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The National Museum of Ireland contains some of the most important Celtic and pre-Celtic artefacts in the world. This survey of the highlights of the museum's collection comprises texts summarising the different periods and extended captions describing each artefact under discussion.
Edward Rutherfurd’s stirring account of Irish history, the Dublin Saga, concludes in this magisterial work of historical fiction. Beginning where the first volume, The Princes of Ireland, left off, The Rebels of Ireland takes us into a world transformed by the English practice of “plantation,” which represented the final step in the centuries-long British conquest of Ireland. Once again Rutherfurd takes us inside the process of history by tracing the lives of several Dublin families from all strata of society – Protestant and Catholic, rich and poor, conniving and heroic. From the time of the plantations and Elizabeth’s ascendancy Rutherfurd moves into the grand moments of Irish history: the early-17th-century “Flight of the Earls,” when the last of the Irish aristocracy fled the island; Oliver Cromwell’s brutal oppression and confiscation of lands a half-century later; the romantic, doomed effort of “The Wild Geese” to throw off Protestant oppression at the Battle of the Boyne. The reader sees through the eyes of the victims and the perpetrators alike the painful realities of the anti-Catholic penal laws, the catastrophic famine and the massive migration to North America, the rise of the great nationalists O’Connell and the tragic Parnell, the glorious Irish cultural renaissance of Joyce and Yeats, and finally, the triumphant founding of the Irish Republic in 1922. Written with all the drama and sweep that has made Rutherfurd the bestselling historical novelist of his generation, The Rebels of Ireland is both a necessary companion to The Princes of Ireland and a magnificent achievement in its own right.
Celtic art - Golden age of Irish art - Romanesque - Gothic.
This book investigates and reconstructs evidence from archaeological excavations conducted between 1930 and 2012 and uses the findings to explore how the medieval Irish lived in the period AD 400-100.
In Dublin, the Wood Quay-Fishamble Street archaeological excavations were a constant media story throughout the 1970s and 1980s, when the threat of official destruction brought thousands of protestors into the streets. Although this highly-publicized protest failed to "Save Wood Quay," it did force the most extensive urban excavations ever undertaken in Europe that yielded more unprecedented data about town layout in Dublin 1,000 years ago than about any other European Viking town of the time. Dozens of often nearly intact building foundations, fences, yards, pathways, and quaysides, as well as thousands of artifacts and environmental samples, were unearthed in the course of the campaign. In this book, Dr. Pat Wallace, the chief archaeologist who directed the Wood Quay and Fishamble Street excavations, provides a detailed examination of the implications of these discoveries for Viking-Age and Anglo-Norman Dublin by placing them in their national and international contexts. Lavishly illustrated with over 500 color images, maps, and drawings, together with detailed descriptions and analyses of the artifacts, this pioneering study gathers all the finds and discusses them in the context of parallel discoveries in Ireland, Britain, Scandinavia, and northern Europe, with the historical, economic, and cultural milieu of Hiberno-Scandinavian Dublin as the background. *** "This marvelous work memorializes a major archaeological discovery unearthed in Dublin between 1974 and 1981. Structural remains from 840 through 1169 CE, the most extensive for any site north of the Alps, were excavated by Patrick Wallace, who now analyzes his finds from Wood Quay, Fishamble Street, and related sites. A lively text and numerous photos enliven the hundreds of buildings unearthed.... Highly recommended." --Choice, Vol. 54, No. 4, December 2016 [Subject: History, Archaeology, Viking Studies, Medieval Studies, Art History, Irish Studies]
In Ireland, the humble organic materials of straw, hay, and rushes were utilized throughout the centuries for a myriad of purposes. The heyday of their use as objects were the 18th and 19th centuries, when travelers to Ireland often wrote disparaging and derogatory accounts of what they saw: saddles of straw, sleeping on rushes, restricting animals with tethers and spancels of bark and animal hair, and wearing crudely-made straw and rush hats. Yet, the people who produced and utilized these objects were both ingenious and thrifty, making use of what they could find at no cost and using their learned skills to make objects which are now seen as having not only function but also beauty. Author Anne O'Dowd's powerful and lavishly illustrated book looks at the historical context of the making of a wide range of useful and ceremonial objects, as well as the folklore of belief and custom connected with the materials and practices. The thousand or so objects (made from straw, hay, and rushes) in the National Museum of Ireland's Irish Folklife Collection are the foundation of this study. The book is beautifully illustrated with color/black and white images, and it presents a fascinating insight into Irish crafts and rituals, along with their ancient origins. *** Straw, Hay and Rushes has been selected the winner of the 2015 ACIS Durkan Prize for Books on Language and Culture. *** "...an inherently fascinating history that will prove to be an enduringly popular addition to community and academic library collections." -- Midwest Book Review, Reviewer's Bookwatch: March 2016, Julie's Bookshelf *** Librarians: ebook available [Subject: Social History, Irish Studies, Folklore, Art History]
Lying at Europe's remote western edge, Ireland long has been seen as having an artistic heritage that owes little to influences beyond its borders. This publication, the first to focus on Irish art from the eighth century AD to the end of the sixteenth century, challenges the idea that the best-known Irish monuments of that period-the high crosses, the Book of Kells, the Tara Brooch, the round towers-reflect isolated, insular traditions. Seventeen essays examine the iconography, history, and structure of these familiar works, as well as a number of previously unpublished pieces, and demonstrate that they do have a place in the main currents of European art. While this book reveals unexpected links between Ireland, Late-Antique Italy, the Byzantine Empire, and the Anglo-Saxons, its center is always the artistic culture of Ireland itself. It includes new research on the Sheela-na-gigs, often thought to be merely erotic sculptures; on the larger cultural meanings of the Tuam Market Cross and its nineteenth-century re-erection; and on late-medieval Irish stone crosses and metalwork. The emphasis on later monuments makes this one of the first volumes to deal with Irish art after the Norman invasion. The contributors are Cormac Bourke, Mildred Budny, Tessa Garton, Peter Harbison, Jane Hawkes, Colum Hourihane, Catherine E. Karkov, Heather King, Susanne McNab, Raghnall Floinn, Emmanuelle Pirotte, Roger Stalley, Kees Veelenturf, Dorothy Hoogland Verkerk, Niamh Whitfield, Maggie McEnchroe Williams, and Susan Youngs.