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EXHIBITION DOUBLE NUMBER OF UNTILED DOUBLE NUMBER OF IRELAND.
Beggers should not that they receive the extra of this work's view of this work's view of Ireland, sixteen years, for Theory.
VOL. II.—NO. 50.
DUBLIN, SATURDAY, AUGUST 19, 1882.
ILLUSTRATED SUPPLEMENT.
WHAT TO SEE AND DO IN DUBLIN.
A Chat by the Way.
[SPECIALLY WRITTEN FOR THE IRELAND]
Dublin, these weeks, is like a house full of guests, and every Dublin citizen has a part to play as a host and entertainer. For our portion of such having labour, we don't think we can do better for the labours of visitors from the cities of distant lands, and the other cities and provinces of our own country, who are just now honouring us with their presence, than to give them what little help we may towards the solution of that uppermost of questions—what to see and do in Dublin after they have had it out with the Exhibition.
A visit to the Irish metropolis by the Irishman who enters is for the first time in an event in his life; while to the traveller from other nations, whether he be born of Celt or Gentile, it is no unimportant event either—if he only is in an anxiety. Yet how many are there—like Peter Ball, to whom "a primace by the river's brim," a yellow primace was, and nothing more—entravelled countryman and wayfaring traverser of seas, who come to Dublin and leave it, just as they would eater and depart from any city under the run, carished with no other impressions than, maybe, that it was a city and that a city was a player with fine buildings, and streets, and tramcars, and crowds, and squalor check-by-joys with spiendour; or that it was a "one-house" concern, that the people were nascently sleepy in a business view, though civil, that the policemen were mostly big, that the Dublin state was good drinking and cheap; and such like, as of the time as the persuasion of the sojourners and the citizens under which they make their stay? That, we should say, is one of the worst developments of Philistinism; and we heartily hope there will be more inspiration taken in by all who visit Dublin for time and labour, and by all who visit to Dublin after they have had it out with the Exhibition. To all and the acquainted history of our land. To all and
sundry who may have known it before, or who heard it now for the first time, but it known that Dublin, from an artistic point, is one of the most public buildings and of the principal streets is surpassed in no city. Walk along from the Rotundis to College green, and you need walk no further to be convinced of this. Then, if you reflect that it was during the lifetime of a fostering native Parliament that Dublin acquired the chief of her beauties, you will begin to perceive the bearing her historical has upon her architectural aspect, Dublin, or Toban, or Fallouch Clinth, or Dublin—the "Olden and Palaid of Hurells"—has an authentic seventeen hundred years, as record shows. There is an interest in the authentic account of it by Tylemony Claudius, bearing on the Book of Lord of Hurells—a part of the river, is made up of James's-street and Thomas-street. In the former is Guinness's Browery, which is a sight worth seeing as an Irish manufacturer and the greatest port browery in the world, and to which we believe permits to struggle are freely and courteously given. With the latter are counceled many historical associations—it was in Thomas-street Robert Ennett was nursered and Lord Eldward Eldward had captured by Major Sirry. Thomas-street leads into High-street, the Chatelind street (which takes its name from the Chatelind standing party), Cattle-street, and Corkhill, where stands the Cattle—as the mark 1—and round the corner to Dance-street. The Lifely with its quays and bridges, looking to bike the Scine at Paris on a smaller scale, out the city in two. The localities adjoining it on either side are the oldest in the city. Fishamble-street is amongst them, where the Gratison, a street of the Irish post, is amongst the most popular of the monarchial history, used to live, hard by which "Irish Latters" were published and Handled "A L'Allegre" and "Messial" first produced. [Met.: At the performance of the Lifely with its quays and bridges, looking to bike the Scine at Paris on a smaller scale, out the city in two. T