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The Life and Works of Robert Wood (1717-1771) commemorates the Irish classicist and traveller on the 250th anniversary of his death and provides the general reader with a source book for the fascinating life and career of a much-neglected figure in the realm of Irish eighteenth-century travels and antiquarianism.
This volume brings together scholarship from many disciplines, including history, heritage studies, archaeology, geography, and political science to provide a nuanced view of life in medieval Ireland and after. Primarily contributing to the fields of settlement and landscape studies, each essay considers the influence of Terence B. Barry of Trinity College Dublin within Ireland and internationally. Barry’s long career changed the direction of castle studies and brought the archaeology of medieval Ireland to wider knowledge. These essays, authored by an international team of fifteen scholars, develop many of his original research questions to provide timely and insightful reappraisals of material culture and the built and natural environments. Contributors (in order of appearance) are Robin Glasscock, Kieran O’Conor, Thomas Finan, James G. Schryver, Oliver Creighton, Robert Higham, Mary A. Valante, Margaret Murphy, John Soderberg, Conleth Manning, Victoria McAlister, Jennifer L. Immich, Calder Walton, Christiaan Corlett, Stephen H. Harrison, and Raghnall Ó Floinn.
The financial impact of war in the eighteenth century upon the corps of naval officers has not been systematically studied. Nor have the opportunities of a naval career to exploit such sidelines as trade, money-lending, and land purchases in the colonies, where officers spent much of their time, been looked at carefully. The present study analyses in detail the fortune of a single naval officer, Admiral Sir Peter Warren, whose principal wealth came from prize money: the capture of enemy vessels in wartime. He emerges as a new type of entrepreneur, with his feet well planted on both sides of the Atlantic, equally at home in the financial circles of New York, Boston, Charleston, Dublin, and London. Owing to the mobility of his naval career he became familiar with the economic prospects in these scattered places, while he possessed the necessary imagination to take advantage of their commercial opportunities. Mobility also enabled him to select personally the agents who served his varied interests. Neither his widow nor his heirs had the same advantages, nor did they possess the same degree of business sense, with the result that his fortune, invested internationally, was eventually repatriated to England.
This volume draws together a series of new studies into various aspects of the archaeology of conflict. Part of the volume focuses on conflict in the twentienth century, with several papers dealing with the growing field of First World War archaeology, which is also the main theme of the extended editorial. Further contributions focus on a variety of subjects, including the use of historic maps in locating the remains of 16th century sieges, the impact of disease on a 17th century army and a discussion of the political context of cultural research heritage in Ireland with respect to battlefield heritage.
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.
Vols. 1- include the sections: Writings on Irish history, 1936- ; Research on Irish history in Irish, British and American universities, 1973/38- .