Anthology Magazine issue 16

a collection of beautiful experiences • volume 16 lifest yle

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VOL. 16 IE €5.95 | UK £4.95

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From the editor

anthology publishing Limerick, Ireland editor Edel Cassidy art editor Ros Woodham designer Lynne Clark copyeditor Richard Bradburn contributors Jeannie Croucher Louise Higgins Cathán O’Loughlin Jackie Tyrrell Kevin Dundon Dolores O’Donoghue advertising Jean Anderson advertising@anthology-magazine.com subscriptions Anthology is an independent publication with a focus on beautiful features and imagery from Ireland and around the world. To subscribe and avail of delivery direct to your door, visit anthology-magazine.com or email: info@anthology-magazine.com.

Full details on p. 109. issn: 2009-9150 Printed by W&G Baird Commerical Printers UK & Ireland wgbaird.com The publisher accepts no responsibility for any of the views expressed or claims made by contributors or advertisers.

While every care is taken to ensure accuracy of information contained in Anthology, we do not accept responsibility for any errors or matters arising from same. No part of this publication may be used or reproduced without written permission from the publishers.

Welcome to Anthology Volume 16

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am delighted to present the Autumn/ Winter 2021 issue of Anthology, as always created for readers who like to explore the wonders of the world and experience and understand new places, cultures and perspectives.

Our cover features Mexican artist and feminist icon Frida Kahlo at work in her studio, beautifully portrayed by Argentinian graphic artist and illustrator, Max Dalton.

The 700th anniversary of the death of Dante Alighieri, author of The Divine Comedy, widely regarded as one of the greatest works of world literature, was undoubtedly an important cultural event in 2021. We mark this occasion by introducing rarely seen drawings of The Divine Comedy by sixteenth-century artist Federico Zuccari, which are housed at the Uffizi Gallery in Florence.

Closer to home, the Crawford Gallery in Cork is currently exhibiting fifty of the finest etchings and drypoints by Dutch Baroque painter and printmaker, Rembrandt van Rijn.

Our interiors feature presents the concept of biophilia, which suggests that humans possess an innate tendency to seek connections with nature and other forms of life.

The feature offers useful tips for easy and accessible ways to start introducing elements of biophilic design into our everyday lives.

Last but not least, we focus on

dogs, for centuries hailed as humans’ best friends, offering companionship, loyalty and unconditional love.

I sincerely hope you enjoy this issue and look forward to sharing more adventures and stories in the future.

Edel Cassidy edel@anthology-magazine.com

ON THE COVER

Cover image is Frida Kahlo in her Studio

by Max Dalton. This is part of a series of illustrations that portrays well-known artists and the fascinating settings in which they created great art. Full details on p. 76

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contents 30 70

76

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TRAVEL

20

TRAVEL

30

PHOTOGRAPHY

42

INTERIORS

Turn up the Heat

48

INTERIORS

Biophilic Interior Design

70

FASHION

Iris Van Herpen: Earthrise

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ART

All Aboard

County Wicklow on Screen

Star Gazing

Creative Spaces

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86

ART + CULTURE

Dante 700: To Rebehold The Stars

94

ART

Rembrandt in Print

100 ART

Dogs in Art

106 HEALTH

Dog Power

110

FASHION

94 100

Shaping Irish Fashion

122 FOOD

Culinary Comforts

124 SHORT STORY

Scenes From a Return Journey

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All Aboard!

Seven of the world’s most beautiful railway stations words dolores o ’ donoghue

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any of the world’s most iconic train stations were built in the early twentieth century during the golden age of railroads when train travel was new, glamorous and exciting. Monarchs, governments and city planners commissioned top architects and engineers to design monumental

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buildings that made a big impression on travellers. Several of these historic structures still service passengers.

The combination of ‘flight shame’ and the introduction of many highspeed rail routes has brought about a resurgence in long-haul train travel, and a growing number of new stations have been erected in recent years,

contributing to the enduring legacy of train-station architecture. Rail travel is also attractive to travellers who appreciate the benefits of a hassle-free, scenic journey. There’s no need to arrive hours before your train departs, but it’s a good idea to get there with a little extra time to appreciate these places of extraordinary beauty.

travel

Liège-Guillemins Station Liège, Belgium This futuristic structure was designed by Spanish architect Santiago Calatrava, who wanted the station to symbolise modern rail travel and the sleek high-speed trains that use it.

With no traditional façade, the building, which was completed in 2009, features a vaulted glass and steel canopy that establishes a seamless interaction between the interior of the station and the city. Massive white beams form an arch over the five platforms offering protection from the elements, particularly the ever-present rain of the Belgian winter. The glass lets in plenty of natural light and is slightly tinted to filter out the sun’s harmful UV rays.

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Union Station Washington DC, United States Designed by architect Daniel Burnham and opened in 1908, the building is a masterpiece of Beaux-Arts architecture. It is adorned with elaborate statues, a Vermont marble floor, glazed terracotta columns and gold leaf highlights on the vaulted ceiling.

The design also draws on Ancient Roman architectural styles – the Arch of Constantine inspired the main façade and the design of great vaulted spaces of the interior are based on the Baths of Diocletian.

Union Station has hosted many special celebrations and events including six presidential inaugural balls. Over ten thousand people crowded into the station in 2009 to toast President Barack Obama.

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travel

Kazansky Station Moscow, Russia Russia is full of beautiful train and subway stations and this ornate station, which is Moscow’s largest, is no exception. Designed by Alexey Shchusev, architect to both the Tsars and Stalin, it was started in 1913 and completed in 1940.

The unique combination of styles – Art Nouveau, Rococo and details drawn from the Kremlin – is because the interior work was started before the Russian Revolution and portrays the opulence of Imperial Russia.

However it was was completed during Stalin’s reign.

It is the starting point for the Trans-Siberian route from Moscow to Vladivostok, the longest rail journey in the world and the train journey that everyone dreams of taking. The route crosses the enormous breadth of Russia covering 9,258km and takes seven days while crossing several time zones.

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Haydarpaşa Train Station Istanbul, Turkey This palatial building, surrounded by water on three sides, was built on land reclaimed from the Bosporus Strait, which separates the continents of Europe and Asia. Once the busiest train station in the Middle East, the site was chosen as the northern terminus for the Baghdad Railway and the Hejaz Railway in 1904, and the neoclassical building was completed in 1909. It was designed by German architects Otto Ritter and Helmut Conu, who employed German and Italian stonemasons to sculpt the impressive building. Flights of marble stairs lead up to the monumental façade and the interior is decorated with leafy cartouches, festoons, beautiful cornices, pilasters, balconies and stained glass windows.

The station has recently returned to service after being shut for extensive repairs following a devastating fire in November 2010.

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travel

Chhatrapati Shivaji Mumbai, India Designed by British architect Frederick William Stevens, it was originally named Victoria Terminus to commemorate the Golden Jubilee of Queen Victoria. Each day this very busy hub caters an estimated three million passengers with over 1,250 trains pulling in and out of its eighteen platforms.

A fusion of East and West, the design draws inspiration from both High Victorian Gothic design based on late medieval Italian models, and classical Indian architecture. The interior of the building is outstanding – a ribbed dome rests on an octagonal drum with two levels of stained glass panels on the eight sides, originally designed to reduce the glare of the sun.

Estação de São Bento Porto, Protugal Built on the site of a former Benedictine monastery, this beautiful station was opened in 1916. While the BeauxArts style building is striking on the outside, it is the elaborate tile work in the main hall of the interior that gives the station its incomparable beauty. The 20,000 glazed blue ceramic azulejo tiles depict important events in the history of Portugal, and the multicoloured panels depict rural scenes and the daily activities of the Portuguese people. The tiles were painted by Jorge Colaço, the most prominent azulejo painter of the time, over a period of 11 years from 1905 to 1916.

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Hua Hin Railway Station Hua Hin, Thailand Thailand’s southern railway line was completed in 1921, making it possible to travel between Bangkok, Malaysia and Singapore by train. While surveying the railway route, engineers noted the beauty of Hua Hin and when the first section of the line opened in 1911 it became a popular resort town for wealthy Bangkok residents and nobility.

The brightly coloured wooden buildings are Thai in concept and design but also have a Victorian influence. The main building in Victorian style dates back to the mid-1920s.

Close to the main building is the ornate Royal Waiting Room, a beautiful teak wood structure in bright yellow and red colours, which was used by the Thai royals when they visited their seaside summer Palace in Hua Hin. There is also an old steam train on the site that has been converted into a library.

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County Wicklow

on screen

The unique and natural beauty of Wicklow that continues to attract filmmakers from all over the world words dolores o ’ donoghue

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travel

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ounty Wicklow has served as the backdrop for some of the silver screen’s most iconic moments.

Enhanced by a diverse set of landscapes, from glacial lakes and valleys to rugged coastlines and winding country roads, films shot here capture a certain essence that cannot be replicated elsewhere.

Ever since May 1958, when the Wicklow based Ardmore Studios were opened by the then Minister for Industry and Commerce Sean Lemass, Wicklow has welcomed A-list actors such as James Cagney, Richard Burton and Peter O’Toole in the early years and Tom Cruise, Meryl Streep, Christian Bale, Julia Roberts and Matt Damon in recent years.

Three film trails, developed by the Wicklow Film Commission, loop through the county linking the stunning locations.

Follow the signposts to take the Braveheart Drive, Excalibur Drive or Michael Collins Drive through the enchanting landscape that continues to fascinate international filmmakers.

These seven awe-inspiring locations are worth a visit: with the increasing popularity of staycations, many of us have come to realise that when in search of scenic beauty, we need look no further than our own little country. Here are some of Ireland’s most spectacular and beautiful masterpieces that are well worth adding to the list when planning a day trip or a holiday at home.

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01 Killruddery House and Gardens Home to the Brabazon family (the Earls of Meath) since 1618,

family are direct descendants of the first Brabazons to reside

Killruddery House is a stunning Elizabethan-Revival mansion with

at Kilruddery. The gardens and farm produce vegetables, cut

one of the oldest gardens in Ireland.

flowers and meat for Killruddery’s kitchen.

The magnificent 800-acre estate has a sustainable bio-diverse

a farm shop and a weekly farm market. There are numerous

surrounded by painterly formal seventeenth-century gardens, a

activities and events to enjoy including a treetop climbing expe-

high-hedge sylvan theatre and a Victorian walled garden. Special

rience with squirrel scramble, traditional skills from botanical arts

family-orientated features include a faerie woodland village and a

to foraging, talks or engagements on topics of bio-diversity and

giant sandpit in the apple orchard.

horticulture, pop-up suppers, music and theatre.

The gardens, which are open from April to October, are

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The estate’s heritage horse yard has a garden-to-plate café,

working farm, flowering woodland and long ponds. The house is

Killruddery has been used as a shooting location for both

overseen by the family, the 15th Earl of Meath and the next

movies and television series, which include Ella Enchanted,

generation Anthony and Fionnuala, Lord and Lady Ardee. The

The Count of Monte Cristo, Camelot and Becoming Jane.

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travel

02 Glendalough This stunning glacial valley has attracted pilgrims and visitors over

While the round tower is the most prominent building

many centuries for its hallowed surroundings, its traditions and

on the site, there is a remarkable collection of early Chris-

its spectacular scenery. The name is derived from the Irish Gleann

tian churches and related buildings, including a once-grand

Dá Loch, meaning ‘Valley of Two Lakes’. The ancient monastic city

cathedral.

whose remains are dotted across the glen was founded in the sixth

One of the sites associated with Kevin himself is a man-made

century by Saint Kevin and soon became one of the most famous

cave reputedly carved from the rock by Kevin with his bare

religious centres in Europe.

hands. As this is where he slept, it is known as St Kevin’s Bed.

The ruins of the gateway at what was the original entrance to

Although Leap Year was filmed all over Ireland, some of

the city are still to be seen. This is one of the most important mon-

the most memorable scenes were filmed in Glendalough.

uments at the site as it is the only surviving ecclesiastical gateway

Scenes from Reign of Fire and Northanger Abbey were also

from early medieval Ireland.

filmed in the valleys and lakes of Glendalough.

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03 Bray Head to Greystones Cliff Walk This stunning coastal path from Bray to Greystones takes in some of the best of rugged east coast scenery and is one of the highlights

plants and it is also an important habitat for sea birds.

On arrival at Greystones there is an option to return on the Bray

of walking in Wicklow. Much of the walk follows the railway line

Head Looped Trail or by the DART light rail along the most spectac-

around Bray Head that was built in the 1840s along the cliffs. The

ular commuter railway line in Ireland. Bray Head was featured in Neil

hiking trail known today as the Cliff Walk was built parallel to the rail

Jordan’s My Left Foot and Breakfast on Pluto while some scenes

line to serve as a supply road during the construction phase.

from Angela’s Ashes were shot in Greystones. Ardmore Studios is

It is a walk of great contrasts with magnificent panoramic views

based in Bray and has been the base for many major Irish and inter-

of the Irish Sea, the Dublin Mountains, the Wicklow Mountains and

national film productions including The Spy Who Came in from the

the urban sprawl of Dublin City. Along the walk there are many rare

Cold, Excalibur, Veronica Guerin and Ella Enchanted.

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travel

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Blessington Lakes The magnificent Blessington Lakes sit peacefully amid the foothills

While the reservoir is now admired as an area of great beauty,

of the Wicklow Mountains just outside the town of Blessington

the hardship endured by the people who once lived and farmed

and cover 5000 acres of water. The Lakes were formed in the late

in this valley must not be forgotten. The residents of the village of

1930s by the building of the Poulaphouca Dam and hydroelectric

Ballinahown and the surrounding area were effectively evicted by

station. So what appears to be an incredible area of unspoiled

the State. They were bought out by compulsory order at prices that

natural beauty is actually a man-made reservoir.

were particularly low at the time and were cut off from each other

Today the lakes serve a dual purpose of providing a power and

and forced into long detours. Those who did not own land but

water supply to the Dublin region and also a popular location for

made a living from rights to bogland were hardest hit, as they were

water-based activities such as rowing, kayaking, wind-surfing and

not entitled to compensation and were essentially left destitute.

fishing. Drive or cycle the 26km looped route around the lake for amazing views over the reservoir and the Wicklow Mountains.

It’s ironic that the area was featured in the miniseries Neverland, which used the tagline, ‘Journey back to where it all began’.

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photo : robert o ’ byrne ( the irish aesthete )

photo : robert o ’ byrne ( the irish aesthete )

photo : ros woodham

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Luggala Nestled in the Wicklow Mountains lies the magical Luggala Valley and

Guinness. The estate was passed on to Oonagh’s son, the Honourable

Estate that extends to over 1800 hectares and is one of the most

Garech Browne who kept up his mother’s tradition of hosting Irish

spectacular landscapes in Wicklow. In the hollow of the valley and set

and international musicians, writers and artists until his death in 2018.

against a backdrop of breath-taking natural beauty sits the Gothic-

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The Luggala Estate was the setting for John Boorman's Excalibur

Revival-style house that Peter La Touche, a Dublin banker of Huguenot

and some of the best-loved scenes from History Channel’s Vikings

origin, built in 1787. It was acquired by Ernest Guinness early in the

series were shot there. The historical dramas King Arthur and The

last century and given as a wedding present to his daughter, Oonagh

Tudors both used Luggala as a location.

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travel

06 Sugarloaf In the far north-eastern section of the Wicklow Mountains lies one of

of Cambrian Period quartzite bedrock. The summit commands fine

Ireland's most iconic peaks, the Great Sugar Loaf, which is instantly

views of Dublin City and the Wicklow Mountains and, on a clear day,

recognisable by its conical shape. At just 501 metres tall, it is not

across the coast to the mountains of Snowdonia in Wales.

Wicklow’s highest summit, but it stands apart from the rest of the up-

The Great Sugar Loaf Mountain can be seen in Henry V, the

land and dominates the skyline on the road from Dublin to Wicklow.

directorial debut of Laurence Olivier, who also co-produced and

Popularly mistaken for an extinct volcano, it’s actually composed

starred in the film. More recently it can be seen in Reign of Fire.

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07 The Sally Gap A crossroads which lies approximately 503 metres above sea level

outstanding scenic beauty, it is also a very significant ecological

in the Wicklow Mountains that leads north to Dublin, south to Glen-

site, being the best example of mountain blanket bog in the

dalough, west to Blessington and east to the village of Roundwood.

east of Ireland.

The roads in all four directions are spectacular and the scenery is

• Glenmacnass Waterfall: Between the Sally Gap crossroads and

magnificent and unexpected.

Laragh, the Glenmacnass River tumbles over the edge of Mullagh-

The Military Road runs north-south across the spine of the Wick-

cascade in three staggered drops.

men’s Rebellion of 1798. The inaccessibility of the Wicklow Mountains

• Lough Tay (The Guinness Lake) between the mountains of

was proving a problem for the British forces as the rebel army took

Djouce and Luggala. Although on a private estate, it is easily viewed

refuge in the county’s valleys, bogs and mountainsides, where they

from one of the several car parks along the road above.

found safe retreats. Military Road joins the R759 at Sally Gap. The surrounding region has numerous beauty spots including: • Liffey Head Bog, the source of Dublin’s River Liffey. An area of

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cleevaun Mountain forming a spectacular eighty-metre foaming

low Mountains. It was constructed in the aftermath of the United Irish-

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The Sally Gap has long been a favoured location with filmmakers and features in Braveheart, Dancing at Lughnasa, Laws of Attraction and P.S. I Love You.

louise cherry contemporary fine art

Louise Cherry Gallery, Wicklow Town, A67 TX44 www.louisecherry.com I +353 86 804 4747

STAR GAZING

Astronomy Photographer of the Year showcases the world’s best space photography, from spectacular skyscapes to mind-blowing images of distant planets and galaxies words dolores o ’ donoghue

A

photograph of the annular solar eclipse, taken

wich said: ‘Solar eclipses have been capturing the

in Tibet by Chinese photographer Shuchang

interest of humans for thousands of years across the

Dong, has been awarded the top prize at the

world. This image demonstrates not only the beauty

prestigious Royal Observatory Greenwich Astronomy

and simplicity of an eclipse, but also the science behind

Photographer of the Year awards (see page 32).

this astronomical event. Our sun can still be seen as a

The beauty, simplicity and technical excellence of

ring circling the Moon as it passes in front of the Sun,

Dong’s image spellbound the judges. The photograph

and mountains on the lunar surface can be seen hiding

depicts the annular solar eclipse that occurred on 21

some of this light on the lower right-hand portion of

June 2020 in a powerful and atmospheric composition. the image. This is a stunning achievement!’

Competition judge Dr Emily Drabek-Maunder, who is

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Astronomy Photographer of the Year, which

an astronomer, astrophysicist and the Senior Manager

celebrates the artistry of astrophotography, is run by

of Public Astronomy at the Royal Observatory Green-

the Royal Observatory Greenwich in association with

photog raphy

Category: Aurorae – Highly Commended Goðafoss Flow ©Larryn Rae (New Zealand) Goðafoss, Northeastern Region, Iceland, 6 February 2020 This image shows the winter aurora at one of the most recognisable waterfalls in Iceland – the waterfall of the gods, the mighty Goðafoss. The temperature was around -10°C and the calm and clear weather with a full moon lit the area incredibly, which made exposing the image much easier.

The beautiful hues of the Moon, mixed with the aurora, the image of a semi-frozen waterfall and the beams of light across the sky made this night unforgettable for the photographer.

BBC’s Sky at Night Magazine. The Royal Observa-

showcased in the Astronomy Photographer of the

tory is part of the Royal Museums Greenwich and is

Year 13 exhibition at the National Maritime Museum

the home of Greenwich Mean Time and the Prime

which is also part of the Royal Museums Greenwich.

Meridian and is one of the most important historic

Winners, shortlisted entries and a selection of

scientific sites in the world. Since its founding in 1675,

previous winners are published in the competition’s

Greenwich has been at the centre of the measure-

official book, available at Royal Museums Greenwich

ment of time and space, and visitors today can still

shops and website.

stand on the historic Prime Meridian line.

Now in its thirteenth year, the competition received Astronomy Photographer of the Year is sponsored by global insurers, Liberty Specialty Markets. Visit the exhibition until 7 August 2022. Following are best of these exceptional photographs – winners, some of the spectacular winning images: runners-up, highly commended and shortlisted – are over 4,500 entries from seventy-five countries. The

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Category: Our Sun – Winner and Overall Winner The Golden Ring ©Shuchang Dong (China) Ali, Tibet, China, 21 June 2020 On 21 June 2020, there was an annular solar eclipse and the photographer made sure not to miss it. He decided to go to Ali in Tibet to shoot it because it has year-round sunny

32 ANTHOLOGY

weather. However, during the annular eclipse, there were dark clouds all over the sky. The anticipation was high but within a minute of the annular eclipse, the sunshine pierced through the clouds and the photographer was lucky to capture that moment. Afterwards, the Sun disappeared again.

photog raphy

Category: People and Space – Winner Lockdown © Deepal Ratnayaka (UK) Windsor, Berkshire, UK, 20–21 January 2021 With the UK being in full lockdown and travel restricted for many months due to the pandemic, astrophotography became the photographer’s focus. This photo sums up the year 2020 – cramped but hopeful.

The photographer’s six-year-old daughter, who is always very interested in the photoshoots, was around during the set-up. Sitting by the door, she was showing the stars appearing one by one in the sky to her soft toy Max, and this gave the photographer the perfect opportunity to get her in the frame, which complimented the message behind the photo.

Category: Young Competition – Winner Family Photo of the Solar System © 至璞 王 Zhipu Wang (China), aged 15 Yongtai, Fujian, China, 14 August 2020–21 January 2021 This is an image of the Sun, the Moon and the planets of the Solar System (except Earth) taken during the Year of the Rat in China. In this special year, the photographer felt very lucky to produce the images of these celestial bodies, and for a student who has only practised astrophotography for one year, it was a great accomplishment.

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Category: Stars and Nebulae – Winner California Dreamin’ NGC 1499 © Terry Hancock (UK) Whitewater, Colorado, USA, 16–31 January, 6 and 28 February, 2 March 2021 The California Nebula, otherwise known as NGC 1499, was captured over seven nights in 2021 using broadband and narrowband filters, with a total integration time of 16.1 hours. This emission nebula is around 100 light-years long and 1,000 light-years away from Earth. It is named

Category: The Manju Mehrotra Family Trust Prize for Best Newcomer – Winner Falcon 9 Soars Past the Moon ©Paul Eckhardt (USA) Titusville, Florida, USA, 4 February 2021 Four hours before the Falcon 9 launch, the photographer downloaded the Photo Pills app, subscribed to flightclub.io and started intensive research to understand both applications and pinpoint a location where the flight arc would overlap the Moon. When the photographer arrived at the launch location, he was blocked by a gate and ended up on a different dark road with trees blocking the launch pad. After making a quick calculation, he parked and ran a hundred feet in the dark and then the sky lit up as Falcon 9 soared straight up, tilted over, and aimed right at the Moon.

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California Nebula because it appears to resemble the outline of the US State of California. The raw data was pre-processed and the stars were removed using a tool called Starnet, then later replaced during post-processing with the more naturally coloured stars from the RGB (red, green, blue) data. While the colours in this image are not the true colours, the narrowband filters reveal much more of the hidden gasses not visible in a broadband image.

photog raphy

Category: Our Sun – Highly Commended Curtain of Hydrogen ©Alan Friedman (USA) Buffalo, New York, USA, 17 June 2020 This beautiful large prominence graced the surface of the Sun over several days and was recorded in good seeing conditions. ‘Good seeing conditions’ here refers to the steadiness of the Earth’s atmosphere rather than to cloudless skies. Only when the atmospheric turbulence is low can fine details and structures be seen with clarity.

Category: The Annie Maunder Prize for Image Innovation – Winner (Joint) Celestial Fracture © Leonardo Di Maggio (UK) The Cassini missions brought back some astounding imagery of our solar system. The photographer used a selection of the CICLOPS team’s photographs of Saturn to create this piece. The patterns formed by Saturn, its rings and its moons are truly magnificent. The photographs have echoes of architecture, nature, art and design, and are just as artistically inspirational as they are crucial for scientific study. The photographer edited several spectacular images before assembling the fragments into a grid pattern, ordering them in this particular way to retain the remnants of familiar imagery, but in a fractured and disrupted way with undertones of science fiction symbolism.

photog raphy

Category: The Annie Maunder Prize for Image Innovation – Winner (Joint) Another Cloudy Day on Jupiter © Sergio Díaz Ruiz (Spain) High clouds on Jupiter create intricate and beautiful shapes that swirl all over the planet. In order to get a colour image when there are only three colour channels (red, green, blue), some sort of filter-to-channel mapping must be done. PixInsight was used for the rest of the processing: custom white balance, deconvolution and wavelet transformation for detail enhancement, contrast and saturation curves. The areas corresponding to the poles were too bright and distracting so they were darkened by colour masking.

Category: Skyscapes - Winner Luna Dunes © Jeffrey Lovelace (USA) Death Valley National Park, California, USA, 25 February 2020 The smouldering crescent Moon floats in an ocean blue atmosphere above quiet, glowing dunes of sand, and the red of the sunset has faded into blue twilight. The photographer hiked deep into the dunes and eventually found the foreground he had imagined for this shot. Once everything was assembled, he looked up and there hung a shining sliver of a crescent moon outlining its dark but visible face. This HDR/perspective blend integrates four images, all shot that evening with the same 70–200-mm lens, and from the same tripod location. The images were combined in Photoshop and together they effectively replicate the sublime scene the photographer witnessed that evening.

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Category: Aurorae – Winner Polar Lights Dance © Dmitrii Rybalka (Russia) Approach to the Kara Strait, Russia, 30 November 2020 As Third Officer, the photographer was keeping watch that night on the bridge of the ship when he noticed a tiny white band in the sky approaching like a snake. He had a feeling that there was something in the air, that something great would happen, and instantly knew that this was what he had been waiting for. He got his camera, went to the bridge wing, took position and waited.

A few minutes later, the sky was full of bright green lights dancing in darkness and shining over everything below. The photographer felt that it was his mission to share this beauty with the world.

Category: Our Moon – Runner-up Lunar Halo © Göran Strand (Sweden) Östersund, Jämtland County, Sweden, 25 January 2021 This is a bright 22° lunar halo. When the photographer took this photo it was -16°C and the air was filled with small ice crystals that made this halo possible. This regular 22° halo is more commonly seen around the Sun. The moonlight needs to be quite strong to make the halo visible, so it’s more common around the days of a full moon. That night, the Moon was 90% lit so almost full. To the left can be seen the city lights of Östersund, Sweden. At five o’clock in the halo, it can be seen crossing the constellation of Orion. In the foreground, there are rabbit tracks.

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photog raphy

Category: Galaxies – Winner The Milky Ring © Zhong Wu (China) Sichuan and Qinghai, China; Lake Pukaki, New Zealand, January–February 2020 and August 2020–January 2021 An expanse of cosmic dust, stars and nebulae along the plane of the Milky Way galaxy form a magnificent ring in this image. The panorama covers the entire galaxy visible from planet Earth. It is an ambitious 360-degree mosaic that took the photographer two years to complete. Northern hemisphere

sites in China and southern hemisphere sites in New Zealand were used to collect the image data.

Like a glowing jewel set in the Milky Way ring, the bulge of the galactic centre is at the very top. The bright planet Jupiter is the beacon just above the central bulge and to the left of the red giant star Antares. Along the plane and almost 180° from the galactic centre at the bottom of the ring is the area around Orion. The ring of the Milky Way encompasses two notable galaxies in the southern skies, the large and small Magellanic Clouds.

STOCKIST OF FARROW & BALL PAINT & WALLPAPER

Earrings for Now and Forever at Weir & Sons Dublin

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s the weather takes a cold turn and we cosy up with warm sweaters, hats, scarfs and gloves, dramatic earrings are a great way to add a little sparkle to an outfit.

Earrings are also a perfect treat for yourself or a thoughtful gift for someone special.

From studs, drops and hoops to diamonds, pearls and gemstones, earrings have long been the ultimate accessory in any woman’s collection.

Whether you are looking for an elegant pair of everyday studs, an extra special gift of diamond earrings, or looking to make a statement with stand-out drop earrings, Weir & Sons’ collection excels in quality and choice.

Grafton Street, Dublin 2 +353 1 6779678 Dundrum Town Centre Dublin +353 1 2157845 weirandsons.ie

Turn up Finding the best and most efficient heating solution for today’s home words louise higgins

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When it comes to choosing the right heating solution there are plenty of factors to consider such as cost efficiency, sustainability, style, function and, of course, reliability in providing warmth and comfort. Here are a few guidelines to consider depending on your property type.

Deal with draughts Draught proofing is a very effective way to make the home more comfortable and energy-efficient.

Fixing seals on windows and doors or adding a chimney balloon will shut out draughts while also preserving heat. Draught excluders are a great way to stop cold air from sweeping through gaps and come in an array of fabric choices to match the existing interior. Interlined curtains will act as another layer of insulation and will keep a room warm and cosy. If unsure where the heat is escaping, it is possible to have an airtight test to identify the source of a draft.

Fireplaces A fireplace can act as a stunning focal point, and with so many styles available it is important to consider the style/period of the room. In addition, the fuel source to be used must be decided on. The traditional wood-burning fireplace will probably never go out of fashion, but electricity

and gas are also options. The size will also be a consideration as the size of the existing opening, chimney breast and flue will have to be taken into account. However, it may be worth making the structural alterations necessary to achieve the preferred fireplace style. Traditional and classic fireplaces are perfect for most homes. Some materials to consider are granite, limestone, marble, wood and cast iron. Visiting architectural salvage and reclamation yards can be productive for unique finds. Contemporary fires and fireplaces whether gas, gel or electric can offer flexibility in terms of size and style to add a sleek contemporary finish to modern interiors.

Underfloor Heating Underfloor heating is highly energy-efficient and a good choice for new builds, offering ultimate comfort with limited maintenance and of course a thermostat to control the temperature in each room.

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Thermal Energy Storage

Solar Panels

Integration of thermal energy storage can increase energy efficiency and reduce greenhouse gas emissions. It is compatible with many types of heating systems and renewable sources of energy: whether it’s gas or oil boilers, solar panels, heat pumps, biomass boilers or wood-pellet stoves. The basic principle is that energy is supplied to a storage system to use at a later time.

Considered the most attractive source of renewable energy, there are two different types of solar panels: Concentrated Solar Power (CSP) captures the sun’s heat and converts it into mechanical energy and in turn electricity, using various mirror configurations. They are more commonly found in countries with year-round sunshine.

Solar Photovoltaics (Solar PV) use the sun’s light which is converted directly into electricity using panels made of semiconductor cells. These are the most common solar technologies worldwide and will function better than CSP panels in cloudy weather or where there is limited direct sunlight.

Heat Pump Systems The most common type of heat pump is the air-source heat pump, which works by using a compressor to draw heat from the air outside, converting it to vapour which is compressed at high temperatures to produce heat. It can be a great way to reduce carbon footprint and save on energy costs, working best in well-insulated homes.

A geothermal heat pump exchanges heat with the earth instead of the outdoor air. It works by tapping into the renewable solar energy stored in the ground and can greatly reduce energy costs.

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Wood Pellet Boilers /Biomass Boilers Other sustainable heating systems worth considering include wood pellet or biomass boilers. Stoves can be used as standalone room heaters but they can also be connected to a

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boiler to harness the stove’s energy to provide heat and hot water to the rest of the house. One of the biggest attractions of this eco-friendly system is its ease of use and sense of simplicity. It’s really going back to basics, burning a sustainable/ renewable fuel to generate heat and energy.

Heat Recovery Ventilation Systems (HRV Systems) The main principle behind the HRV system is to continuously change the air in the house and to use recovered heat to warm the incoming air. It extracts heat through a ventilation system from the air that evaporates from hot water in bathrooms and kitchens. The system will recover up to 95% of the heat normally lost through open windows, vents and other breakout points.

Use Smart Technology Optimise energy usage with the use of smart technology by programming central heating and water to come on at specific times to suit requirements and of course, to save energy.

Some devices to consider are Nest, Climote and Hive which can be connected to an app via a smartphone. Some of the devices are so clever that they can pick up an individual’s energy consumption pattern and create a personalised schedule making it convenient to rein in energy use and therefore reduce energy bills.

Louise Higgins, founder of Aspire Design, is an award-winning designer and a graduate of the Interior Design Academy of Ireland. Louise is a full member of the Interiors Association and is also a member of the Crafts Council of Ireland. For further advice, contact Louise at +353 45 982265 or louise@aspiredesign.ie

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Buckley Fireplaces When it’s cold outside, there is nothing quite like the sense of warmth and comfort created by the flickering flame of an open fire. Buckley Fireplaces, based in Stepaside, Dublin, offer an extensive range of all-inclusive fireplace packages from solid fuel, gas and electric fire options.

Buckleys make all their fireplaces using traditional and experienced stone masons working with natural stone, granite, limestone and marble, offering the very finest in mantels, fireplaces and chimney pieces.

PHOTOS: Dik Geurts Instyle Tunnel Wood Burning Stove with raised hearth on one side and flat hearth on the other. This see-through, inset fire can be built into a pre-fabricated chimney breast or room-dividing wall. +353 1 294 6865 I buckleyfireplaces@gmail.com The Stoneworks, Ballyedmonduff Rd, Stepaside , Dublin 18

Don’t grin and bear the cold this winter. Switch from oil to Flogas LPG and get a FREE ideal Logic 24kw BOILER* There are many benefits of switching from oil to Flogas LPG including: • FREE Gas Boiler: When you switch from oil to Flogas LPG* • Highly versatile: You can benefit from cosy central heating, instant hot water on demand, controllable cooking and easy to operate gas fires • Safe and secure: LPG cannot be stolen • Cleaner and greener: LPG is a clean, lower carbon and innovative energy source. It’s up to 100% efficient • Remote Monitoring: With this system you can rest assured you’ll never run out of gas *T&C apply see flogas.ie/homeheat for more

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Both visually pleasing and practical, it has an impressive heat output and energy efficiency rating.

Flogas Heating at Home

D E B O R A H J OYC E

Sometimes We Need to Go Backwards Before We Can Move Forward

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+353 85 858 7848 deborahjoyce100@gmail.com https://deborahjoyce.art

ver the past few years Deborah Joyce worked from her family home in Achill Island, but she has recently returned to work in her old studio and now realises how much she missed it. Having reclaimed her sanctuary, she reflects on the crazy days of painting while being constantly interrupted by family and her four dogs.

She recalls an incident when she found Rufus, her thirteen year-old corgi, taking a nap in the middle of an extremely wet oil painting (that did go on to sell, complete with his creative mark!)

‘I don’t mind a bit of chaos,’ says Deborah, ‘and the dogs still come in the studio. However, it feels good to have a bit more space and a place where my clients can call in.’

The studio is open by appointment during the summer months.

Deborah’s original works are available at The Boathouse Gallery in Kinsale, Castlemartyr Gallery in Cork and Caffreys Gallery in Ballina. Limited edition prints are available from giftedfromireland.com, Westport Designs in Westport, Achill Top Drawer and Pantry, The Sheep and Wool Centre, Leenane, The Old Irish Goat Centre, Mulranny and on the artist’s website.

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Interior Design A design concept that connects humans with the natural world, providing a positive impact on health, productivity and wellbeing words jackie t yrrell

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n recent times there’s been a significant shift of approach in interior design that strives to enhance human wellness and betterment. Architects and designers have been considering novel approaches not just to how a space can look better, but how it can be better for the humans that occupy it. Biophilic interior design focuses on creating a space connected with nature. The term biophilia was first used by the German-born American social psychologist and psychoanalyst Erich Fromm in his book, The Anatomy of Human Destructiveness (1973), to describe a psychological tendency in humans of being attracted to all that is alive and vital.

However, the concept is not new. Over 2000 years ago the Romans were designing homes with outdoor spaces. In the classic layout of the Roman Domus, the atrium, an open central hall, served as the centre of the house’s social, business and political life. It was open at the roof, which let in light and air for circulation, and also allowed rainwater for drinking and washing to collect in the impluvium, a shallow pool sunken into the floor.

The peristylium, an open garden courtyard within the house, offered a tranquil refuge from stress, noise and crowds. The occupants sought to create healthier cleaner air, wanted improved scents and less noise pollution specifically to improve health and wellbeing.

It is essential that interior design primarily focuses on the human experience and considers the physical, mental, and emotional needs of the people that will occupy a particular space. Contemporary interiors are increasingly incorporating biophilia as a holistic approach to design to promote health, safety and welfare.

As cities grow taller and denser, many structures consist of windowless spaces with artificial light. This lack of daylight significantly affects the physical and mental health of those spending time in these environments. To combat such issues, biophilic design looks at the impact that nature has on humans. It then works to incorporate these positive aspects into our everyday lives.

Biophilic design can be organised into three core principles – Nature in the Space, Natural Analogues and Nature of the Space. These core principles encompass fourteen patterns of biophilic design.

‘For furniture, choose sustainable woods or other organic materials such as bamboo, which has great durability and strength’

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01 Nature in Space This literally means to bring the outdoors inside. It addresses the direct, physical and ephemeral presence of nature in a space or place.

This can be achieved by including plant life, animals, water, sounds, scents and other natural elements that will ignite the five senses. The seven biophilic design patterns that make up this category are:

1. Visual connection with nature: Stimulating views to elements of nature, living systems and natural processes. This can include a window with a garden or sea view, potted plants, flower beds, courtyard gardens or artwork of natural scenes.

Experience: Stimulating or calming.

Conveys a sense of time, weather and living things.

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2. Non-visual connection with nature: Focuses on the nonvisual senses. Listening to the singing of birds, the trickle of water flow, the crackling of a fireplace. Scent elements can include naturally fragrant plants or essential oils. Touch can be stimulated by using natural or artificially-textured materials or the opportunity to interact with an animal, and taste by a kitchen herb garden or edible plants.

Experience: Fresh and well-balanced. Sounds, smells and textures that are reminiscent of being outdoors in nature.

3. Non-rhythmic sensory stimuli: The rich sensory stimuli of nature, inconsistent yet unpredictable motion, such as the movement of a cloud, the flicker of a flame, the sway of grasses, leaves in a breeze or ripples on water.

Experience: A brief but welcome distraction that is interesting, stimulating and energising.

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4. Thermal and airflow variability: Changes in temperatures and airflow that occur in natural environments. This can naturally occur when the sun passes through a window or airflow across the skin. Subtle changes in air and surface temperatures can be introduced to mimic natural environments. It is common practice to keep the temperature at the same level all day but this is not recommended.

Experience: Invigorating, refreshing, active and alive, but also comfortable.

5. Presence of water: Water enhances the built environment experience since it can be seen, heard and touched. This can be achieved by including a water wall, an aquarium or simply by playing water sounds.

Experience: Stimulating, powerful, fascinating and looks attractive.

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6. Dynamic and diffuse light: Provide varying intensities of light and shadow that change over time, to create conditions that appear in nature. This may naturally occur through sunlight, moonlight or firelight. It can be mimicked with dimming features and accent lighting.

Experience: Displays signs of time and movement and causes feelings of drama and intrigue.

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7. Connection with natural systems: Awareness of natural processes and the changes that occur during natural life cycles such as seasonal changes, reminding us of the process of healthy ecosystems. Create consciousness of seasonality and cycles with native plantings that grow and die with the seasons.

Experience: Creates awareness of seasonality and cycles of life. Can be nostalgic, profound and enlightening.

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02 Natural Analogues Introducing non-living evocations of nature to include objects, materials, colours, shapes, sequences and patterns. These can be in artwork, ornamentation, furniture, décor, and textiles. The three biophilic design patterns that make up this category are:

8. Biomorphic Forms and Patterns: Symbolic references to contoured, patterned, textured or numerical arrangements that exist in nature. These can be incorporated through natural colours, organic shapes, curves and other geometrical forms. Introduce fabrics, carpets or wallpapers with floral patterns, or sculptures that mimic natural elements.

Experience: Interesting, fascinating, attractive but also comfortable. Can provoke abstract thinking and creativity.

9. Material Connection with Nature: Materials and elements from nature that, through minimal processing, reflect the local ecology or geology and create a distinct sense of place. Examples include indigenous materials such as specific types of wood, clay, leather, stones or wool.

Experience: Rich, warm, authentic and comforting, and can sometimes stimulate touch. anthology

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10. Complexity and Order: Rich sensory information that adheres to a spatial hierarchy similar to those encountered in nature. Repetitive and symmetrical shapes can be introduced in wallpaper, carpet design and flooring. Fractal patterns can be found in classical art and ancient Mayan and Egyptian art. Embracing this concept satisfies a psychological need that everyone strives for, namely wholeness, integration and order.

Experience: Engaging and information-rich.

Makes for an intriguing balance between boring and overwhelming.

03 Nature of the Space Addresses spatial configurations in nature. This includes our innate and learned desire to be able to see beyond our immediate surroundings and our fascination with the slightly dangerous or unknown, but also the provision of a place for withdrawal, providing a feeling of safety. The strongest Nature of the Space experiences are achieved through the creation of deliberate and engaging spatial configurations commingled with patterns of Nature in the Space and Natural Analogues. The four biophilic design patterns that make up this category are:

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11. Prospect: A space that feels open and free with an unimpeded view over a distance, for surveillance and planning. Displaying a piece of art at the end of a long hallway will highlight the open space while keeping a focus. Consider open plan and transparent materials.

Experience: A feeling of openness and freedom but also stability and safety.

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12. Refuge: A place for withdrawal from environmental conditions or the main flow of activity, in which the individual is protected from behind and overhead. Examples include incorporating high-backed chairs, reading nooks, booth seating or canopy beds.

Experience: Feels safe and provides a sense of retreat and withdrawal for work, protection, rest or healing. Separate or unique from surroundings but not necessarily disconnected.

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13. Mystery: The promise of more information, achieved through partially obscured views or other sensory devices that entice the individual to travel deeper into the environment. This can be achieved by incorporating curved edges, winding paths and obscured views.

Experience: A sense of anticipation that makes one want to investigate further, understand or explore.

14. Risk/Peril: An identifiable threat coupled with a reliable safeguard. Art that seems to defy gravity using magnets, life-sized photography of feared animals or a transparent railing or floor panel are all examples of how to introduce this concept.

Experience: Exciting, intriguing, even irresistible but with a suggested threat that may be a little harmful or negative. Creates an urge to explore.

Jackie Tyrrell Design is an award-winning interior designer who specialises in biophilic design. Her experience also embraces interior and graphic design, product branding and project management.

She formerly lectured at the Dublin Institute of Design. For further advice, contact Jackie at +353 86 277 87 96 or jackie@jtd.ie 58

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WILD INSIDE Ten practical tips to infuse the built environment with biophilic design for improved wellbeing words jackie t yrrell

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The places where we work and live can have a huge impact on our health and happiness. Following the concept of biophilic design, we can bring a little of nature’s magic back into our everyday lives.

Here are some suggestions for easy and accessible ways to start introducing elements of biophilic design into your home or office:

1. FRESH AIR

Open up windows widely to let the fresh air and the sound of nature into your home and your mind. Listen to the sound of birds, rain or wind. Breathing in fresh air improves both the immune system function and the mood. It will also flush out stale air and balance moisture levels.

2. MAXIMISE NATURAL LIGHT Try to make the most of available natural light by keeping windows clear and clean. Reposition furniture, blinds, curtains or anything that’s blocking the full potential of sunlight.

3. INCORPORATE PLANTS

The natural and random patterns created by plants add texture and visual interest. Add greenery in pots or trailing plants hanging from the ceiling. Introduce plants that captivate the sense of smell, such as rosemary and lavender. Plants are also natural air purifiers and mood boosters.

4. USE NATURAL MATERIALS Use natural materials like bamboo, cork, sustainable timber, stone and rattan. Organic materials not only add texture and provide a connection to nature, they also offer positive effects such as good moisture management, thermoregulation, odour control and antimicrobial properties.

5. EMBRACE SHAPES OF NATURE

Play with organic shapes such as soft curves, abstract forms that mimic the shapes found in natural objects. Organic shapes can create a calming, flowing atmosphere and help soften sharp lines in other parts of the room. anthology

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6. COLOURS OF NATURE From lush forests to bright flowers and fiery sunsets, nature is brimming with colour inspiration. Channel the calm and beauty of the outdoors with palettes that can include fresh greens, watery blues and warm earth tones.

7. PLAY WITH FIRE

Fire provides a direct experience of nature offering colour, warmth and movement. The flames of an open fire are cosy and inviting. The flickering of a candle is a simple but impactful way to add a spark of light and will make any space glow.

8. GO WITH THE FLOW

Many of us feel strong connections to water, and water sounds create a soothing atmosphere. Modern water features can be adapted to suit virtually every type of space, regardless of size or shape. Indoor options include rain curtains, waterfalls, water walls and fountains. Aquariums are also an excellent choice as watching fish can help reduce stress and anxiety.

If short on space, a table-top fountain is a wonderful way to tap into the interior water features trend.

9. VARY HEIGHTS AND SCALE Perfectly straight lines and symmetry rarely exist in nature and the same goes for height. Trees, flowers and plants in different shapes and sizes live side-by-side.

Having items of similar size, shape, and scale can feel contrived and man-made whereas varying the height and scale of decor mimics the randomness of nature and is more visually interesting.

10. CREATE A COSY NOOK Create a cosy space to read, meditate, enjoy some ‘me time’ or to simply relax and de-stress. Having a designated place for refuge is known to enhance our wellbeing and give us a sense of safety.

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INSPIREDby Nature Carol Cronin Artist – Dingle, Co. Kerry Based in Dingle, Kerry, artist Carol Cronin’s seascapes capture the power and ever-changing moods of the Atlantic Ocean and the rugged West Kerry coast There’s something about water that delights us and inspires us. The beckoning quality of the ocean has an amazing power to captivate and enthuse artists and viewers alike.

Tranquil, peaceful and relaxing but also mighty, capricious and relentless are all words we traditionally associate with the sea and its representations. We draw energy and vitality from the ocean, we draw sustenance from it and we learn to respect its power.

Carol’s unnerving ability to capture the movement of the sea on canvas is what draws us in, making it impossible to separate ourselves from her paintings. To view her seascapes is to embark on an adventure into the sea. carolcronin.com

The ZINZAN replica Little Petra Lounge Chair A chair design that became associated with the Danish Funkis Style, a functionalist design aesthetic popularised in Scandinavia in the 1930s. It was a gentler, more opulent and organic aesthetic that challenged the minimalistic approach of Bauhaus.

‘Little Petra’ is famous for its inviting design: the deep seat and the wide, curved backrest invite you to luxuriate and provide exceptional comfort. The curved ears gently embrace, making you feel safe and welcome. Four rounded wooden legs form the basis of the chair and their shape underlines the organic design.

A true statement piece that will get the conversation flowing in your favourite place.

Height: 75 cm, Depth: 83 cm, Length: 81 cm, Material: Sherpa Boucle, Price: €725.00. zinzan.ie

The Tahiti Porcelain Tile at Regan Tile Design Tiles can be a great solution for those who aspire to bring the outside in and enjoy the colours, shapes and tranquillity of nature in a practical way. There are now an increasing number of tile designs that take their inspiration from and incorporate the beauty of nature. One such design that is ideal for a feature wall in a bedroom, a conservatory or indeed a bathroom is Tahiti, a porcelain tile depicting the shapes and colours of tropical vegetation. Sized 60 cm by 120 cm, it is available from Regan Tile Design in Dun Laoghaire. regantiledesign.com

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Castlemartyr House

JOHN NOLAN

Gallery & Gifts MAIN STREET, CASTLEMARTYR www.castlemartyrhousegallerygifts.ie

Unique Gifts For All Occasions Gallery Featuring Local Artists and Artists From Many Parts Of Ireland Workshops & Art Demos Ongoing Call Órla 086 3133 096

slip stream

ART FAIR - 11th and 12th December

Come and meet a selection of artists, who will be in attendance.

Outdoor event with refreshments and music.

The SeaRooms Art Gallery Monkstown, Co. Dublin A94NY68 info@searooms.ie I +353 83 0958323

INSPIREDby Nature Deborah Joyce Artist – Achill Island, Co. Mayo The visually arresting and emotional paintings created by Deborah Joyce are all about natural rhythms, movement and energy. Her inspiration is derived from the ever-changing aspects of nature, which are known to improve vitality and mood. She works across all disciplines of art and design, including interior design. Her innovative works are known for their power, vibrancy and natural verve.

Living up a mountain surrounded by views of the Cliffs of Benmore, wild hares, sea birds, the Atlantic Ocean and the magnificent Keem Bay, Deborah’s work is very much a reflection of her surroundings.

Achill Island can be mysterious and eerie with unpredictable and harsh weather conditions. This experience is echoed in Deborah’s work as she draws from her journeys along the coastline and through the mountains, capturing moments in time, with Mother Nature providing constant inspiration. deborahjoyce.art

June McIntyre – Dingle Artworks A celebrated artist, June McIntyre has captured just about every beautiful corner of the Dingle Peninsula over the thirty-five years that she has lived there.

Her unique style is a result of years of observation and experimentation with silk paints on silk using the batik wax-resist method. June was a teacher of art for many years, hence her competence in working with rich and varied media.

A visit to her gallery, Dingle Artworks, is truly inspirational for both artists and art lovers. June’s artwork is to be found in homes and collections all over the world. Shipping worldwide can be arranged. When visiting Dingle, all are welcome to drop in and say hello.

Check out the new and wonderful website dingleartworks.com

Egan Stone, Kilbeggan, County Westmeath Granite countertops are favoured for a good reason; they’re durable, elegant and easy to maintain, and each piece is unique! Granite’s timeless appeal, environmentally friendly nature and grained appearance adds a touch of quality and luxury, and it’s available in so many different shades that it will suit the design needs of any project.

Choosing a slab of granite for your interior décor is like adding an original piece of art to your home to enjoy every day.

Egan Stoneworks and Egan Granite & Marble, based in Kilbeggan, County Westmeath, are a well-established family business spanning an amazing six generations. They specialise in high quality granite and pride themselves in quality and service. eganstone.ie

Eco-Friendly Peppermint Grove An exquisite collection of Australian soy candles, diffusers and bath and body products to bring luxury and timeless sophistication to modern-day contemporary living. Each of the ten luxurious and captivating fragrances from the range has been carefully created to encapsulate a unique part of the beautiful and immense Australian landscape. These scents will lift your mood and bring a feeling of tranquillity and serenity to your home.

All candles are made with natural soy wax lead-free wicks which lend themselves to a longer, cleaner, environmentally friendly burn.

All products are paraben-free and contain no animal-derived products. All outer packaging is fully recyclable. peppermintgrove.ie 66

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CAROL CRONIN SEASCAPES The Carol Cronin Gallery, Upper Green Street, Dingle, Co. Kerry Tel: 086 103 1074 info@carolcronin.com www.carolcronin.com

+353 87 644 0320 I felicia@feliciathomas.ie feliciathomas.art I www.feliciathomas.ie

i

Explore the world of the finest in home design at

The Victorian Company, Dundalk

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he recently opened Victorian Company interiors shop in Dundalk, Co. Louth, set in a converted factory, has already established itself as a destination store where locals, tourists and day-trippers can enjoy a comprehensive selection of unusual and unique furniture and home accessories.

The beautiful old building is unique, with its own identity and distinctive visual character. Being specialists in period building restoration and supply was a distinct advantage for the owners, Mark and Brona McDonagh, as they set about restoring the building.

Under the same ownership as the Victorian Kitchen Company in Swords, Dublin, both stores can supply their own signature handmade kitchens and furniture, custom bathrooms, salvaged flooring and Arroll cast iron radiators.

The mix of antique and contemporary furniture and accessories offer unique inspiration on how to add a visually intriguing sense of balance to your home interior.

Here you will find a thoughtfully curated selection of lighting, kitchen accessories and cookware. There is also an exquisite collection of sofas, coffee tables, lamps and mirrors as well as outdoor furniture and planters.

Additionally, the Victorian Company provides a platform for local artists to exhibit their work.

This chic design store offers a really enjoyable shopping experience and is well worth a trip to Dundalk. If you can’t visit in person, there is lots to browse through on their website.

www.victoriancompany.ie Victorian Company, Castle Road, Dundalk, Co. Louth

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Jackie Tyrrell Design interior interior architecture architecture ·. interior interior design design ·. graphic design

Forall allyour your Commercial commercial and residential interior needs, For & Residential interior needs including Spaceplanning, planning, includingDesign design& & Build, build, space Branding, Softfurnishings, furnishings & project Projectmanagement management branding, Sourcing, sourcing, soft and w: www.jtd.ie

e: jackie@jtd.ie

m: 086 277 87 96

New range of quartz available MAIN STREET, KILBEGGAN, CO. WESTMEATH, IRELAND, N91 FNK1

T: +353 57 93 32167 / +353 57 93 33946 F: +353 57 93 32978 I E: info@eganstone.ie

www.eganstone.ie

EARTHIris van Herpen:

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The Amsterdam-based designer drew on the ‘indescribable beauty’ of the planet for her Earthrise Collection words edel cassidy

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Widely heralded as one of fashion’s most forwardthinking designers, Iris van Herpen discovered fashion for the first time in her grandmother’s attic, where she unearthed a mini-museum of garments and costumes that opened her eyes to another era. Throughout her career, the designer has been fascinated by fluidity and the entangled art of movement, partly inspired by her training in classical ballet.

Her work is also deeply embedded in nature. Its beauty, mystery and chaos are aspects that the designer draws inspiration from. Elements of water, air and earth, and its translation into liquescent, diaphanous or textural forms, sculpt the celestial designs.

The cyclical processes of planet Earth informed the designer’s latest collection, which includes dresses made from Parley for the Ocean’s recycled-plastic fabrics.

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Creative Spaces

words edel cassidy

Argentinian graphic artist and illustrator Max Dalton recreates famous artists at work in their studios

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n artist’s studio is often an intimate space: a place to escape from outside distractions, an environment to foster experimentation and artistic creation. An artist’s surroundings can be an influential factor in their creative process and will often

mirror the aesthetic of the paintings and sculptures made in that space.

So, what does an artist’s studio really look like? In his Cannes studio, Picasso surrounded himself with an eclectic mix of paraphernalia including furniture, sculptures, ceramics, drawings and prints. In her creative universe and home, Casa Azul, Frida Kahlo kept her many pets, including monkeys, dogs, birds and a fawn. Francis Bacon’s legendarily messy workspace contained hundreds of books, catalogues, crumpled photographs, slashed canvases and empty champagne bottles, amid dusty shelves piled high with art supplies.

Following his death in 1992, the chaotic studio of Bacon, one of the twentieth century’s most celebrated artists, was preserved and later donated by his heir, John Edwards, to The Hugh Lane Gallery, Dublin. The entire studio was relocated to the Gallery in 2001.

Having visited the rebuilt Francis Bacon studio, Argentinian graphic artist and illustrator Max Dalton could envision a direct connection between what he saw in Bacon’s work and the environment that he worked in. Inspired by this thought, he decided to create a series of illustrations that portrayed well-known artists and the fascinating settings in which they created great art.

He describes the process he has developed: in preparation, he thoroughly researches the lives of the artists and their studios, searching for images and interesting stories that connect them to their place of work. If possible he will visit the studio and even walk around the immediate area trying to imagine how it looked like in the artist’s time.

Through his research, Dalton has found that all of the studios have interesting stories behind them that relate to the art created in that space. Each intriguing illustration that

‘Dalton has found that all of the studios have interesting stories behind them that relate to the art created in that space.’

he has produced is full of detail about the individual artists and the places where they found inspiration for their creative process.

This series of illustrations will make up a book that is still in production. The book will focus on the artists’ creative environments rather than the story of the artists themselves.

The images shown here are just a small part of the series of artist’s studios that he is planning on including in the book. He hopes to also include Duchamp, Klimt, O’Keeffe, Magritte, Frankenthaler, Varo, Carrington, Dalí and many more.

Dalton spent six months studying under the British-Argentinean abstract painter Kenneth Kemble, but is mainly a self-taught artist. He is also an avid musician, and music has a great influence on his work and life. He studied at the School of Music of Buenos Aires, Argentina, and he plays guitar, piano, double bass and occasionally a bodhrán that he bought in a tiny music shop on a visit to Doolin in County Clare. Born and raised in Buenos Aires, and now living in Berlin, Dalton’s ancestry is Austrian and Okinawan. He works as a freelance illustrator for advertising, editorial and personal artistic projects.

Further information at max-dalton.com

far left and right: Max Dalton at work in his studio; left: Max with his Irish Red Setter, Guinness

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Andy Warhol Andy Warhol’s New York City studio, known as ‘The Factory’, had three locations between 1962 and 1984. His original studio at 231 E47th Street in New York (1962 to 1968) was referred to as the Silver Factory and was decorated from floor to ceiling with silver paint, tin foil and fractured mirrors.

The studio earned its name due to the mechanical nature of Warhol’s work. With screen printing as a primary medium; he was working on a mass scale with an assembly line of assistants. In the summer of 1964, Warhol created Flowers, a series of works that were produced at the rate of as many as eighty prints a day in a variety of sizes. Warhol worked on the large Flowers paintings himself but employed a legion of assistants to turn out an estimated 900 smaller prints.

Warhol had no interest in creating art just for the wealthy and pioneered a more commercial approach. His pop-culture subject matter appealed to wider society and enabled him to target the masses. Rather than painting every piece by hand, he would simply print his stencilled designs, allowing him to reproduce a work multiple times and churn out prints at great speed.

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Yayoi Kusama Inspired by American Abstract Impressionism, Yayoi Kusama moved from her native Japan to New York City in 1958 and was a central figure of the New York avant-garde scene throughout the 1960s, especially in the pop-art movement. There was a point when Kusama was just as popular and notorious as the likes of Andy Warhol and Claes Oldenburg.

The respect she had earned during the 1960s was diffused by America’s conservative political context of the 70s, so in 1973 she returned to Japan broke, disillusioned and in poor health. Hallucinations and panic attacks that she had experienced in her adolescence returned and she was hospitalised several times before voluntarily checking herself into a psychiatric hospital in 1977, where she still lives.

Until 2000 Kusama worked from a studio in the hospital, where she rebuilt her career.

When a larger space was necessary to facilitate the quantity and scale of the work she was producing, she acquired a studio which is located across the road from the hospital and works there six days a week, where she sits in a chair and paints on a flat surface.

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Jean-Michel Basquiat American graffiti artist-turned-Neo-expressionist painter Jean-Michel Basquiat, known for his raw gestural style of painting, took the art world by storm in the 1980s. From 1983 until his untimely death, Basquiat lived and worked at 57 Great Jones Street, an East Village loft owned by his friend and mentor Andy Warhol.

A prolific artist with an innate need to create, Basquiat worked at his studio all day, every day. Collectors, graffiti kids, groupies and celebrities dropped in both by day and by night and would find a paint-splattered studio strewn with art, garbage, toys, magazines and books. Furnishings and walls were adorned with scribbles. He worked from a floor-based set-up and always liked to work with the television on. It was here that he died of an accidental drug overdose at the age of twenty-seven on 12 August 1988.

In 2016, the Greenwich Village Society for Historic Preservation unveiled a plaque to honour Baquiat at the site of his former home and studio.

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Pablo Picasso Although he was Spanish, Pablo Picasso spent most of his adult life in France, from the time he moved to Paris in 1904. In 1946 he began to make frequent visits to the South of France and eventually moved there in 1955. The studio depicted here is at Villa La Californie, in the hills above Cannes, where he lived with his third wife and muse, Jacqueline Roque.

The villa overlooked the Bay of Cannes, with a magnificent view of the coast, and he turned the third floor into a studio. He had chosen this location because he was surrounded by the things he loved, the sparkling blue Mediterranean seas, the sunny weather and the bright light from which he drew inspiration. During his time here he created an abundance of artworks, including a series of paintings representing the interior of his new studio. It was also from here that he painted his masterpiece, The Bay of Cannes.

When the construction of a new building obstructed the sea view, Picasso left Villa La Californie and moved to Mougins, where he spent his final years.

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Frida Kahlo The Blue House (‘Casa Azul’), located in the centre of Mexico City’s Coyoacán district, was Frida Kahlo’s birthplace, the home where she grew up and where she later lived with her husband Diego Rivera. It was also here that the artist died in 1954.

Frida’s many pets, including monkeys, birds and a deer, would run freely through the house. She also had a Mexican ixquintle, a breed of hairless dog with an ancestry traceable back to the Aztecs.

As a result of the horrific injuries she had suffered in a tram crash at the age of eighteen, Kahlo was not able to bear children. This pained her greatly and in many of her self-portraits Frida is accompanied by her exotic pets, which she said symbolised the children she never had.

It was here at Casa Azul that Frida and Diego entertained a host of famous guests, including US vice-president Nelson Rockefeller, composer and pianist George Gershwin, Soviet revolutionary Leon Trotsky and Mexican Hollywood star Dolores del Río.

Casa Azul, the intimate and creative universe of Frida Kahlo where she lived and worked most of her life, is now a museum, dedicated to the artist.

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Claude Monet In 1883, Claude Monet moved to Giverney with his second wife, Alice Hoschedé and their children. There was a barn attached to their rented house that doubled as a painting studio.

The house also had a small garden in which Monet spent most of his time because of his love of plein-air painting.

When he became more successful and financially secure, Monet purchased the house and an adjacent piece of land with a water meadow. Here he planted water lilies local to France, cultivars from South America and Egypt along with exotic new hybrids. At one end of the pond, he built a Japanese-style wooden footbridge that he covered with wisteria.

A passionate horticulturist, Monet wrote daily instructions for his gardener with precise designs and layouts for plantings. The water garden became the focus of his art for the last twenty-five years of his life. He died at his home in Giverney in 1926 and is buried in the Giverny church cemetery.

Monet’s monumental canvases the Grandes Décorations, which can be seen in l’Orangerie Museum in Paris, are the ultimate expression of the symbiosis between his garden and his art.

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Francis Bacon Born in Dublin in 1909, Francis Bacon lived and worked in 7 Reece Mews, South Kensington, London, from 1961 until his death in 1992. It was in this small chaotic space measuring 6 x 4 metres that some of the twentieth century’s most celebrated paintings were created.

Bacon once said of his organised chaos, ‘This mess here around us is rather like my mind; it may be a good image of what goes on inside me, that’s what it’s like, my life is like that’. He used the door and walls as impromptu palettes and left trails of paint across the ceiling when throwing it on his canvases. He sat at his easel which was positioned under the skylight with his painting supplies to his right and photographs and other source materials on the floor to his left. The round, cracked and rusted mirror was possibly positioned for him to look at work in progress from another point of view.

Vying for floor space amid the boxes, radiators and discarded canvases were empty champagne bottles, brushes, rags, art catalogues, hundreds of creased photographs and torn pages of magazines and books that served as a stimulus for his work.

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Jackson Pollock In 1945 Jackson Pollock married fellow artist Lee Krasner and they moved out of New York City to the Springs area of East Hampton. With a loan from art dealer Peggy Guggenheim, they purchased a small house overlooking Accabonac Creek. Behind the house, there was a barn which was Pollock’s studio from 1945 until he died in 1956.

During this time he began to use pouring as his primary technique and painted his most famous all-over abstractions on the floor of the barn. He remarked that ‘having the canvas on the floor, I feel nearer, more part of the painting’. Because of his dynamic gestural style of work, paint spilt out onto the surrounding floor.

By 1952 Pollock’s paintings were selling well and he decided to renovate the studio and he had a new floor installed. When the property became a museum, the PollockKrasner House and Study Center, the floor was removed to reveal the brilliant colours that had spilt over the edges of his action paintings. Looking carefully at the marks it is even possible to see where he worked on specific paintings.

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Dante 700 To Rebehold The Stars Uffizi marks the 700th anniversary of Dante’s death with a virtual exhibition of drawings by Federico Zuccari words edel cassidy

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ante’s depiction of the afterlife in The Divine Comedy is one of the most influential pieces of literature in history. ‘Dante’s

is a visual imagination’, wrote TS Eliot. ‘Dante’s attempt is to make us see what he saw’ – and the enduring power of the poet’s vivid descriptions of the soul’s journey towards God in this masterpiece has inspired some of the greatest artists from the Middle Ages to the present, including Sandro Botticelli (1445–1510), Federico Zuccari (c.1540–1609) William Blake (1757–1827), Dante Gabriel Rossetti (1828–1882), Paul Gustave Doré (1832–1883), Auguste Rodin (1840–1917) and Salvador Dali (1904–1989).

The 700th anniversary of the poet’s death is commemorated by the Uffizi Gallery, Florence with an online exhibition of Divine Comedy drawings by the sixteenth-century distinguiwshed late Mannerist artist Federico Zuccari. He is most famous for the completion of the frescoes on the dome of the Florence Cathedral, which were left unfinished when Giorgio Vasari (1511–1574) died. The drawings

above:

‘His choice had such a great impact on writers at the time that the Tuscan dialect became the basis for modern Italian’ depicting Dante’s poem were created while he was

previous canticles, to convey the divine light where

living in Spain between 1586 and 1588. Following his

Dante finally meets God. The final canticle culmi-

death in 1609, the illustrations came into the posses-

nates in radiant images representing heavenly light.

sion of the noble Orsini family and later the Medici

A pioneer of vernacular literature, Dante wrote

family. The entire collection was donated to the Uffizi

The Divine Comedy in Tuscan dialect instead of

Gallery in 1738, by Anna Maria Luisa de’ Medici.

Latin, to make it accessible to the ordinary popu-

The high-resolution digitised images illustrate

lace. His choice had such a great impact on writers

Dante’s epic poem which is split into three parts and

at the time that the Tuscan dialect became the

traces a pilgrim’s journey through Hell, Purgatory,

basis for modern Italian and the accepted national

and Paradise. The exhibition title, To Rebehold The

language, unifying the people of Italy across

Stars is a reference to the last line of The Inferno,

diverse regions and dialects. Hence the poet is

the opening section of The Divine Comedy.

known as ‘the father of the Italian language’.

Zuccari employed a different technique for

Zuccari’s drawings are kept in the Cabinet of

each canticle. His Inferno figures were drawn in

Drawings and Prints at the Uffizi Gallery and like all

red chalk against dark pencil which represents the

works on paper, are stored in a protected, thermo-

landscape of the underworld. For Purgatorio, he

regulated, lightless environment. Due to their

changes the medium to brown ink and wash to

fragility, they have only been publicly displayed

illustrate the place where souls can repent their

twice previously and then only a selection. The first

sins to be saved from eternal damnation. The last

time was in Florence in 1865 to mark the 600th

three cantos of Purgatorio change to red to mark

anniversary of Dante’s birth, and the second for

the arrival of Beatrice, who takes over from Virgil

a specialised exhibition about Dante in Abruzzo

to guide Dante on his passage to the kingdom of

in 1993. The drawings were originally bound in a

the saved. Dante had chosen the classical poet he

volume, with each illustration sitting opposite the

admired most, Virgil, to guide him through the first

corresponding verse in Dante’s epic poem, with a

two realms of the afterlife. For Paradiso, Zuccari

brief comment by the artist himself. These texts

combines all three mediums used in the two

are also included in the virtual exhibition.

Portrait of Dante Alighieri This drawing was made by an anonymous artist in the eighteenth century to replace the original lost title sheet of Zuccari’s volume of The Divine Comedy, which like many editions of Dante’s work in the sixteenth century opened with an effigy of the poet.

Dante is depicted showing the book of The Divine Comedy. On the left, there is a faint indication of the flames of Hell and the city of Florence with the Duomo Cathedral, while on the right the mountain of Purgatory is surrounded by the celestial light that alludes to Paradise. opposite:

Dante in Exile, 1860, Domenico Petarlini (1822-1897) Gallery Of Modern Art, Pitti Palace. Florence. Oil on Canvas Dante lived his final two decades in exile from his beloved Florence. He had been banished from the city because of his political activities. It was during this time that he wrote the Divine Comedy.

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The Journey Begins The poem consists of one hundred cantos, divided into three major sections: Purgatorio and Paradiso contain thirty-three cantos each, while Inferno has thirty-four.

The opening canto of Inferno serves as an introduction to the work as a whole.

Zuccari’s drawings comprise of twenty-eight depictions of the Inferno, forty-nine of Purgatorio and eleven of Paradiso. Following is a selection from Zuccari’s collection.

Inferno, Canto I ‘In the middle of the journey of our life, I came to myself, in a dark wood, where the direct way was lost.’

The story begins when Dante finds himself in middle-age lost in ‘una selva oscura’ – ‘a dark wood’. This dark wood symbolises a sinful life on earth. Attempting to find his way out he is rescued by Virgil and together they begin the journey into the underworld, or the Nine Circles of Hell.

Inferno, Canto III ‘Through me you go into a city of weeping; through me you go into eternal pain; through me you go amongst the lost people.’

Virgil leads Dante through the gate of Hell, where they read the famous inscription ‘Lasciate ogne speranza, voi ch’intrate’, which translates to ‘Abandon all hope, you who enter here.’ As they enter, Dante hears cries and laments in a thousand different languages of the ‘Ignavi’ – the miserable spirits of ‘those who lived with neither infamy nor praise’; those who lived their lives without making conscious moral choices; therefore, both Heaven and Hell have denied them entry.

Among the ‘Ignavi’ Dante recognises ‘him who through his cowardice the great refusal made’. This is understood to refer to Pope Celestine V who abdicated the Papacy, thereby paving the way for the election of Pope Boniface VIII, whom Dante loathed with a passion.

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Inferno, Canto IX ‘Where in a moment saw I swift uprisen The three infernal Furies stained with blood, Who had the limbs of women and their mien.’

Inferno

Fallen angels deny Dante and Virgil entrance to the City of Dis – lower Hell – demanding to know why one of the living dares to try to enter. Three furies appear, half woman, half serpent, and call for Medusa to come and turn Dante into stone. Virgil quickly covers Dante’s eyes so that he will not see Medusa’s head.

A messenger from Heaven arrives and demands that the gate of Dis be opened for the travellers and is promptly obeyed.

Inferno, Canti XXXII-XXXIV ‘How then I became frozen and faint, do not ask, reader, for I do not write it, all words would fall far short of what it was.’

Entering the ninth and final circle of Hell, Dante and Virgil, on the left, approach Lucifer; the monster with three faces united in one head. His three mouths chew on the three supreme traitors; Judas, the betrayer of Christ, and Brutus and Cassius, the betrayers of Caesar.

The sight of Satan is so horrific that Dante freezes with fear, to the point where he almost can’t write.

Dante and Virgil spent the next day ascending from Hell into Purgatory and finally emerge ‘a riveder le stelle’ – ‘to rebehold the stars’.

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Purgatorio

Purgatorio, Canto I ‘Sweet colour of the oriental sapphire, That was upgathered in the cloudless aspect Of the pure air, as far as the first circle.’

Dante and Virgil arrive on Mount Purgatory and are greeted by ‘Dolce color d’oriental zaffiro’ – ‘Sweet colour of the oriental sapphire’. The blue skies above Purgatory and the pure air refresh Dante after the darkness of Hell.

Dante casts Marcus Porcius Cato, a Roman soldier, historian and author, as the guardian of the entrance to Purgatory. Cato, who appears as an old man with a long beard and white hair, greets the poets but he is bewildered to find that Dante and Virgil have been able to leave Hell and enter Purgatory. Virgil instructs Dante to kneel down and explain to Cato that his mission has been authorised by God.

Purgatorio, Canto I ‘Upon the stern stood the Celestial Pilot; Beatitude seemed written in his face, And more than a hundred spirits sat within.’

As Virgil and Dante walk along the shore a bright light comes towards them moving swiftly across the sea.

Dante sees that the bright light is an angel, guiding a boat full of souls who are singing ‘In exitu Israel de Aegypto’ (Psalm 113) in unison. Virgil orders Dante to kneel and then the angel makes the sign of the cross and disappears.

The psalm’s theme of Israel’s Exodus from the oppression of the Egyptians symbolises the expectation and hope of the souls who, after purification from sin, are on their way towards freedom with God in Paradise.

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Purgatorio, Canto X ‘was of white marble and adorned with carvings so accurate – not only Polycletus but even Nature, there, would feel defeated.’

Dante and Virgil reach the lower level of Purgatory, where they come to a long marble wall, carved with strikingly beautiful images. The carvings depict the positive virtue corresponding to the specific sin that’s being purged – in this case, humility in place of pride. The images include the Angel Gabriel addressing the Virgin Mary; David dancing before the Ark of the Covenant, scandalising his proud wife; and the legend of Trajan who is moved by the needs of a poor widow.

Because these carvings are created by God, they are so perfect that the work of not only Polycletus, the great classical sculptor, but also Mother Nature would ‘feel defeated’.

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Purgatorio, Canto XXX ‘I turned me around with admiration filled To good Virgilius, and he answered me With visage no less full of wonderment.’

Beatrice appears before Dante in a chariot drawn by a Griffin. Trembling, he turns around to tell Virgil that he recognises her, only to find his guide has disappeared.

Although he lived a virtuous and good life, Virgil is a pagan soul because he was born before the birth of Christ and therefore cannot enter Heaven. This fills Dante with sadness but Beatrice tells him not to weep over Virgil’s departure. She also scolds and admonishes the pilgrim for his less than virtuous behaviour. She says that after her death Dante lapsed into moral and intellectual error.

However, she was moved to intercede for him before God and ordain his journey through Hell and Purgatory.

This accomplished, Dante can move on to the true Paradise –but only after he has repented for his sins.

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Paradiso Paradiso, Canto III ‘As soon as I became aware of them, Esteeming them as mirrored semblances, To see of whom they were, mine eyes I turned.’

Beatrice leads Dante to Heaven On the third and final part of his journey, having been deemed worthy, Dante passes into the realm of the saved. Beatrice serves as the virtuous paragon who will guide him on his journey through nine spheres of Heaven to the Empyrean – the Highest Heaven. They will encounter diverse souls in each sphere.

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In the Heaven of the moon, Dante experiences his first encounter with a blessed soul. Although the souls in Paradise are not punished there are lower and higher heavens. The souls in the moon flicker and waver, reflecting their inconstant behaviour during life – their wills changing like the changeable moon. They are so faint that it’s like seeing images through unpolished glass.

So he turns around, thinking that what he’s seeing are reflections in a mirror. But behind him there is nothing.

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Paradiso, Canto XXIII – XXIV ‘And through the living light transparent shone The lucent substance so intensely clear Into my sight, that I sustained it not.’

Here Dante gets a sighting of Christ himself. Dante has to be prepared for the overpowering vision of Christ’s glorious resurrected body when he reaches the Mystic Empyrean. He describes the unbearable brightness and he does not have the power to sustain his gaze. He is blinded briefly, but when his vision returns, can now see more clearly than ever before.

The canto ends with a reference to St. Peter, ‘he who holds the keys of such glory’, who will examine Dante on the theological virtue of faith.

Paradiso, Canto XXVIII - XXIII With voice and gesture of a perfect leader She recommenced: ‘We from the greatest body Have issued to the heaven that is pure light.’

Dante and Beatrice are now reaching the end of this great voyage and leave the material realm completely to enter the Mystic Empyrean where God, the saints and the angels reside.

Beatrice speaks, telling Dante that they have reached the highest heaven, one of pure light,

intellect, and love. Dante is about to experience the Beatific Vision, where he sees God directly.

In the final canto, Dante describes the vision as an experience that transcends intellect, language, and memory. It is greater than his speech can express and even his memory fails him when he thinks of it. He only remembers it as if in a dream and can only recall the sweetness of the memory.

Now, Dante prays to God to allow him to remember some of what he saw. He begs for the memory so that he can convey its glory in his poetry.

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REMBRANDT

words edel cassidy

Rembrandt’s finest prints go on display at the Crawford Art Gallery, Cork

A

new exhibition at Cork’s Crawford Art Gallery invites visitors to encounter the astonishing work of Rembrandt van Rijn. Rembrandt in

Print presents fifty of the Dutch Master’s finest works.

‘A variety of subject matters from portraiture to landscape, and from the biblical to the everyday, are explored in the exhibition’

Rembrandt van Rijn (1606–1669) is widely hailed as one of the greatest painters of the Dutch Golden

The works featured in the exhibition are on

Age and one of the most experimental printmakers

loan from the Ashmolean Museum, the Univer-

of the seventeenth century. This exhibition presents

sity of Oxford’s museum of art and archaeology,

Rembrandt as an unrivalled storyteller through a se-

which was founded in 1683. Rembrandt in Print

lection of outstanding prints ranging from 1630 until

presents fifty of the Dutch Master’s finest works

the late 1650s. Through these works, viewers will

from the museum’s world-class collection of over

be exposed to the artist’s inventive techniques and

200 etchings and drypoints.

extraordinary skills. The prints, which are almost 400

Ashmolean curator, An Van Camp says: ‘This

years old, are perfectly preserved and, though small in collection of fifty works is the best-of-the-best of scale, reveal the exquisite, rich detail of his work.

While most other contemporary printmakers

the Ashmolean’s outstanding Rembrandt prints collection. He created extraordinary prints by using

made prints of historical, religious, or mythological

existing techniques in his own artistic and innovative

subjects, Rembrandt also delighted in presenting

way. His prints range from squiggly, drawing-like

everyday scenes. The exhibition includes a range

sketches to more pictorial, heavily hatched composi-

of these images such as intimate family studies, a

tions. While seeming quite diverse at first sight,

selection of life-drawn nudes, and carefully detailed

all Rembrandt’s printed works are characterised by

characters observed on the streets. A variety of

his talent for storytelling and his keen observational

subject matters from portraiture to landscape,

skills. His subjects are steeped in drama, adding

and from the biblical to the everyday, are explored

atmosphere to views of the Dutch countryside or

in the exhibition, revealing not only Rembrandt’s

imbuing biblical scenes with lively characters.’

extraordinary talent but also his playful exploration

The Crawford Art Gallery is the only Irish venue

of printmaking techniques. One such technique was

where Rembrandt’s prints will be on view. It is fitting

drypoint, which he found created the velvety black

that the Dutch Master is exhibited in the historic

textures and tonal qualities associated with painting.

gallery at Emmet Place, which was once the city’s

He also experimented with various papers and was

Custom House when Cork was a thriving merchant

particularly drawn to Japan paper as its yellowish

port and there was a successful shipping trade be-

color was ideal especially for his landscape prints.

tween Ireland and Holland.

Rembrandt in Print is sponsored by KLM Royal Dutch Airlines and is on display at the Crawford Art Gallery from 17 September 2021 – 9 January 2022. Exhibition highlights include:

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Portrait of Jan Uytenbogaert, ‘The Goldweigher’

sits at a carpet-covered table bearing a weighing scales

1639, Rembrandt van Rijn

and bags of gold as he records payments in a ledger.

©Ashmolean Museum, University of Oxford

The opulence of the room and Uytenbogaert’s lavish

Etching and drypoint on laid paper

dress may be a subtle hint at his true nature. Dressed in a fur gown and a stylish beret, he reaches out for a

Jan Uytenbogaert (1608–1680) was the chief tax col-

bag of gold being presented to him, his hand grasping it

lector for Holland, the wealthiest province of the Dutch

in an almost avaricious manner, while an elderly couple

Republic. In this highly detailed image, the main figure

carrying bags of gold wait in the doorway.

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The Three Trees 1643, Rembrandt van Rijn © Ashmolean Museum, University of Oxford Etching, engraving and drypoint on laid paper As there are no identifiable landmarks, this work appears to be composed of elements studied from reality rather than representing a specific place. In this, his largest and most striking landscape etching, but also his most complex, Rembrandt has evoked the characteristic features of the Dutch landscape in a generic sense.

Rembrandt was drawn to the Bible and it is believed that, like many of his works, The Three Trees contains religious allusions, in that the number three represents the holy Trinity (God the Father, God the Son and God the Holy Spirit) and also symbolises the three wooden crosses on Calvary.

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The Descent from the Cross by Torchlight 1654, Rembrandt van Rijn © Ashmolean Museum, University of Oxford Etching and drypoint on Japan paper One of the greatest interpreters of biblical stories, Rembrandt used the Bible as a source of inspiration for over 300 works throughout his career, particularly during the 1650s. The Descent from the Cross by Torchlight depicts the moment when the body of Jesus is taken down from the cross by his followers Joseph of Arimathea and Nicodemus. A figure holds a torch, above the foot of Jesus, still attached to the cross. Everything directly around the flame, which is the only source of light, is brightly illuminated, while details in the background vanish into the darkness rendered with a dense network of etched lines.

Self-portrait with Saskia 1636, Rembrandt van Rijn © Ashmolean Museum, University of Oxford Etching on laid paper Rembrandt looks up while drawing or etching and the young woman seated by his side is his wife, Saskia van Uylenburgh, whom he married two years earlier in 1634. Rembrandt, who painted, etched, and drew more than seventy-five self-portraits, preferred to show himself in a variety of different imagined roles. Here he portrays both himself and Saskia in historical dress. They are both attired in 16th-century costume – Rembrandt wears a plumed beret and Saskia a veil.

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The Rat Catcher 1632, Rembrandt van Rijn © Ashmolean Museum, University of Oxford Etching with slight surface tone on laid paper While most of his contemporary printmakers produced prints of historical, religious, or mythological subjects, Rembrandt enjoyed presenting scenes from everyday life.

He often used street characters such as musicians, beggars and peasants as his subjects. The careful presentation and compassion he used while portraying these individuals was not the norm at the time. This early etching is an example and it was one of Rembrandt’s most popular prints in the seventeenth century.

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Make a Night of It at The River Lee Easy Elegance at The River Club with Artisanal Local Produce and Curated Fine Wines.

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DOGS in art Captivating images of dogs created by artists through the ages words edel cassidy

Every dog lover knows that nothing compares to the unconditional love offered by our precious four-legged friends. But have our beloved pooches always been our best friends? The answer is yes! And the proof is well documented in the history of art.

From ancient times artists have shown their admiration and respect for canines by drawing, painting and sculpting their likenesses. These charming works of art offer a historical perspective on our valued relationship with this much-cherished animal.

Miss Beatrice Townsend 1882, John Singer Sargent Collection of Mr and Mrs Paul Mellon, National Gallery of Art, Washington, D. C. Oil on Canvas The subject’s father, Mr John Joseph Townsend, was a politician and a New York attorney, and her mother, Catherine Rebecca Bronson, was a close friend to the artist.

This is one of John Singer Sargent’s earliest portraits and children continued to appear frequently in his paintings throughout his career. He liked to create the impression of individuality, through the pose, lighting, and setting, in addition to the facial expression of his young sitters. He sought to portray them as unique personalities rather than as visual stereotypes of childhood.

In this portrait, he brings out great detail of the subject’s individuality by including her favourite pet, which she clutches to the side. He captures the self-possession and confidence of the young girl as she gazes at the artist directly. Sadly, only two years after this painting was completed, Beatrice died of peritonitis at age fourteen.

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Cave Canem Second century BC Entrance to the House of the Tragic Poet, Pompeii, Italy Roman Mosaic One of the most recognised symbols of the archaeological site of Pompeii is this tile mosaic with the inscription ‘Cave Canem’, Latin for ‘Beware of the dog’.

The mosaic picture of a domesticated dog, leashed and chained, served as protection over the more private quarters of the House of the Tragic Poet, a second century BC Roman home. It is one of the most famous buildings in Pompeii thanks to its elaborate mosaic floors and frescoes depicting scenes from Greek mythology.

With his black hair, curled form, and bared teeth, this ancient canine has stood ready for 2,000 years to discourage intruders. Following years of neglect, with accumulating mud and dirt, the mosaic was gradually cleaned and restored. In 2015 it was put on display, protected beneath a glass shield, for the public to view.

The Broken String 1887, Charles Burton Barber Private Collection Oil on Canvas Regarded as one of Britain’s finest animal painters, Charles Burton Barber attained great success with his paintings that captured the special bond between children and their pets.

He had a particular talent for sentimental portraits of dogs, which helped win royal commissions from animal-lover Queen Victoria.

At least five of his works remain in The Royal Collection, where they are held in trust.

A great devotee of the Highlands, his greatest love was of painting the natural world, deer in particular. Had he not had a family to support, he may have stayed on that path and not produced the many wonderfully charming portraits of young children and animals that we have come to love.

Depicted here, the little violinist focuses on playing her instrument while her pet Jack Russell terrier howls in accompaniment and her little kitten plays with a broken string.

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Five Eldest Children of Charles I 1637, Anthony van Dyck Queen’s Gallery, Windsor Castle Oil on Canvas The five children of Charles I are shown left to right: Princess Mary, James, Duke of York (later James II), Prince Charles (later Charles II), Princess Elizabeth and, in her sister’s lap, Princess Anne. The future Charles II rests his hand on the head of an enormous mastiff. The mastiff had been a guard dog since Roman times and appears here as a protector for the royal children at a time of civil unrest. Nonetheless, the position of the young Prince’s hand suggests that he is capable of ruling this powerful beast and, by implication, his country. There is also a small ‘King Charles’ spaniel at the right. This was an immensely popular composition and was copied many times. Van Dyck’s relatively informal group of royal children contrasts markedly with the stiff, formal portraits of a generation earlier.

Courbet with a Black Dog 1842, Gustave Courbet Petit Palais Museum of Fine Arts, Paris Oil on Canvas This is one of the earliest paintings by Gustave Courbet and was the start of a lifelong series of what some critics considered narcissistic self-portraits that depicted the artist in a variety of poses and settings.

The composition in this painting is very typical of his early work when he travelled the French countryside in search of subjects to depict with little more than a sketchbook and his dog to accompany him. His facial expression oozes self-confidence, something that he was never lacking, even at this early age.

It is sometimes said that dogs physically resemble their owners. Here we see a striking harmony as the dog’s wavy hair appears to emulate the curly locks of the artist.

This work was accepted for exhibition at the 1844 Paris Salon, ending a run of rejections that had previously frustrated Courbet.

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His Master’s Voice 1898, Francis Barraud Oil on Canvas One of the best-known trademarks in the world comes from this painting by the English artist Francis Barraud. When his first master Mark Barraud died, the featured dog, a terrier named Nipper, went to live with Mark’s younger brothers, Francis and Phillip.

Francis also inherited a cylinder phonograph and recordings of Mark’s voice and noticed how puzzled Nipper was when he heard the recorded voice of his late master. The scene must have been indelibly printed in Barraud’s mind because it was three years after Nipper’s death that he decided to paint the curious little dog staring into the phonograph.

William Barry Owen, the American founder of the Gramophone Company in England, offered to purchase the painting on the condition that Barraud modify it to show one of their disc machines. Barraud was paid £50 for the painting and a further £50 for the copyright.

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Dog Dog Power words jeannie croucher

Caring for a dog can reduce stress, anxiety, and depression, ease loneliness and provide unconditional love

‘A dog is the only thing on earth that loves you more than it loves itself.’

– Josh Billings

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ost dog lovers know that life is better with a dog. The fact that this is backed up by science appears to demonstrate that dog owners, who love to speak glowingly about the joy that their beloved pooches give to them, are speaking the truth.

Having a cuddly companion not only provides unconditional love and constant entertainment but also does wonders for one’s physical and emotional wellbeing.

However, there are also responsibilities associated with dog ownership. They need to be fed and exercised regularly, kept in good health, socialised, kept safe and given lots of love. These responsibilities may seem onerous but should be considered a privilege in return for the love and joy our dogs bring to us!

Here are some ways that dog ownership can improve our health and wellbeing:

Increase in physical activity Having a dog encourages owners to get out in the fresh air and get moving, making it much more likely they achieve the recommended weekly amount of physical activity. A recent study conducted by exercise scientists with the University of Liverpool and other institutions found that most dog owners spend close to 300 minutes each week walking their dogs – an average 200 more minutes of weekly walking than people without dogs. The positive aspects of regular exercise are indisputable in helping maintain a healthy weight and improved cardiovascular health.

Reduce stress levels The very companionship that comes with having a dog can lead to lower anxiety and blood pressure and increased levels of serotonin and dopamine, two neurochemicals that play big roles in calm and wellbeing. A recent Washington State University study demonstrated that just ten minutes of stroking a dog each day resulted in a significant reduction in cortisol, a major stress hormone.

Protect from heart disease In addition to improved blood pressure, having a canine companion will also reduce cholesterol levels, all resulting in a much healthier heart. Not only will having and exercising a dog improve heart health, but it also appears that dog owners who have had heart attacks have better recovery rates and life expectancies.

benefits for their owners, encouraging them to live a more mindful life and have a greater appreciation for what is happening right now. When out for a walk a dog’s head is up and the tail is wagging. Each walk is an adventure, observing new sights, smells, sounds, people and animals – truly making the most of every moment.

Boosts the immune system

Benefits for Children

Living with and having a lovingly healthy relationship with a canine may also have a positive effect on a person’s health by boosting the immune system. Therefore dog owners have stronger immunity against disease and are less likely to be on medication when compared with non-dog owners.

For children the advantages gained from having a dog are numerous, from increasing levels of empathy to having a constant fun-loving and non-judgmental companion. There are also health benefits such as reducing their susceptibility to some allergies and other complaints such as respiratory infections, as exposure to animals stimulates the immune system. Taking responsibility for a dog can also teach children valuable life lessons like trust, compassion, respect and patience.

‘It’s as if the normal barriers of social approachability are reduced as people love to stop and ask about a dog’ Increase social interactions A further advantage and one that is not always considered is that dogs strengthen our social relationships. When walking a dog it is easier to interact with strangers.

It’s as if the normal barriers of social approachability are reduced as people love to stop and ask about a dog. This makes it easier to make and keep new friends lessening the possibility of social isolation.

This is a huge advantage for those who live alone, when new to an area and for older adults whose cognitive functions tend to improve with the stimulation of increased social interaction.

So the secret is out – having a dog is good for your health and happiness.

It might be time to consider adopting a dog from one of the many organisations that shelter dogs and alleviate the suffering they experience as a result of irresponsible ownership, neglect and abuse. This is a list of some of the main dog shelters in Ireland:

Increase Mindfulness

• Irish Society for the Prevention of Cruelty to Animals • Dublin Society for Prevention of Cruelty to Animals • Dogs Trust • PAWS Animal Rescue • MADRA Dog Shelter • Husky Rescue Ireland • Limerick Animal Welfare • Sera Husky Animal Rescue • West Cork Animals • ASH Animal Rescue, Wicklow • Inistioge Puppy Rescue

In many ways dogs embody mindfulness and tend to live in a state of mind that is more carefree than their human companions, not worrying about yesterday or tomorrow. This has obvious

Any of the above charities will assist in finding the right pet for each individual or family and will guide them through the adoption process.

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Eszter Hatala www.eszterpetportraits.ie hello@eszterpetportraits.ie +353 85 7591393 fi eszterpetportraits

JEAN LOWNDES ART Pal e tte K ni f e Arti st

www.jeanlowndesart.ie

Dog Nutrition: The ultimate diet

C

onnolly’s Red Mills take pride in putting animals at the centre of everything that that they do.

The Go Native recipes use only the highest quality Irish meat, fish, vegetables and superfoods, all of which are sustainably sourced and fully traceable.

With each recipe crammed with 70% meat, whether they love the taste of organic Irish salmon, free-run Irish turkey, chicken or Wild Atlantic herring, Connolly’s Red Mills have got your pet covered.

Each recipe is prepared with nutritious, antioxidant-rich vegetables and botanicals right here in lovely Goresbridge, County Kilkenny, to make sure that Go Native is always the fine dining that your dogs will adore.

fiq

Jean exhibits on Merrion Square North Sundays (weather permitting) Visits to her studio by appointment Check her website for all up to date exhibitions Her work is available at The Kilrane Gallery Wexford, Number 10 Design Co. Kildare, Castle Crafts Trim, Taylor Made Crafts @Argillan Castle Skerries and The Quay Gallery Westport

fiy

@redmillspet

Delivered directly to your door Four-issue subscription: €22 + shipping Keep up to date with the latest news in luxury lifestyle and well-being, interiors, adventures and destinations, fashion and beauty, art and culture, and more. anthology-magazine.com info@anthology-magazine.com +353 87 1945406

shaping

irish fashion It has been well worth the wait to see what The Council of Irish Fashion Designers had in store for us at their Autumn-Winter Collections Presentation live-streamed runway show.

Each of the designers produced deeply original and inspirational collections, demonstrating a spirit of resilience and determination alongside a thoughtful understanding of changing lifestyles, sustainability and creativity. Here are some of the show’s highlights:

Éadach by Sara O’Neill A range of limited edition prints from designer and illustrator Sara O’Neill, inspired by her grandmother’s stories, Irish myth and legend, and her native north coast of Ireland. Her luxury garments feature hand-drawn illustrations printed on silk to create richly coloured contemporary designs. These designs are inspired

by Ireland’s darker stories, history and heritage of strong women – luxury with a rock ‘n’ roll bohemian edge.

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Deb Fanning Each season Deb Fanning creates a limited-edition collection of exquisite hats and headpieces for weddings, race meetings and other special occasions.

She designs a range of styles that are feminine, fun and enchanting, with an element of drama, offering a colour palette that ranges from classic monochrome to soft pastels to vibrant rainbows.

Leonora Ferguson Leonora’s sculptural and playful headpieces are always certain to delight. Her signature lightweight swirling wire lace creations are a rare blend of elegant, avant-garde, futuristic, show-stopping examples of modern millinery. Her process involves traditional hat blocking, lace making with wire, beading, and a delicate balancing act getting the piece to remain stable on the head while staying true to the design.

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Caoimhe Murphy Feminine but with an edge, Caoimhe’s distinctive creations are accented through the use of delicate materials such as fine silks, luxurious satins and dreamy tulles. These are sometimes juxtaposed with leather and often embellished and manipulated by hand. Her designs are driven by colours and textures found in nature, made contemporary through the use of technical fabrication techniques.

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Delphine Grandjouan For Delphine there are two key inspirations – dance and drama. Her choice of fabrics reflects and accentuates these elements – floating silk chiffons, shimmering satins, soft alluring crepes, delicate lace or structured duchesses, majestic taffetas and rich deep velvets. Sculpting, draping, sometimes hand-painting, she seeks to make a woman discover ‘her untarnished self for just a little while’.

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Hazel Greene Visual artist and textile designer, Hazel Greene creates a range of scarves in silk that have an elegant drape and richness of colour. Each of her designs starts with a selection of one of her original watercolour and silk paintings, which she translates into interesting blends and then prints onto luxurious Italian silk. The scarves are hand-finished to the highest quality with rolled edges.

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Michelle Kearns Interior architect turned self-taught hat-maker, Michelle has a penchant for creating sculptural and engineered pieces. She uses wire, feathers and beading to realise her daring visions. Her very unique and dynamic headpieces are both glamorous and avant-garde and will add an interesting edge to any outfit.

Cleo Prickett Cleo designs and handcrafts every element of her collections in her studio at Durhamstown Castle. Her collections demonstrate a wide experience of working across various fashion disciplines. She uses distinctive design and development techniques to subtly push the boundaries of contemporary women’s wear. Her designs are technically flawless as well as aesthetically beautiful and offer a distinctive version of investment dressing.

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Ailish McElroy Using the time-honoured skills of millinery, Ailish McElroy creates both classic and contemporary headpieces using luxurious, quality materials. Formerly a graphic designer, she uses her love of colour, contrast and texture to push creative boundaries. Mainly self-taught, she has steadily established herself as a popular milliner and provides a discreet consultation service for exclusive commissions.

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Sarah Murphy Working from her studio in the Wicklow Mountains, Sarah Murphy has created these sophisticated and feminine full-skirted dresses – a modern twist on vintage classic – sure to be a standout choice in any woman’s wardrobe. Incredibly well-imagined and executed garments that are distinctly innovative but with timeless appeal.

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Wendy Louise & Maggie Napier Maggie Napier is a flamework glass artist who makes contemporary glass jewellery. Her process, known as ‘lampworking’ or ‘flameworking’, entails the heating and shaping of individual glass rods in a torch flame.

Wendy Louise is a Longford based milliner who specialises in bespoke statement, sculptural hats. Her love of colour and ability to create striking wearable shapes made the perfect base to combine with Maggie’s handmade sculptural glass components.

craft design

In recent decades, as the fashion world became obsessed with speed, volume and mass production, some of our traditional crafts that had been passed from one generation to the next were on the verge of extinction.

The Council of Irish Fashion Design, along with the Design and Crafts Council of Ireland, have developed a model of cultural collaboration. Our leading fashion designers partnering with traditional artisans and highlighting their craftsmanship is proving an effective way for brands to shine a light on sometimes under-appreciated skills.

Preserving and protecting the skills and knowledge of traditional crafts is a growing challenge. Highlighting and promoting our skilled artisans will hopefully ensure that we have sufficient craftspeople to transmit these unique skills to the next generation.

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Helen Hayes & Laura Quinn Glassblower and designer Laura Quinn teamed up with Helen Hayes who is known for combining simple silhouettes with intricate finishes.

This dress was made from over half a kilometre of folded and manipulated ribbon to give a pleated effect that works in harmony with the linear quality of the glass rods. Rods were made with a lampworking technique to form the bolero-style piece that wraps around the body and sits layered over the dress.

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Caroline Mitchell & Noeleen Frain Knitwear designer Caroline Mitchell collaborated with calligrapher and botanical artist Noeleen Frain. The shape of the dress was inspired by Chinese kimonos to signify the origins of calligraphy in China.

Caroline knitted the garment in a silk yarn, then Noeleen hand-painted flowers in each panel. Each flower was then embellished by Caroline with hand beading, embroidery and silk ribbon embroidery.

Leonora Ferguson & Imelda Connolly This creation by milliner Leonora Ferguson and woodturner Imelda Connolly is made from a beech tree that fell on Imelda’s family farm in County Meath. Turned on a wood lathe in the shape of a bowl, the pattern was cut away along the main grain lines. Light moves through the cut-outs, leaving shadows of these patterns on the face of the wearer.

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Charlotte Lucas & Nora Finnegan Each Charlotte Lucas piece is artfully crafted using delicate fabrics, embroideries and lace to covey a timeless, feminine and ethereal nature. For this collaboration, her ‘Danu’ dress, inspired by the Celtic goddess Danu (‘The Flowing One’), is crafted from flowing silk chiffon. An insert of Kenmare Lace was appliquéd to the dress with the exquisite lace handiwork of the talented Nora Finnegan. The headdress also features two Kenmare Lace butterflies.

Halloween Treats Culinary Comfort Flogas is delighted to partner with Kevin Dundon of Dunbrody House Hotel to bring you these delicious easy Seasonal recipes

S P I C E D CO CO N U T A N D P UM P K I N S O U P Make the most of the season’s pumpkin harvest with this creamy, warming soup that’s full of flavour (Serves 4)

Kevin Dundon

2 tbsp sunflower oil 800g pumpkin, peeled, chopped 2 onions, roughly chopped 2 garlic cloves, chopped ½ leek, sliced 1 tsp. red chilli paste 500ml vegetable stock 400ml coconut milk 50g butter – optional salt and pepper 1. Drizzle a large saucepan with sunflower oil. Add the onion, garlic, leeks and sauté for one to two minutes. Add the pumpkin and chilli paste and sauté for a further minute. Add the stock and half of the coconut milk and season with salt and pepper.

2. Bring to the boil and reduce the heat to simmer for fifteen to twenty minutes or until tender.

3. Remove from the heat and blend the soup with handheld blender until smooth. Add most of the remaining coconut milk but reserve a little to drizzle when serving. Check the seasoning and texture (add extra water to stock if too thick).

4. Add the butter until smooth.

5. Serve the soup with an extra drizzle of coconut milk.

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O L D FAS H I O N E D Q U E E N CA K E S (Makes 12) 225g butter, diced and at room temperature 225g caster sugar 4 large eggs 225g plain flour 2 tsp baking powder for the icing : 200g butter, at room temperature 400g icing sugar 1 tsp vanilla extract 100ml mango puree mixed with orange food colouring

B A R M B R AC K A traditional Irish fruitcake associated with Halloween but delightful at any time of the year. There are many items that can be found within the cake which suggest various different things for the recipient. If you get a ring it suggests that you will be married within one year, a coin could suggest you will get rich... (Makes one cake) 250ml strong cold tea 400g mixed dried fruit 1 teaspoon mixed spice or pumpkin spices mix + extra for the syrup 225g plain (all purpose) flour 175g brown sugar 1 egg, lightly beaten 2 teaspoons of baking powder Optional Traditional Additions: (to be wrapped in tin foil or baking parchment) 1 ring, 1 pea, Piece of a cloth, Money

1. Preheat the oven to 180˚C. 2. Line a twelve-hole muffin tray with paper cases.

3. In a mixing bowl, place the butter, caster sugar, eggs, plain flour, baking powder and beat until light and fluffy. Using two dessert spoons, divide the mixture between the muffin cases.

4. Bake in the oven for fifteen to twenty minutes or until a skewer comes out clean when dipped into the muffin.

5. Remove from the oven. Set aside to cool for five minutes and gently remove the muffins from the tray.

6. Next, prepare the butter cream. In a mixing bowl, beat the soft butter with the icing sugar and vanilla extract until light and fluffy.

7. Place the buttercream in the piping bag with the mango coulis using a star nozzle.

8. Pipe the buttercream over the queen’s cakes.

9. Serve and enjoy during the next day or so.

for the glaze : 100g white sugar 100ml water salted Irish butter to serve 1. Place the cold tea and mixed dried fruit in a bowl. Cover the bowl with a clean cloth and allow to infuse overnight.

2. Pre-heat a fan oven to 160C/325F/Gas Mark 4 and grease a 900g loaf tin and line the base of the tin with some baking parchment.

3. In a bowl, combine the flour, baking powder, spices, brown sugar. Add the fruit mix and the egg. Stir in and add most of the cold tea from the soaked fruits until a loose batter is achieved.

Pour the mixture into the prepared tin.

If you are putting in a ring, coin, rag, pea etc. wrap it in tin foil or baking parchment and place it into the cake mixture at this stage.

4. Place in the pre-heated oven and bake for one and a half hours.

5. In the meantime, prepare the syrup. In a small saucepan, bring to the boil the white sugar and water until the sugar dissolved.

Remove from the heat and add extra mixed spices. Set aside to cool until needed.

6. When the cake is baked, remove from the oven and cool in the tin for fifteen minutes.

7. Remove the cake out of the tin and brush with syrup. Place on a serving platter.

8. Serve warm or toasted with some salted Irish butter.

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Congratulations to Julian Vignoles, winner of the Anthology Magazine Short Story Award 2021 Creative Awards

poetry prize 2020

WINNER

Scenes From a Return Journey words julian vignoles

T

he sky to the west was clear blue, but the cloudi-

Atlantic waves breaking nearby and the crack of the car’s

ness in Con’s head was back with a vengeance. He

central locking as they began their stroll across a field.

felt passive – the holiday was confusing him. Why

They came to an abandoned building, where one wall

were they standing in a ruined building on a headland?

had a stone carved, ‘Kirrary National School 1893’, a legend

He could see islands in the distance and beyond them a

to cinema buffs. Only one or two roof timbers remained,

horizon that had no line. Inland, the dark mass of Mount

the classroom exposed to the elements since its fictional

Brandon looked brooding, mysterious – scary, even – as

inhabitants and their huge entourage departed, weary and

its peak reached into the clouds.

massively overbudget, in 1970, leaving legends to grow

Fiona had driven them from Killarney to the Dingle

in the area. Fiona was on the trail of Ryan’s Daughter, a

Peninsula, the most westerly part of County Kerry. Dingle

sucker for the romance, the scenery. And Con used to be

town was bustling, not that he really noticed. When they

a great admirer of David Lean, fascinated by the ambition

watched a boat full of excited kids chug away from the

and the folly of that era of film-making, the outrageous

pier, Fiona reminded him of their own family excursion

budgets, the hangers-on, the waste. But that was part of

to see Fungi, the once famous resident of the bay. Then she took the road west to Slea Head, before turning off and stopping on a narrow lane. All was quiet, except for

short story

his old life, filled with ambitions and professional struggles.

Now that was disappearing slowly into the distance, like a character departing a Lean film.

‘This is where Robert Mitchum and Sarah Miles, Charles and Rosie in the film, lived, before they were run out by the cruel mob, remember?’ she said.

‘She reminded him of the plot: Rosie Ryan, a dreamer and spoilt child, whose romantic impulse leads to tragedy’

Con was watching a seagull land on a gable and look around, before continuing its journey with a squeal.

‘Why do you still like that film so much?’ he asked her.

She looked quizzically at him now. He’d forgotten they’d been here before.

‘It’s just … the ambition of it, magnificent and flawed,

lover, her father, the priest, a simpleton she refuses to kiss till the last scene.

‘And she has all these expensive parasols representing her folly. They could get blown away easily.’

Con was starting to recall something of the drama. He

overwrought and compelling, at the same time. You don’t

used to be able to summon his favourite Lean moments

remember?’

at will. But the celebrated shots of the Russian steppes,

She reminded him of the plot: Rosie Ryan, a dreamer and

the endless birch trees or the Arabian desert were

spoilt child, whose romantic impulse leads to tragedy. Loved

reduced now to flickers in his brain, the films’ characters’

in different ways, by five different men: her husband, her

fleeting faces.

‘Like so many of us, she clings to the promise of passion, reads cheap fiction. The village can’t offer her much but marriage to the school teacher.’

Fiona stepped carefully on broken pieces of slate.

‘Do you remember how Shaughnessy, the teacher who likes Beethoven and flower pressing, lives with Rosie’s infidelity, but at the end of the film shows real backbone as everything breaks down?’

Con thought of something. ‘Mitchum cast against type, wasn’t it?’ He giggled, but Fiona had gone exploring. He looked out to sea, at the Blasket Island known as the sleeping giant, Inis Tuaisceart. The sun appeared through clouds on the horizon, to shine a spotlight on the humanlooking figure in repose on the ocean.

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‘Fiona, look,’ he pointed, stumbling a little.

She came and put a protective arm round him. ‘You can see it in several scenes in the film,’ she said.

He felt like a passenger in her little odyssey. ‘What about some early Christianity now?’ she said, trying to be provocative, when they were back in the car and moving again.

‘Oh, no,’ said Con. She drove with determination inland to Kilmalkedar, a ruined seventh century church complex. At the Romanesque church, she pointed out the alphabet stone and a carved lintel. He thought she was looking particularly reverential as she stood in the chancel.

‘A rock tumbled from somewhere above them, bounced on the road, then descended to what seemed like the bottomless valley’

‘What is it about ancient Christianity you like so much?’ he asked.

‘It’s the evidence of belief, and its endurance,’ Fiona said slowly, her eyes twinkling.

play, Robert Bolt.’

‘Would that stop her?’

‘Actually, they did get together, but it was years later.’

Fiona stopped the car.

Con was silent as Fiona drove back through Dingle and

pulling in to wait for an oncoming vehicle, the code of driv-

gy-looking sheep, then a sign in German and English on the

ing on the mountain pass. Then a rock tumbled from some-

mountain road. ‘It says TURN BACK NOW,’ he shouted.

where above them, bounced on the road, then descended

‘Con, that’s only for trucks and buses.’

She changed down gear again, the mechanism grinding noisily.

‘You know, Sarah Miles was driven over this road many

to what seemed like the bottomless valley.

‘It’s scary,’ he said.

‘Con, don’t be silly,’ she said as she waved at the oncoming driver and put the car into gear again.

times to the locations,’ she said. Con felt nervous as they

‘She was a fine-looking woman,’ he said.

kept gaining height. He found it hard to gaze over the edge;

‘Who?’

it looked like hundreds of feet of a drop.

‘Sarah.’

‘Did she think about Robert Mitchum?’ he asked.

‘You don’t say.’ There was silence, then she said,

‘What made you think of that?’

‘Strange that you’d remember a bit of gossip, but not the

‘Didn’t they get together that time?’

plot of the film.’

‘Con, she was married to the man who wrote the screen-

126

‘What’s wrong?’ Con said. He hadn’t noticed that she was

started to climb towards the Conor Pass. Con saw scrag-

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He didn’t answer, his head was now preoccupied with an

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image of a twenty-something actress, and the love-lives

Julian Vignoles worked in RTÉ in

and infidelities of two pampered film stars from another

various roles as radio producer,

era. It didn’t stop there; he thought of his own past liaison,

TV producer and commissioning

illicit nights in his lover’s arms. Wasn’t that all over, now?

executive. He is a Co. Wicklow

He glanced at Fiona, her hands firmly on the steering

native and lives in Dublin.

Between 2005 and 2012, he

wheel, her eyes looking assuredly at the road ahead. This

managed the selection process

was stability, contentment even.

and the preparation of Ireland’s

Fiona slowed to allow another car to pass. Con could see

Eurovision Song Contest entries,

kids in holiday mode. The family dog had its head out the window, panting as it surveyed the scenery. The children

and served on the board of directors of the Contest, the

made faces – Con stared back as they laughed – but his

Reference Group, for two terms, from 2006 to 2010.

From 2003 to 2008 he was Deputy Commissioning

brain was gone on overdrive.

‘Do you remember those days?’ he said.

Editor, Entertainment, involved in the development and

‘What days? I’m concentrating on the road.’

commissioning of some highly successful TV series:

Voices – the kids in the car, his own children’s cries from

Naked Camera and Celebrity Jigs and Reels.

distant, happy holidays – and the engine’s hum started to echo round his brain, like a film’s sound effect.

But nostalgia gave way to a chill as he remembered what

He is the author of three published non-fiction titles since leaving his broadcasting career: A Delicate Wildness: The Life and Loves of David Thomson Lilliput Press

the doctor told him the previous month, the day he was

2014; Inside the Eurovision Song Contest, Liffey Press

asked to draw a clock and made a total mess of it. How had

2015; Rory Gallagher- the Man Behind the Guitar Collins

a simple clock confused him? The doctor looked solemn,

Press 2018 (Gill Books 2021)

Fiona anxious. If only the mulch he sensed in his brain would

Since 2012, as well as writing he has worked in tourism,

somehow melt away, and his normal, busy mind return.

co-founding a bike tour business in Dublin and now as a

Something told him that wasn’t going to happen.

driver/guide with a private tour company.

Anthology Short Story Competition 2021 Thank you to all who participated in the competition

Highly Commended Kathleen Macadam (Ireland) – Running Away Steven Sousa Jr (USA) – First Day of School Tony Hunter-Craig (Spain) – Losing It Catherine Kavanagh (Ireland) – My Singer

Shortlisted Anamaria Martinez (Germany) – Uncles and Wolfhounds • Andrew Segal (USA) – The Loving Guide • Anne Byrne (Ireland) – Leaving • Catherine Kavanagh (Ireland) – My Singer • Fergal Greene (Belgium) – Oranges And Lemons • Joan Treacy (Ireland) – Canal Bank • Julian Vignoles (Ireland) – Scenes from a Return Journey • Kathleen Macadam (Ireland) – Running away • Lakshmy A. Krishnan (Singapore) – The Happiest Place in the World • Marguerite Doyle (Ireland) – The Gift • Max McCoubrey (Ireland) – Eventual Forgiveness • Steven Sousa Jr (USA) – First Day of school • Tony Hunter-Craig (Spain) – Losing It We would like to thank our hardworking independent panel of judges, who carefully read and assessed each entry to select the shortlist, highly commended writers and overall winner.

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ANTHOLOGY

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BOOKS Mind Yourself

By Niamh Donnellan Winner of the Anthology Short Story Award 2020 has her first novel published.

I always knew I had a book in me. How many people say that and never put pen to paper?

I worried that would be my fate too. I began writing my book Mind Yourself over ten years ago. In fits and starts I wrote a few chapters here and there over the years until it was nearly complete. Then I left it to gather metaphorical dust, languishing in a folder on my laptop. Nobody but me had ever read it. I never mentioned my writing even to my closest friends. Calling myself a writer? That felt far too presumptuous.

Winning the Anthology Short Story Award in 2020 was a real turning point for me. It gave me the encouragement I needed to proudly call myself a writer. The warm feedback for my short story, Islands, gave me a new sense of confidence in my abilities.

It also spurred me on to finally finish my book.

I devoted every spare minute to the book for three months, editing and refining it late into the night. Then I reluctantly handed it over to friends and family to proofread. It came back heaped with praise but covered in red ink. Just before my fortieth birthday I was finally ready to publish. Holding the first print copy in my hands, seeing it on a shelf in my local bookshop, reading the first five-star review from a stranger on Amazon were incredible moments.

Now, writing is a part of my daily routine. There is so much I want to get down on paper. It is daunting and exciting in equal measure.

Niamh Donnellan is a writer from County Meath. Her debut book Mind Yourself, an Irish crime thriller, is available now on Amazon and in selected bookshops.

Follow her on instagram @niamhdonnellanwrites www.niamhdonnellan. com

Miss Polly and the Crocodile

By Felicia Thomas Well–known for her whimsical artwork and for her ‘Polly Dolly’ characters, Felicia Thomas has recently written and illustrated a children’s book, Miss Polly and the Crocodile.

Whilst recovering from a life-changing injury, Felicia started to write this story as a form of rehabilitation. Based in a magical town, the characters face real world problems. Miss Polly explores themes of peer pressure, forgiveness and the power of kindness.

There seems little hope for a spoilt princess whose behaviour causes nothing but trouble for her kingdom. That is, until the very special Miss Polly Dolly and her close friend Mrs Adams set about changing things for the better.

The book is recommended for children aged five to ten. But if you love fairy stories and imaginary lands where kindness, love and magic can save the day, then this book is for you, no matter how old your inner child is!

Published by Child’s Eye – Libri Publishing. Available at www. feliciathomas.ie or from your local independent bookshop.

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In the shadow of the Olive Tree

By Orna O’Reilly Reviewed by Cathan O’Loughlin

Orna O’Reilly, who is a regular contributor to Anthology, recently released her second novel that takes place in Italy, where the two main characters Claudia and Janet experience heartbreak, revenge and find themselves in spine-chilling scenarios.

In the Shadow of the Olive Tree, is a contemporary adult romance story of two recently divorced young women. Two strangers, Claudia and Janet, move from Dublin to Italy where they meet handsome Italian men and make new friends. But along the way, as their paths cross, the two women are met with alarming truths that tie in with their past lives.

At the beginning of this book, both women have to face upsetting and enraging situations. Janet leaves her husband who has been cheating on her with a neighbour, and Claudia decides to end a very toxic and abusive relationship.

The writing style is engaging, as the author sometimes broke the fourth wall, allowing the reader to become even more invested in the story.

The book is fast-paced with no dull or drawn-out moments.

The characters were led down unreliable paths and had to make tough decisions in every chapter, which made the story thrilling.

Claudia and Janet are constantly left in shock and disillusionment as the story progresses, and this made me sympathise with the two women who were clearly going through great personal upset and trauma. The story had many dark aspects to it that made it unsettling, but in a good way. The author created a sense of discomfort and unease with riveting twists in the plot.

This is certainly darker and more thrilling than Orna’s first novel. Although this book is a stand-alone and doesn’t necessarily need to be read in line with the first, it would make more sense as there are some mild spoilers from The Blonde in The Gondola.

Overall, In the Shadow of the Olive Tree was a great second novel and definitely lived up to Orna’s debut. I really enjoyed the storyline, the plot was intense and it had an ending that I didn’t predict. The descriptions of Italy are vivid which drew me in, feeling that I knew that part of the world really well, almost as if I was part of the scene or event being described.

Self-editing for Self-Publishers Richard Bradburn, copyeditor for Anthology magazine, has published a book on the subject of self-editing.

What is self-editing? Self-editing is the vital stage in the process of writing that many books on the craft of writing either overlook or ignore. Self-editing requires a completely different mind-set to the creative process of drafting a manuscript, and confusing the two tasks often leads to the twin horrors of ‘writer’s block’ and ‘going round in circles’.

The author explains why this happens and how to avoid it happening in your own work, and sets out a very simple three-stage process in self-editing your manuscript that mirrors the editing that a traditionally published book undergoes.

Broken down into structural, sentence-level and proofreading stages, each section is copiously illustrated with before-and-after edited examples. In the comprehensive appendices are useful chapters on how to write a synopsis, how to use beta readers and how to hire a professional editor.

The book is widely recommended by professional editors worldwide. It was published by Reen Press and is available on all online platforms (Amazon, Kobo, iBooks etc) as well as to order in your local bookshop.

The Shadow in the Olive Tree is published by Pegasus Elliot Mackenzie Publishers, and is available directly from the publishers, from Amazon and all good bookshops. anthology

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Creative Awards

poetry prize 2020

WINNER

Creative Awards Now open for entries

Entries are invited in the following categories: Short Story Travel Writing Poetry Cover Art Photography Full details at anthology-magazine.com

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Summer 2021 Issue 15

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