National Museum of Ireland 2010 Annual Report
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Galway City Walls Conservation, Management and Interpretation Plan
GALWAY CITY WALLS CONSERVATION, MANAGEMENT & INTERPRETATION PLAN MARCH 2013 Frontispiece- Woman at Doorway (Hall & Hall) Howley Hayes Architects & CRDS Ltd. were commissioned by Galway City Coun- cil and the Heritage Council to prepare a Conservation, Management & Interpre- tation Plan for the historic town defences. The surveys on which this plan are based were undertaken in Autumn 2012. We would like to thank all those who provided their time and guidance in the preparation of the plan with specialist advice from; Dr. Elizabeth Fitzpatrick, Dr. Kieran O’Conor, Dr. Jacinta Prunty & Mr. Paul Walsh. Cover Illustration- Phillips Map of Galway 1685. CONTENTS 1.0 INTRODUCTION 1 2.0 UNDERSTANDING THE PLACE 6 3.0 PHYSICAL EVIDENCE 17 4.0 ASSESSMENT & STATEMENT OF SIGNIFICANCE 28 5.0 DEFINING ISSUES & VULNERABILITY 31 6.0 CONSERVATION PRINCIPLES 35 7.0 INTERPRETATION & MANAGEMENT PRINCIPLES 37 8.0 CONSERVATION STRATEGIES 41 APPENDICES Statutory Protection 55 Bibliography 59 Cartographic Sources 60 Fortification Timeline 61 Endnotes 65 1.0 INTRODUCTION to the east, which today retains only a small population despite the ambitions of the Anglo- Norman founders. In 1484 the city was given its charter, and was largely rebuilt at that time to leave a unique legacy of stone buildings The Place and carvings from the late-medieval period. Galway City is situated on the north-eastern The medieval street pattern has largely been shore of a sheltered bay on the west coast of preserved, although the removal of the walls Ireland. It is located at the mouth of the River during the eighteenth and nineteenth centuries, Corrib, which separates the east and western together with extra-mural developments as the sides of the county. -
Weekend in Dublin
2L Travel +1 (305) 432 -2458 [email protected] Weekend in Dublin ________________________________________________________________________________Itinerary Package price includes: 49-seater coach for Half Day on Day 1 (09:00 – 13:00 or 13:30 – 17:30) Guide for Half Day (Panoramic tour) on day 1 Coach for Half Day on day 1 (Panoramic tour) 3 Nights in a three star centrally located hotel in Dublin, Bed & Full Irish Breakfast basis Airport transfer from your hotel to Dublin Airport on Day 4 Day 1 Details Arrive at the Dublin Airport and meet with your guide at the arrival halls. Depart for Dublin Panoramic City Tour (appr 3h). The guided panoramic city tour takes you through the most famous monuments and landmarks of Dublin, the city on the banks of River Liffey. You’ll see some of the town’s most important buildings, including GPO which dominates the famous O’Connell Street, arterie of the Northern City and Palace of Justice in Four Courts, an old Dubiln port area with beautiful Customs House. You’ll also drive through Phoenix Park which is the biggest town park in the Europe and houses the residence of the President of Republic of Ireland and famous Dublin Zoo. The Southern City is more sophisticated with elegant Georgian houses with their multicolored doors and magnificent Grafton Street are with its great shops and the famous Trinity College with its huge Old Library and Book of Kells. You’ll see the St.Patrick’s Cathedral, the most important church in Ireland and medieval church of Christ Church where the 14th century copy of Magna Carta is displayed. -
SEA SCIENCE GALLERY GALWAY CITY MUSEUM Floor Plan
SEA SCIENCE GALLERY GALWAY CITY MUSEUM Floor plan Contents The blue whale ........................................................................................................................................ 3 Mapping the Atlantic ............................................................................................................................... 4 Our ocean resource ................................................................................................................................. 7 The water cycle ....................................................................................................................................... 7 Tides – where does the water go? .......................................................................................................... 8 Life in a drop of seawater ........................................................................................................................ 9 Who eats who? ..................................................................................................................................... 10 The real map of Ireland ......................................................................................................................... 11 What am I? ............................................................................................................................................ 12 Under pressure .................................................................................................................................... -
Behind the Scenes
©Lonely Planet Publications Pty Ltd 689 Behind the Scenes SEND US YOUR FEEDBACK We love to hear from travellers – your comments keep us on our toes and help make our books better. Our well-travelled team reads every word on what you loved or loathed about this book. Although we cannot reply individually to your submissions, we always guarantee that your feedback goes straight to the appropriate authors, in time for the next edition. Each person who sends us information is thanked in the next edition – the most useful submissions are rewarded with a selection of digital PDF chapters. Visit lonelyplanet.com/contact to submit your updates and suggestions or to ask for help. Our award-winning website also features inspirational travel stories, news and discussions. Note: We may edit, reproduce and incorporate your comments in Lonely Planet products such as guidebooks, websites and digital products, so let us know if you don’t want your comments reproduced or your name acknowledged. For a copy of our privacy policy visit lonelyplanet.com/ privacy. Anthony Sheehy, Mike at the Hunt Museum, OUR READERS Steve Whitfield, Stevie Winder, Ann in Galway, Many thanks to the travellers who used the anonymous farmer who pointed the way to the last edition and wrote to us with help- Knockgraffon Motte and all the truly delightful ful hints, useful advice and interesting people I met on the road who brought sunshine anecdotes: to the wettest of Irish days. Thanks also, as A Andrzej Januszewski, Annelise Bak C Chris always, to Daisy, Tim and Emma. Keegan, Colin Saunderson, Courtney Shucker D Denis O’Sullivan J Jack Clancy, Jacob Catherine Le Nevez Harris, Jane Barrett, Joe O’Brien, John Devitt, Sláinte first and foremost to Julian, and to Joyce Taylor, Juliette Tirard-Collet K Karen all of the locals, fellow travellers and tourism Boss, Katrin Riegelnegg L Laura Teece, Lavin professionals en route for insights, information Graviss, Luc Tétreault M Marguerite Harber, and great craic. -
Problems and Prospects of Development of Ecological Tourism in Ireland
ISSN 0798 1015 HOME Revista ESPACIOS ! ÍNDICES ! A LOS AUTORES ! Vol. 38 (Nº 33) Año 2017. Pág. 9 Problems and prospects of development of ecological tourism in Ireland Problemas y perspectivas del desarrollo del turismo ecológico en Irlanda Vilena Yuryevna ZHILENKO 1; Marina Evgenievna KOMAROVA 2; Svetlana Nikolaevna YASENOK 3; Inna Sergeevna KOROLEVA 4; Irina Vladimirovna SEMCHENKO 5 Received: 20/05/2017 • Approved: 01/06/2017 Content 1. Introduction 2. Methodology 3. Result Of Research 4. Discussion Of Results 5. Conclusion References ABSTRACT: RESUMEN: The paper presents the research on the development of ecological tourism in Ireland. The El artículo presenta la investigación sobre el desarrollo del turismo ecológico en Irlanda. Las basic directions and problems of development of ecotourism. Income from ecotourism in the direcciones básicas y los problemas de desarrollo del ecoturismo. Los ingresos del country was analyzed in the article, as well as the model for the attraction of tourists to ecoturismo en el país fueron analizados en el artículo, así como el modelo para la atracción Ireland. Ecotourism in Ireland is one of the most influential spheres of life. The main objects de turistas a Irlanda. El ecoturismo en Irlanda es una de las esferas de vida más of ecological tourism in Ireland, which attract significant flows of tourists, are: Dublin Zoo influyentes. Los principales objetos del turismo ecológico en Irlanda, que atraen importantes (located in Dublin, 1,076,876 tourists), National Botanic Gardens (located in Dublin, flujos de turistas, son: el zoológico de Dublín (situado en Dublín, 1.076.876 turistas), el 541,946 tourists), Doneraile Wildlife Park (located in Cork, 460,000 tourists), Tayto Park Jardín Botánico Nacional (situado en Dublín, 541.946 turistas), el Parque Natural de (located in Meath, 450,000 tourists), Fota Wildlife Park (located in Cork, 438,000 tourists). -
Fermanagh County Museum Collections Development Policy Name of Governing Body: Fermanagh District Council
Fermanagh County Museum Collections Development Policy Name of Governing Body: Fermanagh District Council Agreed by Council on 5 December 2013 (Min Ref: ES99/13a) Review December 2015 1. Introduction The Accreditation Scheme administered by Arts Council England in partnership with the Northern Ireland Museums Council states that ‘the museum must have an approved policy for developing collections (also known as an acquisition and disposal policy)’. The approved policy will be published on the Museum’s website www.enniskillencastle.co.uk. The policy must include: • Statement of purpose • Overview of current collections • Future themes and collecting • Themes and priorities for rationalisation and disposal • Information on the legal framework for acquisition and disposal 1 Museum’s Statement of Purpose A key aim of Fermanagh District Council’s Corporate Strategy 2011-15 is to maintain and enhance ‘a place which is unique, welcoming and renowned for its natural beauty, environment, leisure, heritage, culture and diversity. A place which is safe, sustainable and accessible.’ In tandem with the overall vision, Fermanagh County Museum’s mission is to 'safeguard the history of Fermanagh as a source of enjoyment, education and culture for all'. Inspiring audiences locally and internationally, the Museum promotes the unique heritage of Fermanagh from pre-historic times to the present-day. Preserving its important collections of Archaeology, Local History, Arts and Folklife for future generations, the Museum engages with people to interpret the region’s history and act as a gateway information hub. Connecting people, places and heritage, Fermanagh County Museum is committed to increasing physical and intellectual access to its collections and services for all communities, abilities and faiths. -
Symbols of Power in Ireland and Scotland, 8Th-10Th Century Dr
Symbols of power in Ireland and Scotland, 8th-10th century Dr. Katherine Forsyth (Department of Celtic, University of Glasgow, Scotland) Prof. Stephen T. Driscoll (Department of Archaeology, University of Glasgow, Scotland) d Territorio, Sociedad y Poder, Anejo Nº 2, 2009 [pp. 31-66] TSP Anexto 4.indb 31 15/11/09 17:22:04 Resumen: Este artículo investiga algunos de los símbolos utilizaron las cruces de piedra en su inserción espacial como del poder utilizados por las autoridades reales en Escocia signos de poder. La segunda parte del trabajo analiza más e Irlanda a lo largo de los siglos viii al x. La primera parte ampliamente los aspectos visibles del poder y la naturaleza del trabajo se centra en las cruces de piedra, tanto las cruces de las sedes reales en Escocia e Irlanda. Los ejemplos exentas (las high crosses) del mundo gaélico de Irlanda estudiados son la sede de la alta realeza irlandesa en Tara y y la Escocia occidental, como las lastras rectangulares la residencia regia gaélica de Dunnadd en Argyll. El trabajo con cruz de la tierra de los pictos. El monasterio de concluye volviendo al punto de partida con el examen del Clonmacnoise ofrece un ejemplo muy bien documentado centro regio picto de Forteviot. de patronazgo regio, al contrario que el ejemplo escocés de Portmahomack, carente de base documental histórica, Palabras clave: pictos, gaélicos, escultura, Clonmacnoise, pero en ambos casos es posible examinar cómo los reyes Portmahomack, Tara, Dunnadd, Forteviot. Abstract: This paper explores some of the symbols of power landscape context as an expression of power. -
The Heritage Council Annual Report 2016
The Heritage Council Annual Report 2016 The Heritage Council | Annual Report 2016 1 © The Heritage Council 2017 All rights reserved. No part of this book may be printed or reproduced or utilised in any electronic, mechanical, or other means, now known or heretoafter invented, including photocopying or licence permitting restricted copying in Ireland issued by the Irish Copyright Licencing Agency Ltd., The Writers Centre, 19 Parnell Square, Dublin 1. Published by the Heritage Council The Heritage Council of Ireland Series ISBN 978-1-906304-35-5 Photo: Heritage Week 2016 - 'Hands on History 1916' with Jude Stynes, County Offaly. 2 The Heritage Council | Annual Report 2016 © The Heritage Council 2017 All rights reserved. No part of this book may be printed or reproduced or utilised in any electronic, mechanical, or other means, now known or heretoafter invented, including photocopying or licence permitting restricted copying in Ireland issued by the Irish Copyright Licencing Agency Ltd., The Writers Centre, 19 Parnell Square, Dublin 1. Published by the Heritage Council The Heritage Council of Ireland Series ISBN 978-1-906304-35-5 The Heritage Council | Annual Report 2016 3 Contents Chairman’s Message .......................................................................................................................6 Chief Executive’s Report ...................................................................................................................7 1. Introduction ..............................................................................................................................9 -
Annual Report 2009 8Mb
THE HERITAGE COUNCIL ANNUAL REPORT 2009 THE HERITAGE COUNCIL 2009 ANNUAL REPORT 1 © The Heritage Council 2009 All rights reserved. No part of this book may be printed or reproduced or utilised in any electronic, mechanical, or other means, now known or heretoafter invented, including photocopying or licence permitting restricted copying in Ireland issued by the Irish Copyright Licencing Agency Ltd., The Writers Centre, 19 Parnell Square, Dublin 1 Published by the Heritage Council ISSN 1393 6794 The Heritage Council of Ireland Series ISBN 978-1-906304-10-2 Funding from National Lottery for grant schemes 75 Printed on Recycled paper containing a minimum of 75% de-inked post consumer waste. CONTENTS Chairman’s Message 4 Chief Executive’s Report 5 Council Members 6 Staff Members 6 Policy Development 7 - Landscape Conference 2009 7 - Climate Change 8 - Valuing Heritage 8 - Material Culture 10 Infrastructure Support 13 - Discovery Programme 13 - NBDC 13 - Wicklow Uplands Council 14 - Woodlands of Ireland 15 - Irish Landmark Trust 16 - Bere Island 17 - Irish Walled Towns Network 17 - Heritage Officer Programme 18 Grants Programmes 20 Financial Statements 23 CHAIRMAN’S MESSAGE The year 2009 in an Irish context will not be In presenting the Heritage Council’s Annual Report I remembered for its positive contribution to our am pleased to report on the transformation that has economic, social or environmental well being. Our taken place in the manner in which we have carried economy has been under pressure, our environment out our work this year. Placing even greater emphasis has been under pressure, and our society has been on the co-dependency of nature and culture, we have under pressure. -
Events Are Available from Janice Hough, Artists’ Residency Programme Park JOHN' HIG CANAL in for Further Information Please Contact:H LANE PEARSE
education / community programme national programme IMMA Editions How to get there Museum Entrance on Military Road. IMMA is pleased to offer a number of limited editions for sale. These The Education and Community Programme aims to create access to For further information on Studio 10 or Focus On… contact Lisa Moran, The National Programme is designed to make the Museum’s assets, By Bus: Buses to Heuston Station (5 minutes walk via Military Rd): 26 editions are the result of the generosity of several artists towards the the visual arts by developing new audiences, which are both engaged Curator: Education and Community Department, IMMA, tel: 01 6129912, skills and resources available in a variety of situations and locations in from Wellington Quay; 51, 79 from Aston Quay; 90 Dart Feeder Bus from Museum. Limited editions by the following artists are now available: and informed, through a broad range of programmes and projects, and email: [email protected] Ireland. Using the IMMA Collection, the National Programme facilitates Connolly and Tara Street Stations to Heuston Station. Buses to James St (5 minutes walk via steps to Bow Lane onto Irwin St and Military Rd): 123 to develop good practice in the field of arts education through action the creation of exhibitions and other projects for display in a range of Francesco Clemente, Juan Uslé, Dorothy Cross, Franz Ackermann, Talks and Lectures from O’Connell St/Dame St; 51B, 78A from Aston Quay. research projects. locations around the country. The National Programme establishes the Isaac Julien, João Penalva, Barry Flanagan and Anne Madden. -
Early Christian Era | H1 Notes
Early Christian Era | H1 Notes The People From around 430AE, missionaries were sent to Ireland. Christianity gradually grew, and trade in and out of the country increased. As a result, skills like Roman metalworking and writing were imported too, and by the 7th Century, the period known as the Irish Golden Age had begun. Elements from a mixture of cultures, techniques and art styles (Celtic La Tène, Mediterranean knotwork, Anglo-Saxon & Pictish intertwined zoomorphic designs, and later, Viking Urnes style), were adopted and mixed, eventually becoming what we know as Insular Art. Monasteries were established and run by various orders of monks across the island, these monasteries were centres of learning and scholarly devotion. Many of the masterpieces that were created during this time were made or commissioned to show the craftsperson/patron’s devotion. These pieces were made of precious metals and stones, some also functioned as reliquaries, (artefacts containing holy relics, like the Cross of Cong, said to contain part of the “True Cross”). The wealth concentrated in the monasteries began to attract attention. During the 11th & 12th Centuries, the Viking raids began. The monasteries stood little chance against the raiders, and so valuable pieces were often hidden away to keep them safe. Some, like the Ardagh hoard, were never recovered until many years after. Some have never been recovered. Many pieces were destroyed, melted for their precious metals, jewels torn off etc. However, as the worst of the raids passed, Irish artists began to adopt aspects of the Vikings’ Urnes style, (typified by zoomorphic interlacing (interlaced animals)). -
SHRINES of HIGH CHRISTIAN IRELAND St. Patrick's Bell
___________________________________________________________________________ SHRINES OF HIGH CHRISTIAN IRELAND __________________________________________________________________________________ The idea that certain places and objects in this world are holy was central to the Late Christian Period in Ireland. These places and objects either house the relics of holy men and women or they contain traces of their long absent bodies. It was the desire of people to gain proximity to such holy places and objects that inspired the creation of shrines. In the wider world do you know of any places or objects that are considered shrines? What is meant by a ‘trace of their long absent bodies’? St. Patrick’s Bell The St. Patrick’s Bell is the most authentic and the oldest Irish relic of Christian metalwork that is currently in existence. It is said to possess the singular merit of having an unbroken history through 1400 years. The four-sided body of the bell is made from sheet iron and is topped with an iron handle. This, the original iron bell dates to 5th/6th century, a period known as Early Christian Ireland. The Shrine of St. Patrick’s Bell __________________________________________________________________________________ ‘The Shrine of St. Patrick’s Bell’ as it is called is the new decorated casing that was applied to fit over the original iron bell. This encasing which dates to the early 11th century was created and given as a gift to the then High King or Árd Rí of Ireland, Comnall Ó’Lochlainn. FRONT VIEW Cast bronze openwork of Cast panels of linear two interlacing birds animal interlace (Snakes & other ribbon bodied animals) Front face decorated geometrically in over thirty panels of gold filigree and studwork Handle – found on both URNES STYLE sides of the bell (Scandinavian Origin/Influence) Large central stud of rock crystal BACK & SIDE VIEW URNES STYLE of decoration found on both side panels of the shrine.