Dublin’s Georgian doors

Heading back to Ireland for my post today, and after photographing a few of Dublin’s Georgian doors last September I went back in December to get some more shots. Back in the 18th and early 19th centuries Dublin’s Georgian houses were characterised by a uniform style to conform with building regulations at the time, which meant that all new properties in a particular area looked exactly the same, though there are a few urban legends behind the reasons why the door colours were eventually changed.
One story leads back to the Irish writer George Moore who painted his door green in an effort to stop another writer, Oliver St. John Gogarty who lived on the same street, from mistaking Moore’s house for his own when coming home drunk from the pub, then in retaliation Gogarty painted his own door red. Another story came from the poet W B Yeats who wrote that Moore painted his door green for artistic reasons, being of the opinion that ‘the whole decoration of his house required a green door’. Whatever the true reason was, Moore is widely documented as having fought many times with his neighbours over his green door.
Whether or not George Moore did actually start the door-painting craze is uncertain but it did catch on and eventually many of the residents decided they wanted to express their individuality by not only painting their doors in bright colours but also adding wrought iron boot scrapers to the front steps and changing the knockers and fanlights to make each house distinctive from its immediate neighbours.
Although, on the north side of the River Liffey, there are several streets which still have Georgian houses with colourful front doors the most popular ones are concentrated in an area on the south side of the river, so join me on my ‘door walk’ as I wander along three sides of Merrion Square and the south side of St. Stephen’s Green.
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Today most of the houses still have their original fanlights and some have even retained the box-shaped glass recesses in which a lamp would have been placed. There were so many nice doors it was impossible to photograph them all ; I didn’t even venture into Fitzwilliam Square and the other streets in the area so maybe I’ll make that a mission for the next time I visit Dublin.

 

Carmelite Church, Dublin

The Carmelite Church in Dublin, official title the Church of Our Lady of Mount Carmel but usually referred to as Whitefriar Street Church, is a place I discovered more or less by accident while roaming the city’s streets a few weeks ago in search of street art, and with my liking for stained glass windows I decided to go in and take a look – and I have to say that I certainly wasn’t disappointed.
The first Carmelites arrived in Ireland in 1271 and settled in Dublin in 1280 ; they stayed until the Protestant Reformation in the 16th century then later returned and established themselves in the oldest part of the city in the early 17th century. Although there’s been a church in the location of Whitefriar Street since then the current church wasn’t founded and consecrated until 1826/1827.
By 1840 the building had become too small for the congregation so a new nave and north aisle were added, with the existing church becoming the south aisle of the new church ; these additions effectively tripled the size of the existing church and established the building as one of the largest churches in the city. By 1951 the entrances on the narrow Whitefriar Street to the west of the church had become inadequate and indirect as traffic gradually increased, most of it coming from the east end of the building, so a plan was put in place which involved only minor structural alterations. The interior of the church was completely reversed, placing the high altar at the west end, adding on a sacristy and making a direct entrance off the main thoroughfare of Aungier Street.
With its relatively small entrance in the centre of something resembling a large apartment building the church didn’t look much from the outside, but this was very much a case of ‘don’t judge a book by its cover’ as the fairly unassuming façade really belied what’s inside. Through the outer wrought iron gates and double doors I found myself in a pleasant atrium with patterned mosaic tiling on the floor and walls painted in contrasting colours. In the centre was a shrine with an almost-life-size depiction of Calvary, and set back in an alcove on the right was the shrine of St. Albert of Sicily and two brightly coloured stained glass windows.
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Carmelite Church entrance
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St. Albert of Sicily was born during the 13th century in Trapani and entered the Carmelite Order as a young man, then after his ordination he was sent to the priory at Messina. He was a man of prayer and penance and a lover of solitude but he was also very active within the church and spent much time studying, being regarded as the patron of Carmelite studies. He spent the last years of his life living in a hermitage near Messina ; he died in 1306 and though he was recognised as a wonder worker during his lifetime miracles and cures continued to be attributed to him after his death.
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Mosaic tiling on the atrium floor
At the end of the atrium another set of double doors led into the church itself ; everywhere I looked were beautiful stained glass windows and as well as the two shrines out in the atrium there were several shrines within the church, including one to Our Lady of Dublin and the one most popular with couples, the shrine and relics of St.Valentine.
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Looking down the nave to the sanctuary and high altar
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The dome of the high altar with its angels and gold dove

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Gold dove on the underside of the pulpit canopy
The church’s early pipe organ had been replaced in the 1960s by an electronic instrument but in the early 1980s the then Prior of Whitefriar Street, in consultation with the Carmelite Community, decided to install a new tracker action pipe organ. It was built by the renowned firm of Kenneth Jones & Associates of Bray, Co. Wicklow, and though much of the material was new some historical pipework by noted 19th century Irish organ builders John White and William Telford was sourced.
A tracker action organ is an instrument where all the parts are mechanical rather than electrical. Although electricity is used to power the wind blowing apparatus and the lights at the keyboard all the connections between the pipes and the keys are achieved mechanically. In total the organ contains more than 2,200 pipes ranging from the size of a small pencil to 16ft in height, and it’s one of the finest tracker action organs in Ireland.
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St. Therese was born in France in 1873 and at the age of 15 entered the Lisieux Convent with three of her sisters, where she was appointed assistant mistress of novices five years later. While in the convent she wrote a brief autobiography and account of her spiritual teaching and asked one of her sisters to edit her writing wherever was necessary – this was done and in 1898 the convent had 2,000 copies printed. Although some Carmelite convents didn’t like the new book it sold 47,000 copies in twelve years with demand continuing to rise. Unfortunately Therese never got to see what a success the book became as she died of tuberculosis the year before it was published.
With the success of her book the previously unknown Therese was acclaimed as a saint and a great spiritual teacher. She had said that she wanted to spend her time in heaven doing good on earth and it seemed that those who prayed to her for help were finding their prayers were granted – she was beatified in 1923 and canonised in 1924. The Shrine of St. Therese was blessed in 1955 ; the marble statue of the saint is a replica of the statue which stands over the high altar in the crypt of the Basilica in Lisieux and the mosaic background depicts Our Lady of the Smile which was originally designed in 1750 for a church in Paris.
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Shrine of St. Therese of Lisieux
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The sculpture in the centre of the shrine to Our Lady of Dublin is a life-size figure in oak and probably dates from the early 16th century. Originally it would have been brightly painted but sometime over the centuries it was whitewashed over ; the removal of the whitewash in 1914 unfortunately also removed the ancient surface underneath but after it was cleaned and restored the shrine of Our Lady of Dublin was formally erected in 1915.
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Shrine of Our Lady of Dublin

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In the early 1800s, during the restoration of a religious site in Rome, the remains of St. Valentine were discovered, along with a few artefacts relating to him. In 1835 a well-known Irish Carmelite preacher was visiting Rome and such was his fame that he was given many tokens of esteem by Catholic Church leaders ; one such token came from Pope Gregory XVll (1831-1846) and were the remains and relics of St. Valentine. They were received into the Whitefriar Street church in 1836 but interest in them died in time and they were put into storage.
During a major renovation of the building in the late 1950s/early 1960s the relics were returned to prominence with an altar and shrine being specially constructed to house them ; the statue was carved by an Irene Broe and depicts Valentine wearing the red robes of a martyr and holding a crocus in his hand. Today the shrine is visited by many couples who come to pray to Valentine and ask him to watch over them in their lives together.
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Turning my attention to the colourful stained glass windows I didn’t know which to photograph first as they were everywhere, some nearly 140 years old and all very lovely. Some windows were single ones, some were in twos and others in sets of three or even four. The Immaculate Conception windows were originally crafted in the 1880s by the renowned Franz Mayer & Company of Germany and are fine examples of what’s known as the ‘Munich Style’ of stained glass. Some of the most beautiful windows were the Rosary Windows, crafted in the 1930s by Earley & Company of Dublin ; these and the Immaculate Conception windows were all restored in the 1990s. Also featured in individual windows were the Carmelite Saints, the Irish Saints and the Holy Family – mouse over the bottom of each image for the description, although the first two and the last one aren’t named.
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Looking from the sanctuary
After spending half an hour looking round this lovely church it was time to get back to my original search for street art. On such a brief visit I hadn’t seen or photographed everything that the church had to offer but it was such a lovely place that I’ll certainly make a return visit in the future as I’m sure there’ll be many more wonderful things to discover.

An hour in Adare

In which I find a nice little park, suffer a disappointment and find some lovely stained glass windows…
The last full day of the holiday arrived dull and grey but not wanting to waste it by staying in Roscrea I decided to take myself off to Adare which was, according to various sources of information (and I quote) ”one of Ireland’s prettiest villages with its main street lined with unique thatched cottages” – even on a dull day it sounded like it was worth a look. To get there I had to change buses at Limerick ; the coach from Roscrea to Limerick passed through Nenagh and as there was a shop there I wanted to go back to I decided to break my journey, get what I wanted then continue to Limerick on the next coach. With two different bus companies running between Roscrea and Limerick, and staggered bus times, planning my journey was like planning military manoeuvres and it would have worked out well if everything had gone to that plan but it didn’t.
The first coach arrived twenty minutes late in Roscrea so I only had just enough time to get what I wanted from the shop in Nenagh before the second coach arrived, however I needn’t have rushed after all as that one turned up forty five minutes late. Of course when I got to Limerick my intended bus to Adare had gone ages before so I had to wait fifty minutes for the next one, however I finally got there albeit quite a lot later than I’d wanted to. As it turned out though, arriving late in Adare didn’t really matter as I didn’t stay as long as I’d expected to.
The bus put me off at the entrance to Adare Town Park, it looked like quite an attractive place so I decided to have a look round there first. With lots of trees and lawned areas, a small stream running along one side, a thatched gazebo and plenty of benches it was a very pleasant place to walk round and would probably be very pretty in spring and summer.
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On the way into the village, and just up the road from the park, I’d noticed a row of thatched cottages and as my sources of information had said the main street was lined with them I expected to see many more, but looking down the road all I could see were normal buildings and shop frontages. Across the road from the park was a heritage centre and tourist information place so I went in there to ask, only to be told that the cottages up the road were the ones I was looking for. So much for the main street being ”lined with thatched cottages” – one row and that was it. I felt like saying that whoever produced and printed the information should be prosecuted under the Trades Description Act!
When I went to have a proper look at the cottages I found that most of them had been turned into little businesses ; there was a café, a gift shop, a craft shop, two very small restaurants, a bistro and a couple of holiday cottages. Admittedly they did look quite attractive and no doubt in summer, with gardens full of flowers, would look very pretty, but having expected to see a quaint little village full of them I was rather disappointed to find that those were the only ones.
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Next door to the heritage centre was Holy Trinity Abbey Church, the only Trinitarian Abbey in Ireland. There is no record of the exact date of its foundation but it’s believed to have been established between the years 1230 and 1240. Dissolved in the 1560s the church eventually became a ruin but in 1809 the 2nd Earl of Dunraven restored the building and gave it to the Catholic Church. No major structural changes have taken place since 1884 although there have been several modifications and some development in the years since then, and in summer 2010 a programme of critical repairs was undertaken to preserve the church.
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The sanctuary

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The sanctuary screen
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A section of the sanctuary ceiling
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The Lady Chapel
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From the church a short walk along to the far end of the main street produced just one more thatched cottage set back from the road in a wrap-around garden, then with nothing else to see in the village and the afternoon still dull I decided I may as well get the next bus back to Limerick. I had about half an hour to wait though so I went to look round inside the heritage centre and found a very bright and pleasant looking cafe ; I just had time for coffee and cake so I ordered a slice of Banoffee pie and a latte, and was pleased to see that this time the coffee came in a proper glass mug.
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Coffee and cake at the heritage centre cafe
By the time I got back to Limerick the daylight was fading rapidly. The bus from Adare had taken me to the bus station but the coach back to Roscrea left from Arthur’s Quay park, a good walk through the city centre, and as I had an hour to kill I thought I may as well take my time in going there and get a few evening shots en route. Past Arthur’s Quay the front wall of the Hunt Museum was lit with green lights so I got a shot of the horses against the coloured background then walked along to where I could see the illuminated side of the castle ; I even had time to cross the bridge, walk along the riverside at Clancy’s Strand then re-cross the river at the next bridge, where my final shot was one of the illuminated 1916 war memorial.

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O’Connell Street
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The Hunt Museum
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King John’s Castle and river views

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The 1916 war memorial
Relaxing by the fire later that evening I went through the photos I’d taken while I’d been out. It had been an odd sort of a day and I hadn’t been particularly impressed with Adare ; I’d only been there for just over an hour and that had been enough so I doubted I would ever go back there again, however since getting back home I’ve found out about another couple of places there which, on a nice day, may be worth visiting so who knows? – maybe I’ll make a return visit sometime in the spring or summer months.

 

A day out in Dublin

In which I take a long walk round Dublin city centre, find more street art than I ever imagined, and have a very unusual coffee….
Since my two visits to Dublin in September an internet search had provided me with maps of four street art walks around the city ; one of these seemed to be a distance out of the centre itself but the other three were definitely doable. Not sure if I would have enough time to do all three in one day before I lost any decent daylight I concentrated on the first two which were both in the same part of the city ; the starting points of each walk were close together but the end points were a distance apart so to save back-tracking I started at the end of one and followed the route in reverse to join up with the start of the second, thus turning two two-and-a-half mile walks into one five mile circuit.
My walk began on the south side of the river at City Quay with a large Irish Wolfhound done by James Earley, the artist who painted the outside of the Blooms Hotel ; I’d actually photographed this one in September but still took another shot of it. Right along the riverside, past the Samuel Beckett Bridge and almost before I ran out of road, a right turn took me up to Hanover Quay on the huge basin of the Grand Canal where I found another work by James Earley, though this one was partially obscured by several leafless young trees. There was another one close by done by Decoy but the bottom half of it had been painted over which rather spoiled it, so I gave that one a miss.
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Artist – James Earley
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Artist – James Earley
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The Grand Canal basin
Past the end of the canal basin a good walk involving two right and two left turns took me to the next piece, a 2-part work on the side of a business premises. Not far from there was Merrion Square followed by St. Stephen’s Green and Iveagh Gardens and as I was going that way anyway I took a look round all three and also photographed some more of the colourful Georgian doors for another post. I was particularly interested in seeing Iveagh Gardens properly as I’d abandoned my visit there in September due to a sudden rain shower.
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Artist – Ominous Omin
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Merrion Square Gardens

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Oscar Wilde’s house
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St. Stephen’s Green
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The cascade, Iveagh Gardens

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The next artwork I wanted to find was just a few streets away from Iveagh Gardens. I couldn’t get all of it due to a couple of parked cars being in the way but the line at the bottom actually reads ”So get your head out of your phone”. A very true sentiment when so many people these days walk round with their heads down, eyes glued to their phones and constantly texting or internet surfing as they walk. From there a long zigzag route down towards the Temple Bar area provided me with more street art than I ever thought possible and I took so many photos it’s been really hard deciding which ones to include in this post.
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Artists – Maser in collaboration with Aches
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Artist group – Subset
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Artist unknown
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Artist – Maser
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A digitised image by Aches – more effective if viewed from a distance
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Side wall of The Times Hostel – artist unknown
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Artist unknown
Now although certain individuals may think it’s fun to get a cheap can of spray paint and scrawl amateurish pictures and tags over random bits of blank walls proper works of street art need permission from the council and this permission isn’t always granted. Street art though is a constantly changing medium, murals can often be changed twice in the time it takes to get that permission and headed by the artist group Subset the Grey Area Project was born, a movement to paint murals on walls quicker than the council can paint those same walls grey. Although some of the murals I found may not be completely ‘official’ they certainly brighten things up and look a lot better than blank grey walls.
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Artist group – Subset
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On the back wall of a cash and carry place – artist unknown
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Artist – Eoin Barry
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Artist – unknown
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Liberty Lane – a whole street full of art and graffiti
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The next few murals I wanted to find were all in Temple Bar but as I headed down the main road in that direction I unexpectedly came to the entrance to an indoor shopping arcade. With shops on each side and stalls down the centre it looked quite intriguing but I didn’t want to linger so once I could get a clear view with no-one close by I took a quick shot then continued down the road to Temple Bar and hopefully some coffee and cake.
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George’s Street Arcade
A while ago Queen of Tarts, an Irish cake shop and café, had been recommended to me though I can’t remember now who or where the recommendation came from, so I thought I’d give it a try and found it down the pedestrianised Cows Lane just off the main road. It seemed to be quite a busy place but I found a small vacant table and ordered a latte coffee and a slice of the ‘Queen of Chocolate Fudge’ cake ; it was going to cost more than I would normally pay for something like that but I was on holiday so deserved a treat. Well that’s my excuse anyway!
After the young waiter had taken my order I was quite surprised when he returned a couple of minutes later with a carafe of chilled water and a glass – this was something totally unexpected and I began to feel I should have dressed for the occasion! My coffee and cake arrived not long afterwards and that’s when I got another surprise – instead of the coffee being in the usual type of tall glass mug with a handle it came in a small handle-less glass, the type of thing you would have orange juice in if you had a hotel breakfast. This was weird, and when I looked round to see other people being served drinks in the sort of glass mugs I’d expected my coffee to come in it seemed even weirder.
Wondering if the young waiter had made a mistake I went up to the counter to query it and was told it was usual to serve the coffee like that as that was how the owners liked it to be done. I must admit though, of all the different places I’ve been in over the years I’ve never encountered that  one before. The coffee itself however, although not mad hot, was very nice and the cake was absolutely divine ; I’d actually expected to only get a small slice with a tiny blob of cream but I got a sizeable piece with a good portion of cream, in fact there was so much cake that I couldn’t quite eat it all. Price-wise it hadn’t been too much of a blow-the-budget expense either and although the coffee situation was weird the cake was wonderful so I’d definitely go back there another time.
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Coffee and cake at Queen of Tarts
Back along the main road from the end of Cows Lane was Crampton Court, a courtyard and narrow alley leading between the road and the main street through Temple Bar. In 2014 ‘Love The Lanes’ was a joint initiative between Dublin Council and The Temple Bar Company to allow artists to visually improve some of the lanes around Temple Bar and this alleyway was one of them, being decorated on both sides by various artworks. By the time I emerged from the alleyway the daylight was starting to fade so I got my last four shots as I walked along the main street through Temple Bar then headed back towards the river and the bridge which would take me towards the bus station.
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A collection of strange creatures promoting a youth art initiative
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Artist – unknown
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Artist – unknown
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Portrait of Irish musician B P Fallon by Maser
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Artist – James Earley
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ESB building, Temple Bar – artist(s) unknown
At the far side of the river I noticed that the pyramid rooftops of George’s Quay Plaza were lit with purple lights round the edges and in the fading sunlight they looked quite attractive. On the side wall of the building down below was the outline of what had once been a work of street art ; created by Italian artist Artur Bordalo it was a red squirrel and had been made up of different items of trash, including an old bike, found in and around the city. Unfortunately it fell foul of Dublin council’s drive to build as many new hotels and office blocks in as many derelict or run down parcels of land as possible and it had to be removed, although nothing has been built there yet.
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Sunset over the Liffey
With the sun finally setting over the river I made my way round to the bus station and got the 4.30pm coach back to Roscrea. I hadn’t had time to do the third street art walk but I’d certainly got plenty of photos during my day and I can look forward to doing the other walk another time.

A day out in Limerick

Where I find some colourful horses and lots of street art…
A cold but sunny morning on the second full day of my holiday saw me heading off to Limerick in search of some street art. I’d found a few examples when I was there in September and since then I’d found a website listing several more and their locations so with a list written in my notepad I was now on a mission to find and photograph them. Getting off the coach at Arthur’s Quay park I crossed the grass to get a view of the Shannon river, and though I took a photo from there back in September it looked so nice I just had to get another shot. Sitting on top of a post in the water was a seagull, so still that I thought for a moment someone had somehow put a stuffed toy up there, but eventually it moved so I zoomed in and took a snap ; its red beak and legs told me it could have been a red billed gull, one which also seemed to be still quite young.
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Along the road from Arthur’s Quay was the Hunt Museum, originally an 18th century Customs House designed by an Italian architect. After a major restoration and refurbishment in the mid 1990s the building was established as a museum to house the important and extensive art works and antiquities collected by John and Gertrude Hunt during their lifetime ; more information about the museum can be found here.
Standing outside the museum were two life-size and very colourful horses from the Horse Outside Project, a joint venture between the museum and a community arts initiative. The work on the horses evolved over several months and the colours and images painted on them were inspired by various objects in the museum’s collection, including sacred and religious items.
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Just along from the museum the road took me over the river and I followed it past St. Mary’s Cathedral to St. Mary’s Church where information led me to believe there could be a mural on the opposite corner. There was, a large and very colourful one on a gable end wall with a smaller one on the back yard wall of the butcher’s shop next door, and though the pig needed no explanation I couldn’t really see the significance of the wording. It was rather amateurish compared to others I found and wasn’t on my list but it was worth including it.
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Artist – Betarok75
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Artist unknown
Heading back towards the city centre I came across a narrow street off the main road and set at an angle to another street with a triangle of grass and trees between the two. The houses were double-fronted and the door and window surrounds were all painted different colours making the terrace look quite attractive. There was a car parked outside the far end house and four or five young cats were playing round it, chasing leaves and whatever else they could find. One of the cats looked particularly pretty and while I didn’t want to get too close in case I spooked them all I managed to get a shot of that one.
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Back across the river and in a small courtyard on the side wall of a solicitor’s premises near the bridge I found the first ‘proper’ mural, and though it wasn’t on my list, right across from it on the side wall of a small modern 2-storey office block was another one, presumably done by the same two London artists known as Church of Best Ever. At the far side of the office building, between that and the library building, was a long narrow alley and as I passed the end I spotted some more street art about halfway down ; none of it was on my list so I had no idea of the artist(s). The alley was a dead end, leading to what seemed to be a boat repair business ; a few old dinghies were lined up alongside the wall of the workshop and these had been painted to incorporate them into the art on the wall ; unfortunately I couldn’t get the full mural as a couple of cars were in the way.
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Back past the Hunt Museum and across the ground floor windows, doors, shutters and walls of a disused building was the slogan ”Culture is where we are from” while round the corner was the same slogan but with the word ‘from’ replaced by ‘going’. Back in 2014 Limerick had been Ireland’s first National City of Culture and the slogans were produced in a 2016 bid to become European Capital of Culture in 2020, though the city lost out to Galway. Unfortunately due to the amount of traffic and/or parked cars I couldn’t get either slogan completely but with a lot of patience I managed to get the best bits.
Although I’d made a list of the artworks I wanted to find and the street names of their locations I’d forgotten to print out a street map before I left home so my next port of call was the tourist information office, where I got chatting to a very friendly and helpful lady who gave me a street map and also marked on it the locations of the artworks I wanted to find. I didn’t get the lady’s name but I did tell her about this blog and she made a note of it – so if you’re reading this, whoever you are, then thank you, your help was much appreciated.
Walking up the road from the tourist office my eye was caught by something which appeared to be flying above a narrow lane on my right so I stopped to have a look. There was a pub and bar on the right with seating outside and this ‘thing’ was suspended on chains between the upper floor of the bar and the wall of the building across ; it was a bird of prey, possibly an eagle, though what ever it was supposed to be it looked rather weird and seemed to have no significance to the bar.
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Further up the road I came to the Biodiversity Garden and the next two artworks on my list. The garden was created several years ago from a corner plot of derelict land, to coincide with Limerick being the 2014 National City of Culture ; over 100 small native Irish trees were planted, along with over 35 species of Irish wildflowers and several larger trees in recycled oil barrels decorated by local artists. Now while I have no doubt that the garden initially looked very pretty it certainly doesn’t look like that now ; with overgrown and untidy shrubs, a stack of pallets against one wall, a couple of traffic cones lying on the floor and a hotch-potch of other detritus in various places it looked very unkempt, unloved and abandoned.
The artwork, called Love Me So, is on two adjacent walls in the garden and was painted in 2013 by Dermot McConaghy. One section stands at 30ft x 50ft and the other is 20ft x 30ft, with both pieces taking a total of four days to complete. The larger piece features a woman looking back on herself as a child and the smaller one features that same child. Unfortunately the child’s face was looking a bit worse for wear and both pieces were partially obscured by overgrown trees and shrubs but I managed to get a reasonable shot of each of them.
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Love Me So (1) by Dermot McConaghy
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Love Me So (2) by Dermot McConaghy
Across the road from the Biodiversity Garden was Fox’s Bow arch at the entrance to a narrow back lane leading to the shopping street beyond ; on the side wall of the arch was a mural by Louisa Donnelly but I couldn’t get the whole thing as there was a car parked right in front of it. Unfortunately it had been defaced in a couple of places but seen face on it was the abstract face of a big cat, possibly a tiger. Towards the top of the road the whole frontage of one particular building had been given a makeover with some psychedelic art ; at the time I didn’t know who the artist was but I suspected it could have been Maser as his artwork is very distinctive, and later information told me I was right.

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Artist – Louisa Donnelly
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Artist – Maser
At the top of the road I turned right and right again into the road behind, where I found the next artwork on my list. On the corner of a 3-storey car park building it was painted in 2014 by an Australian artist of Irish parentage, and though the colours may have faded a bit from when it was originally done it’s still a great piece of art and so far has managed to escape being defaced by senseless graffiti.
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The Fishermen by Fintan Magee
Having temporarily run out of street art with that last piece I made my way down the road to take a walk along the riverside in the direction of the docks, though I only went as far as the Shannon Bridge. At the far side of the bridge was a skate park with a sea theme painted on its outside walls, and though the shark wasn’t in the same league as most of the street art I’d seen it amused me enough to take a photo of it.
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Retracing my steps I came to the Seamens’ Memorial, set down off the quayside and with its back to the river. Originally it was in remembrance of the lost seamen of the Shannon estuary and wasn’t specific to wartime casualties, however in 2004 a stone tablet was added to the base of the memorial, listing the names of the Limerick and Clare men who lost their lives on three Irish Merchant Navy ships during WW2 ; this was because the bodies of the men were never recovered and their families wanted them to be remembered in some way.
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The Seamens’ Memorial on Bishop’s Quay
Further along the riverside, where Bishop’s Quay becomes Howley’s Quay, was the Dockers Monument, commissioned by Limerick City Council and erected in 2010. At the time when Limerick’s dockyards were a major source of employment working there was one of the most enduring and difficult ways to earn a living so the life size bronze sculpture by Limerick-born artist Michael Duhan now pays tribute to all those men who served at the docks, with their names on a commemorative plaque beside the monument.
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The Dockers Monument
Heading back in the direction of Arthur’s Quay park I was beginning to feel quite peckish – it was time for coffee and cake, and I couldn’t think of anywhere better than Jack Monday’s Coffee House where I’d had a nice lunch on my day in Limerick in September. Crossing the river at the next road bridge I repeated my September walk along Clancy’s Strand which would bring me out opposite Jack Monday’s. Towards the end of the riverside boardwalk and displayed on a tall pedestal was the Treaty Stone, a large irregular-shaped block of limestone which was once used as a mounting block for horse riders and where the Treaty of Limerick was reputedly signed on October 3rd 1691.
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The Treaty Stone
After indulging in coffee and a slice of gooey chocolate cake I crossed back over the river to find the last artwork on my list ; it was situated on a gable end wall across from the castle although what’s there now isn’t what I was originally looking for. After my visit to Limerick in September I’d found out about a large artwork in that location, though I couldn’t understand how I’d missed seeing it at the time as it was very much ‘in your face’, however the lady in the tourist information place had told me it had been removed in September, obviously just prior to my visit there which would explain why I didn’t see it.
Just along the street from the new artwork was a piece which had only appeared since I was there in September. It was on a side wall set back off the street but so far I’ve been unable to find out who the artist is and what it represents. Further along still my eye was caught by an old advertising sign on the wall above the Cauldron Bar, a premises no bigger than an ordinary terraced house though maybe years ago it was once a little hardware shop. Although not strictly street art I took a photo of the old sign as I like things like that and I remember the brand name from my early childhood.
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Artist unknown
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An old advertising sign from way back
And so to the new artwork across from the castle. Designed and painted by Dublin-based artist Aches it’s dedicated to The Cranberries lead singer, Limerick-born Dolores O’Riordan, who died suddenly almost two years ago at the age of 46. It was created by overlaying three separate images of her performing on stage back in 1993, images chosen to immortalize her as a young woman at the peak of her career. I must admit to not being terribly familiar with any of The Cranberries songs, I only really know Linger, but for the people of Limerick memories of the singer will certainly linger on in this colourful artwork.
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Dolores O’Riordan by Aches
That was to be my last photo of the day, I’d been wandering round Limerick for four hours and though it was still only just after 3pm I didn’t want to be too late in getting a coach to Roscrea as the ride back would take over an hour. I’d found all the artwork on my list and more besides so my day out had been very successful – it was now time to get back to Roscrea and relax in front of the fire.

 

Blooms Hotel, James Joyce and James Earley

Returning to Ireland for today’s post and the 100-bedroom Blooms Hotel, which I came across while on one of my recent wanderings round Temple Bar in Dublin. Established in 1979 and located on the corner of Anglesea Street and Cope Street the building is certainly very striking, and presumably whoever it was who established the place must have been a fan of author James Joyce although I didn’t realise the significance at the time I was there.
Back in 1922 James Joyce’s ‘Ulysses’ was published, since then being considered to be one of the most important books of the 20th century. The story follows the journey of the two main characters, Leopold Bloom and Stephen Dedalus, as they criss-cross Dublin from south to north on June 16th 1904, where they meet other characters along the way and consume copious amounts of Guinness on what would be referred to these days as a marathon pub crawl.
Every year on June 16th many James Joyce enthusiasts, some dressed in Edwardian costume, re-enact this epic pub crawl, and though it’s referred to as a ‘literary event’ it’s basically an excuse for lots of drinking broken up by a bit of walking and the reading of various excerpts from the book. The event is known as Bloomsday and the first mention of such a thing was found in a letter from James Joyce to a Miss Weaver, dated June 27th 1924 and referring to ”a group of people who observe what they call ‘Bloom’s Day’ – June 16th”. The book itself must have made a big impression on someone back in the 1970s as the hotel was named after one of the story’s main characters.
Fast forward to the present day and we find James Earley, a Dublin artist whose works are based on his family’s artistic past within Irish stained glass art. James has been producing artworks in public spaces since 1997, playing an active role in the Irish graffiti movement, and from 2010 has developed abstract figurative works based on the principles and beauty of stained glass. He has travelled widely with his art throughout Europe, Asia and America and has worked on a variety of large-scale projects with various art-based organisations and multi-nationals which support the arts.
In 2014 James was commissioned to paint the exterior of Blooms Hotel ; the project took a full year to complete and to date is the largest public artwork in Ireland. When I first saw it I was quite surprised that this street art wasn’t just part of one wall, it was the whole exterior of the building. With my liking for bright colours and abstract, psychedelic designs I just had to take a few photos although the names on the pictures meant nothing to me at the time until I did a bit of later research and found the connection to James Joyce’s Ulysses.
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Looking at the hotel’s exterior it’s not surprising that it took a year to complete the artwork as it’s so detailed, and the pictures of the book’s characters are exceptionally well done. It may not be to everyone’s taste but personally I like it, and the whole building certainly brightens up that area of Temple Bar. I hope it stays like that for quite some time to come – and maybe, sometime in the future, I’ll track down a copy of Ulysses and read the story for myself.

Dublin street art

While on my recent days out in Dublin I came across many different variations of street art, most of them in the Temple Bar area, so join me on my Monday walk this week as I wander the streets, lanes and alleyways on the south side of the River Liffey. Most of the artwork is unfortunately ‘artist unknown’ although the names of some artists are underneath the relevant photos – mouse over or click on the multi-shots for names and/or locations.
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The Tara building, Tara street, Artist – Maser
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Temple Bar Laundry, Aston Quay/Aston Place
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The Icon Factory art gallery/cafe, Aston Place
The Icon Walk is a public art installation showcasing original work by local artists and featuring many Irish icons both past and present ; it’s also a way of brightening up the forgotten lanes and alleyways behind Fleet Street and discouraging senseless graffiti and the discarding of rubbish. Although I wasn’t really interested in photographing the faces of various Irish people, most of whom I’ve never heard of, I did like the multi-coloured murals along one side of Bedford Lane.
At the end of Bedford Lane was an artistic tribute to the famous greyhound from the 19th century, Master McGrath (pronounced Magraa). The smallest of a litter of seven born in 1866 and trained by a well-known Waterford trainer of greyhounds for coursing he performed so badly at his first trial that his trainer ordered for him to be given away. His handler took him on and he went on to win several courses, after which he was given back to his trainer. Master McGrath was the first greyhound to win the Waterloo Cup three times and he became such a celebrity that his owner, the 2nd Baron Lurgan, was asked to take him to meet Queen Victoria and the Royal Family.
Master McGrath’s success was so great that Lord Lurgan was able to build a terrace of houses in Walthamstow, London, with the proceeds from his wins ; the houses still stand, forming part of Shernhall Street, though at one end they are still clearly marked as ‘Master McGrath Terrace’. The dog died of heart disease in early 1873 and an autopsy showed that his heart was twice the size of a normal dog’s heart ; he was buried in the grounds of a house called ‘Solitude’ in Lurgan.
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Bricked-up doorway, Bedford Row
The ESB Central Distributing Station is a large building which wraps around the corner of Fleet Street and Bedford Row. Built in 1926-28 for the Electricity Supply Board it houses an electricity substation and offices ; representative of the design used by the ESB in the early 20th century it’s one of the few buildings of that style in the city and is a significant contributor to the architectural character of the Temple Bar area. The modern artwork extends right along the front of the building but unfortunately I couldn’t get a decent photo of it as there were too many people around to spoil the shots so I had to be content with a side view.
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Side wall of ESB Central Distributing Station, Bedford Row
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Side wall of Auld Dubliner pub, Fleet Street
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Side wall of Japanese noodle bar, Asdill’s Row
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Artist group – Subset
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A pair of very bright shop doors
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Rear of Café Rubis, Crane Lane
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Above the Jam Art Factory, Crown Alley
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Shop front, Fownes Street, artist – KinMx
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Kennedy art shop, Harcourt Street
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Traffic light box, Tara Street
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Building site hoarding, City Quay, artist – Leah Hewson
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Irish Wolfhound, City Quay, artist – James Earley
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Shop front, George’s Quay, artist – Decoy
These are just some examples of Dublin’s street art, there are many more which either I couldn’t find at the time or I didn’t know about until I got home. One which I did find though provided me with so many photos I think it deserves a post of its own which will follow soon. An internet search since I got home has provided me with a map of four different street art walking routes in the city which take in many of the works by named artists, and though I may not have time to do all four walks in one day I fully intend to do at least two of them the next time I’m in Ireland.
I’m linking up this week with Jo’s Monday Walk where she shows us some of the delights of Sao Bras de Alportel in Portugal – do pop over and have a look if you haven’t already done so.