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Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,boat,Dublin,Irish famine ship replica,Dublin Docklands ship,Dublin maritime heritage,historic ship Dublin,heritage,spring,early,summer,blue sky,partly,sunny,cloudy sky,fair,bright,weather Ireland,calm river conditions,daylight Ireland,Dublin cityscape,south bank River Liffey,Dublin quays,tall ship moored,maritime,Ireland,Irish,diaspora,history,tourism,regeneration,city,centre,dock,docks,dockside
Description: Tony Smith image Alamy 3CPAWW8 - The Jeanie Johnston, a full-scale replica of a nineteenth-century Irish emigrant ship, lies moored on the north bank of the River Liffey in Dublin, viewed here from the south bank. The scene is photographed in daylight under a blue sky with scattered cloud, suggesting mild spring or early summer conditions typical of fair weather in Ireland.
The ship's tall masts, rigging and traditional wooden hull stand in contrast to the modern glass and brick architecture of Dublin Docklands, reflecting the city's blend of historic memory and contemporary regeneration. Calm river conditions and soft natural light enhance the clarity of the waterfront setting.
The Jeanie Johnston serves as a floating museum and powerful symbol of Irish emigration during the Great Famine, when thousands left Ireland for North America. Today it remains a prominent riverside landmark, frequently used in editorial contexts relating to Irish history, migration, maritime heritage, tourism and Dublin's evolving urban landscape.
River Liffey, Dublin Docklands, Dublin 1, Ireland (north bank mooring, viewed from south bank)
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,mooring,Dublin,Jeanie,Johnston,ships,Dublin ship,Irish famine,North Bank,Dublin historic ship,Irish,emigration,history,dockland,docklands,heritage,tall ships,vessel,Ireland,memorial,waterfront,Great Famine,diaspora,replica,famine ship,quayside,tourist,tourism,maritime heritage,sailing,ship Dublin,nineteenth century emigration,Dublin Docklands regeneration,educational,attraction,wooden
Description: Tony Smith image Alamy 3CPAWWK - The Jeanie Johnston, a full-scale replica of a nineteenth-century emigrant ship, is moored on the north bank of the River Liffey in Dublin. The vessel commemorates the original Jeanie Johnston, which made multiple transatlantic voyages during the Irish Great Famine, carrying thousands of emigrants from Ireland to North America without loss of life.
With its tall masts, rigging and traditional wooden hull, the ship forms a striking feature of the Dublin Docklands waterfront, contrasting historic maritime design with the modern office and residential developments of the IFSC and surrounding quays. The replica operates as a floating museum and educational attraction, offering insight into Ireland's history of emigration and the experiences of famine-era passengers.
Situated along one of Dublin's busiest riverside routes, the Jeanie Johnston has become a recognised landmark and symbol of Irish resilience, memory and diaspora, frequently used to illustrate themes of migration, heritage, maritime history and national identity in Ireland.
North Bank, River Liffey, Dublin Docklands / IFSC area, Dublin 1, Ireland - Custom House Quay vicini
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Liverpool,Merseyside,England,UK,history,historic,heritage,famous,L3,modern,concrete,sunny,1970s,architecture,building,religion,Catholics,steps,step,entrance,panels,Paddys Wigwam,the,Mersey Funnel,cathedral,of,Christ the King,1967,Irish,community,Catholic,architect,Frederick Gibberd
Description: Tony Smith image Alamy 2RJCCBM - Taken on 19 Aug 2023, this photograph shows Modern conical Roman Catholic, Liverpool Metropolitan Cathedral 1967, Mount Pleasant, , Merseyside, England, UK, L3 5TQ. The location is Mount Pleasant, Liverpool, Merseyside, England, UK, L3 5TQ. The picture is not just a record shot: it contains architectural or decorative detail with strong colour, lettering and religious, civic or commemorative symbolism. Liverpool Metropolitan Cathedral of Christ the King was consecrated in 1967 to designs by Frederick Gibberd, and its centralised modernist form has become one of the city's most distinctive landmarks. Its national importance was underlined when the cathedral's listed status was upgraded to Grade I in 2025, strengthening the image's relevance for architecture, faith and heritage features. It can support articles on architecture, faith, heritage conservation, public art, tourism, local identity and the way historic or modern buildings remain active in daily city life. For image buyers, the value is in the combination of recognisable subject, readable wording, location evidence and a plain documentary style that can be dropped into news, magazine, web, council, housing, transport, heritage or commercial commentary without looking over-produced. Searchable related phrases include religion, religious, conical, Mount Pleasant, Metropolitan Cathedral, Roman Catholic, stained, glass, panel, Liverpool, Merseyside, history, plus wider ideas such as local identity, public realm, urban detail, social history, commercial change, everyday Britain, documentary photography and place-based storytelling. The composition gives designers scope for captions, page furniture, social media crops, report covers and article thumbnails, while the detailed captioning makes it more discoverable for searches using both specific place names and broader themes.
Mount Pleasant, Liverpool, Merseyside, England, UK, L3 5TQ
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,NI,Northern Ireland,UK,centre,McHugh,bar,bars,pub,pubs,established,est,outside,exterior,history,heritage,Irish,outdoor,seating,city,drinkers,drinking,traditional,hospitality,umbrella,Magners,casual drinking,historic,streetscape,urban,leisure,people relaxing,warm weather,scene,licensed premises,tourism,tourists
Description: Tony Smith image Alamy 2RFJ39Y - This image shows the outdoor seating area of McHugh's Bar in Queen's Square, Belfast city centre. Established in 1711, McHugh's is widely regarded as the oldest pub in Belfast and remains a popular meeting place for locals, office workers, and visitors. The pub's distinctive green-painted frontage is decorated with hanging flower baskets, reinforcing its traditional Irish pub character.
The photograph was taken in bright summer conditions, with strong sunlight and leafy shadows falling across the pavement. Patrons are seated at outdoor tables beneath branded Magners umbrellas, while others stand and chat nearby, creating a relaxed and sociable atmosphere typical of warm-weather drinking in the city centre.
The surrounding streetscape combines historic buildings with modern urban life, reflecting Belfast's layered architectural and cultural history. McHugh's long-established presence at Queen's Square places it close to major landmarks such as the Albert Memorial Clock and the waterfront area, making it a familiar and well-photographed feature of the city.
The image captures everyday pub culture in Belfast, blending historic continuity with contemporary social life, and highlighting the enduring role of traditional bars as informal public spaces within Northern Ireland's capital.
McHugh's Bar, Queen's Square, Belfast, Northern Ireland, United Kingdom, BT1 3FG
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,centre,NI,Northern Ireland,Irish,Ireland,UK,BT48,history,historic,heritage,NE,North East,wall,walls,pointing,out,towards,the,Bogside,defensive,siege,of,Unionist,on,armarments,castiron,Roaring Meg,1689,cannon,Double Bastion,historic cannon Derry,Derry walls,Bogside Derry view,historic artillery,city fortifications Ireland,17th century city walls
Description: Tony Smith image Alamy 2RGHXAF - A historic iron cannon mounted on the city walls of Derry / Londonderry, positioned between stone ramparts and overlooking the Bogside area of the city below. The cannon forms part of the extensive seventeenth-century defensive fortifications that encircle the historic city centre, which remain among the best-preserved walled cities in Europe.
The city walls were completed in the early 1600s and are closely associated with key events in Irish and British history, most notably the Siege of Derry (1689) during the Williamite Wars. Cannons such as this were installed as part of the city's defensive system, intended to protect the settlement and assert control over the surrounding landscape.
Today, the walls are a major heritage and tourism feature, offering panoramic views across different parts of the city, including areas that later became symbolically significant during The Troubles. The image captures the cannon in daylight under overcast conditions, with modern housing visible in the distance, illustrating the layered and complex history of Derry / Londonderry, where historic military architecture coexists with contemporary urban life.
The photograph is suitable for editorial and commercial uses relating to Northern Irish history, urban heritage, conflict studies, peace and reconciliation contexts, and cultural tourism.
Location: Derry / Londonderry City Walls, Derry / Londonderry, County Londonderry, Northern Ireland, BT48.
Derry / Londonderry City Walls, Derry / Londonderry, County Londonderry, Northern Ireland, BT48.
Description
Keywords: GoTonySmith,HotpixUK,centre,NI,Northern Ireland,Irish,Ireland,UK,BT48,kerb,stone,stones,estate,kerbs,street,paint,marked,marking,territory,British,within,the,walls,kerbstone,Union Flag,celebrating,history,heritage,sectarian,historic,housing,council,social housing,kerb stones,Protestant,area,of,on,loyalist,symbolism
Description: Tony Smith image Alamy 2RGHXAX -
The Fountain, Londonderry, Northern Ireland, UK, BT48 6QH
Description
Keywords: GoTonySmith,HotpixUK,centre,NI,Northern Ireland,Irish,Ireland,UK,BT48,kerb,stone,stones,estate,kerbs,street,paint,marked,marking,territory,British,within,the,walls,kerbstone,Union Flag,celebrating,history,heritage,sectarian,historic,housing,council,social housing,kerb stones,Protestant,area,of,on,loyalist,symbolism
Description: Tony Smith image Alamy 2RGHXB1 -
The Fountain, Londonderry, Northern Ireland, UK, BT48 6QH
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,centre,NI,Northern Ireland,Irish,Ireland,UK,BT48,history,heritage,NE,North East,BT48 6HF,Guinness,ornate,alcohol,drinking,drinks,pub,pubs,bar,bars,Electric Bar,Michael Tracy,building,front,frontage,entrance,door,doorway,The Cruel Sea,by,Nicholas Montserrat,old,boozer,St Patricks Day
Description: Tony Smith image Alamy 2RGHXBD - Right at the foot of Waterloo Street stands Michael Tracy's Bar, formerly known as The Electric Bar.
Dating back to 1874, it took its more Promethean title from the first electricity-operating generating station which was set across the street in the Diamond.
Later it became the property of Michael Tracy and his more prosaic letters replaced the dramatic Electric legend.
This pub has always been the favourite of Merchant Navy men and it is mentioned in the famous best-selling novel The Cruel Sea by Nicholas Montserrat, which was made into a very successful film starring Jack Hawkins, because during the Second World War, it was a popular haunt for seamen of all nationalities.
There are a number of interesting large framed photos of old Derry around the walls of the bar, and an unusual attraction in this friendly city is that the publican is a woman and an attractive one at that!
From https://www.beerbore.com/oldpubs/pon/17-tracys-bar/
48 Waterloo Pl, Londonderry, Northern Ireland, BT48 6HF
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,city,centre,England,UK,L1,The,L1 2SP,87,Renshaw Street,old,1970s,at,on,a,history,historic,bars,pubs,St. Jamess Gate Dublin,St Jamess Gate Dublin,ornate,is,good,for,you,tap,dispenser,Irish,stout,Ireland,Eire,the,Black Stuff,St Patricks Day,St Patrick
Description: Tony Smith image Alamy 2MA7NF1 -
87 Renshaw St, Liverpool, Merseyside, England, UK, L1 2SP
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,pub,bar,36 Charles St,England,UK,M1 7DB,tavern,36,Ale,real,historic,history,landmark,Irish,Scottish,grade II,building,Lass-O-Gowrie,poem,corner,story,old,door,doorway,iconic,boozer,classic,pubs,bars,description,tiles,tile,gold,lettering,sign,name,hotpix.org.uk
Description: Tony Smith image Alamy 2M69C9K - Sitting sweetly on the bank of the River Medlock, just up the road from Oxford Road, the Lass O' Gowrie is an ancient and venerable Irish (but originally Scottish) pub and Manchester landmark, appearing on maps as early as 1844, back when it stood next to the Garratt Cotton Mill. Back then it was surrounded by hardcore slums which are now modern housing for a modern Manchester.
Complete with original tilework and fittings, the Lass sees a cheerful and diverse crowd on Fridays and Saturdays. It's very popular for post-work drinks or as a staging post on your way to Canal Street or the Northern Quarter.
One of the Lass O' Gowrie's unique features is its balcony-based smoking area, built out over the river below (and well-secured with high walls, so don't worry about stumbling). There's something very special about this particular slice of the city, with the Kimpton Clocktower Hotel off to the north, the opposite balcony of Joshua Brooks just to your east, and the pleasant sounds of the River Medlock filling the evening.
What's on the tap? Well, first and foremost the answer is Guinness, and that's what we recommend to be in keeping with the theme. But you should also check out the various craft beers on the list, like Tollgate Brewery's Belmorado pale ale. Guest beers circulate through the tap month by month, so there's always something new to try. The Lass O' Gowrie can also offer a selection of jolly bar snacks for all you pork scratching aficionados out there.
Listing NGR: SJ8431397523 - As it's surrounded by exciting developments like Circle Square, the Lass O' Gowrie caters to a diverse crowd of students, professionals, and tourists, so whoever you are, you're bound to find a warm welcome in the pub's surprisingly large interior.
36 Charles St, Manchester, England, UK, M1 7DB
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,pub,bar,36 Charles St,England,UK,M1 7DB,tavern,36,Ale,real,historic,history,landmark,Irish,Scottish,grade II,building,Lass-O-Gowrie,name,mosaic,tile,tiles,tiled,new tiling,new,refit,pub sign,pubs,bars,letters,words,design,sign,signage,interior
Description: Tony Smith image Alamy 2M69C9T - Sitting sweetly on the bank of the River Medlock, just up the road from Oxford Road, the Lass O' Gowrie is an ancient and venerable Irish (but originally Scottish) pub and Manchester landmark, appearing on maps as early as 1844, back when it stood next to the Garratt Cotton Mill. Back then it was surrounded by hardcore slums which are now modern housing for a modern Manchester.
Complete with original tilework and fittings, the Lass sees a cheerful and diverse crowd on Fridays and Saturdays. It's very popular for post-work drinks or as a staging post on your way to Canal Street or the Northern Quarter.
One of the Lass O' Gowrie's unique features is its balcony-based smoking area, built out over the river below (and well-secured with high walls, so don't worry about stumbling). There's something very special about this particular slice of the city, with the Kimpton Clocktower Hotel off to the north, the opposite balcony of Joshua Brooks just to your east, and the pleasant sounds of the River Medlock filling the evening.
What's on the tap? Well, first and foremost the answer is Guinness, and that's what we recommend to be in keeping with the theme. But you should also check out the various craft beers on the list, like Tollgate Brewery's Belmorado pale ale. Guest beers circulate through the tap month by month, so there's always something new to try. The Lass O' Gowrie can also offer a selection of jolly bar snacks for all you pork scratching aficionados out there.
Listing NGR: SJ8431397523 - As it's surrounded by exciting developments like Circle Square, the Lass O' Gowrie caters to a diverse crowd of students, professionals, and tourists, so whoever you are, you're bound to find a warm welcome in the pub's surprisingly large interior.
36 Charles St, Manchester, England, UK, M1 7DB
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,pub,bar,36 Charles St,England,UK,M1 7DB,tavern,36,Ale,real,historic,history,landmark,Irish,Scottish,grade II,building,Lass-O-Gowrie,Ales and Stout,tiles,tiled,exterior,outside,ales,stout,dusk,at,evening,classic,stouts,ale,windows,night,hotpix.org.uk
Description: Tony Smith image Alamy 2M69CA3 - Sitting sweetly on the bank of the River Medlock, just up the road from Oxford Road, the Lass O' Gowrie is an ancient and venerable Irish (but originally Scottish) pub and Manchester landmark, appearing on maps as early as 1844, back when it stood next to the Garratt Cotton Mill. Back then it was surrounded by hardcore slums which are now modern housing for a modern Manchester.
Complete with original tilework and fittings, the Lass sees a cheerful and diverse crowd on Fridays and Saturdays. It's very popular for post-work drinks or as a staging post on your way to Canal Street or the Northern Quarter.
One of the Lass O' Gowrie's unique features is its balcony-based smoking area, built out over the river below (and well-secured with high walls, so don't worry about stumbling). There's something very special about this particular slice of the city, with the Kimpton Clocktower Hotel off to the north, the opposite balcony of Joshua Brooks just to your east, and the pleasant sounds of the River Medlock filling the evening.
What's on the tap? Well, first and foremost the answer is Guinness, and that's what we recommend to be in keeping with the theme. But you should also check out the various craft beers on the list, like Tollgate Brewery's Belmorado pale ale. Guest beers circulate through the tap month by month, so there's always something new to try. The Lass O' Gowrie can also offer a selection of jolly bar snacks for all you pork scratching aficionados out there.
Listing NGR: SJ8431397523 - As it's surrounded by exciting developments like Circle Square, the Lass O' Gowrie caters to a diverse crowd of students, professionals, and tourists, so whoever you are, you're bound to find a warm welcome in the pub's surprisingly large interior.
36 Charles St, Manchester, England, UK, M1 7DB
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,England,UK,M1,ales,ale,stout,tile,tiles,building,on side of Lass oGowie,pub,bar,on,side,of,listed,CAMRA,award winning,Black and White,dusk,evening,night,sign,signage,traditional,Victorian,Ales and Stout,exterior,outside,Lass-O-Gowrie,grade II,tiled,history,landmark,Irish,Scottish,historic
Description: Tony Smith image Alamy 2M6GC3P - Sitting sweetly on the bank of the River Medlock, just up the road from Oxford Road, the Lass O' Gowrie is an ancient and venerable Irish (but originally Scottish) pub and Manchester landmark, appearing on maps as early as 1844, back when it stood next to the Garratt Cotton Mill. Back then it was surrounded by hardcore slums which are now modern housing for a modern Manchester.
Complete with original tilework and fittings, the Lass sees a cheerful and diverse crowd on Fridays and Saturdays. It's very popular for post-work drinks or as a staging post on your way to Canal Street or the Northern Quarter.
One of the Lass O' Gowrie's unique features is its balcony-based smoking area, built out over the river below (and well-secured with high walls, so don't worry about stumbling). There's something very special about this particular slice of the city, with the Kimpton Clocktower Hotel off to the north, the opposite balcony of Joshua Brooks just to your east, and the pleasant sounds of the River Medlock filling the evening.
What's on the tap? Well, first and foremost the answer is Guinness, and that's what we recommend to be in keeping with the theme. But you should also check out the various craft beers on the list, like Tollgate Brewery's Belmorado pale ale. Guest beers circulate through the tap month by month, so there's always something new to try. The Lass O' Gowrie can also offer a selection of jolly bar snacks for all you pork scratching aficionados out there.
Listing NGR: SJ8431397523 - As it's surrounded by exciting developments like Circle Square, the Lass O' Gowrie caters to a diverse crowd of students, professionals, and tourists, so whoever you are, you're bound to find a warm welcome in the pub's surprisingly large interior.
36 Charles St, Manchester, England, UK, M1 7DB
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,Dublin City,Ireland,IE,EU,tourism,tourist,building,historic,history,Irish,Christchurch Christ Church cathedral,religion,place,places of worship,worship,The Cathedral of the Holy Trinity,Dioceses,Glendalough,ecclesiastical province of the United Provinces of Dublin and Cashel,cathedral,capital city,city centre,Christchurch Place,Wood Quay,D8,Dublin 8,Viking king Sitric Silkenbeard,George Edmund Street,Synod House,cathedrals,buildings,outside,exterior,sunny,blue sky,blue skies
Description: Tony Smith image Alamy 2DPGJEY - Christ Church Cathedral, more formally The Cathedral of the Holy Trinity, is the cathedral of the United Dioceses of Dublin and Glendalough and the cathedral of the ecclesiastical province of the United Provinces of Dublin and Cashel in the (Anglican) Church of Ireland.[1] It is situated in Dublin, Ireland, and is the elder of the capital city's two medieval cathedrals, the other being St Patrick's Cathedral.
The cathedral was founded in the early 11th century under the Viking king Sitric Silkenbeard. It was rebuilt in stone in the late 12th century under the Norman potentate Strongbow, and considerably enlarged in the early 13th century, using Somerset stones and craftsmen. A partial collapse in the 16th century left it in poor shape and the building was extensively renovated and rebuilt in the late 19th century, giving it the form it has today, including the tower, flying buttresses, and distinctive covered footbridge. The cathedral was extensively renovated and rebuilt from 1871 to 1878 by George Edmund Street, with the sponsorship of distiller Henry Roe of Mount Anville. The great 14th-century choir was demolished and a new eastern end was built over the original crypt. He built a new chapter house. The tower was rebuilt. The south nave arcade was rebuilt. The flying buttresses were added as a decorative feature. The north porch was removed. The baptistry was built in its place.[7] Street built the adjacent Synod Hall, taking in the last remnant of St Michael and All Angels's Church, including the bell tower. The synod house is linked to the cathedral by Street's iconic covered footbridge
Christchurch Place, Wood Quay, Dublin 8, Ireland
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,Dublin City,Ireland,IE,EU,tourism,tourist,building,historic,history,Irish,Christchurch Christ Church cathedral,religion,place,places of worship,worship,The Cathedral of the Holy Trinity,Dioceses,Glendalough,ecclesiastical province of the United Provinces of Dublin and Cashel,cathedral,capital city,city centre,Christchurch Place,Wood Quay,D8,Dublin 8,Celtic cross,cross,Viking king Sitric Silkenbeard,footbridge,Foot Bridge,George Edmund Street,Synod House
Description: Tony Smith image Alamy 2DPGJRC - Christ Church Cathedral, more formally The Cathedral of the Holy Trinity, is the cathedral of the United Dioceses of Dublin and Glendalough and the cathedral of the ecclesiastical province of the United Provinces of Dublin and Cashel in the (Anglican) Church of Ireland.[1] It is situated in Dublin, Ireland, and is the elder of the capital city's two medieval cathedrals, the other being St Patrick's Cathedral.
The cathedral was founded in the early 11th century under the Viking king Sitric Silkenbeard. It was rebuilt in stone in the late 12th century under the Norman potentate Strongbow, and considerably enlarged in the early 13th century, using Somerset stones and craftsmen. A partial collapse in the 16th century left it in poor shape and the building was extensively renovated and rebuilt in the late 19th century, giving it the form it has today, including the tower, flying buttresses, and distinctive covered footbridge. The cathedral was extensively renovated and rebuilt from 1871 to 1878 by George Edmund Street, with the sponsorship of distiller Henry Roe of Mount Anville. The great 14th-century choir was demolished and a new eastern end was built over the original crypt. He built a new chapter house. The tower was rebuilt. The south nave arcade was rebuilt. The flying buttresses were added as a decorative feature. The north porch was removed. The baptistry was built in its place.[7] Street built the adjacent Synod Hall, taking in the last remnant of St Michael and All Angels's Church, including the bell tower. The synod house is linked to the cathedral by Street's iconic covered footbridge
Christchurch Place, Wood Quay, Dublin 8, Ireland
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,Dublin City,Ireland,IE,EU,tourism,tourist,building,historic,history,Irish,Christchurch Christ Church cathedral,religion,place,places of worship,worship,The Cathedral of the Holy Trinity,Dioceses,Glendalough,ecclesiastical province of the United Provinces of Dublin and Cashel,cathedral,capital city,city centre,Christchurch Place,Wood Quay,D8,Dublin 8,Celtic cross,cross,pano,panorama,wide,shot,Viking king Sitric Silkenbeard,footbridge,Foot Bridge,George Edmund Street,Synod House
Description: Tony Smith image Alamy 2DPGJRF - Christ Church Cathedral, more formally The Cathedral of the Holy Trinity, is the cathedral of the United Dioceses of Dublin and Glendalough and the cathedral of the ecclesiastical province of the United Provinces of Dublin and Cashel in the (Anglican) Church of Ireland.[1] It is situated in Dublin, Ireland, and is the elder of the capital city's two medieval cathedrals, the other being St Patrick's Cathedral.
The cathedral was founded in the early 11th century under the Viking king Sitric Silkenbeard. It was rebuilt in stone in the late 12th century under the Norman potentate Strongbow, and considerably enlarged in the early 13th century, using Somerset stones and craftsmen. A partial collapse in the 16th century left it in poor shape and the building was extensively renovated and rebuilt in the late 19th century, giving it the form it has today, including the tower, flying buttresses, and distinctive covered footbridge. The cathedral was extensively renovated and rebuilt from 1871 to 1878 by George Edmund Street, with the sponsorship of distiller Henry Roe of Mount Anville. The great 14th-century choir was demolished and a new eastern end was built over the original crypt. He built a new chapter house. The tower was rebuilt. The south nave arcade was rebuilt. The flying buttresses were added as a decorative feature. The north porch was removed. The baptistry was built in its place.[7] Street built the adjacent Synod Hall, taking in the last remnant of St Michael and All Angels's Church, including the bell tower. The synod house is linked to the cathedral by Street's iconic covered footbridge
Christchurch Place, Wood Quay, Dublin 8, Ireland
Description
Keywords: HotpixUK,@HotpixUK,GoTonySmith,Dublin City,Ireland,IE,EU,tourism,tourist,building,historic,history,Irish,GPO,headquarters,An Post,HQ,unusual,shot,angle,capital,Georgian,public buildings,Francis Johnston,Ionic portico,six fluted Ionic columns,Ionic column,granite,Proclamation,of the,Irish Republic,Proclamation of the Irish Republic,Eire,post office,office,Dublin 1,OConnell Street Lower,Easter Rising,logo,an Phoist
Description: Tony Smith image Alamy 2DPGJRG - The General Post Office (GPO) Irish : Ard-Oifig an Phoist ) in Dublin is the headquarters of An Post, the Irish Post Office, and Dublin's principal post office. Sited in the centre of O'Connell Street, the city's main thoroughfare, it is one of Ireland's most famous buildings, not least because it served as the headquarters of the leaders of the Easter Rising. It was the last of the great Georgian public buildings erected in the capital.
The foundation-stone of the building, which was designed by Francis Johnston, was laid by the Lord Lieutenant of Ireland, Charles Whitworth, 1st Earl Whitworth, on 12 August 1814. The front, which extends 67.1 metres (220 ft), has an Ionic portico (24.4 metres (80 ft) wide), of six fluted Ionic columns, 137.16 centimetres (54 inches) in diameter. The frieze of the entablature is highly enriched, and in the tympanum of the pediment were the royal arms until removed following restoration in the 1920s. On the acroteria of the pediment are three statues by John Smyth
During the Easter Rising of 1916, the GPO served as the headquarters of the uprising's leaders. It was from outside this building on the 24th of April 1916, that Patrick Pearse read out the Proclamation of the Irish Republic. The building was destroyed by fire in the course of the rebellion, save for the granite facade, and not rebuilt until 1929, by the Irish Free State government
O'Connell Street Lower, North City, Dublin 1, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,outside,exterior,The Dublin Writers Museum,Rotunda,D01 T3V8,author,authors,the,writing,18,Irish Writers Union,the Society of Irish Playwrights,the Irish Childrens Book Trust,Irish Translators & Interpreters Association,Irish,literature,centre,building,William Butler Yeats,Patrick Pearse,history,Irish authors,Irish author,Irish writers,writer,tourist,tourism,attraction,Parnell Square,north
Description: Tony Smith image Alamy 2M84J9C - Irish Writers' Union, the Society of Irish Playwrights,
The Dublin Writers Museum was opened in November 1991 at No 18, Parnell Square, Dublin, Ireland. The museum occupies an original 18th-century house, which accommodates the museum rooms, library, gallery, and administration area. The annexe behind it has a coffee shop and bookshop on the ground floor and exhibition and lecture rooms on the floors above. Dublin stuccatore Michael Stapleton decorated the upstairs gallery. The Irish Writers' Centre, next door in No 19, contains the meeting rooms and offices of the Irish Writers' Union, the Society of Irish Playwrights, the Irish Children's Book Trust and the Irish Translators' & Interpreters' Association. The basement beneath both houses is occupied by the Chapter One restaurant.
The Museum was established to promote interest, through its collection, displays and activities, in Irish literature as a whole and in the lives and works of individual Irish writers. Through its association with the Irish Writers' Centre it provides a link with living writers and the national.htm Target=_Blank>international literary scene. On a national level it acts as a centre, simultaneously pulling together the strands of Irish literature and complementing the smaller, more detailed museums devoted to individuals like James Joyce, George Bernard Shaw, William Butler Yeats and Patrick Pearse. It functions as a place where people can come from Dublin, Ireland and abroad to experience the phenomenon of Irish writing both as history and as actuality.
The writers featured in the Museum are those who have made an important contribution to Irish or international literature or, on a local level, to the literature of Dublin. It is a view of Irish literature from a Dublin perspective.
On display in the museum are literary ephemera and memorabilia, including a detailed replica of The Book of Kells, Samuel Beckett's phone, a letter from 'tenement aristocrat' Brendan Behan to his brother.
18 Parnell Square N, Rotunda, Dublin, D01 T3V8, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,outside,exterior,The Dublin Writers Museum,Rotunda,D01 T3V8,author,authors,the,writing,18,Irish Writers Union,the Society of Irish Playwrights,the Irish Childrens Book Trust,Irish Translators & Interpreters Association,Irish,literature,centre,building,William Butler Yeats,Patrick Pearse,history,wrought iron,metal,sign,signage,Irish authors,Irish author,Irish writers,writer,tourist,tourism,attraction,hotpix.org.uk
Description: Tony Smith image Alamy 2M84J9M - Irish Writers' Union, the Society of Irish Playwrights,
The Dublin Writers Museum was opened in November 1991 at No 18, Parnell Square, Dublin, Ireland. The museum occupies an original 18th-century house, which accommodates the museum rooms, library, gallery, and administration area. The annexe behind it has a coffee shop and bookshop on the ground floor and exhibition and lecture rooms on the floors above. Dublin stuccatore Michael Stapleton decorated the upstairs gallery. The Irish Writers' Centre, next door in No 19, contains the meeting rooms and offices of the Irish Writers' Union, the Society of Irish Playwrights, the Irish Children's Book Trust and the Irish Translators' & Interpreters' Association. The basement beneath both houses is occupied by the Chapter One restaurant.
The Museum was established to promote interest, through its collection, displays and activities, in Irish literature as a whole and in the lives and works of individual Irish writers. Through its association with the Irish Writers' Centre it provides a link with living writers and the national.htm Target=_Blank>international literary scene. On a national level it acts as a centre, simultaneously pulling together the strands of Irish literature and complementing the smaller, more detailed museums devoted to individuals like James Joyce, George Bernard Shaw, William Butler Yeats and Patrick Pearse. It functions as a place where people can come from Dublin, Ireland and abroad to experience the phenomenon of Irish writing both as history and as actuality.
The writers featured in the Museum are those who have made an important contribution to Irish or international literature or, on a local level, to the literature of Dublin. It is a view of Irish literature from a Dublin perspective.
On display in the museum are literary ephemera and memorabilia, including a detailed replica of The Book of Kells, Samuel Beckett's phone, a letter from 'tenement aristocrat' Brendan Behan to his brother.
18 Parnell Square N, Rotunda, Dublin, D01 T3V8, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,outside,exterior,The Dublin Writers Museum,Rotunda,D01 T3V8,author,authors,the,writing,18,Irish Writers Union,the Society of Irish Playwrights,the Irish Childrens Book Trust,Irish Translators & Interpreters Association,Irish,literature,centre,building,William Butler Yeats,Patrick Pearse,history,wrought iron,metal,sign,signage,Irish authors,Irish author,Irish writers,writer,tourist,tourism,attraction
Description: Tony Smith image Alamy 2M84J9R - Irish Writers' Union, the Society of Irish Playwrights,
The Dublin Writers Museum was opened in November 1991 at No 18, Parnell Square, Dublin, Ireland. The museum occupies an original 18th-century house, which accommodates the museum rooms, library, gallery, and administration area. The annexe behind it has a coffee shop and bookshop on the ground floor and exhibition and lecture rooms on the floors above. Dublin stuccatore Michael Stapleton decorated the upstairs gallery. The Irish Writers' Centre, next door in No 19, contains the meeting rooms and offices of the Irish Writers' Union, the Society of Irish Playwrights, the Irish Children's Book Trust and the Irish Translators' & Interpreters' Association. The basement beneath both houses is occupied by the Chapter One restaurant.
The Museum was established to promote interest, through its collection, displays and activities, in Irish literature as a whole and in the lives and works of individual Irish writers. Through its association with the Irish Writers' Centre it provides a link with living writers and the national.htm Target=_Blank>international literary scene. On a national level it acts as a centre, simultaneously pulling together the strands of Irish literature and complementing the smaller, more detailed museums devoted to individuals like James Joyce, George Bernard Shaw, William Butler Yeats and Patrick Pearse. It functions as a place where people can come from Dublin, Ireland and abroad to experience the phenomenon of Irish writing both as history and as actuality.
The writers featured in the Museum are those who have made an important contribution to Irish or international literature or, on a local level, to the literature of Dublin. It is a view of Irish literature from a Dublin perspective.
On display in the museum are literary ephemera and memorabilia, including a detailed replica of The Book of Kells, Samuel Beckett's phone, a letter from 'tenement aristocrat' Brendan Behan to his brother.
18 Parnell Square N, Rotunda, Dublin, D01 T3V8, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,outside,exterior,The Dublin Writers Museum,Rotunda,D01 T3V8,author,authors,the,writing,18,Irish Writers Union,the Society of Irish Playwrights,the Irish Childrens Book Trust,Irish Translators & Interpreters Association,Irish,literature,centre,building,William Butler Yeats,Patrick Pearse,history,wrought iron,metal,sign,signage,Irish authors,Irish author,Irish writers,writer,tourist,tourism,attraction
Description: Tony Smith image Alamy 2M84JA0 - Irish Writers' Union, the Society of Irish Playwrights,
The Dublin Writers Museum was opened in November 1991 at No 18, Parnell Square, Dublin, Ireland. The museum occupies an original 18th-century house, which accommodates the museum rooms, library, gallery, and administration area. The annexe behind it has a coffee shop and bookshop on the ground floor and exhibition and lecture rooms on the floors above. Dublin stuccatore Michael Stapleton decorated the upstairs gallery. The Irish Writers' Centre, next door in No 19, contains the meeting rooms and offices of the Irish Writers' Union, the Society of Irish Playwrights, the Irish Children's Book Trust and the Irish Translators' & Interpreters' Association. The basement beneath both houses is occupied by the Chapter One restaurant.
The Museum was established to promote interest, through its collection, displays and activities, in Irish literature as a whole and in the lives and works of individual Irish writers. Through its association with the Irish Writers' Centre it provides a link with living writers and the national.htm Target=_Blank>international literary scene. On a national level it acts as a centre, simultaneously pulling together the strands of Irish literature and complementing the smaller, more detailed museums devoted to individuals like James Joyce, George Bernard Shaw, William Butler Yeats and Patrick Pearse. It functions as a place where people can come from Dublin, Ireland and abroad to experience the phenomenon of Irish writing both as history and as actuality.
The writers featured in the Museum are those who have made an important contribution to Irish or international literature or, on a local level, to the literature of Dublin. It is a view of Irish literature from a Dublin perspective.
On display in the museum are literary ephemera and memorabilia, including a detailed replica of The Book of Kells, Samuel Beckett's phone, a letter from 'tenement aristocrat' Brendan Behan to his brother.
18 Parnell Square N, Rotunda, Dublin, D01 T3V8, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,shop,store,shoe,shutter,derelict,rundown,door,doorway,paint,decoration,shuttered,old,terrace,terraced,16,Great Denmark Street,closed,city,centre,urban,retail,now in 54 Dorset Street Lower,Irish,dance,footwear,workshop,Eamon,Fays shoes,Dan Fay,Fay,history,historic,Handmade Irish Dance Footwear
Description: Tony Smith image Alamy 2M84JBX - Fays Shoes, Handmade Irish Dance Footwear, have always believed in creating only the highest quality Irish dancing rootwear and are the worldwide leaders in the manufacture of high quality Irish dancing shoes. That was recognized in 1995 when we were chosen to be the original and official shoemakers of dancing shoes for Riverdance. Read more about our Riverdance story.
The following newspaper article is taken direct from The Sunday Press, February 12, 1995 - https://www.fays-shoes.com/riverdance/
Eamon and Dan tap into the wonder of Riverdance by Tomas Conlon
DAN Fay and his son Eamon are shoemakers to the stars. In a quiet workshop off Dublin's Parnell Square they have crouched for weeks over their lasts, making the dancing shoes that have clattered in spectacular rhythm at the Riverdance show which premiered Thursday night. Sixty-four-year-old Dan has been making shoes for nearly 50 years but his trade - like Irish dancing itself - came in from the margins at last year's Eurovision when Jean Butler and Michael Flatley tapped their way into the nation's heart.
Ms Butler was wearing their handmade shoes that night, as were most of the backing dancers, and both Jean and Michael will be wearing them for the duration of the Riverdance Show. In addition, they have measured and fitted the Russian Cossack dancers with their shoes, along with the guest tap dancers from America and a host of the supporting performers. The Russians have also had their cossack dancing boots mended in the Fay workshop
Dan and Eamon will also be present backstage each night of the Riverdance show to carry out running repairs on broken straps, loose heels and any other emergencies that might occur. Ms Butler's shoes in fact were rushed by courier to their workshop last Thursday for a repair job just hours before the curtain went up on the show.
The shoes are made entirely from leather with a fiberglass tip at the toe and heel which produces that tap effect.
16 Great Denmark Street, Dublin, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,shop,store,shoe,shutter,derelict,rundown,door,doorway,paint,decoration,shuttered,old,terrace,terraced,16,Great Denmark Street,closed,city,centre,urban,retail,now in 54 Dorset Street Lower,Irish,dance,footwear,workshop,Eamon,Fays shoes,Dan Fay,Fay,history,historic,Handmade Irish Dance Footwear
Description: Tony Smith image Alamy 2M84JC3 - Fays Shoes, Handmade Irish Dance Footwear, have always believed in creating only the highest quality Irish dancing rootwear and are the worldwide leaders in the manufacture of high quality Irish dancing shoes. That was recognized in 1995 when we were chosen to be the original and official shoemakers of dancing shoes for Riverdance. Read more about our Riverdance story.
The following newspaper article is taken direct from The Sunday Press, February 12, 1995 - https://www.fays-shoes.com/riverdance/
Eamon and Dan tap into the wonder of Riverdance by Tomas Conlon
DAN Fay and his son Eamon are shoemakers to the stars. In a quiet workshop off Dublin's Parnell Square they have crouched for weeks over their lasts, making the dancing shoes that have clattered in spectacular rhythm at the Riverdance show which premiered Thursday night. Sixty-four-year-old Dan has been making shoes for nearly 50 years but his trade - like Irish dancing itself - came in from the margins at last year's Eurovision when Jean Butler and Michael Flatley tapped their way into the nation's heart.
Ms Butler was wearing their handmade shoes that night, as were most of the backing dancers, and both Jean and Michael will be wearing them for the duration of the Riverdance Show. In addition, they have measured and fitted the Russian Cossack dancers with their shoes, along with the guest tap dancers from America and a host of the supporting performers. The Russians have also had their cossack dancing boots mended in the Fay workshop
Dan and Eamon will also be present backstage each night of the Riverdance show to carry out running repairs on broken straps, loose heels and any other emergencies that might occur. Ms Butler's shoes in fact were rushed by courier to their workshop last Thursday for a repair job just hours before the curtain went up on the show.
The shoes are made entirely from leather with a fiberglass tip at the toe and heel which produces that tap effect.
16 Great Denmark Street, Dublin, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,The,Cathedral,Holy Trinity,distinctive,covered,foot,bridge,Anglican,outside,exterior,medieval,blue,sky,skies,Irish,cathedrals,stone,stonework,tourist,tourism,attraction,culture,heritage,history,landmark,monument,garden,yard,old,gothic,sightseeing,urban
Description: Tony Smith image Alamy 2M84JNH -
Christchurch place, Dublin, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,red,flag,flags,Irish Whiskey,live music daily,Guinness,sign
Description: Tony Smith image Alamy 2M84JTN - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,distillery,malts,distilling,store,Whisky,malt
Description: Tony Smith image Alamy 2M84JTY - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,fun,funtimes,fun times
Description: Tony Smith image Alamy 2M84JW7 - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,distillery,store,Whisky,malt,malts,distilling,St Patricks Day
Description: Tony Smith image Alamy 2M84K28 - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,Guinness,emperor of malted liquors,judge,pouring,malted,liquors,stout
Description: Tony Smith image Alamy 2M84K29 - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,barrel,fine smoking,tobacco,Guinness
Description: Tony Smith image Alamy 2M84K2D - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,sign,live music,outside,external,exterior,St Patricks Day
Description: Tony Smith image Alamy 2M84K2G - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,range,Dubliner,authentic,boozer,premises,tourist,D02 N725,tavern,Dubliners,Irish,Est1840,icon,tourism,legendary,47-48 Temple Bar,Whiskey,cultural,trade mark,drinking,beer,venue,Dublin 2,pub,inn,garden,history,heritage,mosaic,floor,at,tiles,yellow,red,St Patricks Day
Description: Tony Smith image Alamy 2M84K2K - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,range,Dubliner,authentic,boozer,premises,tourist,D02 N725,tavern,Dubliners,Irish,Est1840,icon,tourism,legendary,47-48 Temple Bar,Whiskey,cultural,trade mark,drinking,beer,venue,Dublin 2,pub,inn,garden,history,heritage,mosaic,floor,at,tiles,orange,St Patricks Day
Description: Tony Smith image Alamy 2M84K2T - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,Orange,neon,sign,red,at,St Patricks Day
Description: Tony Smith image Alamy 2M84K2W - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,couple,lovers,man,woman,pair,drinkers,St Patricks Day
Description: Tony Smith image Alamy 2M84K6W - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,tiled,red,green,tiles,polished,words,St Patricks Day
Description: Tony Smith image Alamy 2M84K9R - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,Guinness,tap,harp,named,pour,dispenser,signed
Description: Tony Smith image Alamy 2M84KA2 - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: Republic of Ireland,GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,pub,inn,tavern,47-48 Temple Bar,Dublin 2,D02 N725,legendary,venue,tourist,tourism,beer,garden,premises,icon,drinking,history,boozer,Est1840,trade mark,authentic,Irish,cultural,heritage,Dubliner,Dubliners,Whiskey,range,entrance,to,door,doors
Description: Tony Smith image Alamy 2M84KAB - Though an earlier license had existed on part of the current site of The Temple Bar, we can directly trace the existing license back to 1835 when enterprising publican, Cornelius O'Meara, Grocer, Tea, Wine, and Spirit Merchant acquired the blossoming location at the corner of Temple Lane and adjacent to Samuel Figgis, Porter Merchant, who ran his thriving brewing business here. The city of Dublin was experiencing something of an economic renaissance at this time and Temple Bar was idyllically laced between the river and the administrative centre of Dublin.
O'Meara was a committed publican intent on spreading his wings. He also ran another pub at No. 1 Wood Quay. This was then at the epicentre of Dublin 19th century rag trade. O'Meara's two nearest neighbours were Christopher McCauley, Hat Manufacturer, and Edward Loman, Hatter.
O'Meara served almost a decade at the Temple Bar Pub before he sold out to James Farley, Grocer and Spirit Merchant in 1844. James Farley knew the business here very well, having made but a short journey from 38 East Essex Street where he had operated as a Provisions dealer. James Farley's reign at this old hostelery was of brief duration.
The Great Famine was raging across the country with unprecedented horror and devastation when William Cranston, a much respected Dublin publican, took the wheel in 1847.
During the middle to late 1850s, a new wave of Provisions, Dealers and Dram Grocers had infiltrated the Temple Bar area. They operated the practise of dram-drinking'. The Dram Grocers allowed customers to buy spirits in an off-sales liquor store capacity and illegally consume them on the premises behind screens and makeshift partitions. This practice created much financial hardship for the authorities and regular or legitimate vintners (wine merchants).
William Cranston was a member of the License Trade delegation who traveled to lobby the British Parliament in Westminster, London, in 1863 to have this practice forbidden
47-48 Temple Bar, Dublin 2, D02 N725, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,Irish,Temple Bar,Dublin,D02 TH74,name,history,historic,surnames,heritage,DNA,No8,No 8,city,centre,store,shop,retail,research,American,USA,discover,your,coat,of,arms,crest,family,historical,tourists,attraction,US,find
Description: Tony Smith image Alamy 2M8BP01 -
8 Fleet St, Temple Bar, Dublin, D02 TH74
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Eire,Irish,Dublin 2,D02 NX25,brass,bronze,metal,street,art,embossed,face,memorial,culture,the arts,heritage,history,entertainment,walk of fame,icon,iconic,literary,writer,pavement,sidewalk,portrait,plaque,of,poet,Kavanagh,Twin ironies by which great saints are made,The agonising pincer,jaws of heaven,On Raglan Road,Tarry Flynn
Description: Tony Smith image Alamy 2M8DJE4 - Patrick Kavanagh (21 October 1904 30 November 1967) was an Irish poet and novelist. His best-known works include the novel Tarry Flynn, and the poems On Raglan Road and The Great Hunger. He is known for his accounts of Irish life through reference to the everyday and commonplace
Patrick Kavanagh was born in rural Inniskeen, County Monaghan, in 1904, the fourth of ten children of James Kavanagh and Bridget Quinn
Kavanagh's first published work appeared in 1928[7] in the Dundalk Democrat and the Irish Independent. Kavanagh had encountered a copy of the Irish Statesman, edited by George William Russell, who published under the pen name AE and was a leader of the Irish Literary Revival. Russell at first rejected Kavanagh's work but encouraged him to keep submitting, and he went on to publish verse by Kavanagh in 1929 and 1930. This inspired the farmer to leave home and attempt to further his aspirations. In 1931, he walked 80 miles (abt. 129 kilometres) to meet Russell in Dublin, where Kavanagh's brother was a teacher. Russell gave Kavanagh books, among them works by Fyodor Dostoyevsky, Victor Hugo, Walt Whitman, Ralph Waldo Emerson and Robert Browning, and became Kavanagh's literary adviser. Kavanagh joined Dundalk Library and the first book he borrowed was The Waste Land by T. S. Eliot.
Kavanagh's first collection, Ploughman and Other Poems, was published in 1936. It is notable for its realistic portrayal of Irish country life, free of the romantic sentiment often seen at the time in rural poems, a trait he abhorred. Published by Macmillan in its series on new poets, the book expressed a commitment to colloquial speech and the unvarnished lives of real people, which made him unpopular with the literary establishment. Two years after his first collection was published he had yet to make a significant impression. The Times Literary Supplement described him as a young Irish poet of promise rather than of achievement
Fleet St, Temple Bar, Dublin 2, D02 NX25, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Eire,Irish,Dublin 2,D02 NX25,brass,bronze,metal,street,art,embossed,face,memorial,culture,the arts,heritage,history,entertainment,walk of fame,icon,iconic,literary,writer,pavement,sidewalk,portrait,Kerry,and my heart says the kingdom,Kerryman,sportswriter,sports,journalist,Irish Press,Evening Press,The Sunday Press
Description: Tony Smith image Alamy 2M8DJE9 - Con Houlihan (6 December 1925 4 August 2012) was an Irish sportswriter. Despite only progressing to national journalism at the age of 46, he became the greatest and the best-loved Irish sports journalist of all
Over a lengthy career, Houlihan covered many Irish and international sporting events, from Gaelic football and hurling finals, to soccer and rugby World Cups, the Olympics and numberless race meetings inside and outside Ireland.
He was a journalist with the Irish Press group writing for The Irish Press, Evening Press and sometimes The Sunday Press, until the group's demise in 1995. He wrote the Tributaries column and Evening Press back sports page Con Houlihan column
Houlihan died in the morning of 4 August 2012 in St James's Hospital in Dublin. Often considered one of Ireland's finest writers, he left behind a legacy of immense sports journalism that spanned over 60 years. A minute's silence was observed in his memory ahead of Kerry's All-Ireland Senior Football Championship quarter-final defeat to Donegal at Croke Park the following day. His last column, in which he wished Katie Taylor well, was published the day after his death.[6] His funeral took place on 8 August 2012
A bronze bust of Houlihan was unveiled in his hometown of Castleisland in 2004. In 2011, a bronze plaque was installed outside The Palace bar in Dublin. The sculpture is in the foyer of The Bank pub on College Green. Cons Corner and a Bronze Bust with a quote are in The Palace Bar.
Fleet St, Temple Bar, Dublin 2, D02 NX25, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Eire,Irish,Dublin 2,D02 NX25,brass,bronze,metal,street,art,embossed,face,memorial,culture,the arts,heritage,history,entertainment,walk of fame,icon,iconic,literary,writer,pavement,sidewalk,portrait,plaque,Critics are like Eunuchs in a harem,They know how its done,Theyve seen it done everyday,But theyre unable to do it themselves,Brendan Francis Aidan Behan,Republican,activist,Fianna Éireann,Fianna Eireann
Description: Tony Smith image Alamy 2M8DJEH - Brendan Francis Aidan Behan (christened Francis Behan 9 February 1923 20 March 1964) was an Irish poet, short story writer, novelist, playwright, and Irish Republican activist who wrote in both English and Irish. He was named by Irish Central as one of the greatest Irish writers of all time.
An Irish republican and a volunteer in the Irish Republican Army, Behan was born in Dublin into a staunchly republican family becoming a member of the IRA's youth organization Fianna Éireann at the age of fourteen. There was also a strong emphasis on Irish history and culture in his home, which meant he was steeped in literature and patriotic ballads from an early age. At age 16, Behan joined the IRA, which led to his serving time in a borstal youth prison in the United Kingdom and imprisonment in Ireland. During this time, he took it upon himself to study and he became a fluent speaker of the Irish language. Subsequently released from prison as part of a general amnesty given by the Fianna Fáil government in 1946, Behan moved between homes in Dublin, Kerry and Connemara, and also resided in Paris for a time.
In 1954, Behan's first play The Quare Fellow, was produced in Dublin. It was well received
however, it was the 1956 production at Joan Littlewood's Theatre Workshop in Stratford, London, that gained Behan a wider reputation. This was helped by a famous drunken interview on BBC television with Malcolm Muggeridge. In 1958, Behan's play in the Irish language An Giall had its debut at Dublin's Damer Theatre. Later, The Hostage, Behan's English-language adaptation of An Giall, met with great success internationally. Behan's autobiographical novel, Borstal Boy, was published the same year and became a worldwide best-seller.
By the early 1960s, Behan reached the peak of his fame. He spent increasing amounts of time in New York City, famously declaring, To America, my new found land: The man that hates you hates the human race.
Fleet St, Temple Bar, Dublin 2, D02 NX25, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Eire,Irish,HQ,head,office,centre,city,2,Temple Bar,D02 VR6,Dublin,financial,institution,iconic,branch,stability,stable,system,Eurozone,irish,Euro,European,banking,bank,EU,vulnerable,small,brass,in,way,way in,Grant,building,history,heritage,historical,historic
Description: Tony Smith image Alamy 2M8DJEY -
2 College Green, Temple Bar, Dublin, D02 VR6, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Eire,Irish,Dublin 2,Molly Malone,Malone,by,Jeanne,Rynhart,large,chest,breast,breasts,voluptuous,woman,lady,wench,girl,hussy,urban,centre,legend,art,artwork,revealing,Mary Malone,heroine,song,music,Georgian Quarter,History,historic,Cockles and Mussels,lyrics,folk ballad,cart,The Tart With The Cart
Description: Tony Smith image Alamy 2M8DJJM - Molly Malone is the enigmatic heroine of the famous song of the same name, widely recognised as Dublin's unofficial anthem. Immortalised in bronze during the 1988 Dublin Millennium celebrations, the Molly Malone statue stands in the heart of the city's historic Georgian Quarter. Though regularly upheld as a traditional Irish ballad, it's not known where the song originated or if Molly Malone ever existed
According to the lyrics of the undeniably catchy tune also known as Cockles and Mussels Molly was a young and beautiful fishmonger who sold her yield from a cart on the streets of Dublin. The song's final verse states that after she died of a fever, she began haunting the city.
Although set in Ireland's capital and beloved by many Dubliners, the song was originally published in the USA in 1876. While this version might be based on an older Irish folk ballad, cultural academics have argued that the melody and tragicomic lyrics are more akin to the music-hall style that was popular in Britain during the Victorian era. Indeed, in 1884, a version attributed to the Scottish composer James Yorkston was published in London.
To complicate matters further, in 2010, an earlier mention of Molly Malone was found in an 18th-century book of songs called Apollo's Medley, printed in England in 1790. This more risqué version describes Molly as living in Howth, a fishing village northeast of Dublin. It recounts the singer's yearning to share her bed, contributing to widespread speculation that the song's leading lady worked as both a street vendor and a prostitute.
Created by the Irish sculptor Jeanne Rynhart, the statue depicts Molly in traditional but revealing 17th-century dress, hinting at her supposed job as a part-time prostitute and leading the bronze figure to be colloquially christened The Tart with the Cart.
Suffolk St, Dublin 2, D02 KX03, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Ireland,Eire,Irish,Dublin 2,Molly Malone,Malone,by,Jeanne,Rynhart,large,chest,breast,breasts,voluptuous,woman,lady,wench,girl,hussy,urban,centre,legend,art,artwork,revealing,Mary Malone,heroine,song,music,Georgian Quarter,History,historic,Cockles and Mussels,lyrics,folk ballad,cart,The Tart With The Cart
Description: Tony Smith image Alamy 2M8DJJX - Molly Malone is the enigmatic heroine of the famous song of the same name, widely recognised as Dublin's unofficial anthem. Immortalised in bronze during the 1988 Dublin Millennium celebrations, the Molly Malone statue stands in the heart of the city's historic Georgian Quarter. Though regularly upheld as a traditional Irish ballad, it's not known where the song originated or if Molly Malone ever existed
According to the lyrics of the undeniably catchy tune also known as Cockles and Mussels Molly was a young and beautiful fishmonger who sold her yield from a cart on the streets of Dublin. The song's final verse states that after she died of a fever, she began haunting the city.
Although set in Ireland's capital and beloved by many Dubliners, the song was originally published in the USA in 1876. While this version might be based on an older Irish folk ballad, cultural academics have argued that the melody and tragicomic lyrics are more akin to the music-hall style that was popular in Britain during the Victorian era. Indeed, in 1884, a version attributed to the Scottish composer James Yorkston was published in London.
To complicate matters further, in 2010, an earlier mention of Molly Malone was found in an 18th-century book of songs called Apollo's Medley, printed in England in 1790. This more risqué version describes Molly as living in Howth, a fishing village northeast of Dublin. It recounts the singer's yearning to share her bed, contributing to widespread speculation that the song's leading lady worked as both a street vendor and a prostitute.
Created by the Irish sculptor Jeanne Rynhart, the statue depicts Molly in traditional but revealing 17th-century dress, hinting at her supposed job as a part-time prostitute and leading the bronze figure to be colloquially christened The Tart with the Cart.
Suffolk St, Dublin 2, D02 KX03, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,centre,Eire,Ireland,crest,castle,tower,towers,silver,standard,post,Coat of Arms,castles,scale,depicting,Justice,the obedience of the citizens produces a happy city,emblem,of,the,history,historic,repainted,Dublin crests,Dublin crest,icon,iconic,symbol,symbols,lamppost,Irish,painted,lamps,crests
Description: Tony Smith image Alamy 2MCGAN0 -
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Dublin,city,centre,Eire,Ireland,red,green,signage,Kehoes Lounge sign,in,neon,&,and,wine,spirit,9,South,open,hanging,baskets,summer,boozer,traditional,Irish,watering hole,tourist,tourism,attraction,classic neon,historic,history,1920,1930,black
Description: Tony Smith image Alamy 2MCGBB7 -
9 Anne St S, Dublin, Eire, D02 NY88, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,Irish,Dawson Street,D02 YV57,anns,1720,Church of Ireland,building,architecture,Georgian architecture,Dawson St,baroque style,baroque,style,parish,parishes,churches,Catholic,history,historic,heritage,stone,ornate,beautiful,architectural,Dawson,St,street,mass,masses,in,services,service
Description: Tony Smith image Alamy 2MG3YAE - St. Ann's Church on Dawson Street in Dublin, Ireland is a Church of Ireland church, constructed originally around 1720 following the establishment of the local Anglican parish in 1707.
In the early 21st century the church presents itself as ecumenical within the tradition of the Church of Ireland.
Building history
The building of the church in baroque style commenced in 1720, to a design by Isaac Wills.[2] The current façade dates to 1868.[3][4][5]
Exterior and façade
St. Ann's original façade was never completed above the first floor. In 1868, a competition was held for a new façade, with the architectural firm of Lanyon, Lynn & Lanyon losing the commission to the Deanes, Thomas Newenham Deane and his father. The younger Deane, who had been involved with the creation of significant buildings at Oxford University, designed a neo-Romanesque front.[6] Described by one travel guide as amazingly ornate,[7] the façade as it exists in the 21st century lacks some elements of Deane's original conception, most significantly the tallest tower
the design as Deane submitted it can be viewed online. From an architectural perspective, this omission has been criticised as disrupting the building's flow from the rectory to the spire
18 Dawson St, Dublin 2, D02 YV57, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,Irish,The,Dublin 2,D02 XE81,book,shop,store,retail,seller,historic,history,Dawson St,56-58,56,58,the,front,4,culture,literary,specialist,specialists,textbook,fiction,novels,1768,literature,facade,façade,green,sign,upper,floors
Description: Tony Smith image Alamy 2MG3YAJ -
56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,art,crest,motto,and,painted,lamps,crests,Obedientia Civium,Urbis Felicitas,scale,depicts,Justice,the obedience of the citizens produces a happy city,three,castles,three castles,3,sword,representing,Irish,icon,iconic,symbol,symbols,Dublin crest,Dublin crests,post,lamppost,history,historic,repainted,the,standard
Description: Tony Smith image Alamy 2MG3YEA - Dublin's Coat of Arms is the identifying emblem of the city and has been in use, in one form or another, for at least 400 years. The full Coat of Arms shows three burning castles on a shield, flanked by two female figures
One of the female figures holds a scale and depicts Justice (without the usual blindfold), the other has a sword representing Law, while each holds an olive branch. Below the shield on a scroll is the city's motto, Obedientia Civium Urbis Felicitas, which translates as the obedience of the citizens produces a happy city.
The origin of the Coat of Arms is unknown, but there are numerous theories, including:
The castles are watch towers outside the city walls.
The castle is Dublin Castle and is repeated three times because of the mystical significance of the number three.
The castles are not castles but represent three gates into the ancient Viking city.
Dublin city, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,art,crest,motto,and,painted,lamp,lamps,crests,1988 Dublin,honeycomb,hexagon,honeycombs,hexagons,Irish,icon,iconic,symbol,symbols,Dublin crest,Dublin crests,post,lamppost,history,historic,repainted,sponsored,sponsor,insurance,company,SAI,RSA,the,standard
Description: Tony Smith image Alamy 2MG3YEC -
Dublin city, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,art,crest,motto,and,painted,lamps,crests,Obedientia Civium,Urbis Felicitas,scale,depicts,Justice,the obedience of the citizens produces a happy city,three,castles,three castles,3,sword,representing,Irish,icon,iconic,symbol,symbols,Dublin crest,Dublin crests,post,lamppost,history,historic,repainted
Description: Tony Smith image Alamy 2MG3YGY - Dublin's Coat of Arms is the identifying emblem of the city and has been in use, in one form or another, for at least 400 years. The full Coat of Arms shows three burning castles on a shield, flanked by two female figures
One of the female figures holds a scale and depicts Justice (without the usual blindfold), the other has a sword representing Law, while each holds an olive branch. Below the shield on a scroll is the city's motto, Obedientia Civium Urbis Felicitas, which translates as the obedience of the citizens produces a happy city.
The origin of the Coat of Arms is unknown, but there are numerous theories, including:
The castles are watch towers outside the city walls.
The castle is Dublin Castle and is repeated three times because of the mystical significance of the number three.
The castles are not castles but represent three gates into the ancient Viking city.
Dublin city, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,the,ring,rings,engagement,wedding,history,historic,3,Upper,horseshoe,luck,lucky,North City,Dublin 1,D01 CD9,city,centre,shopping,shop,store,Leinster,shot,shooting,buy,retail,buying,special,diamond,diamonds,Irish
Description: Tony Smith image Alamy 2MG3YP7 - Founded in 1870 by William McDowell the Happy Ring House' originally was on Mary Street and moved to No 3 Sackville Street in 1902 making it the longest established business on what is now called O'Connell Street Dublin. Completely destroyed and looted during the 1916 uprising No 3 was rebuilt in 1917 using some of the original girders for the General Post Office. During the height of the conflict centred around the GPO, William McDowell and the porter made a dash from the premises to Cathedral Street a distance of some fifty yards and in that distance William was shot in the leg and sadly the porter was shot dead. The Happy Ring House has a long standing tradition in Dublin, that you meet your intended by the pillar and then proceeded to the Happy Ring House' to buy that special diamond ring followed by a celebratory drink in the Gresham or tea in Wynns Hotel.
McDowells Jewellers,3 O'Connell Street Upper, North City, Dublin 1, D01 CD9, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Eire,Ireland,tourist,travel,inside,ornate,of,the,42,city,centre,D01 R260,mirrors,carved,history,den,boozer,altar,columns,Irish,pub,pubs,bar,bars,Victorian,barman,barmen,server,servers,lamps,lamp,port,ports,St Patricks Day
Description: Tony Smith image Alamy 2MG401T -
42 Middle Abbey St, North City, Dublin, D01 R260, Eire, Ireland
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,England,UK,L3 8HR,L3,bar,pub,original,Irish,broken,derelict,with,historic,Tetleys Bitter,neon,sign,Tetleys,old,dilapidated,pubs,bars,tired,decayed,decaying,Victorian,history,the,beer,beers,wines,wine,spirits,Tetley,Tetley Walker
Description: Tony Smith image Alamy 2M475F6 -
31 London Rd, Liverpool, Merseyside, England, UK, L3 8HR
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Merseyside,England,UK,L3 8HR,L3,bar,pub,original,Irish,broken,derelict,with,historic,Tetleys Bitter,neon,sign,Tetleys,old,dilapidated,pubs,bars,tired,decayed,decaying,Victorian,history,the,beer,beers,wines,wine,spirits,Tetley,Tetley Walker
Description: Tony Smith image Alamy 2M475FA -
31 London Rd, Liverpool, Merseyside, England, UK, L3 8HR
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,BT1,historic,history,building,pub,bar,pubs,bars,Northern Ireland,Irish,beer,spirits,outside,exterior,Red-bricked,red,brick,and,flat-iron,flatiron,flat,iron,Bitles,the,Victorian,famous,St Patricks Day
Description: Tony Smith image Alamy 2PM625G - Eclectic, historic pub offering beer & cocktails amid colourful paintings of Irish personalities.
70 Upper Church Lane, Belfast, Northern Ireland, UK, BT1 4QL
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,UK,Great Britain,British,NI,Ireland,Ulster,community,BT1,historic,history,building,pub,bar,pubs,bars,Northern Ireland,Irish,beer,spirits,outside,exterior,Red-bricked,red,brick,and,flat-iron,flatiron,flat,iron,Bitles,the,Victorian,famous,St Patricks Day,red brick warehouse,flatiron architecture,city break
Description: Tony Smith image Alamy 2PM625P - Belfast city centre, Northern Ireland, this editorial photograph shows the historic flat-iron Bittles Bar at 70 Upper Church Lane, close to Victoria Square. The narrow red-brick building forms a dramatic wedge-shaped corner, with curved brickwork, arched windows, decorative banding, hanging baskets, pavement tables, beer barrels and Bittles Bar signage at street level. The image was taken in bright daylight with blue sky and broken cloud, giving clear detail of the Victorian architecture and pub frontage. Bittles Bar is widely noted as one of Belfast's most distinctive pubs because of its flat-iron shape, created by the tight urban plot and meeting of surrounding streets. Discover Northern Ireland describes it as a traditional Victorian bar, founded in 1868 and originally called The Shakespeare, reflecting a theatrical clientele. The building and pub are useful subjects for editorial coverage of Belfast hospitality, historic pubs, city-centre drinking culture, Irish whiskey, Guinness tourism, heritage streetscapes and old commercial buildings in the modern visitor economy. The bar is known for a characterful triangular lounge and an interior decorated with portraits of Irish literary, sporting and political figures, adding cultural interest beyond the exterior. Its location near Victoria Square places it on a natural walking route for visitors exploring central Belfast, Cathedral Quarter, shopping streets, pubs and historic city architecture. For picture buyers, the readable frontage, red brick, flower baskets, barrels, wedge form and bright weather make the image suitable for travel features, pub guides, architectural stories, heritage tourism, beer and whiskey articles, Belfast city-break coverage and general editorial use about Northern Ireland's urban character. The photograph also works as a visual example of how a small historic pub can become a landmark through distinctive shape, local reputation and strong street presence.
70 Upper Church Lane, Belfast, Northern Ireland, UK, BT1 4QL
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Northern Ireland,UK,BT1,Ireland,road,cast iron,cast,metal,steel,iron,rust,4,water,supply,cover,co,company,companies,utility,utilities,Irish,Ulster,sewage,printed,pattern,rusty,history,historic,foundry,ironwork,ironworks,County Antrim,NI,hotpix.org.uk,ECHR,Good Friday Agreement
Description: Tony Smith image Alamy 2PP0N8N -
Belfast, Northern Ireland, UK, BT1
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Northern Ireland,UK,BT1,Ireland,road,cast iron,cast,metal,steel,iron,rust,Ulster,utility,utilities,sewage,companies,Irish,cover,supply,water,company,co,printed,pattern,rusty,history,historic,foundry,ironwork,ironworks,County Antrim,NI,covered,hotpix.org.uk,ECHR,Good Friday Agreement
Description: Tony Smith image Alamy 2PP0N8X -
Belfast, Northern Ireland, UK, BT1
Description
Keywords: Gaelic,slogan,Irish,GoTonySmith,HotpixUK,@HotpixUK,murals,RHC,mural,loyalists,loyalist,West Belfast,political,Unionist,Loyalist,Northern Ireland,gable wall,paras,of,Ulster,Lamh Dearg Abu,County Antrim,UK,street,art,public,housing estate mural,residential,The Troubles,Troubles,legacy,post-conflict,history,heritage,sectarian,geography,memory,conflict,visual culture,urban
Description: Tony Smith image Alamy HEW18H - Loyalist Red Hand Commando mural on Glenwood Street, off the Shankill Road in West Belfast, Northern Ireland, showing the RHC insignia, the Red Hand of Ulster with wings, eagle imagery and the slogans Lamh Dearg Abu and Ulster to Victory. The photograph records a political gable wall mural in a residential street setting, partly seen behind black railings and a pavement edge, with the painted wall running along the side of housing in the Shankill area. The Irish language slogan is more correctly written as Lámh Dhearg Abú and is usually translated as Red Hand to victory, a striking detail because loyalist murals more often use British, Ulster Scots or military-style symbolism rather than Irish language wording. This image has strong editorial value for coverage of Belfast murals, loyalist political imagery, the Shankill Road, Red Hand Commando symbolism, Northern Ireland politics, The Troubles, paramilitary visual culture, contested heritage, community identity and post-conflict street art. It should be treated as documentary evidence of a loyalist paramilitary mural rather than promotional imagery. The wall painting is useful for features on mural tours, political tourism, urban memory, sectarian geography, working-class housing areas, conflict legacy, public symbolism and the way Belfast streets became visual records of allegiance, remembrance and contested history. The overcast daylight, railings, terrace housing and narrow pavement give the scene a direct neighbourhood context, showing that such murals sit within everyday residential environments rather than formal galleries or museums. The image also suits wider searches on Unionist and Loyalist murals, Red Hand of Ulster iconography, Irish language in loyalist contexts, community commemoration, conflict studies, Northern Ireland heritage and documentary photography of political street art.
Glenwood Street, Shankill, West Belfast, Northern Ireland, BT13.
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUk,Ballymurphy,Irish,Ireland,IRA,political,politics,gable-end,gable wall,housing estate,street,art,Northern Ireland,Troubles,memorial,commemorative,public art,wall,painting,County Antrim,murals,tour,tourism,peace,Good Friday Agreement,history,tricolour,republican,symbolism,conflict,memory,contested,heritage,post-conflict,culture,nationalist,area,Falls Road
Description: Tony Smith image Alamy HEW1D4 - Gable-end Republican memorial mural on Divismore Way in Ballymurphy, West Belfast, showing three figures, the Irish tricolour and republican shield symbols painted across the side wall of a housing estate property. The mural is identified by CAIN as the IRA Mural and Plaque on Divismore Way, at the junction of Divismore Way and Springfield Road, commemorating Bobby McCrudden, Mundo O'Rawe and Pearse Jordan. The visible inscription is a memorial dedication and includes the line asking passers-by to pause, pray and smile, giving the wall painting a commemorative and community remembrance function rather than simply decorative street art. This image has editorial value for themes including Belfast murals, West Belfast, Ballymurphy, political murals, Republican mural art, The Troubles, conflict memory, contested heritage, community identity, public art, Irish republican symbolism, housing estate culture and Northern Ireland history. The mural sits on a residential gable end behind a timber fence, with grass, weeds, houses and a cloudy sky placing it in an everyday neighbourhood landscape rather than a formal memorial site. That setting matters because many Belfast political murals are embedded in lived residential streets, where public memory, local identity, political messaging and tourism overlap. The photograph is useful for articles on mural tours, post-conflict Belfast, visual culture, memorialisation, community commemoration, urban history and the role of walls and public space in telling the story of the Troubles. It also suits critical coverage of how paramilitary, Republican and Loyalist imagery remains visible in parts of Belfast, and how such murals can be read as heritage, political statement, memorial and tourist attraction depending on viewer and context. The overcast daylight, housing estate background and clear gable composition make the image a valuable documentary record of West Belfast political street art and commemorative mural culture.
Divismore Way, Ballymurphy, Belfast West, County Antrim, Northern Ireland, BT12.
Description
Keywords: Great,Street,bars,beer,pub,public,house,interior,exterior,historic,history,gin,palace,Victoriana,Liquor,Saloon,Liquor Saloon,National Trust,great,lounge,famous,Crown Bar,unique,BT2,Felix OHanlon,Tavern,Amelia,wines,brandies,whiskies,beers,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,boozer,Real Ale,Real,Ale,CAMRA,beer,beers,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HDEYMC - Opened by Felix O'Hanlon as The Railway Tavern, the pub was then bought by Michael Fanigan. Fanigan's son Patrick renamed and renovated the pub in 1885.
The Crown owes its elaborate tiling, stained glass and woodwork to the Italian craftsmen whom Fanigan persuaded to work on the pub after hours. These craftsmen were brought to Ireland to work on the many new churches being built in Belfast at the time. It was this high standard of work that gave the Crown the reputation of being one of the finest Victorian Gin Palaces of its time.
In 1978, the National Trust, following persuasion by people including Sir John Betjeman, purchased the property and three years later completed a £400,000 renovation to restore the bar to its original Victorian state. Further restoration by the National Trust was done in 2007 at a cost of £500,000. This work is the subject of a BBC Northern Ireland documentary, The Crown Jewel, screened in 2008.
A recognisable landmark of Belfast, the pub has featured as a location in numerous film and television productions, such as David Caffrey's Divorcing Jack (1998) and Carol Reed's classic 1947 film Odd Man Out.
The Crown has been given a Grade A Listed Building status by the Environment and Heritage Service.
46 Great Victoria Street,Belfast,County Antrim, Northern Ireland, UK BT2 7BA
Description
Keywords: Northern Ireland,West Belfast,Belfast,Irish,art,artwork,balaclava,gun,rifle,Red,Hand,Of,Ulster,union,unionist,unionism,history,culture,community,defaced,written,over,on,shout,Becky + Michael,Becky,and,+,Michael,Berlin wall,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDF029 - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,UK
Description
Keywords: Northern Ireland,Peace,Wall,Cupar way,West Belfast,Belfast,Irish,art,artworks,artwork,The,Of,union,unionism,history,culture,community,Berlin wall,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDF02T - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,UK
Description
Keywords: Northern Ireland,Peace,Wall,Cupar way,West Belfast,Belfast,Irish,art,artworks,artwork,wide,shot,wideshot,wall,mural,murals,face,faces,fence,high,high,fences,history,Irish,Catholic,Protestant,divided,sectarian,religious,boundary,interface,zone,interzone,Berlin wall,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM12B - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,UK
Description
Keywords: Northern Ireland,Peace,Wall,Cupar way,West Belfast,Belfast,Irish,art,artworks,artwork,Shankill Rd,Protestant,history,Protestant,Christian,Berlin wall,Protestant history,Belfast Protestant history,Irish history,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Unionist,unionism,Protestant,Catholic,republican,Sinn Fein,community,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,UVF,DUP,British,GB,Empire,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Belfast protestant community,Peoples army,Belfast catholic community,Irelands Berlin wall
Description: Tony Smith image Alamy HDM17W - The peace lines or peace walls are a series of border barriers in Northern Ireland that separate Catholic and Protestant neighbourhoods. They have been built at urban interface areas in Belfast, Derry, Portadown and elsewhere. The stated purpose of the peace lines is to minimise inter-communal violence between Catholics (most of whom are nationalists who self-identify as Irish) and Protestants (most of whom are unionists who self-identify as British).
The peace lines range in length from a few hundred yards to over three miles (5 km). They may be made of iron, brick, and/or steel and are up to 25 feet (7.6 m) high. Some have gates in them (sometimes staffed by police) that allow passage during daylight but are closed at night.
The most prominent peace lines in the past few years separate the nationalist Falls Road and unionist Shankill Road areas of West Belfast
the Catholic Short Strand from the Protestant Cluan Place areas of East Belfast
and the Protestant Fountain estate and Catholic Bishop Street area of Derry.
In 2008, a public discussion began about how and when the peace lines could be removed. While, on 1 September 2011, Belfast City Council agreed to develop a strategy regarding the removal of peace walls, a study was released in 2012 indicating that 69% of residents believe that the peace walls are still necessary because of potential violence. At the end of 2011, several local community initiatives resulted in the opening of a number of interface structures for a trial period.
In January 2012, the International Fund for Ireland launched a Peace Walls funding programme to support local communities who want to work towards beginning to remove the peace walls. In May 2013, the Northern Ireland Executive committed to the removal of all peace lines by mutual consent by 2023.
Cupar way,West Belfast,NI,UK
Description
Keywords: historic,history,City Centre,Northern Ireland,UK,Belfast,Northern Ireland,UK,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HDWRWG -
North St, Belfast,City Centre, Northern Ireland, UK
Description
Keywords: history,City Centre,Northern Ireland,UK,Belfast,Belfast City Centre,Northern Ireland,UK,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HDWRWP -
North St, Belfast,City Centre, Northern Ireland, UK
Description
Keywords: Church,Warrington,Cheshire,WA2 7QE,st,building,religion,Christian,Benedicts,RC Church,GoTonySmith,Buy Pictures of,Buy Images Of,Roman,Catholic,Warringtonians,history,historic,St Benedicts R C Church,England,UK,WA2,sunny,blue,sky,skies,Irish,community,Warringtons,Ireland,club,centre
Description: Tony Smith image Alamy EY3RN5 -
St Benedict's R C Church, Rhodes Street, Warrington, Cheshire, England, UK, WA2 7QE
-DDXKNH.jpg)
Description
Keywords: town,centre,WBC,family,families,killed,terrorist,terror,attack,bombing,justice,forgive,forgiveness,of,IRA,bomb,in,Warrington,20/03/1993,Cheshire,UK,Ireland,Irish,Republican,Replacement,Memorial,commemoration,flowers,headstone,in,memory,Warrington Town Centre,Jonathon Ball,Tim Parry,GoTonySmith,@HotpixUK,Bridge,peace,centre,center,St,Street,history,historic,death,died,dead,murder,murdered,Buy Pictures of,Buy Images Of,Images of,Stock Images,Bridge st,Bridge street
Description: Tony Smith image Alamy DDXKNH - Thieves stolen a metal plaque erected in memory of two young boys who were killed in an IRA bomb attack in Warrington, Cheshire.
Tim Parry, who was 12, and Johnathan Ball, aged three, died in 1993 when two bombs detonated in the town centre injuring 54 people. The A3 size plaque is thought to have a scrap metal value of no more than £30.
Bridge Street, Warrington, Cheshire, England, UK
Description
Keywords: memorial,Cheshire,England,UK,Hand,prints,images,of,boys,killed,by,IRA,bombing,republican,republicans,irish,Ireland,good,Friday,agreement,history,historic,death,died,dead,murder,murdered,Stephen Broadbent,Bridge Street,Tim Parry,Jonathon Ball,GoTonySmith,@HotpixUK,Buy Pictures of,Buy Images Of,Images of,Stock Images
Description: Tony Smith image Alamy DE9AMP - This is a un-conventional fountain which works as a mini-canal. Water flows from a large pool at one end, down a winding holder and is poured over a formation at the end. The structure is concrete, headed by a bronze moulding which includes marine life. The 'bowl' into which the water finally flows, also bronze, is raised and contains a large number of children's hand prints. Around the side are a number of photographs of Tim Parry and Jonathan Ball, printed on copper.
Sculptor - Stephen Broadbent
Inaugurated by / her royal highness / The Duchess of Kent and / accompanied by the families of / Jonathan Ball / and / Tim Parry / 14 Nov 1996 / The water of life made possible / by a donation from / his grace the Duke of Westminster / OBE TD.THEN HE SHOWED ME THE RIVER AND THE WATER OF LIFE SPARKLING LIKE CRYSTAL AS IT FLOWED FROM THE THRONE OF GOD AND OF THE LAME / IN THE MIDDLE OF THE STREET OF THE CITY AND ON EITHER BANK OF THE RIVER / GREW THE TREE OF LIFE, BEARING TWELVE FRUITS, A DIFFERENT KIND FOR EACH MONTH / THE LEAVES OF THE TREE WERE FOR THE HEALING OF THE NATIONS, NOTHING THAT HAS CURSED MANKIND WILL EXIST ANY LONGER. Revelations, chapter 22, verse 43./ WARRINGTON REMEMBERS JONATHON BALL AGED 3, TIM PARRY AGED 12 AND ALL / WHO SUFFERED / AS INNOCENT VICTIMS OF A TERRORIST BOMB, BRIDGE STREET 20TH MARCH 1993
See more at: http://www.pmsa.org.uk/pmsa-database/4997/#sthash.ktI1bMVR.dpuf
Bridge st, Warrington, Cheshire, England, UK
Description
Keywords: memorial,Cheshire,England,UK,Hand,prints,images,of,boys,killed,by,IRA,bombing,republican,republicans,irish,Ireland,good,friday,agreement,history,historic,death,died,dead,murder,murdered,Stephen Broadbent,Bridge Street,Tim Parry,Jonathon Ball,GoTonySmith,@HotpixUK,Buy Pictures of,Buy Images Of,Images of,Stock Images
Description: Tony Smith image Alamy DE9AN5 - This is a un-conventional fountain which works as a mini-canal. Water flows from a large pool at one end, down a winding holder and is poured over a formation at the end. The structure is concrete, headed by a bronze moulding which includes marine life. The 'bowl' into which the water finally flows, also bronze, is raised and contains a large number of children's hand prints. Around the side are a number of photographs of Tim Parry and Jonathan Ball, printed on copper.
Sculptor - Stephen Broadbent
Inaugurated by / her royal highness / The Duchess of Kent and / accompanied by the families of / Jonathan Ball / and / Tim Parry / 14 Nov 1996 / The water of life made possible / by a donation from / his grace the Duke of Westminster / OBE TD.THEN HE SHOWED ME THE RIVER AND THE WATER OF LIFE SPARKLING LIKE CRYSTAL AS IT FLOWED FROM THE THRONE OF GOD AND OF THE LAME / IN THE MIDDLE OF THE STREET OF THE CITY AND ON EITHER BANK OF THE RIVER / GREW THE TREE OF LIFE, BEARING TWELVE FRUITS, A DIFFERENT KIND FOR EACH MONTH / THE LEAVES OF THE TREE WERE FOR THE HEALING OF THE NATIONS, NOTHING THAT HAS CURSED MANKIND WILL EXIST ANY LONGER. Revelations, chapter 22, verse 43./ WARRINGTON REMEMBERS JONATHON BALL AGED 3, TIM PARRY AGED 12 AND ALL / WHO SUFFERED / AS INNOCENT VICTIMS OF A TERRORIST BOMB, BRIDGE STREET 20TH MARCH 1993
See more at: http://www.pmsa.org.uk/pmsa-database/4997/#sthash.ktI1bMVR.dpuf
Bridge st, Warrington, Cheshire, England, UK
Description
Keywords: Orange,white,grey,colour,Orangemen,Orange men,Unionists,Ulster unionists,political,politics,Ulster Volunteers,September,28/12/1912,guard,Violence,clothing,museum,object,community,Shankill,rd,road,City Hall Guard,The Ulster Volunteers,City Hall Guard,Protestant Community,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,Union,Unionism,British,Protestant,Prods,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,day,Ulster,tourist,tourism,history,historic,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Irish History,Ireland History,Northern Ireland History,Ulster Day,History Of Northern Ireland,Irish History
Description: Tony Smith image Alamy HE7KX5 - The Home Rule Crisis was a political and military crisis in the United Kingdom of Great Britain and Ireland that followed the introduction of the Third Home Rule Bill in the House of Commons of the United Kingdom in 1912.
Ulster unionists, determined to prevent any measure of home rule for Ireland, formed a paramilitary force, the Ulster Volunteers, which threatened to resist by physical force the implementation of the Act and the authority of any Dublin Parliament by force of arms. Irish nationalists responded by setting up the Irish Volunteers to secure the rights and liberties common to all the people of Ireland. Both sides then began importing weapons and ammunition from Germany, in the Larne gun-running and Howth gun-running incidents. The UK government's ability to face down unionist defiance was thrown into question by the Curragh incident, when dozens of British Army officers tendered their resignation rather than secure arms against Ulster loyalist seizure, forcing a climb-down by the government. The crisis was temporarily averted by the outbreak of World War I. The Home Rule Bill was enacted, but its implementation was suspended for the duration of the war.
Shankill Road, Belfast, Northern Ireland, UK
Description
Keywords: Findlater Old Irish Whiskey,Metal Sign,Whisky,Northern Ireland,UK,history,historic,AI,Alex,Dublin,Trademark,Rathmines,Blackrock,Kingstown,Kings,Town,Duke of York,duke,of,york,pub,bar,spirit,alcohol,rust,rusting,abuse,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Quarter,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7M9N -
Duke of York, Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,rd,Belfast,with,red,white,blue,bunting,Northern Ireland,polarised,sectarian,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFDC - The Shankill Road is one of the main roads leading through west Belfast, Northern Ireland. It runs through the predominantly loyalist working class area known as the Shankill. The road stretches westwards for about 2.4 km (1.5 mi) from central Belfast and is lined, to an extent, by shops. The residents live in the many streets which branch off the main road. The area along the Shankill Road forms part of Court district electoral area.
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,Bar,Aberdeen St,attack slaughter by IRA Brendan McFarlane,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFDR - The Bayardo Bar attack took place on 13 August 1975 in Belfast, Northern Ireland. A unit of the Provisional IRA Belfast Brigade, led by Brendan McFarlane, launched a bombing and shooting attack on the pub on Aberdeen Street (off the loyalist Shankill Road), which was frequented by Ulster Volunteer Force (UVF) members as well as civilians. Four Protestant civilians and one UVF member were killed.
According to journalists Alan Murray and Peter Taylor, it was retaliation for the Miami Showband massacre almost a fortnight earlier, when the popular Dublin-based band were ambushed by the UVF at a bogus military checkpoint. Three band members were shot dead by the UVF gunmen after their minibus was blown up in a premature explosion.
McFarlane and two other IRA volunteers, Peter Skeet Hamilton and Seamus Clarke, were sentenced to life imprisonment for perpetrating the Bayardo attack.
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,politics,political,road,elections,DUP,PUP,with,union,flags,election,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFE7 - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,YCV,UVF,Ulster,36th Ulster,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4C - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,36th,field,marshal,Sir,Henry,Wilson,Schwaben,Redoubt,Somme,battle,of,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4D - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,1913,wall,red,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4E - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,mosaic mural,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4F - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,West,Four,Step,Ulster Volunteer Force,in proud and loving memory,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4G - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,C-Company,1st Battalion Wadsworth,McIntyre,McGregor,Chapman,Hannah,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4H - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,c,C-Company,1st,Battalion,Wadsworth,McIntyre,McGregor,Chapman,Hannah,blue,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,hidden,faces,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4J - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,royalist,union flag,flag,royal,wedding,celebration,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG4K - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,paramilitary,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,community,UVF Mural,four,platoon,no4,pltn,God,and,Ulster,No 4,Pltn,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEG6B - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: Great,Street,bars,beer,pub,public,house,interior,exterior,historic,history,gin,palace,Victoriana,Liquor,Saloon,Liquor Saloon,National Trust,great,lounge,famous,Crown Bar,unique,BT2,Felix OHanlon,Tavern,outside,dusk,night shot,shot,dusk shot,Irish Pub,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,boozer,Real Ale,Real,Ale,CAMRA,beer,beers,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE18AW - Opened by Felix O'Hanlon as The Railway Tavern, the pub was then bought by Michael Fanigan. Fanigan's son Patrick renamed and renovated the pub in 1885.
The Crown owes its elaborate tiling, stained glass and woodwork to the Italian craftsmen whom Fanigan persuaded to work on the pub after hours. These craftsmen were brought to Ireland to work on the many new churches being built in Belfast at the time. It was this high standard of work that gave the Crown the reputation of being one of the finest Victorian Gin Palaces of its time.
In 1978, the National Trust, following persuasion by people including Sir John Betjeman, purchased the property and three years later completed a £400,000 renovation to restore the bar to its original Victorian state. Further restoration by the National Trust was done in 2007 at a cost of £500,000. This work is the subject of a BBC Northern Ireland documentary, The Crown Jewel, screened in 2008.
A recognisable landmark of Belfast, the pub has featured as a location in numerous film and television productions, such as David Caffrey's Divorcing Jack (1998) and Carol Reed's classic 1947 film Odd Man Out.
The Crown has been given a Grade A Listed Building status by the Environment and Heritage Service.
46 Great Victoria Street,Belfast,County Antrim, Northern Ireland, UK BT2 7BA
Description
Keywords: Great,Street,bars,beer,pub,public,house,interior,exterior,historic,history,gin,palace,Victoriana,Liquor,Saloon,Liquor Saloon,National Trust,great,lounge,famous,Crown Bar,unique,BT2,Felix OHanlon,Tavern,looking,down,Robnson,streetview,Irish Pub,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,boozer,Real Ale,Real,Ale,CAMRA,beer,beers,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles,Irish History,Ireland History,Northern Ireland History
Description: Tony Smith image Alamy HE18B2 - Opened by Felix O'Hanlon as The Railway Tavern, the pub was then bought by Michael Fanigan. Fanigan's son Patrick renamed and renovated the pub in 1885.
The Crown owes its elaborate tiling, stained glass and woodwork to the Italian craftsmen whom Fanigan persuaded to work on the pub after hours. These craftsmen were brought to Ireland to work on the many new churches being built in Belfast at the time. It was this high standard of work that gave the Crown the reputation of being one of the finest Victorian Gin Palaces of its time.
In 1978, the National Trust, following persuasion by people including Sir John Betjeman, purchased the property and three years later completed a £400,000 renovation to restore the bar to its original Victorian state. Further restoration by the National Trust was done in 2007 at a cost of £500,000. This work is the subject of a BBC Northern Ireland documentary, The Crown Jewel, screened in 2008.
A recognisable landmark of Belfast, the pub has featured as a location in numerous film and television productions, such as David Caffrey's Divorcing Jack (1998) and Carol Reed's classic 1947 film Odd Man Out.
The Crown has been given a Grade A Listed Building status by the Environment and Heritage Service.
46 Great Victoria Street,Belfast,County Antrim, Northern Ireland, UK BT2 7BA
Description
Keywords: chat,chatting,men,friends,blokes,Great,Street,bars,beer,pub,public,house,interior,exterior,historic,history,gin,palace,Victoriana,Liquor,Saloon,Liquor Saloon,National Trust,great,lounge,famous,Crown Bar,unique,BT2,Felix OHanlon,Tavern,ppl,people,punters,lager,ale,realale,CAMRA,bar,bars,pubs,pub,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,ornate,culture,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE18DC -
Great Victoria St, Belfast, NI, UK
Description
Keywords: Great,Street,bars,beer,pub,public,house,interior,exterior,historic,history,gin,palace,Victoriana,Liquor,Saloon,Liquor Saloon,National Trust,great,lounge,famous,Crown Bar,unique,BT2,Felix OHanlon,Tavern,door,doors,etched,glass,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,boozer,Real Ale,Real,Ale,CAMRA,beer,beers,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE18F0 - Opened by Felix O'Hanlon as The Railway Tavern, the pub was then bought by Michael Fanigan. Fanigan's son Patrick renamed and renovated the pub in 1885.
The Crown owes its elaborate tiling, stained glass and woodwork to the Italian craftsmen whom Fanigan persuaded to work on the pub after hours. These craftsmen were brought to Ireland to work on the many new churches being built in Belfast at the time. It was this high standard of work that gave the Crown the reputation of being one of the finest Victorian Gin Palaces of its time.
In 1978, the National Trust, following persuasion by people including Sir John Betjeman, purchased the property and three years later completed a £400,000 renovation to restore the bar to its original Victorian state. Further restoration by the National Trust was done in 2007 at a cost of £500,000. This work is the subject of a BBC Northern Ireland documentary, The Crown Jewel, screened in 2008.
A recognisable landmark of Belfast, the pub has featured as a location in numerous film and television productions, such as David Caffrey's Divorcing Jack (1998) and Carol Reed's classic 1947 film Odd Man Out.
The Crown has been given a Grade A Listed Building status by the Environment and Heritage Service.
46 Great Victoria Street,Belfast,County Antrim, Northern Ireland, UK BT2 7BA
Description
Keywords: Great,Street,bars,beer,pub,public,house,interior,exterior,historic,history,gin,palace,Victoriana,Liquor,Saloon,Liquor Saloon,National Trust,great,lounge,famous,Crown Bar,unique,BT2,Felix OHanlon,Tavern,ppl,people,punters,Irish Pub,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,boozer,Real Ale,Real,Ale,CAMRA,beer,beers,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE18F4 - Opened by Felix O'Hanlon as The Railway Tavern, the pub was then bought by Michael Fanigan. Fanigan's son Patrick renamed and renovated the pub in 1885.
The Crown owes its elaborate tiling, stained glass and woodwork to the Italian craftsmen whom Fanigan persuaded to work on the pub after hours. These craftsmen were brought to Ireland to work on the many new churches being built in Belfast at the time. It was this high standard of work that gave the Crown the reputation of being one of the finest Victorian Gin Palaces of its time.
In 1978, the National Trust, following persuasion by people including Sir John Betjeman, purchased the property and three years later completed a £400,000 renovation to restore the bar to its original Victorian state. Further restoration by the National Trust was done in 2007 at a cost of £500,000. This work is the subject of a BBC Northern Ireland documentary, The Crown Jewel, screened in 2008.
A recognisable landmark of Belfast, the pub has featured as a location in numerous film and television productions, such as David Caffrey's Divorcing Jack (1998) and Carol Reed's classic 1947 film Odd Man Out.
The Crown has been given a Grade A Listed Building status by the Environment and Heritage Service.
46 Great Victoria Street,Belfast,County Antrim, Northern Ireland, UK BT2 7BA
Description
Keywords: Great,Street,bars,beer,pub,public,house,interior,exterior,historic,history,gin,palace,Victoriana,Liquor,Saloon,Liquor Saloon,National Trust,great,lounge,famous,Crown Bar,unique,BT2,Felix OHanlon,Tavern,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,boozer,Real Ale,Real,Ale,CAMRA,beer,beers,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7MAT - Opened by Felix O'Hanlon as The Railway Tavern, the pub was then bought by Michael Fanigan. Fanigan's son Patrick renamed and renovated the pub in 1885.
The Crown owes its elaborate tiling, stained glass and woodwork to the Italian craftsmen whom Fanigan persuaded to work on the pub after hours. These craftsmen were brought to Ireland to work on the many new churches being built in Belfast at the time. It was this high standard of work that gave the Crown the reputation of being one of the finest Victorian Gin Palaces of its time.
In 1978, the National Trust, following persuasion by people including Sir John Betjeman, purchased the property and three years later completed a £400,000 renovation to restore the bar to its original Victorian state. Further restoration by the National Trust was done in 2007 at a cost of £500,000. This work is the subject of a BBC Northern Ireland documentary, The Crown Jewel, screened in 2008.
A recognisable landmark of Belfast, the pub has featured as a location in numerous film and television productions, such as David Caffrey's Divorcing Jack (1998) and Carol Reed's classic 1947 film Odd Man Out.
The Crown has been given a Grade A Listed Building status by the Environment and Heritage Service.
46 Great Victoria Street,Belfast,County Antrim, Northern Ireland, UK BT2 7BA
Description
Keywords: Great,Street,bars,beer,pub,public,house,interior,exterior,historic,history,gin,palace,Victoriana,Liquor,Saloon,Liquor Saloon,National Trust,great,lounge,famous,Crown Bar,unique,BT2,Felix OHanlon,Tavern,ppl,people,punters,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,boozer,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7MEY -
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,murals,1916,West Belfast,IRA,Republican,Irish,political,gable wall,street,art,Northern Ireland,housing,estate,County Antrim,UK,GPO mural,Countess Markievicz,James Connolly,Patrick Pearse,independence,rebellion,symbolism,community,commemoration,Troubles legacy,post-conflict Belfast,heritage,history,conflict,memory,public,urban,Hills,Black Mountain,Freedom fighters,struggle,continuity
Description: Tony Smith image Alamy HEW1H9 - Gable-end Republican stock-photo/gotonysmith-Mural.html?sortBy=relevant&pseudoid=237DAF28-A4ED-4448-8173-C0E81ABEEC6F Target=_Blank>mural on Whiterock Road in Ballymurphy, West Belfast, depicting the 1916 Easter Rising with armed figures outside the General Post Office in Dublin, an Irish tricolour and Celtic border decoration. The mural is recorded by CAIN as a Nationalist and Republican mural with the wording Freedom fighters outside the GPO. Easter Rising 1916, showing Pearse, Connolly and Countess Markievicz leading the attack on the GPO below the Irish tricolour. Extramural Activity also identifies the scene as Countess Markievicz outside the Dublin GPO, accompanied by Connolly and Pearse, and places it on Whiterock Road, west Belfast. The photograph has strong editorial value for themes including Belfast murals, West Belfast, Ballymurphy, Irish Republican visual culture, the Easter Rising, political murals, public art, housing estate identity, conflict memory, Irish nationalism, post-conflict tourism and the use of gable walls as sites of historical storytelling. The hillside behind the houses, likely part of the Belfast Hills and Black Mountain backdrop, helps place the mural within the elevated west Belfast landscape rather than a flat city centre street. The overcast sky, timber fence, grass verge and residential setting show how political imagery is embedded in everyday neighbourhood space, where memorial, identity, heritage, tourism and contested history overlap. The mural connects Belfast's Republican mural tradition with the wider story of the 1916 Rising in Dublin, when the GPO became one of the symbolic centres of the rebellion. Its painted references to the tricolour, volunteers and the neoclassical GPO make it useful for stock searches around Irish independence, commemoration, political identity and public memory. It suits articles on mural tours, Irish history, Northern Ireland politics, Troubles legacy, nationalist commemoration, documentary photography, community art, cultural memory and political symbolism.
Whiterock Road, Ballymurphy, West Belfast, Northern Ireland, BT12.
Description
Keywords: Findlater Old Irish Whiskey,Metal Sign,Whisky,Northern Ireland,UK,history,historic,AI,Alex,Dublin,Trademark,Rathmines,Blackrock,Kingstown,Kings,Town,Duke of York,duke,of,york,pub,bar,spirit,alcohol,sepia,BW,monochrome,old,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Quarter,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HE7M9M -
Duke of York, Belfast, Northern Ireland, UK
-DDXKNE.jpg)
Description
Keywords: town,centre,WBC,family,families,killed,terrorist,terror,attack,justice,forgive,forgiveness,of,IRA,bomb,in,20/03/1993,Cheshire,UK,Ireland,Irish,Republican,Replacement,Memorial,commemoration,flowers,headstone,in,memory,history,Warrington Town Centre,Jonathon Ball,Tim Parry,GoTonySmith,@HotpixUK,history,historic,death,died,dead,murder,murdered,UK,England,English,British
Description: Tony Smith image Alamy DDXKNE - Thieves stolen a metal plaque erected in memory of two young boys who were killed in an IRA bomb attack in Warrington, Cheshire.
Tim Parry, who was 12, and Johnathan Ball, aged three, died in 1993 when two bombs detonated in the town centre injuring 54 people. The A3 size plaque is thought to have a scrap metal value of no more than £30.
16 Bridge Street, Warrington, Cheshire, England, UK, WA1 2QW
Description
Keywords: Mural,art,British,Union,wall,walls,gable end,gable,end,Northern,Irish,Republican,violence,para,military,fallen,Martyrs,martyr,street,rd,road,painting,painted,symbolism,Loyalist,culture,history,rd,Culture,Northern Culture,orange,GoTonySmith,@HotpixUK,Tony,Smith,UK,GB,Great,Britain,United,Kingdom,Irish,British,Ireland,problem,with,problem with,issue with,NI,Northern,Northern Ireland,Belfast,City,Centre,Art,Artists,the,troubles,The Troubles,Good Friday Agreement,Peace,honour,painting,wall,walls,tribute,republicanism,Fight,Justice,West,Beal,feirste,martyrs,social,tour,tourism,tourists,urban,six,counties,6,backdrop,county,Antrim,Shankill,Rd,Road,Royal,Royalist,Loyalist,Belfast streets,Buy Pictures of,Buy Images Of,Images of,Stock Images,Tony Smith,United Kingdom,Great Britain,British Isles
Description: Tony Smith image Alamy HEEFGM - Murals in Northern Ireland have become symbols of Northern Ireland, depicting the region's past and present political and religious divisions.
Belfast and Derry contain arguably the most famous political murals in Europe. It is believed that almost 2,000 murals have been documented since the 1970s. In 2014, the book, The Belfast Mural Guide estimated that, in Belfast, there were approximately 300 quality murals on display, with many more in varying degrees of age and decay. Murals commemorate, communicate and display aspects of culture and history. The themes of murals often reflect what is important to a particular community. A mural therefore exists to express an idea or message and could generally be seen as reflecting values held dear to that community.
In Irish republican areas the themes of murals can range from the 1981 Irish hunger strike, with particular emphasis on strike leader Bobby Sands
murals of international solidarity with revolutionary groups are equally common, as are those which highlight a particular issue, for example the Ballymurphy Massacre or the McGurk's Bar bombing. In working class unionist communities, murals are used to promote Ulster loyalist paramilitary groups such as the Ulster Defence Association and Ulster Volunteer Force and commemorate their deceased members. However traditional themes such as William III of England and the Battle of the Boyne, the Battle of the Somme and the 36th Ulster Division are equally common
West Belfast, Northern Ireland, UK
Description
Keywords: St Benedicts,RC,Church,Rhodes Street,Warrington,Cheshire,WA2 7QE,st,building,religion,Christian,GoTonySmith,Buy Pictures of,Buy Images Of,Catholic,Roman,RC Church,Benedicts,Warringtonians,history,historic,St Benedicts R C Church,England,UK,WA2,sunny,blue,sky,skies,Irish,community,Warringtons,Ireland,club,centre
Description: Tony Smith image Alamy EY3RN1 - St Benedict,Catholic Church,Orford,Warrington,Cheshire,England,UK is a useful documentary subject because it fixes a recognisable place, object or activity in its real setting rather than presenting it as a staged illustration. St Benedict's Catholic Church in Orford is a local religious landmark, part of the everyday social and spiritual infrastructure of Warrington rather than a grand tourist set piece. The scene can illustrate parish life, Catholic heritage, community facilities, post-war urban neighbourhoods, local identity and the role of faith buildings as anchors for services, memory and gathering. The location detail, Warrington, strengthens searches for regional features, travel pages, local-history pieces and news use where a named place matters. Relevant editorial themes include church architecture, religious building, parish church and community landmark, with each theme rooted in the visible subject, place or activity. It would suit newspaper, magazine, web, council, transport, heritage, housing, retail, travel or social-commentary use where a believable, unpolished view of real life is more valuable than a generic illustration.
St Benedict's R C Church, Rhodes Street, Warrington, Cheshire, England, UK, WA2 7QE
Description
Keywords: Church,Warrington,Cheshire,WA2 7QE,st,building,religion,Christian,Benedicts,RC Church,GoTonySmith,Warringtonians,Buy Pictures of,Buy Images Of,RC,Rhodes Street,Roman,Catholic,St Benedicts,history,historic,St Benedicts R C Church,England,UK,WA2,sunny,blue,sky,skies,Irish,community,Warringtons,Ireland,club,centre
Description: Tony Smith image Alamy EY3RN3 - St Benedict,Catholic Church,Orford,Warrington,Cheshire,England,UK has immediate editorial value because the subject is specific, place-based and connected to everyday public life, leisure, work, travel or consumption. St Benedict's Catholic Church in Orford is a local religious landmark, part of the everyday social and spiritual infrastructure of Warrington rather than a grand tourist set piece. The scene can illustrate parish life, Catholic heritage, community facilities, post-war urban neighbourhoods, local identity and the role of faith buildings as anchors for services, memory and gathering. The location detail, Warrington, adds editorial confidence for captions, archives and picture research where a named street, town or city is needed. The scene is also useful for background context around church architecture, religious building, parish church, community landmark, particularly where the article needs an everyday example readers can recognise. Words such as benedict,catholic, church,orford,warrington,cheshire,england,uk should help the scene surface in searches for both the literal subject and the wider issues around it.
St Benedict's R C Church, Rhodes Street, Warrington, Cheshire, England, UK, WA2 7QE
Description
Keywords: with a,of,black stuff,NI,saloon,BT2,46 Great Victoria St,Belfast,County Antrim,Northern Ireland,BT2 7BA,Ireland,Irish,beer,46,The Crown Liquor Saloon,The,Crown,Liquor Saloon,Victorian,gin palace,Antrim,National Trust,NT,dry,stout,Guinness & Co,brewing,brewer,porter,history,historic,Diageo,PLC,alcoholic,drink,pint,full,glass,GoTonySmith
Description: Tony Smith image Alamy CEHRHC - The Crown Liquor Saloon, also known as the Crown Bar, is a pub in Great Victoria Street in Belfast, Northern Ireland. Refurbished in 1885, and at least twice since, it is an outstanding example of a Victorian gin palace, and one of Northern Ireland's best-known pubs. It is owned by the National Trust and is leased to Mitchells & Butlers who run it as a Nicholson's pub
Opened by Felix O'Hanlon as The Railway Tavern, the pub was then bought by Michael Flanagan. Flanagan's son Patrick renamed and renovated it in 1885.
The Crown owes its elaborate tiling, stained glass and woodwork to the Italian craftsmen whom Flanagan persuaded to work on the pub after hours. These craftsmen were brought to Ireland to work on the many new churches being built in Belfast at the time
Guinness is an Irish dry stout that originated in the brewery of Arthur Guinness at St. James's Gate, Dublin, Ireland, in 1759. It is one of the most successful alcohol brands worldwide, brewed in almost 50 countries, and available in over 120. Sales in 2011 amounted to 850,000,000 litres (190,000,000 imp gal
220,000,000 U.S. gal). In spite of declining consumption since 2001, it is the best-selling alcoholic drink in Ireland where Guinness & Co. Brewery makes almost €2 billion worth of beer annually.
46 Great Victoria St, Belfast, County Antrim, Northern Ireland, BT2 7BA
