The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Methodist Church, from the side.clunes wesleyan methodist church, wesley college

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Methodist Church.clunes wesleyan methodist church, wesley college

The Wesleyan Methodist Church at Clunes is a distinctive bluestone building in the Gothic style and was designed by the Ballarat architect J.A. Doane. Construction began in 1864 and the church was further extended in 1871. The building consists of a broad nave and transepts with galleries, these having cast iron balustrades. The facade incorporates a slate-roofed octagonal turret and spire and a four-light perpendicular Gothic window. The interior includes windows with quarry glass panes and coloured borders; those on either side of the organ incorporate scrolled texts and may be by the Melbourne makers Ferguson & Urie. With declining congregations, the property was purchased by Wesley College in 1999 and now forms part of its Clunes campus. The church building has received a very extensive restoration, including structural strengthening, the opening out of the interior to its original dimensions and the installation of a new floor. Ref: https://www.ohta.org.au/organs/organs/ClunesUC.html B & W exterior view of the Clunes Wesley College development. The image shows school buildings on a block next to the former Clunes Methodist Church.clunes wesleyan methodist church, wesley college

The Wesleyan Church, Denham Street in Lower Hawthorn, as the area was then called, was opened on 2 May 1886. The building was designed by Geelong architect William Henry Cleverdon and was built of brick in the Gothic style. Its dimensions were 55 x 33 ft and the façade incorporated a rose window and spire 50 ft high. A wooden vestry was placed to the rear. The building and the organ were seriously damaged by fire on 1 April 1970, started by a painter's blowtorch. The church was not rebuilt.B & W photograph of the interior of the Denham St. Methodist Church Hall, Hawthorn. The photograph is taken from the seating area towards the stage, which is furnished with an organ, an upright piano, a table and chairs.denham street methodist church, organ, hall

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. The Museum's Decorative Arts & Design collection includes artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample: ‘Chrysanthemum’ pattern. Original pattern created 1876–1877 by William Morris (1834-1896). Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample: ‘Larkspur’ pattern, Foliate design with flowers, red on a paler red background. Original design by Morris in 1872; revised by Morris in 1875. Sample is a later Morris-style wallpaper block reproduction from the 1970s. Pattern No. 133400.Stamped on verso: 133400CI / MADE IN ENGLAND. Inscribed in ink on verso: W. MORRIS / LARKSPUR / 133400 / $7.60decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. Most rooms in this historically and aesthetically significant house have stone (typically marble) fireplaces that are inset with plain and decorative tiles produced by the company of Mintons Ltd.Born digital photograph of the fireplace in the main bedroom of Villa Alba. The original 1880s white marble mantel surround has a raised iron and brass cast iron grate with hearth and side tiles by Mintons Ltd. The marble fire surround has being carved in a conventional style and lacks the opulence of what was at the time described as the grandest bedroom in the Colony, whereas the raised grate features decorative brass sun symbols and scrolling on the iron panels. The 'grey monochrome' surround tiles, of which there are eight in situ were produced to design by John Moyr Smith by Mintons Ltd as part of the 'Waverley' series (No, 1607) of which there were twelve subjects (Mintons Catalogue, p. 62/206). The selection conforms to William Greenlaw's desire to symbolically represent Scottish themes in the decoration of the house. It also relates to the mural in the dining room architrave of scenes from the novels of Sir Walter Scott. The three rows of hearth tiles employ a repeated geometric pattern.fireplaces, mintons, mintons - tiles, villa alba - main bedroom

Built for William and Anna-Maria Greenlaw in the early 1880s, and with interiors decorated by the Paterson Bros, Villa Alba remained in private ownership until 1949. From 1950, the house was owned by a number of institutions. By 1984, the Villa Alba Preservation Society had been formed, and three years later, the Mount Royal Hospital granted a 25-year lease to Kew Council. In 2004, the title to Villa Alba was passed by the Victorian Government to The Villa Alba Museum Incorporated. The Museum, at 44 Walmer Street, Kew, is now a cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration.This is one of a number of historically and aesthetically significant photos of the interiors and exterior of Villa Alba when it was still owned by the Mount Royal Hospital, showing twentieth century accretions and deterioration of the historic fabric of the building. This was a benchmark survey against which future conservation and restoration activities can be measured.In December 1987, Mockridge Stahle & Mitchell Pty Ltd Architects prepared ‘Villa Alba Survey: A Report on the fabric for Mount Royal Hospital’ of which this photograph is a part. Photo of exterior of Villa Alba showing pair of arched exterior windows with etched glass.villa alba museum, conservation photographs, victorian architecture, etched glass, romanesque style windows

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a dado pattern. Three colour, repeat pattern of facing squirrels in brown on a green ground, bordered top and bottom in a brown on yellow design. Sample is a later Morris-style wallpaper block reproduction from the 1970s. Inscribed verso: No.14decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history, wallpapers -- dados

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Monochrome, repeat pattern of a front facing bird contained in a roundel in pale grey on a darker grey ground, regularly interspersed on a geometric design. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Monochrome, repeat pattern of fleur de lys in green on a paler green ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Monochrome, repeat pattern of birds and flowers in brown on a paler pink ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Monochrome, repeat pattern of inward and outward storks surrounding a Celtic knot in dark blue on a paler blue ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Monochrome, repeat pattern of lions and rose bushes above the letters SS in a knot design in burgundy on a red ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Monochrome, tightly designed repeat pattern of abstract flowers in a fan shape in cream on a green ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., dado border design. Monochrome, repeat pattern frieze of flowers in an urn with an alternating design including a facing fox and flamingo in black on a red ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history, wallpapers -- dado borders

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co design. Monochrome, repeat pattern of fleur de lys and acanthus leaves in green on a paler green ground. Sample is a later Morris-style wallpaper block reproduction from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

The Villa Alba Museum is cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. These include artefacts (wallpapers, textiles, carpet samples), furnishings, printed materials (catalogues, books, periodicals), and pictures (photographs).Wallpaper sample of a Morris & Co., pattern. Polychrome, repeat pattern of a flowering tree among meadow flowers with scrolling green and blue acanthus leaves. Sample is a later Morris-style wallpaper block reproduction by Sanderson & Co from the 1970s. decorative arts & design, wallpapers -- morris & co, wall coverings – history, wallpapers – history, interior decoration – history

Owned by Richard Evans who lived in Chiltern Valley and served in WW1Religious instruction in question and answer format132mmx 80mm, Ochre coloured, lightweight paper cover. Interior pages light coffee coloured, black print on the front of cover, insignia of lions, Greek style black ink border. Back cover contains a multiplication table.No.69029 Pte R Evans, 16 Reinforcements, G I G Vic Aus Imperial Forces Abroad British and Foreign Bible Society Bible House 241-243 Flinders Lane Melbourne 20.11.18chiltern, chiltern valley, richard evans, shorter catechism, religion

Located within the heart of the winery, the atrium style Cellar Door was designed by legendary Australian architect; Robyn Boyd and constructed in 1972. Offering views of the century old storage casks and famous dirt floors, the Cellar Door offers an up close experience to the making of our world famous wines.Black and white photograph of the interior of a wine cellar with stacks of wine casks of various sizes. A substantial number of people are in a glassed-in area at the back of the room. Glassed-in area ( cellar door sales area) designed by Robyn Boyd. 1972On back of photo: "S/S [upper case H in a circle] Morris"wineries, north east victoria, wine industry, morris winery, robyn boyd, rutherglen australia, winery, cellar door

Ebenezer Presbyterian Church is located in Armstrong Street South, Ballarat. The earliest church on the site was wooden church was and built in 1857 for the miners Gold Rush. In 1862 the wooden building was replaced by the bluestone church still in use today. The bluestone church was designed by architect Henry Richards Caselli in Lombardic Romanesque style. It features tall windows with paired round headed lights, buttresses and huge brackets. The porch and gallery were added in the 1880s to cater for an increase in the size of the congregation and are the only additions to the church. The 1880s porch features bracketted gables, finial, piers, string course and triple windows. The Ebenezer Church is important architecturally for its interior as well as its exterior, as it has a Classical Revival design that is both distinctive and unusual in Australia. The Ebenezer Presbyterian Church Hall built to the right of the church was constructed in 1892 and is made of locally produced red brick, which was more fashionable at the time. It too has been built in Lombardic Romanesque style in sympathy with the church building and features tall arched windows. The double-storey presbytery, built on the left of the church dates around the 1880s and is also constructed of red brick. Built in Victorian Classical Freestyle, it has elegant quoining on its corners, large windows upstairs, and prominent bay windows on the ground floor. The Armstrong Street facade is sheltered from the sun by a verandah and balcony featuring fine cast iron columns and lacework. The whole complex is surrounded by its 1880s cast iron paling fence. Henry Richards Caselli is perhaps best known in Ballarat for the large number of churches in Victoria that he designed, with two Lombardic Romanesque examples in Ballarat, the Ebenezer Presbyterian church, Armstrong Street South between 1862 and 1863 and the Lutheran Church in Doveton Street in 1876. This photograph was taken during the Covid19 pandemic and the associated shutdowns.Colour photographs of Ebenezer St John's Presbyterian Church.ebenezer st john's presbyterian church, ebenezer, church, ballarat, henry richards caselli

The World War One windows in the Barkly Street Uniting Church resulted from a request made in 1919 from the Barkly Street Young Men's Club who raised money to pay for the project. The window was designed by the Fisher Company, and was unveiled on 14 March 1920 at a total cost of 171 pounds 10 shillings. The windows are considered to be one of the most remarkable war memorial windows in Victoria, and the 1800s English Gothic-style front facade is believed to be protected by a City of Ballarat heritage overlay. Historical experts believe the windows were designed by renowned stained-glass window-maker William Montgomery. The centre window depicts a young soldier bearing an Anzac badge underneath the British and Australian flags. The image of the solider is surrounded by 24 crosses, a single dove and a bugle. A number of colour photographs of the interior of the Barkly Street Uniting Church taken while the church was offered for sale.barkly street uniting church, barkly street methodist church, world war one, world war one memorial, stained glass, soldier, religion, church

The Megalithic Passage Tombs of Newgrange, Knowth, Dowth, Fourknocks, Loughcrew and Tara are located in the present day County Meath in Ireland's Ancient East. The Boyne Valley Mounds at Newgrange, Knowth and Dowth were built around 3200BC making them older than Stonehenge in England and the Pyramids of Giza in Egypt. Built by Neolithic farming communities about 5000 years ago, the passage tombs have clear astronomical alignments such as the Winter Solstice Sunrise at Newgrange and the Equinox Sunrise at Loughcrew. Judging from the splendour and magnificence of Newgrange and Knowth it is likely that these temples of the ancestors were places of astrological, spiritual, religious and ceremonial importance, much as present day cathedrals are places of worship where dignitaries may be laid to rest. There is a lively debate about whether these wonderful megalithic structures were built primarily as burial tombs, sacred temples or astronomical observatories. While passage tomb is the traditional description for Newgrange and similar structures, chambered cairn or passage mound are the descriptions favoured by those who consider the passage tomb description too narrow. The large stones surrounding and inside the Passage Tombs are decorated with Megalithic Art such as spirals, concentric circles, triangles, zigzags and images which have been interpreted as the sun, moon and the human face. Irish passage tombs tend to occur in clusters traditionally described as a Necropolis or cemetery. The Boyne cluster includes Newgrange, Knowth, Dowth and Townleyhall. The other great clusters in County Meath are on the hills around Loughcrew. The ancient Boyne Valley passage tomb mounds at Newgrange, Knowth and Dowth have been designated World Heritage Site status by UNESCO and attract 200,000 visitors per year. The sites and Visitor Centre are managed by the OPW (Office of Public Works). Newgrange is best known for the illumination of its passage and chamber by the winter solstice sun. The site is open to the public with controlled access to the passage and chamber. Tours of Newgrange start at the Brú na Bóinne Visitor Centre located near the village of Donore, Co. Meath. Knowth has two passages and is surrounded by seventeen satellite cairns. The site is open to the public; however there is no public access to the interior passages and chambers. Tours of Knowth also start at the Brú na Bóinne Visitor Centre. Dowth is the only one of the three large Brú na Bóinne Passage Tombs which is not accessible from the Visitor Centre situated on the south bank of the river. Visitors to Dowth must drive directly to the site on the north bank, a couple of miles from the Slane / Drogheda road. Fourknocks with its short passage leading into a wide pear shaped chamber is in similar style to Tombs in Portugal. Just inside the main chamber to the left of the entrance is one of the few representations of a human face from the Neolithic Period in ancient Ireland. Entrance to Fourknocks Megalithic Passage Tomb. Megalithic Art - Loughcrew, Co. Meath Loughcrew Cairns form the largest complex of Megalithic structures in Ireland. The Cairns contain symbolic engravings similar in style to Newgrange. Like other Passage Tombs in ancient Ireland, they have clear astrological alignments.Tara was the seat of the High Kings of Ireland in the first millennium A.D. however Tara is also the site of a Passage Tomb known as the Mound of the Hostages that was built about 2,500 B.C. knowth, newgrange, megalith, ireland, world heritage, neolithic

The Megalithic Passage Tombs of Newgrange, Knowth, Dowth, Fourknocks, Loughcrew and Tara are located in the present day County Meath in Ireland's Ancient East. The Boyne Valley Mounds at Newgrange, Knowth and Dowth were built around 3200BC making them older than Stonehenge in England and the Pyramids of Giza in Egypt. Built by Neolithic farming communities about 5000 years ago, the passage tombs have clear astronomical alignments such as the Winter Solstice Sunrise at Newgrange and the Equinox Sunrise at Loughcrew. Judging from the splendour and magnificence of Newgrange and Knowth it is likely that these temples of the ancestors were places of astrological, spiritual, religious and ceremonial importance, much as present day cathedrals are places of worship where dignitaries may be laid to rest. There is a lively debate about whether these wonderful megalithic structures were built primarily as burial tombs, sacred temples or astronomical observatories. While passage tomb is the traditional description for Newgrange and similar structures, chambered cairn or passage mound are the descriptions favoured by those who consider the passage tomb description too narrow. The large stones surrounding and inside the Passage Tombs are decorated with Megalithic Art such as spirals, concentric circles, triangles, zigzags and images which have been interpreted as the sun, moon and the human face. Irish passage tombs tend to occur in clusters traditionally described as a Necropolis or cemetery. The Boyne cluster includes Newgrange, Knowth, Dowth and Townleyhall. The other great clusters in County Meath are on the hills around Loughcrew. The ancient Boyne Valley passage tomb mounds at Newgrange, Knowth and Dowth have been designated World Heritage Site status by UNESCO and attract 200,000 visitors per year. The sites and Visitor Centre are managed by the OPW (Office of Public Works). Newgrange is best known for the illumination of its passage and chamber by the winter solstice sun. The site is open to the public with controlled access to the passage and chamber. Tours of Newgrange start at the Brú na Bóinne Visitor Centre located near the village of Donore, Co. Meath. Knowth has two passages and is surrounded by seventeen satellite cairns. The site is open to the public; however there is no public access to the interior passages and chambers. Tours of Knowth also start at the Brú na Bóinne Visitor Centre. Dowth is the only one of the three large Brú na Bóinne Passage Tombs which is not accessible from the Visitor Centre situated on the south bank of the river. Visitors to Dowth must drive directly to the site on the north bank, a couple of miles from the Slane / Drogheda road. Fourknocks with its short passage leading into a wide pear shaped chamber is in similar style to Tombs in Portugal. Just inside the main chamber to the left of the entrance is one of the few representations of a human face from the Neolithic Period in ancient Ireland. Entrance to Fourknocks Megalithic Passage Tomb. Megalithic Art - Loughcrew, Co. Meath Loughcrew Cairns form the largest complex of Megalithic structures in Ireland. The Cairns contain symbolic engravings similar in style to Newgrange. Like other Passage Tombs in ancient Ireland, they have clear astrological alignments.Tara was the seat of the High Kings of Ireland in the first millennium A.D. however Tara is also the site of a Passage Tomb known as the Mound of the Hostages that was built about 2,500 B.C. knowth, newgrange, megalith, ireland, world heritage, neolithic

The Megalithic Passage Tombs of Newgrange, Knowth, Dowth, Fourknocks, Loughcrew and Tara are located in the present day County Meath in Ireland's Ancient East. The Boyne Valley Mounds at Newgrange, Knowth and Dowth were built around 3200BC making them older than Stonehenge in England and the Pyramids of Giza in Egypt. Built by Neolithic farming communities about 5000 years ago, the passage tombs have clear astronomical alignments such as the Winter Solstice Sunrise at Newgrange and the Equinox Sunrise at Loughcrew. Judging from the splendour and magnificence of Newgrange and Knowth it is likely that these temples of the ancestors were places of astrological, spiritual, religious and ceremonial importance, much as present day cathedrals are places of worship where dignitaries may be laid to rest. There is a lively debate about whether these wonderful megalithic structures were built primarily as burial tombs, sacred temples or astronomical observatories. While passage tomb is the traditional description for Newgrange and similar structures, chambered cairn or passage mound are the descriptions favoured by those who consider the passage tomb description too narrow. The large stones surrounding and inside the Passage Tombs are decorated with Megalithic Art such as spirals, concentric circles, triangles, zigzags and images which have been interpreted as the sun, moon and the human face. Irish passage tombs tend to occur in clusters traditionally described as a Necropolis or cemetery. The Boyne cluster includes Newgrange, Knowth, Dowth and Townleyhall. The other great clusters in County Meath are on the hills around Loughcrew. The ancient Boyne Valley passage tomb mounds at Newgrange, Knowth and Dowth have been designated World Heritage Site status by UNESCO and attract 200,000 visitors per year. The sites and Visitor Centre are managed by the OPW (Office of Public Works). Newgrange is best known for the illumination of its passage and chamber by the winter solstice sun. The site is open to the public with controlled access to the passage and chamber. Tours of Newgrange start at the Brú na Bóinne Visitor Centre located near the village of Donore, Co. Meath. Knowth has two passages and is surrounded by seventeen satellite cairns. The site is open to the public; however there is no public access to the interior passages and chambers. Tours of Knowth also start at the Brú na Bóinne Visitor Centre. Dowth is the only one of the three large Brú na Bóinne Passage Tombs which is not accessible from the Visitor Centre situated on the south bank of the river. Visitors to Dowth must drive directly to the site on the north bank, a couple of miles from the Slane / Drogheda road. Fourknocks with its short passage leading into a wide pear shaped chamber is in similar style to Tombs in Portugal. Just inside the main chamber to the left of the entrance is one of the few representations of a human face from the Neolithic Period in ancient Ireland. Entrance to Fourknocks Megalithic Passage Tomb. Megalithic Art - Loughcrew, Co. Meath Loughcrew Cairns form the largest complex of Megalithic structures in Ireland. The Cairns contain symbolic engravings similar in style to Newgrange. Like other Passage Tombs in ancient Ireland, they have clear astrological alignments.Tara was the seat of the High Kings of Ireland in the first millennium A.D. however Tara is also the site of a Passage Tomb known as the Mound of the Hostages that was built about 2,500 B.C. knowth, newgrange, megalith, ireland, world heritage, neolithic

The Megalithic Passage Tombs of Newgrange, Knowth, Dowth, Fourknocks, Loughcrew and Tara are located in the present day County Meath in Ireland's Ancient East. The Boyne Valley Mounds at Newgrange, Knowth and Dowth were built around 3200BC making them older than Stonehenge in England and the Pyramids of Giza in Egypt. Built by Neolithic farming communities about 5000 years ago, the passage tombs have clear astronomical alignments such as the Winter Solstice Sunrise at Newgrange and the Equinox Sunrise at Loughcrew. Judging from the splendour and magnificence of Newgrange and Knowth it is likely that these temples of the ancestors were places of astrological, spiritual, religious and ceremonial importance, much as present day cathedrals are places of worship where dignitaries may be laid to rest. There is a lively debate about whether these wonderful megalithic structures were built primarily as burial tombs, sacred temples or astronomical observatories. While passage tomb is the traditional description for Newgrange and similar structures, chambered cairn or passage mound are the descriptions favoured by those who consider the passage tomb description too narrow. The large stones surrounding and inside the Passage Tombs are decorated with Megalithic Art such as spirals, concentric circles, triangles, zigzags and images which have been interpreted as the sun, moon and the human face. Irish passage tombs tend to occur in clusters traditionally described as a Necropolis or cemetery. The Boyne cluster includes Newgrange, Knowth, Dowth and Townleyhall. The other great clusters in County Meath are on the hills around Loughcrew. The ancient Boyne Valley passage tomb mounds at Newgrange, Knowth and Dowth have been designated World Heritage Site status by UNESCO and attract 200,000 visitors per year. The sites and Visitor Centre are managed by the OPW (Office of Public Works). Newgrange is best known for the illumination of its passage and chamber by the winter solstice sun. The site is open to the public with controlled access to the passage and chamber. Tours of Newgrange start at the Brú na Bóinne Visitor Centre located near the village of Donore, Co. Meath. Knowth has two passages and is surrounded by seventeen satellite cairns. The site is open to the public; however there is no public access to the interior passages and chambers. Tours of Knowth also start at the Brú na Bóinne Visitor Centre. Dowth is the only one of the three large Brú na Bóinne Passage Tombs which is not accessible from the Visitor Centre situated on the south bank of the river. Visitors to Dowth must drive directly to the site on the north bank, a couple of miles from the Slane / Drogheda road. Fourknocks with its short passage leading into a wide pear shaped chamber is in similar style to Tombs in Portugal. Just inside the main chamber to the left of the entrance is one of the few representations of a human face from the Neolithic Period in ancient Ireland. Entrance to Fourknocks Megalithic Passage Tomb. Megalithic Art - Loughcrew, Co. Meath Loughcrew Cairns form the largest complex of Megalithic structures in Ireland. The Cairns contain symbolic engravings similar in style to Newgrange. Like other Passage Tombs in ancient Ireland, they have clear astrological alignments.Tara was the seat of the High Kings of Ireland in the first millennium A.D. however Tara is also the site of a Passage Tomb known as the Mound of the Hostages that was built about 2,500 B.C. knowth, newgrange, megalith, ireland, world heritage, neolithic

The Megalithic Passage Tombs of Newgrange, Knowth, Dowth, Fourknocks, Loughcrew and Tara are located in the present day County Meath in Ireland's Ancient East. The Boyne Valley Mounds at Newgrange, Knowth and Dowth were built around 3200BC making them older than Stonehenge in England and the Pyramids of Giza in Egypt. Built by Neolithic farming communities about 5000 years ago, the passage tombs have clear astronomical alignments such as the Winter Solstice Sunrise at Newgrange and the Equinox Sunrise at Loughcrew. Judging from the splendour and magnificence of Newgrange and Knowth it is likely that these temples of the ancestors were places of astrological, spiritual, religious and ceremonial importance, much as present day cathedrals are places of worship where dignitaries may be laid to rest. There is a lively debate about whether these wonderful megalithic structures were built primarily as burial tombs, sacred temples or astronomical observatories. While passage tomb is the traditional description for Newgrange and similar structures, chambered cairn or passage mound are the descriptions favoured by those who consider the passage tomb description too narrow. The large stones surrounding and inside the Passage Tombs are decorated with Megalithic Art such as spirals, concentric circles, triangles, zigzags and images which have been interpreted as the sun, moon and the human face. Irish passage tombs tend to occur in clusters traditionally described as a Necropolis or cemetery. The Boyne cluster includes Newgrange, Knowth, Dowth and Townleyhall. The other great clusters in County Meath are on the hills around Loughcrew. The ancient Boyne Valley passage tomb mounds at Newgrange, Knowth and Dowth have been designated World Heritage Site status by UNESCO and attract 200,000 visitors per year. The sites and Visitor Centre are managed by the OPW (Office of Public Works). Newgrange is best known for the illumination of its passage and chamber by the winter solstice sun. The site is open to the public with controlled access to the passage and chamber. Tours of Newgrange start at the Brú na Bóinne Visitor Centre located near the village of Donore, Co. Meath. Knowth has two passages and is surrounded by seventeen satellite cairns. The site is open to the public; however there is no public access to the interior passages and chambers. Tours of Knowth also start at the Brú na Bóinne Visitor Centre. Dowth is the only one of the three large Brú na Bóinne Passage Tombs which is not accessible from the Visitor Centre situated on the south bank of the river. Visitors to Dowth must drive directly to the site on the north bank, a couple of miles from the Slane / Drogheda road. Fourknocks with its short passage leading into a wide pear shaped chamber is in similar style to Tombs in Portugal. Just inside the main chamber to the left of the entrance is one of the few representations of a human face from the Neolithic Period in ancient Ireland. Entrance to Fourknocks Megalithic Passage Tomb. Megalithic Art - Loughcrew, Co. Meath Loughcrew Cairns form the largest complex of Megalithic structures in Ireland. The Cairns contain symbolic engravings similar in style to Newgrange. Like other Passage Tombs in ancient Ireland, they have clear astrological alignments.Tara was the seat of the High Kings of Ireland in the first millennium A.D. however Tara is also the site of a Passage Tomb known as the Mound of the Hostages that was built about 2,500 B.C. knowth, newgrange, megalith, ireland, world heritage, neolithic

The Megalithic Passage Tombs of Newgrange, Knowth, Dowth, Fourknocks, Loughcrew and Tara are located in the present day County Meath in Ireland's Ancient East. The Boyne Valley Mounds at Newgrange, Knowth and Dowth were built around 3200BC making them older than Stonehenge in England and the Pyramids of Giza in Egypt. Built by Neolithic farming communities about 5000 years ago, the passage tombs have clear astronomical alignments such as the Winter Solstice Sunrise at Newgrange and the Equinox Sunrise at Loughcrew. Judging from the splendour and magnificence of Newgrange and Knowth it is likely that these temples of the ancestors were places of astrological, spiritual, religious and ceremonial importance, much as present day cathedrals are places of worship where dignitaries may be laid to rest. There is a lively debate about whether these wonderful megalithic structures were built primarily as burial tombs, sacred temples or astronomical observatories. While passage tomb is the traditional description for Newgrange and similar structures, chambered cairn or passage mound are the descriptions favoured by those who consider the passage tomb description too narrow. The large stones surrounding and inside the Passage Tombs are decorated with Megalithic Art such as spirals, concentric circles, triangles, zigzags and images which have been interpreted as the sun, moon and the human face. Irish passage tombs tend to occur in clusters traditionally described as a Necropolis or cemetery. The Boyne cluster includes Newgrange, Knowth, Dowth and Townleyhall. The other great clusters in County Meath are on the hills around Loughcrew. The ancient Boyne Valley passage tomb mounds at Newgrange, Knowth and Dowth have been designated World Heritage Site status by UNESCO and attract 200,000 visitors per year. The sites and Visitor Centre are managed by the OPW (Office of Public Works). Newgrange is best known for the illumination of its passage and chamber by the winter solstice sun. The site is open to the public with controlled access to the passage and chamber. Tours of Newgrange start at the Brú na Bóinne Visitor Centre located near the village of Donore, Co. Meath. Knowth has two passages and is surrounded by seventeen satellite cairns. The site is open to the public; however there is no public access to the interior passages and chambers. Tours of Knowth also start at the Brú na Bóinne Visitor Centre. Dowth is the only one of the three large Brú na Bóinne Passage Tombs which is not accessible from the Visitor Centre situated on the south bank of the river. Visitors to Dowth must drive directly to the site on the north bank, a couple of miles from the Slane / Drogheda road. Fourknocks with its short passage leading into a wide pear shaped chamber is in similar style to Tombs in Portugal. Just inside the main chamber to the left of the entrance is one of the few representations of a human face from the Neolithic Period in ancient Ireland. Entrance to Fourknocks Megalithic Passage Tomb. Megalithic Art - Loughcrew, Co. Meath Loughcrew Cairns form the largest complex of Megalithic structures in Ireland. The Cairns contain symbolic engravings similar in style to Newgrange. Like other Passage Tombs in ancient Ireland, they have clear astrological alignments.Tara was the seat of the High Kings of Ireland in the first millennium A.D. however Tara is also the site of a Passage Tomb known as the Mound of the Hostages that was built about 2,500 B.C. knowth, newgrange, megalith, ireland, world heritage, neolithic