During and up to the early years of the twentieth century campaigns by leading business organisations such as the two Chambers of Commerce (Incorporated and General) in Cork City and by the Cork Harbour Commissioners were ongoing for berths to be deepened at low water to keep all shipping afloat at the lowest tides. In 1918 the Cork Harbour Commissioners entered into discussion with the Board of Trade to acquire circa 155 acres of slobland at Tivoli for the purpose of pumping dredged material ashore, thus creating new land for industrial purposes. It was a project, which took many decades to come to fruition with the first ten years fraught with extra reports and land reclamation only beginning. In terms of history repeating itself in the last fortnight alone the Port of Cork has published new draft plans for the area, in light of the Port moving down river to Ringaskiddy.
On 6 November 1918 a function took place to inaugurate the Cork Harbour Improvement Scheme at Tivoli. The Chairman Mr D J Lucy and members and officials of the Cork Harbour Board, accompanied by many citizens, left the Custom House quay on board the ship Innisherrer. On arrival at Tivoli the ceremony was performed by D J Lucey. The speeches are outlined in the Cork Examiner of the day.
The proposal for reclamation of this portion of the riverside, or embankment, aimed to create a landbank, which would exclude the tidal waters from a tract of no less than 155 acres of slobland, extending from Tivoli to then existing Dunkettle Railway Station, a distance of two miles. The plans provided for the construction of quays on the foreshore at Tivoli Station, consisting of 500 feet of shallow water, berthage for trade, 700 feet of deep-water quay for the import trade, with an approach road, and with storage areas for which rents could be charged. Railway sidings were also proposed to be provided in connection with the quay, through liasing with the Great Southern and Western Railway Company, who already had a line to Youghal and a branch line to Queenstown (Cobh). The object of the extra depth at the deep-water wharf was to provide an extra 25 feet at low water – so that vessels of 16,000 tons carrying capacity could be accommodated. Vessels of 600 feet in length would also be able to swing from the wharf and then proceed to sea.
The chairman D J Lucey was excited about the proposals. He highlighted that the proposed new scheme aspired to open up an entirely new area for the development for the Port of Cork. He deemed the scheme to be of the most far-reaching importance to Cork, as it would not alone vastly improve and develop the port, but it would provide much needed employment for Cork people. He asked that the Great Southern and Western Railway Company assist, encourage and facilitate the scheme especially the new sidings required. The existing Dunkettle railway station had been overcrowded for some time, and any scheme that would improve that situation would be most welcome. It was estimated that the time occupied in the carrying out of the scheme would be about 15 years and the financial outlay of £24,000 would be provided as follows – £10,000 received from the Ford Company for the concrete wharf on the Marina, and the balance from the Cork Harbour Board’s Reserve fund.
The Chairman outlined that coal was cheap and the work could be done at a cost of 3d per ton with this expense deemed small in the overall scheme of work. The heavy coal bill of sending dredging material to sea could also be dealt with. The land could also be used for building ground after one-year post reclamation.
The Tivoli Reclamation Scheme was the brainchild of Cork Harbour Engineer James Price. In his obituaries in the Cork Examiner on 29 September 1936 and on 1 October 1936, they describe that he was born in Dublin and came to Cork when he was quite a young man with his father, who was at one time the President of the Institute of Civil Engineers. James was appointed Harbour Engineer by the Cork Harbour Commissioners in the 1890s and devoted his talents for close on forty years to the improvement of the port. Under his guidance many important changes took place. His first task on taking up his appointment was the difficult one of widening and deepening the channels of the Lee, and it was with this end in view that he recommended the purchase of the Lough Mahon dredger and the two large hoppers. Before the dredger began this project only comparatively small ships could come up the river channel to the quays at Cork.
It was James Price too who planned and built the wharf to the east of the South Jetties, which was subsequently sold to Messrs Henry Ford and Son and which was an important factor in inducing that them to set up a factory in Cork. Another important work carried out under Mr Price’s guidance was the erection of the well-known concrete wharves at the South Jetties, 1,200 feet long, of which thirty feet of water was available at low tide.
Kieran’s new book, Cork in Fifty Buildings (2018, Amberley Publishing) is now available in Cork bookshops.
Kieran is also showcasing some of the older column series on the River Lee on his heritage facebook page at the moment, Cork Our City, Our Town.
Captions:
970a. View of Lough Mahon from Tivoli, c.1840 – black and white engraving shows a view across the estuary from the city’s northern suburbs. It was produced by George K Richardson (fl.1833-1846) for the book The Scenery and Antiquities of Ireland (1840-1842).
970b. Plan of Tivoli Reclamation Scheme, 1929 by James Price & Cork Harbour Board
Launch of Discover Cork: Schools’ Heritage Project 2018-19
The advent of the new school year coincides with the sixteenth year of the Discover Cork: Schools’ Heritage Project. Brochures have been sent to all Cork City schools. Launched again for the new school term, the Project is open to schools in Cork City at primary level to the pupils of fourth, fifth and sixth class and at post-primary from first to sixth years. There are two sub categories within the post primary section, Junior Certificate and Leaving Certificate. A student may enter as an individual or as part of a group or a part of a class entry. The County edition unfortunately will not run this year due to my recent surgery and recovery ahead.
Co-ordinated by myself, one of the key aims of the project is to encourage students to explore, investigate and debate their local heritage (built, archaeological, cultural and natural) in a constructive, active and fun way. Projects on any aspect of Cork’s rich heritage can be submitted to an adjudication panel. Prizes are awarded for best projects and certificates are given to each participant. A cross-section of projects submitted from the last school season can be gleamed from this link on my website, www.corkheritage.ie where there are other resources, former titles and winners and entry information as well.
Students produce a project on their local area using primary and secondary sources. Each participating student within their class receives a visit and workshop in October 2018. The workshop comprises a guide to how to put a project together. Project material must be gathered in an A4/ A3 size Project book. The project may be as large as the student wishes but minimum 20 pages (text + pictures + sketches). Projects must also meet five elements. Projects must be colourful, creative, have personal opinion, imagination and gain publicity before submission. These elements form the basis of a student friendly narrative analysis approach where the student explores their project topic in an interactive and task-oriented way. In particular, students are encouraged to attain material through visiting local libraries, engaging with fieldwork, interviews with local people, making models, photographing, cartoon creating, making DVDs of their area. Re-enacting can also be a feature of several projects.
For over sixteen years, the project has evolved in exploring how students actually pursue local history and how to make it relevant in society . The project attempts to provide the student with a hands-on and interactive activity that is all about learning not only about heritage in your local area (in all its forms) but also about the process of learning by participating students. The project is about thinking about, understanding, appreciating and making relevant in today’s society the role of our heritage, our landmarks, our oral histories, our scenery in our modern world for upcoming citizens. So, the project is about splicing together activity on issues of local history and heritage such as thinking, exploring, observing, discovering, researching, uncovering, revealing, interpreting and resolving. This year as well there is a focus on the theme, The Past, An Inspiration.
The importance of doing a project in local history is reflected in the educational aims of the history curricula of primary and post-primary schools. Local heritage is a tool, which helps the student to become familiar with their local environment and to learn the value of it in their lives. Learning to appreciate the elements of a locality, can also give students a sense of place in their locality or a sense of identity. Hence the Project can also become a youth forum for students to do research and offer their opinions on important decisions being made on their heritage in their locality and how they affect the lives of people locally. I know a number of students who have been involved in the project in schools over the years who have took their interest further and have gone on to become professional tour guides, and into other related college work.
The project is open to many directions of delivery. Students are encouraged to engage with their topic in order to make sense of it, understand and work with it. Students continue to experiment with the overall design and plan of their work. For example, and in general, students who have entered before might engage with the attaining of primary information through oral histories. The methodologies that the students create provide interesting ways to approach the study of local heritage. Students are asked to choose one of two extra methods (apart from a booklet) to represent their work. The first option is making a model whilst the second option is making a short film. It is great to see students using modern up todate technology to present their findings. This works in broadening their view of approaching their project.
This project in the City is free to enter and is kindly funded by Cork City Council (viz the help of Niamh Twomey, Officer) Prizes are also provided by the Old Cork Waterworks Experience, Lee Road, Learnit Lego Education, and Sean Kelly of Lucky Meadows Equestrian Centre, Watergrasshill (www.seankellyhorse.com). Overall, the Schools’ Heritage Project for the last fifteen years has attempted to build a new concerned generation of Cork people, pushing them forward, growing their self-development empowering them to connect to their world and their local heritage. Spread the word please with local schools. Details can be found on my website, www.corkheritage.ie
Kieran’s new book, Cork in 50 Buildings (2018, Amberley Publishing) is also now in Cork bookshops.
Captions:
963a. Project page on the local history of Albert Road from Our Lady of the Lourdes NS student 2018.
963b. Model on the local history of Albert Road from Our Lady of the Lourdes NS student 2018.
My new book Cork in 50 Buildings aspires to celebrate some of Cork’s built heritage. The sunshine rays this summer lit up many of the city’s grey limestone and red sandstone buildings. Cork’s topography is made up of a series of alternative east-west limestone and sandstone strata. The limestone elevations of the St Anne’s Church Shandon face ‘limestone country’ to the south and west while the northern and eastern facades face traditional ‘sandstone country’. The colours of these materials have long been recognised as the colours of Cork.
Whilst researching the book, it struck me that much more research needs to be conducted on the nature of the quarries, the masons, on the architects, their work, and the symbolism they deployed on the outside and inside of buildings (much kudos to the Cork Mason’s Historical Society on their work).
Old geological studies of the city and region from the early twentieth century exist in local studies the City Library. These do offer insight into some of the quarries. The sandstone quarried had two varieties. The first and widely utilised was the Kiltorcan formation, green, grey and red at Brickfield Quarry, Sunday’s Well, and the Lee Road. A minor fine-grained sandstone was quarried at Richmond Hill and the Back Watercourse Road. The ordinary grey limestone that constitutes the chief building stone of the city, especially for public buildings was worked in numerous quarries around Ballintemple and Blackrock and at Little Island and Midleton. They were also quarried for lime burning to create fertiliser and road mending.
In 1792, when Beamish & Crawford was first established, William Beamish resided at Beaumont House, which was then a magnificent period residence situated on Beaumont Hill. During their tenure at Beaumont House the philanthropic spirit of the Beamish family was well known. The name Beaumont is the French derivative of Beamish meaning a beautiful view from the mountain or a beautiful view. The mansion house continued to have an association with the Beamish family until the 1850s. The house was eventually demolished and since 1968 Beaumont National boy’s and girl’s school (Scoil Barra Naofa) stands on its site.
In the Beamish estate, the famous 120-acre Carrigmore Quarry was opened sometime between 1830 and 1850. The particular high grade of limestone associated with this quarry meant it was widely used in the construction of quay walls, bridges, churches, banks and other public buildings within Cork City. This rock is filled with minute fossils, and these, on account of their crystalline character, weather more slowly than does the amorphous material surrounding them, and thus one gets a beautiful veined appearance.
There is quite an extensive network of caves at the eastern face of the quarry. These caves were first explored in the 1960s by the Cork Speleogical Group and a further survey was conducted by the British Cave Research group in the early 1970s. Some of the cave wall passages were found to be abundant in lower carboniferious fossil sea shells and crinoid steams.
In Cork in 50 Buildings, it intentionally opens with an account of St Finbarre’s Cathedral to reflect on its myriad of stone types and symbolism. In early December 1865, the Cathedral Committee adopted limestone in place of red sandstone in the walling. Red sandstone from the Brickfield quarry in Glanmire was used for invisible walling and for the foundation while limestone quarried from Ballintemple was used in the main structure. Bath stone was used for the rest of the internal dressings. The reddish columns are of Cork red marble. Robert Walker, the appointed contractor for St Finbarre’s Cathedral visited Storeton, in Lancashire, UK, and selected the stone of that quarry for the great piers.
The architect of the present cathedral William Burges was born in London on 2 December 1827. He was the son of a successful civil engineer. He was educated at King’s College London, where he spent five years. At the age of seventeen, he entered the office of Edward Blore as a pupil where he remained for three years. Edward Blore was an avid student of medieval architecture and was involved in the design of the Houses of Parliament of the time. By the end of his time with Blore, William Burges possessed a reputable knowledge and respect for medieval architecture.
The mosaic pavement of the apse was designed by William Burges and made by Burke & Co from Lonsdale’s cartoons in Paris. It is interestingly to note that Italian artists from Udine were employed, using marble segments, reputably mined in the Pyrenees Mountains, between France and Spain.
There were 1,260 pieces of sculpture planned for the cathedral and Burges personally designed each one. Mr Nicholls modelled everyone in plaster, except for the figures in the western portals and the four Evangelistic emblems around the rose window. Everyone was also sculptured insitu by R McLeod and his staff of local stone-masons. Great care was taken to make sure that every piece was of a high standard. This was a process that was to take a decade.
Steeped in folkore, the golden angel, the gift of William Burges adorning St Finbarre’s Cathedral is also an impressive addition. Put there to make one think of the heralding of the end of the world, it also highlights the deeply rooted connection with rich ecclesiastical history on the site.
Cork in 50 Buildings (2018, Amberley Publishing) is now available from Cork bookshops.
Captions:
962a. Beaumont Quarry, present day (picture: Kieran McCarthy)
962b. Postcard of St Finbarre’s Cathedral, early twentieth century (source: Cork City Museum)
962c. Cover of Cork in 50 Buildings by Kieran McCarthy
My new book Cork in 50 Buildings (2018, Amberley Publishing) explores the history of this venerable old city through a selection of its greatest architectural treasures, from the St Anne’s Church, Shandon, regarded as a symbol of the city, to more recent additions such as the tower of the County Hall, once the tallest building in Ireland. This book offers a glimpse to explore behind fifty of Cork’s historic buildings.
The city of Cork is a place of tradition, continuity, change and legacy. It is a place of direction and experiment by people of ambition and determination, experiences and learning, of ingenuity and innovation, and of nostalgia and memory. Its extraordinary history is embodied in the buildings that have shaped Ireland’s southern capital.
The biggest challenge for me was to pick a mixture of buildings that should be in this book but also ones, which I do not often get to write about or show on my historical walking tours. Whether or which, this book builds on my previous publications, takes strands of articles from this ongoing local history column, Our City, Our Town. It is also inspired by the annual Cork Heritage Open Day, which is organised by Cork City Council and where over 40 buildings open their doors to the public for one day at the start of National Heritage Week.
This book highlights just some of my favourite buildings and stories that have charmed me. It presents a contextual history of buildings and comments on the buildings’ economic expressions, use of narratives, symbols and metaphors and the social environment. There is a great need to highlight the need for more research on the city’s historic structures, a mapping out of them and to continue to identify new ways of celebrating, managing and championing our built heritage.
Eminent Cork Writer Daniel Corkery’s account of Cork in The Threshold of Quiet (1917) has always resonated strongly with me.
“Leaving us, the summer visitor says in his good-humoured way that Cork is quite a busy place…as hundrum a collection of odds and ends as ever went by the name of city – are flung higgledy piggledy together into a narrow double-streamed, many bridged river valley, jostled and jostling, so compacted that the mass throws throws up a froth and flurry that confuses the stray visitor…for him this is Cork”.
The words “higgledy piggledy” for me best describes the urban fabric of Cork. The mixed “collection of odds and ends” reflects the manner of the city’s evolution. It was built in a piecemeal way by a combination of native and outside influences, its ever-changing townscape and society shaped by different cultures since its origin as a monastic settlement. Cork possesses a unique character, derived from a combination of its plan, topography, built fabric and location.
It is unique among other Irish cities in that it alone has experienced all phases of Irish urban development, from c.AD600 to the present day. The settlement at Cork began as a monastic centre in the seventh century, founded by St FinBarre. It served as a Viking trading post before the Anglo-Normans arrived and created a prosperous walled town. It grew through the influx of English colonists during the sixteenth and seventeenth centuries and suffered the political problems inherent in Irish society at that time. It was altered significantly through Georgian and Victorian times when reclamation of its marshes became a priority, as well as the construction of spacious streets and grand town houses; its quays, docks and warehouses exhibit the impact of the industrial revolution; and in the last one hundred years, Corkonians have witnessed both the growth of extensive suburbs and the rejuvenation of the inner city. Built on the surrounding valleysides of the River Lee, the city’s suburbs are the result of a spiralling population in the twentieth century.
Perhaps, the most important influence on the city’s development was and is the River Lee, which has witnessed the city’s growth from a monastic centre to a cosmopolitan twenty-first-century city. Originally, Cork comprised a series of marshy islands, which the Irish for the city, Corcaigh, or marshes, reflects. Just west of the city centre the Lee splits into two channels, each flowing around the city before meeting again in Cork harbour. This means the city centre is an island, bounded by a north channel and a south channel. The urban centre was built on the lowest crossing-point of the river, where it meets the sea. This situation has given the city a rich maritime history and a strong identification as a port town complete with old warehouses.
With the past of a port city, Cork’s architecture has a personality that is varied and much is hidden amongst the city’s narrow streets and laneways. Much of its architecture is inspired by international styles – the British style of artwork and nineteenth century brick pervading in most cases– but it always pays to look up in Cork and marvel at the Amsterdamesque-style of our eighteenth-century structures on streets such as Oliver Plunkett Street or at the gorgeous tall spires of the city’s nineteenth-century churches. Cork’s most fascinating buildings ranging from the medieval to the military, the civic to the commercial and the educational to the ecclesiastical.
Cork in 50 Buildings by Kieran McCarthy is available online to purchase https://www.amberley-books.com or in any good Cork bookshop. Support local bookshops.
Captions:
961a. Front cover of Cork in 50 Buildings by Kieran McCarthy
961b. Re-enactment at Elizabeth Fort for the recent Cork Heritage Open Day, one of the sites in Kieran’s new book Cork in 50 Buildings (picture: Kieran McCarthy)
Cork Heritage Open Day celebrates its 15th anniversary this year. This year it takes place on Saturday 18 August with 42 buildings and nearly 100 events and festivals happening. Last year it was estimated that there were over 18,000 visits to the buildings and events on the day. The event is organised by Cork City Council as part of National Heritage Week and the team works closely with building owners, local historians and communities who give their time free of charge. The success of the event lies with the people behind the buildings who open their doors willingly every year to allow the public a glimpse of the amazing and unique built heritage of Cork City.
It is always a great opportunity to explore behind some of Cork’s grandest buildings. With the past of a port city, Cork architecture is varied and much is hidden amongst the city’s narrow streets and laneways. Much of its architecture is also inspired by international styles – the British style of artwork pervading in most cases– but it’s always pays to look up in Cork and marvel at the Amsterdamesque-style of our eighteenth-century structures on streets such as Oliver Plunkett Street or at the gorgeous tall spires of the city’s nineteenth-century churches.
With 42 buildings open to the public for Cork Heritage Open Day it is almost impossible to visit them all in one day. It takes a few goes to get to them all and spend time appreciating their physical presence in our city but also the often-hidden context of why such buildings and their communities came together and their contribution to the modern day urban landscape of the city. The team behind the Open Day do group the buildings into general themes, Steps and Steeples, Customs and Commerce, Medieval to Modern, Saints and Scholars and Life and Learning – one can walk the five trails to discover a number of buildings within these general themes. These themes remind the participant to remember how our city spread from the marsh to the undulating hills surrounding it – how layered the city’s past is, how the city has been blessed to have many scholars contributing to its development and ambition in a variety of ways and how the way of life in Cork is intertwined with a strong sense of place.
The trail Steps and Steeples is a very apt way to describe the topography of our city. The trail encompasses not only some of the amazing buildings on the northern hills of the city, but also some of the most spectacular views. Admire the interior of Everyman Palace on McCurtain Street, re-examine the crooked but limestone inspiring spire of Cork Trinity Presbyterian Church, gorge on the stained glass windows of St Luke’s Church, re-imagine past hospital treatment at the Ambassador Hotel, revel in how many barrels of beer have been exported from the former Murphy’s Brewery, now Heineken Ireland, reminisce of Cork’s North Infirmary at the Maldron Hotel, attempt to count how many barrels of butter were weighed at the Firkin Crane, ring the bells of St Anne’s Church, Shandon.
At Collins Barracks read up about the military history underlining the city’s and harbour’s development. The military museum at the Barracks has three themes – the history of the Barracks, Michael Collins and Peacekeeping. The core collection consists of memorabilia associated with Michael Collins and also has displays from donated private collections. The Heritage Day brochure remarks that the Barracks building is a fine example of Georgian Architecture. It is also significant from a historic perspective. The fine limestone gateway has been the focal point of historic events in Ireland since the time of the Crimean War in 1856 with the return of the seventeen Lancers after the Battle of Balaclava. It was the location for the handing over of the Barracks from the British Government to Commandant Sean Murray of the Irish Army in 1922, and was visited by President Kennedy in 1963.
Meanwhile down by the river, the Customs and Commerce walk follows the Lee and showcases some of the old and new commercial buildings in the city. These buildings track the commercial history of Cork City and highlight its many industries over time. For the more energetic walker this route can be combined with the Medieval to Modern walking route. Think highly of the multiple stories of the city’s masons and carpenters at the Carpenter’s Hall; feel the energy of the steam ships in the maritime paintings in the city’s Custom House, and look at the fine details on the pillars within AIB Bank on the South Mall. Learn about local government in the City Hall. Re-imagine the turning of the wheels of the trams at the National Sculpture Factory.
The National Sculpture Factory, set up in 1989 is a thriving artists resource facility, where artists are working on many creative projects. It is a significant national resource and is primarily funded by the Arts Council and Cork City Council. One hundred years ago, the National Sculpture Factory was once the central hub for electric trams whose trackways created arteries through a bustling city of contrasts from slums to richly embellished Victorian terraces in the city’s middle-class suburbs. The site was also the electricity distribution centre, which changed the way of life for citizens. The trams supplied a rhythm through the city – their stopping, going and wining- the iron wheels pushing into the tracks moving through the city, connecting citizens.
More at www.corkheritageopenday.ie
Captions:
958a. Pouring iron ore recently onto Tamzie Ringler’s River Lee’s mould at the National Sculpture Factory, July 2018 (picture: Kieran McCarthy)
958b. Christ Church during sunset in February 2018; one of the 42 buildings to be celebrated for Cork Heritage Open Day 2018 (picture: Kieran McCarthy)
On Thursday, 19th July 2018, artist Tamsie Ringler Performed a iron pour During the IRON-R 2018 iron casting workshop in connection with Crawford College of Art and Design and the National Sculpture Factory in Cork, Ireland. The piece depicts the tributary system of county Cork’s river Lee.
Building on last week’s article, the annual report of the Cork Industrial Development Association (IDA) was unveiled to the public on 19 June 1918 to meet their fifteenth annual public meeting. Many insights into Cork’s commercial life and regional challenges are given in the document, which was published for the most part in the Cork Examiner.
Ambition was the name of the game in 1918 Cork for the Cork IDA. They neglected no opportunity to promote industrial development in the South of Ireland. Important conferences were held in the Association’s offices with investors attracted by the advent of Henry Ford and Son Ltd. Plans were prepared for the establishment after the war for additional manufacturing enterprises on the harbour, which could host large and continuous employment. Special reference was given to the advantages, which the Cork district offered for the manufacture of agricultural implements portland cement, solid rubber tyres and for the establishment of additional flour and margarine factories, oil and cake mills, leather tanneries, and a dressed meat industry. One development highlighted was the establishment by local businessmen of the Mahon Shipbuilding and Concrete Construction Company. They built concrete barges (built of steel and reinforced concrete instead of steel or wood), which was deemed a step in keeping with the times in that the materials were cheap and readily available.
The challenge of being open to international investment whilst protecting local trade was a constant debate. For example, the Cork IDA, on behalf of a firm eminent in the English floor and milling industry, made an application to Cork Corporation for the purchase of a block of land with river frontage for the construction thereon of a modern port mill. However, local rival trade interests prevailed upon the Corporation of Cork not to entertain the application, which they did.
On the protection of older industries, the Cork IDA praised the acquisition by Richard Beamish of the old-established leather tanning industry of Messrs Dunn Brothers, Watercourse Road, Cork. They publicly congratulated the gentleman on his enterprise and on his plans for the development, of the leather industry in Cork (for which in previous years, the city possessed a good reputation in the leather world).
Watching the importation and impact of non-Irish products was also a core activity and deemed of considerable importance to Irish producers. The supplies to public southern institutions were regularly examined by the Cork IDA’s expert, with a view to ascertaining the origin of such goods. Numerous samples of woollens, linens, handkerchiefs, collars, and writing papers were submitted to the Association by correspondents in various parts of the country for examination as to their place of manufacture.
On occasion, the Cork IDA took action in respect to unnecessary importations in the shape of foreign-made joinery, office furniture, cardboard boxes, etc. The Association drew the attention of the Irish Industrial Development Association (Incorporated) to a trade announcement in The Times of India, in which a Cawnpore (a former British garrison, now named Kanpur) firm of woollen manufacturers offered “Donegal” tweeds for winter suiting. The Cork IDA was asked to take action in respect to on English-made baking powder, the label of which bore a representation of the shamrock printed in green. In addition, an application of an English bottling firm to register a whiskey label with the words “Ould Paddy No 1” was brought by the Association to the notice of a local whiskey distilling company, who controlled a whiskey label bearing the word “Paddy”.
The Cork IDA participated in many public conferences on Irish economic affairs. Mr Andrew O’Shaughnessy of Dripsey Woollen Mills and the Secretary represented the Association at the Fourteenth Congress of the Irish Technical Instruction Association, held in the Royal College of Science, Dublin. The association were also represented on the Conference convened by the Cork Borough Technical Instruction Committee to consider the industrial training of apprentices, with special reference to the needs of Cork. Major G B O’Connor, MP, represented the Association at the All-Ireland Protest Meeting held in Dublin with respect to the demand for the establishment of a receiving depot in Dublin for the convenience and encouragement of Irish manufacturers catering for Government supplies. The Cork IDA also participated in local conferences convened in Cork City Hall by the Lord Mayor to deal with such matters as food supplies, milk supply for the poor, currency fluctuations and the shipping requirements of the port.
The Cork IDA were hopeful for Cork’s future after the war had ended and the need for business and trade to stand together to resolve challenging issues; they noted in their report; “The after-war period will witness greatly increased commercial competition between the nations of the world; it will also, we firmly believe, witness an awakening of industrial development in our city, and district that cannot, fail to influence appreciably the industrial status of our entire community…It is, therefore, a matter of more than ordinary importance that associations and organisations such as ours, especially interested in the economic affairs of the country, should be not only amply endowed with finances, but actively supported by individual and collective action of this character the industrial condition of our country will be improved and the general prosperity of our people be stimulated to that decree which will eradicate for all time the evil of emigration from our national life”.
Caption:
951a. Marina Mills, Cork Docks, from Cork, Its Chamber and Commerce, 1919 (source: Cork City Library)
Kieran’s June Historical Walking Tours:
Saturday 23 June 2018, The Cork City Workhouse; learn about the workhouse created for 2,000 impoverished people in 1841; meet at the gates of St Finbarr’s Hospital, Douglas Road, 12noon (free, duration: two hours, on site tour), in association with the Friends of St Finbarr’s Hospital Garden Fete.
Saturday 30 June 2018, The Lough & its Curiosities; explore the local history from the Legend of the Lough to suburban development; meet at green area at northern end of The Lough, entrance of Lough Road to The Lough; 12noon (free, duration: two hours, on site tour)
On next Saturday, 23 June, 12noon, Cllr Kieran McCarthy, in association with the Friends of St Finbarr’s Hospital, will give a public historical walking tour of the hospital grounds (meet at gate). The walk is free and takes place to support the summer bazaar of the Friends. Cllr McCarthy noted: “For a number of years now I have ran the walking tour of the workhouse story at St Finbarr’s Hospital. Of the twenty or more city and suburban walking tour sites I have developed the tour of the workhouse site has been popular. The tour though is eye-opening to the conditions that people endured in the nineteenth century but a very important one to tell. The dark local histories are as important to grapple with as the positive local histories. Cork city is blessed to have so much archival and newspaper material to really tell the story of the Cork workhouse. Out of this tour I have developed a walking tour as well around the old Our Lady’s Hospital, which I will run for National Heritage Week in August this year”.
Cllr McCarthy highlighted: “A present day blocked up archway on Douglas Road was the old entrance to the laneway that ran down from Douglas Road through market gardens to the workhouse complex. Between 1838 and 1845, 123 workhouses were built, which were part of a series of districts known as Poor Law Unions. The cost of poor relief was met by the payment of rates by owners of land and property in that district. In 1841 eight acres, one rood and 23 perches were leased to the Poor Law Guardians from Daniel B Foley, Evergreen House, Cork. Mr Foley retained an acre, on which was Evergreen House with its surrounding gardens, which fronted South Douglas Road (now a vacant concrete space). The subsequent workhouse that was built on the leased lands was opened in December 1841. It was an isolated place, built beyond the City’s toll house and toll gates. The Douglas Road workhouse was also one of the first of the workhouses to be designed by the Poor Law Commissioners’ architect George Wilkinson”.
Saturday 9 June 2018, Cork City & its Bridges (new tour), learn about the early history of the city’s most historic bridges; meet at the National Monument, Grand Parade, 2.30pm (free, duration: two hours, finishes in City Centre) in association with Meitheal Mara’s Cork Harbour Festival.
Saturday 23 June 2018, The Cork City Workhouse; learn about the workhouse created for 2,000 impoverished people in 1841; meet at the gates of St Finbarr’s Hospital, Douglas Road, 12noon (free, duration: two hours, on site tour), in association with the Friends of St Finbarr’s Hospital Garden Fete.
Saturday 30 June 2018, The Lough & its Curiosities; explore the local history from the Legend of the Lough to suburban development; meet at green area at northern end of The Lough, entrance of Lough Road to The Lough; 12noon (free, duration: two hours, on site tour)
