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OPW Heritage Trade Catalogue 2021-2022 Dublin
heritage ireland Ireland’s National Heritage in the care of the 0ffice 2019 of public works Admission Charges Apply in 2022 Trade Catalogue 2021-2022 Dublin Ireland’s Ancient East Ireland’s Hidden Heartlands Wild Atlantic Way group trade information 1. groups and trade … explore more ¬ Specific language audio-visual films in some sites for pre-booked tours Bring your group to visit an historic place for a great day out. ¬ If you are a public group or in the travel trade and have ¬ Access to OPW Tour Operator Voucher Scheme (TOVS). customers for group travel, FIT or MICE our staff are Payment by monthly invoice. delighted to present memorable experiences at over 70 Email us at [email protected] historic attractions.* * Minimum numbers may vary at sites due to COVID–19 restrictions as at April 2021. ¬ Our guides excel in customer service and storytelling * Some sites may not be fully accessible or closed due to COVID–19 that enthrals and engrosses the visitor, while offering restrictions as at April 2021. a unique insight into the extraordinary legacy of Ireland’s iconic heritage. 3. plan your itinerary ¬ Join our mailing list for more information on heritageireland.ie ¬ For inspiration about passage tombs, historic castles, ¬ Contact each site directly for booking – details in Groups / Christian sites and historic houses and gardens throughout Trade Catalogue Ireland. * Due to COVID–19 restrictions some sites may not be open. ¬ From brunch to banquets – find out about catering facilities at sites, events and more … 2. group visit benefits ¬ Wild Atlantic Way ¬ Group Rate – up to 20% off normal adult admission rate. -
British Neoclassicism COMMONWEALTH of AUSTRALIA Copyright Regulations 1969
702132/702835 European Architecture B British Neoclassicism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice authenticity reductionism NEOCLASSICISM sublimity neoclassicism ROMANTIC CLASSICISM innovation/radicalism ARCHAEOLOGYARCHAEOLOGY ARCHAEOLOGICAL PUBLICATIONS Robert Wood, Ruins of Palmyra,1753 Robert Wood, Ruins of Balbec,1757 J D Leroy, Les Ruines des plus Beaux Monuments de la Grèce, 1758 James Stuart & Nicholas Revett, Antiquities of Athens, I, 1762 James Stuart & Nicholas Revett, Antiquities of Athens, II, 1790 Robert Adam, Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia, 1764 Richard Chandler, Ionian Antiquities, I, 1769 Richard Chandler, Ionian Antiquities, II, 1797 Temple of Apollo, Stourhead, by Henry Flitcroft, 1765 the ‘Temple of Venus’ at Baalbek, c AD 273 George Mott & S S Aall, Follies and Pleasure Pavilions (London 1989), p 102; Robert Wood, The Ruins of Balbec, otherwise Heliopolis in Coelosyria (London 1757) THETHE SUBLIMESUBLIME 'The artist moved by the grandeur of giant statue of Ancient Ruins', by Henry Fuseli, 1778-9 Constantine, c 313 Toman, Neoclassicism, p 11 MUAS 12,600 Castel Sant' Angelo, Rome, -
European Architecture 1750-1890
Oxford History of Art European Architecture 1750-1890 Barry Bergdoll O X fO R D UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford 0 x2 6 d p Oxford New York Athens Auckland Bangkok Bombay Calcutta Cape Town Dares Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madras Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the U K and in certain other countries © Barry Bergdoll 2000 First published 2000 by Oxford University Press All rights reserved. No part of this publication maybe reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the proper permission in writing o f Oxford University Press. Within the U K, exceptions are allowed in respect of any fair dealing for the purpose of research or private study, or criticism or review, as permitted under the Copyright, Design and Patents Act, 1988, or in the case of reprographic reproduction in accordance with the terms of the licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside these terms and in other countries should be sent to the Rights Department, Oxford University Press, at the address above. This book is sold subject to the condition that it shall not, byway o f trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. -
Matthew Brettingham of Palladio's Villa Rotonda in England
Matthew Brettinghamthe Younger, Foots Cray Place, and the Secularization of Palladio'sVilla Rotonda in England to thememory of Rudolf Wittkower STANFORDANDERSON should have been placed in this volume. We can go some distancein this This British of MassachusettsInstitute of Technology answering question. Librarycopy Ware'sPalladio is bound in fine blue leatherwith gilt decoration n the BritishLibrary, affixed at the backof a copyof Isaac bearing the arms of Joseph Smith, the famous Englishman Ware's Palladio (1738), are four previously undiscussed resident in Venice from about 1700 until his death in 1770. eighteenth-centuryarchitectural drawings [Figures 2-5].1 The Smithwas the Britishconsul in Venice from 1744 to 1760. Also drawingscomprise a set of three plans (the basement, princi- in the BritishLibrary is a copy of the catalogueof the libraryof pal, and attic-storyplans) and a corresponding"Front Eleva- ConsulSmith of 1755, annotatedfor the purchaseof the library tion which Representsall The other Fronts"for a villa on the for KingGeorge IIIin 1763, a collectionthat later came into the model of Palladio'sVilla Capra, or Villa Rotonda. It is com- libraryof the British Museum, now the BritishLibrary. The monly said that four such villas were built in England in the Smithcatalogue contains an entryfor a copy of Ware'sPalladio eighteenth century.2It is readily revealed that the unknown that can only be the one in the BritishLibrary.8 The catalogue drawingscorrespond closely to the engravedrepresentations in entry makes no mention of any extraneous materialsin this VitruviusBritannicus, vol. 4 (1767) of one of these Anglo- Palladio.Nonetheless there are at least two reasons to assign Palladianvillas, Foots Cray Place in Kent[Figures 6-8]. -
4184 F Palladio.Pdf
O 1508-1580 Andrea Palladio 1508-1580 ANDREA PALLADIO 1508-1580 ANDREA PALLADIO 1508-1580 First published in 2010 by The Embassy of Italy. Designed by: David Hayes. Typeface: Optima. Photographer: Pino Guidolotti. Photographer Lucan House: Dave Cullen. © The Embassy of Italy 2011. All rights reserved. No part of this book may be copied, reproduced, stored in a retrieval system, broadcast or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without prior permission of the copyright owners and the publishers. Lucan House, Co. Dublin Palladianism and Ireland NDREA PALLADIO GAVE HIS NAME to a style of architecture, Palladianism, whose most obvious Afeatures – simple lines, satisfying symmetry and mathematical proportions – were derived from the architecture of antiquity and particularly that of Rome. From the seventeenth century onwards Palladianism spread across Europe, with later examples to be found as far afield as America, India and Australia. Irish Palladianism has long been recognised as a distinctive version of the style. Editions of Palladio’s Quattro Libri dell’Architettura were second in popularity only to editions of Vitruvius amongst the Irish architects and dilettanti of the eighteenth century but, fittingly, it was another Italian, Alessandro Galilei, who may be said to have introduced the style to Ireland at Castletown, Co. Kildare (under construction from 1722). Thus began a rich tradition of Palladianism in Irish country house architecture, with notable examples at Bellamont Forest, Co. Cavan (c.1730), Russborough, Co. Wicklow (1742), and Lucan House, Co. Dublin (1773), now the Residence of the Ambassador of Italy. Ireland can also boast, in the facade of the Provost’s House, Trinity College Dublin, the only surviving example of a building erected to a design by Palladio outside his native Italy. -
The Architecture of Dublin's Neo-Classical Roman Catholic Temples 1803-62
Technological University Dublin ARROW@TU Dublin Other resources Dublin School of Architecture 2005-01-01 The Architecture of Dublin's Neo-Classical Roman Catholic Temples 1803-62 Brendan Grimes Technological University Dublin, [email protected] Follow this and additional works at: https://arrow.tudublin.ie/bescharcoth Recommended Citation Grimes, Brendan: The Architecture of Dublin's Neo-Classical Roman Catholic Temples 1803-62. Doctoral Thesis. Dublin, National College of Art and Design, 2005. This Theses, Ph.D is brought to you for free and open access by the Dublin School of Architecture at ARROW@TU Dublin. It has been accepted for inclusion in Other resources by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The ARCHITECTURE of DUBLIN’S NEO-CLASSICAL ROMAN CATHOLIC TEMPLES 1803-62 In two volumes Volume 1 Text Brendan Grimes Dip. Arch., B.A., M.Litt. Ph.D. Submitted to the Faculty of History of Art and Design and Complementary Studies National College of Art and Design a recognised college of the National University of Ireland Supervisor: Dr Paul Caffrey September 2005 The ARCHITECTURE of DUBLIN’S NEO-CLASSICAL ROMAN CATHOLIC TEMPLES 1803-62 In two volumes Volume 2 Illustrations Brendan Grimes Dip. Arch., B.A., M.Litt. Ph.D. Submitted to the Faculty of History of Art and Design and Complementary Studies National College of Art and Design a recognised college of the National University of Ireland Supervisor: Dr Paul Caffrey September 2005 Declaration I delare that this thesis has not been submitted as an exercise for a degree at any other college or university, and that it is entirely my own work. -
Robert Adam's Revolution in Architecture Miranda Jane Routh Hausberg University of Pennsylvania, [email protected]
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Robert Adam's Revolution In Architecture Miranda Jane Routh Hausberg University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Hausberg, Miranda Jane Routh, "Robert Adam's Revolution In Architecture" (2019). Publicly Accessible Penn Dissertations. 3339. https://repository.upenn.edu/edissertations/3339 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3339 For more information, please contact [email protected]. Robert Adam's Revolution In Architecture Abstract ABSTRACT ROBERT ADAM’S REVOLUTION IN ARCHITECTURE Robert Adam (1728-92) was a revolutionary artist and, unusually, he possessed the insight and bravado to self-identify as one publicly. In the first fascicle of his three-volume Works in Architecture of Robert and James Adam (published in installments between 1773 and 1822), he proclaimed that he had started a “revolution” in the art of architecture. Adam’s “revolution” was expansive: it comprised the introduction of avant-garde, light, and elegant architectural decoration; mastery in the design of picturesque and scenographic interiors; and a revision of Renaissance traditions, including the relegation of architectural orders, the rejection of most Palladian forms, and the embrace of the concept of taste as a foundation of architecture. -
Waterford-1.Pdf
AN INTRODUCTION TO THE ARCHITECTURAL HERITAGE of COUNTY WATERFORD AN INTRODUCTION TO THE ARCHITECTURAL HERITAGE of COUNTY WATERFORD Waterford boasts a rich architectural her - Special areas of interest, some unique to the Foreword itage spanning many centuries. This heritage is county, were also identified as part of the NIAH the most tangible physical reminder of the cul - survey. Portlaw, established in the early nine - ture, ideals, and history of a people now gone. teenth century by the Malcomson family as a Its appreciation and survival is a reflection of ‘Model’ village, features a range of structures the values of the current generation into whose that might be expected in more middle-size care this important historical evidence has urban areas. The arrangement of civic, indus - been entrusted. trial, and private buildings in a carefully When posed with the question of what con - planned system distinguishes Portlaw in a stitutes the architectural heritage, the most national context. common response ranges from country houses Smaller scale items of importance include to public buildings such as churches, court - Waterford’s stock of vernacular heritage, most houses, and town halls. While such buildings commonly identified by the thatched cottage, should be mentioned and appreciated for their but also including structures such as farm out - inherent architectural and historical value, buildings. Once innumerable throughout the more modest artefacts are often overlooked and country, the last hundred years have witnessed are therefore, arguably, at greater risk of being a dramatic depletion in the numbers of irredeemably lost. thatched cottages surviving. Very few, depicted In the course of the National Inventory of in archival sources, survive in the urban areas Architectural Heritage (NIAH) survey of the of the county. -
Master Laois
AN INTRODUCTION TO THE ARCHITECTURAL HERITAGE of COUNTY LAOIS Department AN INTRODUCTION TO THE ARCHITECTURAL HERITAGE of COUNTY LAOIS Foreword COUNTY LAOIS (c. 1805) A Grand Jury map, signed David Cahill, Engineer, depicting the topographical features of Queen’s County, the name given to Laois in the sixteenth century. Courtesy National NATIONAL INVENTORY Library of Ireland. of ARCHITECTURAL HERITAGE AN INTRODUCTION TO THE ARCHITECTURAL HERITAGE of COUNTY LAOIS Introduction The county that we now call Laois was cre- and Durrow, with smaller settlements at Ball- CATHOLIC CHURCH OF THE ated in 1556 under the Tudor policy of expan- inakill, Rathdowney, and Stradbally. SACRED HEART, sion in Ireland, and named Queen’s County The landscape of Laois, which is dominated Main Street, Stradbally after Queen Mary. A landlocked county in by tillage and pasture, is intersected by many (c. 1896) south Leinster, Queen’s County was adminis- rivers and streams, notably the Barrow and the This mask is a fine tered from Maryborough, which is now Nore. The Killeshin Plateau is to the east of the example of the dura- Portlaoise. The original boundaries enclosed county, which rises in the north to the Slieve bility of the locally quarried stone that only the eastern half of the modern county, Bloom Mountains. The underlying rock of the retains its precision which evolved to include the barony of lowlands is limestone, while the Slieve Blooms and finesse. It is also a good example of Tinnahinch in 1572, Upper Ossory in 1602 and have deposits of sandstone. As, prior to the artistry present in Durrow in 1837. -
An Introduction to the Architectural Heritage of Dublin South City Read
AN INTRODUCTION TO THE ARCHITECTURAL HERITAGE of DUBLIN SOUTH CITY Niamh Marnham AN INTRODUCTION TO THE ARCHITECTURAL HERITAGE of DUBLIN SOUTH CITY "DUBLIN IN 1861" Illustrated map published by D. Edward Heffernan, civil engineer, showing the city, its principal landmarks and vistas. Oval vignettes highlight the public buildings then, as now regarded as among the best assets of Dublin's architectural heritage. Courtesy of Trinity College Dublin Foreword Dublin is the largest city in Ireland and This Introduction seeks to give a capital of the Republic. Aptly described by the representative picture of the south city and its poet Louis MacNeice as the 'Augustan capital architectural heritage. The area covered is of a Gaelic nation', the city is richly endowed bounded by the River Liffey on the north and with a fine, distinctive architectural heritage the Grand Canal on the south. It is bookended dating from the early medieval period to the on the west by the Royal Hospital and on the present day. Like all great cities, it has its share east by Ringsend on the south bank of the of large, declamatory public buildings Liffey. including the Dublin Castle complex, City The Architectural Inventory of Dublin South Hall, the Leinster House cultural and political City was carried out in phases from 2013 to precinct, the old Parliament House on College 2017. It should not be regarded as exhaustive Green and the neighbouring Trinity College as, over time, other buildings and structures of campus. The Royal Hospital, Kilmainham, has merit may come to light. The purpose of the often been described as the finest public inventory and of this Introduction is to explore building in the land. -
Anglo-Irish Architectural Exchange in the Early Eighteenth Century
Anglo-Irish Architectural Exchange in the early eighteenth century: Patrons, Practitioners and Pieds-à-terre. Volume I: Text. Submitted for the degree of Doctor of Philosophy. 2015. Melanie Hayes University of Dublin, Trinity College. Declaration: I declare that this thesis has not been submitted as an exercise for a degree at this or any other University and that it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. Signed: _______________ Melanie Hayes Summary: This wide-sweeping contextual study sets out to bridge the gap between the formal architectural histories of London and Dublin in the early Georgian period, establishing the links between the vibrant architectural cultures of the two capitals at a significant time for the development of Dublin’s domestic architecture. Crossing the divide between historical and architectural concerns, this thesis draws together a web of contextual and circumstantial material, adding thick layer of social, economic and political history to the formal narratives, to establish the connective tissue with which to flesh out the bare bones of the buildings. In so doing, it offers new insights into the exchange of architectural taste between London and Dublin, the routes by which this took place, and the major protagonists involved. Hitherto, the historiography of Dublin’s domestic architecture has been largely locally based. This thesis broadens the scope of enquiry, exploring the wider cross-cultural context in which the transmission and assimilation of emerging tastes in domestic urban architecture took place, specifically the relationship between the pioneering residential developments on the Gardiner estate in Dublin, primarily at Henrietta Street (c.1725-50s) and to a lesser degree Sackville Street Upper (c.1750s), and the almost contemporary residential expansion in London’s West End. -
The Shamrock and the Maple Leaf: the Irish Roots of George Browne's Canadian Architecture in Memoriam Sir John Newenham ["Coolmore'1 Summerson (1904-1992}
ESSAI I ESSAY THE SHAMROCK AND THE MAPLE LEAF: THE IRISH ROOTS OF GEORGE BROWNE'S CANADIAN ARCHITECTURE IN MEMORIAM SIR JOHN NEWENHAM ["COOLMORE'1 SUMMERSON (1904-1992} J. DOUGLAS STEWART is Pr·ofessor Eme1·itus 1n > J. DouGLAs STEWART the History of Art, Queen's University. With !an Wilson. he co-authored Heritage Kingston [1973]. He has published numerous articles on Kingston architects, Including George Browne, Thomas Rogers, William Newlands. and Francis Sullivan eorge Browne died in Montreal on 1 His publications also include books and a1·ticles on GNovember 19, 1885. Having been English ba1·oque artists and architects, such as born in Belfast, Northern Ireland, on No vember 5,1811, 2 he is said to have been Van Dyck, Kneller, Gibbons, and Wren. the son of an architect of the same name, but no trace of either has been found in Ireland. Indeed nothing is known about George Browne from his birth to his arrival in Quebec City in 1830, but we need not doubt his Irish birth since it is stated in two independent sources. However, he might have been taken from Ireland at a tender age. Only Browne's Canadian buildings demonstrate an Irish architectural background. There has been a great spate of publica tions on Irish architecture over the last decades, among which are the writings of Irish architectural historians Mark Bence Janes, Maurice Craig, the Knight of Glin, Edward McParland, Alistair Rowan, and others. But Irish architecture is insepara bly linked to that of Great Britain. Hence there have been important contributions from British architectural historians, no tably the present and past doyens of that field, Sir Howard Colvin and the late Sir John Summerson.