Isaacs Art Center
The Isaacs Art Center is an art museum and retail gallery in Waimea on the Island of Hawaii. It is operated for the benefit of the Hawaii Preparatory Academy. In addition to its retail holdings, the center houses an expansive permanent collection of Hawaiian, Pan-Pacific, Asian art, including the world's largest intact collection of works by Madge Tennent. Among the many major artists represented are Jean Charlot, D. Howard Hitchcock, Herb Kawainui Kane, Huc-Mazelet Luquiens, Ben Norris, Louis Pohl, Horatio Nelson Poole, Lloyd Sexton, Jr. Jules Tavernier, Lionel Walden; the 5,580-square-foot building was constructed in 1915 as the Waimea Elementary School. At its completion, the structure was the first public school in the historic ranching community of Waimea and among the earliest schoolhouses built in the Hawaiian plantation style. Locally, its size reflects the gradual increase in population that Waimea experienced in the early 20th century; the original architect and contractor responsible for the schoolhouse remain unknown.
In 1916, it welcomed most of them the children of Parker Ranch employees. Between 1942 and 1946, the Waimea Elementary School served as a makeshift field hospital for United States Marine Corps troops stationed in or around Waimea. At the war's peak, the region was host to 30,000 G. I.s operating out of Camp Tarawa. It was restored with George Isaacs being the major donor. In 2003, the Historic Hawaii Foundation accorded a Historic Preservation Honor Award to the completed restoration; the museum opened in 2004. The art center's installation intermixes its own permanent art collection with loans from private collectors and works for sale; the art on display consists of paintings by early and mid-twentieth century Hawaii artists. The permanent collection includes 40 works on paper by Madge Tennent. Other Hawaii artists represented include Jean Charlot, Martha Greenwell, D. Howard Hitchcock, Herb Kawainui Kane, Huc-Mazelet Luquiens, Ben Norris, Louis Pohl, Horatio Nelson Poole, Lloyd Sexton, Jr. and Lionel Walden.
The Isaacs Art Center’s website
Belfast is a city in the United Kingdom, the capital city of Northern Ireland, standing on the banks of the River Lagan on the east coast of Ireland. It is second-largest on the island of Ireland, it had a population of 333,871 as of 2015. By the early 19th century, Belfast became a major port, it played a key role in the Industrial Revolution, becoming the biggest linen-producer in the world, earning it the nickname "Linenopolis". By the time it was granted city status in 1888, it was a major centre of Irish linen production, tobacco-processing and rope-making. Shipbuilding was a key industry. Belfast as of 2019 has a major aerospace and missiles industry. Industrialisation and the inward migration it brought made Belfast Ireland's biggest city and it became the capital of Northern Ireland following the Partition of Ireland in 1922, its status as a global industrial centre ended in the decades after the Second World War of 1939–1945. Belfast suffered in the Troubles: in the 1970s and 1980s it was one of the world's most dangerous cities.
However, a survey conducted by a finance company and published in 2016 rated the city as one of the safest within the United Kingdom. Throughout the 21st century, the city has seen a sustained period of calm, free from the intense political violence of former years, has benefitted from substantial economic and commercial growth. Belfast remains a centre for industry, as well as for the arts, higher education and law, is the economic engine of Northern Ireland. Belfast is still a major port, with commercial and industrial docks, including the Harland and Wolff shipyard, dominating the Belfast Lough shoreline, it is served by two airports: George Best Belfast City Airport and Belfast International Airport 15 miles west of the city. The Globalization and World Cities Research Network listed Belfast as a Gamma global city in 2018; the name Belfast is derived from the Irish Béal Feirsde, spelt Béal Feirste. The word béal means "mouth" or "rivermouth" while feirsde/feirste is the genitive singular of fearsaid and refers to a sandbar or tidal ford across a river's mouth.
The name would thus translate as " mouth of the sandbar" or " mouth of the ford". This sandbar was formed at the confluence of two rivers at what is now Donegall Quay: the Lagan, which flows into Belfast Lough, its tributary the Farset; this area was the hub. The Irish name Béal Feirste is shared by a townland in County Mayo, whose name has been anglicised as Belfarsad. An alternative interpretation of the name is "mouth of of the sandbar", an allusion to the River Farset, which flows into the Lagan where the sandbar was located; this interpretation was favoured by John O'Donovan. It seems clear, that the river itself was named after the tidal crossing. In Ulster-Scots, the name of the city has been variously translated as Bilfawst, Bilfaust or Baelfawst, although "Belfast" is used. Although the county borough of Belfast was created when it was granted city status by Queen Victoria in 1888, the city continues to be viewed as straddling County Antrim and County Down; the site of Belfast has been occupied since the Bronze Age.
The Giant's Ring, a 5,000-year-old henge, is located near the city, the remains of Iron Age hill forts can still be seen in the surrounding hills. Belfast remained a small settlement of little importance during the Middle Ages. John de Courcy built a castle on what is now Castle Street in the city centre in the 12th century, but this was on a lesser scale and not as strategically important as Carrickfergus Castle to the north, built by de Courcy in 1177; the O'Neill clan had a presence in the area. In the 14th century, Cloinne Aodha Buidhe, descendants of Aodh Buidhe O'Neill, built Grey Castle at Castlereagh, now in the east of the city. Conn O'Neill of the Clannaboy O'Neills owned vast lands in the area and was the last inhabitant of Grey Castle, one remaining link being the Conn's Water river flowing through east Belfast. Belfast became a substantial settlement in the 17th century after being established as a town by Sir Arthur Chichester, it was settled by Protestant English and Scottish migrants at the time of the Plantation of Ulster.
In 1791, the Society of United Irishmen was founded in Belfast, after Henry Joy McCracken and other prominent Presbyterians from the city invited Theobald Wolfe Tone and Thomas Russell to a meeting, after having read Tone's "Argument on Behalf of the Catholics of Ireland". Evidence of this period of Belfast's growth can still be seen in the oldest areas of the city, known as the Entries. Belfast blossomed as a commercial and industrial centre in the 18th and 19th centuries and became Ireland's pre-eminent industrial city. Industries thrived, including linen, rope-making, heavy engineering and shipbuilding, at the end of the 19th century, Belfast overtook Dublin as the largest city in Ireland; the Harland and Wolff shipyards became one of the largest shipbuilders in the world, employing up to 35,000 workers. In 1886 the city suffered intense riots over the issue of home rule. In 1920–22, Belfast became the capital of the new entity of Northern Ireland as the island of Ireland was partitioned.
The accompanying conflict cost up to 500 lives in Belfast, the bloodiest sectarian strife in the city until the Troubles of the late 1960s onwards. Belfas
Dromore, County Down
Dromore is a small market town and civil parish in County Down, Northern Ireland. It lies within the local government area of Armagh City and Craigavon Borough Council, it is 19 miles southwest of Belfast, on the A1 Belfast–Dublin road. The 2001 Census recorded a population of 4,968 people; this had grown to 6,003 by the 2011 census. The town's centre is Market Square, it is in the old linen manufacturing district. Dromore has the remains of a castle and earthworks, although these have modern buildings surrounding them, a large motte and bailey or encampment, an earlier earthwork known as the Priest's Mount on the Maypole Hill; the name Dromore is an anglicisation of the Irish Druim Mór meaning "large ridge", with historic anglicisations including Drumore and Drummor. The town features a well-preserved Norman motte and bailey, constructed by John de Courcy in the early 13th century, shortly after the Norman invasion of Ireland. Known locally as "the Mound", the fort occupies a prominent site to the east of the town centre and has views along the valley of the River Lagan.
Dromore remained under Anglo-Norman control until it was captured and destroyed by Edward Bruce during the Irish-Bruce wars of 1315. It was the seat of the diocese of Dromore, which grew out of an abbey of Canons Regular attributed to Saint Colman in the 6th century; this was united in 1842 to the Diocese of Connor. The diocese was divided in 1945, with the Diocese of Connor being independent, the Diocese of Down and Dromore remaining united; the town and cathedral were wholly destroyed during the Irish Rebellion of 1641, the present church was built by Bishop Jeremy Taylor in 1661, buried there. Buried in the cathedral is Thomas Percy, another famous bishop of the diocese, who laid out the fine grounds of the palace. A monument to Thomas Percy stands in the Town Park. Jacobites under command of Richard Hamilton, rival Williamites fought a battle here on 14 March 1689; the battle took place about a mile out of the town on the Milebush Road and was known as the Break of Dromore. The Jacobites routed the Williamites and they fled in disorder, leaving 400 dead.
After this Break of Dromore the Jacobites did not meet any resistance while advancing northwards and occupying Belfast. Dromore had its own railway station from 1863 to 1956; the Banbridge and Belfast Junction Railway through Dromore opened in 1863. Its line was a branch that joined the Ulster Railway main line Knockmore Junction, giving Dromore a direct link to Lisburn and Belfast Great Victoria Street. In 1876 the Ulster Railway became part of the new Great Northern Railway, which took over the BLB company in 1877. In 1953 the railway was nationalised as the GNR Board, which closed the line through Dromore on 29 April 1956. For more information see The Troubles in Dromore, which includes a list of incidents in Dromore during "the Troubles" resulting in two or more fatalities; the Dromore Town Centre Development Plan, published in July 2003, outlined that of the 190 units within Dromore Town Centre, over one quarter were vacant. This is in spite of recent population growth in the town; the green-field development in recent years has been around the edges of the town, the doughnut effect has led to these houses being disconnected from the town centre.
The population of Dromore tends to travel to nearby Banbridge or Sprucefield to shop, which has caused the high levels of obvious dereliction. The plan highlights the under use of the River Lagan as a resource in the town, as well as the poorly used public space around the Town Hall in the Market Square; the square's 18th Century layout is protected, however it is identified as a traffic problem, exacerbated by poor parking provision and enforcement of parking restrictions. In 2008, the area surrounding the Town Hall was cleared to facilitate the construction of leisure space; the project was completed in six months and now has benches and pathways in place of a small car park. The general aesthetics of the site have been improved. Dromore is classified as a small town by the NI Statistics and Research Agency. On Census day there were 6,003 people living accounting for 0.33 % of the NI total. Of these: 23.37% were aged under 16 years and 13.88% were aged 65 and over. On Census day there were 4,968 people living in Dromore.
Of these: 23.9% were aged under 16 years and 17.5% were aged 60 and over 48.2% of the population were male and 51.8% were female 13.0% were from a Catholic background and 83.4% were from a Protestant background 2.5% of people aged 16–74 were unemployed. For more details see: NI Neighbourhood Information Service Dromore is well served by the Translink Goldline Express bus service 238, running between Belfast and Newry. Translink Ulsterbus service 38 links the town with Belfast and Lisburn. However
Royal Hibernian Academy
The Royal Hibernian Academy is an artist-based and artist-oriented institution in Ireland, founded in Dublin in 1823. The RHA was founded as the result of 30 Irish artists petitioning the government for a charter of incorporation. According to the letters patent of 5 August 1823, The Royal Hibernian Academy of Painting and Architecture was established, which included a National School of Art; the first elected president was William Ashford. In 1824 architect Francis Johnston was made president, he had provided headquarters for the RHA at Academy House in Lower Abbey Street at his own expense. The first exhibitions took place in May 1825 and were held annually from on. To encourage interest in the arts works displayed at the RHA were distributed by lot as prizes among subscribers. Works by Frederick William Burton, Daniel Maclise, J. M. W. Turner and David Wilkie, among others, were presented in this way; the exhibitions and school prospered and by the end of the 19th century the RHA was the leading Irish institution involved in promoting visual arts.
Academy House was destroyed by fire in 1916 during the Easter Rising. In the middle of the twentieth century the RHA was seen as reactionary, hindering the development of modernism in Ireland and the Irish Exhibition of Living Art was founded 1943 to challenge the RHA's own exhibition policies; this has changed again, Louis le Brocquy one of the founders of the Irish Exhibition of Living Art was a member of the Honorary Council of the Academy and the RHA's own mission statement states that it is dedicated to developing and challenging the public's appreciation and understanding of traditional and innovative approaches to the visual arts. In 1970 the RHA constructed a new building in Ely Place in Dublin; this building houses four galleries. In addition, the Academy curates frequent exhibitions and is responsible for major retrospectives of the work of Irish artists; the Academy has a large collection of Irish art. The Academy is funded by An Chomhairle Ealaíon, the Arts Council of Ireland, through revenue from its Annual Exhibition, from Benefactors and Friends of the Academy.
On the weekend of 7–8 March 2009, an unknown person placed satirical naked paintings of Brian Cowen in the National Gallery of Ireland and the gallery of the Royal Hibernian Academy. The painter was subsequently discovered to be Conor Casby; this caused some controversy at the time, as the matter was investigated by the Gardaí, the state broadcaster RTÉ was forced to apologise for showing the pictures in a news broadcast. There are three instances of post-nominal letters used by Academicians. RHA, Royal Hibernian Academician HRHA, Honorary Member of the Royal Hibernian Academy PRHA, President of the Royal Hibernian Academy Irish art MacLeod of MacLeod, Norman. Report upon the affairs and past management of the Royal Hibernian Academy. Parliamentary Papers. Session 1857-58, Vol. XLVI, No.294. Memorial and Statement of Treasurer of Royal Hibernian Academy to Lord Lieutenant of Ireland, September 1865. Parliamentary Papers. Session 1866, Vol. LV, p.221. 10 August 1866. Royal Commission on Science and Art Department in Ireland.
Vol.1: Report. Parliamentary Papers. Session 1868-69, Vol. XXIV, p.1. Royal Commission on Science and Art Department in Ireland. Vol.2: Minutes of evidence, Appendix, &c. Parliamentary Papers. Session 1868-69, Vol. XXIV, p.43. Committee of Enquiry into the Work carried on by the Royal Hibernian Academy and Metropolitan School of Art, Dublin. Cd.3256: Report with minutes of evidence and index. Parliamentary Papers. Session 1906, Vol. XXXI, p.799. Dublin: HMSO. http://www.rhagallery.ie/
Landscape painting known as landscape art, is the depiction of landscapes in art – natural scenery such as mountains, trees and forests where the main subject is a wide view – with its elements arranged into a coherent composition. In other works, landscape backgrounds for figures can still form an important part of the work. Sky is always included in the view, weather is an element of the composition. Detailed landscapes as a distinct subject are not found in all artistic traditions, develop when there is a sophisticated tradition of representing other subjects; the two main traditions spring from Western painting and Chinese art, going back well over a thousand years in both cases. The recognition of a spiritual element in landscape art is present from its beginnings in East Asian art, drawing on Daoism and other philosophical traditions, but in the West only becomes explicit with Romanticism. Landscape views in art may be imaginary, or copied from reality with varying degrees of accuracy.
If the primary purpose of a picture is to depict an actual, specific place including buildings prominently, it is called a topographical view. Such views common as prints in the West, are seen as inferior to fine art landscapes, although the distinction is not always meaningful; the word "landscape" entered the modern English language as landskip, an anglicization of the Dutch landschap, around the start of the 17th century, purely as a term for works of art, with its first use as a word for a painting in 1598. Within a few decades it was used to describe vistas in poetry, as a term for real views; however the cognate term landscaef or landskipe for a cleared patch of land had existed in Old English, though it is not recorded from Middle English. The earliest forms of art around the world depict little that could be called landscape, although ground-lines and sometimes indications of mountains, trees or other natural features are included; the earliest "pure landscapes" with no human figures are frescos from Minoan Greece of around 1500 BCE.
Hunting scenes those set in the enclosed vista of the reed beds of the Nile Delta from Ancient Egypt, can give a strong sense of place, but the emphasis is on individual plant forms and human and animal figures rather than the overall landscape setting. The frescos from the Tomb of Nebamun, now in the British Museum, are a famous example. For a coherent depiction of a whole landscape, some rough system of perspective, or scaling for distance, is needed, this seems from literary evidence to have first been developed in Ancient Greece in the Hellenistic period, although no large-scale examples survive. More ancient Roman landscapes survive, from the 1st century BCE onwards frescos of landscapes decorating rooms that have been preserved at archaeological sites of Pompeii and elsewhere, mosaics; the Chinese ink painting tradition of shan shui, or "pure" landscape, in which the only sign of human life is a sage, or a glimpse of his hut, uses sophisticated landscape backgrounds to figure subjects, landscape art of this period retains a classic and much-imitated status within the Chinese tradition.
Both the Roman and Chinese traditions show grand panoramas of imaginary landscapes backed with a range of spectacular mountains – in China with waterfalls and in Rome including sea, lakes or rivers. These were used, as in the example illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists; the Chinese style showed only a distant view, or used dead ground or mist to avoid that difficulty. A major contrast between landscape painting in the West and East Asia has been that while in the West until the 19th century it occupied a low position in the accepted hierarchy of genres, in East Asia the classic Chinese mountain-water ink painting was traditionally the most prestigious form of visual art. Aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. In the West this was history painting, but in East Asia it was the imaginary landscape, where famous practitioners were, at least in theory, amateur literati, including several Emperors of both China and Japan.
They were also poets whose lines and images illustrated each other. In the 1830s the British inventor William Talbot creates the process of calotype and in 1844 he publishes the first book with photo illustrations: "The Pencil of Nature"Talbot, W. H. F.. The Pencil of Nature: in 6 parts. However, in the West, history painting came to require an extensive landscape background where appropriate, so the theory did not work against the development of landscape painting – for several centuries landscapes were promoted to the status of history painting by the addition of small figures to make a narrative scene religious or mythological. In early Western medieval art interest in landscape disappears entirely, kept alive only in copies of Late Antique works such as the Utrecht Psalter. A revival in interest in nature mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries; the frescos of figures at work or pl
Genre art is the pictorial representation in any of various media of scenes or events from everyday life, such as markets, domestic settings, parties, inn scenes, street scenes. Such representations imagined, or romanticized by the artist; some variations of the term genre art specify the medium or type of visual work, as in genre painting, genre prints, genre photographs, so on. Rather confusingly, the normal meaning of genre, covering any particular combination of an artistic medium and a type of subject matter, is used in the visual arts. Thus, genre works when referring to the painting of the Dutch Golden Age and Flemish Baroque painting—the great periods of genre works—may be used as an umbrella term for painting in various specialized categories such as still-life, marine painting, architectural painting and animal painting, as well as genre scenes proper where the emphasis is on human figures. Painting was divided into a hierarchy of genres, with history painting at the top, as the most difficult and therefore prestigious, still life and architectural painting at the bottom.
But history paintings are a genre in painting, not genre works. The following concentrates on painting, but genre motifs were extremely popular in many forms of the decorative arts from the Rococo of the early 18th century onwards. Single figures or small groups decorated a huge variety of objects such as porcelain, furniture and textiles. Genre painting called genre scene or petit genre, depicts aspects of everyday life by portraying ordinary people engaged in common activities. One common definition of a genre scene is that it shows figures to whom no identity can be attached either individually or collectively—thus distinguishing petit genre from history paintings and portraits. A work would be considered as a genre work if it could be shown that the artist had used a known person—a member of his family, say—as a model. In this case it would depend on whether the work was to have been intended by the artist to be perceived as a portrait—sometimes a subjective question; the depictions imagined, or romanticized by the artist.
Because of their familiar and sentimental subject matter, genre paintings have proven popular with the bourgeoisie, or middle class. Genre themes appear in nearly all art traditions. Painted decorations in ancient Egyptian tombs depict banquets and agrarian scenes, Peiraikos is mentioned by Pliny the Elder as a Hellenistic panel painter of "low" subjects, such as survive in mosaic versions and provincial wall-paintings at Pompeii: "barbers' shops, cobblers' stalls, asses and similar subjects". Medieval illuminated manuscripts illustrated scenes of everyday peasant life in the Labours of the Months in the calendar section of books of hours, most famously Les Tres Riches Heures du Duc de Berry; the Low Countries dominated the field until the 18th century, in the 17th century both Flemish Baroque painting and Dutch Golden Age painting produced numerous specialists who painted genre scenes. In the previous century, the Flemish Renaissance painter Jan Sanders van Hemessen painted innovative large-scale genre scenes, sometimes including a moral theme or a religious scene in the background in the first half of the 16th century.
These were part of a pattern of "Mannerist inversion" in Antwerp painting, giving "low" elements in the decorative background of images prominent emphasis. Joachim Patinir expanded his landscapes, making the figures a small element, Pieter Aertsen painted works dominated by spreads of still life food and genre figures of cooks or market-sellers, with small religious scenes in spaces in the background. Pieter Brueghel the Elder made peasants and their activities naturalistically treated, the subject of many of his paintings, genre painting was to flourish in Northern Europe in Brueghel's wake. Adriaen and Isaac van Ostade, Jan Steen, Adriaan Brouwer, David Teniers, Aelbert Cuyp, Johannes Vermeer and Pieter de Hooch were among the many painters specializing in genre subjects in the Low Countries during the 17th century; the small scale of these artists' paintings was appropriate for their display in the homes of middle class purchasers. The subject of a genre painting was based on a popular emblem from an emblem book.
This can give the painting a double meaning, such as in Gabriel Metsu's The Poultry seller, 1662, showing an old man offering a rooster in a symbolic pose, based on a lewd engraving by Gillis van Breen, with the same scene. The merry company showed a group of figures at a party, whether making music at home or just drinking in a tavern. Other common types of scenes showed village festivities, or soldiers in camp. In Italy, a "school" of genre painting was stimulated by the arrival in Rome of the Dutch painter Pieter van Laer in 1625, he acquired the nickname "Il Bamboccio" and his followers were called the Bamboccianti, whose works would inspire Giacomo Ceruti, Antonio Cifrondi, Giuseppe Maria Crespi among many others. Louis le Nain was an important exponent of genre painting in 17th-century France, painting groups of peasants at home, where the 18th century would bring a heightened interest in the depiction of everyday life, whether through the romanticized paintings of Watteau and Fragonard, or the careful realism of Chardin.
Jean-Baptiste Greuze and others painted detailed and rather sentimental groups or individual portraits of peasants that were to be influential on 19th-century painting. In England, William Hoga
County Down is one of six counties that form Northern Ireland, in the northeast of the island of Ireland. It covers an area of 2,448 km2 and has a population of 531,665, it is one of the thirty-two traditional counties of Ireland and is within the province of Ulster. It borders County Antrim to the north, the Irish Sea to the east, County Armagh to the west, County Louth across Carlingford Lough to the southwest. In the east of the county is Strangford Lough and the Ards Peninsula; the largest town is Bangor, on the northeast coast. Three other large towns and cities are on its border: Newry lies on the western border with County Armagh, while Lisburn and Belfast lie on the northern border with County Antrim. Down contains both the easternmost point of Ireland, it was one of two counties of Northern Ireland to have a Protestant majority at the 2001 census. The other Protestant majority County is County Antrim to the North. In March 2018, The Sunday Times published its list of Best Places to Live in Britain, including five in Northern Ireland.
The list included three in County Down: Holywood and Strangford. County Down takes its name from dún, the Irish word for dun or fort, a common root in Gaelic place names; the fort in question was in the historic town of Downpatrick known as Dún Lethglaise. During the Williamite War in Ireland the county was a centre of Protestant rebellion against the rule of the Catholic James II. After forming a scratch force the Protestants were defeated by the Irish Army at the Break of Dromore and forced to retreat, leading to the whole of Down falling under Jacobite control; the same year Marshal Schomberg's large Williamite expedition arrived in Belfast Lough and captured Bangor. After laying siege to Carrickfergus Schomberg marched south to Dundalk Camp, clearing County Down and much of the rest of East Ulster of Jacobite troops. Down contains two significant peninsulas: Lecale peninsula; the county has a coastline along Carlingford Lough to the south. Strangford Lough lies between the mainland. Down contains part of the shore of Lough Neagh.
Smaller loughs include Lough Island Reavy. The River Lagan forms most of the border with County Antrim; the River Bann flows through the southwestern areas of the county. Other rivers include the Quoile. There are several islands off the Down coast: Mew Island, Light House Island and the Copeland Islands, all of which lie to the north of the Ards Peninsula. Gunn Island lies off the Lecale coast. In addition there are a large number of small islands in Strangford Lough. County Down is where, in the words of the famous song by Percy French, "The mountains of Mourne sweep down to the sea", the granite Mourne Mountains continue to be renowned for their beauty. Slieve Donard, at 849 m, is the highest peak in the Mournes, in Northern Ireland and in the province of Ulster. Another important peak is Slieve Croob, at 534 m, the source of the River Lagan. An area of County Down is known as the Brontë Homeland, after Patrick Brontë, father of Anne, Charlotte and Branwell. Patrick Brontë was born in this region.
The city of Newry in the south of the county contains St Patrick's, overlooking the city centre from Church street, on the east side of the city, considered to be Ireland's first Protestant church. The Newry Canal is the first summit-level canal to be built in the British Isles. Castlewellan Forest Park. Down is home to Exploris, the Northern Ireland Aquarium, located in Portaferry, on the shores of Strangford Lough, on the Ards Peninsula; the Old Inn in Crawfordsburn is one of Ireland's oldest hostelries, with records dating back to 1614. It is predated however by Donaghadee's Grace Neill's, opened in 1611; the Old inn claims that people who have stayed there include Jonathan Swift, Dick Turpin, Peter the Great, Lord Tennyson, Charles Dickens, Anthony Trollope, former US president George H. W. Bush, C. S. Lewis, who honeymooned there. Tollymore Forest Park. Scrabo Tower, in Newtownards, was built as a memorial to Charles Stewart, 3rd Marquess of Londonderry. Saint Patrick is reputed to be buried at Down Cathedral in Downpatrick, reputedly alongside St. Brigid and St. Columcille.
Saul, County Down – where Saint Patrick said his first eucharist in Ireland Baronies Ards Lower Ards Upper Castlereagh Lower Castlereagh Upper Dufferin Iveagh Lower, Lower Half Iveagh Lower, Upper Half Iveagh Upper, Lower Half Iveagh Upper, Upper Half Kinelarty Lecale Lower Lecale Upper Lordship of Newry Mourne Parishes Townlands Belfast - the eastern suburbs of the city lie in County Down but County Antrim Lisburn - the eastern suburbs of the city lie in County Down but County Antrim Newry - the eastern suburbs of the city lie in County Down but County Armagh Bangor Dundonald Newtownards Banbridge Downpatrick Holywood Carryduff (Population of 4,500 or more and under 10,000 at