A hands on guide to find your family within the county Clare. Full size 8 1/2 x 11; 55 pages; illustrations, some of which may appear faded with age as in the originals; Full color map of the county: Local Sources; Coats of Arms; and record extracts. Many families are given with family history notes, specific locations; coat of arms; and seats of power. Some are only mentioned. A must for any researcher. ( For a large collection of family histories within the county we also recommend "The Book of Irish Families, great & small", by O'Laughlin.). A third work that continues the Irish Families Project on Clare is entitled “Families of County Clare, Ireland”.

Specifications: 6" x 9" size; 167 pages; 50 illustrations; well indexed by surname. Includes Castles in County Clare; family seats of power; locations; variant spellings of family names; full map of County Clare, coats of arms, and sources for research. From ancient times to the modern day. Second and most current edition. Author/Editor: Michael C. O'Laughlin. Please note that the first volume in the Irish Families Project, "The Book of Irish Families, great & small", has additional information on Families in County Clare.

The book examines the fortunes of a provincial, entrepreneurial family, the Glynns of Kilrush, County Clare, who came to local prominence in the early years of the nineteenth-century. It explores their networking strategies and acumen, and traces the rapid expansion of their business activity from small-scale corn millers to proprietors of a multifaceted enterprise. It examines the rapid expansion of their various enterprises from milling to shipping and railways. Paul O'Brien places the Glynn family and businesses within the wider context of networks developing between the urban, provincial and metropolitan industrial class. Networks which helped shape Irish society and its economy. It examines the family primarily from a social point of view while also exploring the family's business and trade enterprises. It addresses the issue of middle-class identity, examining the ways in which it was constructed and represented to the wider community. The book also explores the mechanisms that were used by the middle classes to establish and maintain their economic, social and cultural hegemony, and how these were reproduced down the Glynn generations. The book was helped by the availability of a superb, hitherto undiscovered, family and business archive belonging to the Glynn family. The most fascinating aspects discussed in the book are the interactions between class, networking, local administration, associational culture, education, religion, the Glynn women and last, but by no means least, the town of Kilrush itself where the family still remain based.

With a particular emphasis on the role of landscape and environs, this book brings together 30 captivating personal stories by some of the most creative people in Ireland, who all live in or come from County Clare.

Lying at Europe's remote western edge, Ireland long has been seen as having an artistic heritage that owes little to influences beyond its borders. This publication, the first to focus on Irish art from the eighth century AD to the end of the sixteenth century, challenges the idea that the best-known Irish monuments of that period-the high crosses, the Book of Kells, the Tara Brooch, the round towers-reflect isolated, insular traditions. Seventeen essays examine the iconography, history, and structure of these familiar works, as well as a number of previously unpublished pieces, and demonstrate that they do have a place in the main currents of European art. While this book reveals unexpected links between Ireland, Late-Antique Italy, the Byzantine Empire, and the Anglo-Saxons, its center is always the artistic culture of Ireland itself. It includes new research on the Sheela-na-gigs, often thought to be merely erotic sculptures; on the larger cultural meanings of the Tuam Market Cross and its nineteenth-century re-erection; and on late-medieval Irish stone crosses and metalwork. The emphasis on later monuments makes this one of the first volumes to deal with Irish art after the Norman invasion. The contributors are Cormac Bourke, Mildred Budny, Tessa Garton, Peter Harbison, Jane Hawkes, Colum Hourihane, Catherine E. Karkov, Heather King, Susanne McNab, Raghnall Floinn, Emmanuelle Pirotte, Roger Stalley, Kees Veelenturf, Dorothy Hoogland Verkerk, Niamh Whitfield, Maggie McEnchroe Williams, and Susan Youngs.

Index of archaeological papers published in 1891, under the direction of the Congress of Archaeological Societies in union with the Society of Antiquaries.