Category Archives: Kieran’s Council Work
Kieran’s Lord Mayor Column, The Echo, 3 February 2024
Honouring Cork People:
Not so often are the deeds of Corkonians are celebrated. Cork can be a proud but humble space. However, last week coincided with the 2023 Cork Person of the Year Award. Cork honoured some of Cork’s greatest human beings and their inspiring stories, work and caring DNA.The deeds of several Corkonians in their own way excelled in their special topic ranging from sport, to comedy, to music, to charities, community activism, to cycling, to missionary work to literature.
Cork is truly fortunate to have this year’s range of monthly award winners championing their craft for the public good. A sincere thank you for being you, enormous goodwill, for building communities of people, and your leadership over many years. Thank you for the journey you have brought us on. Long may you do what you do, enjoy it, and keep moving forward with. And that we in Cork are very proud of you.
The Cork Person of the Month and Cork Person of the Year awards scheme was established in 1993 to celebrate Cork’s greatest asset in City and County – our people. Each month a person or persons are selected and at year’s end, the Cork Person of the Year is chosen from these monthly winners. The general public is invited to nominate anyone for these awards by emailing nominations@corkpersonofthemonth.ie. Check out the website of Cork Person of the Year for more on the awards scheme, Home – Cork Person of the Year
The website outlines that the organisers of the awards do so on a voluntary basis and are proud and honoured to do so. This award scheme not only celebrates Cork people but it also helps to promote Cork as a good place to live, work and play. Over the last thirty years the organisers have honoured some 400 Persons of the Month and 33 Persons of the Year. Some years more than one person receives the monthly and yearly award.
As Ireland does not have a state-backed National Honours Scheme, like most countries do, we have added some extra national awards. The Honorary Cork person award goes to people not from Cork, but to those who may have contributed to Cork and Ireland in some positive way. It has gone to people who Corkonians admire like Broadcaster John Bowman and Rugby Coach Joe Schmidt and to those who promote Cork around the world like entertainers Jeremy Irons and Michael Flatley.
The Frank & Walters Band being crowned as the Cork Persons of the Year for 2023. This esteemed recognition acknowledges the band’s profound impact on Cork’s cultural tapestry and the arts over an illustrious 30-year plus career. The Gala Awards Lunch was held at the Metropole Hotel before an invited audience of 200 guests who represented all sectors of Cork life.
The Frank and Walters are a renowned Cork-based band that have achieved international success with their classic Indie hits, charting both inside and outside Ireland. The Band members are lead vocal & bass Paul Linehan, drums Ashley Keating, lead guitar Rory Murphy and keyboards Cian Corbett. The group’s longevity and the enduring popularity of their music, including the Cork Anthem “After All”, which was voted Cork’s favourite song, showcase their unique position in the music world. The band, known as strong ambassadors for Cork, continue to be a major presence with a vast catalogue of albums and singles that are widely acclaimed and sold globally.
Awards Organiser Manus O’Callaghan commended The Frank & Walters Band, stating, “Their win reflects not only their musical prowess but also their unwavering dedication to Cork’s artistic scene. The Frank & Walters have played a pivotal role in making Cork the cultural hub that it is today”.
The awards ceremony also celebrated Cork’s literary luminary, Alice Taylor, who was inducted into the Hall of Fame by last year’s recipient of the Honorary Cork Person of the Year, broadcaster Mike Murphy. Alice Taylor, celebrated for her ground-breaking contribution, To School Through the Fields, acknowledged as the top-selling Irish published book, persistently captures the spirit of rural Ireland in her prolific literary works.
The Honorary Cork Person Award was presented to broadcaster Dáithí Ó Sé, who co-costs the RTÉ Today Show alongside Maura Derrane from the RTÉ Cork studio for many years.
Honouring Stories of Douglas Community School:
One of the other ideas I keep returning to in Cork is that several of the locations around us possess a strong sense of character, place, and are a source of inspiration. Last week as well coincided with the 50th anniversary of Douglas Community School. Close to 300 people were in attendance including myself. The school’s story from 1974 was retold and its connection its sense of place and character.
As guests arrived, a photographic collage of the five decades of Douglas Community School was playing on the big screen, evoking memories of days gone by – school tour images, team photos, staff versus student soccer matches.
The official ceremony began with the audience led by a blend of speakers and video clips showcasing the development, growth and ethos of the school over the years. Keynote speakers included myself, Tánaiste Micheál Martin, Principal Pat Barry, Chairperson of the Board of Management, Ms Mary Shields, Mr Jim O’Sullivan, representative of the Cork ETB and President of ACS, Mr James Duignan.
A reading about lifelong learning from 5th Year student Michael Morley reminded all those present that “the best thing for being sad… is to learn something. That is the only thing that never fails”.
The MC for the afternoon, Deputy Principal, Mr Chris Hickey, introduced a “Video of Time Capsule” which 1st Years had been working on. Several important items featured in the time capsule ranged from a mobile phone to the Douglas Community School’s 50 Year Anniversary publication.
Next up were some oral history chats with retired teachers Mr Jim Maddock, Mr Brian O’Connor and Ms Máire Thomason, past pupil James O’Connor, recipient of Gradam an Phríomhoide and finally Ms Martina Nash, proud parent of five sons who all attended Douglas Community School. James’ closing words on his time in Douglas Community School spoke about equality of opportunity; ”We won’t ever have equality of circumstance but we always have equality of opportunity”.
Check out the website of Douglas Community School for more on their fiftieth anniversary, DCS Celebrates 50 Years🎉 — DCS Cork
Kieran’s Our City, Our Town, 1 February 2024
Kieran’s Our City, Our Town Article,
Cork Independent, 1 February 2024
Making an Irish Free State City – Lord Mayor Seán French is Elected
Late January 1924 coincided with two new starts for the Corporation of Cork – firstly the final compensation was to be announced for the burning of City Hall and the Carnegie Library arising from the Black and Tan arson attack in December 1920, and secondly the election of a new Lord Mayor in the guise of Seán French.
The Cork Examiner outlines that on 24 January 1924, a meeting of Cork Corporation’s Law and Finance Committee meeting was held. There a letter was read by the City Solicitor notifying that the Compensation (Ireland) Commission had awarded the sum of £73,257 in respect of the burning of the Municipal Buildings and City Hall, of which amount the sum of £58,000 was allocated to be expended on the construction of a new premises. That overall sum was to bear interest at 5 per cent from the 1 January 1924. The letter asserted that the Corporation of Cork should have every reason to be satisfied with the award.
The Compensation (Ireland) Commission was created jointly by the Irish and British governments in 1922. It was held in Ireland under the presidency of, initially, Lord Shaw of Dunfermline, and subsequently, Sir Alexander Wood-Renton. The Commission’s terms of reference were kept to the consideration of claims in respect of damage or injury incurred between 21 January 1919 and 11 July 1921. The registers of claims and papers are now in The National Archives in Kew in London.
The Corporation’s City Treasurer explained that the initial recorder’s or assessor’s award for the municipal buildings from 1921 was £69,324 and for the Concert Hall £7,333 – giving a grand total of £106,657. Hence the overall Compensation Committee award for 1924 was a reduction of £33,390.
In the case of the burned out Carnegie Library the amount awarded by the recorder or assessor in 1921 was £40,000 and for books £9,650 giving an overall total of £49,650. The Compensation Commission’s overall package was £29,850 giving a total reduction of £19,300.
The Law and Finance Committee members asked whether the compensation packages were final. The City Solicitor noted that they were but over the ensuing two months further discussions were held at Corporation meeting level. The outcome was that the compensation figures remained the same and in time financial plans were put in train to rebuild a new City Hall and a new City library.
The context to the election of a new Lord Mayor arose from the resignation of Donal Óg O’Callaghan. He was absent for quite some time and there had been much criticism that he was missing from Cork and the fact he was drawing a salary. The legality of continuing to pay Lord Mayor O’Callaghan’s salary was raised some months previously owing to his absence from Council Meetings for twelve months. The City Solicitor was asked to report on the matter. The outcome was that indeed the Lord Mayor was disqualified and that any further payments to him in respect of his salary would be illegal. The Law and Finance Committee, therefore, struck off the item of £50, which was the Lord Mayor’s salary for a month. Donal’s resignation followed.
A day after the figures for the compensation awards were released for the Municipal Buildings and the Library – on 25 January 1924 – the Town Clerk read a resignation letter from Donal, which was accepted by the body of the councillors;
“A Chairde – I hereby resign Lord Mayoralty of the city. I wish to thank you for the assistance you gave me to fulfil the promises we gave citizens when we were elected. My election as Lord Mayor in 1920 came after Terence MacSwiney’s sacrifice, RIP. It has been a troubled time since. All thoughts and opinions I had when I was elected are the same thoughts and opinions I have today on the question of the Irish Republic. Because of that I have been unable to be with you for more than a year. Because of that I should probably be unable to take part in municipal affairs for some times to come. Wishing prosperity to the city and those who will be working for it, Is mise Domhnaill O’Callaghan”.
On 30 January the scene was set for a Mayoralty election. The Cork Examiner records that the Corporation members met in the Council Chamber, Courthouse, to elect a Lord Mayor, fix his salary, and “select three gentlemen qualified to fill the office of High Sheriff”. A sizeable group of the general public had gathered in the vicinity of the Courthouse long before the time of meeting, but admission to the building was carefully restricted.
The public gallery of the Chamber became well filled. Many of the members took their seats at 11.45am. Amongst the earliest arrivals being Sir Edward Fitzgerald, who got a very cordial welcome from the occupants of the gallery.
The next outburst of applause was when a group of Councillors, which included Messrs. Sean French and Barry Egan, who entered the Chamber. They were to be the two candidates to put their name forward for the office of Lord Mayor.
Barry Egan attained 22 votes and Seán French received 23 votes. Having won the poll, the interim chairman John Horgan declared Seán as the next Lord Mayor. Having signed the role accepting office, he was invested with the chain of office.
The new Lord Mayor delivered a short acceptance speech. In returning thanks, Seán noted that he would not deal with the criticism offered against him. His first act was to try and make them recognise in the first instance that they hugely there “principally and primarily for the progress of Cork”. He had his ideals and he thought that he had been true to them and nothing would change him; “I would say to every individual of the Council that if there was anything he had to suggest that would advance Cork in me I would have a whole hearted friend who would give every assistance”. He asked his councillor colleagues to forget their differences in the interests of the city.
On the motion of Cllr Gamble, seconded by Councillor Sir John Scott, the Lord Mayor’s salary was fixed at the usual amount, £600 a year come on the same days were fixed for the quarterly meetings of the Council. Lord Mayor Seán French was to be the civic face of Cork well into the early 1930s.
Check out more on the life of Seán French through the new book First Citizen, Sean French, Cork’s Longest-Serving Lord Mayor by Dr Aodh Quinlivan and John Ger O’Riordan is available in Waterstones and Vibes and Scribes.
Caption:
1238a. Portrait of Lord Mayor of Cork Seán French, 1924 (source: Cork City Hall).
Lord Mayor’s Tea Dance, 28 January 2024
Kieran’s Our City, Our Town 25 January 2024
Kieran’s Our City, Our Town Article,
Cork Independent, 25 January 2024
Making an Irish Free State City – The Gibson Bequest
The Crawford Art Gallery’s website leads with a focus of the gallery at present being positioned in a series of important heritage buildings, sections of which date back to the early eighteenth century right in the heart of Cork city. The gallery is in need of significant enhancement and upgrading to meet the evolving demands of a “dynamic national cultural institution”. Works are to begin this year to provide significant restoration value, new additional exhibition and public circulation areas, a new learn and explore facility, significant storage for the National Collection at Crawford, a new entrance, and a dramatically improved public realm.
There are many curios in the Crawford Art Gallery – its exquisite set of Antonio Canova sculptures and paintings within its collections make for great viewing and scholarly output. The gallery opened in 1885 and was built on the generous financial support of William Horatio Crawford. The next generous sponsor has for the most part fallen out of Cork memory and that is the name of Joseph Stafford Gibson who provided finance through his will in creating the basis for a fund to buy paintings from 1919 onwards. The year 1924 – one hundred years ago – was a key year where the purchasing plan came into effect for the bequest.
Born near Kilmurray in 1837, Joseph inherited a small income which enabled him to devote his life to art studies. He went to Spain in 1878. and lived a lonely life in Madrid until his death in 1919. He was an artist and a collector of Works of art, and by all accounts had got together a comprehensive collection of paintings, prints, photographs, books, manuscripts, coins, antiques, and curios.
By Joseph’s will read in May 1919 he left £14,790 to the Crawford School of Art in Cork. Most of the legacy was to be spent in buying works of art for the Cork galleries, and to assist art students of special promise, who were of Munster birth, to travel and study in Europe. With this bequest, under wise direction from Irish experts, more than a hundred paintings in oils or water colour, and many drawings and sculptures have been acquired for the Cork gallery and are now on view there.
The Irish War of Independence and Civil War initially slowed down any processes of acquisition being put in place. It was to take almost five years before a strategic acquisition programmed was put in place.
One hundred years ago, on 15 January 1924 the Cork Examiner published the minutes of the Gibson Bequest sub-committee meeting of 14 January 1924. Draft regulations had been prepared by the Chairman Mr J J O’Connor setting out the procedure concerning the purchase of works of art under the terms of the bequest be approved. Enquiries had already been made regarding the acquisition of pictures by Jack Butler Yeats and Seán Keating. A painting entitled Sasha Kropotkin by Gerard Kelly of the Royal Hibernian Academy was to be purchased for £250. Gerard Kelly was an English painter in oil of portraits and landscapes. During his travels he painted some of his most characteristic figure studies. He became renowned for his portraits of elegant women, his technical genius and colourful, extensive subject matter. Sasha Kropotkin was the daughter of the anarchist, Prince Peter Kropotkin, and wife of the Russian revolutionary Boris Lebedev.
The draft Gibson Bequest regulations regarding the purchase of works of art were set out as follows: Purchases needed to be confined to the original works in the following: (a) oils, (b) water colours, (c) pastel, (d) drawings or studio» in chalk, pencil, crayon or pen and ink, (a) etchings, (f) wood cuts, (g) silver point, (n) dry point, (i) mezzotint, (j) sculpture, but that it be the rule not to purchase works in plaster, unless in exceptional circumstances, on account of intrinsic merit, and then only with the intention of having them cast in permanent material; (k) decorative art, e.g. goldsmiths and silversmith’s work, stained glass and wood-carving.
No purchase could be made by the committee which was not approved by selected advisers or a majority of such. Such advisers could be selected for the special purpose to be sent to exhibitions at the great art centres to select works for purchase under the terms of the bequest. Advisors were to submit a signed report with all recommendations for the purchase of works of art. Purchases were to be as far as possible in sequence, as portrait, subject picture, landscape, and sculpture. The recommendations of the advisors with respect to any purchase were to be subject to the approval of the Gibson Bequest sub-committee.
The Chairman J J O’Connor noted at the meeting that the intention of the committee was to make their gallery a real first-class art gallery through making purchases of first class specimens.
As the years progressed, paintings from British and French contemporary artists were bought and now form part of the core of the collections of the Crawford Art Gallery. Local artists were also enabled to travel afield to such artist hubs such London, Madrid, Paris and Rome.
Indeed, an article the Cork Examiner for 27 June 1928 notes the acquisition of many works arising from the Gibson Bequest from artists such as William G Barry, Philip Connard, Hughes de Beaumont, John Arnesby Brown, James Humbert Craig, Edward Montgomery O’Rorke Dickey, Norman Garstin, Nathaniel Grogan, Paul Henry, Nathaniel Hone, Seán Keating, Gerald F Kelly, Frank McKelvey, Sir John Lavery, William John Leech, Daniel McDonald, David Muirhead, Diarmuid O’Brien, Walter F Osbourne, Miss Annie St J Partridge, David Richter, Algernon Talmadge, Henry Jones Thaddeus, David Albert Veresmith and Leo Whelan. Many of the artists above were household names in the early twentieth art world in Britain and Ireland.
Caption:
1237s. Cabinet of Gibson Bequest Curiosities, May 2019 (picture: Crawford Art Gallery, Cork. Photo: Jed Niezgoda).
Voice of Cork, SALAAM, January 2024
Voices of Cork, Artwork to the Swifts, January 2024
Voices of Cork, Like Grandparents in Fairytales, 21 January 2024
Kieran’s Our City, Our Town, 18 January 2024
Kieran’s Our City, Our Town Article,
Cork Independent, 18 January 2024
Kieran’s Audio Heritage Trails
January generally coincides with some fine and cold cold days where walking the city is lit up by wintry Atlantic light. As someone who enjoys photographing the city, it is a good time of year to capture some of the city’s nuanced layers of its past. I hope to launch my physical walking tours again in April but in the meantime, check out my audio heritage trails, which have been developed with Meitheal Mara – on the Bridges of Cork and The Marina respectively.
Both audio trails are hosted on my website www.corkheritage.ie under the history trails section. All you need is your smartphone and some headphones. The first audio trail provides insights into the histories of the Cork city centre’s bridges, their place in Cork and some of their surrounding histories. The walk around the bridges is just over two hours in duration. The trail is clockwise from South Gate Bridge up the south channel and down the north channel to cross back to the south channel. It ends at Nano Nagle Bridge.
They say the best way to get to know a place is to walk it. Through many centuries Cork has experienced every phase of Irish urban development. It is a city you can get lost in narrow streets, marvel at old cobbled lane ways, photograph old street corners, gaze at clues from the past, engage in the forgotten and the remembered, search and connect for something of oneself, and thirst in the sense of story-telling – in essence feel the DNA of the place. With so many layers of history in Cork, there is much to see on any walk around Cork City and its respective neighbourhoods. The River Lee has had and continues to have a key role in the city’s evolution. Many Corkonians and visitors have crossed over the River Lee’s bridges and have appreciated the river’s tranquil and hypnotic flow.
The audio trail begins at the oldest of the city’s bridges – that of South Gate Bridge. In the time of the Anglo Normans establishing a fortified walled settlement and a trading centre in Cork around 1200 AD, South Gate Drawbridge formed one of the three entrances – North Gate Bridge and Watergate being the others. A document for the year 1620 stated that the mayor, Sheriff and commonality of Cork, commissioned Alderman Dominic Roche to erect two new drawbridges in the city over the river where timber bridges existed at the South Gate Bridge and the other at North Gate.
In May 1711, agreement was reached by the Council of Cork Corporation that North Gate Bridge would be rebuilt in stone in 1712 while in 1713, South Gate Bridge would be replaced with a stone arched structure. South Gate Bridge still stands today in its past form as it did over 300 years ago apart from a small bit of restructuring and strengthening in early 1994.
The second of the new audio trails is on The Marina. A stroll down The Marina is popular by many people. The area is particularly characterized by its location on the River Lee and the start of Cork Harbour. Here scenery, historical monuments and living heritage merge to create a historical tapestry of questions of who developed such a place of ideas. Where not all the answers have survived, The Marina is lucky, that archives, newspaper accounts, census records and old maps and other insights have survived to showcase how the area and the wider area has developed. These give an insight into ways of life and ambitions in the past, some of which can help the researcher in the present day in understanding The Marina’s evolution and sense of place going forward.
Cork’s Marina was originally called the Navigation Wall or in essence it was a guidance or tracking wall to bring ships into Cork City’s South Docks area. It was completed in 1761.
Following the constitution of the Cork Harbour Commissioners in 1814 and their introduction of steam dredging, a vigorous programme of river and berth deepening, quay and wharf building commenced. The dredger of the Cork Harbour Commissioners deposited the silt from the river into wooden barges, which were then towed ashore. The silt was re-deposited behind the Navigation Wall.
During the Great Famine, the deepening of the river created jobs for 1,000 men who worked on widening the physical dock of the Navigation Wall. In essence a fine road was constructed, which linked into Cork’s South Docks. To give an aesthetic to the new road, a fine row of elm trees was planted c.1856 by Prof. Edmund Murphy of Queen’s College Cork (now UCC). The elm trees were part of a crop and tree growing experiment.
In 1870, the Gaelic poet and scholar Donncha Ó Floinn put forward to the Improvements Committee of Cork Corporation that the new road of the Navigation wall be named Slí na hAbhann, which means the ‘pathway by the river’. Ó Floinn’s proposal was not accepted. The matter came before the Improvements Committee again in 1872. This time Ó Floinn suggested that the promenade be named ‘The Marina’. He outlined that ‘The Marina’ was the name allocated to a recently reclaimed piece of land near Palermo in Sicily. In July 1872, Cork Corporation formally adopted ‘The Marina’ as the name of the new road or promenade.
Listen to Kieran’s audio heritage trails under history trails at www.corkheritage.ie
Captions:
1236a. Daly’s Bridge aka Shaky Bridge, present day, which is one of the featured bridges in Kieran’s audio heritage trail of the Bridges of Cork (picture: Kieran McCarthy).
Kieran’s Our City, Our Town, 11 January 2024
Kieran’s Our City, Our Town Article,
Cork Independent, 11 January 2024
The New Digital Atlas of Cork
They say the best way to get to know a city is to walk it – and in these early January days it is an ideal time. In Cork you can get lost in narrow streets, marvel at old cobbled lane ways, photograph old street corners, look up beyond the modern shopfronts, gaze at clues from the past, be enthused and at the same time disgusted by a view, smile at interested locals, engage in the forgotten and the remembered, search and connect for something of oneself, thirst in the sense of story-telling – in essence feel the DNA of the place.
Giving walking tours for over 30 years has allowed me to bring people on a journey into that soul but also receive feedback on the wider contexts of what visitors and locals have seen elsewhere. Cork is a city packed with historic gems all waiting to be discovered at every street corner.
Cork has a soul, which is packed full of ambition and heart. Cork’s former historic networks and contacts are reflected in its the physical urban fabric – its bricks, street layout and decaying timber wharfs. Inspired by other cities with similar trading partners, it forged its own unique take on port architecture.
So the new Digital Atlas of Cork/ Corcaigh is very welcome. It is one of a series of digital atlases created by the Irish Historic Towns Atlas team (the others are Derry, Dungarvan and Galway). The Digital Atlas of Cork/Corcaigh is an initiative of the Digital Working Group of the Irish Historic Towns Atlas research programme. The project has been led by Sarah Gearty (Royal Irish Academy) and Rachel Murphy (University of Limerick), with Mani Morse (Dublin City University) as Digital Manager.
The Digital Atlas of Cork/Corcaigh is a free online interactive map that invites you to discover the built heritage of Cork City in a new way where 6,245 features of the city’s history from AD 623 to 1900 are mapped. The atlas includes descriptions of over 800 streets, including their names in Irish and English as well as historical variants.
Users can browse the digital atlas or search for a specific site in the city. They can also select and view features associated with specific time periods, from medieval times to the present day. Most notably, it maps out Cork’s earlier historical sites especially around South and North Main Street and its Viking age history and Anglo Norman history.
Each historical feature is represented by a coloured symbol, each feature has been categorized into one of eleven different themes such as entertainment, manufacturing, religion and transport. When a user clicks on a feature, key information about it is displayed in a pop-up box.
A specially commissioned historical map depicts each individual house and plot during the mid-nineteenth century (1842). This is just one of a number of layered maps that may be switched on and off to show how the city developed over the centuries.
Other layers include Ordnance Survey maps — a present-day plan of the city, as well as historic maps showing Cork pre-Great Famine and at the turn of the twentieth century. Additional map layers will be released over the coming months, providing access for the first time to digitised town plans by the Ordnance Survey (1842) and Valuation Office (1852–64).
A downloadable user guide has been created to accompany the resource, to allow anyone to explore the Digital Atlas with further education and project work in mind. The project has been part funded by the Heritage Council Stewardship Fund 2023. It has been supported by partners Cork City Council, the Digital Repository of Ireland, the National Archives of Ireland and Táilte Éireann.
The Digital Atlas is remarkable with over 6,000 entries. It is a tremendous new resource for all the people of Cork and will no doubt instil a sense of pride in local communities, through its use in schools and libraries. In particular, the research and further reading aspect of the atlas will be a great source for anyone with an interest in the history and development of Cork City. This innovative project from the Royal Irish Academy will make the valuable research of the Irish Historic Towns Atlas series available to a wider and more varied audience than heretofore.
The atlas will contribute immensely to the work of Cork City Council and the wider professional community in Cork particularly those working in archives, museums, education, planning, architecture and conservation. Ciara Brett, City Archaeologist, Cork City Council noted of the Digital Atlas:
“The Digital Atlas, when utilised with the forthcoming printed Atlas, will be a great benefit to the study of the changing urban environment and will provide practical assistance in the preparation and implementation of planning policy and development management in the City. The IHTA Cork/Corcaigh volume in digital format will add to the existing corpus of published material and will, I believe, encourage future research and study that will enhance our understanding and appreciation of our city”.
The Digital Atlas of Cork/Corcaigh is based on research carried out for Irish Historic Towns Atlas, no. 31, Cork/Corcaigh by Howard B Clarke and Máire Ní Laoi, which will be published by the Royal Irish Academy in print in May 2024.
Based at the Royal Irish Academy, the Irish Historic Towns Atlas research programme traces the topographical development of towns, cities and suburbs through its atlas and ancillary publications, annual seminars and special exhibitions. It is part of a wider international scheme that covers nineteen countries. The Irish programme is considered a leader in the development of digital atlases of this kind.
For more log onto www.ria.ie/digital-atlas-corkcorcaigh
Caption:
1235a. Screen grab of the Digital Atlas of Cork.