tag:blogger.com,1999:blog-40273907421563719932024-03-17T10:10:58.641+00:00CONCRETE STEWThe online contemplation and observations of an architectural historian specialising in the documentation of historic environments. I am by no means an expert on anything I write about and welcome feedback and collaboration. My main interests are in the appreciation and conservation of early-mid twentieth century Irish architecture, building technology and materials. Writing initially on my hometown of Limerick but will turn my sights from time to time to other places. Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.comBlogger46125tag:blogger.com,1999:blog-4027390742156371993.post-86307779045830800502020-10-04T20:15:00.003+01:002020-10-04T20:17:32.885+01:00Iveagh Gardens (Crumlin)<p><span style="font-family: helvetica;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgZfG97ds_0OKB8fJpj0JAAc71njOOOTS4AOSFfgpx4xVfzU69PA_Aj3Br1zlttSxIqf0Jbe4obyrpYfnwZWyiaDtZck8etVbvhR_vE9S1mUZQvtLOIUk0s4y_I3sklyBk_bUNlAZxMVPP/s1023/IMG_4331.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="835" data-original-width="1023" height="522" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgZfG97ds_0OKB8fJpj0JAAc71njOOOTS4AOSFfgpx4xVfzU69PA_Aj3Br1zlttSxIqf0Jbe4obyrpYfnwZWyiaDtZck8etVbvhR_vE9S1mUZQvtLOIUk0s4y_I3sklyBk_bUNlAZxMVPP/w640-h522/IMG_4331.JPG" width="640" /></a></span></div><span style="background-color: white; font-family: helvetica; font-size: 12pt;"><p><span style="background-color: white; font-family: helvetica; font-size: 12pt;"><br /></span></p>During the initial phases of lockdown I got to know Dublin a little better and found hidden enclaves such as the Iveagh Gardens off the Crumlin Road. In 1925 the Iveagh Trust resolved to build a suburban cottage scheme after a succession of city flats. A site of 30 acres approx. of open land was purchased from Messrs. A. Guinness on the Crumlin Road on the south-western outskirts of Dublin. It is a </span><span style="font-family: helvetica;">surprisingly secluded estate, reminiscent of garden-suburbs of English towns. Most residences face onto a circular tree-lined avenue, with a single entrance from Crumlin Road. </span><p></p><p><span style="background-color: white; font-family: helvetica; font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqcbC2fl8p6O8HT2Hbv2l_kFISo_elDTDHjwx_cUUXEAfGTbrvUU03635_h3beWOhSHygCBXpyvnhdQTJ2bblum1cN1fCtcNrKWT5NK17_AZUfgN9O5uXlipaM73iYVGpPAYyp7OfdE5yN/s838/A60BA01B-2AB6-4B16-8D4E-629E2E7673F7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="686" data-original-width="838" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqcbC2fl8p6O8HT2Hbv2l_kFISo_elDTDHjwx_cUUXEAfGTbrvUU03635_h3beWOhSHygCBXpyvnhdQTJ2bblum1cN1fCtcNrKWT5NK17_AZUfgN9O5uXlipaM73iYVGpPAYyp7OfdE5yN/s320/A60BA01B-2AB6-4B16-8D4E-629E2E7673F7.jpg" width="320" /></a><p style="text-align: left;"><span style="font-size: 12pt;"><span style="font-family: helvetica;">This idyllic cul-de-sac off the Crumlin Rd built between 1926 -1936 was to house the Guinness workers. The architects were O’Callaghan & Webb, Dublin, formed between Lucius O’Callaghan and James Henry Webb in 1908. Eleven years later, in 1919, Louis Francis Giron also became a partner , although the practice continued to be known simply as O’Callaghan & Webb. Webb left to practise on his own in 1931, after which the name of the practice changed to O’Callaghan & Giron. The builder was Belfast-based H&J Martin who also built Arnotts Department store. The practice were placed second in the Tralee Carnegie Library competition in 1909 (which was eventually built to their design) and won the Dun Laoghaire Carnegie Library competition the following year.</span></span><span style="font-size: 12pt;"> </span></p></div><p></p><p class="MsoNormal" style="font-size: 11pt; line-height: normal; margin: 0cm 0cm 0.0001pt;"><span style="background-color: white; font-size: 12pt;"><o:p><span style="font-family: helvetica;"> </span></o:p></span></p><p class="MsoNormal" style="font-size: 11pt; line-height: normal; margin: 0cm 0cm 0.0001pt;"><span style="background-color: white; font-size: 12pt;"><span style="font-family: helvetica;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="font-family: helvetica;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7HAsi8GjKuZM0n8qENDX9n7QAJQ8QtWTzHkSPtgRIXYogVB00vGT93lYCB1aWYmkBW7Q4Zy5xYOLuLDo4PQ8jZhjyMQJ6SzhZZBR2WVqyqq4yidluOgFOwkiTvIKX91OAXkkU5CY4grtR/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="262" data-original-width="320" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7HAsi8GjKuZM0n8qENDX9n7QAJQ8QtWTzHkSPtgRIXYogVB00vGT93lYCB1aWYmkBW7Q4Zy5xYOLuLDo4PQ8jZhjyMQJ6SzhZZBR2WVqyqq4yidluOgFOwkiTvIKX91OAXkkU5CY4grtR/w318-h261/image.png" width="318" /></a></span></div></div><span style="font-family: helvetica;">A total of 136 redbrick (first rows in Dolphin’s Barn) solid-built, semi-detached, two-storey family homes of four or five rooms fronted by iron railings with small gardens, built for £134,000. <o:p></o:p></span><p></p><p class="MsoNormal" style="font-size: 11pt; line-height: normal; margin: 0cm 0cm 0.0001pt;"><span style="font-size: 12pt;"><span style="font-family: helvetica;"> </span></span></p><p class="MsoNormal" style="font-size: 11pt; line-height: normal; margin: 0cm 0cm 0.0001pt;"><span style="font-size: 12pt;"><span style="font-family: helvetica;">The intention of the Trust to provide dwellings not only in crowded neighbourhoods but in easy access to the centres of labour. <o:p></o:p></span></span></p><p class="MsoNormal" style="font-size: 11pt; line-height: normal; margin: 0cm 0cm 0.0001pt;"><span style="font-size: 12pt;"><span style="font-family: helvetica;"> </span></span></p><p class="MsoNormal" style="font-size: 11pt; line-height: normal; margin: 0cm 0cm 0.0001pt;"><span style="font-size: 12pt;"><span style="font-family: helvetica;">The initial phrase consisted of 42 houses. These were occupied by 1927 by which a further 40 similar dwellings had been commissioned. By 1930 82 houses had been erected, 12 of these four-roomed and 70 five-roomed, accommodating a total of 426 people. The scheme was completed by 1936 providing a total of 136 houses, 52 with four rooms and 84 with five, and housing 637 people. <o:p></o:p></span></span></p><p class="MsoNormal" style="font-size: 11pt; line-height: normal; margin: 0cm 0cm 0.0001pt;"><br /></p><p class="MsoNormal" style="font-size: 11pt; line-height: normal; margin: 0cm 0cm 0.0001pt;"><span style="font-size: 12pt;"><span style="font-family: helvetica;"><br /></span><span style="background-color: white;"><span style="font-family: helvetica;">The corner green spaces and railings survived the arrival of the private car. Today it’s a private estate but back when it was in control of the Iveagh Trust the tenants had to sign a contract to protect against damage to property or “intemperate conduct on the premises”. </span><span style="font-family: Arial, sans-serif;"><o:p></o:p></span></span></span></p>Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com1tag:blogger.com,1999:blog-4027390742156371993.post-55399226527163551362020-08-03T19:44:00.012+01:002020-08-03T19:55:34.914+01:00Annes Grove Miniature Castle<p class="MsoNormal" style="font-family: calibri, sans-serif; font-size: 10pt; line-height: 15.333332061767578px; margin: 5pt 0cm 10pt;"></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAeHGmNPn2UrO_w7XIq1ef898Fj9Kw-j6D5S5UR2xztwRR6-hE-fl5h1TRkCvzKR4P1E_ABlaz6N6klmFywRRQDAv-9zDFkIOIevSTn70coFpcByMF9DQZwzeAnBqQpLOkjRNtMd9DRUYQ/s1440/E36C5F17-A976-441A-A54C-DDA3C7AED5ED.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1440" height="512" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAeHGmNPn2UrO_w7XIq1ef898Fj9Kw-j6D5S5UR2xztwRR6-hE-fl5h1TRkCvzKR4P1E_ABlaz6N6klmFywRRQDAv-9zDFkIOIevSTn70coFpcByMF9DQZwzeAnBqQpLOkjRNtMd9DRUYQ/w512-h512/E36C5F17-A976-441A-A54C-DDA3C7AED5ED.jpg" width="512" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"> <font size="2">Gate to Castle Lodge </font><span style="font-size: 10pt;">Anne's Grove Estate</span></td></tr></tbody></table><p class="MsoNormal" style="line-height: 15.333332061767578px; margin: 5pt 0cm 10pt;"><font face="helvetica"><span>Annes Grove miniature castle today is an Irish Landmark Trust property in Castletownroche, Co. Cork available as a romantic, self-catering holiday rental. It was cons</span><span>tructed to the design of Benjamin Woodward (1816-1861) who was a partner in the prestigious firm Deane & Woodward. Notable examples of their work include the Museum Building Trinity College (1853-1857) and Kilkenny Castle (alterations, 1859 - 63). </span></font></p><p></p><p class="MsoNormal" style="line-height: 15.333332061767578px; margin: 5pt 0cm 10pt;"><font face="helvetica"><o:p></o:p></font></p><p class="MsoNormal" style="line-height: 15.333332061767578px; margin: 5pt 0cm 10pt;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_yUZtCN9J29F61LA-NlDHCMMbwyCPdn6-k171PKbhcPd-QRDgDzdRx9qRKLnc6Z5JjNQ36I-gV6anFgTGyRr49Bdzrax-MDqzFP-NFts_bXifXhN0u2hiQ7nKcSfkrFYtn_tfPGWrZzKR/s2048/IMG-7043.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><font face="helvetica"><img border="0" data-original-height="1536" data-original-width="2048" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_yUZtCN9J29F61LA-NlDHCMMbwyCPdn6-k171PKbhcPd-QRDgDzdRx9qRKLnc6Z5JjNQ36I-gV6anFgTGyRr49Bdzrax-MDqzFP-NFts_bXifXhN0u2hiQ7nKcSfkrFYtn_tfPGWrZzKR/w328-h246/IMG-7043.JPG" width="328" /></font></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><p><br /></p></td></tr></tbody></table><font face="helvetica">The origins of the Annes Grove estate can be traced back to the early 17<sup>th</sup>century when William Grove expanded his family’s landholdings in 1628 by purchasing lands including the townland of Ballyhemmock. A house on this 420-acre estate was built by Robert Grove after marrying a Mary Ryland and was visited in the 1770s by Arthur Young (1741- 1820), the noted agriculturalist and writer. Samuel Lewis describes Anne’s Grove in 1837 as ‘the elegant seat of Lieutenant-General the Honourable Arthur Grove Annesley…a handsome mansion, recently built by the proprietor, on the verge of a precipitous cliff rising from the river Awbeg’ (Lewis, 1837 1, p.312) confirming that the present country house was constructed or reconstructed for Lieutenant-General Arthur Grove Annesley (1774-1849) following his inheritance of the estate from Mary Annesley (née Grove) (d. 1791), Countess Annesley. Previously titled Ballyhemmock after the adjoining townland, the house was allegedly renamed Annes Grove as a pun on the proprietor’s surname. Annes Grove was taken over by the Office of Public Works (OPW) in 2017 and is currently being restored. <o:p></o:p></font><p></p><p class="MsoNormal" style="line-height: 15.333332061767578px; margin: 5pt 0cm 10pt;"></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOuqsfbBn101KDrfIFCAfPbhYqURCoEiinEl0rAi676bgh6EBJYzS5Rur7gMMqJW8r5nDb0aAHDF1Ee9KGWqqgQycs26A1BQdCQgHCLctgy9Qyv-0VMG0RPwehUG9puvkMZ-B5fZydKqnl/s1024/7D09540B-CA54-4BC0-864E-A6934DEB4CD0.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><font face="helvetica"><img border="0" data-original-height="1024" data-original-width="1024" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOuqsfbBn101KDrfIFCAfPbhYqURCoEiinEl0rAi676bgh6EBJYzS5Rur7gMMqJW8r5nDb0aAHDF1Ee9KGWqqgQycs26A1BQdCQgHCLctgy9Qyv-0VMG0RPwehUG9puvkMZ-B5fZydKqnl/w328-h328/7D09540B-CA54-4BC0-864E-A6934DEB4CD0.jpg" width="328" /></font></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><font face="helvetica">Property is entered via modern kitchen extension<br /></font></td></tr></tbody></table><font face="helvetica"><div style="text-align: left;">The gate lodge adopts the appearance of a medieval castle in miniature form, the picturesque Gothic Revival theme in stark contrast to the sober Queen Anne Classicism of the nearby country house. Despite its diminutive scale, the plan form is inventive and heightens the architectural interest of the composition. A two-stage square tower contains one room on each floor, the bedroom at first floor level accessed from the parlour at ground floor level by way of a battlemented polygonal stair turret: a separate staircase rises to the battlemented wall-walk spanning a deeply-rebated gateway. </div></font><div style="text-align: left;"><span style="font-family: helvetica;"><br /></span></div><div><div style="text-align: left;"><span style="font-family: helvetica;">Constructed in rough-cut limestone, sheer limestone dressings frame the door and windows: also fashioned from limestone is the Annesley coat-of-arms. The Annesley family motto </span><i style="font-family: helvetica;">Virtutis amore</i><span style="font-family: helvetica;"> (Through love to virtue). Cusped window openings define the principal apartments while faux defensive ‘gun loops’ light the stair turret. Internally, the lime plastered walls are accentuated by yet more limestone dressings including a Tudor-arched chimneypiece. </span></div><p class="MsoNormal" style="line-height: 15.333332061767578px; margin: 5pt 0cm 10pt; text-align: left;"><font face="helvetica">The property is entered via a later extension which contains the kitchen as original front door which leads directly to parlour is locked. The kitchen leads to the cosy parlour with its inglenook fireplace as its centrepiece today heated with a wood burning stove. Off the parlour is the bathroom and turret stairs leading to the </font></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWGzQCjInSLduGmlHGgCES3qvzBS17Ybgkx0Es_XQYRzp4oAhb90VF3MlZS2x245KTqU5w7eQB0wMy5uldRcYi0fhwCtr-HroBVYVy1e2s80m0MxsjCUr7KKcQn6zi0I9hohgGUwzM-455/s1440/CB0A21BE-FD88-4CBA-A4D3-3451D19E19A7.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><font face="helvetica" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em; text-align: left;"><img border="0" data-original-height="1440" data-original-width="1440" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWGzQCjInSLduGmlHGgCES3qvzBS17Ybgkx0Es_XQYRzp4oAhb90VF3MlZS2x245KTqU5w7eQB0wMy5uldRcYi0fhwCtr-HroBVYVy1e2s80m0MxsjCUr7KKcQn6zi0I9hohgGUwzM-455/w328-h328/CB0A21BE-FD88-4CBA-A4D3-3451D19E19A7.jpg" width="328" /></font></a></div><font face="helvetica"><div style="text-align: left;">bedroom and a second narrower stairs to roof (closed off to visitors). The restored bedroom on the first floor of the tower features a tooled limestone chimneypiece and a vaulted ceiling. </div><o:p></o:p></font><p></p><p class="MsoNormal" style="line-height: 15.333332061767578px; margin: 5pt 0cm 10pt; text-align: left;"><span style="font-family: helvetica;">Vacated in the 1940s, the gate lodge had deteriorated by the end of the 20</span><sup style="font-family: helvetica;">th</sup><span style="font-family: helvetica;">century. When taken on by the Irish Landmark Trust in 1995, the gate lodge was considered to be structurally sound but in poor condition and required extensive restoration. The restoration of the lodge was directed by the late Maura Shaffrey of Shaffrey Associates Architects (1997). The roof was repaired reusing the original slate where possible. The stone work on the wall-walk was repointed as were the coping stones on the battlements, while the upper portion of the chimney stack was carefully rebuilt paying particular attention to maintaining the fine joints. The windows were also restored with lattice work reinstated and new frames installed. </span></p><p class="MsoNormal" style="line-height: 15.333332061767578px; margin: 5pt 0cm 10pt; text-align: left;"><font face="helvetica">As with all gate lodges this one was built to impress visitors on their way to the estate house and impress it does. </font></p><p class="MsoNormal" style="font-family: calibri, sans-serif; font-size: 10pt; line-height: 15.333332061767578px; margin: 5pt 0cm 10pt;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2zur8CVvrO8QxDPEew83EGtVjapXC9lXlJhu-0YyLGigHYWT7PwhcLAL_4XJZXpAzTSotg4-KoAP0sF2wIznt-Mvnj-pFKezZKXChRxunW_2aTZTYy8dnoh5bfOzbrwRyXWzuW1LELhxb/s1440/8642FD21-5CF7-47BB-B38B-E7D71B4E018E.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="1440" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2zur8CVvrO8QxDPEew83EGtVjapXC9lXlJhu-0YyLGigHYWT7PwhcLAL_4XJZXpAzTSotg4-KoAP0sF2wIznt-Mvnj-pFKezZKXChRxunW_2aTZTYy8dnoh5bfOzbrwRyXWzuW1LELhxb/s640/8642FD21-5CF7-47BB-B38B-E7D71B4E018E.jpg" /></a></div><p class="MsoNormal" style="font-family: calibri, sans-serif; font-size: 10pt; line-height: 15.333332061767578px; margin: 5pt 0cm 10pt;"><br /></p></div>Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-1185121790518944202020-06-02T18:19:00.000+01:002020-06-02T18:20:21.064+01:00Modern Limerick; first female Vocational School in Ireland<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVCHeHTk0NQ-bkdtqEwGK4Qc_DqRn-0ZqveiDSUFjpjeFMncfq9Eg_mbzY8zFXqldM8khruhnn2L_GC8HRFpHrUhg7WKQJrTJr-0Q2QfRwVQAEpc28sbsfkMhvCPZG2VpnCJN0TGIlY1IF/s1600/LSAD+Header.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="574" data-original-width="747" height="488" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVCHeHTk0NQ-bkdtqEwGK4Qc_DqRn-0ZqveiDSUFjpjeFMncfq9Eg_mbzY8zFXqldM8khruhnn2L_GC8HRFpHrUhg7WKQJrTJr-0Q2QfRwVQAEpc28sbsfkMhvCPZG2VpnCJN0TGIlY1IF/s640/LSAD+Header.jpeg" width="640" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Exploring my 5km radius from my home during Covid-19 lockdown I got to see in 'real life' two vocational schools Andy Devane designed on the Crumlin Road in Dublin. This made me think of a vocational school in his home city which was not just the first female vocational school in the county, but also the country. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBAXERF1rASH1g6fjYtF9yxbZ7_KIqF6FkuC-lDv5B_kjg9HiQ9lkr5cCIC1gc-3a3L7QBkhFxxw1NYIT9oNyAB9c-L1Js5_C2lUL4ug8SHVWhyOG2iRlDKo5dnRk4sIF_BW8AWOgN04Mf/s1600/lsad+4.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="544" data-original-width="273" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBAXERF1rASH1g6fjYtF9yxbZ7_KIqF6FkuC-lDv5B_kjg9HiQ9lkr5cCIC1gc-3a3L7QBkhFxxw1NYIT9oNyAB9c-L1Js5_C2lUL4ug8SHVWhyOG2iRlDKo5dnRk4sIF_BW8AWOgN04Mf/s320/lsad+4.jpeg" width="160" /></a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The 1930 Vocational Education Act gave local councils the job of developing technical education and a large scale school building programme was undertaken in the vocational sector in 1936. <o:p></o:p>The bishops, led by the Bishop of Limerick Dr Keane, sought and received an assurance from the Minister for Education that the vocational schools would not provide general education for those aged 14-16 years. Consequently these schools were prevented from teaching academic subjects and from entering their pupils for state examinations. As a result parents did not regard them highly and they would remain the poor relations of the education system for most of this period known as the 'cinderella of our educational system'. Such was the threat of the vocational schools that throughout the forties and fifties the church secondary managerial bodies were strongly of the opinion that the vocational system should be abolished and be “started again on new and thoroughly Catholic lines.” The story of the vocational education system demonstrates the Irish Catholic Church’s struggle to maintain authoritarian control in schools and successive governments’ policy of appeasement and diplomacy. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzw2b7xQZ4QRndiUhOi1PDcJOh_DGByrslUvn5WeuU1I_j90Ao5fTyDbTplb4RrbJHHNRKTcs_3H9wwp5PqNFOzq1RKmtJe4txwFHMPFkyM8nh35srmdaYU_Ia6UvCFbuNxDlMKEuhjfkw/s1600/lsad+6.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="381" data-original-width="599" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzw2b7xQZ4QRndiUhOi1PDcJOh_DGByrslUvn5WeuU1I_j90Ao5fTyDbTplb4RrbJHHNRKTcs_3H9wwp5PqNFOzq1RKmtJe4txwFHMPFkyM8nh35srmdaYU_Ia6UvCFbuNxDlMKEuhjfkw/s400/lsad+6.jpeg" width="400" /></a></td></tr>
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<span style="font-family: "minionpro";"><span style="font-size: x-small;">The building as seen from the opposite quay. Its roof competes with that of </span></span><br />
<span style="font-family: "minionpro";"><span style="font-size: x-small;">the late </span></span><span style="font-family: "minionpro"; font-size: x-small;">medieval </span><span style="font-family: "minionpro"; font-size: x-small;">ruin Fanning's Castle for dominance of the skyline.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The City of Limerick Vocational Education committee (CLVEC) was set up as a public service education organisation providing a wide range of learning opportunities and education support services. Technical education in Limerick city can traces its origins back to the 1890s when Ms Mary Caroline Doyle (daughter of a Young Irelander) and Ms Graves (the daughter of the Protestant Bishop of Limerick) assembled a group of poor boys to teach them fretwork and wood crafts, later adding a domestic economy class for girls. Such was the success of the work that the local authorities soon engaged salaried teachers and conducted classes in the Athenaeum Building which the Limerick Technical Instruction Committee acquired in 1898. In 1911 the Municipal Technical Institute for the instruction of boys was built in O’Connell Avenue and it would be almost two decades before the girls got their own building dedicated to their vocational training. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXNA7ZUQBRJoVxjoRpJky7HD7_gDxKD2JGo8J9MgUUM2dzNCl8AqbXXbBzNtTxfiQ1eue-stg5xoSILyh8XqmQLuATcKIjeX_rzab6LmSJd7OoqzaG8K-veJnGiP79_V_5DEAgf12kGsJR/s1600/lsad+13.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="322" data-original-width="485" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXNA7ZUQBRJoVxjoRpJky7HD7_gDxKD2JGo8J9MgUUM2dzNCl8AqbXXbBzNtTxfiQ1eue-stg5xoSILyh8XqmQLuATcKIjeX_rzab6LmSJd7OoqzaG8K-veJnGiP79_V_5DEAgf12kGsJR/s320/lsad+13.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Site before construction of the school</td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The decision to place a Vocational Technical School within Limerick city reflects the economic climate of the time. The 1930s saw a succession of economic depressions which resulted in high unemployment in the city especially in the meat, dairy and clothes manufacture sectors. This provided post-primary education to people without the financial means to attain a secondary level of academic learning. The contribution and opportunity the Vocational Education Act made to Irish society cannot be overestimated. The Primary School Certificate was voluntary until 1943 and as late as 1957 only 10,000 students sat the Leaving Certificate. Even though Ireland became a Free State in 1922 we modelled our civic policies on that of Britain who had established a program of technical schools in their tripartite education system before the Second World War. In accordance to the Vocational Education Act, Limerick elected a Vocational Education Committee in 1930 <span style="position: relative; top: -5pt;"></span>controlled by elected representatives while the Department of Education ruled on funding and appointments and awarded grants. They soon set about erecting a new building as part of its new vocational and technical education program. In 1935 the search for a suitable site led them to George’s Quay.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>"A New Architectural Asset"</b></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">St Anne’s Vocational School, as it came to be called, was the first vocational school in the country to be built for the intention of educating girls and women. A loan of £17,000 was raised by the Vocational Education Committee for the erection of the building <span style="position: relative; top: -5pt;"></span>and it was opened in September 1939. At the time of its of official opening the <i>Irish Builder </i>announced the building as ‘a new architectural asset has been provided for Limerick’ and the <i>Limerick Chronicle </i>described it as ‘the most modern and best-equipped Vocational School in the country’. This accolade was no doubt down to the Architect, Patrick Sheahan’s, tour of English technical schools three years prior to the drawing of the plans. The building was extended in 1954 by the original architect and renovated again in 1979 due to the school’s expansion it was decided to move out the engineering courses to a new site in Moylish while leaving the Art subjects behind in George’s Quay. </span><span style="font-family: "times"; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>The Architect</b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHz5E81KG72Ztkqk1lsKflCAbNVJMGDUbbl5hROzDlhdD4gmVh7YB-zUCb3i8oIEK3y-mf9ZHvhcNbHVl8hrYQ6JM_B94yfoevj8IeKx56r7QN9u9A1iqMgP85CemBnblivhciaZU8U-Io/s1600/lsad+10.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="397" data-original-width="612" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHz5E81KG72Ztkqk1lsKflCAbNVJMGDUbbl5hROzDlhdD4gmVh7YB-zUCb3i8oIEK3y-mf9ZHvhcNbHVl8hrYQ6JM_B94yfoevj8IeKx56r7QN9u9A1iqMgP85CemBnblivhciaZU8U-Io/s320/lsad+10.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">A 1960s postcard</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The Architect hired by the Limerick VEC was Limerick architect Patrick J Sheahan (1893 – 1965) of Sheahan & Clery. Sheahan represents the pre-Second World War tradition of architects learning their craft through apprenticeships as opposed to the college taught approach with a year out in a practice. Sheahan started out as a Mathematics and Art teacher in St Munchin’s College in Limerick before embarking on his architectural career as an engineer in the office of the County Engineer for Limerick Mr J. Moran, followed by working for Robert de Courcey before setting up an independent practice in 1920. In 1924 Sheahan and Timothy Clery MRIAI formed the partnership of Sheahan & Clery. In 1925 </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Patrick Sheahan was appointed architect and engineer to Limerick County Board of Health <span style="position: relative; top: -5pt;"></span>and was a consultant to both the County Council and to Limerick Corporation until his resignation in 1947. In 1939 he worked with the Irish Tourist Board and planned the development of many tourist centres including Youghal, Salthill, Tramore and Killarney. Sheahan was associated with the design of churches, schools and convents on three continents, in places as far apart as Florida USA, British Cameroons, Africa and Melbourne Australia. In Limerick he did buildings such as St Munchin’s Diocesan College, boys’ secondary school and adjoining school chapel, Our Lady of Lourdes Church in Ballinacurra, Athlunkard Rowing Clubhouse, Mid-West Regional Hospital and St Munchin's Maternity Hospital. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Sheehan’s high profile commissions are a testimony to his strong ecclesiastical and political links gaining recognition for his church and school designs by being the first Irish architect to be made Chevalier of the Order of St Sylvester in 1957 by Pope Pius XII and he could count Eamonn de Valera and Sean T. O’Kelly amongst his friends. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Republican Brick</b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDJrTsatyXpasTNaoq-0urHyENrRPsYNLBYHkTzxDZRvL-MyLDslwkGV1XkDCJNZGnD5b5QfDt_N-xCFWeOYecHdZubfhNqZPuk0f2BTX-VY1PD4a6NLq-Hi7J5ufklFKsL6x6x4wRG_a2/s1600/lsad+Irish+builder.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="380" data-original-width="471" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDJrTsatyXpasTNaoq-0urHyENrRPsYNLBYHkTzxDZRvL-MyLDslwkGV1XkDCJNZGnD5b5QfDt_N-xCFWeOYecHdZubfhNqZPuk0f2BTX-VY1PD4a6NLq-Hi7J5ufklFKsL6x6x4wRG_a2/s320/lsad+Irish+builder.jpeg" width="320" /></a></td></tr>
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<span style="font-family: "minionpro";"><span style="font-size: x-small;">The building as it appeared in the </span></span><span style="font-family: "minionpro";"><span style="font-size: x-small;"><i>Irish Builder </i>in 1939. </span></span><br />
<span style="font-family: "minionpro"; font-size: x-small;">It was held as an an example of the contribution </span><span style="font-family: "minionpro"; font-size: x-small;">Limerick </span><br />
<span style="font-family: "minionpro"; font-size: x-small;">was making </span><span style="font-family: "minionpro"; font-size: x-small;">to modern Irish architecture.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The building is constructed of concrete and brick on a reinforced concrete raft foundation. The ground floor is of reinforced concrete slab construction, while hollow tile reinforced concrete was adopted for the first floor and roof which was asphalted. By sloping the roof towards the back of the building Sheahan avoided the installation of water pipes on the main façades. As with most public architectural endeavours, the political influences of the day are evident and this new vocational building was no exception especially in its building materials. Brick is an abundant material in the Georgian area of the city expressing Limerick’s history as part of a colonised country. However, in 1935 the City of Cork Education Committee wrote an open letter calling on the government to insist on the use of bricks in all public building schemes. It explicitly specifies the use of Irish manufactured bricks ‘in view of the fact that none of the material has to be imported and that the expenditure on production remains within the Country’. It ended imploring the Government to insist on the use of bricks in all public building schemes and expressing hope that architects in control of private buildings would co-operate likewise. The Limerick VEC adopted this resolution for the design of its building. This policy reflects the impact the Anglo-Irish Trade War (1932-1938) <span style="position: relative; top: -5pt;"></span>was having on the Irish building industry. </span><span style="font-family: "times"; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Jazzy</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDg3KHATdvg04qVTfMEHkGRpKnPZEtVatKmUWnXzPXbMNPdcRDVEDGE94Qxlb3_tnEfuofJZ1AeqpbFCS4430DY5u7-cDHF4d-LQaP8e3czloeKpcumhSbB1GXhXLemWkjRY4XQzpH3RC-/s1600/lsad+11.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="266" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDg3KHATdvg04qVTfMEHkGRpKnPZEtVatKmUWnXzPXbMNPdcRDVEDGE94Qxlb3_tnEfuofJZ1AeqpbFCS4430DY5u7-cDHF4d-LQaP8e3czloeKpcumhSbB1GXhXLemWkjRY4XQzpH3RC-/s320/lsad+11.jpeg" width="224" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The symmetry of this Modernist building complements the eighteenth century townhouses on the opposite side of the river with its orderly rows of windows. On the first floor the windows are arranged in sets of three: from left to right, four rows of three on the first bay; a row of three flanked either side by a single light and three sets of three larger windows. This is mirrored in the ground floor with the front door underneath the central three windows. These were originally steel hoppers but replaced with uPVC in recent years. However the uPVC transoms were made to follow the originals as can be seen from photographs and elevations from the time. The flat roof and string course emphasises its geometric design and the stepped brick pilasters flanking the double front, coffered, timber doors and its dignified reinforced concrete canopy give the building a restrained formality. There is also further embellishment with chevron patterned brickwork above the door. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The zigzag motif is simultaneously indicative of the jazz age but also of Irish Romanesque doorways. This simplicity befits the purpose of the school gaining added effect with the discerning use of brick in the plinth piers, the deep colour of which forms a contrast with the white spar pebbles of the dashing walls. Along the front of the building is a bricked dwarf wall with reconstructed cubic stone coping and a wrought iron railing which was replaced in 2009 to be identical to the originals. Over the entrance door St Anne’s opened with the name of the school, in Irish, cut out in stainless steel <span style="position: relative; top: -5pt;"></span>which has now been replaced with the words ‘LIT Georges Quay’. </span><span style="font-family: "times"; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Interiors </b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU47JCnfUdRydsmdE22tDIgiLKyHHFg7dxuBefQcPTiOxFDDaw75RHMDCMwqxQRhb5AgPAswDWidQBZni0_6ZpaPgo9n8Qn93ytDv3eGC0lknT8q0csFxtGmvCjvcxYjLJagGKD6YYB76Z/s1600/lsad+9.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="449" data-original-width="600" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU47JCnfUdRydsmdE22tDIgiLKyHHFg7dxuBefQcPTiOxFDDaw75RHMDCMwqxQRhb5AgPAswDWidQBZni0_6ZpaPgo9n8Qn93ytDv3eGC0lknT8q0csFxtGmvCjvcxYjLJagGKD6YYB76Z/s320/lsad+9.jpeg" width="320" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Access to the building is obtained via a wheelchair ramp which was installed during the summer of 2010. Once opening the entrance door the visitor is met with a vestibule and then a spacious main entrance hall. The principal features which strike the viewer are the staircase and the 20ft high stained glass bow window. The staircase is in terrazzo on reinforced concrete with non-slip treads, wrought iron balustrade and mahogany handrail. The terrazzo newel post carries a bespoke light fitting in satin finished metal. The bow window is filled with Finnish amber glass containing three ornamental panels depicting St Anne, the City Arms and the Arms of the Vocational Education Committee. It is interesting that the school was affiliated with a saint as these schools were under secular control and were non-denominational. However <i>Thom’s Directory </i>1958 shows that twenty-two out of twenty-seven vocational education committee chairmen were in holy orders. Some of the glass had to be replaced in the last year. These small panes were not matched well being replaced with clear glass instead of the distinctive amber colour as illustrated in the photograph below. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Modern Manner</b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNac8dyuzz8Y-y2vPhubSJaVE3J4H9S6hsNk7zC_FZr4DI69v4Jk7NzChAllhtuCgisg1Y7RL3qT4Ed_6rXRaWD8LNkhqBbfiTNm5eRiFgBM60l9ZG0pw9t8gaJv3NEZ_xQx6EdjYGUdZC/s1600/lsad+7.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="404" data-original-width="299" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNac8dyuzz8Y-y2vPhubSJaVE3J4H9S6hsNk7zC_FZr4DI69v4Jk7NzChAllhtuCgisg1Y7RL3qT4Ed_6rXRaWD8LNkhqBbfiTNm5eRiFgBM60l9ZG0pw9t8gaJv3NEZ_xQx6EdjYGUdZC/s320/lsad+7.jpeg" width="236" /></a></td></tr>
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<span style="font-family: "minionpro";"><span style="font-size: x-small;">The original metal newel still remains at the foot </span></span><br />
<span style="font-family: "minionpro";"><span style="font-size: x-small;">of the </span></span><span style="font-family: "minionpro"; font-size: x-small;">terrazzo staircase</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In 1936 the Patrick Sheahan provided the Building Sub-Committee two proposals for the Auxiliary School design. Design A was for girls and design B for male students. Copies of these proposals have not survived however the Meeting Minutes for the 16 March of that year record <o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">‘In both designs the main attention has been concentrated on functional considerations. The elevations are treated restraining in the modern manner and the plans have been based mainly on considerations of simplicity efficiency and flexibility. As regards the latter it must be remembered that in all probability it will be necessary at a future date to extend the school to provide...additional accommodation’. <o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Both designs had an estimated building cost of £7,500 attached to them whereas the eventual winner (Design A) was £2,000 cheaper with regards to figures for future extensions. Design A provided cloak-rooms, stores, kitchen, laundry, sewing room, machinists’ room, general classrooms and gymnasium. Future extensions would be provided by the addition of two wings at the back and making minor internal alterations to provide additional cloakrooms, etc. </span><span style="font-family: "times"; font-size: 10pt;"><o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>VEC to LIT</b></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi09NYNnldZNq7ZGZRstriTda7lXOxeDmS4yedoh0oJHs2sJ4IMQvxY5c28stHssMsNP9jfas959g5f83yffY6C3ku7mQlrkGuXpBQTe4GEAOixDg3HvUXpcQn8HFHJ7fm5SBinCaTddhaJ/s1600/lsad+8.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="366" data-original-width="287" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi09NYNnldZNq7ZGZRstriTda7lXOxeDmS4yedoh0oJHs2sJ4IMQvxY5c28stHssMsNP9jfas959g5f83yffY6C3ku7mQlrkGuXpBQTe4GEAOixDg3HvUXpcQn8HFHJ7fm5SBinCaTddhaJ/s320/lsad+8.jpeg" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lecture rooms still retain original ceiling height</td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The school was vacated in 1978 by the VEC but however reconvened and extended in 1981 upon becoming the Limerick College of Art Commerce & Technology (Limerick CoACT)<span style="position: relative; top: -5pt;"></span>with the provision of a mansard roof which increased the floor space in the main building by 30 per cent. However, the move to George’s Quay proved to be a short-term solution as the school quickly outgrew this site also. CoACT rented rooms in Bruce House on Rutland Street, Sarsfield House and in the Granary on Michael Street to accommodate the extra courses and student but these soon could not meet requirements with the school renting a further five properties during this period. The advent of Ireland’s membership of the European Community led to funding for technical education throughout the Republic. This, in turn led to the establishment of Regional Technical Colleges around the country. The CoACT achieved RTC <span style="position: relative; top: -5pt;"></span>(Regional Technical College) status in 1992 under the first of the Institutes of Technology Acts and with this a more suitable site for the school was sought. In 1994 the Good Shepherd Convent in Clare Street was purchased and now houses all the departments of the Limerick School of Art & Design except for the Fashion and Sculpture departments which remained at George’s Quay. </span><span style="font-family: "times"; font-size: 10pt;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLlkn7xII-Lz909q_4ZMJxHAXgvzf9HcuNQtenw-y-EBKHCNhaIvNqR_hC5HdsroR2_Rh5Vk2A-zGW1UGoPJVm2oFt5geraf7oQppkcwQ2LjJT867TDYmtEm5VCyp4ueG4hEYowWN0GA-g/s1600/lsad+12.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="412" data-original-width="463" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLlkn7xII-Lz909q_4ZMJxHAXgvzf9HcuNQtenw-y-EBKHCNhaIvNqR_hC5HdsroR2_Rh5Vk2A-zGW1UGoPJVm2oFt5geraf7oQppkcwQ2LjJT867TDYmtEm5VCyp4ueG4hEYowWN0GA-g/s320/lsad+12.jpeg" width="320" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Despite it's architectural and social importance this building is not on Limerick City & County Council's Record of Protected Structures. Since my visit a little over a decade ago a lift has been inserted in the entrance lobby. </span></div>
Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-55621918858983446362017-08-28T23:29:00.000+01:002020-04-21T14:52:03.635+01:00The Magnificent Seven: the Donegal Churches of Liam McCormick<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEkdZcwggyQpC-XEI6wAdksdBF_jgfUO3gmWd9GP8RmAFBq7sPecgGh2Xc2kroHbpXV3qg6_-A1qbATZ4Tghhj8AsxwWCzx_6g37dQC5I1nDlskv_NN3P-mhzh-OJGfTY0C0FVqyFTdS_M/s1600/Screenshot002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="364" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEkdZcwggyQpC-XEI6wAdksdBF_jgfUO3gmWd9GP8RmAFBq7sPecgGh2Xc2kroHbpXV3qg6_-A1qbATZ4Tghhj8AsxwWCzx_6g37dQC5I1nDlskv_NN3P-mhzh-OJGfTY0C0FVqyFTdS_M/s400/Screenshot002.jpg" width="400" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "arial" , "helvetica" , sans-serif;">In April 2015 I went on a road trip to Donegal to try and get into all seven of Liam McCormick's churches, with sunny weather on my side, in two days. I failed my mission entering six of them. At least it gives me an excuse to go back to Donegal. </span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span> <span style="font-family: "arial" , "helvetica" , sans-serif;">McCormick</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> d<span style="background-color: white;">esigned more than thirty churches including three in England.with his first </span></span><span style="background-color: white;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Church design dating from 1947 (Church of the Lady & St Michael’s Ennistymon Co.Clare) to 1988 St Joseph’s Surrey, UK. Huge liturgical shift occurring around the Second Vatican Council 1962-65 (Ellen Rowley ‘Admitting the Light’ <i>The Furrow,</i> Vol. 60 No.9 (2009), pp.502-506)</span><span style="font-family: "arial" , "helvetica" , sans-serif;">.</span></span></span><br />
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<span lang="EN-IE" style="background: white; line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The life of Liam McCormick crosses geographical and religious borders and although a good friend of John Humes he consciously kept his political opinions private. Born in Derry, he grew up as part of a small middle-class Catholic community in the fishing village of Greencastle, Co. Donegal and where he lived for the large part of his life with his office in Derry city. Like his grandfather, McCormick was elected Lord High Sheriff for Derry city in 1970-71. He was a boarder at </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">St Columb’s College in Derry from the age of ten. It was at St Columb's that McCormick met many of the clergy who were responsible for his later church commissions. After completing second level he graduated with a Diploma in Architecture from Liverpool in 1943 and worked for two years in the City Surveyor’s office in Derry designing air-raid shelters and housing projects and then spent a year as an </span><span class="" style="font-family: "arial" , "helvetica" , sans-serif;">architect</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> to Ballymena Council (Simon Walker ‘Historic Ulster Churches’ QUB, Belfast, 2000, p.185).</span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">Another St Columb's boy Frank Corr, also studied architecture in Liverpool and after graduation the two of them established Corr & McCormick. While in Liverpool his year went on many trips including the World Fair in Paris in 1937, being exposed to modern style pavilions by the likes of Le Corbusier. </span></div>
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<span lang="EN-IE" style="background: white; line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Seven of these churches are in his home county of Donegal, built in the landscape he knew best. A landscape which at the time had little or no concept of Modernism. Taking his influences from multiple sources it was his straightforward approach of simplicity and honesty of materials which made him stand out. <o:p></o:p></span></span></div>
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<span lang="EN-IE" style="background: white; line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>St Peter's Church, Milford (1955-61)</b></span></span></div>
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<b style="background-color: white; font-family: Arial, Helvetica, sans-serif;">St Patrick's Church, Murlog, on the outskirts of Lifford (1960 - 64)</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifKykZ_DW0bVS4niHwBb7eYQky2qgmo98L6ymTgCsDMjUMKXvnxg5zH3NFAsp0Zm7pGr1IyfDqV8ccO_j4txNFbsV5vZpxJlPxiGS5d9KeJa7ccLe9TxlYXI1oa1E8p1Mpv4UHnnsDedJi/s1600/2015-04-20+19.18.06.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifKykZ_DW0bVS4niHwBb7eYQky2qgmo98L6ymTgCsDMjUMKXvnxg5zH3NFAsp0Zm7pGr1IyfDqV8ccO_j4txNFbsV5vZpxJlPxiGS5d9KeJa7ccLe9TxlYXI1oa1E8p1Mpv4UHnnsDedJi/s400/2015-04-20+19.18.06.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">External mosaics by <a href="http://architectureireland.ie/oisin-kelly-four-dublin-sculptures">Oisín Kelly</a></span></div>
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<span lang="EN-IE" style="background: white; line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Our Lady Star of the Sea, Desertegney, near Linsfort (1963-64)</b></span></span></div>
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<span lang="EN-IE" style="background: white; line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This is my favourite of the Donegal churches. It was difficult for us to find as nobody we stopped to ask for directions had heard of it until we struck gold with a French woman who worked at a petrol station deli. After architecture sailing was McCormick's big passion. This church was one of his favourites as he could sail past it in his boat <i>Diane</i>. It's curved walls and roof form gives it the appearance of an upturned boat. </span></span></div>
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<span lang="EN-IE" style="background: white; line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Church of St Aengus, Burt (1964-67)</b></span></span></div>
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<span lang="EN-IE" style="background: white; line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The best known of McCormick's buildings and voted <i>Building of the Century</i> by a national poll. Burt won the RIAI Triennial Gold Medal in 1970. </span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Nearby Grianán was the inspiration behind the circular form of the church.</span></div>
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<span lang="EN-IE" style="background: white; line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>St Michael's Church, Creeslough (1967-71)</b></span></span></div>
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<span lang="EN-IE" style="background: white; line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>St Conal's Church, Glenties (1970-74)</b></span></span></div>
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<span lang="EN-IE" style="background: white; line-height: 115%;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Donoughmore Presbyterian, Liscooley (1975-77)</b></span></span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">In an interview with Maev Kennedy of <i>The Irish Times</i> in July </span><span style="font-family: "arial" , "helvetica" , sans-serif;">1978<span style="background-color: white;"> </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">McCormick acknowledges that where modern architecture has failed is in its </span><span style="font-family: "arial" , "helvetica" , sans-serif;">over-dependence</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> on utility and function. He said that modern architects have</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;"> </span>learnt</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> a lesson from earlier failures: 'We no longer believe in the omnipotence and validity of functionalism as such, but seek in our work the synthesis of a rational approach and artistry.' </span></div>
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<span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;">As far as McCormick was concerned: 'Churches are important buildings, and not just religiously. Often a church is the only real architecture people will experience. It is important that they be right and correct.' </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">I can't recommend enough getting your hands on this compendium of eight books by Carole Pollard on the career of one of Ireland's greatest. </span></span></div>
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Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-45220403556202056972017-05-01T01:20:00.000+01:002017-05-01T14:19:22.502+01:00Concrete & Shopping<div class="separator" style="clear: both; text-align: center;">
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During my trip to Rome last year I made a point of visiting <b>Valentino</b>'s new flagship store in the historic <b>Piazza di Spagna</b>. It was not for the textiles it contained but for the tectonic quality of the space. This haute couture building which officially in July 2015 was designed by <b>David Chipperfield Architects</b> in conjunction with Valentino's creative directors Maria Grazia Chiuri and Pierpaolo Piccioli is Valentino's largest store yet at 1,470 (1,865 including basement) square metres providing a whole new boutique experience. Upon entering the shopper is greeted by extremely sculptural marble columns and altar-like display tables defining the entrance. The massive 6-metre atrium and two marble staircases reinforce the feeling that one is in a monumental space. </div>
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I couldn't of had less interest in the clothes and the sales assistants could sense this, telling me to make sure I saw the staircases. They must have been used to people coming in with their gaze skirting beyond the clothes and mannequins. The marble staircases are so beautiful, almost as if they rose up from the earth. Every sleek surface beckons you to touch it. The grey Venetian terrazzo with Carrara chippings oozes luxury with simple black leather armchairs and timber tables complementing the cool oyster and pearl tones of the walls and floors. The palette of colours is completed with suspended oak shelving and brass fixtures for the full length mirrors and rails. This wall treatment stops at door height with uplighting to soften the lines. Internal doors have a sculptural quality with flush pull handles. This store is the perfect stage to make the clothes sing. A new attraction for this ancient city. </div>
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Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com1tag:blogger.com,1999:blog-4027390742156371993.post-35300148557758317422017-03-08T11:26:00.000+00:002017-03-08T11:26:20.147+00:00Concrete proof that brutalism is beautiful ( first published in Sunday Times 5 March 2017)<div class="separator" style="clear: both; text-align: center;">
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In the 2015 British dystopian thriller High-Rise, Tom Hiddleston caresses a concrete pillar in his new concrete-walled apartment before taking to his concrete balcony to sunbathe naked. The film, based on a 1970s book of the same name by JG Ballard, creates a world where the rich live on the top floors of a high-rise apartment block and the working classes live on the lower levels. Before the storyline descends into chaos and violence, the beauty of brutalist architecture shines through.<div>
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The release of High-Rise coincided with speculation about the future of the 1970s Central Bank building, as Fitzwilton House and the AIB Bankcentre in Ballsbridge and Hawkins House in Dublin city centre all faced demolition. Despite the curiosity and nostalgia aroused in younger and older generations about this form of architecture - characterised by huge forms and unadorned concrete - many of these buildings remain undervalued and under threat.</div>
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English architects Alison and Peter Smithson are believed to have coined the term “brutalism” in the 1950s, influenced by “béton brut” (the French for “raw concrete”) — used by Le Corbusier in the late 1940s. Unfortunately, its meaning in English has made it a target for denigration, as if it were a synonym for “provocative” or “crass”.</div>
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Brutalism challenged traditional notions of what a building should look like by showing its construction and not disguising the materials. The key features are “raw”, unfinished materials; bold geometrics and massive forms defying conventional proportions; and expression of different functions, services and structure. The key to a love of brutalism is celebrating its raw honesty in an era of faked brickwork, stone and marble with cladding.</div>
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<br /><b>True Brutalism </b><br /><br />Even though brutalism’s movement was short-lived, falling between modernism and post-modernism, it is hard to define. Dr Ellen Rowley, editor of <a href="http://www.fourcourtspress.ie/books/2016/more-than-concrete-blocks/"><i>More than Concrete Blocks: Dublin City's Twentieth-century Buildings and their Stories</i></a><i>,</i> explains that not all brutalist buildings were created equal, and for every great building there was another that undermined the movement.</div>
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<br />“There’s true brutalism and then there’s derogatory brutalism,” she says. “The former is about roughcast exposure of materials and often even mostly handmade buildings that set out to be expressive and often irrational. The latter is about over-scaled, prefabricated, bombastic buildings.” The most celebrated examples of brutalist architecture in Ireland are on university campuses and owned by institutions with budgets to maintain them.</div>
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In 1966, architectural critic Reyner Banham described brutalism’s aesthetic as “a violent revolutionary outburst”. The endless possibilities of its “plasticity” allowing it to take on the imprint of other materials. These include timber marks (think of Trinity College Dublin’s Berkeley Library); rope (the external finish of St Fintan’s Church in Sutton) and a ribbing effect (Connolly House, North Strand VEC).<br /><br /><b>Celebrated bunkers</b><br /><br />In Ireland, most brutalist monoliths are civic buildings and housing projects, which were usually commissioned by local authorities. These were built from concrete that was functional, affordable and had become readily available with production in Limerick and Drogheda from 1938.<br /><br />They include the dormitory block in Limerick’s Mary Immaculate College, designed in 1955 by RKD Architects, and the 1972 water tower and administration building at University College Dublin Belfield, by Andrzej Wejchert.<br /><br />It is hard to imagine walking through the grounds of Trinity without the arresting site of the concrete Berkeley Library, designed in 1967 by Ahrends, Burton & Koralek (ABK Architects).<br /><br />In Belfast, meanwhile, the Ulster Museum extension displays raw concrete harmonised in tone and colour with the existing Edwardian building.<div class="separator" style="clear: both; text-align: center;">
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<br /><br /><b>Why the bad rep?</b><br /><br />In 1982, ABK produced a prize-winning project for the National Gallery’s Hampton extension in London. It was described by Prince Charles as a “monstrous carbuncle on the face of a much-loved and elegant friend”. The design was discarded and replaced by the Sainsbury Wing extension in 1991.<br /><br />While in Europe brutalist buildings replaced earlier ones destroyed in the Second World War, in Ireland Georgian buildings were often wilfully knocked down to facilitate the brutalist aesthetic. The ESB headquarters replaced a Georgian terrace on Fitzwilliam Street, for example.<br /><br />Sam Stephenson won Dublin Corporation’s competition in 1968 to design the new civic offices at Wood Quay, comprising four monumental granite-clad blocks linked by a glass atrium.<br /><br />After construction began, the remains of a Viking city were found beneath the site, as well as a long section of the medieval city walls. There was an unsuccessful public campaign to halt the development — and the site’s destruction has tainted Irish brutalism ever since.<br /><br />Brutalism’s functionality made it the perfect fit for cash-strapped European countries seeking to rebuild urban centres after the war. The aesthetic of choice for many low-cost housing projects in western Europe, it became a symbol of poverty.<br /><br />Unfortunately concrete does not age well in Ireland’s damp climate. As these blocks fell into disrepair, they became bywords for antisocial behaviour and poor urban planning.<br /><br />In Ireland, schemes such as the 1960s St Michael’s Estate, in Inchicore, and Ballymun towers shook people’s faith in high-rise social-housing.<br /><br /><b>Contemporary brutes</b><br /><br />Brutalism is not synonymous with cheap or crude. Dublin’s Grafton Architects won an award for the world’s best new building in 2016 for its concrete university campus in Lima, Peru. Brutalist but not brutish, the building was described as “modern-day Machu Picchu”.</div>
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There is a homage to brutalism emerging in young Irish architectural practices such as Lid Architecture (<a href="http://www.lid-architecture.net/CanalHouse">Canal House</a>, Galway), Broadstone Architects (<a href="http://www.garbhandoranarchitects.com/#!portfolio/vstc1=dublin-8-renovation">Heytesbury Street</a> extension), Gottstein Architects (extension <a href="http://www.gottsteinarchitects.com/res03.html">Ormond Road</a> ) and ODOS Architects (extension at <a href="http://www.odosarchitects.com/carysfort">Carysfort Road</a> in Dalkey). Polished concrete floors or terrazzo are making a comeback. Once the preserve of schools and hospitals, concrete is finding its way into homes.<div class="separator" style="clear: both; text-align: center;">
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<br /><br /><b>The future</b><br /><br />Many great British brutalist buildings are listed, including Trellick Tower in west London — which is said to have inspired Ballard’s novel — Battersea Power Station and the British Library. In Ireland, brutalism lives on the brink.<br /><br />Some examples face the wrecking ball — such as Fitzwilton House, AIB Bankcentre and the former Bord Failte headquarters on Dublin’s Baggot Street — as developers realise they can profit by replacing unpopular concrete buildings with shiny new ones. The future of what remains looks bleak as long as Dublin city council and other local authorities refuse to add 20th-century buildings to their records of protected structures.<br /><br />Brutalism is a democratic, civic- spirited form of architecture. It radiates optimism with a celebration of man-made materials, at times defying gravity. If architecture is music then brutalism is atonality, a sound that does not conform to tedious tonal norms. Preserve it.<div style="background-color: white; box-sizing: border-box; color: #333333; line-height: 3rem; margin-bottom: 3rem; padding: 0px;">
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Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-47390312321852913012016-11-30T10:59:00.000+00:002016-11-30T11:01:19.972+00:00<br />
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<span style="font-family: "times" , "times new roman" , serif; font-size: x-large;">Flowers for Franco</span></h2>
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Last week I learned that a letter <span style="background-color: white;">from Carlow County Council will wing its way across the Atlantic to America congratulating Donal Trump on winning the US presidential election. An interesting question is did this same council propose sending a similar letter to President Obama after his electoral victory? Should I have been at all surprised? It immediately reminded me of a curious occasion when Limerick too fawned over far-right leaders. </span></span><br />
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<span style="line-height: 115%;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">On the 28<sup>th</sup>
of January 1939 the <i>Irish Press</i> reported that the Limerick Corporation
congratulated General Francisco Franco on the capture of Barcelona aided by
fascist Italy and Nazi Germany ‘on his fight for Christianity and freedom.’<i> </i>This laudatory gesture was accompanied
by a bouquet of flowers for the Spanish dictator. Furthermore this group passed
a resolution demanding the Fianna Fáil government<i> </i>to<i> </i>‘recognise the Administration of the Patriot Leader’<i> </i>thus breaking diplomatic relations. The
same government which unwaveringly stood by De Valera’s declaration of
neutrality in the face of immense criticism and pressure from the Allies during
the Second World War. Limerick was the first Irish city and one of the first in
the world to recognise Franco as the legitimate ruler of Spain. This event in
the Limerick story is indicative of the Spanish Civil War’s impact on Irish
diplomatic policy and the intensity of Catholic religiosity in Ireland.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgloI4gTwbwVIvNXSGt8CwtOdx2wntdtf4gNuc8FP7OLOiEvqO7jhp6FyBtHy4T2a4Ds0_OuYwoHHno0thjy9TdYkLs5zsxPxr9mHMKxv00IrfLinSU3xek_9hfzEj_FarydUTQsX1epw5Z/s1600/28+Jan+1939.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgloI4gTwbwVIvNXSGt8CwtOdx2wntdtf4gNuc8FP7OLOiEvqO7jhp6FyBtHy4T2a4Ds0_OuYwoHHno0thjy9TdYkLs5zsxPxr9mHMKxv00IrfLinSU3xek_9hfzEj_FarydUTQsX1epw5Z/s320/28+Jan+1939.png" width="174" /></a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12pt;">This short newspaper article
stated that James Dalton proposed the resolution of congratulations, eventually
seconded by Ald. James Reidy after Michael Hartney withdrew his secondment.
Reidy took it further requesting government recognition of Franco. The Mayor
Ald. Dan Bourke responded to this request with ‘We could leave that to the
Government to decide.’ Ald. Reidy’s rejoinder defending the totalitarian
dictator is today ironic with the benefit of hindsight ‘We are free citizens of
a free country and we are entitled to make a request to our Government.’ In
spite of Reidy’s appeal the Mayor was unyielding ‘That is so, but we can be
assured that our Government will do the right thing at the right time’</span><i style="font-size: 12pt;"> </i><span style="font-size: 12pt;">and later would say ‘We are only giving
expression to the wishes of the people, irrespective of political views.’ After
receiving unanimous votes Bourke finally declared both resolutions adopted, not
because of the strength of Reidy’s arguments but because of his party did not
control the corporation. This proposal to recognise Franco as the Spanish head
of state by isolationist Éire came a month before both Britain and France.</span></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">James Reidy and
Michael Hartney would follow Dan Bourke in holding mayoral office, 1944-45 and
1945-46 respectively. Dan Bourke would be mayor for the record period of five
years<a href="file:///C:/Users/egilleece/Downloads/Flowers%20for%20Franco.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[1]</span></span><!--[endif]--></span></a>.
He joined the Volunteers in 1913 and was one of those who welcomed Pádraig
Pearse, Éamon de Valera, Tom Clarke, Willie Pearse and other leaders to
Limerick in 1915. He remained on the Republican side during the Civil War, was
arrested in 1922 and imprisoned in Kilmainham and Mountjoy. The following year
he was transferred to Tintown No.1 Internment camp at the Curragh from which he
escaped through a tunnel in April 1923. He was later recaptured and held
prisoner for a considerable time. In 1920 he was elected a member of the
Limerick Corporation in the Republican interest and was later to become one of
the founder-members of Fianna Fáil. <o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Michael Hartney was
also a Fianna Fáil member to City Council and was one of the most active
members of the Volunteer movement during the War of Independence. His home in
Davis Street was blown up by the Black and Tans as a reprisal. He was twice
captured by the Black and Tans and served a term in Wormwood Scrubbs Prison
where he went on hunger strike. On his release he resumed his volunteer
activities and after being captured by the “Tans” for a second time he was held
as protection against I.R.A ambushed and was later interned on Spike Island. Hartney
would be secretary for the Mid-Limerick Brigade of the Old I.R.A for over 40
years at the time of his death<a href="file:///C:/Users/egilleece/Downloads/Flowers%20for%20Franco.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[2]</span></span><!--[endif]--></span></a>.
As the exchange described in the initial report on the recognition of Franco
government implied Reidy was elected as a Fine Gael TD. <o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">On the 25<sup>th</sup>
of February both local and national press presented its readers with the
extraordinary headline ‘Franco thanks, Letter to the Mayor of Limerick.’ Mayor
Bourke had received the following letter from the National Government’s
Minister for Foreign Affairs, dated February 3<sup>rd</sup>; <i>Dear Sir, On behalf of Generalissimino
Franco, through his Minister for Foreign Affairs, I am to convey to you the
lively gratification of his Excellency for the enthusiastic message of
congratulations which you sent him on learning of the magnificent victory at Barcelona.
I take this opportunity of extending to you my most friendly greetings.’ </i><o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Ironically De Valera
gave a statement to the Associated Press which appeared in newspapers only five
days previously declaring <i>‘the desire of
the Irish people and the desire of the Irish government is to keep our nation
out of war. The aim of Government policy is to maintain and to preserve our
neutrality in the event of war.’</i> One can only imagine the reaction of
readers in Limerick the recording of this exchange between City Hall and Spain.
One Dublin resident, a Mr R. Jacob, addressed an indignant letter addressed to
the mayor outlining his reaction to the news of the recognition of Franco ‘This
must be the greatest disgrace that ere has befallen the city of Limerick.<a href="file:///C:/Users/egilleece/Downloads/Flowers%20for%20Franco.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[3]</span></span><!--[endif]--></span></a>’
Mayor Bourke replied to this letter stating ‘the resolution passed by the
Limerick Corporation in regard to the victory of General Franco was an
unanimous one, and he has, therefore, no apology to offer.’<o:p></o:p></span></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This was not the first
time that a fascist dictator involved in the Spanish Civil War had sent
communiqué to neutral Ireland. A telegram from Italy’s Mussolini on the 13<sup>th</sup>
of March 1937 contained a message of support for the Irish Brigade, which
translates as ‘<i>Let the Legionnaires know
that I am following hour after hour their action and it will be crowned by
victory</i>.<a href="file:///C:/Users/egilleece/Downloads/Flowers%20for%20Franco.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[4]</span></span><!--[endif]--></span></a>’ <o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: 12.0pt; line-height: 115%;">The recognition of
Franco’s regime, notwithstanding the fact that Reidy had to convince his
colleagues of its validity, is not remarkable when taken within social and
political context. It must be remembered that the decades following the birth
of the Irish State saw an unquestioning acceptance of clerical domination over
education, health and public morality. This was particularly true in Limerick
where the Arch-confraternity of the Holy Family attached to the Redemptorist
church of Mount St. Alphonsus had the highest level of attendance not only in
Ireland bit in Europe with 10,000 registered members in the 1930s. One
contemporary commentator referred to Limerick as ‘<i>one of the most pious towns in Ireland<a href="file:///C:/Users/egilleece/Downloads/Flowers%20for%20Franco.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 12pt; line-height: 115%;">[5]</span></b></span><!--[endif]--></span></a>.</i>’
The year 1936 saw the emergence of Patrick Belton’s Irish Christian Front and
general Irish opinion was overwhelmingly pro-Franco with O’ Duffy’s men leaving
these shores to the sound of cheering crowds as they left to defend Catholicism.
The War in Spain was seen as a religious rather than political conflict and
Spain was regarded, like Ireland, as a historically Catholic nation. T</span><span class="apple-converted-space"><span style="background: white; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;">he nation took comfort in the fact that whatever divided Irish people
politically, they were firmly united when it came to their Catholic faith. <o:p></o:p></span></span></span></div>
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<span class="apple-converted-space"><span style="background: white; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The letter from
the Corporation was not the only correspondence Franco received from Limerick
that year. In July 1939 a Co. Limerick schoolboy, Timothy Ahern, wrote to the
General congratulating him on his victory and expressed admiration of his
‘great deeds in defence of Christian ideals.’ The reply to this fan mail from
Franco appeared in the local press in the September which read as follows;<o:p></o:p></span></span></span></div>
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<span class="apple-converted-space"><span style="background: white; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">‘The Colonel
Secretary of his Excellency, the Prime Minister and Commander-in-Chief of the
National Army, salutes Timothy Ahern and he has the pleasure of presenting to
him the thanks of the Commander-in-Chief for his congratulations on the victory
of our glorious army, enclosing at the same time a photograph of the
Commander-in-Chief in accordance with his desires.’ <o:p></o:p></span></span></span></div>
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<span class="apple-converted-space"><span style="background: white; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In the age of
social media sites contemporary audiences have the benefit of up to the minute
news reports and film footage. Armed with a smartphone any ordinary bystander
can have the capability of being a wartime correspondent. Before we judge the
actions of these men in the council chambers in Limerick on that day in January
1939 we must bear in mind the exaggerated claims and propaganda they were fed.
Franco fully appreciated the power of the media along with letters from
Limerick.</span></span></span><span style="font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></div>
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<span class="apple-converted-space"><span style="background: white; font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Arial;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This article was written by Emma Gilleece for the Limerick International Brigade Memorial Trust (LIBMT) publication <i>From the Shannon to the Ebro; the Limerick Men who fought fascism</i>, published in 2014 thanks to funding from Limerick City of Culture 2014. It is available to purchase from <a href="http://www.omahonys.ie/v2/r_prod_info.php?p=414241">O'Mahonys</a> Booksellers. </span></span></span></div>
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<a href="file:///C:/Users/egilleece/Downloads/Flowers%20for%20Franco.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 115%;">[1]</span></span><!--[endif]--></span></a>
Limerick Leader, 13 Oct. 1951. <o:p></o:p></div>
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<a href="file:///C:/Users/egilleece/Downloads/Flowers%20for%20Franco.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 115%;">[2]</span></span><!--[endif]--></span></a>
Limerick Leader, <i>Funeral of the late Mr
Michael Hartney, </i>29 Apr. 1964. <o:p></o:p></div>
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<a href="file:///C:/Users/egilleece/Downloads/Flowers%20for%20Franco.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 115%;">[3]</span></span><!--[endif]--></span></a>
Letter dated 21 Feb. 1939 is held by
Limerick Museum, Ref. No. 1987.2028.2<o:p></o:p></div>
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<a href="file:///C:/Users/egilleece/Downloads/Flowers%20for%20Franco.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , sans-serif; font-size: 10.0pt; line-height: 115%;">[4]</span></span><!--[endif]--></span></a>
P13/115, Robert Stradling Collection, Special Collections, (UL, 2002). <o:p></o:p></div>
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Frank O’Connor, ‘Irish Miles’, (London, 1947). His impression of Limerick was
written in 1939. <o:p></o:p></div>
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Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-36444389035320582522016-06-29T16:13:00.000+01:002016-06-29T16:13:07.654+01:00<div class="separator" style="clear: both; text-align: center;">
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On <b>29 June 1963</b> Limerick welcomed America's first citizen, 46 year old President <b>John Fitzgerald Kennedy</b> as part of his Irish tour which took in Dublin, Wexford, Cork and Galway. Limerick's inclusion was a last minute change after much civic campaigning focusing on the fact that the President had ancestry from Bruff, Co.Limerick. Greenpark racecourse held a gathering of thousands of people to witness JFK become a Freeman of Limerick. The city came to a standstill with local businesses closing between the hours of 12 noon and 3pm. Only five months later the young, glamorous American which we called our own in Limerick was assassinated.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj38q4VJ5MuXffwc4cE5szB2Adwz0zzKrtFNWLe95mPkeGM-1y7MHwjUybIPCwzDpwj7LEJYmHM86Hk7HYgpG3HNVCIGUoxRn2PegM4iIX7wYbkqRsDTRgHDqcL194jRHkk4ykFQEOrYTB4/s1600/SL273289.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj38q4VJ5MuXffwc4cE5szB2Adwz0zzKrtFNWLe95mPkeGM-1y7MHwjUybIPCwzDpwj7LEJYmHM86Hk7HYgpG3HNVCIGUoxRn2PegM4iIX7wYbkqRsDTRgHDqcL194jRHkk4ykFQEOrYTB4/s640/SL273289.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image taken by Emma Gilleece</td></tr>
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Limerick was quick off the mark in Ireland wishing to commemorate JFK's historic visit. With plans underway for a new boys school for the Ennis Road area of Limerick, St Munchin's Parish priest <b>Monsignor Michael Moloney</b> suggested that it should be named John F. Kennedy Memorial School (Personal conversation with Barry Sheppard, QS for JFK, December 2010). It was the first school in the country to be dedicated as a memorial to the late President. Many buildings in Ireland in the coming year were named in honour of the American president such as the JFK Memorial Hall in Dublin.<br />
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It was decided to erect the school on the same site as the Holy Rosary church to accommodate 350 pupils. Monsignor Moloney approach the same architect as the church, Liam McCormick fifteen years after he first approached McCormick and Frank Corr to design the church after they won the competition to design the Church of Our Lady & St Michael. It was not the first school that Corr & McCormick designed- that was St Malachy's Primary School in Coleraine. Logistically the distance of the practice in Derry from Limerick made it difficult with Corr only visiting the site once during its construction.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYcd0Xpu5PmFQHcnhY9xpIsgTLYhyAX1lFk1rrgXQMMznlFlSSY3SJBc0Qs76IQ-PnFfkGSkgJJeYp-i7BbiU7E_ya32tpZqHnBH0Jp8urh0AF-87OE2X8dAUwdnNAu99NehbHUpp_kWOl/s1600/017.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYcd0Xpu5PmFQHcnhY9xpIsgTLYhyAX1lFk1rrgXQMMznlFlSSY3SJBc0Qs76IQ-PnFfkGSkgJJeYp-i7BbiU7E_ya32tpZqHnBH0Jp8urh0AF-87OE2X8dAUwdnNAu99NehbHUpp_kWOl/s640/017.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image taken by Emma Gilleece</td></tr>
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Sadly Monsignor Moloney died in a tragic car accident in October 1964, not living long enough to see the school completed. JFK Memorial School was formally opened on Wednesday 4th May 1966 by the Minister for Education E.S. O'Murcheartaigh, Deputy Chief Inspector Department of Education and the Bishop of Limerick ('Historic occasion in Limerick; three schools opened, 4 May 1966, <i>Limerick Leader</i>). Flying above the school were the tri-colour, the Papal flag and the stars and stripes. JFK's sister, <b>Jean Kennedy Smith</b>, United States Ambassador to Ireland visited the school in 1995.<br />
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<b>Corr & McCormick</b> came up with a design for a simple one-storey school which formed a courtyard, a private space. Its materials echoed that of the church with the darkly stained exterior weatherboard contrasting with the gorgeous green of the copper roof. The front elevation towards the Ennis Road made maximum use of natural light with its continuous fenestration. Unfortunately the weatherboard was not regularly painted and treated so over time it did deteriorate with substantial pieces falling away. The window and door frames were timber throughout the school before the insertion of uPVC windows in recent years.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgau55tsL-kRcbRSUqsDWSSdAn7UXiozh0HN3TE_ilsoPeBGVeZFGokOeAi1rEz0UtiVqG9KfZcwKISA6YEC-LEm6IdMxlJUPiF0np6pMJiEjJIPOQH4g5RVjVtGCSP0WGfmvcQed2UAefo/s1600/146.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgau55tsL-kRcbRSUqsDWSSdAn7UXiozh0HN3TE_ilsoPeBGVeZFGokOeAi1rEz0UtiVqG9KfZcwKISA6YEC-LEm6IdMxlJUPiF0np6pMJiEjJIPOQH4g5RVjVtGCSP0WGfmvcQed2UAefo/s640/146.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image taken by Emma Gilleece</td></tr>
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The school was conceived and always seen as a temporary measure. Not able to keep up with changes in the Irish education system, cloakrooms and toilets were turned into language support room and three temporary classrooms were erected facilitate growing student numbers. The school received government funding in 2005 for the construction of a new school on the site. After a structural survey it was deemed that none of the building was salvageable including its copper roof. The inspector's report stated 'I consider the demolition of the existing school to be accepted as it is of little architectural merit.' An Bord Planála approved planning permission to the designs by Healy & Partners in June 2010 and construction began in October of that year. It was not the first of Corr & McCormick's school to be demolished - that was St Patrick's Primary School (accommodated 900 pupils) at Pennyburn, Derry which opened in 1954 and demolished in 2002.<br />
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<tr><td class="tr-caption" style="text-align: center;">Tower of Holy Rosary Church from site of new JFK Memorial School</td></tr>
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<br />Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-13034804914793911582016-06-26T23:50:00.000+01:002016-06-26T23:50:27.426+01:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGvCGDmgdYdo8gmeP0s4koUwq_qdFdDpb3ZIOIQLsMObquMPsS4m1SpfHHat1-hXxRI50PdDboRfbT5_QWtMLBRCHJrgS7u8EeJ_bKorRPyY-dqE3ye4EeAo9maF2EfCa55QT6qRK_xQGI/s1600/CYcW0awWAAICeIG.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGvCGDmgdYdo8gmeP0s4koUwq_qdFdDpb3ZIOIQLsMObquMPsS4m1SpfHHat1-hXxRI50PdDboRfbT5_QWtMLBRCHJrgS7u8EeJ_bKorRPyY-dqE3ye4EeAo9maF2EfCa55QT6qRK_xQGI/s640/CYcW0awWAAICeIG.jpg" width="475" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-large;">EUR:Mussolini's Monuments</span></h2>
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">On 7 June BBC4 aired my hero <b>Jonathan Meades</b>' latest offering <i>Ben Building: Mussolini, Monuments and Modernism. </i>I began my year with a visit to Rome. Meades' fantastic exploration of Rome under the charismatic Benito and what his brand of fascism was reminded me of that day in January walking around this district of the city. I seemed to be the only tourist walking around this monumental business zone. Sadly all the parked cars do take away from the photos. </span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghXotkRSvWPFUuA-8exXhcUvw3jg84XS1f0oO-DilNMbehUtDuLa4AZ-bp1WvBiKrNP99dMN9KhW3YrKqFUDoWszJvRzZ1myV-tqBL6nNgx8hHHjsacvRo_CNTUYAQd-dNssaALdFTBpSc/s1600/CYcDN6gWcAAZU-z.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghXotkRSvWPFUuA-8exXhcUvw3jg84XS1f0oO-DilNMbehUtDuLa4AZ-bp1WvBiKrNP99dMN9KhW3YrKqFUDoWszJvRzZ1myV-tqBL6nNgx8hHHjsacvRo_CNTUYAQd-dNssaALdFTBpSc/s200/CYcDN6gWcAAZU-z.jpg" width="179" /></a><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This area, south of the city, was originally chosen in the 1930s as the site for the 1942 world's fair which Mussolini planned to open to celebrated twenty years of Fascism. It was envisioned that the city would expand towards the south-west towards the sea and be a new city centre for Rome. The planned exhibition never took place due to World War II. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">This year marks 80 years since the creation if the autonomous agency responsible for the organization and construction of the project,<b> E42</b> on 26 December 1936, the name later changed to EUR. The architects and urban theorists chosen for this master plan were; <b>Marcello Piacentini</b>, <b>Giuseppe Pagano Pogatschnig</b>, <b>Luigi Piccinato</b>, <b>Luigi Vietti</b>, and <b>Ettore Rossi</b>, employing concrete to replicate the gravitas of ancient Roman structures. </span><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">During the war the uncompleted EUR development suffered severe damage. However, the Roman authorities decided that EUR could be the basis of an out-of-town business district. The next two decades saw the completion of the unfinished Fascist-era buildings and other new buildings built in contemporary styles for use as offices and government buildings. </span><br />
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;"><b>Palazzo dei Congressi constructed in 1942 for the Universal Exposition</b></span><br />
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<b>Marconi's Obelisk </b>(1959) 45 metre high concrete structure covered in marble.</div>
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;"><b>Pigorini National Museum of Prehistory & Ethnography</b></span><br />
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<b><span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Museo della </span>Civiltà Romana with 59 sections illustrating Roman civilization 1939-41</b><br />
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<span style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">The centrepiece for Mussolini's new Roman Empire - the '<b>Square Colisseum</b>' with twenty-eight marble statues. <b>Fendi</b> have recently bought and restored the building for their HQ with a permanent exhibition space on the ground floor. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Interestingly these buildings and muscled male statues, both monuments of political strength were almost fully completed for the 1960 Summer Olympics in Rome, again a celebration of strength and beating ones competitors. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The area isn't frozen in time as contemporary buildings are being added such as <b>Massimiliano Fuksas</b>'s <b>'the Cloud</b>' or La Nuvola, a new convention centre and hotel. Straining to peer through the glass it is like all the curves that weren't used for the E42 buildings were gathered within this glass box. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">It is naturally hard to separate the fact that these buildings were built for a fascist regime but there is something a little sad about them. They never got the chance to bask in Il Duce's vainglory. Today we focus on the activities inside our outlet stores, and convention centres and no longer fill our cities with buildings that evoke child-like awe. These buildings sing out their operatic overtures, at the top of their lungs, the grand ambition of their designers and patrons and not the mute, banal ones that we increasingly see more of today. </span><br />
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Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-57390064924759815912016-04-01T15:36:00.000+01:002016-04-07T10:19:21.558+01:00Zaha Hadid and the Taoiseach's House<div style="text-align: left;">
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<span style="font-family: "trebuchet ms" , "sans-serif";"><span style="color: #444444;">Zaha Hadid and the Taoiseach's House;</span> </span></h2>
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<span style="font-family: "trebuchet ms" , "sans-serif";"><span style="color: #666666;">design competition for the Irish Prime Minister</span></span></h3>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeZzSx7OpxYGEHmqnW_aNM6eVswUWdGPqmcnPY17fvoxaEatSzHa7ShscZT5IJxVAsNwmfnPgXsN_6t-3ER87wPkgXApXdt4K-A-KR-oWWS5WbycRcXc6b7VAdCfilgG0O03QOU3kyDyzT/s1600/IMG-20160110-WA0004.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeZzSx7OpxYGEHmqnW_aNM6eVswUWdGPqmcnPY17fvoxaEatSzHa7ShscZT5IJxVAsNwmfnPgXsN_6t-3ER87wPkgXApXdt4K-A-KR-oWWS5WbycRcXc6b7VAdCfilgG0O03QOU3kyDyzT/s320/IMG-20160110-WA0004.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image taken by Emma Gilleece</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi65HzcItDBgSbydZNVUTub-eWT4Skz_y3xdeoKl9hyphenhypheneN_xoG2KCEMVT1mm2OfWBaN_1PP4Ry6vpRIfHjk_Ze_KiKrMN8VHnZfEBdNuuBbIk8b7oPTU4AteJCRg6yIiECk2fFXnlsveUXmB/s1600/IMG-20160110-WA0005.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi65HzcItDBgSbydZNVUTub-eWT4Skz_y3xdeoKl9hyphenhypheneN_xoG2KCEMVT1mm2OfWBaN_1PP4Ry6vpRIfHjk_Ze_KiKrMN8VHnZfEBdNuuBbIk8b7oPTU4AteJCRg6yIiECk2fFXnlsveUXmB/s320/IMG-20160110-WA0005.jpg" width="240" /></a><span style="font-family: "trebuchet ms" , "sans-serif";">I
was saddened to hear about the sudden death of Iraqi-British architect <b>Zaha Hadid</b> yesterday
31 March 2016. My initial thought was how young she was at 65 years of age, the
same age as my mother. Despite this being the age that us mere mortals would
consider retirement, the <i>starchitect </i>Hadid
seemed to be in her professional prime. As with the death of all stars the
supernova left being is the wave of comments and obituaries attempting to
quantify her talent and inspirations to others. In 2004 she became the first woman recipient of the <b>Pritzer Architecture Prize</b>, she received the <b>Stirling Prize</b> in 2010 and 2011 and in 2012 she was honoured in the Queen's Birthday Honours list for services to architecture. In 2015 she became the first woman to be awarded the <b>RIBA Gold Medal</b> in her own right receiving the award only a few weeks ago. Her worldwide practice employs nearly 400 people. <o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , "sans-serif";">I got to experience the 'wow' factor of Hadid's architecture during a trip to Rome early this year with her <b>MAXXI Museum</b> of XXI Century Arts (2009). Many buildings rely on scale or decadent ornamentation to inspire childlike wonder in the viewer. Visitors cannot fail to stop and marvel and the gravity-defying cantilevered top floor and think "how?" </span><span style="font-family: "trebuchet ms" , sans-serif;">Hadid was born on 31 October 1950 in Baghdad. Her London-educated father headed a progressive party advocating for secularism and democracy in Iraq.</span><span style="font-family: "trebuchet ms" , sans-serif;"> </span><span style="font-family: "trebuchet ms" , sans-serif;">Her childhood had eclectic influences growing up in Baghdad’s first Bauhaus-inspired buildings and attending a Catholic school where they spoke French where Muslim students were welcomed. Hadid studied Mathematics at the American University of Beirut. In 1972 she began at the </span><b style="font-family: 'Trebuchet MS', sans-serif;">Architectural Association School of Architecture </b><span style="font-family: "trebuchet ms" , sans-serif;">in London, a centre for experimental design. She had professors such as </span><b style="font-family: 'Trebuchet MS', sans-serif;">Rem Koolhaas</b><span style="font-family: "trebuchet ms" , sans-serif;"> and </span><b style="font-family: 'Trebuchet MS', sans-serif;">Elia Zenghelis</b><span style="font-family: "trebuchet ms" , sans-serif;"> both graduates of the School themselves. Her graduation project was called <i>Malevich's Tectonik</i>, a proposal fro a hotel atop Hungerford Bridge over the Thames. The title was a nod to the Russian avant-garde architect <b>Kazimir Malevich</b> who heavily influenced her work. </span><span style="font-family: "trebuchet ms" , sans-serif;">After graduation Hadid went to work for the practice Koolhaas and Zenghelis established in 1975 </span><span style="background: white; font-family: "trebuchet ms" , sans-serif;"><b>The Office for Metropolitan Architecture</b></span><span style="font-family: "trebuchet ms" , sans-serif;"><b> (OMA)</b> in Rotterdam and became a partner two years later. In 1980 she set up her own London-based practice. It was her early Mathematical studies that contributed to her distinctive, algorithmic style . She was part of the Deconstructivism movement in architecture concerned with shattering and breaking, tough and jagged yet soft, radiating power. It is a style promoted as a successor to post-modern architecture with it's multiple perspective points and fragmented geometry. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivUKxh7juX8ftdbvGEojtZDy8i1xK332DpRqh3QYWyEu1pFbRzC0U2U5_hdupNe6NDhBdIyCWMakA-Hb3b8b8ZITWQnSB9FHcjRNUmIQx3vMTRDWyTVr11DWxQtQuc5hY62AyalJGuTegZ/s1600/th_ded8de6ef54c061a659828a26028150e_801_irish_rend_01.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivUKxh7juX8ftdbvGEojtZDy8i1xK332DpRqh3QYWyEu1pFbRzC0U2U5_hdupNe6NDhBdIyCWMakA-Hb3b8b8ZITWQnSB9FHcjRNUmIQx3vMTRDWyTVr11DWxQtQuc5hY62AyalJGuTegZ/s320/th_ded8de6ef54c061a659828a26028150e_801_irish_rend_01.jpg" width="320" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdWcRANjbsqZHLNDy69mn_I5CeMsYQQKszQ_e-T7ypE0efjtwhXIkn9nFv4tGj5pg9BZygZ7VFl4vAInwMkSJPuKvh4Ju-3StNsyllV6dDGHb6EBhwFc3tDnPvOvgJUOq9t-uNqL-q6oMK/s1600/th_ded8de6ef54c061a659828a26028150e_801_irish_rend_0296.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdWcRANjbsqZHLNDy69mn_I5CeMsYQQKszQ_e-T7ypE0efjtwhXIkn9nFv4tGj5pg9BZygZ7VFl4vAInwMkSJPuKvh4Ju-3StNsyllV6dDGHb6EBhwFc3tDnPvOvgJUOq9t-uNqL-q6oMK/s320/th_ded8de6ef54c061a659828a26028150e_801_irish_rend_0296.jpg" width="320" /></a><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">The </span><b style="font-family: 'Trebuchet MS', sans-serif; text-align: justify;">Design Museum, London</b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"> held an exhibition of Hadid's work back in 2007 entitled </span><b style="font-family: 'Trebuchet MS', sans-serif; text-align: justify;"><i>Zaha Hadid- Architecture and Design</i></b><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">. One of the unbuilt projects on display was her entry for the </span><b style="font-family: 'Trebuchet MS', sans-serif; text-align: justify;">1979 architectural design competition for an </b><span style="font-family: "trebuchet ms" , sans-serif;"><b style="text-align: justify;">official </b><b style="text-align: justify;">residence of the Taoiseach</b><span style="text-align: justify;"> (Irish Prime Minister). </span><span style="background-color: white;">Zaha's entry was, as she described herself in 'The Complete Buildings and Projects' (1998, p18), "my first major project."</span><span style="background-color: white;"> </span></span><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">The design was entered with the address 84 Portland Road, London under Entry No.11 Eliza Zenghelis with Zaha Hadid under 'Collaborators' column.</span><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"> </span><span style="background-color: white; font-family: "trebuchet ms" , sans-serif;">Thanks to Shane O'Toole I now know that t</span><span style="background-color: white; font-family: "trebuchet ms" , sans-serif;">he reason why her entry was submitted under the name of Elia Zenghelis, her former teacher and partner at OMA, was that only professionally qualified architects were eligible to enter, and she was not at that time. But the project is entirely hers. The same situation pertained to one of the joint second entries, designed by Peter Dudley (now of STW, then a 4th year student in UCD) and entered under the names of his tutors, Paul Moore, John Meagher, Yvonne Farrell and Shay Cleary.</span><span style="background-color: white; font-family: "trebuchet ms" , sans-serif;"> </span><br />
<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">Interestingly Zenghelis entered a second design with Rem Koolhaus alongside collaborators Alan Foster, Stephano de Martino and Ron Steiner (No. 29). </span><br />
<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">The intended site was in the north west corner of the Phoenix Park along the long diagonal route of Chesterfield Avenue. The images are taken from <a href="http://www.zaha-hadid.com/architecture/irish-prime-ministers-residence/">zaha-hadid.com/architecture/irish-prime-ministers-residence/</a>. Below them is the description of the entry by the practice. </span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOGxIZbQgYFAEPIDTHc2Xyv0qxsaGAD1TWVVLZfVAJurGDbogpKiQ0PzlfSZ83hrHbKhbOQHKmN94b0TqtgG_MArchB1hMVHi1NLOC8TbbQRKMT47Z2RE4cf2giSq7Wp_lb_y-sU2IXKpW/s1600/taoiseach+residence.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOGxIZbQgYFAEPIDTHc2Xyv0qxsaGAD1TWVVLZfVAJurGDbogpKiQ0PzlfSZ83hrHbKhbOQHKmN94b0TqtgG_MArchB1hMVHi1NLOC8TbbQRKMT47Z2RE4cf2giSq7Wp_lb_y-sU2IXKpW/s320/taoiseach+residence.JPG" width="180" /></a><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">The brief also called for a Guest House on the site of the former Apostolic nunciature, at a cost of approximately <b>£4 million.</b> The <b>prize of £6000</b> was allotted for the winning practice and £2000 for the runners up. The winning design was produced by London firm <b>Evans & Shaler Architects. </b>The practice of Eldred<b> </b>Evans and David Shaler was established in 1965 and had previously won design competition for Broadclyst Village for the National Trust in Devon and later in 1981 they produced the winning entry for the Royal Military College Library in Shrivenhan. </span><br />
<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">The Assessors' Report for the competition is dated 10 October 1979 (<a href="http://catalogue.nli.ie/Record/vtls000236267">NLI holding</a>). In December that same year, mere weeks after becoming Taoiseach <b>Charlie Haughey </b>scrapped the plan of his predecessor Jack Lynch. A close second in the competition was Design No.8 by <b>de Blacam & Meagher</b> in collaboration with QS Austin Reddy & Co. and Consulting Engineers ARUP & Partners. Joint Second Place was No.17 <b>Julyan Wickham & Desmond Lavery</b> (London) and <b>Moore Meagher Farrell & Cleary</b> with an address of UCD School of Architecture. Commended was Toal Ó Muíre & Emer Ó Siochrú and the practice Ivor Smith & Cailey Hutton (Bristol). Most of the Entries were from Ireland and the UK with the odd one further afield like West Germany. </span><br />
<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">The competition received 98 entries in total. Looking through the list there are so many familiar names that are still around today over 36 years later such as;</span><br />
<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">No.12 <b>John Tuomey </b>(would later become <a href="http://odonnell-tuomey.ie/">odonnell-tuomey.ie/</a>) with Drawing Team of <b>Paul Keogh</b> and <b>Rachael Chidlow</b>. Paul's chances of being on the winning team were doubled as he was also collaborator alongside <b>Michael McGarry</b> on <b>Sheila O'Donnell</b>'s entry (No. 87). No.93 sees Don O'Neill and the late Jeremy Williams with collaborator Freddie O'Dwyer. There is RKD Architects (61), Grafton Architects (76), Delaney MacVeigh & Pike, Patrick & Maura Shaffrey, Robin Mandal (58), Gerry Cahill (52), Noel Dowley (49), Peter & Mary Doyle (35), Sam Stephenson (28), and No.23 was Edward Jones, Malcomn Last & David Chipperfield (23). You might wonder why I went to bother of typing out the entry numbers. When you read below you might find yourself scrambling to cross-reference the numbers as I did. </span><br />
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<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;">The Assessor's Report does not mention who the judging panel except that it was designed by the chairman Richard Stokes. The foreign assessor was <b>Aldo van Eyck</b>, interestingly father-in-law to Julyan Wickham. It starts with;</span><br />
<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"><br /></span>
<span style="text-align: justify;"><span style="font-family: "courier new" , "courier" , monospace;">In general, the standard of the entries reflected the complexity of the brief, only a minority showing a sensitive appreciation of the requirements. The most common defects were a weakness in the integration of the several components of the plan and a failure to establish an appropriate relationship between the main elements, the Residence and the State Guest House. Many competitors also ran into difficulties with the link for informal communication between the two elements and in relating the medieval tower to the new buildings. It was of interest to find that only four entries sought to retain the 18th century Villa. While detailed attention was paid to these in the assessment, the Assessors considered that they failed because the Villa could not be related successfully in scale to the total complex. Some thirty-four designers incorporated the old stable buildings and, in many cases, made use of them in a sensitive way.</span></span><span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"> </span><br />
<span style="font-family: "trebuchet ms" , sans-serif; text-align: justify;"><br /></span>
<span style="text-align: justify;"><span style="font-family: "courier new" , "courier" , monospace;">After detailed examination, the Assessors selected fifteen entries which, appeared to have an especial merit and potential as acceptable schemes. They were Nos. 1, 8, 14, 17, 19, 35, 36, 48, 57, 59, 60, 66, 70, 78 and 91. </span></span><br />
<span style="text-align: justify;"><span style="font-family: "courier new" , "courier" , monospace;"><br /></span></span>
<span style="text-align: justify;"><span style="font-family: "courier new" , "courier" , monospace;">In their final appraisal, the Assessors narrowed the list to the four entries which showed the highest quality: Nos. 8, 17, 36 and 91. Of these they decided that entry No. 91 was the best and was of a quality which would warrant its adoption and execution and, with some feasible modifications, would meet all the Promotors' requirements. </span></span><br />
<span style="text-align: justify;"><span style="font-family: "courier new" , "courier" , monospace;"><br /></span></span>
<span style="text-align: justify;"><span style="font-family: "courier new" , "courier" , monospace;">A well-developed and detailed scheme, entry No.91 fulfills the planning and accommodation requirements with interesting space relationships, both internally and externally, and it has a pleasing human scale. The layout is sensitive to the site and keeps ,much of the present screening, making the best of its surroundings. </span></span><br />
<span style="text-align: justify;"><span style="font-family: "courier new" , "courier" , monospace;"><br /></span></span>
<span style="text-align: justify;"><span style="font-family: "courier new" , "courier" , monospace;">The three other entries in the final grouping, No.8, 17 and 36, were felt to represent three differing but acceptable solutions to the main requirements of the brief though they would require development and improvement to make them suitable for adoption. It would be difficult to separate them on merit and they were therefore placed jointly in second place, that is, with a prize of £2,000 each. It is to be noted that the effect of perfecting them would certainly lead to increases in cost. </span></span><br />
<span style="text-align: justify;"><span style="font-family: "courier new" , "courier" , monospace;"><br /></span></span>
<span style="text-align: justify;"><span style="font-family: "trebuchet ms" , sans-serif;"><b>On entry No.8 by de Blacam & Meagher</b></span></span><br />
<span style="text-align: justify;"><span style="font-family: "courier new" , "courier" , monospace;">Project No.8 was favoured for its distinctive architectural quality and its sensitiviety in detail and conception. There were aspirations regarding certain aspects of the planning of the buildings, including the location of the Taoiseach's private apartments and the absence of an entrance hall as envisaged in the brief. There is also an undue emphasis on the walled garden to the detriment of the siting of the Guesthouse. But it was noted that the competitor had made a serious practical endeavour to incorporate examples of the best Irish furniture and modern art. </span></span><br />
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<span style="font-family: "trebuchet ms" , sans-serif;">Hadid's
other Irish connections was the design for an unbuilt tower on Dublin's North
Wall Quay <a href="http://archiseek.com/2009/treasury-may-yet-bullet-the-blue-sky-with-u2-tower-entry/">archiseek.com/2009/treasury-may-yet-bullet-the-blue-sky-with-u2-tower-entry/</a> and
acknowledging the encouragement that the Irish Civil Engineer Peter Rice gave
her at the initial stages of her career. Hadid's first taste of international
attendtion was winning the competition for the Cardiff Bay Opera House. Lacking
the confidence to follow through with this bold contribution to contemporary
Welsh architecture it was never built. Upon being asked 'how do you deal with
the unbuilt projects? Hadid replied;<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><i><span style="color: #666666;">I don't
think it would make seen to build the unrealised designs as they are now. If
you do them again, they're going to have to be an interpretation of what might
have been...<span class="apple-converted-space"> </span></span></i>(Massimo
De Conti<span class="apple-converted-space"> </span><i>Design Talks:
Contemporary Creatives on Architecture and Design</i> (Images Publishing:
2012, 55). During an interview for BBC Radio 4's Women's Hour in 1995 after the
Opera House fiasco Hadid commented "you cannot respond to something just
by looking at the image of a building because it's not all about that. It's about
how the building works." <o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">Hadid
wanted to be judged solely on her projects and not on the basis of her gender
or place of birth. She herself along with her mentor Rem Koolhas attributed her
signature curves in her buildings to her Iraqi upbringing rather than her sex;<o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;"><span style="color: #666666;">'He
(Koolhas) noticed that only the Arab and Persian architecture students like
myself were able to make certain curved gestures. He thought it had to do with
calligraphy. The calligraphy you see in architectural plans today has to do
with the notion of fragmentation in space.' </span><o:p></o:p></span></div>
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<span style="font-family: "trebuchet ms" , sans-serif;">As
powerful as her designs is her legacy that the next generation of women have a
smoother path to trend on in pursuit of a professional architecture career and
that all architects should be brave enough to put the depths of their
imagination to paper and then worry about the<span class="apple-converted-space"> </span><i>how</i>.
A generosity of spirit will reap answers from multidisciplinary collaborators and
friends. </span><span style="font-size: 13.5pt;"><o:p></o:p></span></div>
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<br />Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-62924547067609003332016-03-29T20:18:00.000+01:002016-03-29T20:18:13.388+01:00<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6vkIoXw9HdweU3UaJwnyOmICty7Osa0KtL_nfhGZmjTW6YAdBz8njDx3mm_TNkbu-17uNwaUgrc-Batsg6htZKP0ItQybiLU_md5vtDhQoFaLRf03PWNzu06EzlA2rWsW5wBOBSZtxzcH/s1600/cleeves.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="452" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6vkIoXw9HdweU3UaJwnyOmICty7Osa0KtL_nfhGZmjTW6YAdBz8njDx3mm_TNkbu-17uNwaUgrc-Batsg6htZKP0ItQybiLU_md5vtDhQoFaLRf03PWNzu06EzlA2rWsW5wBOBSZtxzcH/s640/cleeves.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image taken from limerickleader.ie</td></tr>
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<b><span style="font-family: Arial, sans-serif; font-size: 18pt;">The Land of Milk and Money</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 18pt;"><o:p></o:p></span></b></div>
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<b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">Limerick's Co-operative Creameries</span></b><b><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></b></div>
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<span style="font-family: Arial, sans-serif; font-size: 13.5pt;">With the news that</span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">Limerick City and County Council</span></b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">is to redevelop the former</span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">Cleeve's Factory</span></b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">site I decided to revisit the first job I officially work on with my
father with my MUBC under my belt, the former <b>Glin Co-operative Creamery</b>. I also
like to think I have managed to find the most tenuous of links between
creameries and Easter (milk,,,,,chocolate....Easter eggs!) and even to Nationalism and Home Rule. My father's
practice carried out an historical report and photographic survey of this
former co-operative creamery, a building type completely alien to me. </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">The Cleeve's Factory site was bought from Golden Vale by the local authority in 2014.
Thanks to it being a location for eva International in the same year I got to
walk around this impressive complex so close to the city centre. </span></div>
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<span style="font-family: Arial, sans-serif; font-size: 13.5pt;">In 1889 Ireland's first Co-operatives were established in Doneraile Co.
Cork and in the same year Limerick has the title of having the first
co-operative creamery in</span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">Dromcollogher</span></b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">. The site is now a</span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">National Dairy Co-operative Museum</span></b><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">(For contact details
click </span><a href="http://www.discoverireland.ie/Arts-Culture-Heritage/plunkett-heritage-centre-national-dairy-co-operative-museum/45216"><span style="color: blue; font-family: "Arial","sans-serif"; font-size: 13.5pt; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">here</span></a><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">). The importance of
the practice and rituals of the dairy farmers conveying their milk to the
co-operative creameries is recorded in papers such as this excellent one by Dr
Maura Cronin of MIC </span><a href="https://dspace.mic.ul.ie/bitstream/handle/10395/1217/Cronin,%20M.(2005)%20'Remembering%20the%20Creameries'.(Pre-Published%20Version)(Book%20Chapter)pdf;jsessionid=4EC880B937D33762B0FE74A01329930C?sequence=2"><span style="color: blue; font-family: "Arial","sans-serif"; font-size: 13.5pt; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">'Remembering
Creameries'</span></a><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">. The delivery of your cows' produce was your opportunity to catch up
with the daily news (before the invention of Twitter). Even as we get more
urbanised we cannot forget Ireland's bovine servitude; we assist in their
conception, birth, milking, feeding, death. It was this job that I got to meet
the wonderful Tom Donovan, an authority on the history of the area (and much
more) and editor of the</span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><i><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">Old Limerick Journal</span></i><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">which I have been honoured to contribute to on two occasions and
hopefully more in the future. I have yet to ask him how much this city girl
shocked him asking why the creamery laid off staff during December and my
complete ignorance of the fact that dairy cows did not natural produce milk all
year round. There is no farming on either side of my family. The closest anyone
came to a cow was the short spell my grand-uncle Tommy spent in his late teens
in the tannery. He described the hellish smell to me as a child to help me
understand who he could not move to Dublin fast enough. Perhaps it is why he
settled in Howth with its freshest of air. </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiehGHCHmdVj2mb6DqENjLGEpFPK_LbyZqdVakhyphenhyphenY90KFSI1OqBeeIDPOnXvurDzpna8j4NOGb4QkkcnHAdXMUPTVoX8HASm3MqjyZK9yYcwlP69nBXCEy6BjcbB8bac6T_h9IyjyUDjQE/s1600/Pic+L.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiehGHCHmdVj2mb6DqENjLGEpFPK_LbyZqdVakhyphenhyphenY90KFSI1OqBeeIDPOnXvurDzpna8j4NOGb4QkkcnHAdXMUPTVoX8HASm3MqjyZK9yYcwlP69nBXCEy6BjcbB8bac6T_h9IyjyUDjQE/s400/Pic+L.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image taken by Declan Gilleece.</td></tr>
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<span style="font-family: Arial, sans-serif; font-size: 13.5pt;">Glin Co-operative Dairy Society was one of the first co-operative diary
societies to be established in County Limerick in 1891<a href="https://www.blogger.com/null" name="_ftnref1"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn1" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[1]</span></a>. The official opening was attended by the
Lord Lieutenant of Ireland, Horace Plunkett, and the Knight of Glin, R.A
Anderson, Lord Emly and Lord Monteagle<a href="https://www.blogger.com/null" name="_ftnref2"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn2" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[2]</span></a>. Addresses were also read from the
committees of the Ballyhahill and Castlemahon Co-operative Dairy Societies<a href="https://www.blogger.com/null" name="_ftnref3"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn3" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[3]</span></a>. The idea was that it would be owned and
managed entirely by the farmers who have taken shares<a href="https://www.blogger.com/null" name="_ftnref4"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn4" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[4]</span></a></span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">serving a radius of approximately 3
miles. This predates the founding of the Irish Agricultural Organisation (now
ICOS) in 1894, the brainchild of its President Horace Plunkett set up to help
and advice the fledgling co-ops<a href="https://www.blogger.com/null" name="_ftnref5"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn5" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[5]</span></a>. Limerick had a formidable tradition of
dairying, being a stronghold area in the Golden Vale region. Glin was a natural
choice logistically for the site of a creamery as there were several large
dairy farms and an established butter market held in the town as well as nearby
Limerick and Cork cities in the nineteenth century<a href="https://www.blogger.com/null" name="_ftnref6"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn6" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[6]</span></a>. The railway and port of nearby Foynes
along with the Glin pier built in 1876 and the addition of the jetty on the
banks of the Shannon in 1895<a href="https://www.blogger.com/null" name="_ftnref7"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn7" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[7]</span></a></span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">facilitated the exportation of the
butter to the Irish and English market. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbz3SmyEZFHgn5UDielBQ56KqGWurheVup97WbY9CPQVQ-uAtGQDzvPpF32HjJltQd7wkSgDoCJgYgqdaJl0ihic2dXJhN0BkjKozflddFt6IpjrymTBSL-SYmEpcyQ0u2XhjlckFL-3OL/s1600/Pic+1.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbz3SmyEZFHgn5UDielBQ56KqGWurheVup97WbY9CPQVQ-uAtGQDzvPpF32HjJltQd7wkSgDoCJgYgqdaJl0ihic2dXJhN0BkjKozflddFt6IpjrymTBSL-SYmEpcyQ0u2XhjlckFL-3OL/s320/Pic+1.JPG" width="320" /></a></div>
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<span style="font-family: Arial, sans-serif; font-size: 13.5pt;">The first manager of the Glin Co-operative creamery was Thomas Normile
of Killacolla<a href="https://www.blogger.com/null" name="_ftnref8"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn8" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[8]</span></a></span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">and the committee had eleven members.
The earliest known President is recorded as Patrick Fitzgerald and the venture
was financed by loans from the Munster & Leinster Bank in Tarbert. Along
with the manager they would decide the price band for the milk. Unlike many
early creameries the local clergy had no involvement in the committee. The main
product manufactured by the creamery was slightly salted sweet cream butter
with cheddar cheese production commencing around the 1930s when a second
building was constructed on the site as store room, cheese room and poultry
rearing. The cheese made by the Glin creamery was known as Country Squire and
turkey plucking took place in the adjoining room to the main store.</span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> The managers over the years after Normile were Timothy Donovan,
Michael O’Connor, Maurice Fitzgerald, Donie Cusack, Patrick Roche and Davie
O’Sullivan.</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 13.5pt;">The butter produced by the Glin Co-op creamery was of a renowned high
quality partly due to its cooling which was aided by the importation of ice
from Norway for the ice houses built for the thriving Glin fish market where
salmon taken locally were bought and then sent directly from there to
Billingsgate, London for sale. Ice was needed to pack the fish to keep them
fresh<a href="https://www.blogger.com/null" name="_ftnref9"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn9" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[9]</span></a>. A dairy inspector report dated 13 August
1897 confirms this</span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><i><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">As the creamery is now receiving ice
daily and I gave them information how to use this to the best advantage, I
expect good results in the future both in quantity and quality<a href="https://www.blogger.com/null" name="_ftnref10"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn10" title=""><b><span style="color: blue; mso-bidi-font-size: 11.0pt;">[10]</span></b></a>.</span></i><i><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span></i><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">The idea was to set
up a factory where farmers could bring their surplus milk and dispose of it for
so much a gallon. In the creamery the milk would be separated into whey (or
backmilk), which the farmer received for calf and pig rearing, and butter milk.
This separation was achieved by separators powered by steam engines run by coal
brought in through Foynes. Large amounts of uniform colour, texture and flavour
was produced and exported.</span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><!--[if gte vml 1]><v:shapetype
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">A lease was signed
between the Glin Co-operative Dairy Society Ltd and the Knight of Glin on the
15 April 1925 for the yearly rent of £11.10.0 and stating that the term of the
lease was 70 years from 29 September 1919<a href="https://www.blogger.com/null" name="_ftnref11"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn11" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[11]</span></a>. The property is described as ‘the
parcel of ground and yard with a creamery and buildings therein having a
frontage to Church Street of 111 feet.’ This replaced the original lease
between the creamery and James O’Driscoll who was owed money by the Knight of
Glin and therefore sub-letted the house and garden at the back to recoup his
money. This co-operative creamery was successful in its day with the
participation of 149 dairy farmers at its height as well as employing fifteen
people<a href="https://www.blogger.com/null" name="_ftnref12"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn12" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[12]</span></a>. The milk was delivered by horse,
donkey, jennet and cart in wooden churns which were made locally by the coopers
Mangans, O’Briens, Culhanes and Lynches. The farmers would queue up Church
Street in their carts from 7am until 11am to get their milk processed and on
the train to the Dublin and British markets by the evening<a href="https://www.blogger.com/null" name="_ftnref13"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn13" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[13]</span></a>. This was not only business but an
important social aspect to rural life for the dairy farmers to keep up with the
local news and goings on. The creamery constructed the commercial premises
across the road in 1948 as a co-op farm store to sell goods such as feed and
fertiliser and remains as one to this day<a href="https://www.blogger.com/null" name="_ftnref14"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn14" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[14]</span></a>.</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3IUNFAfctwydMNS2dlbBv25Sz8ocPyflRlt7jMFRW6u60HHsHnY8p9qdyPSiqu8T_D8swsChlWzTDX9pfvEkMZlVThyphenhyphen-IfLKh1QcJpLoKTJNuP1SZw8p9wwQHTR-qGN5InznW7DaszHFQ/s1600/Glin+003.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3IUNFAfctwydMNS2dlbBv25Sz8ocPyflRlt7jMFRW6u60HHsHnY8p9qdyPSiqu8T_D8swsChlWzTDX9pfvEkMZlVThyphenhyphen-IfLKh1QcJpLoKTJNuP1SZw8p9wwQHTR-qGN5InznW7DaszHFQ/s400/Glin+003.JPG" width="400" /></a></div>
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<b style="font-family: Arial, sans-serif; font-size: 13.5pt;">Building Design</b></div>
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<span style="font-family: Arial, sans-serif; font-size: 13.5pt;">The original creamery building as it stands today is simple in
appearance consisting of a long, gable-fronted, multiple-bay, detached
double-height building with a pitched roof with cast-iron louvered vents and
two metal rooflights. Its cast-iron rainwater goods and slates have been
replaced in recent years<a href="https://www.blogger.com/null" name="_ftnref15"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn15" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[15]</span></a></span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">as well as the square headed casement
windows. Exterior walls constructed with locally quarried stone and smooth
rendered. Internally the ceiling was lined with plain rebated timber for
hygienic purposes<a href="https://www.blogger.com/null" name="_ftnref16"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn16" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[16]</span></a>. A sliding timber battened door to
weightbridge platform was added later to the side of the creamery accessed by
concrete steps. </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg79Brkc-KYD827Wz7WVZtHonS8QeRIGRChMc4bMsEsBLQkimA80uAy30IgGGB8tcK_qH_0Xfthhki2IdPRe8YCU5PnzMug78OP7PWee8Bej0UOpkUg-ZReGwqYZ1HL8Q8_bAaJ9oGSVZRj/s1600/glin+3.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg79Brkc-KYD827Wz7WVZtHonS8QeRIGRChMc4bMsEsBLQkimA80uAy30IgGGB8tcK_qH_0Xfthhki2IdPRe8YCU5PnzMug78OP7PWee8Bej0UOpkUg-ZReGwqYZ1HL8Q8_bAaJ9oGSVZRj/s320/glin+3.JPG" width="252" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image taken by Emma Gilleece</td></tr>
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<span style="font-family: Arial, sans-serif; font-size: 13.5pt;">The creamery was extended thanks to the designs of Limerick born architect <b>Conor O'Brien</b> who I wrote about back in June 2015 in my post on the <b>AK Ilen</b>- <a href="http://concretestew.blogspot.ie/2015/06/limerick-architecture-on-sea-conor.html?spref=tw">Concrete Stew</a>. O'Brien was a Home Ruler and in 1910 he was elected a council member of the Dublin Industrial Development Association, which promoted Irish manufacturers and the Irish Agricultural Organisation Society (I.A.O.S.). Left is a plan attached to letter from I.A.O.S. secretary in the National Archives to the creamery manager in 1912 for extension of main building at the gable end up to the boundary line to provide an office designed by O'Brien. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicof-heJNr-clmgti6nJ548jsCa0Z-TwxAEnaPC9w7VmvXwIbNUsciUM7Ju5I1wJlLpNiB5CZVevsTNk_yZjpq264jIHfk9EmkB_Nus0-lgNgKE2ipMYFbJL67GuwIAN_CxwLbzs_4BRtD/s1600/Pic+J.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicof-heJNr-clmgti6nJ548jsCa0Z-TwxAEnaPC9w7VmvXwIbNUsciUM7Ju5I1wJlLpNiB5CZVevsTNk_yZjpq264jIHfk9EmkB_Nus0-lgNgKE2ipMYFbJL67GuwIAN_CxwLbzs_4BRtD/s320/Pic+J.JPG" width="320" /></a></div>
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<!--[if gte vml 1]><v:shape id="Picture_x0020_3"
o:spid="_x0000_s1026" type="#_x0000_t75" style='position:absolute;left:0;
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</v:shape><![endif]--><!--[if !vml]--><!--[endif]--><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">The functions of the
creamery would have been in a typical linear arrangement such as the mechanical
separators, centrifugal pump to elevate skim milk, water pump, rolling churns,
measuring drum (used before the advent of scales), test churns and a butter
worker. The engine room had to be separate from the dairy because of all the
coal dust and fumes. Initially seven people were employed full time; a
secretary, manager, manager’s assistant, manager’s helper, fireman (to stoke
the steam engine), dairymaid (whose wages were second to the manager<a href="https://www.blogger.com/null" name="_ftnref17"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn17" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[17]</span></a>) and the assistant dairymaid. The yard
is substantial as it was required for deliveries. Along with the main creamery
building later additions included the 'cheese house' for the manufacturing of
cheddar cheese in 1928 and in the mid thirties turkey rearing. The cheese
factory building is a single story construction with asbestos slate roof with
the verge pointed in cement, metal roof lights and a small atrium. The original
terrazzo floor can be seen in the entrance hall which runs halfway up the
walls, employee toilets and underneath the modern flooring in the main part of
the building.</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-p4PzhidO7fFkh0zJLx9PcJUgOCMYwZ3z9JQaEB0iZEyiKH-EhsVoXNzAqbAKQdY9ziF88JkXDQy9WJ0lHXZ2wFwZMqa7b9gtgzgO9ULa5QJdjyPBuIo0HCsKsonVFRwXvJuw48FT_hfB/s1600/Glin+068.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-p4PzhidO7fFkh0zJLx9PcJUgOCMYwZ3z9JQaEB0iZEyiKH-EhsVoXNzAqbAKQdY9ziF88JkXDQy9WJ0lHXZ2wFwZMqa7b9gtgzgO9ULa5QJdjyPBuIo0HCsKsonVFRwXvJuw48FT_hfB/s320/Glin+068.JPG" width="320" /></a></div>
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<span style="font-family: Arial, sans-serif; font-size: 13.5pt;">On the 24th of Sept 1928 Glin Co-operative Dairy Society Ltd amalgamated
with Turraree Co-operative Creamery Ltd, a small creamery 3 miles away which
began in 1902 on the land belonging to Daniel Geoghegan. Glin Co-operative
Dairy Society joined Golden Vale Co-operative Creameries, Charleville, Co. Cork
in 1973. It established a processed cheese plant with the objective of
providing a centralised outlet for the cheddar cheese being produced by the
smaller co-ops in the Golden Vale hinterland. Ireland’s entry into the EEC in
1973 lead to two rounds of rationalization resulting in amalgamations that
reduced the number of creameries substantially throughout the country<a href="https://www.blogger.com/null" name="_ftnref18"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn18" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[18]</span></a>. This situation was compounded by the
introduction of milk quotas in 1984. This intensified the movement out of small
scale milk production and led to the concentration of milk supplies on a
smaller number of larger holdings<a href="https://www.blogger.com/null" name="_ftnref19"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn19" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[19]</span></a>. After the amalgamation with Golden Vale,
the Glin no longer functioned as a creamery but instead milk was now delivered
to this branch by local suppliers where it was chilled and, in the summer,
transported daily to the factory at Charleville. Instead of milk separation it
now just pasteurised about 30 gallons of milk a day for sale to local people.
The first bulk collecting lorry came in the same year with Joe McGrath and Joe
Buckley as the collectors. This was deemed an uneconomic and troublesome
exercise by Golden Vale for the benefit of the locals and so the company
decided that this would cease during the summer of 1975. Shortly after this
decision was made the Glin Development Association approached the company to
see if the decision could be reversed but, in spite of further consideration,
the company decided that the operation would have to stop from September 1<sup>st<a href="https://www.blogger.com/null" name="_ftnref20"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn20" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[20]</span></a></sup>. On being informed that there was no
pasteurised milk for sale local man Mortimer McElligott positioned himself
outside the creamery and lay on the road so as to obstruct the lorry taking
milk to Charleville and had to be removed by the gardaí. The premises remained
unused and were sold for £20,000 in 1988<a href="https://www.blogger.com/null" name="_ftnref21"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftn21" title=""><span style="color: blue; mso-bidi-font-size: 11.0pt;">[21]</span></a></span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;"> </span><span style="font-family: Arial, sans-serif; font-size: 13.5pt;">to Seamus Danaher who set up a
furniture business there.</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBHEFih-WdWMQb4viEWe_aqj6QcR1oxrytMv1Hw14Tkz1dhiVgm9MS3Oy-Y7WlKz6vZe_WvofknzVmcp8xQLdKuX3-5k1z6Ef-sibZmEgsqFWaJwXPxobvjiHldcxHJV6esHtsWaufliGZ/s1600/252307_903570076440_956671782_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBHEFih-WdWMQb4viEWe_aqj6QcR1oxrytMv1Hw14Tkz1dhiVgm9MS3Oy-Y7WlKz6vZe_WvofknzVmcp8xQLdKuX3-5k1z6Ef-sibZmEgsqFWaJwXPxobvjiHldcxHJV6esHtsWaufliGZ/s320/252307_903570076440_956671782_n.jpg" width="240" /></a></div>
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<span style="font-family: Arial, sans-serif; font-size: 13.5pt;">A year after this report I was given the task of getting objects for the <a href="http://www.heritagecouncil.ie/museums-archive/events/archive/view-event/article/exhibition-ranks-mills-at-the-hunt-museum-limerick/?cHash=6af91f97fff746d92ff79852656e0921">Ranks Exhibition</a> put on by Limerick Museum & Archives in collaboration with the Hunt Museum with no money as budget did not stretch that far. When I saw the old photograph of the flour being weighed I remembered the butter scales abandoned in the Glin Co-op creamery and rang the current owner who was more than happy to give us a loan of it for the duration of the exhibition. It wasn't an exact match but it gave visitors an idea of how far industrial machinery has come. I quite like the old machines and the original idea of the co-operative movement. </span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-size: 18px;"><br /></span></span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-size: 18px;"><br /></span></span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-size: 18px;"><b>Author's Plea</b></span></span></div>
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<span style="font-family: Arial, sans-serif;"><span style="font-size: 18px;">There are calls by councillors to give this huge site a single use, as a convention centre. It is the hope of this blogger that somebody influential might stumble across this article online- I ask you to please consider donating part of the complex to the Ilen School <a href="http://www.ilen.ie/">ilen.ie/</a> to help continue a part of Limerick's heritage. Please do not allow the history of Cleeve's to dry up, continue the co-operative spirit. </span></span></div>
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<o:p></o:p></span></div>
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<hr align="left" size="1" width="33%" />
</span></div>
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<a href="https://www.blogger.com/null" name="_ftn1"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref1" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[1]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">The Limerick City & Counties of Limerick and Clare Directory,
1891-2. The title of first co-operative creamery in Ireland belongs to
Drumcollagher in Co. Limerick which was established in 1889 and the second one
was in Ballyhahill again in Co. Limerick (Carla Keating,</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Plunkett and co-operatives; past, present and future</span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">, p.92).<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn2"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref2" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[2]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">The Munster News,</span></i><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">13 May 1891.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn3"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref3" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[3]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">‘The Lord Lieutenant in the South’, 16 May 1891,</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">The Irish Times.</span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"><o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn4"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref4" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[4]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Pat Bolger,</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">The Irish Co-operative Movement: its
history and development</span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">, (1977), p.183.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn5"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref5" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[5]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Cormac O’Gráda, ‘The Beginnings of the Irish creamery system, 1880-1914’,
in</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Economic History Review</span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">, vol.30, no.2,
p.284.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn6"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref6" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[6]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">‘The land around the town is very fertile...There are several large
dairy farms; a large butter market is held in the town, and great quantities of
butter are made here and sent to Limerick and Cork for exportation.’ Samuel
Lewis,</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Topographical Dictionary of Ireland,</span></i><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">vol.1,</span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">1837.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn7"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref7" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[7]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Thomas J. Donoghue, ‘Glin in the early century’, in</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Ballyguiltenane Rural Journal,</span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">(Christmas, 1987),
p.4.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn8"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref8" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[8]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">The Munster News</span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">, 8 April 1891.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn9"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref9" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[9]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Mainchín Seoighe,</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Portrait of Limerick</span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">, (Limerick, 1982),
p.77.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn10"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref10" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[10]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Glin Co-operative Dairy Society General Correspondence files held by
National Archives.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn11"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref11" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[11]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">The Glin Papers, P1/203, University of Limerick, p.130.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn12"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref12" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[12]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">O’Donoghue, p.4.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn13"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref13" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[13]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Michael F. O’Sullivan,</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">A history of Hospital and its environs,</span></i><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">p. 107.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn14"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref14" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[14]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Shop was built by building contractor Jack O’Connor (conservation with
Mr Tom O’Donovan of Glin Historical Society).<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn15"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref15" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[15]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">New roof installed in 1971 (conversation with former creamery manager
Dave Sullivan).<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn16"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref16" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[16]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Patrick & Maura Shaffrey,</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Irish countryside
buildings,</span></i><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">p.95<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn17"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref17" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[17]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">John Hough,</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Ireland’s Co-operative Heartland Ardagh
C.D.S, a history 1891-1974</span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">, (Limerick, 1997), p.6.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn18"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref18" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[18]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Carla King & Liam Kennedy, ‘100<sup>th</sup></span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">anniversary Irish Co-operatives; from creameries at the crossroads to
multinationals,’ in</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">History Ireland</span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">, Vol.2, no.4
(winter, 1994), p.40.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn19"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref19" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[19]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Hough, p.96.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn20"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref20" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[20]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">‘Court order to stop picketing at creamery’,</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Irish Times,</span></i><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">5 September 1975.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_ftn21"></a><a href="file:///C:/Users/Emma/Downloads/Glin%20Creamery.doc#_ftnref21" title=""><span style="color: blue; font-size: 10.0pt; mso-ascii-font-family: Calibri; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE; mso-hansi-font-family: Calibri;">[21]</span></a><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Peter Somers and Michael McGrath,</span><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;"> </span><i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">Golden Vale
Remembered 1948-2001</span></i><span style="font-family: 'Times New Roman', serif; font-size: 13.5pt;">, (2006), p.34.<o:p></o:p></span></div>
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<br />Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-23802488075710895662016-03-16T15:35:00.001+00:002016-03-16T15:36:47.448+00:00Worshiping the Modern; Christ the King<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOptAvPVSi_w-FWGDAVb0EuFoqpK3gxNWufdshpoKqu4bQuVC_GgQ2EAksRTivtNy_heDZb-Ww8kc8t6LlLiB6G3HDPVqFobqfh-l8hfIuelMeNuXUubcjPWLhDbLzNLLeZR1I8troFxOg/s1600/CtheK.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="435" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOptAvPVSi_w-FWGDAVb0EuFoqpK3gxNWufdshpoKqu4bQuVC_GgQ2EAksRTivtNy_heDZb-Ww8kc8t6LlLiB6G3HDPVqFobqfh-l8hfIuelMeNuXUubcjPWLhDbLzNLLeZR1I8troFxOg/s640/CtheK.JPG" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixZkSm08PLR8nDOEMRr9t0kYMBzC5arC8HnTVCXmuNXgxZ_872Udd-y1qYdzsvHo56ce2hR5EVyL9WUteHxBXYpe4sfQlveV9dutknW1g09ghoJBU4dMENdD2Bkpj4rPJK1Paoiu8NG08Y/s1600/20160225_162158.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixZkSm08PLR8nDOEMRr9t0kYMBzC5arC8HnTVCXmuNXgxZ_872Udd-y1qYdzsvHo56ce2hR5EVyL9WUteHxBXYpe4sfQlveV9dutknW1g09ghoJBU4dMENdD2Bkpj4rPJK1Paoiu8NG08Y/s320/20160225_162158.jpg" width="180" /></a><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Cork people seem to be natural boasters, an innate self-confidence that often grates against the rest of us cynical, flaw-seeking folk. One thing they can certainly show off about is having the first Modernist church in the land, Christ the King Church at Turner's Cross. Furthermore it holds the title of being first ever concrete church in Ireland. It is hard to find fault with this magnificent expression of a nation that has aligned itself with the Catholic church while also boldly throwing its arms open to welcome the rest of the twentieth century. The power of the church to strike awe in the viewer emanates from the Christ statue at the doorway. Its staggered bays of the front and side elevations remind me of Giants Causeway, as if Jesus rose from the bedrock and these impressive concrete shards sprung up with him. Sculpture was d<span style="background-color: white; line-height: 16.8px;">esigned by American sculptor and painter John Storr, who had been a student of Rodin and had worked with Frank Lloyd Wright and Louis Sullivan</span><span style="background-color: white; line-height: 16.8px;">. </span><span style="background-color: white; line-height: 16.8px;">Local sculptor John Maguire made the finished sculpture and worked on the marble altars (you can see a picture I took of the altar below beneath the altar cloth. It's such a shame altars get hidden). </span>From his arms are these jazzy rays of concrete light. His upper arms starting off the chevron shape of the Art Deco age. Chicago architect Barry Byrne got the commission to design the church for this new parish in 1928.</span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAohKD52GIMCW51C9y-0906u2ASNRvWJtxIrQE6H96U7mL9VVJDQ9wijXEC7iN2q09ylLD1lr50eggGDdYvJRGiMNZs8NOVzYG9am_Nxc4OSxwbo129FxWKkdMxPznFHystEeJncTkNj32/s1600/350px-Church_of_Saint_Francis_Xavier_Kansas_City_MO.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAohKD52GIMCW51C9y-0906u2ASNRvWJtxIrQE6H96U7mL9VVJDQ9wijXEC7iN2q09ylLD1lr50eggGDdYvJRGiMNZs8NOVzYG9am_Nxc4OSxwbo129FxWKkdMxPznFHystEeJncTkNj32/s200/350px-Church_of_Saint_Francis_Xavier_Kansas_City_MO.jpg" width="200" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: small;">St Francis Xavier.Image from Wikipedia</span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">After seeing a Chicago Architectural Club exhibit in 1902 he sought employment with the aforementioned Frank Lloyd Wright and worked as an apprentice in his Oak Park studio, Illinois until 1907. Byrne's style moved away from the Prairie School becoming more simplified but yet he undoubtedly took away Wright's appreciation for the uses and the aesthetic of concrete. Christ the King is considered the first of Byrne's important ecclesiastical trio; <span style="background-color: white; color: #252525; line-height: 22.4px; text-align: left;">Church of St. Francis Xavier in </span><span style="color: black;"><span style="color: black;">Kansas City, Missouri</span><span style="background-color: white; line-height: 22.4px; text-align: left;"> </span></span><span style="background-color: white; color: #252525; line-height: 22.4px; text-align: left;">(1949), and St. Benedict's Abbey in </span><a href="https://en.wikipedia.org/wiki/Atchison,_Kansas" style="background: none rgb(255, 255, 255); line-height: 22.4px; text-align: left; text-decoration: none;" title="Atchison, Kansas"><span style="color: black;">Atchison, Kansas</span></a><span style="background-color: white; color: #252525; line-height: 22.4px; text-align: left;"> (1951-1957). Evidently Byrne was so devoted to concrete that he ceased to design brick edifices after Cork. </span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The foundations were blessed on 21 July 1929 and the church opened on 25 October 1931 with o</span><span style="line-height: 18.3pt; text-indent: -18pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ne of the largest suspended-ceiling churches in Europe. The building is larger than you would expect standing on the outside, with a seating capacity of 1200. The stepped form is carried through to the interiors including the plaster ceiling and the altar reredos. I kept having to remind myself that this church was designed in the late twenties. I say thankfully the original brick and wood church envisaged could not be achieved with the £30,000 budget (inclusive of interiors) allocated for it hence concrete as the main construction material with wonderful results. The economy of funds let to an economy of materials and a simplicity of the bright open internal space matched by few Irish churches. The black marble terrazzo floor is as stylish as any luxury hotel and the sparing use of stained glass windows and marbles is effective. Ready mix concrete was unheard of at the time so it's raw material was equally as radical as it's design. Today the church retains much of it's original character and layout after renovations in 2002. The Irish Architectural Archives hold c</span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">opies of the drawings for Christ the King Church which were donated by Shane O’Toole.</span><span style="line-height: 18.3pt; text-indent: -18pt;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="line-height: 18.3pt; text-indent: -18pt;">Christ the King is a landmark for Irish architecture let alone modern church building. However the design of the church was controversial and received with a mixed response at the time. For whatever reason </span><span style="line-height: 115%;">Christ the King church did not immediately influence Irish church design
which continued in imitation of earlier styles of architecture well into the
1960s. </span><span style="line-height: 115%;">Modernist architecture was regarded as suitable for hospitals, factories
and the like; however there were doubts among some of the clergy about its
suitability for ecclesiastical buildings.The Catholic Church and Church of Ireland staunchly continued their reverence of the revived Classical and Gothic styles of the previous century. A year after the opening of Christ the King saw the International Eucharistic Congress held in Dublin with J.J. Robinson (of Robinson, Keefe Devane) as its architect. The pageantry of this event was done in a Palladian setting. Ireland would have to wait until the likes of Liam McCormick 's(Corr & McCormick Architects) design for </span><span style="line-height: 115%;">The Church of Our Lady & St Michael in Ennistymon, Co. Clare to see another concrete beauty to worship. </span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="line-height: 115%;">There is an excellent history and archive of photographs of the church at <a href="http://turnerscross.com/">turnerscross.com</a></span></span></div>
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<br />Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com2tag:blogger.com,1999:blog-4027390742156371993.post-76466499523523961862016-01-24T22:24:00.000+00:002016-01-24T22:34:51.275+00:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Uq7WA3FYMSm5vOG1-EWmg-7MiUnvh7nOxvXyRsMc7h_WHsKPru63P-YL7n_gfm4EUzoNpDfgTQpIMXzDyO8Bh7KgyGiFa7mpkCAuNBm6jPxy93iKJ_YyKi_Ce_c0ACBMm0A1_vsL6EY5/s1600/20160107_140109.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="384" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Uq7WA3FYMSm5vOG1-EWmg-7MiUnvh7nOxvXyRsMc7h_WHsKPru63P-YL7n_gfm4EUzoNpDfgTQpIMXzDyO8Bh7KgyGiFa7mpkCAuNBm6jPxy93iKJ_YyKi_Ce_c0ACBMm0A1_vsL6EY5/s640/20160107_140109.jpg" width="640" /></a></div>
<span style="color: #444444;">[Author's note: Music to read this post to. I felt like an Empress on top of the world that afternoon <a href="https://www.youtube.com/watch?v=JO4UmbcBprw">Beethoven's Emperor Concerto</a>]</span><br />
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For the second day of my visit I had to do the good Catholic thing of making a pilgrimage to the <b>Vatican City</b>. I was looking forward to seeing the pictures from my Leaving Cert History of Art book come to life. Additionally the concept of a city within a city like a Russian doll fascinated me. Being from Limerick this was nothing new as historically the city comprised of three distinct towns.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTHwBJskUzfv-tLLy2UF4S25BE3S15xEudvLiQgR_VYHXPOo0tDl8AC_8AKBIn9mG2s08I6Nm7PHsJPROM5RvQ2nxVJoUmaGQNfFRS5yhP3LSbGxivVXGWmE3wnSJfmwn4Spwc_KrfLMEN/s1600/20160107_144115.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTHwBJskUzfv-tLLy2UF4S25BE3S15xEudvLiQgR_VYHXPOo0tDl8AC_8AKBIn9mG2s08I6Nm7PHsJPROM5RvQ2nxVJoUmaGQNfFRS5yhP3LSbGxivVXGWmE3wnSJfmwn4Spwc_KrfLMEN/s320/20160107_144115.jpg" width="320" /></a>When I booked my flights I was unaware of how the Epiphany was still such an important Holy day. I am deficient the necessary patience to deal with long queues. Luckily for me it appears that everybody paid a visit to Pope Francis' gaff the previous day so I only had to wait about ten minutes. This involved airport-like security (I suppose we were entering a new country after all) walking through a metal detector and bag x-rayed. <b>St Peter's Basilica</b> was designed principally by Bramante, Michelangelo and Bernini. It is one of the largest churches in the world and regarded as one of the holiest Catholic shrines. The area now covered by the Vatican City had been a burial ground for the numerous executions in the Circus of Nero. On first entering you are faced with Bernini's impressive colonnade four columns deep frame the trapazoidal entrance to the Basilica. This is St Peter's Square on a quiet day. It is a shame that the fencing is there (as seen in photo) as it gave the area a theme-park feel. </div>
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Nothing prepares you for the richness or the ornate interiors. Everything is vying to attract your eyes. The visitor feels completely dwarfed by the scale of everything in the building. This church was designed first by Michelangelo with Maderno's naves added later. The wonderful <b>Baldacchino</b> (pavilion-like structure beneath the dome) was designed by Bernini. At 30 metres tall it is claimed to be the largest piece of bronze in the world. It is always very strange seeing a famous work of art in the flesh. <b>Michelangelo's Pieta</b> is smaller than I had imagined but nevertheless the maternal love and heartbreak of a mother holding the dead body of her only child cannot fail to move you. After taking in the beauty of the ground floor it was now time to move up towards the heavens and make the climb to the cupola of the Basilica. Michelangelo had redesigned Bramante's dome in 1547.The <b>dome rises to a total height of 136.57 metres</b> from the floor of the Basilica to the top of the external cross. It is the tallest dome in the world.</div>
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Being cocky Irish people we of course got tickets to go 'a piedi.' The lift was for the old and infirm. Tickets were €6 per adult. Still inside the building I started to see what type of height we were dealing with. All the people below were so small as you can see in the photo to the left with the protective grating. Boy was that climb tough! To keep us motivated every now and so often I would say "we have just earned two scoops of ice-cream", "we have just earned four scoops of ice-cream." It was a bucket I think by the end of it. You would not want to be a person carrying a lot of weight to be able to be able to fit through the monastic-like spiral staircases towards the top. The ascent was well worth it once we got to the top and visually took in the city. Every building unified in this exquisite architectural sea. My eye of course was drawn immediately to the Aula Nervi as it became known. Enigeer Pier Luigi <b>Nervi's Paolo VI Audience Hall</b> was commissioned by Pope Paul VI in 1963 and it was inaugurated in 1971 (see image below left). A family affair this reinforced concrete building was realised with the assistance of his architect son Vittorio Verdi. The auditorium can accommodate up 12,000 people covered by a double curving parabolic vault. Next to grab my eyes of course was the magnificent St Peter's Square with the Vatican Obelisk at its centre. Standing at 25.5m tall, made of red granite this obelisk was removed from Egypt by August to the Julian Forum of Alenxandria where it stoof until 37 AD when Caligula ordered the fourm demolished and the obelisk transferred to Rome. It was moved to its current site in 1586. As Rome was the centre of the Roman Empire the Papal City was the city of the powerful Roman Catholic empire. </div>
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<tr><td class="tr-caption" style="text-align: center;">Alberti's 1776 V-shaped boulevard</td></tr>
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The square is approached by the <b>Via della Conciliazione</b> which is linking the Vatican City and the centre of Rome. It lends the Basilica extra grandeur similar in Ireland to the main street of the estate villages in the lead up to the entrance to the landlords demesne. This road was constructed between 1936 and 1950 but plans were drawn up several times over the centuries. One such plan was Alberti's 'open' plan in 1776 consisting of a single V-shaped boulevard. Widely opposed instead for a 'closed' plan maintaining the 'spina' or spine of the structures between the square and the river Tiber. Mussolini resurrected the idea of a grand thoroughfare symbolically connecting the Vatican to the heart of the Italian capital. To fulfil this vision he turned to the fascist architects Marcello <b>Piacentini</b> and Attilio <b>Spaccarelli</b>. The controversial demolition began in October 1936 with many residents displaced en masse to settlements outside of the city. Mussolini would create his own version of the square with the obelisk in the EUR district which I visited a few days later (future post). My breath was taken away with the view, the use of my legs from the hundreds of steps so it was the lift on the way down for us. I'll finish Day 2 in my next post with the Patheon and a fit out by David Chipperfield Architects, Of course the day was completed with lots of gelato!</div>
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Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-56508578628149921012016-01-20T22:58:00.000+00:002016-01-20T22:58:39.722+00:00<div class="separator" style="clear: both; text-align: center;">
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<span style="text-align: justify;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">My taste in buildings has always been relatively young (40-90 years) from those of the International Style, the super cool Art Decos, the Modernists right down to the Bruts of the seventies. This day last week I returned to Ireland after a week in Rome, a city that surprisingly satisfied my architectural grá. Rome is not frozen in time like Florence or Venice but nevertheless she is not a modern city. However she still retains her concrete expression of power, dominance and a vain attempt to return to ancient imperialism. The physical manifestation of the ideology of Mussolini's fascism remains. </span></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Rome to me is a marriage of two dominant personalities; the commanding presence of the quiet, wise older centre who jostles beside his younger louder, feisty queen. Each side stands their ground equally in this unlikely union full of drama; the grace and stature of the older city tempering the brash, high-spirited youth. He has seen many a war; she was never tested. The pomp of the younger pale marble structures compliments the confidence of the raw, earthy, rusty colours of the rendered older city. In terms of its morphology the city's medieval core has had no previous partners as you'd expect such as Victorian, Edwardian, Art Nouveau, etc. Rome does have contemporary buildings such as the <b>MAXXI Museum by Zaha Hadid Architects</b> and the new Congress Centre and hotel nicknamed <b>'the Cloud'</b> by <b>Fuksas Architects</b> which is still under construction but already looks impressive. However the glory of the ancient and early twentieth century eras will never again be repeated. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A recent friend I made in Dublin captivated me with the descriptions of his adoptive city of Rome. Having studied History of Art & Architecture and later Building Conservation in Irish universities the majority of our course material was centred around the principles of Classical architecture. The Georgians looked to what they perceived as the aesthetic truths of Vitruvius and Roman antiquity for inspiration. The symmetry and rhythm of Georgian architecture is what I grew up with near Limerick's Newtown Pery which made Dublin all the more familiar to me. In history of Art we learned about the Grand Tour that the landed gentry were expected to undertake in their youth taking in ancient ruins of Greece and Rome. Italy was a country that I had always planned on visiting but it was never in my top three. With the benefit of free accommodation I was presented with the opportunity to visit the city that was the originator of Irish architecture from the 18th century up to the present day with the odd trend of Georgian pastiche new builds. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">My plane landed in </span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Fiumicino- Leonardo da Vinci International airport </b><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">which is currently undergoing expansion. I could see the curve of the new roof from my seat like the beautiful contour of a woman's hip. During the short drive from the airport to the city we passed the EUR district. I could see Mussolini's </span><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Palazzo della </b><b style="background-color: white; color: #252525; font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif; line-height: 22.4px;">Civiltà</b><b style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> Italiano</b><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> near the motorway, his so-called Square Colosseum. This heightened my excitement for my trip immensely and what was in store for me in the days to come. I will discuss that wonderful building in my next post. From there the car drove through an archway in the ancient city's walls and passed the Circus Maximus. It was as if we drove back in time.</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> My first day (Wednesday) was spent walking around the centre near the Colosseum and the magnificent ruins of the Forum of Augustus. Halfway through the tour I was given a rooftop view of the city. The type of view the renders one speechless. What stroke me was each individual building was beautiful especially those who wore the passage of time without the touch up of paint or render. All the buildings in this ancient sea of bricks and mortar were of the same palette or russets, browns and some peach almost to the point of orange. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">It is indeed the colour orange that I take away with me from my trip and not just from the streetscapes. Every morning upon opening the shutters, to receive the soft morning kiss of</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> the January sun, I was greeted by the oranges on the tree outside. I was Eve in my Garden of Eden away from it all back home. My host's fruit ball was also full of the fruit. The food alone I could gush about. Bread that went stale the next day as it wasn't full of preservatives like Irish bread, the simplicity of the pasta and pizzas.....and the gelato. Everything there was just so relaxed. I think it's because everybody vents their rage through their cars! Even on the last day of my visit I still could not get my head around walking across the zebra-crossing with the green pedestrian light and still have all the cars and mopeds gunning for me. It is a small price to pay for the lifestyle. People live in the city centre over the shops and cafés. Villas converted to offices and apartments for single people, professional couples, families. All the laneways are full of life bursting with all kinds of shops including bookshops just for books printed in English. The trams and Metro system was very easy to navigate and a €1.50 gave you 100 minutes (from the time of first use) on all public transport. </span></div>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">I will finish the post with the images taken on Day 1 of the <b>Imperial Fora </b>constructed between 46AD and 113AD. These forums were the very centre of the Roman Empire. I have included a plan below that has Mussolini's new street he created in the 1920s outlined in red which destroyed part of these ruins. Buildings that we are all familiar with but were like a dream to me. Music everywhere and Italian sounded like poetry to my ear. Even the trees to me were sculptural and architectural. You will see that the roads run so close to these monuments. Some might tut but this is a living city and the traffic is the life force being pumped around it's urban arteries. I started falling for Rome the moment I clapped eyes on him with the bright blue skies and the rusty coloured rooftops. The unpredictability while always revealing something new. Never stopping. Familiarity and contradiction. It's inhabitants rushing in their cars as if in a Grand Prix but then stepping out to dine al fresco with a glass of wine stretching out that peaceful moment like magic. Truly living in it. Being in it. So relaxing and so intense at the same time. My eyes saturated with the visual splendor. Beauty that nearly brings you to tears. Tethering on the edge of bliss. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">The forum of Caesar and the Temple of Venus Genetrix</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Forum of Augustus with the temple of Mars Ultor</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The new street in red cut through the forum of Augustus and also rows of homes which naturally sprung up around in during the intervening centuries.</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The Altare della Patria (the Altar of the Fatherland). This was the most visible landmark to me walking around the various parts of the city. </td></tr>
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<br />Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-60318686239794922502016-01-03T13:56:00.001+00:002016-01-03T13:56:41.279+00:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGDiPGY-uHTTiSP2F3W-PNpMqoPsdB6YuE08Yn9VGdv3gkPKaAw7RhMGnO4eRtWxpA47mebFeYuqa2d0o8GbbgZB0nJAn_exD18LYUpjLE-lmaswm37rSI5Teg-1_rhI7rMi_Z28QItnwu/s1600/1505362_10100587750470420_1373711589086854243_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGDiPGY-uHTTiSP2F3W-PNpMqoPsdB6YuE08Yn9VGdv3gkPKaAw7RhMGnO4eRtWxpA47mebFeYuqa2d0o8GbbgZB0nJAn_exD18LYUpjLE-lmaswm37rSI5Teg-1_rhI7rMi_Z28QItnwu/s320/1505362_10100587750470420_1373711589086854243_n.jpg" width="191" /></a></div>
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<span style="color: #cc0000; font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-large;">Happy New Year!</span> <span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">January is a time of reflecting on the year behind us while simultaneously looking forward to what lies ahead like the two faced Janus, the Roman god of doors and gates, which the month derives its name from. It has been a long time since I have welcomed a year as much as I do 2016 with such high hopes and excitement.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I am also looking back on how I began 2015- day trips away from the city to dear small towns in West Clare which still hold onto their distinct 'Irishness' which our cities are losing at an alarming rate. By this I do not mean the influx of foreign businesses such as restaurants, cafés, boutiques, etc. These generally slot into their streetscape but with a twist such as an injection of colour or signage. What I despair of is the ubiquitous global fast food and retail chains striping the main streets of these towns of their individuality. Often now on being shown a succession of main street photographs of towns I have known my whole life I interrupt with "what town is that?"</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">One lovely example is <b>Miltown Malbay</b>, a relatively young town which has only been in existence since about 1800. Please ignore the blight of uPVC windows on the upper level! Instead let us enjoy the character the visual array the collective painted shopfronts creates, the lettering, the door, moulded consoles, pilasters, plat bands and architraves. It tells the story of a bygone age when we lived above our shops. (I am typing this in my room above a former shop in Dublin myself; it's shopfront still intact. I must take some snaps and upload them here in the near future). </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">So let's celebrate the ordinary. On what is for a lot of people the last day of their Christmas holidays before they return to work, take advantage of the dry weather and travel to a small town and have an old fashioned Sunday stroll. </span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"> Having attended a pub quiz in the town I can tell you with confidence that it boosts thirteen pubs such as Clancy's Bar wrapped in this delightful patterned tiling. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Isn't this canopy fantastic!</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDVWONLDUXAn4tobyPNukAvyNXiN7SA3JbQuhKm36zzwOfRnRVRQxAKXAiLUUiRTtd-ZhK_w0njnO3Fcu_xheUHevJwboYg80_kF0vlLllaLRoHF-H4d4gfsRVD3LyxRB7VcmikSjITJtK/s1600/10888426_10100587748509350_3655504810699873017_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="382" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDVWONLDUXAn4tobyPNukAvyNXiN7SA3JbQuhKm36zzwOfRnRVRQxAKXAiLUUiRTtd-ZhK_w0njnO3Fcu_xheUHevJwboYg80_kF0vlLllaLRoHF-H4d4gfsRVD3LyxRB7VcmikSjITJtK/s640/10888426_10100587748509350_3655504810699873017_n.jpg" width="640" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The town capitalises it's musical tradition with the annual Willie Clancy festival. Again it's great to see a town with an indigenous festival that celebrates it's unique culture. I roll my eyes every time I see a town mimic trends hastily throwing together a hip hop festival or celebrating American Independence as they picked up boxes of cowboy hats and red, blue and white bunting for a steal!</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Some recommended reading to get you started on this topic is <b>Patrick & Maura Shaffrey's </b><span style="background-color: white; line-height: 19.2px;"><i><b>Buildings of Irish towns: treasures of everyday architecture</b></i> (O'Brien Press, 1984) and Seán Rothery's </span></span><i><b><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">A Field Guide to the Buildings of Ireland - Illustrating the Smaller Buildings of Town and Countryside</span></b></i><br />
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<br />Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com1tag:blogger.com,1999:blog-4027390742156371993.post-25927610380766926142015-12-13T12:21:00.000+00:002015-12-13T12:22:17.188+00:00<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhefWibU3eVpO3LSgNmgZzLCtLBe0QJFefuUfOHLhYWE8kSUsxqYyKDhqetPhW2RvJMhIks4QfghY9uGv88ibIZWTO3gt8oOBtgn_i-1L2OBYupKs9syBZbi7SG3ChjBJL_j5wiujzqaeXT/s1600/dieu_le_pere.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhefWibU3eVpO3LSgNmgZzLCtLBe0QJFefuUfOHLhYWE8kSUsxqYyKDhqetPhW2RvJMhIks4QfghY9uGv88ibIZWTO3gt8oOBtgn_i-1L2OBYupKs9syBZbi7SG3ChjBJL_j5wiujzqaeXT/s640/dieu_le_pere.jpg" width="529" /></a></div>
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<span style="color: #990000; font-family: "arial" , "helvetica" , sans-serif; line-height: 200%; text-indent: 36pt;"><span style="line-height: 200%; text-indent: 36pt;"><i>Taking a little detour from buildings I am looking at an object held within one of Limerick city's landmark's the Hunt Museum, formerly the Custom House on Rutland Street. My childhood has forever embedded thoughts my mind at this time of year around God, his mortal son and the Holy Ghost. Furthermore with his red robes this God the Father bares a likeness to what our modern society has replaced all that with- Mr Santa Claus. </i></span></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%; text-indent: 36pt;"><span style="line-height: 200%; text-indent: 36pt;">The Late Gothic/ Early Renaissance
panel painting </span><i style="line-height: 200%; text-indent: 36pt;"><b>God the Father</b></i><span style="line-height: 200%; text-indent: 36pt;"><b> </b>(h50 x </span></span><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%; text-indent: 36pt;">W42 cm)</span><a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn1" name="_ftnref1" style="font-family: Arial, Helvetica, sans-serif; line-height: 200%; text-indent: 36pt;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[1]</span></span></span></a><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%; text-indent: 36pt;">
attributed to </span><b style="font-family: Arial, Helvetica, sans-serif; line-height: 200%; text-indent: 36pt;">Nicolas Froment</b><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%; text-indent: 36pt;"> is housed in the Treasury in the <a href="http://www.huntmuseum.com/">Hunt Museum</a></span><st1:place style="font-family: Arial, Helvetica, sans-serif; line-height: 200%; text-indent: 36pt;" w:st="on"><b><st1:placetype w:st="on">, Limerick</st1:placetype></b></st1:place><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%; text-indent: 36pt;">.
It has been part of the Hunt family’s private collection since roughly 1952.
Archival information on this piece mainly comprises of excerpts of scholarly
texts containing basic facts such as title, medium, attribution, date of
creation and dimensions. There are no
dates of acquisition, receipts, invoices, stock books or insurance records</span><a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn2" name="_ftnref2" style="font-family: Arial, Helvetica, sans-serif; line-height: 200%; text-indent: 36pt;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[2]</span></span></span></a><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%; text-indent: 36pt;"> but
it was most likely bought at an auction house. Invaluable sources of
information on this work are </span><i style="font-family: Arial, Helvetica, sans-serif; line-height: 200%; text-indent: 36pt;">The Hunt
Museum; Essential Guide<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b><span style="font-size: 12pt;">[3]</span></b></span></span></a></i><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%; text-indent: 36pt;">
and </span><i style="font-family: Arial, Helvetica, sans-serif; line-height: 200%; text-indent: 36pt;">50 Treasures of the Hunt Collection<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b><span style="font-size: 12pt;">[4]</span></b></span></span></a> .</i><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%; text-indent: 36pt;">Little is known about Froment as he is
underappreciated outside his native </span><st1:country-region style="font-family: Arial, Helvetica, sans-serif; line-height: 200%; text-indent: 36pt;" w:st="on">France</st1:country-region><span style="font-family: "arial" , "helvetica" , sans-serif; line-height: 200%; text-indent: 36pt;"> which adds to the mystery of
this fragment of the altarpiece.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Nicolas Froment, French painter and
draughtsman, was born in <b>Uzés (<st1:state w:st="on">Languedoc</st1:state>),
Picardy</b>, twenty-five miles west of <st1:place w:st="on">Avignon</st1:place>
most likely in the year <b>1435</b>.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[5]</span></span><!--[endif]--></span></a>According
to Uzétian local legend, Froment’s father was the
barber and ‘homme de confiance’ of a bishop of Uzés<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[6]</span></span><!--[endif]--></span></a>
which would explain how this young man with no connections and no family
precedent of an artistic career could have received papal commissions. It is
difficult to estimate his date of birth as well as the particulars of his early
life due to the lack of information available on Froment prior to the 24 June
1465 when he is recorded as being an inhabitant of the Languedocan <st1:placetype w:st="on">village</st1:placetype> of <st1:placename w:st="on">Uzés</st1:placename>
near <st1:place w:st="on">Avignon</st1:place>.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[7]</span></span><!--[endif]--></span></a> By
1468 he was a permanent resident of <st1:place w:st="on">Avignon</st1:place>
as he was recorded as paying rent on a house owned by a local barber.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[8]</span></span><!--[endif]--></span></a> It
was in <st1:place w:st="on">Avignon</st1:place>
that he would live and work for the rest of his days up until his death in
either 1483 or 1484.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[9]</span></span><!--[endif]--></span></a>
His active life is recorded as starting in 1450<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[10]</span></span><!--[endif]--></span></a>
with his first signed and dated work the<b> <i>Resurrection
of Lazurus</i></b> (1461)<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[11]</span></span></span></a> (175 x 200cm; Uffizi, Florence) as the 18 May 1461<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[12]</span></span><!--[endif]--></span></a>
which is the date inscribed on the triptych’s exterior wing frames.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[13]</span></span><!--[endif]--></span></a>
Froment was probably a master at the time as apprentices were generally
forbidden by guild rule to sign works on their own.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[14]</span></span><!--[endif]--></span></a>
However Froment’s name has not been found in Netherlandish guild lists of the
period. Nevertheless he could have worked without guild affiliation as a court
painter. The altarpiece was commissioned by Francesco Coppini, Bishop of Terni
and Pal Legate<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[15]</span></span><!--[endif]--></span></a> who is
depicted on the exterior wings praying to the Virgin. He brought back the piece
to <st1:country-region w:st="on">Italy</st1:country-region>
in early 1462<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[16]</span></span><!--[endif]--></span></a> where
he gave it as a political gift to <b>Cosimo de’ Medici</b><a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[17]</span></span><!--[endif]--></span></a>
who donated it to the Franciscan convent of Bosco ai Frati in Mugello just
before his death in 1464, when it remained until the late eighteenth century.
During this time in the Netherlands Froment has also been ascribed,</span> <span style="font-family: "arial" , "helvetica" , sans-serif;">in
collaboration with Jacques Daret of Tournai, cartoons for tapestries produced
in 1460 for Guillaume de Hellande, Bishop of Beauvais<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[18]</span></span><!--[endif]--></span></a>
(Beauvais Cathedral; <st1:city w:st="on">Boston</st1:city>,
Mus.). Also attributed to Froment and in a related style are a <i><b>Mourning Virgin</b></i>, a fragment on oak of a
larger panel and a drawing with the upper part of a ‘Transformation.’ In 1470<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[19]</span></span><!--[endif]--></span></a>
he was commissioned by Catherine Spifami, widow of <b>Langier Guiran</b>, to paint an
altarpiece of the <i>Death of the Virgin
with SS Mary Magdalene and Catherine</i> with donors on the wings, for a chapel
appended to Notre-Dame-de-Consolation in <st1:city w:st="on">Aix-en-Provence</st1:city>.
He is also supposed to have painted the <i><b>Martyrdom
of St. Mitre</b></i> (<st1:place w:st="on">Aix-en-Provence</st1:place>,
St.Sauveur), a commission for Mitre de la Roque, a merchant, for his funery
chapel. In 1471-2, on commission of the spice merchant Pierre Marin, Froment
produced a window of the Annuciation for the choir of <st1:city w:st="on">St.
Pierre</st1:city> at <st1:city w:st="on">Avignon</st1:city>.
In 1473 he designed the embroideries for the uniforms of Avignon’s couriers and
props for ‘tableaux,’ including the ‘Temple of Jerusalem’ erected for the entry
of the papal governor Charles II of Bourbon.</span><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNJxY91tLFXEn2tv99vTgcgGOwk35jY8sVnQfOUvm2rbVdFhyphenhyphenQUs6JpYfo4tslk6E0hivENTAZBkvHWqAws8ns6ciJLiz4VC4sXhL9axeqnxbneeCqWNmLhANoe4NiFqP28lgCvPifBmN/s1600/froment.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSNJxY91tLFXEn2tv99vTgcgGOwk35jY8sVnQfOUvm2rbVdFhyphenhyphenQUs6JpYfo4tslk6E0hivENTAZBkvHWqAws8ns6ciJLiz4VC4sXhL9axeqnxbneeCqWNmLhANoe4NiFqP28lgCvPifBmN/s640/froment.JPG" width="432" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">In
1476 Froment painted 204 shields that included the arms of the Papal Legate
Giuliano della Rovere. The following year the city ordered from the artist
fourteen ‘écheafauds’ for the feast of Corpus Christi, including scenes of the
‘Temptation of Christ’, the ‘Annunciation’ and the ‘Story of Gideon’ Froment’s
work for the Town Council attracted the attention of René I, Duke of Anjou in
1475 who would remain his primary patron until his death in 1480.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn20" name="_ftnref20" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[20]</span></span><!--[endif]--></span></a>
It is during these years that Froment produced his major work, the triptych of
the <b><i>Burning Bush</i> </b>(410 x 305cm; <st1:place w:st="on">Aix-en-Provence</st1:place>; Cathedral
of St. Sauveur). In this piece Froment illustrated his application
of the Flemish style to the landscape of <st1:state w:st="on">Provence</st1:state>
which explains why at one time the triptych was wrongly attributed to <b>Jan van
Eyck</b> and to Jan van der Meire in the nineteenth century. If wealth is a measure
of an artist’s success than Froment was successful enough to purchase three
adjacent houses on the corner of place Piuts-des-Boeufs near the <st1:place w:st="on"><st1:placename w:st="on">Papal</st1:placename> <st1:placetype w:st="on">Palace</st1:placetype></st1:place>.
There is little information on Froment’s marriage but he did produce a son,
<b>Nicolas the Younger</b>,<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn21" name="_ftnref21" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[21]</span></span><!--[endif]--></span></a>
who moved to Spain after his father’s death where he also enjoyed artistic
success as a manuscript illuminator for the <b>Cathedral of Barcelona</b> in 1500 but
by 1511 he had become a wealthy merchant returning in 1513-14 with his Catalan
wife to Avignon where he died in 1522. The fact that Froment enjoyed success in
his own lifetime is a real achievement as Italian art was so admired and
revered during the fifteenth century that works of French artists were simply
ignored or disdained. In response Froment, along with another French painter,
<b>Enguerrand Charonton</b> (1410-1466), set up their own school in <st1:city w:st="on">Avignon</st1:city> around 1450. They formed the core of
the realists of the school of primitive artists of <st1:state w:st="on">Provence</st1:state> and are credited with introducing
Flemish naturalism into French art. </span><o:p></o:p></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This
painting in the Hunt museum is most likely a small section of a much larger
wooden altarpiece with its dedication being to the Trinity.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn22" name="_ftnref22" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[22]</span></span><!--[endif]--></span></a> It
could have been the central panel of a <b>triptych</b> commissioned by <b>René I</b> for his
private chapel at his residence in <st1:place w:st="on">Aix-en-Provence</st1:place>,
as a visual compliment to the altar.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn23" name="_ftnref23" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[23]</span></span><!--[endif]--></span></a>
It is ambiguous why this part would be removed and of the whereabouts of the
remainder of the altarpiece. It is not an uncommon occurrence and it could be
due to the tightened restrictions placed upon church adornments during the
<b>Catholic Reformation</b>. This movable, functional piece would have been placed
either in front or hanging above the altar playing a vital visual role during
the moment the priest holds up the Eucharist during the act of
transubstantiation as a focus for worship. The Trinity would have been
particularly effective in this respect as the image of Christ would remind the laity
of his sacrifice and of the promise of salvation.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn24" name="_ftnref24" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[24]</span></span><!--[endif]--></span></a>
The altarpiece’s other general purpose would have been to teach the illiterate
churchgoers the concept of a three-personed God. Historically Froment would
have been painting this altarpiece only a century after ‘The Great Schism’ of
the church when the Roman Catholic and the Eastern Orthodox branches split even
to this day over differing doctrinal interpretations of the bible with one of
the main arguments being the Trinity. The word ‘trinity’ itself is not stated
in the New Testament but the concept of it is mentioned in Matthew 28:19.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn25" name="_ftnref25" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[25]</span></span><!--[endif]--></span></a>
This was defined at the Council of Nicaea in 1439 so it was a fairly topical
subject for Froment to depict. A commission for an altarpiece was quite a
common phenomenon in the fifteenth century largely due to the result of the
growing initiative of non-ecclesiastical and non-aristocratic patrons. It is
possible that, like the <i>Burning Bush</i>,
René’s image could have adorned the side panels alongside his chosen patron
saints. René, like all patrons, would have had his favourite saints and in
return for the special devotion paid to them. The saints were expected to plead
the cause of their devotees in the court of heaven, reducing the individual’s
allotted period of suffering in purgatory.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn26" name="_ftnref26" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[26]</span></span><!--[endif]--></span></a>
The Catholic Reformation the following century put strict restrictions on such
practices.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Analysis
of the design itself reveals that it is Netherlandish in its realism and
attention to small details such as the effect of light falling on individual
hairs on his long white beard. This work is figurative and vertical in
orientation. God is depicted bare-headed which is quite uncommon but a good way
to portray old age. However the provincial origin of Froment emerges in the
harsh rendering and the stiffly-posed figure and angular folds on his robes.
The human portrayal of God is out of proportion as his head is clearly too
small for his body. It is an old man floating in a two-dimensional space
against a plain gold background which is reminiscent of Robert Campin’s <i>Seilern Entombment.</i> Volume is not
suggested through shadow or shading but instead through colour. God is wearing
a rich red robe, the colour of royalty indicative of a god sitting on his
heavenly throne, beneath a blue mantle<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn27" name="_ftnref27" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[27]</span></span><!--[endif]--></span></a>. The
attribution to Froment would be based on the occurrence of this red colour in
another of Froment’s documented paintings. Other characteristics that indicate
that this is a Froment painting or a follower of his are God’s sunken cheeks
which can be seen in the various figures in <i>The
Resurrection of Lazurus</i>, and his grimacing, down-turned corners of his
mouth.</span> <span style="font-family: "arial" , "helvetica" , sans-serif;">This style of facial expression is considered to have been influenced by
styles which do not survive. <a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn28" name="_ftnref28" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[28]</span></span><!--[endif]--></span></a>
Of course this was painted in an age of a judgemental god demanding our awe and
reverence. His facial expression fits within the theory that this is the upper
part of a Trinity similar to Masaccio’s (1401-1428) <i>The Holy Trinity, the Virgin, <st1:place w:st="on">St.</st1:place> John
and donors</i> (Santa Maria Novella, Florence, 1427). God is showing the viewer
his only son, possibly on a crucifix or else as a lamb, suffering for all our
sins. The dove representing the Holy Ghost would be between Father and Son with
its wings spread as if about to take flight. It was only towards the latter part
of the fourteenth century<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn29" name="_ftnref29" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[29]</span></span><!--[endif]--></span></a>
that God and Christ began to be differentiated from each other pictorially.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn30" name="_ftnref30" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[30]</span></span><!--[endif]--></span></a>
Before this Father and Son were seated beside each other with identical costume
and features<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn31" name="_ftnref31" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[31]</span></span><!--[endif]--></span></a> and
even portrayed in some cases as the same age. Once separated Christ was bear
torsoed and given the marks of his suffering with the crown of thorns and the
cut on his side. </span> <span style="font-family: "arial" , "helvetica" , sans-serif;">This began the
tradition of the bearded old man in plain robes to reinforce the idea of all
people, rich or poor, being the children of one universal father. God too began
to assume a larger body in relation to Christ. Perhaps denoting importance as
the creator of all life. The difficulties of representing the three entities of
God had been largely resolved by the fifteenth century although the church was
still uneasy about how the theological complexities were rendered visible by
artists.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> Iconographically
the Holy Trinity is probably the most well known art motif and also the most
complicated. The difficulties of representing three persons in one god had been
resolved by the time Froment was painting this trinity.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn32" name="_ftnref32" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[32]</span></span><!--[endif]--></span></a>
However the Catholic Church was still uneasy about images such as these
bordering on idolatry.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn33" name="_ftnref33" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[33]</span></span><!--[endif]--></span></a>
The use of images was another issue that split the Eastern and <st1:place w:st="on"><st1:placename w:st="on">Western</st1:placename> <st1:placetype w:st="on">Churches</st1:placetype></st1:place>. Early attempts at painting the
Trinity without portraying Jesus and the Trinity were unsuccessful with obscure
analogies and symbols such as water, snow and ice or the identical reflection
in several fragments of a broken mirror; heat, brilliance and light linked in a
fire; and a rose tree, its flowers and its fragrance as recommended by John of
Damascus.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn34" name="_ftnref34" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[34]</span></span><!--[endif]--></span></a> The
Trinity eventually evolved into a more human image with experimentation of
different formulae such as three men [e.g. Jean Fouquet’s <i>Le Couronnement de la </i>Vierge’] or three sheep (or lambs).<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn35" name="_ftnref35" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[35]</span></span><!--[endif]--></span></a>
Another version that appeared in later Medieval and Byzantine art from readings
of the Old Testament was of the Trinity as three heavenly visitors (or angels)
whom Abraham hosted (Genesis 18:1-8), i.e. three identical seated men in a
symmetrical arrangement of equal size e.g. <i>The
Holy Trinity</i> by Andrei Rublev. In the fifteenth century the Trinity that we
associate with today of a patriarchal Father, a suffering son or a lamb and a
dove emerged.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn36" name="_ftnref36" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[36]</span></span><!--[endif]--></span></a> God
over the centuries began to assume a larger figure in the Trinity and seated
above Christ. Nevertheless the tradition of depicting God and Jesus the same
size , though rarely, still carried on during the mid fifteenth century as for
instance in Enguerrand Quarton’s <i>Coronation
of the </i>Virgin (1453). The painting was commissioned by the Carthusian
monastry at Villeneuve-les-Avignon. The contract drawn up still survives
stressing that “there should not be any difference between [God] the Father and
the Son.”</span><a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn37" name="_ftnref37" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">[37]</span></span></span><!--[endif]--></span></a>The dove
became the symbol for the Holy Spirit because of Matthew 3:16.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn38" name="_ftnref38" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[38]</span></span><!--[endif]--></span></a>
<span style="font-family: "arial" , "helvetica" , sans-serif;">The bird should specifically be a dove but it often looked more like an eagle,
a goose or a stylised creature of no recognisable species.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn39" name="_ftnref39" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[39]</span></span><!--[endif]--></span></a>
The human figures were an attempt to make the cornerstone of Christian belief
into an idea that meant something to the common man. Sadly there is little
evidence of how people did react to such images. It is known however that
images of the Trinity became more and more popular due partly to the impact of
the Black Death (1348-50) and later epidemics. A judgemental God showing the
sacrifice of his son reminded parishioners of their temporary existence in the
world of the living. In Christianity mankind is held to be the children of God
created in his likeness,<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn40" name="_ftnref40" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[40]</span></span><!--[endif]--></span></a>
still retaining some traces of his image though distorted by the fall.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b> <span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></b><span style="font-family: "arial" , "helvetica" , sans-serif;">As for its place within the western canon of art Froment’s painting is
in the group of works after Masaccio’s famous fresco <i>The Holy Trinity</i> (667 x 317cm). This painting was to have a huge
affect on artists that came to <st1:city w:st="on">Florence</st1:city>
for the next two hundred years. More than likely Froment was aware of this
painting and, as already stated, his Trinity is thought to be in the style
similar to Masaccio’s with the composition symmetrically centred on the body of
Christ. The next major work of this kind would have been Fra Angelico’s <i>Virgin and Child Enthroned with SS John the
Evangelist, John the Baptist, Mark and Peter</i> (1433-6; Florence, Mus. S.
Marco). Examples of Froment’s contemporaries depicting the Trinity are
Enguerrand Quarton in <st1:country-region w:st="on">France</st1:country-region>
with his <i>Coronation of the Virgin</i> and
in <st1:country-region w:st="on">Germany</st1:country-region> the Polish artist
Jan Polack (1435-1519) with <i>Gottes Not</i>
(200 x 155cm; <st1:city w:st="on">Munich</st1:city>,
Bayer. Nmus.). Later generations within this same genre would be Albrecht
Dürer’s(1471-1528) <i>Adoration of the Most Holy Trinity by the Communion of Saints</i>( 135
x 123cm; Vienna, Kunsthistorisches Mus.)<i> </i>in
1511 and the Spanish artist José de Ribera’s (1591-1652) <i>Holy Trinity</i> in 1635(226 x 181cm; Osuna, Mus.A Sacro). This last
example follows the same order of God the Father bearing the weight of Christ
but this Christ is of the Caravaggio tradition of the weighty figure drenched
in light and wearing his blood-soaked loin cloth. These works show the natural
progression of increasing realism and pathos.</span><u><o:p></o:p></u></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b> <span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></b><span style="font-family: "arial" , "helvetica" , sans-serif;">Although never large in terms of population, <b>Uzés</b> was a town of
historical significance and contemporary importance in the fifteenth century,
when Froment would have been growing up there. Originally a primitive campsite
and then a Celtic settlement,<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn41" name="_ftnref41" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[41]</span></span><!--[endif]--></span></a>
its location on a limestone plateau above the <st1:place w:st="on"><st1:placename w:st="on">Alzon</st1:placename> <st1:placetype w:st="on">Valley</st1:placetype></st1:place>
made it desirable to the Roman invasion troops who established an advance camp
there called Castrum Ucetiense.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn42" name="_ftnref42" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[42]</span></span><!--[endif]--></span></a>
Christianity spread to Uzés as early as the second century, and the Roman
Temple of Mars, directly overlooking the valley to the east, eventually became
a place of Christian worship. At the beginning of the fifth century, Uzés was
made the centre of one of the most important bishopries of the <st1:place w:st="on"><st1:placetype w:st="on">Church</st1:placetype> of <st1:placename w:st="on">Languedoc</st1:placename></st1:place>.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Froment in all probability had launched his
artistic career in <st1:city w:st="on">Avignon</st1:city>
by 1465<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn43" name="_ftnref43" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[43]</span></span><!--[endif]--></span></a>
then a bustling, affluent cosmopolitan area of around 100,000 inhabitants.
Conditions there could not have been better for a talented young artist with
good credentials, as painting in particular thrived.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn44" name="_ftnref44" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[44]</span></span><!--[endif]--></span></a>
The departure of the popes from <st1:place w:st="on">Avignon</st1:place>
was in no way detrimental to the activity of the important community of the
artists that had developed in the city during the reign of the papacy there
from 1309-1377.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn45" name="_ftnref45" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[45]</span></span><!--[endif]--></span></a> Over
the next century or so, churches continued to be built and embellished, private
residences of aristocrats, wealthy merchants and religious continued to need
renovation and decoration, and the Palais des Papes itself continued to be
renovated and expanded, first by the antipopes (1378-1419)<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn46" name="_ftnref46" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[46]</span></span><!--[endif]--></span></a>
and then by the papal legates and governors appointed by Rome to rule Avignon
as an Apostolic Seat. Froment’s Avignon contemporaries would have included such
artists as Enguerrand Quarton from Laon, Pierre Villate from Limoges, Thomas
Grabuset from Besançon, Armand Tavernier from Lyon, Martin Pacaud from Bourges
and Jacques Paperoche from Picardy.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn47" name="_ftnref47" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[47]</span></span><!--[endif]--></span></a>
In spite of their diverse origins, they collaborated on commissions from the
city fathers and from private patrons, and they received individual commissions
from the same patrons such as René of Anjou. Thus stylistic influences and
resemblances among the works of these Avignon-based artists must have been
sufficient to define a “school” for that particular point in time, even though
its exact nature is unknown.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> New
Netherlandish influences enriched the earlier Italian trends to produce this
school of painting that was at once dramatic and richly detailed.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn48" name="_ftnref48" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[48]</span></span><!--[endif]--></span></a>
Comparatively few Provencal works from the fifteenth century are still extant
and an even smaller number are connected with known artists or are precisely
dated. This lack of knowledge about the specific artistic atmosphere
encountered by Nicolas Froment in Avignon in the mid 1460s contributes to the
difficult problem of identifying sources of influence that might have caused
Froment to put so much stylistic distance between his ‘<i>Lazurus</i>’ done in the Netherlands in 1460-1, and his <i>Burning Bush</i> done in Avignon or Aix
around 1475-6.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn49" name="_ftnref49" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[49]</span></span><!--[endif]--></span></a> What is
known about the period immediately following his return to the south of <st1:place w:st="on">France</st1:place>
is that Froment’s reputation as an artist grew and spread rapidly.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> To
put this work into context, patronage was vital to artists back then but as a
result of the outbreak of the Hundred Years War (1337-1453) political
instability among the <st1:place w:st="on">Valois</st1:place> princes led to a
decrease in Royal commissions for artwork.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn50" name="_ftnref50" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[50]</span></span><!--[endif]--></span></a>
However the <b>Court of René I, (1409-1480) (4<sup>th</sup> of Duke of Anjou (Duke
of Lorraine; Titular King of <st1:city w:st="on">Naples</st1:city> and <st1:state w:st="on">Sicily</st1:state>, <st1:country-region w:st="on">Hungary</st1:country-region>
and <st1:city w:st="on">Jerusalem</st1:city>)</b><a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn51" name="_ftnref51" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[51]</span></span><!--[endif]--></span></a>
to give his full title, became an important artistic centre in mid fifteenth
century <st1:place w:st="on">France</st1:place>.
René I held his residence in the city of <st1:city w:st="on">Avignon</st1:city>
and was Nicolas Froment’s principle patron from 1475 to 1480. His family
connections were impressive as he was the brother-in-law to Charles II, King of
France and the father-in-law of Henry VI King of <st1:place w:st="on">England</st1:place>.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn52" name="_ftnref52" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[52]</span></span><!--[endif]--></span></a>
The variety of his domains from western and eastern <st1:country-region w:st="on">France</st1:country-region>
to southern <st1:country-region w:st="on">Italy</st1:country-region>
influenced the art he commissioned. His enforced stay as a prisoner of Philip
the Good, Duke of Burgundy during the struggles for Bar and <st1:place w:st="on">Lorraine</st1:place> (1431-2, 1435-7) most likely
brought him into contact with Netherlandish painters. The earliest record of
the artist-patron relationship between Nicolas Froment and René is an entry in
the accounts kept by René’s treasurer, Jean de Vaux, for the year 1476.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn53" name="_ftnref53" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[53]</span></span><!--[endif]--></span></a>
His first commission was the iconographically complex <i>Mary in the Burning Bush</i> in 1475<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn54" name="_ftnref54" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[54]</span></span><!--[endif]--></span></a>
which now hangs in the south wall of the nave of the Cathedral of St. Sauveur
in <st1:place w:st="on">Aix-en-Provence</st1:place>.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn55" name="_ftnref55" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[55]</span></span><!--[endif]--></span></a>
This triptych depicts René of Anjou and his second Jeanne of Laval<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn56" name="_ftnref56" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[56]</span></span><!--[endif]--></span></a>
with several saints and was originally made for the Church of the Grands-
Carmes in Aix,<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn57" name="_ftnref57" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[57]</span></span><!--[endif]--></span></a> where
it hung until the French Revolution. This altarpiece also depicts God as a half
figure, in a carved panel above the central scene.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn58" name="_ftnref58" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[58]</span></span><!--[endif]--></span></a>
On the exterior wings of the altarpiece, the archangel and the Virgin stand in
niches of a masonry wall.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn59" name="_ftnref59" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[59]</span></span><!--[endif]--></span></a>
Several entries appear in René’s accounts of 1477 for payments made to “maistre
Nicolas peintre”<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn60" name="_ftnref60" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[60]</span></span><!--[endif]--></span></a> but it
is not until 14 November 1477 that an entry occurs with the full identification
of this artists as “Nycolas Froment, paintre du Roy de Sicille.”<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn61" name="_ftnref61" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[61]</span></span><!--[endif]--></span></a>
The <st1:place w:st="on"><st1:placename w:st="on">Hunt</st1:placename> <st1:placetype w:st="on">Museum</st1:placetype></st1:place>’s identification of René
commissioning this painting, if it is a Froment, is more than likely correct<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn62" name="_ftnref62" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[62]</span></span><!--[endif]--></span></a> as
well as the year of completion being 1475/6. Froment himself left no records
behind so this attribution is based on speculation.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> The
time and place of their first meeting is unknown or how Froment was brought to
René’s attention. Nevertheless it has been speculated that René was a painter
himself and that the young Froment was his protégé therefore developing his
Netherlandish style to please the taste of his master but there is no evidence
to back this claim. It is known however that René was in <st1:state w:st="on">Provence</st1:state>
from December 1437 to April 1435, October 1442 to February 1443,<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn63" name="_ftnref63" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[63]</span></span><!--[endif]--></span></a> in 1453-4 and again from May 1457 until
January 1462 and that he made visits to <st1:city w:st="on">Avignon</st1:city>
during these periods. René could have possibly encountered Froment’s many
artistic works for the Town Council and it is also believed that Froment might
have worked on the house and chapel of the Bishop of Uzés, Jean de Mareuil in
1465 bringing him to the attention of local officials.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn64" name="_ftnref64" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[64]</span></span><!--[endif]--></span></a>
If Froment was not brought to René’s attention in the 1460s he would certainly
have moved into René’s social sphere when he was called from <st1:city w:st="on">Avignon</st1:city> to Aix in early 1470 to work for
Catherine Spiefami Guiran, widow of Lanugier Guiran<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn65" name="_ftnref65" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[65]</span></span><!--[endif]--></span></a>
to paint an altarpiece. Froment must have flourished under the direct exposure
of René who was a serious literary scholar, linguist, writer, poet and painter.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn66" name="_ftnref66" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[66]</span></span><!--[endif]--></span></a>
It is René’s writings on a variety of subjects such as religious morals (<i>Mortifiement de Vauvie Plaisance</i><a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn67" name="_ftnref67" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[67]</span></span><!--[endif]--></span></a>)
that distinguishes him from most contemporary patrons. From 1477 onwards<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn68" name="_ftnref68" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[68]</span></span><!--[endif]--></span></a>
Froment was working exclusively as René’s ‘peintre du roy’<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn69" name="_ftnref69" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[69]</span></span><!--[endif]--></span></a> a
position once held by Barthélemy d’Eyck.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn70" name="_ftnref70" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[70]</span></span><!--[endif]--></span></a>
Aside from the general decoration of the <st1:city w:st="on">Avignon</st1:city>
premises of the duke, Froment continued to produce individual paintings for his
patron. He was paid by René for ‘certain paintings which the said lord has
devised’<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn71" name="_ftnref71" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[71]</span></span><!--[endif]--></span></a> which
could indeed include <i>God the Father.</i></span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> Unfortunately,
apart from the <i><b>Burning Bush</b>, </i>the <i><b>Naval Combat of Turks and Christians</b></i> is
the only painting produced for René by Froment which is identified by subject
matter in the accounts of payment.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn72" name="_ftnref72" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[72]</span></span><!--[endif]--></span></a> A
portrait diptych of René and his wife known as the <i>Matheron Diptych</i> (1476) [Appendix C]preserved in the Louvre since
1891, is widely accepted as a work of Froment or his studio.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn73" name="_ftnref73" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[73]</span></span><!--[endif]--></span></a>
Nicolas Froment’s last known task for the duke was the repainting of his horse
armour in November 1479.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn74" name="_ftnref74" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[74]</span></span><!--[endif]--></span></a>
The death of the duke on 10 July 1480 undoubtedly had serious consequences
throughout the Provencal artistic community. In hindsight this event can be
seen as a catastrophe for Froment who devoted five years of his life to satisfy
René’s artistic needs. Froment, who had maintained his residence and workshop
in <st1:city w:st="on">Avignon</st1:city>
during the René years, reverted back to his status as an independent artist.
Only two commissions are recorded as being completed by Froment after his court
career with both of them being from the city of <st1:city w:st="on">Avignon</st1:city>. Therefore Froment’s attempt to
regain his former level of professional activity was probably not successful.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> The
materials of this piece are typical of the age. It is executed on an oak panel<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn75" name="_ftnref75" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[75]</span></span><!--[endif]--></span></a>
which would have been the most suitable wood for a triptych for its stability
and durability. The type of wood employed can be used in determining its
origins.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn76" name="_ftnref76" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[76]</span></span><!--[endif]--></span></a>Oak was
used almost exclusively in the North for panel painting in the fifteenth
century onwards as opposed to other softer woods more frequently used in the
south of France and in Italy such as walnut, poplar, pine, spruce, cherry, etc.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn77" name="_ftnref77" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[77]</span></span><!--[endif]--></span></a>
Although the use of oak is not positive evidence in itself of the Northern
origin of a panel painting but oak panels have been called “l’essence- type des
écoles de Nord.”<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn78" name="_ftnref78" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[78]</span></span><!--[endif]--></span></a> On a
summation graph for panel painting in various European countries in the
fifteenth century Jacqueline Marette lists <st1:place w:st="on">Italy</st1:place>’s over-all usage of oak at
just 1.5%.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn79" name="_ftnref79" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[79]</span></span><!--[endif]--></span></a> Poplar
was employed in Froment’s only other documented work <i>Burning Bush</i> (1475) and the <i>Matheron
Diptych.</i> Before the actually painting could begin the panel had to be first
coated with a white plaster providing the artist with a highly polished surface
on which to paint.<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn80" name="_ftnref80" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[80]</span></span><!--[endif]--></span></a> <i>God the Father</i> was done probably in a
mixture of egg and oil tempera to bind the pigments hence the fine network of
cracks that can be seen on the painting’s surface especially on the gold
background. The use of gold was to denote the patron’s wealth as it was in
short supply in <st1:place w:st="on">Europe</st1:place> by this century. It was
in the middle of this century that novel oil painting methods were being
introduced from <st1:place w:st="on">Northern Europe</st1:place>. In these
transitional years the egg medium was often used in combination with separate
layers of oil-based paints, either for lighter coloured areas or more
particularly as a quick-drying under-paint for subsequent oil-based glazes. Depending
on the number of layers a panel painting with take several months<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn81" name="_ftnref81" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[81]</span></span><!--[endif]--></span></a>
to complete when the drying-period is taken into consideration. The painting is
in overall good condition and small cosmetic defects such as varnish been too
glossy or relative humidity damage (RH) are stated in the collection survey
form.</span><a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn82" name="_ftnref82" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;"><span style="font-family: "arial" , "helvetica" , sans-serif;">[82]</span></span></span><!--[endif]--></span></a><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> This
work is displayed on the ground floor in the room known as <b>the Treasury</b> and, as
with the rest of the <b>Hunt Museum</b>, it groups its objects by genre. Along with
Froment’s <i>God the Father</i> this room
includes other religiously themed works of special interest such as <i><b>The Galway Chalice</b></i>, <i><b>The St. Patrick Reliquary Bust </b></i>and <i><b>The Bernardo Daddi Crucifixion Scene</b>. </i>This panel painting is hung
behind glass in an alcove in the shape of a Gothic arch. Within this individual
display is <i><b>The Arthur Chalice</b></i> which
is housed on behalf of the <b>Roman Catholic Diocese of Limerick</b>.</span> <span style="font-family: "arial" , "helvetica" , sans-serif;">The Treasury is
a great example of how some museums try to place an object within its original
intended cultural setting. This is important as it cannot be forgotten that
this work is a functional piece and was never intended to be looked at for its
aesthetic value but to draw awe from its viewer. Its bright rich colours and
gold background were meant to jump out from its dark, solemn surroundings in a
Gothic church which would have had little natural light, recreated here by the
museum. There is clever use of light with just the one, almost celestial light
source coming from above the painting. The impact of this painting would have
been lost if it was placed on a white wall along with its artistic and
religious heritage. The painting itself is framed within what looks like a
temporary hard wood frame that has been amateurishly aged with dabs of yellow
paint when viewed up close. The frame’s inappropriateness was noted in the
collection survey form<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn83" name="_ftnref83" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[83]</span></span></span></a>.</span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Promotion of this painting is
important as it can facilitate the viewer’s understanding of fifteenth century
Western culture. Museums of all kinds play vital roles in the characterization
and evaluation of cultures<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftn84" name="_ftnref84" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt;">[84]</span></span><!--[endif]--></span></a>
and it is their duty to communicate this information to the public as the
museum needs the public just as much as the public need the museum. The
Treasury is a fascinating collection of religious relics, paintings and
especially altarpieces. Even in our modern world where religion does not play
as large a role in our lives as it once did, it is still beneficial to see how
the lives and sacrifices of various saints, the sacraments of mass and the
afterlife weighed heavily on their minds. It moulded their lives and their
interactions with each other; it was part of their weekly ritual as well as
providing a gathering place for the community. This work should be promoted as
a glimpse into a culture that was dictated by the Church which has resonance
with our own country as the same could be said of <st1:country-region w:st="on">Ireland</st1:country-region> up until at least the
1960s.</span> <span style="font-family: "arial" , "helvetica" , sans-serif;">One does not have to be particularly religious or spiritual to
appreciate the craftsmanship that went into assembling this altarpiece. </span><o:p></o:p></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 36.0pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"> The
people of Limerick are very fortunate to have such an historic artefact on
their doorstep by an artist who has work exhibited in galleries in <st1:country-region w:st="on">France</st1:country-region>, <st1:country-region w:st="on">Italy</st1:country-region>
and the <st1:country-region w:st="on">United States</st1:country-region>.
As with most things public taste in art goes round in cycles as Froment and
other Gothic ‘primitive’ artists gained popularity in the Victorian era as with
all things Gothic and again in the 1930s when <b>John and Gertrude Hunt</b> began
collecting around Europe. <st1:place w:st="on">Limerick</st1:place> is
concentrating its efforts more and more to promoting its medieval heritage so
hopefully it will start to showcase Nicolas Froment’s <i>God the Father</i> and similar works.</span><o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0WxBl2va4CmAIJzskZVtbTVNIh8RGqMc8OY8fUlIFSCQ7vIk0uKau3hw_8CsqvnyTdKBZqZhn-cm8WZv43NCuMPAdIDdqpst5a_kjBVW1L1w5CgqMu2y4YGaf4VXPfAxpJVz3Zah-drg0/s1600/The-Hunt-Museum.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0WxBl2va4CmAIJzskZVtbTVNIh8RGqMc8OY8fUlIFSCQ7vIk0uKau3hw_8CsqvnyTdKBZqZhn-cm8WZv43NCuMPAdIDdqpst5a_kjBVW1L1w5CgqMu2y4YGaf4VXPfAxpJVz3Zah-drg0/s640/The-Hunt-Museum.JPG" width="640" /></a></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify; text-indent: 36.0pt;">
<br /></div>
<br />
<div>
<!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[1]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> <i>Art Treasures in Thomond held
at Limerick Art Gallery</i>, (Limerick, Limerick Leader, 1952), p.3.</span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> According to John M. O’Connor, Solicitor to Trudy Hunt [interviewed
21 May 2007] http://www.ria.ie/pdfs/huntreport.pdf</span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[3]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Helen Armitage, <i>The <st1:placename w:st="on">Hunt</st1:placename> <st1:placetype w:st="on">Museum</st1:placetype>;
Essential Guide</i>, (<st1:place w:st="on"><st1:city w:st="on">London</st1:city></st1:place>,
2002).</span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[4]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Patrick F. Doran, <i>50
Treasures of the Hunt Collection</i>, (Limerick, The Hunt Museum Executive,
1993). </span></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[5]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>This is based on the
assumption that Froment had completed his apprenticeship and was of legal age,
i.e. twenty-five years or over, by the time he received his commission to paint
the <i>Resurrection of Lazarus</i> in 1460.
[Marion Lou Grayson, <i>The Northern Origin
of Nicolas Froment’s ‘Resurrection of Lazurus’ Altarpiece in the Uffizi Gallery</i>,
(PhD. diss., Columbia Uni., 1979), p.6.<o:p></o:p></div>
<div class="MsoFootnoteText">
<br /></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[6]</span></span><!--[endif]--></span></span></a><span lang="FR"> Baronne de Charnisay ‘Les chiffres de M.
l’Abbay</span><span lang="FR" style="font-family: "simhei"; mso-ansi-language: FR;">é</span><span lang="FR"> Rouquet: Étude sur les fugitifs du
Languedoc [Uzés]’, <i>Bulletin de la Société
de l’Histoire de Protestantisme Français, </i>lxv, 1916, p.138.<o:p></o:p></span></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[7]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Marion Spears Grayson
‘The Northern Origin of Nicolas Froment’s Resurrection of Lazarus Altarpiece in
the Uffizi Gallery, <i>The Art Bulletin, </i>Vol.
58, No.3, (Sept.,1976),p. 350.<o:p></o:p></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[8]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Ibid.<o:p></o:p></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[9]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>The last record of the
living artist is a distribution of grain made to him on 21 March 1483 by Paulet
Heydine, treasurer of grain in <st1:city w:st="on">Avignon</st1:city>.
He was definitely deceased by 23 Dec 1484 when his property was sold. [Ibid.]. <o:p></o:p></div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[10]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Helen Armitage, <i>The Hunt Museum; Essential Guide</i>, (<st1:place w:st="on">London</st1:place>, 2002), p.29.<o:p></o:p></div>
</div>
<div id="ftn11">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[11]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Emile Male, <i>Religious Art in France, </i>(<st1:place w:st="on">Princeton</st1:place>, 1986), p.53.<o:p></o:p></div>
</div>
<div id="ftn12">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[12]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grayson, <i>Northern Origin</i>, p.1.<o:p></o:p></div>
</div>
<div id="ftn13">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[13]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>The inscription says
“Nicolaus Frumenti absolvit hoc opus XVKL. <span lang="FR">Junii MºCCCCºLXIº.”<o:p></o:p></span></div>
</div>
<div id="ftn14">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[14]</span></span><!--[endif]--></span></span></a><span lang="FR"> Charles Sterling. ‘Tableaux Français
inédits: Provence’, <i>L’Oeil, </i>425,
(Dec., 1990), pp.46-53.<o:p></o:p></span></div>
</div>
<div id="ftn15">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[15]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grove Art Online. <st1:place w:st="on"><st1:placename w:st="on">Oxford</st1:placename> <st1:placetype w:st="on">University</st1:placetype></st1:place>
Press. [7 Nov. 2007], http://www.groveart.com/<o:p></o:p></div>
</div>
<div id="ftn16">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[16]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grayson, <i>‘Resurrection of Lazurus’</i> p.357.<o:p></o:p></div>
</div>
<div id="ftn17">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[17]</span></span><!--[endif]--></span></span></a><span lang="FR"> Groveart.<o:p></o:p></span></div>
</div>
<div id="ftn18">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[18]</span></span><!--[endif]--></span></span></a><span lang="FR"> F. Joubert, <i>Jacques Daret et Nicolas Froment: Cartonniers de tapisseries, </i>Rev.
A, 88, (Paris, 1990), pp.39-47.<o:p></o:p></span></div>
</div>
<div id="ftn19">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[19]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Britannica Encyclopaedia
Online 2007. [12 Nov. 2007].
http://www.britannica.com/ed/article9035490/Nicolas-Froment<o:p></o:p></div>
</div>
<div id="ftn20">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[20]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Patrick M. de Winter.
Grove Art Online. <st1:place w:st="on"><st1:placename w:st="on">Oxford</st1:placename>
<st1:placetype w:st="on">University</st1:placetype></st1:place> Press. [7 Nov.
2007] http://www.groveart.com/<o:p></o:p></div>
</div>
<div id="ftn21">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref21" name="_ftn21" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[21]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>It is also believed
that he possibly had a second son who died very young.<o:p></o:p></div>
</div>
<div id="ftn22">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref22" name="_ftn22" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[22]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Armitage, <i>Hunt Museum,</i> p.29.<o:p></o:p></div>
</div>
<div id="ftn23">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref23" name="_ftn23" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[23]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Peter Humfrey, <i>The Altarpiece in Renaissance Venice</i>, (<st1:place w:st="on">London</st1:place>, 1993), p.57.<o:p></o:p></div>
</div>
<div id="ftn24">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref24" name="_ftn24" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[24]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Marilyn Smith,
‘Altarpiece.’ Grove Art Online. <st1:place w:st="on"><st1:placename w:st="on">Oxford</st1:placename>
<st1:placetype w:st="on">University</st1:placetype></st1:place> Press. [21
Nov. 2007]. http://www.groveart.com<o:p></o:p></div>
</div>
<div id="ftn25">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref25" name="_ftn25" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[25]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>‘Go ye therefore, and
teach all nature<o:p></o:p></div>
<div class="MsoFootnoteText">
Baptizing them in the name of the Father
and of the Son,<o:p></o:p></div>
<div class="MsoFootnoteText">
And of the Holy Ghost.’<o:p></o:p></div>
</div>
<div id="ftn26">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref26" name="_ftn26" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[26]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Alexander Nagel
‘Altarpiece,’ Grove Art Online. <st1:place w:st="on"><st1:placename w:st="on">Oxford</st1:placename>
<st1:placetype w:st="on">University</st1:placetype></st1:place> Press.[21
Nov.2007] http://www.groveart.com<o:p></o:p></div>
</div>
<div id="ftn27">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref27" name="_ftn27" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[27]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><i>Art Treasures in Thomond</i>, p.3<o:p></o:p></div>
</div>
<div id="ftn28">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref28" name="_ftn28" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[28]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span><st1:place w:st="on"><st1:placename w:st="on">Hunt</st1:placename> <st1:placetype w:st="on">Museum</st1:placetype></st1:place> Archives [Assessed 5/12/07] Ref No:
HM/ARCH/A1/01388(7).<o:p></o:p></div>
</div>
<div id="ftn29">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref29" name="_ftn29" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[29]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Male, <i>Religious Art, </i>p. 47.<o:p></o:p></div>
</div>
<div id="ftn30">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref30" name="_ftn30" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[30]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Ibid. <o:p></o:p></div>
</div>
<div id="ftn31">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref31" name="_ftn31" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[31]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Ibid. <o:p></o:p></div>
</div>
<div id="ftn32">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref32" name="_ftn32" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[32]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Armitage, p.29<o:p></o:p></div>
</div>
<div id="ftn33">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref33" name="_ftn33" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[33]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>John Bowker, <i>God- A Brief History; the Human Search for
Eternal Truth</i>, (<st1:place w:st="on">London</st1:place>,
2002), p.286.<o:p></o:p></div>
</div>
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref34" name="_ftn34" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[34]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Ursula Rowlett,
‘Popular Representations of the Trinity in <st1:place w:st="on">England</st1:place>, 990-1300,’ <i>Folklore</i>, Vol. 112, No.2, (Oct., 2001),
p.207.<o:p></o:p></div>
</div>
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref35" name="_ftn35" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[35]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Leslie Ross, <i>Medieval Art; A Topical Dictionary</i>, (<st1:place w:st="on">London</st1:place>, 1996), p.251.<o:p></o:p></div>
</div>
<div id="ftn36">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref36" name="_ftn36" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[36]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>R.N. Swanson, <i>Religion and Devotion in Europe,
c.1215-c.1515, </i>(<st1:place w:st="on">Cambridge</st1:place>,
2000), p.87.<o:p></o:p></div>
</div>
<div id="ftn37">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref37" name="_ftn37" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[37]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Craig Harbison, <i>The Art of the Northern Renaissance, </i>(<st1:city w:st="on">London</st1:city>, 1995), p.67.<o:p></o:p></div>
</div>
<div id="ftn38">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref38" name="_ftn38" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[38]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>‘And when Jesus had
been baptized just as he came up from the water,<o:p></o:p></div>
<div class="MsoFootnoteText">
Suddenly the heavens were opened to him
and he saw<o:p></o:p></div>
<div class="MsoFootnoteText">
The Spirit of God descending like a dove
and alighting on him.’ [Tim Dowley (ed.), <i>A
Lion Handbook; the History of Christianity, </i>(Edinburgh, 1996), p.334.<o:p></o:p></div>
</div>
<div id="ftn39">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref39" name="_ftn39" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[39]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Rowlett, ‘Popular
Representations,’ p.206.<o:p></o:p></div>
</div>
<div id="ftn40">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref40" name="_ftn40" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[40]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Don Denny, ‘The
Trinity in Enguerrand Quarton’s Coronation of the Virgin,’ <i>The Art Bulletin, </i>Vol. 45, No.1, (Mar., 1963), p.49.<o:p></o:p></div>
</div>
<div id="ftn41">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref41" name="_ftn41" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[41]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Marion Lou Grayson,
p.17.<o:p></o:p></div>
</div>
<div id="ftn42">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref42" name="_ftn42" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[42]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Ibid, p.18.<o:p></o:p></div>
</div>
<div id="ftn43">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref43" name="_ftn43" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[43]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Ibid, p.44.<o:p></o:p></div>
</div>
<div id="ftn44">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref44" name="_ftn44" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[44]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Paula Hutton, ‘Art Life and Organisation.’ Grove Art Online. <st1:place w:st="on"><st1:placename w:st="on">Oxford</st1:placename> <st1:placetype w:st="on">University</st1:placetype></st1:place>
Press, [21 Nov. 2007]. http://www.groveart.com</span><o:p></o:p></div>
</div>
<div id="ftn45">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref45" name="_ftn45" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[45]</span></span><!--[endif]--></span></span></a><span lang="FR"> H. Chobaut, <i>Avignon et le Comtat Venaisin, </i>(Paris, 1950), pp.51-3.<o:p></o:p></span></div>
</div>
<div id="ftn46">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref46" name="_ftn46" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[46]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grayson, p.43.<o:p></o:p></div>
</div>
<div id="ftn47">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref47" name="_ftn47" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[47]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Ibid. p.47.<o:p></o:p></div>
</div>
<div id="ftn48">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref48" name="_ftn48" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[48]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Hutton, ‘Art Life.’<o:p></o:p></div>
</div>
<div id="ftn49">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref49" name="_ftn49" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[49]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grayson, p.48.<o:p></o:p></div>
</div>
<div id="ftn50">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref50" name="_ftn50" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[50]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>A. Demarquay Rook,
‘René I, 4<sup>th</sup> Duke of <st1:place w:st="on">Anjou</st1:place>,’
Grove Art Online. <st1:place w:st="on"><st1:placename w:st="on">Oxford</st1:placename>
<st1:placetype w:st="on">University</st1:placetype></st1:place> Press.[ 22
Nov. 2007], http://www.groveart.com<o:p></o:p></div>
</div>
<div id="ftn51">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref51" name="_ftn51" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[51]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Ibid.<o:p></o:p></div>
</div>
<div id="ftn52">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref52" name="_ftn52" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[52]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Ibid.<o:p></o:p></div>
</div>
<div id="ftn53">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref53" name="_ftn53" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[53]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grayson, p.55.<o:p></o:p></div>
</div>
<div id="ftn54">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref54" name="_ftn54" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[54]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grayson, <i>Resurrection of Lazurus</i>, p.356.<o:p></o:p></div>
</div>
<div id="ftn55">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref55" name="_ftn55" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[55]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Britannica
Encyclopaedia Online 2007. Assessed 8 Nov. 2007.
http://ww.britannica.com/ed/article-9035490/Nicolas-Froment<o:p></o:p></div>
</div>
<div id="ftn56">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref56" name="_ftn56" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[56]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>His first marriage was
to Isabelle of Lorraine in 1420. She died in 1453 [Grove Art].<o:p></o:p></div>
</div>
<div id="ftn57">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref57" name="_ftn57" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[57]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grayson, p.55.<o:p></o:p></div>
</div>
<div id="ftn58">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref58" name="_ftn58" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[58]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Emily Harris, ‘Mary in
the Burning Bush; Nicolas Froment’s Triptych at <st1:place w:st="on">Aix-en-Provence</st1:place>,’<i> Journal of the Warburg Institute, </i>Vol. 1, No. 4, (Apr., 1938),
pp.281-86.<o:p></o:p></div>
</div>
<div id="ftn59">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref59" name="_ftn59" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[59]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Charles I. Minott, ‘A
note on Nicolas Froment’s “Burning Bush” Triptych,’ <i>Journal of the Warburg and Courtauld Institute,</i> Vol.25, No.3 / 4,
(Jun.-Dec., 1962), pp. 323-325.<o:p></o:p></div>
</div>
<div id="ftn60">
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<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref60" name="_ftn60" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[60]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grayson, p.55.<o:p></o:p></div>
</div>
<div id="ftn61">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref61" name="_ftn61" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[61]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grove Art
Online.Asessessed [7 Nov.2007] http://www.groveart.com.<o:p></o:p></div>
</div>
<div id="ftn62">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref62" name="_ftn62" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[62]</span></span><!--[endif]--></span></span></a><span lang="FR"> Armitage, <i>Hunt Museum, </i>p.29.<o:p></o:p></span></div>
</div>
<div id="ftn63">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref63" name="_ftn63" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[63]</span></span><!--[endif]--></span></span></a><span lang="FR"> Yoshiaki Nishino, ‘Le Triptych de
l’Annonciation d’Aix et son Programme iconography,’ <i>Artibus et Historiae, </i>Vol. 20, No.39, (1999), pp.55-74.<o:p></o:p></span></div>
</div>
<div id="ftn64">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref64" name="_ftn64" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[64]</span></span><!--[endif]--></span></span></a><span lang="FR"> L.H. Labande ‘Notes sur quelques
Primitifs de Provence Part II: Nicolas Froment,’ <i>Gazette des Beaux –Arts, </i>IX, 1933, p.86, n.1.<o:p></o:p></span></div>
</div>
<div id="ftn65">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref65" name="_ftn65" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[65]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grove Art.<o:p></o:p></div>
</div>
<div id="ftn66">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref66" name="_ftn66" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[66]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grayson, p.58<o:p></o:p></div>
</div>
<div id="ftn67">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref67" name="_ftn67" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[67]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Demarquay Rook, Grove
Art Online. <st1:place w:st="on"><st1:placename w:st="on">Oxford</st1:placename>
<st1:placetype w:st="on">University</st1:placetype></st1:place> Press.<o:p></o:p></div>
</div>
<div id="ftn68">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref68" name="_ftn68" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[68]</span></span><!--[endif]--></span></span></a><span lang="FR"> Charles Sterling, ‘Nicolas Froment,
peintre du nord de la France’ <i>Études
d’art medieval offertes á Louis Grodecki, </i>(Paris, 1981), pp.325-36.<o:p></o:p></span></div>
</div>
<div id="ftn69">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref69" name="_ftn69" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[69]</span></span><!--[endif]--></span></span></a><span lang="FR"> Grayson, p.62.<o:p></o:p></span></div>
</div>
<div id="ftn70">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref70" name="_ftn70" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[70]</span></span><!--[endif]--></span></span></a><span lang="FR"> M. Laclotte and D. Thiébaut, ‘L’Ecole
d’Avignon,’ (Paris, 1983), pp.219-20.<o:p></o:p></span></div>
</div>
<div id="ftn71">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref71" name="_ftn71" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[71]</span></span><!--[endif]--></span></span></a><span lang="FR"> Grove Art<o:p></o:p></span></div>
</div>
<div id="ftn72">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref72" name="_ftn72" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[72]</span></span><!--[endif]--></span></span></a><span lang="FR"> F. Perrot, J.L.Taupin and F. Enaud ‘Le
Roi René Avignon’, <i>Archéologie</i>,
No.73, (August, 1974), pp.21-38.<o:p></o:p></span></div>
</div>
<div id="ftn73">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref73" name="_ftn73" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[73]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Grayson, p.67.<o:p></o:p></div>
</div>
<div id="ftn74">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref74" name="_ftn74" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[74]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Ibid, p.73.<o:p></o:p></div>
</div>
<div id="ftn75">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref75" name="_ftn75" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[75]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Patrick M.de Winter,
‘Nicolas Froment’ Grove Art Online. Oxford <st1:placetype w:st="on">University</st1:placetype>
Press.[7 Nov.2007], http://www.groveart.com<o:p></o:p></div>
</div>
<div id="ftn76">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref76" name="_ftn76" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[76]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Harbison, <i>Northern Renaissance, </i>p.70.<o:p></o:p></div>
</div>
<div id="ftn77">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref77" name="_ftn77" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[77]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Jill Dunkerton, ‘Panel
Painting,’ Grove Art Online. <st1:place w:st="on"><st1:placename w:st="on">Oxford</st1:placename>
<st1:placetype w:st="on">University</st1:placetype></st1:place> Press. [21
Nov. 2007}. http://www.groveart.com<o:p></o:p></div>
</div>
<div id="ftn78">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref78" name="_ftn78" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[78]</span></span><!--[endif]--></span></span></a><span lang="FR"> Jacqueline Marette <i>La Connaissance des primitifs par l’etude du bois du xlle ai xvle
siècle, </i>(Paris, 1961), p.74.<o:p></o:p></span></div>
</div>
<div id="ftn79">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref79" name="_ftn79" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[79]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Ibid, p.75.<o:p></o:p></div>
</div>
<div id="ftn80">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref80" name="_ftn80" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[80]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Harbison, p.74.<o:p></o:p></div>
</div>
<div id="ftn81">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref81" name="_ftn81" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[81]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Harbison, <i>Northern Renaissance, </i>p.75.<o:p></o:p></div>
</div>
<div id="ftn82">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref82" name="_ftn82" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[82]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> Appendix A</span></div>
</div>
<div id="ftn83">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref83" name="_ftn83" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[83]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> The Hunt Museum Collection survey form [4/12/96]. Museum Archives Ref
No: HM/ARCH/A1/01388(4).</span></div>
</div>
<div id="ftn84">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/Emma/Desktop/D%20Drive/MA/MA%20essays/Nicolas%20Froment%20Essay.doc#_ftnref84" name="_ftn84" title=""><span class="MsoFootnoteReference"><span lang="EN-GB"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 10.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">[84]</span></span><!--[endif]--></span></span></a><span lang="EN-GB"> </span>Peter Jones,’ Museums
and the Meanings of their Contents,’ <i>New
Literary History, </i>Vol. 23, No. 4, (Autumn, 1992), p.911.<o:p></o:p></div>
</div>
</div>
Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-48613589876887241422015-12-02T11:17:00.000+00:002015-12-04T15:14:56.223+00:00Limerick Maternity Hospital<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZHTSDW1tqLPWg7rOTvsq2sEF3A0J8exGObkLo1gfYnxkcIChbvaWm0J1ZO0syeoRbtfvzw5BTXHK4yS9YV_UwDRb9ReyMUFBUYTscagX62NrE6brdhKuA3HSuBtZu5NYsoTzUlxUdlfdW/s1600/q0YWfqnEQ7FtiZuNUcjpTQAnAW3GSdfpLauoMbc0Ms0%253Dw1044-h462-no.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZHTSDW1tqLPWg7rOTvsq2sEF3A0J8exGObkLo1gfYnxkcIChbvaWm0J1ZO0syeoRbtfvzw5BTXHK4yS9YV_UwDRb9ReyMUFBUYTscagX62NrE6brdhKuA3HSuBtZu5NYsoTzUlxUdlfdW/s640/q0YWfqnEQ7FtiZuNUcjpTQAnAW3GSdfpLauoMbc0Ms0%253Dw1044-h462-no.jpg" width="640" /></a></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">Two months ago it was announced that Limerick’s Maternity hospital will be relocating to the main
campus of University Hospital Limerick under the government’s €27 billion
capital plan<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[1]</span></span><!--[endif]--></span></a>. However there
is no mention of what will happen to the hospital building. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">Limerick's obstetrics and midwifery
services are centralised in the Mid-Western Regional Maternity Hospital located
on the Ennis Road, north of the city centre. I can see the logic behind this
move for those cases that require a newborn to be rushed from the Ennis Road to
University Hospital Limerick in Dooradoyle. Battling the traffic each minute must seem like an hour to any parent. It is natural that a high proportion of people in Limerick choose to live in that area near the hospital rather than the city centre. </span><span style="font-family: "arial" , sans-serif; font-size: 16px;">Best practice internationally confirms that the preferred site for a maternity hospital is to be co-located with an acute hospital. Nevertheless</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 200%;"> I will be sad to see the
end of the stand alone maternity hospital. </span><span style="font-family: "arial" , sans-serif; font-size: 16px; line-height: 200%;">This is where the future of the hospital remains uncertain and if it shall still remain, in some shape or form, a hospital or care unit or even if it will be demolished.</span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 200%;">It is a building type that emerged in
the last century and will go in this one. </span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 200%;">My mother was born in a nursing home, her
four children in the Limerick Maternity Hospital. Her first grandchild was born in that hospital in February of this year. If she has
any more grandchildren it looks like they will be born in the mammoth University Hospital
Limerick campus. It was a joy to be able just walk up into this medium-sized hospital to visit my new nephew without the screeching ambulances of A&E. There is something so intimate about a site dedicated purely to waddling women and babies. </span></div>
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<span style="font-family: "arial" , "sans-serif";"><br /><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeor4JAYk463bVHHrnRpvQS1k_kX-lKFmLv8YIE8rp1gfZz5NS0JbWvqQyQPcp0hLdfHwNhDmmO__o749VfNfNHjct2g4-ollUCAva_vueOmAiijCjf2X4JlYCBIxWZ7lREKUZ9Oe-bhhk/s1600/OS+Map+of+Limerick+1872+showing+Bellefield+House.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeor4JAYk463bVHHrnRpvQS1k_kX-lKFmLv8YIE8rp1gfZz5NS0JbWvqQyQPcp0hLdfHwNhDmmO__o749VfNfNHjct2g4-ollUCAva_vueOmAiijCjf2X4JlYCBIxWZ7lREKUZ9Oe-bhhk/s320/OS+Map+of+Limerick+1872+showing+Bellefield+House.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">OS Map of Limerick (1872) showing Bellefield House</td></tr>
</tbody></table>
</span></div>
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<b><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">History of maternity care in Limerick<o:p></o:p></span></b></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">Up
to the 1950s, home births were the norm in Ireland and Lying-in or Maternity Hospitals
was considered to be for the use of the poor or if medical intervention was
required. The Hospitals Commission Report 1933-6 noted that the practice of
calling for the ‘handywoman’ if help was needed during home deliveries. The
‘handywoman’ was a sort of traditional, untrained midwife who would often
through her ignorance of sources of infection, cause death by septicaemia. It
would not be until 1918 through the Midwives (Ireland) Act that midwifery was
regulated. The first Lying –in Hospital<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5P0jMQ37PmO5jp26yaMk5FPNnf5ozHmqZXVscgMQUph__Pkg60uahCqt0ezZqJNHzMKrR40EV0cNPn4CbzNQiRp8dIiTIQ2VW8MvsG5BQ8QitwKucrnDyEFWNYzOGj9iHdWOR2t5ZDDdB/s1600/maternity+2.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5P0jMQ37PmO5jp26yaMk5FPNnf5ozHmqZXVscgMQUph__Pkg60uahCqt0ezZqJNHzMKrR40EV0cNPn4CbzNQiRp8dIiTIQ2VW8MvsG5BQ8QitwKucrnDyEFWNYzOGj9iHdWOR2t5ZDDdB/s200/maternity+2.JPG" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lying-in Hospital, Bedford Row</td></tr>
</tbody></table>
in Limerick was founded in 1812 as a
voluntary hospital and then moved to junction of Bedford Row and Henry Street in
1866 and from then on was known as the Bedford Row Lying-in Hospital<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[2]</span></span><!--[endif]--></span></a>.
Service slowly expanded and a training centre for midwives as set up at the end
of the nineteenth century. In 1935 the Hospital took over the domiciliary
maternity services for the City with the appointment of a midwife to attend
women in their homes during childbirth. From its foundation, the Hospital was
critically dependent on subscriptions and fundraising which was organised by
the Ladies Management Committee, populated by many of the wives of attending
doctors at the Hospital. The religious orders were not involved in the running
of Bedford Row as nuns were not permitted to nurse maternity cases at that time
however St Munchin’s parish has and always had provided a chaplaincy service
for the hospital. </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 200%;">Alternatively
births also took place in the city up until the early 1980s in Nursing Homes
which were often in private houses such as St Anthony’s on Barrington’s Street
or ‘Mrs Moloney’s’ in the Irish Estates, Corbally.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7KGlBEMj7Q5ByReuQ2tNgROgA774t0L8gtqnOLGGvzuti0wGmLMRjuC5kPJmf_ZHqDEsziItjq6CkOuElK31EC-DO9mFcCqvflkEz55yXVSnWQG-hjZ1DasardF7NRrzaGoEPajSblTjQ/s1600/maternity+3.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="408" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7KGlBEMj7Q5ByReuQ2tNgROgA774t0L8gtqnOLGGvzuti0wGmLMRjuC5kPJmf_ZHqDEsziItjq6CkOuElK31EC-DO9mFcCqvflkEz55yXVSnWQG-hjZ1DasardF7NRrzaGoEPajSblTjQ/s640/maternity+3.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The new hospital was located on the other side of Sarsfield Bridge (left hand side of photo). Image<br />
taken from Limerick Museum & Archives</td></tr>
</tbody></table>
</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">The location of the new maternity
hospital<o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">The
Lying-In Hospital could not cope with the number of births for the city and the
use of private maternity homes became increasingly popular during the twentieth
century<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[3]</span></span><!--[endif]--></span></a>.
The Hospital Commission first advised in 1933 that a fresh site should be
bought for the building of a new maternity hospital and the site identified as
Belfield, just north of the river Shannon was purchased for £2000 in 1935 with
the purchase also of old Belfield House for an additional £3000 in 1936 to
provide a larger site. In 1936 the Department of Local Government and Public
Health put forward the proposal that a large maternity hospital consisting of
eighty-six beds to be built in the city that would cater for the poor as well
as those who could afford to pay. Thus in 1938 legislation was introduced in
the Dail to build a maternity hospital and the site on the Ennis Road was
secured<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[4]</span></span><!--[endif]--></span></a>.
<b><o:p></o:p></b></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvw1mkY3gUOVKIfgeQ2Ti1GJRXHsarqGKPTg7Qyg7ry2C10s10yxtzhrDk3aRtmMQM9JT5sSB74Z1KExrCHqgycaHuiqG_lIPWAZ9cLXRjRTlgcxwSqjTPECzcvpX9CFWK-8dtaHIEIcQr/s1600/maternity+pic.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvw1mkY3gUOVKIfgeQ2Ti1GJRXHsarqGKPTg7Qyg7ry2C10s10yxtzhrDk3aRtmMQM9JT5sSB74Z1KExrCHqgycaHuiqG_lIPWAZ9cLXRjRTlgcxwSqjTPECzcvpX9CFWK-8dtaHIEIcQr/s320/maternity+pic.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image taken from Limerick Museum & Archives</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">It
was envisaged from the outset that a new hospital on the Belfield site would be
managed by a committee made up of seven representatives from Limerick
Corporation and seven representatives from the existing Bedford Row Committee.
However the intervention of the Second World War resulted in inordinate delays
and Bedford Row continued to function as per usual with patients in 1935 having
to put up with the very considerable noise generated from the construction of
the adjacent Savoy Cinema. Dr James Deeny, Chief Medical Officer visited
Bedford Row on a countrywide hospital tour in 1945 and was left unimpressed by
the state of the Bedford Row Hospital at that stage. A letter was sent to the
City Manager from the Department of Health in July 1948, proposing that a Regional
Maternity Hospital catering for Limerick City, Tipperary and Clare be built on
the Belfield site and that this Hospital should be operated, not as was
previously envisaged, jointly by representative of Limerick Corporation and the
Bedford Row Committee, but exclusively by the Limerick Corporation. The Bedford
Row Committee had considerable funds from the Sweepstakes contributions but
ultimately agreed to transfer their interests in the Belfield site to the
Corporation as they felt they would be unable to pay for the construction and
maintain the running costs of the new maternity hospital without the support of
Central Government. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">Belfield
House was at one stage suggested as a suitable building to house patients
suffering from pulmonary tuberculosis. In a letter dated 26 September 1944 the
Tuberculosis Officer, T.W Moran to the City Manager described the building as <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">‘A two storied
building standing on open ground. On the ground floor in front there are three
rooms of twenty-four feet, eighteen feet, and twenty-seven feet long by
eighteen feet, and twenty-seven feet long by eighteen feet, twelve feet, and
eighteen feet long by twelve feet deep. At the back, there are two rooms each
of separate W.C. is provided upstairs<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[5]</span></span><!--[endif]--></span></a>’.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">Four
years later there was an obvious need for a new maternity hospital in Limerick
as the Lying-In Hospital on Bedford Row could not cope. The City Medical
Officer observed that between 1943 and 1948 there had been 1,400 births in the
Limerick city and county borough. To serve this number was a meagre 26 beds of
the Bedford Row Hospital complimented by several smaller nursing homes<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[6]</span></span><!--[endif]--></span></a>.
In a letter from the Limerick City Medical Officer it is evident that the
Minister early on recognised that the site on the Ennis Road was the best possible
option<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt;">‘It is very desirable
that the Maternity Hospital should be located as close as possible to the main
centre of population and for that reason a more central site than that of the
Regional Hospital should be selected. There is a suitable site at Bellefield,
Ennis Road, which is owned by the authorities of Bedford Row Maternity Hospital
and the Minister is of opinion that the Regional Maternity Hospital should be
built on that site if it can be secured<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[7]</span></span><!--[endif]--></span></a>’.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9qWP22EcBEzEpknrFTzk1SfDorIcFUbdLm4izTHP6C3fLPPq8jZWW1AhEcNiThAxeQc3zm_3JaXTHzhKGwrH87xzWglBg2FKl9N_OhDAwJLl3I7ve4vRkrpu9T6VeOpgsCTvTvoxYBp7n/s1600/maternity.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9qWP22EcBEzEpknrFTzk1SfDorIcFUbdLm4izTHP6C3fLPPq8jZWW1AhEcNiThAxeQc3zm_3JaXTHzhKGwrH87xzWglBg2FKl9N_OhDAwJLl3I7ve4vRkrpu9T6VeOpgsCTvTvoxYBp7n/s1600/maternity.JPG" /></a></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">The
Medical Officer thus wrote to the Minster for Health asking for the
authorisation of a grant from the Hospital Trust funds of 100 per cent of the
approved cost of the new maternity hospital which was approved in May 1949.
Belfield House was demolished to clear the site to make way for the much needed
Hospital. The legacy of Belfield House remains as the name for a residential
avenue next to the hospital called Bellefield Gardens. The architect for this
hospital was Patrick Sheahan who began preparatory drawings in 1951 and its
build overlapped with the construction of the Mid-west Regional Hospital.
Always economically practical Sheahan ensured that any surplus steel from the
Regional site was transported to the Maternity site. The building of St.
Munchin’s Regional Maternity Hospital commenced in 1955 and received its first
patients in October 1960<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[8]</span></span><!--[endif]--></span></a>.
Prior to this, large numbers of patients continued to have their babies
delivered at home, with Bedford Row accounting for 572 deliveries in 1952 and a
number of private Nursing Homes around the City accounting for an increasing
number of births. As an interim solution, prior to commencing construction of
the new Maternity Hospital, the Department of Health remedied the lack of State
provision of maternity beds by opening a seventeen bed Maternity Unit in the
City Home in 1954 and this did have a welcome impact on the activity at Bedford
Row with the number of patients reducing from 771 in 1953 to 604 in 1955<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[9]</span></span><!--[endif]--></span></a>.
<o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 200%;">After
the building of the Regional Maternity Hospital, Bedford Row was excluded from
the receipt of any funding from the Hospital Commission and subsequently its
Local Authority support was also reduced and eventually withdrawn in 1957. To
meet expenses it began to charge its patients and ironically this facility for
the maternity needs of the destitute was now a private hospital. By 1969 only
one other nursing home apart from Bedford Row offered obstetric services. The
Hospital continued to have financial difficulties as a result of rising
healthcare costs and had no option but to close down in 1975.</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">The
Regional Maternity Hospital subsequently grew into the largest Maternity
Hospital outside of the three major Dublin maternity hospitals. The ground
works for the hospital began in 1957 and the complex was completed in 1960 but
did not receive any expectant mothers until the following year. This was due to
two factors; (a) medical practices had changed so much during the period of
construction that the hospital had to be re-equipped with more modern machinery
and operating equipment<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[10]</span></span><!--[endif]--></span></a>
and (b) am accommodation block was designed for the nurses but this wing was
reassigned for a different purpose. This marked the social change that nurses
no longer resided on the hospital premises as they had done previously. When it
opened it had 60 beds and 30 cots and this was subsequently increased to 80
beds in 1969. At the end of its first full year of operation in 1961, there
were 1576 births. A number of phased developments have taken place at the
Hospital in particular the opening of the first Home Birthing Unit in the
country (see Appendix C for photographs of original plans and elevations). </span><span style="font-family: "arial" , sans-serif; font-size: 12pt; line-height: 200%;">The
Maternity Hospital had an interrupted view of the river Shannon and Sarsfield
Bridge before the construction of brick faced apartments in the eighties and
what was formerly the Intercontinental Hotel facing the hospital is now the
rebuilt Strand Hotel.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLKJSLQ1REJxi95PAevM3tlgFedZvBsPz_wczqqpQajGN_eq38-DTSlczI9RY4A-DhSmY-F_RMHwzNwUVanKX97mfpJ1AUAuzwHR7QQr5kX6K7-0r0yi5F8Tx5n_xt9UzeYE2GjyZsfyic/s1600/elevations.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="513" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLKJSLQ1REJxi95PAevM3tlgFedZvBsPz_wczqqpQajGN_eq38-DTSlczI9RY4A-DhSmY-F_RMHwzNwUVanKX97mfpJ1AUAuzwHR7QQr5kX6K7-0r0yi5F8Tx5n_xt9UzeYE2GjyZsfyic/s640/elevations.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hospital elevations. Photo taken by Emma Gilleece. Plans courtesy of family of original architect.</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;"> <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQfU0WTkMY1BXGm4infgIPttqoqHNz5sZKsuultt9kYt4iYSPTar1y2FlhWc6KmvhdG83IPVZOuipemFLVHXz29gJcRTR3ZddM8Vyr4oQsOGeCcCjh4SsPhf_-4Fyqqc47E8Pga6TB5zwR/s1600/Limerick+Maternity+Hospital.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQfU0WTkMY1BXGm4infgIPttqoqHNz5sZKsuultt9kYt4iYSPTar1y2FlhWc6KmvhdG83IPVZOuipemFLVHXz29gJcRTR3ZddM8Vyr4oQsOGeCcCjh4SsPhf_-4Fyqqc47E8Pga6TB5zwR/s320/Limerick+Maternity+Hospital.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo taken by Emma Gilleece</td></tr>
</tbody></table>
</span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">The design of Maternity
hospital</span></b><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">This
hospital has a moulded concrete
stringcourse along the top of the central bay is divided in two by a chevron
pattern which is typical of Art Deco eccentricities. The use of balconies along
the length of the front façade gives the building its horizontal character and
also by the bars on its vertical windows. This is a building of hard lines both
vertically and horizontally broken only by the insertion of feminine detail at
the ends of each balcony railing sections of a curvaceous inverted ‘S’ shape.
Balconies were well established by this time as desirable design features for
hospitals even though here it must have served a more aesthetic than functional
purpose seeing as that it was always used as a maternity hospital.<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzNh6nxb-Pk_bGg7szskMdvn2tSbOosp2pUvmlyM91C9PMnnPDkJDUOCorfa_U71EK0-L3ovsAgVuACf1pEIj5fkh7sA-5Yi3-D0vrsoLJB4UsYJhTS_Vi4z5Nzfo2xtoQWQzzs29nvZYe/s1600/maternity+4.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzNh6nxb-Pk_bGg7szskMdvn2tSbOosp2pUvmlyM91C9PMnnPDkJDUOCorfa_U71EK0-L3ovsAgVuACf1pEIj5fkh7sA-5Yi3-D0vrsoLJB4UsYJhTS_Vi4z5Nzfo2xtoQWQzzs29nvZYe/s200/maternity+4.JPG" width="167" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Emma Gilleece</td></tr>
</tbody></table>
<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">Another
striking feature of this building is its use of brick which Sheahan departed
from in the design of the earlier Mid-Western Regional Hospital in Dooradoyle.
In a letter Sheahan sent to Limerick Corporation dated 8 January 1954 Sheahan
draws attention to an earlier correspondence from the Department of Health
stating that provision should be made for invitation of tenders on basis of
concrete block or brick plastered externally, but with provision for
alternative price for brick facing<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 12pt; line-height: 115%;">[11]</span></span><!--[endif]--></span></a>.
He ends this letter ‘I am most anxious that we be allowed to use brick facing
on this building’. He unfortunately does not offer a reason. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">Balusters
on central staircase which matches one on balcony to front elevation of
hospital.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div style="text-align: left;">
</div>
<div class="MsoNormal" style="line-height: 200%; text-align: justify;">
<b><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;"> </span></b><b style="line-height: 200%;"><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">Recent extensions and alterations</span></b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNfPPi7vdCMD6ufAOvddBtYaePzLNn7AFqAtB1OkeEf6T-KLE71yHxWrgBjoZbY5gjtbG8juo8iD-RCoxocYPqu1OSS1vnqJSKqGV70UTP2r9PCsIS1U0m0RlpyPtZ9nT3uDSV4vCo-Ax/s1600/maternity+new+extension.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilNfPPi7vdCMD6ufAOvddBtYaePzLNn7AFqAtB1OkeEf6T-KLE71yHxWrgBjoZbY5gjtbG8juo8iD-RCoxocYPqu1OSS1vnqJSKqGV70UTP2r9PCsIS1U0m0RlpyPtZ9nT3uDSV4vCo-Ax/s320/maternity+new+extension.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo taken by Emma Gilleece</td></tr>
</tbody></table>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">In
1995 the pre-natal and anti-natal wards had ensuite toilets installed in each
four-bed or two-bed rooms. This was done simply by blocked off the corner of
each room losing minimal space and keeping the same amount of beds. The year
2006 saw the completion of a new three-storey extension to the complex designed
by Murray O’Laoire and O’Connell Architects. This much needed block gave the
hospital a larger, better sited main entrance thus leaving the old entrance for
the exclusive use of outpatients. In addition to the extra ground floor space
it provided extra ward space on the first floor and a new operating theatre on
the second floor. It is to the same specifications of the older theatre apart
from the inclusion of air conditioning. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">Extra
space is vital especially after the closure of the Maternity unit in Ennis
making the County of Clare reliant on either Limerick for Galway for its
maternity care. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
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<b style="line-height: 200%;"><span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">The future of the hospital</span></b></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 200%;">These plans were welcomes by the
management of the hospital for logistical reasons as all gynaecological care as
previously mentioned is sited in Dooradoyle and the Maternity hospital has no
laboratories so have to send everything to be tested to the Regional Hospital. The staff and management have been waiting over a decade for this news. The hospital for even more years has required
urgent renovation and modernization and the minor additions with the 2006 extension acted as a
band-aid bringing the hospital up to the minimum standard to carry on in its
current condition.<o:p></o:p></span></div>
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<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a>
‘Limerick to get new Maternity Hospital under Capital Plan’, Limerick Leader,
29 September 2015. </div>
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<div id="ftn2">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></a>
Terry Forristal, ‘Bedford Row lying-in hospital 1812-1975’, <i>OLJ </i>(Limerick, 2006), p13.</div>
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<div id="ftn3">
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<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a>
St Gerard’s Maternity Home, St Anthony’s Maternity Home, Alexandra Maternity
Home, Mrs O’Malley’s Maternity Home and Bedford Row Extern, the Marian and
Tranquiller in Fort Mary Park. (T. Forristal (2006), p.17).</div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a>
IB 22 Jan 1938, 73.</div>
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<div id="ftn5">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></a>‘Tuberculosis
Scheme’, L/MIN/20 14 Nov. 1944.</div>
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<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></a>
Letter from Limerick City Medical Officer to the Dept. of Health dated 6 July
1948, L/MIN/21, LCA.</div>
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<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[7]</span></span><!--[endif]--></span></a>
Ibid.</div>
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<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[8]</span></span><!--[endif]--></span></a>
Forristal (2006) ‘Bedford row lying-in hospital, 1812-1975’, p.18.</div>
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<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[9]</span></span><!--[endif]--></span></a>
Forristal, p.18. </div>
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<div id="ftn10">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[10]</span></span><!--[endif]--></span></a>
Per. con. with QS of hospital, Barry Sheppard.</div>
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<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[11]</span></span><!--[endif]--></span></a>
Ref: H18/7/1, L.A </div>
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Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com1tag:blogger.com,1999:blog-4027390742156371993.post-40501489497339292592015-11-08T13:48:00.000+00:002015-11-15T22:35:21.592+00:00<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkB2Lu8yzDEN86rk7UJAPEtnwKXGQi-dhll6ROLojLvaI7dg24_4dq78BoLITc8f9VnljFOvWfR6nznsKXz4BpCqkf_RKFs2sya_WW3OiMrP25XQ9yzqNihw8uYU3SczSld7p3yjqlBQUr/s1600/1930s_oconnell_bridge_dublin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkB2Lu8yzDEN86rk7UJAPEtnwKXGQi-dhll6ROLojLvaI7dg24_4dq78BoLITc8f9VnljFOvWfR6nznsKXz4BpCqkf_RKFs2sya_WW3OiMrP25XQ9yzqNihw8uYU3SczSld7p3yjqlBQUr/s640/1930s_oconnell_bridge_dublin.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Dublin Wittgenstein would've seen in 1930s</td></tr>
</tbody></table>
<blockquote class="tr_bq">
<h3 style="margin-bottom: 5pt;">
<span style="font-size: x-large;"><span style="font-family: "times new roman" , serif;">Crisis of Identity: </span><span style="color: #666666; font-family: "times new roman" , serif;">Wittgenstein’s take
on Irish Georgian</span></span></h3>
</blockquote>
<blockquote class="tr_bq">
<div class="MsoNormal" style="margin-bottom: 5pt;">
<span style="font-size: 13.5pt;"><span style="font-family: "courier new" , "courier" , monospace;">"The people who
built these houses had the taste to know that they had nothing very important
to say; and therefore they didn't attempt to express anything."</span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 13.5pt;">This statement was attributed to the Austrian philosopher <b>Ludwig
Wittgenstein </b>upon viewing the streetscape of Georgian Dublin during the first
of his visits to Ireland in the 1930s which was recorded on the account of his
close friend <b>Dr Con Drury's <span style="color: #666666;">'Recollection</span>’</b><a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[1]</span></span><!--[endif]--></span></a>. Like language
architecture is difficult to define. Even though the configuration and
manipulation of materials to enclose and control empty space is universal to
all human cultures, architectural taste and opinion is subjective. Wittgenstein’s
philosophy was of a linguistic nature based on expressing oneself accurately to
which he viewed architecture as a means of self-expression in the same way as
the spoken word. In this one statement Wittgenstein demonstrated his lack of
knowledge of Ireland’s unique colonial history and his inability to ‘read’ the
language if its visual landscape. However, further on in Drury’s article,
Wittgenstein would articulate the tension and consequences of the social
constructionism of Irish Georgian architecture. Even though his field was
philosophy, examining the status of landscape as image and symbol established
common ground between practitioners from a variety of different disciplines
concerned with culture: geography, history, fine art, literature and
anthropology<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[2]</span></span><!--[endif]--></span></a>.</span></div>
</blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2zUmv1YuHKtbIqdrYTAEGV-K447XL3OyjHR33pNjwTC2_Mx_zKlWjxnZbOg1FHo3kC0hSAgLYK9qqI7WcHfvNtkxJcyn83HLSWEOmZjPqdpBgE-UpoNfrrGv9k5qdXECpmM_ySqoaK7Ei/s1600/Ludwig_Wittgenstein_by_Ben_Richards.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2zUmv1YuHKtbIqdrYTAEGV-K447XL3OyjHR33pNjwTC2_Mx_zKlWjxnZbOg1FHo3kC0hSAgLYK9qqI7WcHfvNtkxJcyn83HLSWEOmZjPqdpBgE-UpoNfrrGv9k5qdXECpmM_ySqoaK7Ei/s320/Ludwig_Wittgenstein_by_Ben_Richards.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ludwig Wittgenstein, (1889-1951) Austrian philsosopher </td></tr>
</tbody></table>
<blockquote class="tr_bq">
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 13.5pt;">“Now I know what was meant by the phrase ‘the Protestant Ascendancy.’
These buildings have the appearance of a fortress. But now the gypsies inhabit
the castle.”<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[3]</span></span><!--[endif]--></span></a>
In this one sentence Wittgenstein expressed his ignorance of the particular historical
circumstances of this nation. Through many countries in this world were under
British colonialism, Ireland’s history is a distinctly unique one. To
Wittgenstein the Classical façades of the capital were symmetrical ordered
expressions of nothingness. They in fact reveal the story of the architectural
landscape in pre and post-independence Ireland of conquest, the constant
reaffirmation of social and political status and finally its recreation and assimilation
into the broader realm of Irish identity. From a semiotic point of view, the
secondary meaning of these buildings, defined by Panofsky as the reading of
conventional meaning of shared knowledge such as literary and visual sources<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[4]</span></span><!--[endif]--></span></a>, is that of the
Anglo-Irish imitation of British tastes. Panofsky asserted those underlying
principles which reveal the basic attitude of a nation, a period, a class, and
a religious or philosophical persuasion are unconsciously qualified by one
personality and condensed into one work.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[5]</span></span><!--[endif]--></span></a> The systematic association
of these shared design gestures is the architecture of colonisers.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinGB6KMAqDog7qM_W7jmgtXLPLfDFFCjQ3CcB5RXJHKoNoB7jae0cIF32Lb3E_TLam4e0YCy2tIKDUaLi45sh3blwgGzLWrmcWa0WKGb_6xEcPRY1fwYQtKvxFySZCkxuRyIUoGMxxp4Fg/s1600/Lancelot_%2528%2527Capability%2527%2529_Brown_by_Nathaniel_Dance%252C_%2528later_Sir_Nathaniel_Dance-Holland%252C_Bt%2529_cropped.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinGB6KMAqDog7qM_W7jmgtXLPLfDFFCjQ3CcB5RXJHKoNoB7jae0cIF32Lb3E_TLam4e0YCy2tIKDUaLi45sh3blwgGzLWrmcWa0WKGb_6xEcPRY1fwYQtKvxFySZCkxuRyIUoGMxxp4Fg/s200/Lancelot_%2528%2527Capability%2527%2529_Brown_by_Nathaniel_Dance%252C_%2528later_Sir_Nathaniel_Dance-Holland%252C_Bt%2529_cropped.jpg" width="146" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lancelot 'Capability' Brown</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 13.5pt;">The title of David Lloyd’s book <span style="color: #666666;">‘Anomalous states’ </span>aptly describes
nineteenth century Ireland’s “crisis of representation.”<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[6]</span></span><!--[endif]--></span></a> There was a clear dichotomy
of the Irish population into two opposed classes; the landed proprietors of
Protestant ascendancy gentry; the mass of indigenous rural Catholic tenantry
and later on towards the end of the century a growing, usually Catholic, middle
class who were denounced by the masses for their aspirational attempts at
emulating the Anglo-Irish. This crisis of identity goes back to the Plantations
with the acquisition and reusage of land as well as the Anglicising of place
names. This enforcement of a foreign dialect with the de-familiarization of
homeland would be later depicted in <b>Brian Friel’s play ‘Translations’</b> (1980)
set in 1833. On acquiring these estates, the new landlords of Ireland set about
landscaping surplus acreage. In tandem with building gardening was extremely
fashionable throughout the eighteenth century.<b> Mrs Delany’s garden at Delville</b>
was one of the first to embrace the naturalistic style of gardening made
popular by landscape designers Lancelot ‘Capablity’ Brown. In a letter of 1744
she describes fields planted in a wild way with forest trees and with bushes
that look so naturally you would not imagine it a work of art.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[7]</span></span><!--[endif]--></span></a> Other examples are of <b>Lady
Louisa Connolly</b> and her sister the <b>Duchess of Leinster</b> who created settings for
the two great Palladian houses, <b>Castletown and Carton</b> in County Kildare in a
typically Irish manner, more in line with <b>Stephen Switzer</b>’s natural wilderness
as outlines in his <span style="color: #666666;">‘Ichnographia Rustica’</span> (1741) where he criticised the
formality of Dutch gardening. This was a reaction to the manicured bare lawns
of rolling grass vistas from the houses as an expression of control. In
addition the social statement this feature was making was an indication of the
wealth of the landowner in being able to afford to either pay teams of
scythe-wielding Irish labourers to keep their pristine lawns in check or keep a
herd of sheep to do the job. Others in a contrived obsession of geometric
perfection employed hundreds of local labourers to drain natural lakes and
bogs.</span></div>
</blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYNDUp1jgYFC4BrD-hI02PXg2vyzj7kDUPLAwKIw8ZK_4k1CVaKD_zAjR5cM3Jr5dAMKqGfvEsmKPwgaOf5uHcg8IkyAjy7bwpQ8GdueJpKz8P52NaoMuqitlIaib0XRgf9tyBB8hRDuRM/s1600/5353476_orig.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYNDUp1jgYFC4BrD-hI02PXg2vyzj7kDUPLAwKIw8ZK_4k1CVaKD_zAjR5cM3Jr5dAMKqGfvEsmKPwgaOf5uHcg8IkyAjy7bwpQ8GdueJpKz8P52NaoMuqitlIaib0XRgf9tyBB8hRDuRM/s400/5353476_orig.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Castletown House, Co. Kildare purchased by the State in 1994</td></tr>
</tbody></table>
<blockquote class="tr_bq">
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 13.5pt;">This was the landscaping pursuits of colonisers. However some
Anglo-Irish landlords manipulated the natural Irish landscape for either
aesthetic or functional reasons and in doing so they have changed the
vernacular language of certain parts of the country just as they did with the
renaming of the townlands. The two native Irish oak tree species, Quercus robur
(pendunculate or common oak) and Quercus petraea (sessile oak) fell victim to
the reshaping of the countryside Oak had a spiritual importance to the Celts
and were protected by Brehon law.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[8]</span></span><!--[endif]--></span></a> Of the 62,000 townland
names in Ireland, 13000 have reference to trees and 1,600 have some derivation
of ‘dair’ the Irish work for oak, e.g. Cill Dara (Kildare) meaning ‘Church of
the Oak.’ Landscaping was not just a frivolous activity to satisfy aesthetic
tastes; it became a social and economic necessity. It was one thing to clear
the land of forests and lakes but it was another to incorporate evidence of
Ireland’s independent Celtic past as part of their demesne design. Round towers,
ruins of abbeys and monasteries were used as follies and eye catchers for the
pleasure of the landowner. Not <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIN-fPZ0wmKotz28vNxfmSvNC7K66Cq96oDlFNgligxwY0IZqMPfwrPYxFZIxZ-gdQSJjsGWe6qHNJIqfrua1ea11o3f2bx6J5DDyWeE-yUnTnT5hA3PBQhqBsXCjMqlJ7bZ6dxjLRimP3/s1600/Sarah_Churchill%252C_Duchess_of_Marlborough_by_Sir_Godfrey_Kneller%252C_Bt.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIN-fPZ0wmKotz28vNxfmSvNC7K66Cq96oDlFNgligxwY0IZqMPfwrPYxFZIxZ-gdQSJjsGWe6qHNJIqfrua1ea11o3f2bx6J5DDyWeE-yUnTnT5hA3PBQhqBsXCjMqlJ7bZ6dxjLRimP3/s200/Sarah_Churchill%252C_Duchess_of_Marlborough_by_Sir_Godfrey_Kneller%252C_Bt.jpg" width="165" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Sarah Churchill, Duchess of Marlborough</span></td></tr>
</tbody></table>
only did the retention of an older building or
ruin in the vicinity of a contrasting new building help to project a sense of
progress<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[9]</span></span><!--[endif]--></span></a> but it can be seen as an
overall analogy of the acquisition of tangible structures with evocative
overtones of past grandeur, high kings, native saints and Roman Catholicism.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[10]</span></span><!--[endif]--></span></a> The earliest recorded
proposal to use a ruined building building as a garden ornament has already
been noted in Sir John Vanbrugh’s letter to the <b>Duchess of Marlborough</b> of 1709.
In this he urges her to retain the ruined shell of Woodstock Manor as an
eye-catcher to close the vista in the new park at Blenheim in addition to its
picturesque qualities.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[11]</span></span><!--[endif]--></span></a> Owing to the fact that
this was before the fashionable taste for follies typified by Alexander Pope
the Duchess demolished the ruin. When the taste for follies did become popular
at times they were even faked by landscape architects. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 13.5pt;">To interpret and understand landscape design in its entirety the
dwelling of the landowner on the estate must also be taken into consideration.
These were the 'Big House' to use the Irish vernacular. In <span style="color: #666666;">‘Classic Irish
Houses of the Middle Size’</span> <b>Maurice Craig</b> points out that the term itself
indicates more about the position of the landlord than it does about the actual
size of the residence.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn12" name="_ftnref12" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[12]</span></span><!--[endif]--></span></a> In Post-Independence
Ireland the meaning of the term “big house” has become a general expression for
large and threatening institutions, particularly prisons and mental hospitals.
For the Anglo-Irish novelist, the gentry house became the most compelling
symbol of ascendancy ideologies and survival. Roy Foster reminds us that it can
also be read as insecurity not just triumphalism that lies behind the
architectural stamp of ascendancy culture on the landscape.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn13" name="_ftnref13" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[13]</span></span><!--[endif]--></span></a> Defensive architecture
became an inspiration for landscape design such as the castellated façade of
Glin Castle which was gothicised in the 1780s.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn14" name="_ftnref14" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[14]</span></span><!--[endif]--></span></a> These defensive motifs
have the associated connotations of keeping outsiders out on the peripheries
literally and socially. The fate of actual Big Houses in the twentieth century
reflects the working out of such rupture and turbulence in Irish history.
During the struggle for independence from 1919 to 1921 and the subsequent civil
war, nearly two hundred Irish country houses were destroyed as the symbols of a
colonising force, sometimes without considerations for the policies of their
owners. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 13.5pt;">These quiet residences were attacked due to the understanding of the
power of the image. Still other houses withstood the years of political crises
only to fall victim to the inability of their owners to maintain them or to the
neglect of a new national ambivalent about its colonial heritage. For instance
<b>Lady Gregory’s Coole Park</b>, the eighteenth century Big House that served as the
centre of the Irish Literary Revival, was torn down in 1941, reputedly for the
price of its stone. <a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn15" name="_ftnref15" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[15]</span></span><!--[endif]--></span></a> W.B. Yeats prophesised
its coming ruin in a dignified appeal to posterity<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<i><span style="font-family: "times new roman" , serif; font-size: 13.5pt;">Here traveller,
scholar, poet take your stand<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<i><span style="font-family: "times new roman" , serif; font-size: 13.5pt;">When all these rooms
and passages are gone<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<i><span style="font-family: "times new roman" , serif; font-size: 13.5pt;">When nettle wave upon
a shapeless mound<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<i><span style="font-family: "times new roman" , serif; font-size: 13.5pt;">And sapling root
among the broken stone<o:p></o:p></span></i></div>
<div align="right" class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: right;">
<span style="font-family: "times new roman" , serif; font-size: 13.5pt;">(‘Coole Park, 1929’)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDvMwkcl2HY9GXE3MPyaAYVzQi_XzRmY0MwzzWEHlOqxSJS-zvJLKTDVCZNNGcPag569wpMyJvy3pX9VwoRWZamjmEpv6nxnA8hWvo5O1TQEMfV6g0MySb9jj-IEKVCNpC6q8q6242Qe7O/s1600/images.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDvMwkcl2HY9GXE3MPyaAYVzQi_XzRmY0MwzzWEHlOqxSJS-zvJLKTDVCZNNGcPag569wpMyJvy3pX9VwoRWZamjmEpv6nxnA8hWvo5O1TQEMfV6g0MySb9jj-IEKVCNpC6q8q6242Qe7O/s640/images.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Coole Park, Gort, Co. Galway sold to the State in 1927. Demolished in 1941</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 13.5pt;">Similarly in 1961, a few years after Elizabeth Bowen found herself
unable to meet the costs of maintaining Bowen’s Court, the house dating back to
1776 was demolished by a new owner who was more interested in acquiring fertile
farmland then in preserving a historic mansion that entertained such literary
guests as Virginia Wolf.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn16" name="_ftnref16" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[16]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 13.5pt;">Even though Irish architecture was built in the same method and style as
England, it is an individual story, as distinct from that of England. Christopher
Hussey, editor of <i>Country Life</i> observed in the 1930s that Irish Architecture ‘developed
along the lines that have only a general reference to English practice.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn17" name="_ftnref17" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[17]</span></span><!--[endif]--></span></a> This could be due to the fact
that remarkably few architectural books were published in eighteenth century
Ireland, and few that were are concentrated in the 1750s.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn18" name="_ftnref18" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[18]</span></span><!--[endif]--></span></a> For early eighteenth
century stuccodores like Michael Stapleton who have to reply on their patron’s
awareness of trends in England or the slow trickle of imported English pattern
books such as George Richardson, Michelangelo Pergolesi, James Gibbs, Isaac
Ware and William Adam provided most of the vocabulary of the practitioners.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn19" name="_ftnref19" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[19]</span></span><!--[endif]--></span></a> Curiously patrons after
1800 did not make these decorative decisions but in fact this aesthetic
expressive was left up to the whims of the builder. However when patrons did
make such décor statements they did not slavishly imitate their Continental
contemporaries. They generally stuck to the Palladian style in a reaction to
the Baroque style prominent in mainland Europe. The most outstanding
characteristic of the Irish house was the ‘largeness of scale.’ For Hussey this
peculiarly Irish phenomenon was due to a series of causes, including the
cheapness of labour. Funny that Wittgenstein should have been making his
statement in the 1930s when other were discussing how Ireland contributed so
much to Georgian architecture such as the discovery of the Castletown drawings
by Edward Lovett Pearce who was not given significant attention except for an
article in the <i>Irish Builder</i> in 1931.
<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 13.5pt;">Misguided perspectives of our colonial past and the gathering bitterness
of a looming Easter Rising anniversary led to the demolition of sixteen
Georgian buildings in the 1960s on Fitzwilliam Street to make way for the ESB
Headquarters (1970) designed by <b>Gibney Stephenson & Associates</b>. It was once
the longest expanse of intact Georgian architecture anywhere in the world.<span class="MsoFootnoteReference"><a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn20" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: black; font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%; mso-ansi-language: EN-IE; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-IE;">[20]</span></span></a> </span></span><span style="font-family: "times new roman" , serif; font-size: 13.5pt; line-height: 115%;">The Georgian vista that existed until then consisted
of almost a mile of continuous houses passing through two squares. Drury no
doubt brought this street to the attention of the critical Wittgenstein. They
have since tried to undo the wrongs of the past by restoring Number Twenty Nine
as a reproduction of life in eighteenth century Dublin. The look of the
building can be imitated but alas not the genius loci. Another example of the tension
of the loom 1916 anniversary was the destruction of the very unpopular Nelson
Pillar by the IRA on the 8 March 1966.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%;">Those ultra Republicans who chose to take out their
frustrations on the big houses were selective in their task. They ignored such
houses as <b>Avondale</b>, the 523 acre estate situated at the southern end of the
Avonmore Valley in Rathdrum, County Wicklow where <b>Charles Stewart Parnell</b> was
born and lived all his life.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn21" name="_ftnref21" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 13.5pt; line-height: 115%;">[21]</span></span><!--[endif]--></span></a>The
celebrated ‘uncrowned king’ of Ireland was a landowner himself. The house
originally designed by James Wyatt and completed in 1777.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn22" name="_ftnref22" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 13.5pt; line-height: 115%;">[22]</span></span><!--[endif]--></span></a>
It was handed over to the state in 1904 with repairs carried out in 1935. It is
now the Forestry School run by Coillte. Conversely <b>Patrick Pearse</b> moved his
school St Enda’s from Ranelagh to the <b>Hermitage</b>, an eighteenth century house in
Rathfarnham surrounded by park and woodland haemorrhaging money since the day
it opened.</span> </div>
</blockquote>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU8O7vDosVQmttYJ4w9h3S6MjjWnNx4sAubPA7CjqCTxwTMuwLwb6zGOvRapl6OcqVwcC9JV9l5xUZSXMkFJhXHpGGdY2yZMY01RqnAQoBwlg5Q66LVeG8KR4822RWEFpcHLcnzfKhgziZ/s1600/5831543855_113ca50dbb.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU8O7vDosVQmttYJ4w9h3S6MjjWnNx4sAubPA7CjqCTxwTMuwLwb6zGOvRapl6OcqVwcC9JV9l5xUZSXMkFJhXHpGGdY2yZMY01RqnAQoBwlg5Q66LVeG8KR4822RWEFpcHLcnzfKhgziZ/s320/5831543855_113ca50dbb.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Exterior of Stonborough House</td></tr>
</tbody></table>
<br />
<div style="text-align: justify;">
<span style="font-family: "times new roman" , serif; font-size: 13.5pt; line-height: 115%;">Looking at Wittgenstein’s one and only completed
design it is no surprise that the Georgian paradigm ‘had nothing very important
to say.’ <b>Stonborough House</b> 1926-1928</span><a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn23" name="_ftnref23" style="font-family: 'Times New Roman', serif; font-size: 13.5pt; line-height: 115%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-size: 13.5pt; line-height: 115%;">[23]</span></span></span></a><span style="font-family: "times new roman" , serif; font-size: 13.5pt; line-height: 115%;">
is a tangible expression of his philosophical theories in <span style="color: #666666;">‘Tractatus
Logio-Philosophicus</span>’ (1921). It is a white cube, absent of all ornamentation, polished
concrete floors and curtainless windows. His influences by his friend <b>Adolf
Loos</b> who once did a paper called ‘Ornament and Crime’ are evident. Wittgenstein
was reading Freud at the time who argued that unconscious forces seethed below
a purportedly ordered and elegant society so this could also account for
Wittgenstien’s abhorrence of decoration. This is a stark contrast to the
finishes and furnishings of Georgian dwellings.</span></div>
<span style="font-family: "times new roman" , serif; font-size: 13.5pt; line-height: 115%;"><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwToztZoAF_92DKbI5cvnVuU5m3eC_PAr9i9R6KirRcB4i3Rb6O9KjLHZUvK5MMWM74e1ITx-eTcEEMy5FiMYy3yvC5dV4qIfdWrOYJkY-ilTTo0n3rUiHoiTmkNzkuggYI1hL3eNAQYLL/s1600/tumblr_mw92xtkGZB1sntrjbo1_500.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwToztZoAF_92DKbI5cvnVuU5m3eC_PAr9i9R6KirRcB4i3Rb6O9KjLHZUvK5MMWM74e1ITx-eTcEEMy5FiMYy3yvC5dV4qIfdWrOYJkY-ilTTo0n3rUiHoiTmkNzkuggYI1hL3eNAQYLL/s320/tumblr_mw92xtkGZB1sntrjbo1_500.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Interiors of Stonborough House</td></tr>
</tbody></table>
</span><br />
<blockquote class="tr_bq">
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "times new roman" , "serif"; font-size: 13.5pt; line-height: 115%;">In the post-colonial nostalgia to recreate what
Ireland supposedly was like before the Plantations, De Valera announced the
start of Ireland’s cultural exclusiveness with the naming of Catholicism and
Irish was the first religion and language of the country in the 1937
Constitution. The once dubbed Land of Saints and Scholars which attracted
scholars from all over Europe in the quest for knowledge and learning now
proclaimed its policy of self-induced isolation. This ironically made Fianna
Fail as guilty as the ascendency of sectarianism; of favouring one set of value
systems over another. Therefore it is important that the current generation
fully embraces all aspects of our architectural past by investigating the
negatives and positives of the Georgian ideologies as expressed in their
environment. The landscape is a legacy of past economic and social order and it
produces meanings which vary over time as different ‘readings’ or constructions
are put on it.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn24" name="_ftnref24" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 13.5pt; line-height: 115%;">[24]</span></span><!--[endif]--></span></a> For Wittgenstein philosophical problems have
their beginnings in the feeling of being lost and in an unfamiliar place and
philosophical answers are in the nature of finding one’s way back.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn25" name="_ftnref25" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 13.5pt; line-height: 115%;">[25]</span></span><!--[endif]--></span></a>
This image of turning back, of finding not as moving forward towards a gal but
as being led back, is pervasive in his later writings and that is what Ireland
has to do to fully appreciate her Georgian landscape. <o:p></o:p></span></div>
<div>
<!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a> H.
Wittgenstein, F. Pascal, F.R. Leavis, J. King and M.O.C Drury, (1984) ‘Recollections.’
</div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></a> D.
Cosgrove and S. Daniels, (eds). (1988) ‘The Iconography of Landscape.’
Cambridge: Cambridge Uni. Press: p.1</div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></a> G.
Hetherington, (1987) ‘Wittgenstein in Ireland: An Account of his various visits
from 1934 to 1949’ Irish University Review, Vol.17, No.2: p.174</div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></a>
Hasenmueller, C. (1978) ‘Panofsky, iconography and semiotics, <i>Journal of Aesthetics and art criticism</i>,
Vol.36 No.3: p.290</div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span><!--[endif]--></span></a>
Cosgrove & Daniels, ‘The iconography of landscape’, p.2</div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span><!--[endif]--></span></a> D.
Llpyd, (1993) ‘Anomalous states; Irish writing and the post-colonial moment’,
US: Duke Uni. Press. </div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span><!--[endif]--></span></a> M.
Heron, (1993)’ The Hidden Gardens of Ireland,’ Dublin: Gill & Macmillan,
p.199</div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span><!--[endif]--></span></a>
Today trees are protected in Ireland by the Forestry Acts of 1928 and 1946. </div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[9]</span></span><!--[endif]--></span></a> J.
Howley (1993) ‘The follies and garden buildings of Ireland’, London: Yale Uni.
Press, p.109</div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[10]</span></span><!--[endif]--></span></a> E.
Malins and Knight of Glin (1976) ‘Lost demesnes, Irish landscape gardening
1660-1845’, London, p.2</div>
</div>
<div id="ftn11">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[11]</span></span><!--[endif]--></span></a> Howley,
‘Follies and garden buildings’, p.106</div>
</div>
<div id="ftn12">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref12" name="_ftn12" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[12]</span></span><!--[endif]--></span></a>
M. Craig (2006) ‘Classic Irish Houses of the Middle Sze’, Dublin: Ashfield
Press, p.3</div>
</div>
<div id="ftn13">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref13" name="_ftn13" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[13]</span></span><!--[endif]--></span></a>
R. Foster (1988) ‘Modern Ireland 1600-1972’, London: Penguin Books. </div>
</div>
<div id="ftn14">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref14" name="_ftn14" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[14]</span></span><!--[endif]--></span></a> )
‘The noble dwelling of Ireland, Hong Kong’, Thames and Hudson, p.137</div>
</div>
<div id="ftn15">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref15" name="_ftn15" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[15]</span></span><!--[endif]--></span></a>
V. Kreilkamp (1998) The Anglo-Irish Novel and the big house’, New York: Syracus
Uni. Press, p.5</div>
</div>
<div id="ftn16">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref16" name="_ftn16" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[16]</span></span><!--[endif]--></span></a><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[16]</span></span><!--[endif]--></span>
M. Heron (1993) ‘The Hidden Gardens of Ireland,’ Dublin: Gill & Macmillan,
p.199</div>
</div>
<div id="ftn17">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref17" name="_ftn17" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[17]</span></span><!--[endif]--></span></a>
S. O’Reilly (1998) ‘Irish Houses and Gardens’, Great Britain: Aurum Press, p.15</div>
</div>
<div id="ftn18">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref18" name="_ftn18" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[18]</span></span><!--[endif]--></span></a>
M. Craig (2006) ‘Irish Houses of Middle Size’, p.51</div>
</div>
<div id="ftn19">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref19" name="_ftn19" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[19]</span></span><!--[endif]--></span></a>
Ibid. </div>
</div>
<div id="ftn20">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref20" name="_ftn20" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[20]</span></span><!--[endif]--></span></a> F.McDonald
(2009) ‘ESB competition for world-class redesign of HQ’, <i>Irish Times</i>, April 20.</div>
</div>
<div id="ftn21">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref21" name="_ftn21" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[21]</span></span><!--[endif]--></span></a> M
Heron, p.40</div>
</div>
<div id="ftn22">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref22" name="_ftn22" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[22]</span></span><!--[endif]--></span></a>
The name Avondale appears for the first time in 1777 in Taylor and Skinners
maps of the Roads of Ireland.</div>
</div>
<div id="ftn23">
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<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref23" name="_ftn23" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[23]</span></span><!--[endif]--></span></a>
S. Jeffries (2002) ‘A dwelling for the gods’, <i>The Guardian</i>, January 5.</div>
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<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref24" name="_ftn24" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[24]</span></span><!--[endif]--></span></a>
P.J Duffy (2007)’ Exploring history and heritage of Irish landscapes’, Dublin:
Four Courts Press, p.15</div>
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<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref25" name="_ftn25" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "calibri" , "sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[25]</span></span><!--[endif]--></span></a>
V.Das (1998) ‘Wittgenstein and anthropology’ <i>Annual Review of anthropology</i>, Vol.27, p.195</div>
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</blockquote>
Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-82607293904441379212015-10-28T18:41:00.001+00:002015-10-28T18:41:38.468+00:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhofbR4ULb3VqDn7wjAj_YQ6kaHr6a2BUT-jYIp2GVL9ZMJ0ety5JSH3Z3g7eUhCzrI9xoMol-Sh1sw9JtJQm9Muk4w__E9W2cao1winy4guCjU16cZwWN-OgzXRzygDXObMwYONx5bW0Yj/s1600/W-JJ+MG_8620_medewerker.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhofbR4ULb3VqDn7wjAj_YQ6kaHr6a2BUT-jYIp2GVL9ZMJ0ety5JSH3Z3g7eUhCzrI9xoMol-Sh1sw9JtJQm9Muk4w__E9W2cao1winy4guCjU16cZwWN-OgzXRzygDXObMwYONx5bW0Yj/s320/W-JJ+MG_8620_medewerker.jpg" width="320" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">Paradox of Restoring Modernity</span></h2>
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<b><span style="color: #666666;">Hubert-Jan Henket</span></b></h3>
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<span style="font-family: Times, Times New Roman, serif;">I had the pleasure of being in the audience to hear the Dutch architect <b>Hubert-Jan Henket,</b> the Chairman of DoCoMoMo International He was presenting <i>Sustainable Modernity </i>on the current thinking behind conserving Modern Movement architecture. This was the opening keynote talk for the RIAI's annual conference on 4 October of this year. <span style="background-color: white; line-height: 22.4px;"> Hubert is one of the founders of DoCoMoMo International in 1988 </span></span><span style="background-color: white; color: #252525; line-height: 22.4px;"><span style="font-family: Times, Times New Roman, serif;">which tries to further the document and preserve buildings, landscapes and neighborhoods of the modernist movement. It has chapters in over 40 countries with the creation of DoCoMoMo Ireland twenty four years ago. </span></span></div>
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<span style="font-family: Times, Times New Roman, serif;">Hubert spoke eloquently about the original impetus which created the Modern Movement- groups of intellectuals, artists, writers, architects who decided to create a new society free of all previous styles. Rejecting tradition it would celebrate the imagination and skills that devised man-made technologies. </span><span style="font-family: Times, 'Times New Roman', serif;">I was fortunate that during my MUBC the course directors invited Dr Ellen Rowley to be a guest lecturer for one seminar on the conservation of 20th century Irish architecture. What Hubert said next was like blasphemy; revelatory, eye-opening words. It was refreshing hearing something that challenged everything that I was taught in UCD. This questioning was good, breathing new life into my interest in the Modern Movement. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg63bV5vwxEbzd_GDe4zIBCHNCZmFglZRTSJJPOij5a1F_dPyK1dgxAq_9QgHqsnl7jJqiXbSjMzjDPf6X9fjBZ80_tv1vE9ahbwR-X_NMDv9wVL2bFz8CmyVcPanuIse-qIf2kFk49ruM-/s1600/download.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Times, Times New Roman, serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg63bV5vwxEbzd_GDe4zIBCHNCZmFglZRTSJJPOij5a1F_dPyK1dgxAq_9QgHqsnl7jJqiXbSjMzjDPf6X9fjBZ80_tv1vE9ahbwR-X_NMDv9wVL2bFz8CmyVcPanuIse-qIf2kFk49ruM-/s1600/download.jpg" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Times, Times New Roman, serif; font-size: xx-small;">Archer's Garage which was rebuilt after being <br />illegally demolished</span></td></tr>
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<span style="font-family: Times, 'Times New Roman', serif;">Hubert outlined the challenge now facing those who wish to preserve the buildings of the early to mid decades of the last century. Buildings are an historical document always changing and adapting because of change in taste or availability of materials. If all later transformations are of architectural merit than the preservation theory must strictly apply to all transformations. Hubert proposes what he admittedly refers to as the </span><i style="font-family: Times, 'Times New Roman', serif;">dirty</i><span style="font-family: Times, 'Times New Roman', serif;"> word in traditional conservation circles- </span><b style="font-family: Times, 'Times New Roman', serif;">reconstruction</b><span style="font-family: Times, 'Times New Roman', serif;">. Does a conservator preserve every addition and alteration to a Modernism building as it stands today </span><b style="font-family: Times, 'Times New Roman', serif;">or </b><span style="font-family: Times, 'Times New Roman', serif;">does he/she document them in order to demolish the building and return it to the original. This is the paradox of restoring Modernity. Hubert's point is that there are occasions when people blindly preserve a build without making it fit for use. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">All buildings are witnesses to the previous generations. This is what separates architecture from art, literature, film, etc. In no other creative expression would countless others come along and put their mark on it. The best way to ensure a building survives is to have it lived in. These are the difficulties faced by the organisation and its members generally fall into two factions. The architects Hubert explained are interest in the idea of Modernism, the architectural historians are interested in the style. </span></div>
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<span style="font-family: Times, Times New Roman, serif;">Hubert finished his talk with this statement which beautifully sums up my interest in the <i>why</i> behind our architectural past</span></div>
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<i><span style="font-family: Times, Times New Roman, serif;">He who will learn from yesterday
will act well today in order not to destroy tomorrow<o:p></o:p></span></i></div>
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<span style="font-family: Times, Times New Roman, serif;">Here is Hubert speaking about the future of DoCoMoMo International on <a href="https://www.youtube.com/watch?v=OposGCX5Wt4">youtube</a></span></div>
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<span style="background-color: white; color: #252525; font-family: sans-serif; font-size: 14px; line-height: 22.4px;"><br /></span>Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com1tag:blogger.com,1999:blog-4027390742156371993.post-41087553512049785612015-10-24T21:38:00.000+01:002015-10-24T21:38:40.588+01:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoTGReKEpbjmLxcoD1QC8iFgENalmJFXJ_yEUXq0U6vf9-DQ-HRxjBedLvqYIxVtGAFGR5diyDvlMpfo_ZKRQy-hFN9Cam-XryghED_q6Dc5jvb9ny6MnAwfJN5GHRiCyjL1pC-4gNoVGh/s1600/logos.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="95" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoTGReKEpbjmLxcoD1QC8iFgENalmJFXJ_yEUXq0U6vf9-DQ-HRxjBedLvqYIxVtGAFGR5diyDvlMpfo_ZKRQy-hFN9Cam-XryghED_q6Dc5jvb9ny6MnAwfJN5GHRiCyjL1pC-4gNoVGh/s200/logos.JPG" width="200" /><span style="color: #20124d; font-family: Verdana, sans-serif; font-size: x-large;"><b>The Big Housing Debate</b></span></a></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeifFpFkQc2M_7Zb5__KpnxQX51ExvntvK4S99L23PE-kZ_biFzH7RJoiJ4hXAI7pYvaa0pE_4qi6EjLFnpnK1pg2TnmzMklc_yMn74v9fFYZbdWuqugZOL_slMI4UCUKTDXwuZlSd1KvW/s1600/12122449_10153231048461220_6034525330662995450_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeifFpFkQc2M_7Zb5__KpnxQX51ExvntvK4S99L23PE-kZ_biFzH7RJoiJ4hXAI7pYvaa0pE_4qi6EjLFnpnK1pg2TnmzMklc_yMn74v9fFYZbdWuqugZOL_slMI4UCUKTDXwuZlSd1KvW/s640/12122449_10153231048461220_6034525330662995450_n.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Irish Architecture Foundation photo taken by Ste Murray</td></tr>
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<span style="font-family: Georgia, Times New Roman, serif;"><strong style="background-color: white; line-height: 19px;">Open House Dublin 2015</strong><span style="background-color: white; line-height: 19px;"> </span><em style="background-color: white; line-height: 19px;">This Place We Call Home</em><span style="background-color: white; line-height: 19px;"> saw the return of the </span><strong style="background-color: white; line-height: 19px;">Irish Architecture Foundation</strong><span style="background-color: white; line-height: 19px;">'s Big Debate with the title 'The Way We Build Now.' This public event took place in Liberty Hall on Wednesday 14 October. IAF Director Nathalie Weadick kicked off proceedings with a panel chaired by ESRI Director Prof. </span><strong style="background-color: white; line-height: 19px;">Frances Ruane. </strong><span style="background-color: white; line-height: 19px;">The debate </span><span data-mce-style="color: #3f3f3f;" style="background-color: white; line-height: 19px;">discussed the where, what, and how we build – a crucial concern in the future development of Dublin. More than an issue of quantity and type of units, the way we build now will determine the quality of our city and its living standards for generations to come. President of the RIAI Robin Mandal also made a statement at the end of the presentations regarding the publishing of their<strong> Housing Policy</strong> <em>Architectural Solutions to Building a New Ireland</em> on 29 September 2015 <a data-mce-href="http://www.riai.ie/images/uploads/RIAI_Housing_Policy_September_2015.pdf" href="http://www.riai.ie/images/uploads/RIAI_Housing_Policy_September_2015.pdf">RIAI Housing Policy</a>. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgigxd9hVCTQ9phTxW2-DUPXweMz1RrjmmFcBLclnMZlMMPUI2Q1I4S0A4P_zLgQ7uS9yVT2TACoiZg3uswzSwZcvbznC8f0qxGGn-ILDM-Kf2Yl5ROYtfcgr3i9xfp2Y5XZZydbK2b4GwC/s1600/12109284_10153231009001220_7303397495825106129_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Georgia, Times New Roman, serif;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgigxd9hVCTQ9phTxW2-DUPXweMz1RrjmmFcBLclnMZlMMPUI2Q1I4S0A4P_zLgQ7uS9yVT2TACoiZg3uswzSwZcvbznC8f0qxGGn-ILDM-Kf2Yl5ROYtfcgr3i9xfp2Y5XZZydbK2b4GwC/s320/12109284_10153231009001220_7303397495825106129_n.jpg" width="320" /></span></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 19px;">As Frances Ruane remarked housing and homelessness is on the news on a daily basis in Ireland. This issue is not the remit of any one profession and needs the input from a range of professionals if we're going to have good quality and affordable housing. </span></span><span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 19px;">The multi-discipli</span></span><span style="background-color: white; font-family: Georgia, 'Times New Roman', serif; line-height: 19px;">nary aspect of the panel was crucial to the debate. Each panelist was given just 8 minutes to present on this topic. First speaker was </span><b style="font-family: Georgia, 'Times New Roman', serif; line-height: 19px;">Ian McShane</b><span style="background-color: white; font-family: Georgia, 'Times New Roman', serif; line-height: 19px;">(<a href="https://twitter.com/mcshanebanda">@mcshanebanda</a>)from </span><b style="font-family: Georgia, 'Times New Roman', serif; line-height: 19px;"><span style="color: #444444;">Behaviour & Attitudes</span></b><span style="background-color: white; font-family: Georgia, 'Times New Roman', serif; line-height: 19px;">, who presented insights of apartment dwellers in Dublin from a survey commissioned by the IAF. The purpose of the survey was to identify the positives and negatives of apartment dwelling in 2015 from the point of view of tenants and landlords. </span></div>
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<span style="background-color: white; line-height: 19px;"><span style="font-family: Georgia, Times New Roman, serif;"><b>So what is so great about Dublin apartment dwelling? </b>Findings were positive for younger, white collar professionals living in the south of the city. They cited open plan living space in a modern design located close to shops and where they work and he availability of designated parking. Almost as many negatives were identified as positives by apartment dwellers. The main criticisms includes things like lack of living space, lack of storage space, noise levels and lack of garden/outdoor space/private balcony and lack of effective management company. </span></span><span style="font-family: Georgia, 'Times New Roman', serif;">An analysis of their longer-term living intentions suggested that apartment living has become enmeshed in Ireland's socio-cultural milieu for the foreseeable future. Almost half if those who are currently renting their apartment privately said that they intend on buying an apartment in the future. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Oqd47DIiyQjMQT9JCw8ONXAmgVgwVwdS4i9Bi4rbNYkD8VBtuWqUnkZWptMPhMfBy3eTgAv8oXGzqydQLWozk2r7W5pabfMmjqOEaQLlapLx8UwWU1qYT9dEJXvgTCmB25h9iRo52po8/s1600/12106882_10153231048271220_7379606345347331958_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6Oqd47DIiyQjMQT9JCw8ONXAmgVgwVwdS4i9Bi4rbNYkD8VBtuWqUnkZWptMPhMfBy3eTgAv8oXGzqydQLWozk2r7W5pabfMmjqOEaQLlapLx8UwWU1qYT9dEJXvgTCmB25h9iRo52po8/s320/12106882_10153231048271220_7379606345347331958_n.jpg" width="320" /></a></div>
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<span style="font-family: Georgia, Times New Roman, serif;">The second speaker was <b>Dr Lorcan Sirr</b> (<a href="https://twitter.com/lorcansirr">@Lorcansirr</a>) a lecturer on housing in DIT. Lorcan </span><span style="font-family: Georgia, 'Times New Roman', serif; text-align: justify;">blinded the audience with statistics on the issues and needs of the P<b>rivate Rented Sector, a much neglected sector in Ireland</b>. About one fifth of all households live in the private rented sector (18.5%), 61% of those in that are single people; they occupy an average of 3.9 rooms; the average rent in Dublin at the moment is €1,368 per month; one third of renters don't have a clue about their own rights. In terms of of living 35% live in apartments/flats, 27% semi-detached, 18% in terraced and 17% in detached houses, 45% would be happy to rent long-term if they had more security of tenure, the average landlord has been a landlord for 9 years, they got into the game when they were about 51 years of age, 91% have 3 or fewer properties, 36% are accidental landlords and 95% are Irish, the rest are mostly British. Of the 71% of landlords who have a mortgage about half of them say that the rent doesn't cover the mortgage, 65% of landlords work full-time and 47% of properties inspected by Dublin City Council last year were found to be in breach of regulations. There are 700,000 people in the private rental sector and 10,000 new people are entering the private rental sector every month- it is a hugely important sector. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Rent Issues</b>: property is regarded as an asset as your pension isn't going to cover your rent or your mortgage when you get 65 therefore you need to buy somewhere and have it paid off when you are 65 (not very good for renting). We have an aging population, therefore there will be fewer people working in order to help us pay those pensions. </span><span style="font-family: Georgia, Times New Roman, serif;">One third of households are going to end up renting forever which is tied into pension issue. There's a stigma around renting. The focus on foreign direct investment is going to exacerbate the issues in the private rented sector. </span><span style="font-family: Georgia, 'Times New Roman', serif;">Lorcan called for a cultural shift as it's a huge important part of Irish society. There is no model in the private rented sector for single-person design. </span><span style="font-family: Georgia, 'Times New Roman', serif;">We need more landlords, certainty of rent by regulating the private rented sector and lack of awareness about this sector.</span><span style="font-family: Georgia, 'Times New Roman', serif;"> </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp8eOFQ9sBUUjgZmQex9NCrd3VqAbYSCem0NjjX6iWzk53cWpmK1z2V9GjtenyAFbi9C2yK9SOy5IiIAriBN3yZUFX-DysihMbqzCzj7cSk5IeSTr2EWb31bFUrvGjFKCSo2GKpm5hx84R/s1600/12112084_10153231012361220_4010880391807846800_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp8eOFQ9sBUUjgZmQex9NCrd3VqAbYSCem0NjjX6iWzk53cWpmK1z2V9GjtenyAFbi9C2yK9SOy5IiIAriBN3yZUFX-DysihMbqzCzj7cSk5IeSTr2EWb31bFUrvGjFKCSo2GKpm5hx84R/s320/12112084_10153231012361220_4010880391807846800_n.jpg" width="320" /></a><span style="font-family: Georgia, 'Times New Roman', serif;">Next speaker was <b>Claire McManus (<a href="https://twitter.com/mcmanclaire">@mcmanclaire</a>)</b> an architect (member of the Council of the RIAI) and director of <span style="color: #444444;">Open Architects</span> founded in 2005. Claire spoke about <b>Community-Led Housing</b> and in particular self-build pilot-scheme project she is collaborating on with Dominic Stevens Architects in Dún Laoghaire. Claire spoke about expensive ugly housing designed during the Boom years. Houses were just seen as investment for people and not an investment in design. Little regard for urban design, place-making or topography or orientation. Small developments are the answer which will contribute to the existing communities around them.</span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Fourth speaker was Kieran Rose, (<a href="https://twitter.com/kieranarose">@kieranarose</a>) a town planner and involved in drafting the current Dublin City Council standard for apartments and the submission to the government in 2013 proposing the <b>vacant land levy</b> (there are 60 hectares of vacant land in Dublin city) and now included in the Urban Regeneration Land Act in 2015. An edit transcript of Kieran's talk can be read in this article in <a href="http://dublininquirer.com/2015/10/20/kieran-weve-made-progress-on-housing-but-whats-next/">Dublin Inquirer</a>. </span></div>
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<span style="font-family: Georgia, 'Times New Roman', serif;">Final speaker <b>Geraldine Kennedy</b> is the director of the Sheelin and Embassy Property Groups. Speaking about the housing situation from the perspective of a professional landlord and property developer. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8luNzfOpny85ESGRcb8mxDA46RSno4SxvkgAhMqeJQgibzOtc2qXB2MUngG36xUGC0w8yVinTFZzikQe7Ue3q18HwUYm15hazSljkO0J_mkrV5zGvPf3WHH7KpJA6TTgky5tjNs9CIJTm/s1600/12108112_10153231012321220_1873067468088113805_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8luNzfOpny85ESGRcb8mxDA46RSno4SxvkgAhMqeJQgibzOtc2qXB2MUngG36xUGC0w8yVinTFZzikQe7Ue3q18HwUYm15hazSljkO0J_mkrV5zGvPf3WHH7KpJA6TTgky5tjNs9CIJTm/s320/12108112_10153231012321220_1873067468088113805_n.jpg" width="320" /></a><span style="font-family: Georgia, Times New Roman, serif;"><span data-mce-style="color: #3f3f3f;" style="background-color: white; line-height: 19px;">Remarking on the professional backgrounds of the speakers </span></span><span style="background-color: white; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; line-height: 19px;">Robin Mandal made the comment that he does "get a little bit weary of economists and academics talking about a sphere in a way that architects have a much more holistic view" on solving the housing crisis. Frances in her closing comments responded to Robin saying that architects of course have a major role to play in solving Dublin's housing problem but that these houses/apartments are built in a space and this space has an economic and a social rationale. </span></div>
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<span style="background-color: white; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; line-height: 19px;">I would like to see the IAF hold another Big Housing Debate to discuss other elements of the housing issue such as homelessness*. An historical perspective would be fascinating around how we got here in the first place, comparing our current social housing provision to the Irish State in its infancy, the role of the Catholic Church and our obsession with property ownership compared to our European neighbours. Yes there are conferences around these topics but they always compartmentalise professions into architects, historians, planners, auctioneers, etc. The debate was a real eye-opener for me on the night itself and in conversations inspired by it days afterwards. I have rented shared apartments, rooms in terraced houses and a semi-detached house in the cities of Limerick, Galway and Dublin. I am on my sixth landlord however much of what was presented at the Debate was news to me and this shouldn't have been the case. I have to share accommodation with others as my earnings doesn't allow me the luxury of living on my own. In a few short years I will be part of the majority yet the focus for Dublin's housing stock is for families. Why does the government continue to ignore the statistics? </span><span style="background-color: white; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; line-height: 19px;">Housing is the topic of our day and I'm proud that Open House Dublin 2015 for a few days was this gritty festival that shone a spotlight on it. </span><span style="background-color: white; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; line-height: 19px;">You can watch the debate in full </span><a href="https://vimeo.com/143135147" style="font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; line-height: 19px;">here</a><span style="background-color: white; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; line-height: 19px;">. Filmed by </span><a href="http://shoottokill.ie/" style="font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; line-height: 19px;">shoottokill.ie/</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbuRNl_PlqdQDtzUDFEMgkLW5HzkBjyYg89Zaw2W00TWYhQAA5c1WDzT4W0WtAZFYaTDG0eRtscz5C-Fx881hHCQ5xyM7YGaQgo-9vb93Gk-hQGezmQgt_xnZ2aC949kFr6Lo7rkPNC5Pt/s1600/12079578_10153231050531220_3335274988747568953_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbuRNl_PlqdQDtzUDFEMgkLW5HzkBjyYg89Zaw2W00TWYhQAA5c1WDzT4W0WtAZFYaTDG0eRtscz5C-Fx881hHCQ5xyM7YGaQgo-9vb93Gk-hQGezmQgt_xnZ2aC949kFr6Lo7rkPNC5Pt/s320/12079578_10153231050531220_3335274988747568953_n.jpg" width="320" /></a></div>
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<span style="font-family: Georgia, Times New Roman, Bitstream Charter, Times, serif;"><span style="background-color: white; line-height: 19px;"><b>All images taken by the IAF's official photographer for Open House Dublin 2015 Ste Murray</b></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">*Current Dublin homelessness stats</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Sleeping rough 105</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Homeless persons in hotels or temporary accommodation 3372</span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Families in Hotels or temporary accommodation 702 includes 1416 children</span></div>
Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com6tag:blogger.com,1999:blog-4027390742156371993.post-28707336620370267002015-09-23T18:00:00.000+01:002015-09-23T18:09:45.908+01:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7-5z6MUzhdslBnS0Ej3yboZ9ljAhK0CwYagsezZBZP8MhSTMF_iACRKAIrkhSTETZkMmXChPtQ6d2UxL1gpcETwdlIcdReSSc1EqtqboW0199hMtIdCPDz9m9TDxrGhHTTB-9QJnVdain/s1600/ranks.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7-5z6MUzhdslBnS0Ej3yboZ9ljAhK0CwYagsezZBZP8MhSTMF_iACRKAIrkhSTETZkMmXChPtQ6d2UxL1gpcETwdlIcdReSSc1EqtqboW0199hMtIdCPDz9m9TDxrGhHTTB-9QJnVdain/s1600/ranks.JPG" /></a></div>
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<span style="color: #20124d; font-size: x-large;">Return to Ranks</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiloI-B6lNF9QBbRu_1kuCWMhxlj9jLgcp7llEIj6NphEd4RIuBOmvUFA5q3l8GIP5bFFfOXMnoaGK7NZUyEkEGZlGzpg1Ej_zSdYIt4w5yyXu3OeGuZR7ToRxEkI0pVZ8oWDmcem1No_as/s1600/598981_903566698210_231735102_n.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiloI-B6lNF9QBbRu_1kuCWMhxlj9jLgcp7llEIj6NphEd4RIuBOmvUFA5q3l8GIP5bFFfOXMnoaGK7NZUyEkEGZlGzpg1Ej_zSdYIt4w5yyXu3OeGuZR7ToRxEkI0pVZ8oWDmcem1No_as/s320/598981_903566698210_231735102_n.jpg" width="320" /></a><span style="color: #20124d;">On the <b>13 February 2012</b> the exhibition 'Ranks, a Limerick Industry' was launched in the <b>Hunt Museum</b> and ran until 31 May. This exhibition was years in the making ever since the diaries of the Ranks mill manager <b>Cecil Mercier</b> was donated to the <b>Limerick Archives</b>. I was lucky enough to be involved in the five month build up to the event assisting Limerick Archivist Jacqui Hayes in devising, planning and promoting this exhibition highlighting an extremely important chapter in Limerick's industrial history. Not only that it represents a time when the city could boast of having dozens of bakeries and every household bakes fresh bread every day hence the demand for flour. The grain silos themselves have become an important Modernism landmark along Limerick's docks. Jacqui worked closely with the Hunt Museum's Education & Outreach curator Dr Dominique Bouchard in the design of the interpretive panels and the layout of the exhibition space. I had gotten the role of Exhibition Assistant through a JobBridge Scheme. Despite its bad press I think found my placement a thoroughly worthwhile experience and a fantastic addition to my CV. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjruzwQC3PzxBnzBj7mPex8SAPWgQSsEzoAlRHcBGL_huBw9MN2qxUssqPTzsDc6Zg91FcYpB4lJSPd3xkQTPjugEryLXiOPGOKcHAT4Hw6g6fCZawLDlCN7Yw47iIclIwZVAgRZD1UMFUe/s1600/229815_903566753100_192252628_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjruzwQC3PzxBnzBj7mPex8SAPWgQSsEzoAlRHcBGL_huBw9MN2qxUssqPTzsDc6Zg91FcYpB4lJSPd3xkQTPjugEryLXiOPGOKcHAT4Hw6g6fCZawLDlCN7Yw47iIclIwZVAgRZD1UMFUe/s320/229815_903566753100_192252628_n.jpg" width="320" /></a><span style="color: #20124d; text-align: left;">My role covered a multitude of tasks such as helping to can the donated photographs to contacting <b>Rank Hovis McDougall</b> to request permission to use the iconic wheat sheaf 'R' in the exhibition and on the cover of the publication. The most challenging aspect to the job was sourcing all the objects (with no budget might I add for renting or purchasing objects) for the exhibition to be displayed alongside the diaries, letters and documents from the Mercier Collection. This was not an easy task. </span></div>
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<span style="color: #20124d;">The photo to the right shows the wall that the visitor was met with. The background image demonstrated the dominating visual presence the four silos had in the city. For those approaching Limerick by boat via Foynes this was their first impression of the city. A modern industrial city. The sign on the right hand side of the wall was the original sign at the entrance to the Ranks site. The construction of Ranks began in 1931 with the company establishing their Irish headquarters in Limerick. Due to changes in the Irish economy and manufacturing practices Ranks closed in 1983. Only one silo stands today after the others were demolished in 1989. The high nelly was the most common mode of transport for the hundreds of workers with one former employee commenting that the Dock Road in the morning was like Beijing with all the Ranks cyclists. We also got our hands on a metal lunch pail that some staff would've carried on their handlebars. A bicycle was a huge investment at the time. </span><span style="color: #20124d;">One former employee still had her book which showed her bicycle payments to one of the city's bicycle shops. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqFgEs1BeL-pP936NIsVVUOT3UpFDANnlKGZIxJC8c4Ph9grGyIz9LC5dgsK23KdVy8eExjDh61RztIRG0vum2EOymqfO4XAxwt5C6skpafl7q-S3BZoBLlXFnkUJzrnWv8GDW4S_x0oZS/s1600/unnamed.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqFgEs1BeL-pP936NIsVVUOT3UpFDANnlKGZIxJC8c4Ph9grGyIz9LC5dgsK23KdVy8eExjDh61RztIRG0vum2EOymqfO4XAxwt5C6skpafl7q-S3BZoBLlXFnkUJzrnWv8GDW4S_x0oZS/s320/unnamed.jpg" width="320" /></a><span style="color: #20124d;">The image below shows the first panel and an original grain sack and a replicate flour sack. My maternal grandmother as a child, like many working class people in Limerick city, slept underneath Ranks sacks. Mothers would often bleach the sacks in an attempt to fade the identifiable blue lettering. </span><span style="color: #20124d;">Andrew Gallivan who was an intern at the time with the Hunt Museum made the film to accompany the exhibition with Dr Bouchard. The printing of the panels and replica flour sacks was done by Limerick-based <b>ScreenGrafix</b>. It featured former workers recounting their time in the mills. 'Ranks or the banks' was the saying in Limerick as a job in their various departments was seen as a job for life. The exhibition was a huge success with the visitor book recording congratulatory comments from people as far away as Canada, Australia, South America and Japan. It was awarded Best Exhibition' by the Industrial Heritage Association of Ireland (IHAI) at their AGM in February 2013. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTi53gWjBTE4ka5ald6dsg5mL740WVSgbUjqiQAaAWAjbPF8D__7kg_paTHqIJuDFfL4dVhalqaCuzs_yb24hBtcUjsBzKu-tny4YLPw0ymYAEKop40J3lCd-S1t1Gh35ZnNI3gIKAakRG/s1600/unnamed+%25281%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTi53gWjBTE4ka5ald6dsg5mL740WVSgbUjqiQAaAWAjbPF8D__7kg_paTHqIJuDFfL4dVhalqaCuzs_yb24hBtcUjsBzKu-tny4YLPw0ymYAEKop40J3lCd-S1t1Gh35ZnNI3gIKAakRG/s320/unnamed+%25281%2529.jpg" width="320" /></a></div>
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<span style="color: #20124d;">I am delighted to see that the exhibition will get a second showing as people still ask me where can they see it and they regretfully missed it first time round. </span><span style="color: #20124d;">The Limerick Museum & Archives invites Limerick to the launch of '<b>Ranks: A Limerick Industry' on Thursday 24 September at 6pm in the Hunt Museum.</b> Best of luck to Jacqui and her team and I look forward to seeing this wonderful exhibition again. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Qig5DjCXMIS6tMuZ_0fVuZ2CBmYBy5DjdT0U29nE0kCBiPSHlTpB7TI4yKJ7f6Ac8EFb0MF5d4g0qEE66CV86U0ZNjJP9OEPx-GB4xv5Tj21zgBRHMJZR8i_mBJ7MrJue0AzZ01mp1Fx/s1600/252307_903570076440_956671782_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0Qig5DjCXMIS6tMuZ_0fVuZ2CBmYBy5DjdT0U29nE0kCBiPSHlTpB7TI4yKJ7f6Ac8EFb0MF5d4g0qEE66CV86U0ZNjJP9OEPx-GB4xv5Tj21zgBRHMJZR8i_mBJ7MrJue0AzZ01mp1Fx/s320/252307_903570076440_956671782_n.jpg" width="240" /></a><span style="font-family: Courier New, Courier, monospace;"></span></div>
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<span style="font-family: Courier New, Courier, monospace;">One of my favourite objects from the exhibition is these weighing scales. One of the photographs in the Mercier collection was of the workers lifting the flour sacks onto an industrial weighing scale. I had remembered spotting this one during a conservation job the previous year for my father's practice in a former co-operative creamery in Glin, Co. Limerick. I had discovered it at the back of one of the out buildings. Admittedly it was for weighing butter but it looks so similar to the one in the photograph, I contacted the owner of the former creamery and he had no problem with us borrowing it for the duration of the exhibition. Every time I look at it's handsome golden face I am reminded of my first encounter with Limerick Conservation Officer Tom Cassidy. We are now very good friends but during that site meeting we were both very formal! </span></div>
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<br />Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-71576052986479440002015-08-29T09:21:00.000+01:002015-08-29T09:21:13.507+01:00<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAt7RXFc2D3aI6r4wR_hn85uya21Qh2Ar_Vkf587_VgcVxTA_-MWlgVlYHIjwC5KGV-T0kZQW5X3dbsE7INURsvU_dC864IJKyuhxoKcZVkEVP5RfJPOmH9HN89CwwwzLDj2yuccsIJ2X-/s1600/Longlisted-Buttons-300x2505-300x250.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="333" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAt7RXFc2D3aI6r4wR_hn85uya21Qh2Ar_Vkf587_VgcVxTA_-MWlgVlYHIjwC5KGV-T0kZQW5X3dbsE7INURsvU_dC864IJKyuhxoKcZVkEVP5RfJPOmH9HN89CwwwzLDj2yuccsIJ2X-/s400/Longlisted-Buttons-300x2505-300x250.jpg" width="400" /></a></div>
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<b><span style="color: #6fa8dc; font-family: Arial, Helvetica, sans-serif;">Long-listed for the Irish Blog Awards</span></b></h2>
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<span style="color: #073763;">I started my little blog <span style="font-family: inherit;"><b>Concrete Stew</b></span> ten months ago (thanks to constant nagging of my friend Dan,my writing version of a sky-diving instructor yelling at me to "jump!") and I'm delighted to be long-listed for the 4th annual Irish Blog Awards 2015 <a href="http://www.blogawardsireland.com/">blogawardsireland.com/</a>. Concrete Stew was nominated as a personal blog for the Arts and Culture category. Thank you to the team at the Blog Awards for emailing me this very smart looking Long-list button. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoI76KnPNKsc-NKf3egHoDmfT6QlubJy7JNP55aPlvl9shRBoCcZ6ZnRfVAw6LSv9k9BE5x6y2asOXVjK2xagE5FDLy34VFo1d1R2oBkFdWrfNTHiN1jQlN5h8OqHyRNLQQARjGBSw5wB1/s1600/art_cat_330x317.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="color: #073763;"><img border="0" height="191" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoI76KnPNKsc-NKf3egHoDmfT6QlubJy7JNP55aPlvl9shRBoCcZ6ZnRfVAw6LSv9k9BE5x6y2asOXVjK2xagE5FDLy34VFo1d1R2oBkFdWrfNTHiN1jQlN5h8OqHyRNLQQARjGBSw5wB1/s200/art_cat_330x317.jpg" width="200" /></span></a><span style="color: #073763;">The short-list will be announced on Wednesday 2 September and the award ceremony itself will take back in Dublin on 22 October in The Tivoli Theatre. As blogging becomes bigger in Ireland I hope that more blogs which focus on architecture/architectural history/urban design emerge and hopefully it can be it's own stand-alone category in the future. The public vote opens next week so I will be tweeting like a mad woman asking for support. One of my favourite bloggers <a href="http://theirishaesthete.com/">theirishaesthete.com/</a>,Vice-President of the Irish Georgian Society won the award in this category in 2013 and I would be honoured to be in the same list as him. Getting long-listed was a fantastic opportunity for myself to refocus and re-evaluate how my blog has evolved, am I being vigilant when it comes to my writing style (keeping to my own 'voice'), frequency of posts and that in the true nature of a blog it is my personal take on things- my perpetual ode to how and why we document Irish architecture. </span></div>
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Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-73231400353824841612015-08-27T00:13:00.001+01:002015-08-27T22:04:17.245+01:00<br />
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<tr><td class="tr-caption" style="text-align: center;">Image taken from architecturefoundation.ie</td></tr>
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<span style="color: #0b5394; font-family: Verdana, sans-serif;">Open House Dublin: Seven Weeks to Go!</span></h2>
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It is seven weeks until the Big Housing Debate on Wednesday 14 October which kick starts the 10th edition of Open House Dublin. This free weekend is presented annually by the Irish Architecture Foundation (IAF), a celebration of the city's best architecture, when buildings of all types and periods open their doors to allow citizens to explore. The theme of Open House Dublin 2015 is titled <i>This Place We Call Home </i>which focuses on domesticity and urban space. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinP3zPJdaR_9Eq6mIwLqwljtsk1oGOHSAjwV1u0Z5PObYiQjAoBhTZdlURqMehyphenhyphenEub5RpaonduVVMJNSDHFSOw7_fo7xf1hUZyFC8VkDWEyfBBNyM1VF9RRHx1jwXwmAMeac5MxQOnM_xM/s1600/OH2015_RichmondPlace_Carson%2526Crushell_DavidGrandorge.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinP3zPJdaR_9Eq6mIwLqwljtsk1oGOHSAjwV1u0Z5PObYiQjAoBhTZdlURqMehyphenhyphenEub5RpaonduVVMJNSDHFSOw7_fo7xf1hUZyFC8VkDWEyfBBNyM1VF9RRHx1jwXwmAMeac5MxQOnM_xM/s320/OH2015_RichmondPlace_Carson%2526Crushell_DavidGrandorge.jpg" width="243" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image courtesy of Carson & Crushell. Photo by<br />
David Grandorge</td></tr>
</tbody></table>
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I am so excited about the 2015 programme! It is killing me not being able to blurt out all the buildings, the walking tours, exhibitions, etc. As the Programme Coordinator I feel like I am the midwife to such an amazing October life force. An energy that inspires people to open their buildings to strangers and sharing their space, creativity and stories. In the length of time of a tour, all the occupants of that building are experiencing the same moment of getting inside the head of the architect or client and the realisation of the brief, together creating a living, breathing home. In my interview for the job back in June, even those I had first hand experience organising the first Open House Limerick in 2012 I was stumped at the question "describe Open House." I asked could I take a moment as I wanted to give this worldwide phenomenon the justice it deserved. I even got to meet Victoria Thornton who traveled to Limerick to launch ir's inaugural Open House. This was the woman who began it all in London over two decades ago. My most rewarding moments so far are those when I'm on the phone to a property manager and they are so surprised that their building was chosen by our curator as they didn't deem it special or important enough. We get to show them their familiar building with fresh eyes. They make the common mistake that good design means a certain cost located at certain addresses in the city.</div>
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All I will say is that there is the highest ever number of private houses and apartment blocks than there has ever been for Open House Dublin and over double the usual number of walking tours. Homes which have been confirmed in the first press release include Home in Rathmines, home of (and by) Ireland's most celebrated architects <b>Sheila O'Donnell and John Tuomey</b>; 23 Leinster Road, the renovation and conversion of an early Georgian townhouse by <b>A2 Architects</b>; Richmond Place, the home and studio of <b>Carson & Crushell Architects</b> and a "spiritual" home: the Holy Faith Spirituality Centre in Glasnevin by <b>MOLA Architects</b>. These are all new to the Open House programme. </div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFRnFKT9K_3W4n_Kq8CLwiVMFFJOG5PmDAeAcXwWXurhVj-8DcSTrAwUwypNiryuAqcQrImMzwK4Ry3nYh75gposC5R5-UTsqxhJ5Du0A3ln7ev5RT-li_NHgg05PzwBJ-8mYrVoywAdzN/s1600/20150809_175106+%25281%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFRnFKT9K_3W4n_Kq8CLwiVMFFJOG5PmDAeAcXwWXurhVj-8DcSTrAwUwypNiryuAqcQrImMzwK4Ry3nYh75gposC5R5-UTsqxhJ5Du0A3ln7ev5RT-li_NHgg05PzwBJ-8mYrVoywAdzN/s320/20150809_175106+%25281%2529.jpg" width="192" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">View from inside No.10 Henrietta St.<br />
Photo taken by writer.</td></tr>
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I am lucky enough to be able to count A2's Peter Carroll and Rosaleen Crushell of Carson & Crushell amongst my friends and it's a delight to be working with them for such a worthwhile event. Additionally I have my own fondness for MOLA. My father when I was little worked for Murray O'Laoire in their Limerick office. I can remember my mother sending me up to their brown brick office building on Glentworth Street, to let my father know we were outside during his lunch hour, as she waited in the car feeling ever so grown up. I can't remember being inside that first floor office but I can imagine I stood at the reception announcing something to the effect of "I'm here to collect my Daddy."</div>
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Returning favourites from previous years include the Iveagh Trust Museum Flat (Nellie's Flat) in Dublin 8 and No.10 Henrietta Street, one of the oldest buildings on one of the oldest streets in Dublin. The aim of this year's Open House is to highlight buildings that have shaped how we live now and the Big Housing Debate should hopefully inspire new ways of living better in the future. It really is one of the most pressing topics of our generation. Everybody needs a home and it's the one thing that binds us all together in this city. 2015 marks 30 years since the setting up of what is now Focus Ireland by Sr Stanislaus 'Stan' Kennedy. I was told by one of the architects giving a walking tour for Open House that her mantra was always "Everyone is entitled to a place called home." </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhlyjSBJJOMPuHiWT_4lvFDeBqMWSbwSO0Wd2g5K47R1-KYKEdBrqJhrWyprQikxOvuqbnRLliohCYHilHOfbh56FRaLSNq0KP47YyjhtF_5gkDdf8WnT3IYUNyfJw6hMVEwH9K0jrVZ32/s1600/20150821_180612.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhlyjSBJJOMPuHiWT_4lvFDeBqMWSbwSO0Wd2g5K47R1-KYKEdBrqJhrWyprQikxOvuqbnRLliohCYHilHOfbh56FRaLSNq0KP47YyjhtF_5gkDdf8WnT3IYUNyfJw6hMVEwH9K0jrVZ32/s320/20150821_180612.jpg" width="192" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Former Pathology Building. Home of<br />
IAF until they move in early 2016.</td></tr>
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Home is such an evocative word. If I reach into the very pit of myself and meditate on the word 'home' it conjures up my family house in the 1990s. Our deep red brick bungalow, nestled in our sleepy little cul-de-sac in the suburbs of Limerick, before we got a proper driveway and landscaped the garden. At least once a week someone in the house would ask "will we go feed the ducks" which meant a walk by river, passing the Corbally baths and the 'red path' up to Athlunkard Bridge, down the Corbally Road with the Irish Estates on your left and St Munchin's on your right, turning at the junction down the Mill Road homeward bound completing the loop. The fields that once contained horses and cows are now housing estates. As an adult I found that in a short space of time Dublin fits me comfortably. It struck me that it does particularly on days when I cross the Liffey. I'm most at home in a city with a river running through it. It'll never have the same impact to me but the Liffey is a close second to the Shannon. Home is different things to different people, to those of us fortunate to have one. It is the most personal place you will ever invite people into so a huge thank you to everybody opening their doors this October in the wonderful city we all call home. </div>
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Keep an eye out for all the latest Open House Dublin news on Twitter <a href="https://twitter.com/IAFarchitecture">@IAFarchitecture</a> and please use the hashtag #OHD2015 and on <a href="https://www.facebook.com/irisharchitecturefoundation">Facebook</a>. Below are images of my home away from home until the end of October on Hatch Street.<br />
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<br />Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com1tag:blogger.com,1999:blog-4027390742156371993.post-74196633380622592162015-08-19T21:54:00.000+01:002015-08-19T21:55:09.855+01:00<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #073763; font-family: Courier New, Courier, monospace;">Not being the One Doing the Asking...</span></h2>
<span style="font-family: Courier New, Courier, monospace;">This week I was proud to have an interview I did appear in a local paper of my hometown (the Limerick Leader). The contributors to this year's edition of the <i>Old Limerick Journal</i> were all invited to take part in the Arts Interview section. I'd like to publicly acknowledge the saintly patience of John Rainsford in dealing with all my endless edits and indecisiveness. It was my first time as an interviewee. The experience has given me an appreciation for the people I have interviewed and the nerves they must be experiencing, to varying degrees, at the prospect of family, friends and colleagues reading their words. </span><br />
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<span style="font-family: Courier New, Courier, monospace;">I have in recent weeks did my first batch of interviews which is a fascinating process in itself. I have conducted three so far for print. I find it does get easier the more I do them. The second one I was assigned to do happened to be a friend of mine so he was almost interviewing me when we sat at his meeting table. I enjoyed listening back (apart from the shock at hearing how everybody else experiences my accent!) and hearing the tinge of awkwardness in both our voices as if we were strangers. Nevertheless the familiarity gave me a confidence to delve more and go on spontaneous tangential spurts in response to his answers. The third one was with somebody I never met before but the conversation flowed easily. Alas as soon as the record button was hit he was noticeably more conscious of his responses, which is often the case. I would never do it but a part of me wishes I secretly recorded the pre-interview banter. </span><br />
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<span style="font-family: 'Courier New', Courier, monospace;">Yesterday afternoon I sat in on a more formal interview. I compiled the list of questions, which were edited by the interviewer, somebody I would consider my mentor. I was relieved I wasn't given the task of performing it but rather instead bearing witness to the exchange. The interviewer was so professional and so generous; subtly feeding the interviewee platforms to vault from in order to portray them in the best possible light. Somehow in her expert brevity she got to extract so much information in a series of smooth, continuous anecdotes and observations. Ah, and then there's the job of transcribing the interviews. It is like having to do the washing up after cooking and devouring a kingly feast. Again this arduous task is aided by practice. </span><br />
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<span style="font-family: 'Courier New', Courier, monospace;">For my other job (don't we all seem to have at least two these days) I frequently end up 'interviewing' in a sense, people in their places of work. It is amazing how the physical environment affects conversation; the level of formality and familiarity. A few of these have been in their homes to collect forms for those who aren't the most IT proficient, their internet was acting up, etc. The last one was a good example of how the most familiar of surroundings, your home/studio where you work and create all day, has the ability to make new visitors feel as known to you as your furniture. I will never name them but due to the fact, I believe, that they were so relaxed in their home they asked me could they arrange a meeting of a more romantic nature. This in itself is a rare occurrence (I can count these on one hand). As flattered as I was at this question, I had to decline. I admire </span><br />
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<span style="font-family: Courier New, Courier, monospace;">the bravery- dropping your guard like that is terrifying. I can only put it down to the power of a familiar space rather than my appearance, conversation skills or bad jokes. I am happy to remain a Nick Carraway-like character in the background recording the brilliance of the Great Gatsbys of this world.</span><br />
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<span style="font-family: Courier New, Courier, monospace;">I am looking forward to seeing my article appear in the <i>Old Limerick Journal</i> this winter for the second time. It is an honour for me to be included in a publication that I have been consulting since my secondary school days. I have written on an early twentieth century building that I am very fond of, and deserves more attention. Yet again I have that feeling which makes one ask oneself "Me! Are you sure?" </span><br />
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Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com0tag:blogger.com,1999:blog-4027390742156371993.post-78677737366716832152015-07-27T20:30:00.000+01:002015-08-12T21:28:52.331+01:00<div class="separator" style="clear: both; text-align: left;">
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The development of health services both locally and
nationally, can best be traced by looking at the modern development of
hospitals in Limerick. The modern Irish
hospital building is perhaps the most representative of the contemporary styles
of architecture in the twentieth century, along with the associated
philosophical and psychological issues that dictate how this building should be
designed and used. The modern hospital, as a building, can be described as a <i>gesmtkunstwerk, </i>all the aspects of
which- the function, the technology and the aesthetics- aim to promote the
well-being and recuperation of the patients. </div>
<div class="MsoNormal">
Rapidly changing innovations in acute medical care,
out-patient care and hospital machinery instruct the design considerations.
Emerging theories demanded that the modern hospital not only had to be a high
performance, functioning institution treating the human body but it had to
be an environment conducive to rest and holistic treatment. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL5G59mw5fT61M5bOLEj0hHNdv34Ul-B4ke13VybkWWXDMH6sn84dDd4UaFIUlOdAUX7U1Q4osOxNbSRNU2DOVoBuTyBx8xxr1hBaausGYX4bHMT-0Q0vDVuZ8QuvC7KjEE3zw30Z7cQz5/s1600/371.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL5G59mw5fT61M5bOLEj0hHNdv34Ul-B4ke13VybkWWXDMH6sn84dDd4UaFIUlOdAUX7U1Q4osOxNbSRNU2DOVoBuTyBx8xxr1hBaausGYX4bHMT-0Q0vDVuZ8QuvC7KjEE3zw30Z7cQz5/s320/371.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Irish Hospital Sweepstake ticket (1940) from National<br />
Archives, Irish Sweepstakes file.</td></tr>
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From the late nineteenth and until 1947, the cost of the
public health services was borne almost entirely by local authorities who
derived their funding from local ratepayers.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span></span></a>
The government was not prepared to come
to the aid of the hospitals by increasing the level of parliamentary grants
last fixed in the 1850s.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span></span></a>
This most notable field of architectural activity during the early years of
Irish Independence was stimulated by the establishing of the Hospital
Sweepstakes in 1930, originally intended to raise funds for some voluntary
hospitals in Dublin, but soon expanding to become the prime source of finance
for a comprehensive hospital-building campaign throughout the state. Announcing
the commencement of this campaign, the then Minister for Local Government and
Public Health, Seán T. O’Kelly praised the work of Alvar Aalto stating that he
hoped similar talent would emerge in Ireland. Even the Hospital Sweepstakes
building (Robinson Keefe, 1937) could itself be seen as an analogy for this
drive as it too was a work of modernism with a long low front elevation with a
glazed tower at one end. </div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0E2a3yFGqXC7wUdwgOIgwe36N3uOAiyN9-WDpc_X5b714BH8b2KqV0zkNgCS_Z_25La_gW9QhsDm3mWBVnVtvnWIvfoXqk2wHQODl5eunHTrTqBqWVUozlfjVNH8lKYchAr0UEk54CzJk/s1600/3377149122_3dcf7a6b56.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0E2a3yFGqXC7wUdwgOIgwe36N3uOAiyN9-WDpc_X5b714BH8b2KqV0zkNgCS_Z_25La_gW9QhsDm3mWBVnVtvnWIvfoXqk2wHQODl5eunHTrTqBqWVUozlfjVNH8lKYchAr0UEk54CzJk/s320/3377149122_3dcf7a6b56.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Irish Sweepstakes Building, Ballsbridge<br />
Image from flickriver.com/photos/88051129@N00/tags</td></tr>
</tbody></table>
<div class="MsoNormal">
Prior to the advent of the Sweepstakes no public hospital
building of any significance had been undertaken since 1904.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></a>
Throughout the thirties Ireland became internationally known for its
sweepstakes and received world press coverage, both good and bad.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></a> It was illegal in the United States, Canada
and the United Kingdom though the majority if tickets continued to be sold
there.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span><!--[endif]--></span></a>
Vincent Kelly, as architect member of
the Committee of Reference set up by the Free State government in 1933 to
advise on the allocation of the Hospital Sweepstakes funds undertook an
extensive tour to make a detailed study of modern developments in the design,
equipment and administration of hospitals in various countries all over Europe
including France, Switzerland, Germany, Czechoslovakia, Austria, Belgium and Holland.
He inspected over sixty hospitals during a period of almost three months. On
his return, Kelly not only contributed his findings to official published
reports, and some lectures and articles (AAI lecture ‘A tour of Continental
Hospitals’ 20 February 1934<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span><!--[endif]--></span></a>),
but also given responsibility for several hospitals commissions himself. These included Nenagh General Hospital, Co.
Tipperary (1933-36), Naas Fever Hospital, Co. Kildare (1933-39), the County
Hospital at Cashel, Co. Tipperary (1933-37), all exhibiting the flat-roofed and
white-walled cubic forms of modern
architecture, finished with sun balconies and projecting concrete canopies.<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span><!--[endif]--></span></a> </div>
<div class="MsoNormal">
Other hospitals embodying the spirit of progress were Michael Scott and Norman
Good’s Port Laoise Hospital (1933-40), and T.J. Cullen’s Galway Central
Hospital (1949-55). They were symbols of Ireland’s puritanical vision for
society imbued with an anti-materialistic philosophy. If Ireland had to make do
without, Fianna Fáil wanted the Irish people to know that this was not only a
current necessity but an investment for ‘making the people sober, moderate, and
masculine and thereby paving the way for industrial advancement and economic
reform.’<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn8" title="">[8]</a></span></span><a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn8" title=""><!--[endif]--></a></span></div>
<div style="text-align: left;">
</div>
The Tuberculosis (Establishment of Sanatoria) Act 1945<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[9]</span></span></span></a>
enabled the building of hospitals like the Limerick Regional (now University
Hospital Limerick) for the care of patients with tuberculosis, together with
the Health Act of 1947 which modernised the original Public Health (Ireland)
Act 1878. It was not until 1947 that a Department of Education was created and
a Minister was appointed. <a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[10]</span></span></span></a>
The Health Act of 1953 was a significant landmark which allowed for the broader
services, and this, together with the post-war building programme of new
hospitals and the sanctioning of additional consultant appointments, greatly
improved access to hospital services. <a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftn11" name="_ftnref11" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[11]</span></span></span></a><br />
<br />
<div style="text-align: left;">
</div>
<div>
<!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a> Pádraig
O’Morain, <i>The health of the nation; the
Irish healthcare system 1957-2007</i> (Dublin, 2007), p.134.</div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></a>
Ruth Barrington, Health medicine & politics in Ireland 1900-1970, (Dublin,
1987), p.109.</div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></a>
Thomas Murphy, ‘Ireland’s Hospitals’, <i>Medical
Care</i>, 2:2 (1964), p.126.</div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></a>
New York Journal ‘American’ on 25 March 1956 reported ‘the Irish Sweepstake is
not as clean a sweep as they would have you believe. They manipulate the
tickets so as to throw the prizes in any direction they wish.’</div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[5]</span></span><!--[endif]--></span></a>
Ibid, p.138.</div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[6]</span></span><!--[endif]--></span></a> 21
Feb 1934, <i>Irish Times</i></div>
</div>
<div id="ftn7">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[7]</span></span><!--[endif]--></span></a>
Frederick O’Dwyer, <i>Irish Hospital
Architecture; a pictorial history</i> (Dublin, 1997), p.18. </div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[8]</span></span><!--[endif]--></span></a>
D.P. Moron, <i>The Philosophy of Irish
Ireland</i>, reprint 2006 (Dublin, 1905), p.45.</div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[9]</span></span><!--[endif]--></span></a>
No.4/1945 Irish Statute Book. Office of the Attorney General.</div>
</div>
<div id="ftn10">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[10]</span></span><!--[endif]--></span></a>
Joseph Robbins (ed.), <i>Reflections on
Health; commemorating fifty years of the Department of Health 1947-1997</i>
(Dublin, 1997), p.5</div>
</div>
<div id="ftn11">
<div class="MsoFootnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=4027390742156371993#_ftnref11" name="_ftn11" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-IE; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">[11]</span></span><!--[endif]--></span></a>
Ibid, p.21<br />
<br />
<b>Further reading</b><br />
Dr Marie Coleman, <i>The Irish Sweep, a History of the Irish Hospitals Sweepstake 1930-87,</i> (UCD Press, 2009) <a href="http://www.ucdpress.ie/display.asp?isbn=9781906359416">ucdpress.ie/display.asp?isbn=9781906359416</a><br />
<br />
For more photos of the Irish Sweeps you can find them at <a href="http://irishphotoarchive.photoshelter.com/image?&_bqG=7&_bqH=eJxtT11rwjAU_TX2WZEwFPIQk8xd1iYjH0J9udhSER1rWWTDf7_cIlvZFsjJ.chJuOWxCecWV6H3b2m1vOxde_OMsddbWi.W68V8TjsjoPKSp8.uG9L1cOkKQK9E0DO2qaoZU3xiKEWGUhOrzotMOrOtf1f136r.vyoh1ONnIcdEpI0muBrBW5LWgTY5A2tIgkenSy28Vnf5MtXeusCdMM_FOCAKo_g18.i1Q1A80vCnoXn4aJ76IfY52oELUZQottrImi4VKDcI.eFcvdP4Td3jD62IChl46g7v7anYje3tiJLwC60Dc.s-&GI_ID=">Irish Photo Archive</a></div>
</div>
</div>
Emma Gilleecehttp://www.blogger.com/profile/13532782134266759793noreply@blogger.com1