The Throne Room in Dublin Castle was the ultimate focus of vice-regal ceremony, royal visits and many great state occasions both before and after Irish independence in 1922. It has been a touchstone of British occupation and Irish autonomy that can be analysed through the details of its form and furnishing. Making Majesty is an elegant collection of essays, by leading Irish art and architectural historians, that cover a broad range of perspectives in refining our understanding of this tremendously lavish space, shedding new light on the major and minor figures who created, ornamented, decorated and used it. Volume One of a three-volume architectural history of Dublin Castle, Making Majesty presents original findings that are set to overthrow preconceptions about the nature of the presence of the British monarchy in Ireland. With deeply insightful analysis that draws upon uniquely accessed archives, Campbell and Derham bring to light every aspect of how Dublin Castle's authorities wished to be perceived and how that changed according to the whims of imperious Viceroys, renowned craftsmen, and an Irish state wishing to secure an image of its newfound self-determination. This fascinating work is of immediate interest to anyone with a passion for the history of Ireland, its art, design and architecture.

The first investigation into the choral foundation of the Chapel Royal, Dublin Castle. The Chapel Royal, Dublin Castle, was the place of worship of the British monarch's representative in Ireland from 1814 until the inception of the Irish Free State in 1922. It was founded and maintained by the joint efforts of church and state, and thus its history provides valuable insights into how the relationship between religion and politics shaped Irish society and identity. The Dublin Chapel was established in imitation of the Chapel Royal of St James's Palace, London, and was served by a staff of clergy and musicians. Its musical foundation was a formal and independent entity, with its own personnel and performance traditions. Its distinctive repertoire included music from the English and Irish cathedral traditions, as well as works written by composers associated directly with the Chapel. This study investigates the Chapel's constitution, liturgy and music through an examination of previously unexplored primary material. Discussion of the circumstances of the Chapel's founding and its governance structures situates the institution in the context of the church-state relationship that existed following the Union of 1800. Further, by exploring architecture, churchmanship and musical style, O'Shea demonstrates how the Chapel was part of a wider aesthetic and liturgical tradition. The choral foundation is brought to life with accounts of the Chapel's clergy, organists, boy choristers and gentleman singers, which provide insights into Dublin's social history during a period of significant change. This book reflects on the Dublin Chapel Royal's legacy a century after its closure and offers a new perspective into a forgotten corner of Irish cultural, religious and political history.

In exquisitely detailed illustrations and engaging words, Stephen Conlin and Peter Harbison bring alive the story of Dublin - its architecture and streetscapes, its government and its people - from Viking times to the present day.

The 'Irish Crown Jewels' - the regalia or insignia of the Order of St Patrick, a chivalric order founded by the government in 1783 - mysteriously disappeared on or before 6th July 1907, as King Edward VII was on the point of visiting Ireland to invest a knight of the Order of St Patrick. The task entrusted to the Vice-Regal Commission appointed by the Lord Lieutenant-General and General Governor of Ireland was not to conduct a criminal investigation but to determine whether Sir Arthur Vicars, the Ulster King of Arms (the state heraldic and genealogical officer in charge of the Of ce of Arms in Dublin Castle) had 'exercised due vigilance and proper care' as the custodian of the star and badge. The report of the Vice-Regal Commission and Sir Arthur Vicars' statements to the police are reproduced here in full.