infomatique

MY FIRST TIME TO PHOTOGRAPH ST PATRICK’S CHURCH IN DUNDALK

May 18, 2025 by infomatique

MAY 16 2025 USING A LEICA Q3

An Architectural and Historical Examination of St Patrick’s Church, Dundalk, Ireland

St Patrick’s Church stands as a substantial Roman Catholic edifice and a notable architectural landmark within Dundalk, a town situated in County Louth, Ireland. Dedicated to Saint Patrick, revered as the “Apostle of Ireland” and the nation’s principal patron saint, the church holds a significant place in the religious and cultural landscape of the region. Furthermore, its designation as St Patrick’s Pro-Cathedral indicates a noteworthy historical status within the Roman Catholic Archdiocese of Armagh.

This report aims to provide a comprehensive examination of the church’s architectural design, its history of construction, and its location in relation to any earlier ecclesiastical structures in Dundalk that bore the same dedication. The architectural style of the church, predominantly Gothic Revival, represents a key characteristic that will be explored in detail. The term “Pro-Cathedral” itself suggests a particular historical role or standing within the Archdiocese of Armagh. Further investigation into the history of the Archdiocese and its primary cathedral in Armagh may elucidate the reasons behind St Patrick’s in Dundalk holding this designation, possibly linked to the extended construction period of the main cathedral or other historical circumstances.

The narrative of St Patrick’s Church in Dundalk traces back to an earlier Catholic church of the same name, established in the town in 1750. This original church was situated on Chapel Street, on a site generously provided by the first Earl of Clanbrassil.

Local accounts suggest that the impetus for its construction arose from an incident in 1748 when a British Army officer, impressed by the devotion of local Catholics attending Mass in and around an old shed at St Helena’s Quay, persuaded the Earl to grant them land for a permanent church. This initial St Patrick’s Church served the Catholic community of Dundalk for nearly a century.

In 1843, the original church building was repurposed and converted into a school , later becoming the property of the Irish Christian Brothers from 1867. The fact that a British Army officer facilitated the provision of land for the first Catholic church in 1750 is a noteworthy occurrence. During this period, the Penal Laws in Ireland significantly restricted Catholic worship. The officer’s action indicates a possible local leniency in the enforcement of these laws or perhaps a personal act of religious tolerance.

The site upon which the current St Patrick’s Church stands was acquired in 1834. The acquisition was spearheaded by the then-Parish Priest, Father Matthew McCann. Construction of the new church commenced under his guidance. Father McCann engaged Mr. Thomas Duff of Newry as the architect for this ambitious project. It is important to note that while snippet mentions John Duff, the majority of other sources identify the architect as Thomas Duff , a renowned architect of the era. The foundations of the new church were laid before Father McCann’s passing in early 1837.

A significant milestone was reached on 1 January 1842, when the new St Patrick’s Church was opened for divine worship. The attendance of Daniel O’Connell, a pivotal figure in Irish Catholic emancipation, at Mass on this opening day underscored the profound significance of this new place of worship for the Catholic community in Dundalk. The impetus for constructing a larger church likely stemmed from the growing Catholic population in Dundalk, particularly following the relaxation of the Penal Laws, which created a greater need for expanded religious infrastructure.

The principal design of St Patrick’s Church is attributed to Thomas Duff (1792–1848), a highly regarded Irish architect hailing from Newry in County Down. Duff established a strong reputation as the primary architect for numerous Roman Catholic churches and cathedrals across the northeast of Ireland.

His portfolio includes other notable ecclesiastical projects such as St. Patrick’s Cathedral in Armagh and the Cathedral Church of St. Patrick and St. Colman in Newry, solidifying his expertise in this architectural domain. The architectural style chosen for St Patrick’s Church was Gothic Revival. The design drew specific inspiration from renowned English architectural examples: the exterior was modelled after King’s College Chapel in Cambridge, celebrated for its Perpendicular Gothic style , while the interior design was inspired by Exeter Cathedral, reflecting English Monastic architecture and featuring a distinctive “ribbed vaulting” roof structure.

Sadly, Thomas Duff died in 1848 before his complete vision for St Patrick’s Church could be fully realised. To ensure the completion of this significant project, James Joseph McCarthy (1817–1882), a prominent Dublin architect and a key figure in the Gothic Revival movement, was selected to finish the magnificent interior. McCarthy’s contributions included the design of the high altar and the ornamental screens that adorn the eastern wall of the church. The trend of modelling Irish churches on English architectural landmarks during the 19th century, as seen in the design of St Patrick’s Church, potentially reflects a desire to connect with established architectural traditions or to articulate a particular cultural or religious identity within the broader context of the United Kingdom.

While St Patrick’s Church opened for worship in 1842, its construction was not immediately complete. The progress of the building work was significantly hampered by the devastating impact of the Great Famine in Ireland during the mid-1840s. Construction eventually resumed in 1860, demonstrating the resilience of the parish and the enduring commitment of the community to see the project through to completion.

A notable addition to the church was the prominent bell tower, or campanile, erected in 1903. This tower was a generous donation from Mrs. Julia Hamill of Seatown, in remembrance of her late husband John Hamill. The architectural firm of Messrs. Ashlin & Coleman were responsible for the design of the tower , and it was constructed by James Wynne & Co., a local firm from Dundalk, highlighting the contribution of local craftsmanship to the project. Over the years, other significant additions and embellishments were made to the church, including the mosaic sanctuary walls, the work of Ludwig Openheimer & Co. of Old Trafford, Manchester, with work commencing in 1909. Prior to this, in 1850, Dean Kieran had a screen erected at the front of the church, built by Robinson & Kelly of Belfast. The church organ was installed and “opened” in 1900, with a solemn dedication ceremony taking place in 1901 presided over by Cardinal Logue. The prolonged construction period, interrupted by a major historical catastrophe like the Great Famine, underscores the considerable financial and logistical hurdles encountered in erecting such an imposing structure during that era.

St Patrick’s Church is an impressive structure, extending to nine bays in length and featuring two side aisles flanking the north and south of the main nave.

The interior is characterised by fine granite pillars, likely sourced from Newry as indicated in and , which contribute to both the structural integrity and the aesthetic grandeur of the church. The presence of tiled floors and a vaulted ceiling are typical features of the Gothic Revival architectural style. The church is illuminated by colourful stained glass windows, crafted by renowned designers such as Franz Mayer & Co. of Munich and W. Early & Son of Dublin, with several panels depicting revered Irish saints. The high altar and reredos, fashioned from Caen stone, were designed by J. J. McCarthy and feature intricately sculpted scenes from the Nativity.

The side altars, representing “The Agony” and “The Dead Christ,” were executed by the distinguished sculptor Sir Thomas Farrell. The chancel is adorned with elaborate Italian mosaic walls, the design of which is attributed to George Ashlin. The interior dimensions of the church measure approximately 144 ft. in length and 72 ft. in width (44m x 22m). Later additions included a terraced approach to the church, provided in 1914 by Father P. Lyons , and in 1937, the construction of the sacristy, meeting rooms, and storage areas, designed by W.H. Byrne & Son and built by James Wynne & Co. in a style consistent with the original church design. The collaborative efforts of various architects and artists over a considerable period have resulted in a rich blend of architectural and artistic styles within St Patrick’s Church, reflecting the evolving aesthetic preferences and the distinct contributions of numerous individuals and firms involved in its creation.

St Patrick’s Church holds historical significance due to its designation as a Pro-Cathedral. A particularly momentous event in its history occurred on 3 February 1867, when Michael Kieran was consecrated as the Archbishop of Armagh within its walls. During his tenure as Archbishop, from 1867 to 1869, St Patrick’s in Dundalk served as his mensal parish. Ultimately, the responsibility for the completion of St Patrick’s Cathedral in Armagh fell to his successor, Daniel McGettigan , thus establishing a link between the two cathedrals and the architects who contributed to their design, namely Duff and McCarthy. The consecration of an Archbishop within St Patrick’s Church and its temporary role as the mensal parish underscore its elevated status and importance within the hierarchy of the Catholic Church in Ireland during the mid-19th century.

Associated with St Patrick’s Church are several other buildings and grounds. A religious shop operates in connection with the church, offering a variety of religious items, books, and gifts. St Patrick’s Cemetery, located in Dowdallshill, Dundalk, serves as the final resting place for many parishioners. The cemetery opened in 1895 and is currently managed by Louth County Council. A searchable database of burials is available online, providing a valuable resource for those researching their family history and highlighting the long-standing presence of the parish community. The Parish of St Patrick Dundalk encompasses other churches, including St. Nicholas’, Holy Redeemer, and Holy Family churches, as indicated on the parish website. Additionally, the Oratory Carroll Village is another associated location. The existence of these associated buildings and the cemetery underscores the central role of St Patrick’s Church in the religious and social fabric of the Dundalk community over an extended period.

In conclusion, St Patrick’s Church in Dundalk stands as a significant example of Gothic Revival architecture, primarily designed by Thomas Duff, with its interior completed by J. J. McCarthy, and the addition of a bell tower in 1903 by Ashlin & Coleman. The current church, which opened for worship in 1842 and was constructed over several decades, occupies a different site than the original St Patrick’s Church, which was built in 1750 on Chapel Street. The architectural beauty of the church, its historical importance as a Pro-Cathedral, and its enduring significance to the community of Dundalk are all evident in its rich history and impressive structure.

EXAMPLES OF STREET ART IN DUNDALK

May 18, 2025 by infomatique

I HAD TO ABANDON THIS SESSION BUT WILL RETURN AT A LATER DATE

My primary reason for visiting the town of Dundalk was to explore its street art scene, but I was rather sidetracked. The town proved to be far more interesting than I’d anticipated, and as a result, I didn’t have sufficient time to complete my mission. However, this isn’t really a bother as I expect to return after my visit to Belfast at the end of the month.

Dundalk’s Mural Landscape: The EPSO Initiative

Dundalk boasts a vibrant mural scene, largely driven by the EPSO (Emerging Public Sculpture Opportunity) initiative, now known as SEEK. The EPSO website (https://www.epso.ie/murals) showcases a diverse collection of murals throughout the town, illustrating Dundalk’s history, culture, and local sayings. The SEEK festival (https://www.seekdundalk.ie/) has further elevated the visual arts in Dundalk.

These murals, created by both local and international artists, demonstrate a clear investment in public art as a means of enriching the urban environment. The themes range from historical figures such as Cú Chulainn and Edward the Bruce to more contemporary and playful pieces. The EPSO/SEEK project also organises guided walking tours of the murals, indicating a desire to make these artworks accessible and engaging for both residents and tourists.

Dundalk versus Waterford and Other Successful Programmes

Waterford Walls (https://wallsproject.ie/) serves as a prominent example of a highly successful street art programme. This annual international street art festival has transformed Waterford into an outdoor gallery, attracting artists from around the globe and generating significant tourism. The scale and impact of Waterford Walls are undeniable, and it has become a model for other towns seeking to revitalise their public spaces through art.

Dundalk’s EPSO/SEEK programme shares some similarities with Waterford Walls, particularly in its focus on bringing high-quality art to public spaces and its use of murals to tell local stories and celebrate cultural heritage. However, the scale and international reach of Waterford Walls are currently larger.

Other Irish towns, like Dún Laoghaire and Drogheda, have also embraced mural projects, often with community involvement, to enhance public spaces and create points of interest. These initiatives, while varying in scope, demonstrate a broader trend in Ireland of recognising the value of street art in urban regeneration and cultural development.

The Commercialisation versus Control Debate

Some individuals I know well have raised a critical point about the potential for the “commercialisation” of street art to act as a subtle form of control over informal graffiti. This is a complex issue with valid arguments on both sides.

Arguments for Commercialisation as Control:

Curated Aesthetics: When street art is commissioned and funded by local authorities or businesses, there’s an inherent level of curation. This can lead to a preference for aesthetically pleasing and “safe” themes, potentially marginalising more challenging or subversive forms of street art that might be considered graffiti.
Territoriality and Respect: There’s often an unspoken code within the street art community where established, high-quality murals are respected. However, this can also create a hierarchy where “official” street art is valued over “unofficial” graffiti, potentially leading to the removal or suppression of the latter.
Gentrification Concerns: In some cases, street art initiatives have been linked to gentrification efforts, where the beautification of an area is intended to attract wealthier residents and businesses, potentially displacing existing communities and their forms of expression, including graffiti.
Commodification and Loss of Authenticity: The commercialisation of street art, through merchandise, prints, and even street art tours, can be seen as stripping the art form of its original context and rebellious spirit. This can lead to concerns about authenticity and the co-option of a form of expression that often originated as a critique of consumerism and established norms.
Counterarguments and Nuances:

Economic Sustainability: Commissioned street art provides a means for artists to earn a living from their work. This economic sustainability can allow artists to continue creating and contributing to the cultural landscape.
Reduced Vandalism: As discussed, high-quality murals can deter tagging and vandalism, leading to cleaner and more visually appealing public spaces.
Community Engagement: Street art projects can be a powerful tool for community engagement, fostering a sense of ownership and pride in the local environment.
Broader Acceptance of Street Art: The increased visibility and acceptance of street art through commercial initiatives can lead to a greater appreciation for the art form as a whole, potentially creating a more tolerant environment for diverse forms of expression.
Dundalk and the EPSO/SEEK Context:

In Dundalk’s case, the EPSO/SEEK programme has undoubtedly contributed to a more vibrant and visually interesting town. The murals are generally well-received and have become a point of pride for the community. However, it’s worth considering whether this curated approach has, intentionally or unintentionally, influenced the landscape of informal graffiti in Dundalk. Are there areas where less formal street art or graffiti is present, and how is it perceived and managed? This would require a more in-depth local investigation.

Conclusion:

The relationship between commercialised street art programmes and informal graffiti is complex and multifaceted. While initiatives like Waterford Walls and Dundalk’s EPSO/SEEK have demonstrably enhanced urban spaces and promoted artistic expression, it’s crucial to remain aware of the potential for subtle control and the need to foster a diverse and inclusive environment for all forms of public art, including those that challenge established norms. A balanced approach that supports both commissioned murals and allows for organic, less formal forms of street art is likely the most enriching and representative of a vibrant urban culture.

FORD CARS ARE AVAILABLE IN IRELAND – BYRNE AND MAGUIRE FORD DEALERSHIP IN DUNDALK

May 16, 2025 by infomatique

PHOTOGRAPHED BY WILLIAM MURPHY USING A LEICA Q3

Ford in Ireland: The History of Byrne & Maguire and Their Dundalk Premises

Introduction

The presence of a Ford dealership operated by Byrne & Maguire in Dundalk, claiming to have served the North East of Ireland since 1923, presents an interesting case study in automotive history. This is particularly noteworthy given the common perception that “American” cars are not widely available in the European Union. While it is true that vehicles manufactured in the United States specifically for the North American market often do not meet European driving environment standards, American automotive manufacturers, most notably Ford, have a long and established history of marketing and even producing vehicles within Europe. Ford’s initial foray into overseas operations began in Cork, Ireland, highlighting a significant and often overlooked aspect of the company’s global strategy. This report aims to explore the history of Ford in Ireland, the history of the Byrne & Maguire dealership in Dundalk, and the history of the building from which they currently operate, shedding light on a century of automotive service in the North East.

The Genesis of Ford in Ireland: Establishing the Cork Plant

Henry Ford’s Irish Roots: A Personal Connection

The decision by Henry Ford to establish his first overseas manufacturing plant in Cork, Ireland, in 1917 was deeply rooted in his personal heritage. Ford’s father, William Ford, was born in County Cork in 1826, before emigrating to America with his family during the Great Famine in 1847. This ancestral connection to Ireland remained a significant part of Henry Ford’s identity. He held a strong sense of pride in his Irish roots, and this sentiment played a crucial role in his ambition to establish an industrial presence in his family’s homeland. In 1912, Henry Ford visited Cork, a trip during which he reportedly envisioned the industrialisation of the region, planting the seeds for what would become Ford’s enduring Irish legacy. Records indicate that Ford’s grandfather, John Ford, and great-grandmother, Rebecca Jennings Ford, had leased land in County Cork as far back as 1819, and the family farmed there for over two decades before their emigration. This deep familial history in the region underscores the profound personal connection that influenced Ford’s business decisions. The establishment of the Cork plant can be seen as more than just a strategic business move; it was a deeply personal endeavour for the founder of the Ford Motor Company.

The Establishment of Henry Ford & Son Ltd. in Cork (1917)

On April 17, 1917, Henry Ford & Son Limited was officially established in Cork. This marked a pivotal moment as it became Ford’s first purpose-built manufacturing facility outside of North America. The initial impetus behind the Cork plant was to produce Fordson tractors. World War I had created significant labour and food shortages across Europe, making tractors essential for relieving agricultural labour needs and expediting food production. Henry Ford, recognising this urgent need and driven by his desire to contribute to his ancestral home, made the decision to locate this crucial manufacturing operation in Cork. Cork offered strategic advantages, including its well-situated harbour, which facilitated the transportation of finished products to various European markets. This decision positioned Ford as a pioneer in foreign direct investment in Ireland, decades before the term even gained common usage. Ford himself hoped that this new plant would initiate Ireland’s journey towards industrial development.

Early Production and Challenges (1919-1920s)

While Henry Ford & Son Ltd. was established in 1917, construction of the 330,000 square foot plant took approximately two years. The first Fordson tractor finally rolled off the production line on July 3, 1919. Initially, the plant focused on tractor production, with 303 tractors manufactured in 1919, increasing to 3,626 in 1920. However, post-war agricultural depression significantly impacted tractor sales. To sustain operations, in 1921, the factory expanded its production to include components for the Ford Model T, supplying parts to the assembly plant in Manchester, England. This diversification highlights the adaptability of the Cork operation in response to changing market conditions. Furthermore, the political landscape in Ireland during this period, marked by the Irish War of Independence (1919-1921) and the subsequent Irish Civil War (1922-1923), severely limited sales within Ireland itself. Consequently, tractor production ceased entirely in 1922. The focus then shifted towards manufacturing Model T and TT parts, eventually leading to the assembly of complete vehicles, including the Model T and Model AF. Interestingly, despite the challenges, tractor production resumed in Cork in 1929. For several years, Cork became the sole global manufacturer of Ford tractors as the Dearborn, Michigan plant had ceased its tractor production.

The Cork Plant’s Evolution and Closure (1930s-1984)

The resumption of tractor production in Cork was relatively short-lived. With the completion of the massive new Ford plant in Dagenham, England, tractor manufacturing was once again moved out of Cork permanently in 1932. From this point forward, the Cork plant operated solely as a vehicle assembly facility. Over the following decades, the plant played a crucial role in supplying the European market with a wide range of Ford vehicles. These included iconic models such as the Model A, Model Y, Prefect, Anglia, Escort, Cortina, and Sierra. The Cork plant became a significant employer in the region, reaching a peak of approximately 7,000 workers. This industrial activity had a profound economic and social impact on Cork City and County. However, the landscape of the European automotive industry began to change. Ireland’s accession to the European Economic Community (EEC) in 1973 necessitated compliance with new rules that lifted previous restrictions on the import of fully built motor vehicles. This, coupled with a downturn in the car market during the late 1970s and early 1980s, made the Cork plant increasingly financially unsustainable. Despite a significant investment of £10 million in 1982 to facilitate the assembly of the Ford Sierra in a final attempt to secure its future, Ford of Europe announced the regrettable closure of the Cork plant on January 17, 1984. After nearly 70 years of operation and a deep connection to the local community, the factory closed its doors permanently on July 13, 1984, resulting in the loss of 800 jobs.

Byrne & Maguire: A Century of Service in the North East

Establishment in 1923: Serving the North East

Byrne & Maguire, the Ford dealership in Dundalk, proudly states that they have been “Serving the North East Since 1923”. This claim aligns with the early establishment of Ford in Ireland and indicates a long-standing partnership between the dealership and the automotive manufacturer. Situated in the heart of Dundalk at 12 Dublin Street , Byrne & Maguire operates as a third-generation family-run business. This continuity of family ownership over a century suggests a deep commitment to the local community and a wealth of experience in the automotive industry. Their status as an official Ford dealership further solidifies their connection to the Ford brand and their role in providing Ford vehicles and services to the North East region of Ireland. The establishment of Byrne & Maguire just a few years after Ford’s initial manufacturing operations in Cork highlights the early development of Ford’s dealership network in Ireland.

Services Offered:

As an established Ford dealership, Byrne & Maguire offers a comprehensive range of services to cater to the needs of Ford owners and prospective buyers. Their primary business includes the sale of both new and used Ford cars and vans. They typically maintain a stock of around 100 used vehicles, offering a variety of options for different budgets and preferences. Beyond sales, Byrne & Maguire boasts a state-of-the-art workshop equipped to handle servicing, tyre fitting, diagnostics, and timing belt replacements for all makes and models, not just Fords. This indicates their capacity to provide after-sales care for a broad customer base. Furthermore, they are an authorised supplier of the complete range of genuine Ford parts and carry out warranty work for all Ford makes and models, ensuring that Ford owners receive expert care and authentic components. The availability of finance options for their vehicles further facilitates the purchasing process for customers.

Customer Testimonials and Reputation:

Customer feedback for Byrne & Maguire appears to be positive, with mentions of brilliant deals and friendly, efficient service. Testimonials highlight helpful staff like Brendan, who went the extra mile to assist customers with their car purchases. The dealership also benefits from the long service of its mechanics. Notably, the service department includes technicians like Oliver McEvoy, who represents the third generation of his family to work as mechanics for Byrne & Maguire, following in the footsteps of his father and grandfather. This multi-generational connection to the dealership underscores a strong sense of tradition and local expertise. The fact that they have two master technicians with the highest European Ford Technician qualifications further attests to their commitment to quality service. This combination of positive customer experiences and skilled, long-serving staff contributes to the dealership’s reputable standing within the North East region over the past century.

Uncovering the History of the Ford Dealership Building in Dundalk

Current Address: 12 Dublin Street, Dundalk

Byrne & Maguire Ford currently operates from the address 12 Dublin Street, Dundalk, County Louth, with the Eircode A91 Y339. This central location in Dundalk has been their base of operations for a significant period.

Challenges in Tracing the Building’s Specific History

The provided research material offers limited specific information regarding the history of the building located at 12 Dublin Street in Dundalk. While the snippets extensively cover the history of Ford in Ireland and the history of the Byrne & Maguire business itself, details about the specific structure they occupy are not readily apparent within this collection of information. This suggests that dedicated historical records focusing solely on this particular building might not be included in this set of research snippets. To uncover the detailed history of the premises, further investigation into local Dundalk historical archives, land registry records, or perhaps resources held by local historical societies would likely be necessary.

General History of Dublin Street, Dundalk (If Possible from Snippets)

Despite the lack of specific information about number 12 Dublin Street, the research material does provide some insights into the general history of Dublin Street in Dundalk. Snippets refer to “Dublin Road” in Dundalk, and while it is not explicitly stated, this is likely the same as or closely related to Dublin Street. For instance, number 46 Dublin Street is identified as a former house dating back to 1834, now used as offices. Carlton House, also located on Dublin Street, is another three-storey building with attic, built around 1840 and currently used as offices. These examples indicate that Dublin Street has a history of substantial buildings dating back to at least the early to mid-19th century, with a mix of residential and later commercial use. Furthermore, snippet mentions the presence of a brewery on Dublin Street as early as 1816, highlighting its historical significance as a commercial thoroughfare in Dundalk. The reference to these older structures suggests that the building currently housing Byrne & Maguire at number 12 Dublin Street may also have a history that predates the establishment of the dealership in 1923. It is plausible that the building served other commercial or even residential purposes before becoming the premises for Byrne & Maguire.

Ford’s Global Strategy and its European Footprint

Early Overseas Expansion, Including Ireland

Ford’s decision to establish its first overseas operation in Cork, Ireland, underscores the early recognition of the European market’s importance in its global strategy. While the Cork plant commenced operations in 1919, the legal entity, Henry Ford & Son Ltd., was established in 1917. This move was part of a broader overseas expansion that began in 1908 with the opening of a branch in Paris, France. This was quickly followed by expansions into England and Australia in 1909, and then Ireland in 1917. The early establishment in Ireland, driven by Henry Ford’s personal connection and the strategic advantages of Cork, provided Ford with a significant early foothold in the European automotive landscape. This demonstrates that Ford’s global vision extended beyond North America from the very beginning of its international development.

“American” Cars in Europe: A Nuanced Perspective

The user’s query raises an important point about the perception of “American” cars in the EU. While it is accurate that large, American-market-focused vehicles often do not align with European preferences for smaller, more fuel-efficient cars suited to narrower roads, Ford has a long and complex history in Europe that goes far beyond simply exporting vehicles from the United States. Ford established “Ford of Europe” in the 1960s through the merger of its British and German operations. This entity was responsible for developing and producing a range of vehicles specifically tailored for the European market. Models like the Fiesta, Focus, Escort, Cortina, and Sierra became hugely popular across Europe, including in the UK and Ireland. Some of these European-designed Fords, such as the Focus and Fiesta, even found success in the North American market later on.

However, the history also includes instances of American-built Ford models being sold in Europe. For example, the Ford Probe was sold in Europe in the mid-1990s, and the Explorer SUV was available in Europe during two separate periods. The Ford Cougar followed the Probe, and more recently, the Mustang, Edge, and Bronco have also been marketed in Europe. The success of these American-built models in Europe has varied, with some achieving greater popularity than others. This demonstrates that Ford’s approach to the European market has involved a combination of locally designed and manufactured vehicles alongside select American models, catering to different segments and preferences within the diverse European landscape.

Table 1: Timeline of Ford’s Key Events in Ireland

Year Event
1917 Henry Ford & Son Ltd. established in Cork
1919 First Fordson Tractor built
1921 Start production on component parts for Model T
1922 Cease tractor production
1923 Assembly of Model Ts begins
1929 Resume tractor production
1932 Cease tractor production, resume vehicle production
1984 Cork plant closes

Below is a list of some FORD American built cars that were on sale in Europe

Probe 1994-1997 American-built coupé, limited success
Explorer 1996-2001 & 2019-2024 American-built SUV, moderate success
Cougar 1998-2000 American-built coupé, limited success
Mustang 2016-Present American-built sports car, significant success
Edge 2016-2021 American-built crossover SUV, moderate success
Bronco 2023-Present American

Ford Ireland Today:

While the manufacturing plant in Cork closed in 1984, Henry Ford & Son Ltd. continues to operate as the sales division for Ford in Ireland. This demonstrates Ford’s ongoing commitment to the Irish market. Dealerships like Byrne & Maguire in Dundalk play a vital role in this continued presence, providing sales, service, and parts to Irish consumers. The enduring partnership between Ford and dealerships like Byrne & Maguire highlights the lasting legacy of Ford’s early establishment in Ireland and its continued connection to local communities across the country.

Conclusion

In conclusion, the history of Ford in Ireland is a rich and multifaceted narrative, beginning with Henry Ford’s personal connection to County Cork and the establishment of the pioneering manufacturing plant in 1917. The Cork plant played a significant role in Ford’s early global strategy and contributed substantially to the Irish economy for nearly seven decades. Byrne & Maguire’s claim of serving the North East since 1923 aligns with this history, indicating a long and successful partnership with the Ford brand as a family-run dealership in Dundalk. While tracing the specific history of their building at 12 Dublin Street presents challenges within the provided research material, the general history of Dublin Street suggests a location with a long-standing commercial presence. The perception that “American” cars are not sold in the EU is an oversimplification, particularly in the case of Ford, which has a deep history of developing and manufacturing vehicles specifically for the European market through Ford of Europe, alongside selectively offering certain American-built models. The continued operation of Henry Ford & Son Ltd. as the sales division in Ireland, supported by dealerships like Byrne & Maguire, underscores the enduring impact of Ford on Ireland’s industrial and automotive heritage.

ARE YOU THINKING OF VISITING DUNDALK

May 16, 2025 by infomatique

HERE IS A PLAN FOR YOU TO CONSIDER

Here’s a possible 4-hour walking itinerary in Dundalk, starting from the train station, focusing on your interests in built environments, street art, and cemeteries. This itinerary is designed to be manageable on foot and gives you a good taste of what Dundalk has to offer.

Dundalk 4-Hour Walking Itinerary (Focus: Built Environment, Street Art, Cemeteries)

Starting Point: Dundalk Clarke Train Station

Hour 1: Town Centre History and Architecture

(0-15 minutes) Walk from the Train Station to Market Square: As you exit the station, head towards the town centre. This will give you a feel for the more modern parts of Dundalk as you make your way to the historic core.
(15-45 minutes) Market Square: This is the heart of Dundalk.
Stop to photograph the Maid of Éireann monument, commemorating the 1798 Rising.
Observe the surrounding buildings, noting their architectural styles.
(45 minutes – 1 hour) Dundalk Town Hall (An Táin Arts Centre):
Walk a short distance to Crowe Street to see the Town Hall.
Capture its Italianate facade, columns, and architectural details.

Consider photographing the plaque commemorating the 1975 bombing, adding a layer of historical context.

Hour 2: Churches and Street Art

(1 hour – 1 hour 30 minutes) St. Patrick’s Cathedral:
Walk towards the cathedral.
Photograph its impressive architecture, inspired by King’s College Chapel.
Focus on details like the granite work and the overall scale of the building.
(1 hour 30 minutes – 2 hours) Street Art Exploration:
Begin your search for street art.
Dundalk is known for its murals, so keep your eyes peeled as you walk.
Check out Clanbrassil Street and the surrounding areas, as this is where many murals are located.
Use resources like the Dundalk Democrat website or Street Art Cities (on your phone) to help you locate specific pieces if you have time.
Photograph the murals, paying attention to the context of their location and how they interact with the built environment.

Hour 3: Historic Graveyard

(2 hours – 3 hours) Castletown Graveyard:
This will be your furthest walk of the itinerary, but it’s worth it for the historical significance.
Allow ample time to walk to Castletown.
Explore the graveyard, photographing the old headstones, the ruins of the church, and any interesting details you find.
Capture the atmosphere of this historic burial ground.

Hour 4: Return and Further Exploration

(3 hours – 3 hours 30 minutes) Walk back towards the town centre:
Begin your return journey, allowing enough time to get back to the train station.
(3 hours 30 minutes – 4 hours) Optional: Further Street Art/Town Centre Exploration:
If you have time and energy, you can use the remaining time to:
Find more street art you may have missed.
Revisit any of the buildings or areas in the town centre that you want to photograph in more detail.
Grab a quick coffee or snack before heading back to the station.
(4 hours) Return to Dundalk Clarke Train Station:
Important Notes:

Wear comfortable shoes: You’ll be doing a fair amount of walking, so comfortable footwear is essential.
Check mural locations: Street art can change, so it’s a good idea to check online resources or ask locals for the current locations of murals you want to see.
Be mindful of time: Keep an eye on the time to ensure you can get back to the train station for your departure. The walk to Castletown Graveyard, in particular, will take a significant portion of your time.
Flexibility: This is just a suggested itinerary. Feel free to adjust it based on your interests and how much time you want to spend at each location.

Safety: Be aware of your surroundings and take necessary precautions, especially when photographing in less crowded areas.
Local resources: Websites like VisitLouth.ie and the Dundalk Democrat can provide more information about the town and its attractions.

I hope this helps you plan your photography trip to Dundalk!

DUNDALK CLARKE RAILWAY STATION – A PHOTOGRAPHIC FIRST FOR ME

May 16, 2025 by infomatique

PHOTOGRAPHED 16 MAY 2025

Today, the 16th of May 2025, marked the start of my 2025 travel plans with a train journey to Dundalk. Although I’ve passed through Dundalk Clarke station numerous times en route to Belfast, this was my first opportunity to photograph the town itself, and my first visit to Dundalk since the 1990s. I’ve often noted the station’s appeal and the need to capture it on camera, but the somewhat limited train service until recently made it inconvenient.

Indeed, Dundalk Clarke Railway Station stands out as the most attractive station I’ve encountered.

Dundalk Clarke Railway Station is a significant transport hub serving the town of Dundalk in County Louth, Ireland. Let’s explore the details of this noteworthy station:

History

Early Days: The first railway station in Dundalk, known as Dundalk Junction, opened on 15th February 1849. Its name reflected its location at the junction of the Dublin & Belfast Junction Railway and the Dundalk & Enniskillen Railway. This original station was situated to the south of the current site, near Dundalk Square Crossing, and was designed by Sir John MacNeill.

Great Northern Railway (GNR) and a New Station: In 1876, several railway companies merged to form the Great Northern Railway (Ireland). The current Dundalk Clarke station was subsequently built and opened in June 1894. Designed by William Hamilton Mills, the chief engineer of the GNR(I), it showcases his distinctive polychromatic brick style, predominantly in yellow, a feature also seen in stations such as Lisburn, Malahide, and Howth.

Dundalk, Newry & Greenore Railway: The Dundalk, Newry & Greenore Railway also operated from a station at Quay Street from 1873. This line was later taken over by the GNR.

Name Change: The station was renamed Clarke Station on 10th April 1966, in commemoration of Tom Clarke, one of the executed leaders of the 1916 Easter Rising.

175th Anniversary: 2024 marked the 175th anniversary of railway services to Dundalk, underscoring its long-standing importance as a railway town.

Architecture

The current station, constructed in 1894, is celebrated for its attractive design and the elegant use of iron, glass, and polychromatic brickwork. It is considered by some to be the “finest station on the main Belfast–Dublin line.”

William Hamilton Mills’ Design: The architecture is characterised by his signature polychromatic brick style, featuring predominantly yellow brick with detailing in other colours.

Island Platform: The station features an island platform with a south-facing bay. This unique layout, with the Up and Down lines running on either side of a central platform, was an unusual design choice for stations on the main line.

Covered Walkway: A Victorian-era covered walkway connects the ticket office at road level to the platforms below.

Lattice Footbridge: A lattice-style footbridge also provides a connection between the elevated ticket office and the island platform.

Manisty Columns: The canopies are supported by distinctive cast-iron columns known as Manisty columns, manufactured in Dundalk. These columns, often incorporating water downpipes, were a standard feature in GNR(I) station architecture.

Concrete Platforms: Interestingly, the platforms represent an early example of the use of concrete in Ireland, utilising granolithic concrete supplied by Stewart’s of Glasgow.

Original Features: Many original features have been preserved or restored, including sliding windows in the Victorian walkway (which originally allowed ticket office staff to communicate directly with the platform) and detailed brickwork.

Services and Facilities

Dundalk Clarke station is served by Enterprise intercity trains (Dublin-Belfast) and Northern Commuter services to and from Dublin.

Ticket Office: Located at road level.
Waiting Room: Enclosed waiting room available.
Toilets: Yes.
Refreshments: A contractor provides on-site refreshments during morning hours on weekdays, and there are also Coca-Cola and water refill machines.
Wi-Fi: Free Wi-Fi is available.
Accessibility: The station offers a lift for disabled access to the platforms and accessible toilets. Ramps are also available for train access.
Parking: Car parking is available with designated disabled spaces and electric car charging. Payment can be made at the ticket vending machine.
Bus Connections: Several bus routes serve the station from the road outside, providing connections to various destinations including Carrickmacross, Cavan, and Dundalk Bus Station.
Points of Interest

Dundalk Train Station Museum: A small museum is situated within one of the station buildings, showcasing railway artefacts and photographs, offering insights into the station’s and the region’s railway history.

Historical Significance: The station itself is a historical artefact, reflecting the architecture and engineering of the late 19th century and the importance of rail travel during that era.

Strategic Location: Historically, Dundalk was a major confluence point for different railway routes, including lines to Enniskillen and Greenore.

In conclusion, Dundalk Clarke Railway Station is more than simply a transport hub; it is a building steeped in history, boasting notable architecture, and maintaining ongoing significance for the town and the wider region. Its well-preserved Victorian features and the small museum within its walls make it a point of interest in its own right.