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Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Monsignor,mural,town,street,art,county,Irish,Ireland,priest,portrait,Second World War,WWII,rescuer,escape,network,Nazi,occupied,Rome,Allied,prisoners,rescue,Jewish refugees,rescues,humanitarian,memorial,history,historical,figure,OFlaherty,tribute,Daniel OConnell,Memorial Church,red cassock,resistance,religious,wall painting,Irish public art
Description: Tony Smith image Alamy 3F3NDJT - Large gable-end mural in Cahersiveen, County Kerry, commemorates Monsignor Hugh O'Flaherty, the Irish priest known as the Pimpernel of the Vatican . The artwork depicts O'Flaherty in spectacles and a vivid red cassock against a pale wall, with his name, title, Cahersiveen connection and the dates 1898“1963 displayed. Its red, grey, black and white palette gives the portrait the character of a public memorial and makes it a conspicuous feature of the townscape.
O'Flaherty became internationally known during the Second World War, when Rome was occupied by German forces. From Vatican City, he helped coordinate a clandestine network of safe houses for escaped Allied prisoners of war, Jewish people, political fugitives and civilians threatened by Nazi persecution. Working with clergy, diplomats, local families and other volunteers, the network provided shelter, food, money, false papers and routes to safety. O'Flaherty repeatedly crossed between Vatican territory and occupied Rome despite Gestapo surveillance and attempts to capture him.
Born in County Cork in 1898 and raised in Killarney, County Kerry, O'Flaherty trained for the priesthood in Rome and was ordained in 1925. He later served in the Vatican diplomatic service and as an official of the Holy Office. His wartime work made him one of Ireland's best-known humanitarian figures, associated with courage, ingenuity, resistance to fascism and help offered regardless of nationality or religion.
After suffering a stroke in 1960, O'Flaherty returned to Ireland and lived with his sister in Cahersiveen during his final years. He died in 1963 and was buried near the town's Daniel O'Connell Memorial Church. The mural has a strong local connection and wider importance within Irish, Vatican, Holocaust and wartime history. For visitors travelling through Cahersiveen, the Ring of Kerry and the Iveragh Peninsula, it is a striking reminder of an Irish priest whose underground rescue work protected thousands in occupied Rome.
O'Connell Street, beside Daniel O'Connell Memorial Church, Cahersiveen, County Kerry, Ireland, V23 E
Description
Keywords: GoTonySmith,@HotpixUK,HotpixUK,Irish,tourism,tourist,attraction,city,centre,dusk,evening,Liffey,cast iron,illuminated,pedestrian,free,historic,history,romantic,nightscape,blue hour,waterfront,dockside,capital,lamp,lit,streetscape,architectural,heritage,nineteenth century,atmospheric,break,quayside,buildings,postcard,view,Wellington Bridge history,north and south,reflections,beneath
Description: Tony Smith image Alamy 3F3NDMW - The Ha'penny Bridge, officially named the Liffey Bridge, forms an elegant illuminated arch across the River Liffey in the heart of Dublin city centre. Photographed at blue hour, the historic pedestrian crossing glows vivid green beneath a deep cobalt sky. Decorative railings, curved cast-iron ribs and traditional lamp standards are reflected in the dark moving water, while softly lit quayside buildings create an atmospheric urban backdrop. The evening illumination gives one of Dublin's most familiar landmarks an especially romantic, almost theatrical character.
The bridge links Bachelor's Walk on the north side of the river with Wellington Quay and the Temple Bar area on the south. Opened in May 1816, it was originally called the Wellington Bridge and replaced ferries operated by William Walsh. Pedestrians initially paid a halfpenny toll, matching the former ferry fare and giving the crossing the affectionate name by which it remains universally known. The toll was eventually abolished in 1919, while Liffey Bridge became its official name.
Designed under the supervision of John Windsor, the graceful single-span structure was assembled from cast-iron sections manufactured at Coalbrookdale in Shropshire. Its light profile, ornamental metalwork and practical pedestrian role made it an important early example of urban iron bridge engineering. A major restoration completed in 2001 preserved much of its historic fabric and returned the structure to its pale traditional finish.
Seen here without the usual daytime crowds, the floodlit bridge appears calm and intimate. The combination of historic architecture, reflections, city lights and darkening sky creates a strong sense of place and romance. The photograph can illustrate Dublin tourism, Irish architectural heritage, European city breaks, riverside walking, historic engineering, evening sightseeing and the enduring connection between the north and south sides of the Irish capital.
Ha'penny Bridge, North City, Dublin 1, with Wellington Quay, Dublin 2
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,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,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 - . Unionist Kerbstones, red, white & blue of the union jack, Protestant area of The Fountain, Londonderry, Northern Ireland, UK, BT48 6QH. Photographed on 20 June 2023, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is The Fountain, Londonderry, Northern Ireland, UK, BT48 6QH, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Northern Ireland, Irish, Ireland, BT48, kerb, stone, stones, estate, kerbs, paint, marked, marking, providing natural SEO coverage without losing the specific documentary identity of the photograph. The political or campaigning content is suitable for neutral editorial coverage of protest, organised labour, elections, public debate, campaigning, civil society and the way political messages are presented in public. Placards, posters, leaflets, slogans and demonstrations are valuable documentary evidence of a particular moment and can support later historical comparison without implying endorsement of the views displayed. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed.
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 - . Photographed at 87 Renshaw St, Liverpool, Merseyside, England, UK, L1 2SP in 2023, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The defining feature is Old 1970s Guinness pump at The Dispensary, 87 Renshaw St, Liverpool, Merseyside, England, UK, L1 2SP. Other connected aspects include traditional ale house, traditional materials, archival record, licensed trade, local character, documentary photography, conservation interest, historic streetscape, everyday life, traditional pub, place identity, changing streetscape, period architecture, and contemporary social history. In present-day coverage, the subject reaches into consumer spending and business rates, not least because of the survival of local pubs as social meeting places. Today's relevance is strengthened by heritage conservation, adaptive reuse and the continuing question of how historic fabric can support regeneration rather than demolition. Small period details of materials and architectural details at 87 Renshaw St, Liverpool, Merseyside, England, UK, L1 2SP may become more significant with time, particularly following changing commercial priorities. Other useful contextual ideas include period building, changing land use, regional identity, community identity, public-house heritage, built heritage, heritage landmark, and local social venue. Elements such as 1970s, Liverpool, Dispensary, Merseyside, and Guinness add documentary specificity and may become increasingly useful when compared with later records. By fixing the subject within 87 Renshaw St, Liverpool, Merseyside, England, UK, L1 2SP, the image preserves more than the headline object or building: it records part of the locality's everyday history. The scene captures details of everyday use for future local research. The period view preserves evidence of changing use before later change alters the scene.
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,Campaign for Real Ale,CAMRA
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,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,buildings
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,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 - . Photographed at Christchurch place, Dublin, Eire, Ireland in 2019, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. At the centre of the view is Christchurch Christ Church Anglican Cathedral, distinctive covered footbridge, Dublin City, The Cathedral of the Holy Trinity. The image also relates to traditional materials, documentary photography, built heritage, changing streetscape, period architecture, visual archive, community identity, visitor retail, archival record, adaptive reuse, tourism business, place identity, regional identity, and contemporary social history. For current editorial use, embodied carbon and tourism provide additional context, especially through the balance between conservation and modern commercial use. Current relevance extends to domestic tourism and visitor footfall, particularly through the role of gateway towns in national-park visitor economies. The archival value lies partly in recording signage and branding around Christchurch place, Dublin, Eire, Ireland before changing commercial priorities alters the character of the place. The subject also sits alongside local character, destination shopping, everyday life, period detail, Scottish food culture, local history, regional food identity, and regional branding. References to Christchurch, Anglican, distinctive, Trinity, and Christ give the picture a strong period identity and tie it closely to its named subject. For Christchurch place, Dublin, Eire, Ireland, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. A further contemporary connection is embodied carbon and the balance between conservation and modern commercial use within the real-world context of Christchurch place, Dublin, Eire, Ireland. Image 2M84JNH also remains a dated record of Christchurch place, Dublin, Eire, Ireland.
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,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,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,dating
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,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: 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 - . A grounded documentary photograph made at 8 Fleet St, Temple Bar, Dublin, D02 TH74 in 2019, combining the immediate subject with evidence of the surrounding streetscape, public realm, business activity or local character. The defining feature is House of names, 8 Fleet St, Temple Bar, Dublin, D02 TH74. The image also relates to consumer retail, high-street commerce, conservation interest, traditional materials, historical comparison, architectural detailing, historic townscape, commercial streetscape, local enterprise, heritage asset, period building, place identity, period detail, and brand display. The modern context includes continuing discussion of brand consolidation, online shopping and the role of independent businesses in maintaining active town centres. For current editorial use, maintenance and energy retrofit provide additional context, especially through keeping older buildings useful without erasing their character. For later comparison, the photograph preserves materials and architectural details at 8 Fleet St, Temple Bar, Dublin, D02 TH74, details that may look very different after altered transport patterns. The wider setting retains connections with historic streetscape, changing streetscape, social history, small-business culture, customer footfall, conservation architecture, town-centre economy, and street-level trading. The recorded references to House, Fleet, names, Temple, and Dublin preserve clues about how the subject was presented, used or understood at the time. For 8 Fleet St, Temple Bar, Dublin, D02 TH74, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The setting also helps illustrate brand consolidation and how physical shops adapt to online competition within the specific setting of 8 Fleet St, Temple Bar, Dublin, D02 TH74. The photograph keeps evidence of earlier appearance before later change alters the scene.
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,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,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,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 - . Photographed at 9 Anne St S, Dublin, Eire, D02 NY88, Ireland in 2019, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. The scene records Kehoes Lounge pub sign in neon, wines & spirits , traditional Irish watering hole, 9 Anne St S, Dublin, Eire, D02 NY88, Ireland. Another layer of the photograph includes licensed hospitality, night-time economy, conservation architecture, changing streetscape, hospitality economy, regional identity, architectural character, architectural detailing, public realm, adaptive reuse, public-house heritage, food-and-drink business, community identity, and pub interior heritage. In present-day coverage, the subject reaches into changing drinking habits and tourism, not least because of how food, drink and heritage combine in destination pubs. Today's relevance is strengthened by maintenance, energy retrofit and the continuing question of the balance between conservation and modern commercial use. The image fixes equipment and working practice within 9 Anne St S, Dublin, Eire, D02 NY88, Ireland at one identifiable point, providing a benchmark against new ownership. A second descriptive layer includes beer-led hospitality, local history, traditional ale house, historic hostelry, visual archive, contemporary social history, period architecture, and local character. The combination of Ireland, spirits, traditional, watering, and Kehoes anchors the frame to a recognisable activity, place or moment. For 9 Anne St S, Dublin, Eire, D02 NY88, Ireland, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The setting also helps illustrate changing drinking habits and how food, drink and heritage combine in destination pubs when considered against later change at 9 Anne St S, Dublin, Eire, D02 NY88, Ireland.
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 - . Recorded at 56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland in 2019, the image fixes a recognisable subject and its environment at one point in time, giving later viewers a reliable basis for comparison. At the centre of the view is The Hodges Figgis bookstore,56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland - 1768. The locality and subject together evoke everyday life, period building, shopfront economy, place identity, documentary photography, small-business culture, heritage landmark, contemporary social history, public realm, urban fabric, town-centre economy, local character, historic streetscape, and architectural character. The wider contemporary story combines consumer spending, store closures and how physical shops adapt to online competition. Viewed from the mid-2020s, the subject also connects with energy retrofit, tourism and keeping older buildings useful without erasing their character. The image fixes commercial use and occupation within 56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland at one identifiable point, providing a benchmark against changed technology. The surrounding story also includes commercial streetscape, street-level trading, traditional materials, high-street commerce, customer footfall, period detail, historic townscape, and changing land use. References to Ireland, Dublin, Hodges, 56-58, and Figgis give the picture a strong period identity and tie it closely to its named subject. The wider setting at 56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The scene further reflects consumer spending and how physical shops adapt to online competition in a form that can be compared with future views of 56-58 Dawson St, Dublin 2, D02 XE81, Eire, Ireland. The image fixes evidence of changing use as a date-specific reference.
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 - . This scene at Dublin city, Eire, Ireland in 2019 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The subject captured here is 1988 Dublin decorated embossed and painted lamppost, city centre, Eire, Ireland - sponsored by Sun Alliance Ireland. The broader subject matter reaches into historic townscape, contemporary social history, changing land use, traditional materials, archival record, adaptive reuse, Highland gateway retail, destination shopping, Scottish food culture, place identity, architectural detailing, local produce retail, urban fabric, and tourist town economy. Viewed from the mid-2020s, the subject also connects with embodied carbon, heritage conservation and keeping older buildings useful without erasing their character. The modern context includes continuing discussion of local business, seasonality and the seasonal pressure faced by tourism-dependent businesses. Small period details of lettering, decoration and surface detail at Dublin city, Eire, Ireland may become more significant with time, particularly following redevelopment. The location also brings in everyday life, Scottish visitor economy, historical comparison, before-and-after reference, conservation architecture, changing streetscape, local speciality shop, and period building. Elements such as Ireland, centre, painted, decorated, and Alliance add documentary specificity and may become increasingly useful when compared with later records. Around Dublin city, Eire, Ireland, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. Another strand within the photograph is embodied carbon and keeping older buildings useful without erasing their character in a form that can be compared with future views of Dublin city, Eire, Ireland.
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,public houses
Description: Tony Smith image Alamy 2MG401T - . This authentic period view of 42 Middle Abbey St, North City, Dublin, D01 R260, Eire, Ireland in 2019 preserves the main subject alongside smaller contextual details that can acquire greater historical value as places and uses change. The location is represented through Victorian Interior of the Gin Palace, 42 Middle Abbey St, North City, Dublin, D01 R260, Eire, Ireland. The image also relates to regional identity, heritage landmark, hospitality economy, traditional ale house, historic hostelry, archival record, everyday life, historic streetscape, architectural detailing, local character, conservation architecture, architectural character, historic townscape, and local history. Viewed from the mid-2020s, the subject also connects with embodied carbon, planning control and keeping older buildings useful without erasing their character. The modern context includes continuing discussion of changing drinking habits, staffing pressure and pressure on hospitality margins in a high-cost economy. As a dated visual record of 42 Middle Abbey St, North City, Dublin, D01 R260, Eire, Ireland, the frame retains period objects and surrounding context, making it especially useful if conservation work subsequently changes the scene. Further associations within the scene are documentary photography, changing streetscape, conservation interest, public realm, urban fabric, built heritage, before-and-after reference, and traditional pub. Elements such as Abbey, Middle, Palace, Interior, and Victorian add documentary specificity and may become increasingly useful when compared with later records. A later view of 42 Middle Abbey St, North City, Dublin, D01 R260, Eire, Ireland may show a very different setting, increasing the value of this precise record of its earlier appearance and activity. It also preserves a point of historical comparison before later change alters the scene. The photograph keeps part of the area's social history as a date-specific reference.
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,high street,high streets,public houses
Description: Tony Smith image Alamy 2M475F6 - . Made at 31 London Rd, Liverpool, Merseyside, England, UK, L3 8HR in 2019, this photograph records a real place and moment, preserving details that may later be altered by redevelopment, rebranding, changing ownership or different public use. At the centre of the view is Paddys Bar, 31 London Rd, Liverpool L3 8HR - Original Irish Bar with historic Tetleys Bitter neon sign. The surrounding context encompasses Irish community culture, licensed trade, Irish-British history, visitor hospitality, Irish heritage, licensed hospitality, night-time economy, community drinking venue, everyday life, documentary photography, public commemoration, period detail, regional identity, and real-ale culture. The wider contemporary story combines cultural celebration, migration and the coexistence of celebration and remembrance in places marked by historic violence. Viewed from the mid-2020s, the subject also connects with changing drinking habits, energy costs and the survival of pubs as both businesses and informal community spaces. Future viewers can use this scene from 31 London Rd, Liverpool, Merseyside, England, UK, L3 8HR to compare lettering, decoration and surface detail with whatever follows after changing commercial priorities. The wider setting retains connections with community identity, social history, Irish social history, local history, before-and-after reference, hospitality economy, diaspora celebration, and community remembrance. Elements such as Irish, Bitter, Original, Liverpool, and Paddys add documentary specificity and may become increasingly useful when compared with later records. For 31 London Rd, Liverpool, Merseyside, England, UK, L3 8HR, the photograph contributes to a cumulative visual history in which changes in use, signs, access and appearance can be traced over time. The image fixes period character before later change alters the scene. It also preserves a trace of local identity as a date-specific reference.
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,public houses
Description: Tony Smith image Alamy 2M475FA - . An identifiable period record of 31 London Rd, Liverpool, Merseyside, England, UK, L3 8HR in 2019, retaining practical detail and local context that distinguish documentary photography from a generic illustration. The image documents Paddys Bar, 31 London Rd, Liverpool L3 8HR - Original Irish Bar with historic Tetleys Bitter neon sign. A broader reading of the photograph includes beer-led hospitality, St Patrick's Day tradition, social history, local social venue, Irish-British history, night-time economy, Irish diaspora, community identity, real-ale culture, visual archive, community remembrance, civic procession, community parade, and cask-beer tradition. Today's relevance is strengthened by cultural celebration, public remembrance and the continuing question of how diaspora communities sustain national traditions in British towns. From a 2025-onward perspective, changing drinking habits and energy costs are closely linked to this subject, alongside the continuing appeal of real ale and regional brewing. As a dated visual record of 31 London Rd, Liverpool, Merseyside, England, UK, L3 8HR, the frame retains lettering, decoration and surface detail, making it especially useful if refurbishment subsequently changes the scene. The wider setting retains connections with changing land use, everyday life, Irish heritage, archival record, hospitality economy, community drinking venue, visitor hospitality, and place identity. Elements such as Liverpool, Bitter, Irish, historic, and Tetleys add documentary specificity and may become increasingly useful when compared with later records. The wider setting at 31 London Rd, Liverpool, Merseyside, England, UK, L3 8HR matters because ordinary visual details often provide the strongest evidence of how a place actually looked and functioned. The period view preserves part of the area's social history for later comparison. That local specificity strengthens the long-term documentary value of image 2M475FA.
31 London Rd, Liverpool, Merseyside, England, UK, L3 8HR
Description
Keywords: GoTonySmith,HotpixUK,@HotpixUK,Northern Ireland,UK,BT1,Ireland,road,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,bosses,bonuses
Description: Tony Smith image Alamy 2PP0N8N - . Belfast water works, cast iron embossed rusty grids, Belfast, Northern Ireland, UK, BT1. Photographed on 18 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is Belfast, Northern Ireland, UK, BT1, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Northern Ireland, BT1, Ireland, cast, metal, steel, iron, rust, water, supply, cover, company, providing natural SEO coverage without losing the specific documentary identity of the photograph. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed. For search and editorial use, the image is relevant to the named location, local identity, contemporary Britain, regional tourism, urban life, community activity and the changing appearance of towns and cities. Additional relevant search concepts include companies, utility, utilities, Irish, Ulster, sewage, broadening discoverability while remaining tied to the supplied subject information. The composition retains practical contextual detail for news, feature, documentary, educational and historical use.
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 - . Ulster Foundaries, Belfast cast iron embossed rusty grids, Belfast, Northern Ireland, UK, BT1. Photographed on 18 August 2017, this summer image records the subject in its real-world setting and provides a contemporary visual reference for the place, activity, object or organisation shown. The recorded location is Belfast, Northern Ireland, UK, BT1, adding precise geographical context for editorial, documentary, travel and local-history searches. Key searchable subjects associated with the scene include Northern Ireland, BT1, Ireland, cast iron, cast, metal, steel, iron, rust, Ulster, utility, utilities, providing natural SEO coverage without losing the specific documentary identity of the photograph. The frame provides a detailed documentary record of the subject as it appeared at the time of photography, preserving the surrounding context as well as the principal feature. Its value is both descriptive and editorial, allowing the scene to illustrate news, features, local history, travel, social change and retrospective comparison. Visible or contextual elements such as architecture, signage, branding, public realm, transport infrastructure, street furniture and everyday activity help establish a strong sense of place where they form part of the scene. The photograph can also support future before-and-after use if the building, business, service, streetscape, transport operation or public space is later altered, redeveloped, rebranded or closed. For search and editorial use, the image is relevant to the named location, local identity, contemporary Britain, regional tourism, urban life, community activity and the changing appearance of towns and cities. Additional relevant search concepts include sewage, companies, Irish, cover, supply, water, broadening discoverability while remaining tied to the supplied subject information. The composition retains practical contextual detail for news, feature, documentary, educational and historical use.
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: 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,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: 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,Catholic Church,Orford,Warrington,Cheshire,England,UK. Photographed at St Benedict's R C Church, Rhodes Street, Warrington, Cheshire, England, UK, WA2 7QE. The photograph was taken on 16 July 2015. This editorial stock image documents the subject as it appeared at that time, preserving a clear record of the place, its appearance and the everyday details surrounding it. The scene is closely associated with Benedict, Catholic, Church, Orford, Warrington, Ches, Rhodes Street, St Benedicts, Cheshire and religion, adding specific subject detail and useful search context without losing the documentary focus on the main subject. The photograph is relevant to religious heritage, places of worship, ecclesiastical architecture, local history, faith communities and the conservation of historic buildings. It can illustrate editorial features about churches and cathedrals, worship, monuments, memorials, stained glass, church interiors, architectural detail, tourism, listed buildings and the role of historic religious sites within towns and cities. Stonework, inscriptions, furnishings, windows, towers, memorials and other surviving details can provide useful evidence for architectural and heritage-focused picture research. As a documentary location image it also records the condition, presentation and setting of the site at a particular point in time. Search themes include religious heritage, churches, cathedrals, worship, monuments, memorials, ecclesiastical architecture, conservation, tourism and local history. Architectural and decorative details can also be useful to researchers studying the fabric, furnishings and changing presentation of historic places of worship. The combination of a named subject, precise location and capture date gives the image particular value to editors who need a real, identifiable place rather than a generic illustrative photograph. The view is firmly rooted in a real location rather than a constructed studio setting.
St Benedict's R C Church, Rhodes Street, Warrington, Cheshire, England, UK, WA2 7QE
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 - . Photographed at Duke of York, Belfast, Northern Ireland, UK in 2011, this detailed documentary image records the subject within its real surroundings and preserves a specific stage in the life of the location. At the centre of the view is A1 Findlater Old irish Whiskey Metal Sign, Belfast, Northern Ireland,UK. Further facets of the scene include roadside information, public information signage, instructional sign, regional identity, archival record, transport stop marker, local character, local information board, place identity, local history, before-and-after reference, wayfinding marker, changing land use, and historical comparison. From a 2025-onward perspective, clear communication and maintenance are closely linked to this subject, alongside the importance of clear wayfinding in public and transport environments. As a dated visual record of Duke of York, Belfast, Northern Ireland, UK, the frame retains commercial use and occupation, making it especially useful if changing commercial priorities subsequently changes the scene. The subject also sits alongside documentary photography, community noticeboard, everyday life, visual archive, contemporary social history, orientation signage, community identity, and changing streetscape. Elements such as Ireland, Whiskey, irish, Northern, and Findlater add documentary specificity and may become increasingly useful when compared with later records. Around Duke of York, Belfast, Northern Ireland, UK, apparently routine details can become historically useful once businesses close, buildings change use or familiar features disappear. The image also provides a reference for clear communication and the importance of clear wayfinding in public and transport environments within the specific setting of Duke of York, Belfast, Northern Ireland, UK. The view records details of everyday use for later comparison. Image HE7M9N also remains a dated record of Duke of York, Belfast, Northern Ireland, UK.
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,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,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: 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: 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 - . An on-location photograph from the recorded location in 2011, showing the named subject as part of a wider social, commercial, cultural or physical setting rather than as an isolated object. The subject captured here is Drinkers in the Famous Crown Bar,Gt Victoria St,Belfast. The frame also records themes of factory bottling line, before-and-after reference, cider-making heritage, drinks packaging, fermented drink production, local character, local history, period detail, place identity, drinks manufacturing, everyday life, community identity, historic beverage advertising, and changing streetscape. In present-day coverage, the subject reaches into packaging and tourism, not least because of how bottling technology transformed large-scale drinks manufacturing. Small period details of landscape treatment and surrounding development at the recorded location may become more significant with time, particularly following different community use. The wider setting retains connections with cider brand history, contemporary social history, beverage production, industrial beverage equipment, visual archive, public realm, bottle-filling machinery, and archival record. References to Drinkers, Victoria, Belfast, Crown, and Famous give the picture a strong period identity and tie it closely to its named subject. By fixing the subject within the recorded location, the image preserves more than the headline object or building: it records part of the locality's everyday history. The wider significance includes packaging and how bottling technology transformed large-scale drinks manufacturing in a form that can be compared with future views of the recorded location. Another strand within the photograph is manufacturing automation and how bottling technology transformed large-scale drinks manufacturing within the real-world context of the recorded location. The scene captures a trace of local identity as a date-specific reference.
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,murals,1916,West Belfast,IRA,Republican,Irish,political,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,NI troubles
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 - . This scene at Duke of York, Belfast, Northern Ireland, UK in 2011 forms part of the visual history of the locality, documenting the named subject together with aspects of how the area looked and functioned at the time. The frame specifically shows A1 Findlater Old irish Whiskey Metal Sign, Belfast, Northern Ireland,UK. The subject also carries associations with local information board, route marker, transport stop marker, before-and-after reference, visitor guidance, local character, documentary photography, instructional sign, place identity, changing land use, wayfinding marker, community identity, everyday life, and public realm. Viewed from the mid-2020s, the subject also connects with accessibility, navigation and how small pieces of street furniture become recognisable parts of local identity. Future viewers can use this scene from Duke of York, Belfast, Northern Ireland, UK to compare materials and architectural details with whatever follows after closure or conversion. The surrounding story also includes contemporary social history, community noticeboard, visual archive, orientation signage, changing streetscape, regional identity, roadside information, and public information signage. The combination of Whiskey, Belfast, irish, Northern, and Ireland anchors the frame to a recognisable activity, place or moment. The period setting at Duke of York, Belfast, Northern Ireland, UK helps place the main subject within real social and physical surroundings rather than isolating it as an abstract object. The scene further reflects accessibility and the need for accessible information that works without digital technology without losing the local specificity of Duke of York, Belfast, Northern Ireland, UK. Its period value extends to clear communication and how signs record changing road names, destinations and administrative responsibility in a form that can be compared with future views of Duke of York, Belfast, Northern Ireland, UK.
Duke of York, 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
