several times throughout its history. Initially located in Victoria Square, it was moved to Botanic Gardens in 1938, then to storage in 1957, and finally restored and placed in its current location on Donegall Square North in 1980.
Symbol of Resilience: The fountain's neglect and eventual restoration mirror Belfast's own challenges and regeneration. Having survived bomb damage and years of storage, it now stands as a symbol of the city's resilience and enduring spirit.
Comparing the Fountains:
Both fountains are excellent examples of Victorian cast-iron ornamentation, likely produced by the same foundry, and represent the civic pride and philanthropy of the era. However, their contrasting journeys reflect the different histories of the two cities. While the Russell Fountain has remained a constant presence in Limerick, the Jaffe Fountain's relocations reflect the changing urban landscape and social upheavals experienced in Belfast.
In today's world, where we associate fountains with flowing water, the term might seem misleading when applied to structures like the Russell and Jaffe memorials. However, these ornate monuments do indeed belong to the tradition of public fountains, and their form and function reflect the values and needs of the Victorian era.
Fountains: More Than Just Water Features
While we often think of fountains primarily as decorative elements, they served vital purposes in Victorian cities:
Sources of Clean Water: Before widespread indoor plumbing, public fountains provided a crucial source of clean drinking water for urban populations. This was especially important in combating diseases like cholera, which were often spread through contaminated water supplies.
Symbols of Public Health: The presence of elaborate fountains in public spaces demonstrated a commitment to public health and civic improvement. They signified a city's ability to provide for its citizens and enhance their quality of life.
Expressions of Civic Pride: Fountains, often adorned with intricate sculptures and symbolic figures, served as expressions of civic pride and artistic taste. They were seen as monuments to progress and prosperity, reflecting the values and aspirations of the community.
Social Gathering Places: Fountains acted as social hubs, drawing people together for conversation, relaxation, and respite from the bustling city. They provided a sense of community and shared public space.
Why They Were "Dry"
The Russell and Jaffe memorials, despite their lack of flowing water today, were likely designed with water features in mind. However, several factors may have contributed to their current "dry" state:
Maintenance Costs: Maintaining the water supply and upkeep of the fountains could be expensive, especially as technology advanced and alternative water sources became readily available.
Changing Urban Landscape: As cities evolved, the original purpose of these fountains as sources of drinking water diminished. Their function shifted towards primarily aesthetic and commemorative roles.
Preservation: In some cases, the decision to cease water flow may have been made to preserve the intricate details and prevent damage caused by water erosion or freezing temperatures.
A Legacy Endures
Even without their original water features, the Russell and Jaffe memorials remain powerful symbols of their respective cities. They stand as testaments to Victorian ingenuity, civic pride, and the enduring legacy of public art. Their "dry" state, rather than diminishing their significance, invites us to reflect on the changing role of public spaces and the evolution of urban landscapes over time.
THE PEOPLES PARK
THE PEOPLE'S PARK IN LIMERICK [LOST ITS BEEBEE TREE IN 2013]
It rained almost constantly during my visit and it was especially heavy when I visited the People's Park in Limerick City but there was an upside in that I was was the only person the park for much of the time.
The People's Park: A Limerick Treasure
The People's Park stands as a testament to Limerick's history and community spirit. Originally a private park for the residents of the affluent Pery Square, it was officially opened to the public in 1877. This generous act by the Earl of Limerick was in memory of Richard Russell, a prominent local businessman.
Historical Elements:
Victorian Shelters: These ornate cast-iron structures, typical of Victorian park design, offer a charming reminder of the park's origins, providing shelter and a place to rest for generations of visitors.
Bandstand: The Victorian bandstand, a common feature in 19th-century parks, has been a focal point for musical performances and community gatherings throughout the park's history, echoing with the sounds of music and laughter.
Memorials: The park houses several memorials that connect visitors to Limerick's past:
Thomas Spring Rice: A towering Doric column dedicated to the 19th-century local MP, reflecting the ambition and grandeur of Limerick's Georgian era.
Richard Russell: A beautiful and unique fountain commemorating the man whose legacy led to the park's public opening. This fountain is the only one of its kind in Ireland, adding a special significance to the park.
The BeeBee Tree and its Legacy:
The park was home to a much-loved tree known as the "BeeBee Tree". This wasn't just any tree; it was a Tetradium Danielli, a rare species that had thrived in the park for over ninety years. Its name came from the masses of small white flowers that bloomed in late summer, attracting swarms of bees. This made it a vital source of late-season nectar and a beloved sight for park visitors.
Storm Damage and Artistic Renewal:
In 2013, a severe storm caused significant damage to the park, tragically felling the BeeBee Tree and other mature specimens. However, Limerick City and County Council, in a move that blends conservation and creativity, commissioned talented chainsaw artist, Tommy Craggs, to transform the remaining tree stumps into stunning sculptures. These works of art now stand as a testament to the park's resilience and a unique reminder of the lost trees. This approach not only salvaged something beautiful from a natural disaster but also provided a unique artistic element to the park, making it stand out from other green spaces.
Modernisation and Accessibility:
Recognising the importance of inclusivity, the park has undergone renovations to improve accessibility. The playground has been redesigned to cater to children of all abilities, with sensory areas, wheelchair-accessible swings, and a wide range of play equipment. This ensures that the People's Park can be enjoyed by everyone in the community.
CONSTANCE SMITH
CONSTANCE SMITH A LIMERICK LADY IN HOLLYWOOD [THE SUBSET MURAL ON NICHOLAS STREET IN LIMERICK]
Constance Smith: A Limerick Lady in Hollywood
This striking mural on Nicholas Street immortalises Constance Smith, a Limerick woman who made her mark on Hollywood. Born in 1928, Smith became a renowned actress, gracing the silver screen in numerous films throughout the 1950s. Despite facing challenges and setbacks, she fiercely carved out a successful career, refusing to compromise her Limerick roots by changing her name to appease industry demands.
Subset: The Artists Behind the Mural
This captivating portrait is the work of Subset, a renowned Dublin-based collective known for their thought-provoking street art. Their murals often feature strong female figures and social commentary, making Constance Smith a fitting subject for their artistic vision. Subset's work can be found throughout Ireland, adding vibrancy and cultural relevance to urban spaces.
Nicholas Street: A Walk Through History
Nicholas Street itself is steeped in history. As part of Limerick's medieval quarter, it has witnessed centuries of change and development. Once a bustling commercial hub, it retains its historic charm with its narrow lanes and preserved architecture. Today, it's a popular destination for visitors seeking to explore Limerick's rich past and vibrant present.
Treaty City Brewery: A Modern Hub
The mural graces the wall of Treaty City Brewery, a fitting backdrop for a tribute to a strong Limerick woman. The brewery, located at 24-25 Nicholas Street, is a popular spot for locals and tourists alike, offering a taste of local craft beer and a warm, welcoming atmosphere.
Why "Treaty City"?
Limerick is often referred to as the "Treaty City" due to the Treaty of Limerick, signed in 1691, which brought an end to the Williamite War in Ireland. Although the treaty was subsequently violated, the name persists as a reminder of the city's resilience and historical significance.
STILL DERELICT
LOVE ME SO BY DERMOT MCCONAGHY (DMC) [THOMAS STREET LIMERICK 2022 LEGACY PHOTO COLLECTION]
My last visit to Limerick was in June 2022 but as I have found it difficult to get suitable accommodation at reasonable cost much too much time has passed since I last visited the city and unfortunately it could be late 2025 or early 2026 before I get the opportunity to revisit the city to check if there is any new or recent examples of quality street art.
"Love Me So": A Story of Childhood Etched on Limerick's Walls
Limerick's street art scene is a vibrant tapestry of colour and emotion, transforming once-forgotten corners into captivating urban galleries. One such masterpiece is Dermot McConaghy's "Love Me So," a poignant mural that graces a previously derelict site on Thomas Street.
This double-walled piece, completed in 2013, depicts a woman gazing at her childhood self. It's a haunting image that speaks volumes about the lasting impact of early relationships. As McConaghy himself explains, "Love Me So" explores how our experiences as children, the love we receive, and the hurts we endure, shape us into the adults we become.
McConaghy, who signs his work as DMC, is an Irish artist who prefers the freedom of the streets to the confines of a gallery. Known for his striking murals in Dublin and Belfast, he brought his unique style to Limerick as part of the Make a Move festival. His work often features figures with a sense of introspection, inviting viewers to contemplate the complexities of human emotion.
Thomas Street: From Derelict Site to Urban Oasis
Thomas Street, believed to be named after a prominent 18th-century merchant, has undergone a remarkable transformation in recent years. Once a neglected area, it's now a bustling pedestrianised zone with a mix of shops, cafes, and restaurants.
But it's not just about commercial activity. The street is also home to the Biodiversity Garden, a green space created on a former derelict site. This urban oasis, established in 2014, provides a tranquil escape from the city bustle and serves as a hub for community events and educational initiatives. It's a testament to Limerick's commitment to sustainable urban development and the power of art and nature to revitalise forgotten spaces.
"Love Me So" stands as a powerful reminder of the past, present, and future. It reflects the transformation of Thomas Street, from a neglected area to a vibrant hub, while also prompting us to reflect on our own personal journeys and the formative experiences that shape our lives.
LOVE ME SO
LOVE ME SO BY DERMOT MCCONAGHY (DMC) [THOMAS STREET LIMERICK 2022 LEGACY PHOTO COLLECTION]
My last visit to Limerick was in June 2022 but as I have found it difficult to get suitable accommodation at reasonable cost much too much time has passed since I last visited the city and unfortunately it could be late 2025 or early 2026 before I get the opportunity to revisit the city to check if there is any new or recent examples of quality street art.
"Love Me So": A Story of Childhood Etched on Limerick's Walls
Limerick's street art scene is a vibrant tapestry of colour and emotion, transforming once-forgotten corners into captivating urban galleries. One such masterpiece is Dermot McConaghy's "Love Me So," a poignant mural that graces a previously derelict site on Thomas Street.
This double-walled piece, completed in 2013, depicts a woman gazing at her childhood self. It's a haunting image that speaks volumes about the lasting impact of early relationships. As McConaghy himself explains, "Love Me So" explores how our experiences as children, the love we receive, and the hurts we endure, shape us into the adults we become.
McConaghy, who signs his work as DMC, is an Irish artist who prefers the freedom of the streets to the confines of a gallery. Known for his striking murals in Dublin and Belfast, he brought his unique style to Limerick as part of the Make a Move festival. His work often features figures with a sense of introspection, inviting viewers to contemplate the complexities of human emotion.
Thomas Street: From Derelict Site to Urban Oasis
Thomas Street, believed to be named after a prominent 18th-century merchant, has undergone a remarkable transformation in recent years. Once a neglected area, it's now a bustling pedestrianised zone with a mix of shops, cafes, and restaurants.
But it's not just about commercial activity. The street is also home to the Biodiversity Garden, a green space created on a former derelict site. This urban oasis, established in 2014, provides a tranquil escape from the city bustle and serves as a hub for community events and educational initiatives. It's a testament to Limerick's commitment to sustainable urban development and the power of art and nature to revitalise forgotten spaces.
"Love Me So" stands as a powerful reminder of the past, present, and future. It reflects the transformation of Thomas Street, from a neglected area to a vibrant hub, while also prompting us to reflect on our own personal journeys and the formative experiences that shape our lives.
ST PETER'S CHURCH
ST PETER'S CHURCH IN PHIBSBOROUGH [HAS A NUMBER OF STUNNING HARRY CLARKE CREATIONS]
As a woman objected to me photographing within the church I was unable to properly photograph the windows by Harry Clarke which is a pity as that was the purpose of my visit.
St. Peter's Church in Phibsborough, Dublin, is a beautiful and historically significant building that has served the local Catholic community for almost two centuries. Built in phases, it's an interesting blend of architectural styles, with the main structure dating back to the 1860s and its striking tower and spire added in 1907. But beyond its architectural and historical significance, St. Peter's houses a hidden gem: a collection of exquisite stained-glass windows by the renowned Irish artist, Harry Clarke.
Harry Clarke: A Master of Stained Glass
Born in Dublin in 1889, Harry Clarke was a leading figure in the Irish Arts and Crafts Movement. Though he tragically died young at the age of 41, he left behind an impressive legacy of stained glass, illustrations, and illuminated manuscripts. His unique style, characterised by vibrant colours, intricate details, and a touch of the macabre, set him apart from his contemporaries.
Clarke's artistic vision was influenced by Art Nouveau and Symbolism, but he also drew inspiration from Irish mythology and religious iconography. His windows often feature elongated figures, flowing lines, and rich jewel tones, creating a mesmerising and otherworldly effect.
Clarke's Windows at St. Peter's
St. Peter's Church is fortunate to possess several of Harry Clarke's stunning creations. These windows, installed in the 1920s, showcase his signature style and exceptional craftsmanship. Some notable examples include:
The Nativity Window: This vibrant window depicts the birth of Christ, with intricate details and a beautiful array of colours.
The Sacred Heart Window: A devotional window showcasing the Sacred Heart of Jesus, surrounded by symbolic imagery.
The St. Patrick Window: This window portrays scenes from the life of Ireland's patron saint, with Clarke's characteristic use of Celtic motifs.
These windows are not merely decorative elements; they serve as powerful visual narratives that enhance the spiritual atmosphere of the church. Clarke's artistry transforms light into a medium of religious expression, casting colourful patterns and illuminating the sacred stories depicted in the glass.
A Synthesis of Art and Faith
St. Peter's Church stands as a testament to the enduring power of art and faith. The building itself, with its rich history and evolving architecture, reflects the growth and resilience of the Phibsborough community. And within its walls, Harry Clarke's stained-glass windows offer a glimpse into the soul of a gifted artist, inviting contemplation and inspiring awe.
The Celtic Cross outside St. Peter's - it's a striking monument that adds another layer of historical and artistic interest to the site.
This High Cross, standing tall and proud at the main entrance, is actually a 19th-century creation, dating back to the mid-1800s, a period when there was a revival of interest in Celtic art and heritage in Ireland. It's a beautiful example of this Celtic Revival style, with intricate carvings and traditional symbolism.
Here are some key features of the cross:
Materials: It's crafted from granite, a durable material that has weathered the years well.
Design: The cross follows the classic form of a Celtic High Cross with a ring around the intersection of the arms. It features elaborate carvings with interwoven patterns and figures, typical of Celtic art.
Symbolism: The cross is richly symbolic. Notice the skull and crossbones at the top, a reminder of mortality. Below this are four panels depicting symbols associated with the Passion of Christ:
The Cock: Represents Peter's denial of Christ.
The Chalice and Host: Symbols of the Eucharist.
The Crown of Thorns: Represents Christ's suffering.
The Spear and Sponge: Refer to the instruments of Christ's crucifixion.
This cross serves as a powerful visual reminder of faith and mortality as people enter the church. It connects the church to Ireland's rich Christian heritage, which has its roots in early Celtic Christianity. It's also a testament to the enduring appeal of Celtic art and its ability to convey spiritual meaning.
If you ever find yourself in Dublin, a visit to St. Peter's Church is highly recommended. Take some time to appreciate the beauty of its architecture and the artistry of Harry Clarke's windows. You won't be disappointed.
ST PETER'S LANE STREET ART
I visited the area about an hour later and someone had dumped a office furniture and a number of old televisions in one of the lanes.
St Peter's Lane is a small, somewhat forgotten lane in Phibsborough, Dublin 7. Connecting Cabra Park and St. Peter's Road, it's tucked away in a network of similar lanes, which can make it a bit tricky to find.
For a time, the lack of clear signage led to some confusion about its actual name. Many locals, myself included, referred to it as Cabra Lane. However, recently installed signs have confirmed its official name as St Peter's Lane.
Unfortunately, this little lane has faced persistent challenges with fly-tipping. Despite various attempts to combat this issue, including community clean-ups, street art competitions, and the creation of impressive murals, the problem seems to return in a frustratingly cyclical manner.
It's a real shame because the street art initiatives have brought moments of colour and vibrancy to the lane. Some truly talented artists have contributed their skills to create high-quality murals, temporarily transforming the area. But, sadly, the illegal dumping often reappears, undermining these positive efforts.
CABRA TRAM STOP JULY 2022
The Cabra tram stop is a key part of Dublin's Luas Green Line. Opened in 2017 as part of the Luas Cross City extension, it connects the Green Line to the Red Line, greatly enhancing Dublin's light rail network. Located at the northern end of the Broadstone railway cutting, just north of Connaught Street, the Cabra stop offers residents convenient access to the city centre and other destinations along the Green Line, which runs from Broombridge to Bride's Glen.
The stop is situated close to Mount Bernard Park, providing a welcome green space for commuters and locals. Pedestrians can easily access the park via the Liam Whelan Bridge, which crosses over the tram tracks.
Mount Bernard Park:
Origins: Mount Bernard Park was once part of the extensive Cabragh Estate, owned by the influential Butler family. While the exact origins of the parkland are unclear, the Butler family held significant landholdings in the area from at least the 18th century.
Dominican Ownership: In the early 20th century, portions of the Cabragh Estate were sold off. The land that now comprises Mount Bernard Park came under the ownership of the Dominican Order of nuns.
Public Park: In 1983, Dublin City Council purchased the land from the Dominican nuns to create a public park. It officially opened to the public in 1984.
Features: Today, Mount Bernard Park is a valued community space featuring a playground, playing fields, and walking paths, offering a peaceful retreat within the urban landscape of Cabra. It covers an area of 1.8468 hectares.
The stop is situated close to Mount Bernard Park, providing a welcome green space for commuters and locals. Pedestrians can easily access the park via the Liam Whelan Bridge, which crosses over the tram tracks.
Mount Bernard Park:
Origins: Mount Bernard Park was once part of the extensive Cabragh Estate, owned by the influential Butler family. While the exact origins of the parkland are unclear, the Butler family held significant landholdings in the area from at least the 18th century.
Dominican Ownership: In the early 20th century, portions of the Cabragh Estate were sold off. The land that now comprises Mount Bernard Park came under the ownership of the Dominican Order of nuns.
Public Park: In 1983, Dublin City Council purchased the land from the Dominican nuns to create a public park. It officially opened to the public in 1984.
Features: Today, Mount Bernard Park is a valued community space featuring a playground, playing fields, and walking paths, offering a peaceful retreat within the urban landscape of Cabra. It covers an area of 1.8468 hectares.
CUFFE STREET
CUFFE STREET [ON A REALLY WET DAY]
Cuffe Street, a Dublin thoroughfare running from St. Stephen's Green to Kevin Street Lower, holds a story of change and evolution mirroring the city's own. While it may appear unassuming today, its history is interwoven with architectural shifts, urban planning decisions, and social housing initiatives.
Early Days:
First appearing on maps in 1728, Cuffe Street was named for James Cuffe. Even earlier, Herman Moll's 1714 map shows buildings along its north side. By 1756, it was known as "Great Cuffe Street" on John Rocque's map of Dublin. The early 1700s saw the construction of predominantly gable-fronted houses, known as "Dutch Billys." These distinctive dwellings were later modified during the Georgian and Victorian periods, contributing to the street's evolving architectural character.
A Changing Landscape:
The most dramatic transformation occurred in the mid-20th century. Dublin Corporation's road widening schemes, intended to modernise the city's infrastructure, led to the demolition of many of Cuffe Street's historic buildings. This drastic intervention resulted in the current dual carriageway and tree-lined appearance, prioritising traffic flow over the preservation of architectural heritage.
The Lost Buildings:
Among the casualties of the road widening was 49 Cuffe Street, once home to the Bricklayers' and Stonecutters' Guild. Originally built as St. Peter's Parish Savings Bank, the building was later expanded and repurposed. Despite efforts to save its façade, it was demolished in 1985. As of 2021, the remaining elements are reportedly held in storage by Dublin City Council.
Another significant loss was the Winter Garden Palace, a prominent landmark at the corner of Cuffe Street and St. Stephen's Green. This historic pub, dating back to the 1860s, was a meeting place for Fenian groups and played a role in the 1916 Easter Rising. Compulsory purchase orders in the 1960s led to its demolition in 1975, along with surrounding residential and retail areas.
The Ardilaun Centre and the Iveagh Garden Hotel:
The site of the Winter Garden Palace and its neighbouring buildings was redeveloped by MEPC plc in the late 1970s. The resulting office complex, named the Ardilaun Centre, was designed by Costello, Murray and Beaumont and built by Sisk Group.
The Iveagh Garden Hotel now stands where the Ardilaun Centre once stood. It was built in the late 2000s by the O'Callaghan Hotel Group and opened in 2009. While initially facing some planning delays, it eventually began operation and remains a prominent feature at the eastern end of Cuffe Street.
Cuffe Street Today:
Cuffe Street today reflects the complexities of Dublin's urban development. The road widening schemes, while intended to modernize the city, resulted in the loss of much of its historic character. The presence of social housing projects underscores the city's efforts to address housing needs, while also contributing to the street's less commercial atmosphere.
Though lacking the vibrancy of some neighbouring streets, Cuffe Street remains an integral part of Dublin's urban fabric. It's a place where the past lingers amidst the present, offering a glimpse into the city's ongoing transformation.
SHIP STREET GATE AREA
SHIP STREET GATE AREA INSIDE THE WALLS OF DUBLIN CASTLE [MUCH OF THIS STREET IS PARALLEL TO GREAT SHIP STREET]
Most visitors to Dublin Castle are drawn to the grandeur of the State Apartments or the serenity of the gardens. But tucked away, near the Ship Street Gate, lies a street that offers a glimpse into a different side of this historic complex.
This street, which may or may not have an official name, is located behind the former Coach House (now the Coach House Gallery). At one end, there is a Garda facility. Much of the street runs parallel to Great Ship Street, which is outside the castle walls.
The Dublin Metropolitan Region (DMR) Roads Policing Unit, responsible for enforcing road traffic legislation across the Dublin area, is based at Dublin Castle. The Garda National Roads Policing Bureau (GNRPB) aims to increase road safety by reducing accidents, improving driver behaviour, and targeting criminals using the road network.
Dublin Castle also houses the Garda National Drugs and Organised Crime Bureau (GNDOCB), a specialist unit that tackles drug trafficking and organised crime. This unit comprises numerous Detectives and armed officers.
In May 2023, An Garda Síochána opened a new Regional Office in Dublin Castle. This office houses various Garda units, including the Dublin Crime Response Team and the Garda Síochána Analysis Service, contributing to the safety and security of the capital.
Dublin Castle has a long history with policing in Ireland. It was once the headquarters of the Dublin Metropolitan Police, and in 1922, it was where An Garda Síochána took over policing duties.
DALKEY VILLAGE JULY 2022
DALKEY A SOUTH DUBLIN VILLAGE [IS IT BETTER THAN MALAHIDE]
Dalkey, a charming village on Dublin's south side, is known for its picturesque harbour, rich history, and affluent residents. While Malahide often claims the title of Dublin's wealthiest area, Dalkey certainly holds its own with a high concentration of well-heeled residents and an air of exclusivity.
A Look Back at Dalkey's Past:
Viking Roots: Dalkey's history traces back to the Vikings, when it served as a key port for Dublin.
Medieval Importance: In medieval times, Dalkey Island (just off the coast) became a crucial trading hub and a safe haven from the plague.
19th Century Expansion: The arrival of the railway in the 19th century transformed Dalkey into a sought-after seaside escape for Dubliners.
Present-Day Prosperity: Today, Dalkey thrives, drawing high-profile residents with its charming atmosphere, beautiful coastal scenery, and convenient location near Dublin's city centre.
Dalkey vs. Malahide: A Comparison
Both Dalkey and Malahide are affluent areas, each with its own distinct character:
Location: Dalkey (South Dublin), Malahide (North Dublin)
Ambiance: Dalkey (Bohemian, artistic, historic), Malahide (Family-friendly, spacious, grand)
Housing: Dalkey (Mix of period properties, cottages, and modern developments), Malahide (Mainly large detached houses and estates)
Amenities: Dalkey (Boutique shops, art galleries, traditional pubs, upscale restaurants), Malahide (Shopping centres, parks, sports clubs, family-oriented restaurants)
Transport: Both areas are served by the DART (commuter train) and bus routes.
Attractions: Dalkey (Dalkey Castle & Heritage Centre, Coliemore Harbour, Killiney Hill), Malahide (Malahide Castle & Gardens, Malahide Estuary, marina)
Overall Impression: Dalkey (Picturesque village with a vibrant cultural scene and a strong sense of history), Malahide (Leafy suburb with a focus on family life and outdoor activities)
COLIEMORE HARBOUR IN DALKEY
COLIEMORE HARBOUR IN DALKEY [PHOTOGRAPHED USING AN iPHONE 12 PRO MAX AND HALIDE]
Coliemore Harbour is a small, historic harbour that has served as a vital hub for the local community for centuries. Originally a busy fishing port, it now mainly caters to leisure boats and yachts, adding to the idyllic scenery. Its sheltered location and stunning views make it a popular spot for photographers and artists seeking to capture the essence of Dalkey's coastal beauty.
Coliemore Road winds along the waterfront, offering breathtaking views of the harbour, Dublin Bay, and the surrounding hills. This scenic route is lined with charming houses, colourful cottages, and historic buildings, contributing to Dalkey's unique character. It's a popular destination for leisurely strolls, invigorating walks, and cycling, providing a tranquil escape from the hustle and bustle of city life.
Now, let's talk about the photography setup! I used powerful iPhone 12 Pro Max and Halide App combination. Here's why this makes sense, even though there is an excellent built-in camera app:
"The Best Camera Is The One That You Have With You": This adage holds true, especially with modern smartphones boasting incredible camera capabilities. My iPhone 12 Pro Max is no exception, offering a versatile triple-lens system, high-resolution sensors, and advanced image processing.
Halide Unlocks Pro Features: While the built-in camera app is convenient, Halide provides greater control and flexibility for enthusiasts. It offers manual controls for focus, exposure, ISO, and shutter speed, allowing you to fine-tune your shots and achieve your desired creative vision.
RAW Capture for Maximum Quality: Shooting in RAW format captures all the data recorded by the camera sensor without any compression or processing. This gives you significantly more latitude for editing your photos later, allowing for adjustments to exposure, white balance, and colour detail without compromising image quality. HEIC, while efficient, applies compression that can limit editing flexibility.
By combining the convenience of an iPhone 12 Pro Max with the manual control and RAW capabilities of Halide, I was well-equipped to capture images of Coliemore Harbour and Coliemore Road, preserving the beauty of these locations in high-quality photographs.
BULLOCK HARBOUR
BULLOCK HARBOUR IN DALKEY [LEGACY PHOTO COLLECTION 3 JULY 2022]
Bullock Harbour, located in the coastal town of Dalkey, County Dublin, is a picturesque working harbour steeped in history. The harbour, sometimes spelled Bulloch, derives its name from the imposing Bulloch Castle, a 12th-century Norman structure overlooking the harbour. Built by the Cistercian monks of St. Mary's Abbey, the castle served to protect the valuable fisheries they controlled in the area.
Over the centuries, Bullock Harbour has been a vital hub for the local community, supporting fishing, trade, and transport. The current harbour walls, constructed from local granite in the early 19th century, replaced a natural rocky inlet that provided initial shelter for boats. Today, it remains a working harbour, home to fishing boats, yachts, and the Dalkey Sea Scouts. It's also a popular spot for leisurely walks, with stunning views of Dublin Bay and the surrounding coastline.
Despite its idyllic setting, Bullock Harbour has been at the centre of ongoing property and planning disputes. Recent development proposals for the former Western Marine site have faced local opposition and appeals to An Bord Pleanála (Ireland's planning board). Concerns centre around the scale and density of proposed developments, their potential impact on the harbour's character, and the preservation of public access to the waterfront. These disputes highlight the challenges of balancing development with the preservation of heritage and community values in a highly sought-after coastal location.
MAYNOOTH CASTLE
MAYNOOTH CASTLE [I WAS NOT ALLOWED TO USE MY CAMERA BUT MY iPHONE WAS OK]
When I visited in 2022 I was told that I could not use my camera but an iPhone was OK.
Maynooth Castle is a 13th-century Anglo-Norman castle located in Maynooth, County Kildare, Ireland. It is situated at the entrance to the South Campus of Maynooth University.
History
The castle was built in the early 13th century by Gerald FitzMaurice, 1st Lord of Offaly. It became the main residence of the Kildare branch of the FitzGerald family (also known as the Geraldines), who were one of the most powerful families in Ireland. The castle was expanded in the 15th century by Sir John Fitzgerald.
The FitzGeralds were Lords Deputy of Ireland for many years, and Maynooth Castle was a center of political power and culture. The castle was also involved in many of the major events of Irish history, including the Wars of the Roses, the Reformation, and the Cromwellian conquest of Ireland.
The castle was abandoned in the 17th century and fell into ruin. However, it was partially restored in the 19th century and is now a popular tourist attraction.
Architecture
Maynooth Castle is a large and impressive structure. It is built of stone and has a rectangular shape. The castle has a number of towers, including a large keep. The keep is the oldest part of the castle and dates back to the 13th century. It is a massive structure with thick walls and a high roof. The keep was used as a residence for the FitzGerald family and also as a defensive structure.
The castle also has a number of other buildings, including a great hall, a chapel, and a gatehouse. The great hall was used for banquets and other important events. The chapel was used for religious services. The gatehouse was used to control access to the castle.
Today
Maynooth Castle is now a popular tourist attraction. Visitors can explore the castle ruins and learn about the history of the FitzGerald family. The castle is also home to a number of exhibitions on the history of the castle and the surrounding area.
Visiting Maynooth Castle
Maynooth Castle is open to the public from mid-May to the end of September. The castle is open from 10am to 6pm. Admission is free.
Additional Information
Maynooth Castle is located in the center of Maynooth town, at the junction of the R148 and the R408.
There is limited access for people with disabilities.
There is a car park available at the castle.
There are a number of restaurants and cafes in Maynooth town.
The castle is a short walk from Maynooth University.
Maynooth Castle is a fascinating historical site. It is a great place to learn about the history of Ireland and the FitzGerald family.
THE BUSHY SCULPTURE
BUSHY A SCULPTURE BY CORBAN WALKER [LOCATED AT THE DUCK POND IN BUSHY PARK]
Located in the serene woodland setting of Bushy Park, Dublin, overlooking the tranquil duck pond and waterfall, stands 'Bushy', a striking sculpture by renowned Irish artist Corban Walker. Unveiled in April 2022 by the Lord Mayor of Dublin, Alison Gilliland, this minimalist masterpiece adds a distinctive new dimension to the park's landscape.
Crafted from aluminium, the slender structure towers over 7 metres high, its form composed of numerous configurations of a simple stacked cellular grid. This intricate interplay of projecting, recessed, and off-set sections creates a dynamic and elegant vision that belies the complexity of its construction. The sculpture's surface, ever-changing with the light, mirrors the ripples on the adjacent water and offers a focal point for contemplation amidst the dappled shade of the mature oak trees.
Corban Walker, a graduate of the National College of Art and Design (NCAD) in Dublin, has garnered international acclaim for his sculptures, installations, and drawings. Since the mid-1990s, he has been exploring philosophies of architectural scale and spatial perception through his use of industrial materials. His work has been exhibited in prestigious museums and galleries worldwide, including the Solomon R. Guggenheim Museum in New York and the Irish Museum of Modern Art (IMMA) in Dublin. Walker has also undertaken significant public art commissions globally and is a member of Aosdána. In 2011, he represented Ireland at the Venice Biennale, and in 2015, he was awarded the prestigious Pollock Krasner Award.
'Bushy' was commissioned through a two-stage open competition, inviting artists to engage with Bushy Park's diverse terrains and contemporary uses, and to identify a location within the park that would inspire a sensitive and considered aesthetic response. Walker's winning proposal embodies this ethos, harmonising with its environment while offering a captivating visual experience for park visitors.
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