Relevant bibliographies by topics / Sculpture, Celtic

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Sculpture, Celtic'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 March 2023

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Journal articles on the topic "Sculpture, Celtic"

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Trefný, Martin, Doris Mischka, Michal Cihla, Axel G. Posluschny, František R. Václavík, Wolfram Ney, and Carsten Mischka. "Sculpting the Glauberg “prince”. A traceological research of the Celtic sculpture and related fragments from the Glauberg (Hesse, Germany)." PLOS ONE 17, no. 8 (August 11, 2022): e0271353. http://dx.doi.org/10.1371/journal.pone.0271353.

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Article presents the results of a complex traceological research of the famous statue of the „prince”of Glauberg, found in an Early La Tène funeral complex in Glauberg (Hesse). Research focused also on two other fragments of related sandstone sculptures, found together with the Glauberger prince. The sandstone „prince”of Glauberg was already in the past a subject of many archaeological studies. Nevertheless, all or absolute majority of them were focused on aspects of art historian nature or on the question of the origin, role and function of such sculptures in the Early Iron Age Central Europe. On the contrary, the aim of our research is oriented exclusively on the questions related to the manufacture of this sculpture, identification of used sculptor´s tools and applied working techniques. Our research was realised by means of digital documentation followed by the aplication of traceological methods. The character of the survived working traces on the sculpture´s surfaces was studied by mechanoscopy, while the material of used tools was determined by X-ray fluorescence. The reconstructions of used tools were compared with the existing tools as represented by the Iron Age archaeological finds. This comparison was oriented on the most relevant regions of developed La Tène culture, particularly on South Western Germany and Bohemia. However, also other relevant area, significant as the possible source of inspiration of Celtic sculptors for the creation of the monumental sculpture–Apennine peninsula, was taken into consideration. Our research revealed individual steps and phases during the sculpture´s manufacture, enabled the reconstrucion of used tools and confirmed real existence of such tools in mentioned regions. Finally it has brought first indices of the necessity of the distinguishing between ideological and technological aspects of related Celtic sculpture, when considering possible influence of Apennine peninsula on transalpine Central Europe.
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Edwards, Nancy. "Edward Lhuyd and the Origins of Early Medieval Celtic Archaeology." Antiquaries Journal 87 (September 2007): 165–96. http://dx.doi.org/10.1017/s0003581500000883.

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The Welshman Edward Lhuyd (?1659/60–1709), Keeper of the Ashmolean Museum, was a naturalist, philologist and antiquarian. He wrote the Welsh additions to Camden's Britannia (1695) and undertook extensive research for an Archaeologia Britannica. He was part of the scientific revolution centred on the Royal Society and was influenced by the flowering of Anglo-Saxon studies in late seventeenth-century Oxford. Although many of his papers were destroyed, sufficient evidence survives to assess his methodology for recording early medieval antiquities – particularly inscribed stones and stone sculpture in Wales and other Celtic areas – as well as his analysis of them. His legacy is of considerable importance and he may be regarded as the founding father of early medieval Celtic archaeology.
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Zdilla, Matthew J. "The Hand of Sabazios: Evidence of Dupuytren’s Disease in Antiquity and the Origin of the Hand of Benediction." Journal of Hand Surgery (Asian-Pacific Volume) 22, no. 03 (August 4, 2017): 403–10. http://dx.doi.org/10.1142/s0218810417970012.

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Dupuytren’s disease gained its eponym from the surgeon Baron Guillaume Dupuytren (1777-1835). However, the terms “Cline’s contracture” and “Cooper’s contracture,” named after the two surgeons who proposed the treatment for the palmar contractures prior to Dupuytren, have also been used to describe the disease. In addition to the eponyms attributed to these three surgeons, a number of other appellations with interesting provenance exist for Dupuytren’s disease including the “Curse of the MacCrimmons,” “Celtic hand,” “Viking’s disease,” and the “Hand of Benediction.” These terms all have interesting provenance; however, contention exists with regard to the appropriateness of their coinage. Of these terms, the “Hand of Benediction” is based upon the oldest history, supposedly thought to be a result of an early Pope afflicted with Dupuytren’s disease. This report suggests that Dupuytren’s disease was recorded in history prior Christianity, the Vikings, as well as Dupuytren, Cline, and Cooper. Nearly 100 votive “Hand of Sabazios” artifacts from Antiquity appear to document Dupuytren’s disease via sculpture. The report posits that Dupuytren’s disease may have been represented by the “Hand of Sabazios,” subsequently inspiring the “Hand of Benediction” and “Hand of God” that has permeated Christian art and culture for thousands of years.
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REVELL, LOUISE. "RELIGION AND RITUAL IN THE WESTERN PROVINCES." Greece and Rome 54, no. 2 (September 3, 2007): 210–28. http://dx.doi.org/10.1017/s0017383507000162.

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IntroductionThe search for a more powerful entity to provide some form of order to the chaotic nature of human existence is a phenomenon that can be seen throughout much of human history. For a Roman, the gods were everywhere, as powerful forces with an interest in all aspects of daily life. Religion formed part of the broad-based homogeneity of the western provinces following the process of cultural transformation after conquest. Inscriptions, sculpture, and temple architecture all point to a similar material culture, and, although there is an apparent continuity in the names of the deities being worshipped from the pre-Roman to the Roman periods, their association with the traditional gods of Rome through syncretism negates the idea of direct continuity. However, religious changes are often overlooked in accounts of the Romanization of the western provinces, and we are left with the rather uncritical concept of ‘Romano-Celtic’ religion as a hybrid phenomenon. There is a danger of using the archaeological evidence of temples and inscriptions as diagnostic of change, rather than undertaking a more rigorous analysis in order to understand how religion and ritual formed part of this broad-based homogeneity, and the way in which the people of the provinces made sense of how to act and behave within a new social and political world.
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Keppie, Lawrence. "Inscribed and sculptured stones seen at the Roman fort of Auchendavy on the Antonine Wall in 1825." Scottish Archaeological Journal 40, no. 1 (March 2018): 101–16. http://dx.doi.org/10.3366/saj.2018.0096.

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In September 1825 two Roman inscribed and sculptured stones were recorded at Auchendavy fort on the Antonine Wall in Central Scotland by the Revd John Skinner, an Anglican clergyman, in the course of a walk along the Roman frontier between Forth and Clyde. The publication in 2003 of Skinner's journal of his walk, illustrated with his own watercolour sketches, has allowed a better understanding of both stones, which are long since lost. One may be a dedication by soldiers in garrison at Auchendavy to a group of Roman deities, and the other a representation of a local Romano-Celtic god.
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Coatsworth, Elizabeth. "The ‘robed Christ’ in pre-Conquest sculptures of the Crucifixion." Anglo-Saxon England 29 (January 2000): 153–76. http://dx.doi.org/10.1017/s0263675100002441.

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In the nineteenth century, John Romilly Allen confidently claimed that the iconography of the Crucifixion with the robed or ‘fully draped’ Christ was a phenomenon of Celtic art, found in Scotland, Ireland and Wales, distinguishable from the ‘Saxon’ type in which Christ wore a loin-cloth. Other features of the Saxon type were the presence of the sun and moon above the arms of the cross, instead of angels as in Ireland; and the figures of the Virgin and St John at the foot of the cross, without the spear- and sponge-bearers, the latter pair appearing only exceptionally at Alnmouth, Northumberland; Aycliffe, County Durham; and Bradbourne, Derbyshire. Clearly two different versions were identified in this analysis, but no attempt was made to clarify the chronological relationship between the examples cited, and only the geographical distribution of a small number of examples was considered. Romilly Allen's confidence in distinguishing ‘Celt’ from ‘Saxon’ on the basis of art styles, even for the pre-Viking period, is not always shared today, as the continuing discussion of the origins of several important manuscripts shows. The terms ‘Insular’ and ‘Hiberno-Saxon’ used to describe much of the art from the sixth century to the eighth underline die perceived difficulties.
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MESIBOV, ROBERT. "The millipede genera Gephyrodesmus Jeekel, 1983 and Orthorhachis Jeekel, 1985 in southeastern Australia, a new Lissodesmus Chamberlin, 1920 from Victoria, and observations on male leg setae, spinnerets and metatergite sculpture (Diplopoda: Polydesmida: Dalodesmidae)." Zootaxa 1790, no. 1 (June 11, 2008): 1. http://dx.doi.org/10.11646/zootaxa.1790.1.1.

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Descriptions and illustrations are provided for Gephyrodesmus arcuatus n. sp., G. cineraceus Jeekel, 1983, G. coolahensis n. sp. and G. regilacus n. sp.; Lissodesmus grampianensis n. sp.; and Orthorhachis catherinae n. sp., O. cavatica Jeekel, 2006, O. celtica n. sp., O. christinae n. sp., O. durabilis n. sp., O. gloriosa n. sp., O. inflata n. sp., O. jubata n. sp., O. kerewong n. sp., O. monteithi n. sp., O. oresbia n. sp., O. pallida Jeekel, 1985, O. paradoxalis Jeekel, 2006, O. serrata n. sp., O. tallagandensis n. sp., O. vinnula n. sp., O. weiri n. sp. and O. yabbra n. sp.
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James, N. "Mediterranean - Stuart Swiny (ed.). The earliest prehistory of Cyprus: from colonization to exploitation (Cyprus American Archaeological Research Institute Monograph 2/American Schools of Oriental Research Archaeological Report 5). xiv+171 pages, 34 figures. 2001. Boston (MA): American Schools of Oriental Research; 0-89757-051-0 hardback $84.95 & £65. - Curtis Runnels & Priscilla M. Murray Greece before history: an archaeological companion and guide, xv+202 pages, 104 figures. 2001. Stanford (CA): Stanford University Press 08047-4036-4 hardback $45 & £35, 08047-4050-X paperback $17.95 & £11.95. - Yannis Hamilakis (ed.). Labyrinth revisited: rethinking ‘Minoan’ archaeology, x+237 pages, 39 figures, 4 tables. 2002. Oxford: Oxbow; 1-84217-061-9 paperback £28. - Paul Äström (ed.). The chronology of base-ring ware and bichrome wheel-made ware: proceedings of a colloquium held in the Royal Academy of Letters, History & Antiquities, Stockholm, May 18–19 2000 (Conferences 54). 251 pages, 54 figures, 9 colour plates, 9 tables. 2001. Stockholm: Royal Academy of Letters, History & Antiquities; 91-7402-320-9 (ISSN 0348-1433) paperback Kr239 (+VAT). - Charlotte Scheffer (ed.). Ceramics in context: proceedings of the Internordic Colloquium on ancient pottery, held at Stockholm. 13–15 June 1997 (Acta Universitatis Stockholmiensis Stockholm Studies in Classical Archaeology 12). 170 pages, 62 figures, 3 colour illustrations, 14 tables. 2001. Stockholm: Stockholm University; 91-22-01913-8 (ISSN 0562-1062) paperback Kr 223 (+VAT). - Edward Herring & Kathryn Lomas (ed.). The emergence of state identities in Italy in the first millennium EC (Accordia Specialist Studies on Italy 8). vii+227 pages, 50 figures, 3 tables. 2000. London: Accordia; 1-873415-22-2 paperback. - Birger Olsson, Dieter Mitternacht & Olof Brandt (ed.). The synagogue of ancient Ostia and the Jews of Borne: interdisciplinary studies (Skrifter Utgivna av Svenska Institutet i Rom 4° LVII/Acta Instituti Romani Regni Sueciae ser. in 4° LVII). 202+v pages, 141 figures, 2 tables. Stockholm: Swedish Instilulein Rome; 91-7042-165-X (ISSN 0081-993X) paperback Kr450. - José María Blázquez. Religiones, ritos y creencias funerarias de la Hispania prerromana. 350 pages, 3 tables. 2001. Madrid: Biblioteca Nueva; 84-7030-7975 paperback. - Simon Keay, John Creighton & José Remesal Rodríguez. Celti (Peñaflor): the archaeology of a Hispano-Roman town in Baetica (University of South-ampton Department of Archaeology Monograph 2). xii+252 pages, 216 figures. 2000. Oxford: Oxbow; 1-84217-035-X paperback £35. - Janet Burnett Grossman. Greek funerary sculpture: catalogue of the collections at the Getty Villa. xi+161 pages, b&w illustrations. 2001. Los Angeles (CA): Getty; 0-89236-612-5 hardback £42.50. - Marion True & Mary Louise Hart (ed.). Studia varia from the J. Paul Getty Museum (Vol. 2; Occasional Papers on Antiquities 10). ii + 166 pages, 191 figures, 5 tables. 2001. Los Angeles (CA): Getty; 089236-634-6 paperback £38.50. - Jairus Banaji. Agrarian change in late antiquity: gold, labour, and aristocratic dominance, xvii+286 pages, 1 map, 12 tables. 2001. Oxford: Oxford University Press; 0-19-924440-5 hardback £50. - Maria Wyke. The Roman mistress: ancient and modern representations, x+452 pages, 32 figures. 2002. Oxford: Oxford University Press; 0-19-815075-X hardback £40." Antiquity 76, no. 292 (June 2002): 567–68. http://dx.doi.org/10.1017/s0003598x00119416.

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Estaca-Gómez, Verónica, Jesús Rodríguez-Hernández, Raúl Gómez-Hernández, José Yravedra Sainz de los Terreros, Gonzalo Ruiz-Zapatero, and Jesús R. Álvarez-Sanchís. "Zooarchaeology of the Iron Age in Western Iberia: new insights from the Celtic oppidum of Ulaca." Archaeological and Anthropological Sciences 14, no. 9 (August 9, 2022). http://dx.doi.org/10.1007/s12520-022-01627-x.

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Abstract The Vettones were one of the most important Celtic peoples of the Late Iron Age in Western Iberia (between the Duero and Tagus Rivers). It is a period recognised from the spread of the cremation ritual in the cemeteries, the development of iron metallurgy, and the emergence of large fortified settlements—the characteristic oppida—that would finally be abandoned with the conquest of Hispania by Rome. Different types of evidence suggest that the Vetton economy was based on livestock. Palaeobotanical and carpological analyses reveal a major deforestation of the landscape, the conversion of large areas into pastures and cultivated fields, and the use of enclosures as cattle pens. The stone sculptures of bulls and pigs found throughout the mountainous areas of the region—the famous verracos—also reflect the value the Vettones placed on livestock. However, there have been very few studies devoted to the identification of faunal remains. In this text, we offer previously unpublished data on the animals found in the oppidum of Ulaca (Solosancho, Ávila, Spain), one of the largest in Celtic Iberia (third–first centuries BC), which we relate to other evidence from neighbouring sites. Thus, the state of the research into Vetton zooarchaeology is offered in the broader context of the Iberian Peninsula.
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Dissertations / Theses on the topic "Sculpture, Celtic"

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Carrington, Ann. "The iconography of the chase and the equestrian motifs of eighth to tenth century Pictish and Irish sculpture with reference to early medieval Celtic literature." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/19607.

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This thesis considers the chase and the equestrian motifs on Early Medieval Pictish and Irish sculpture which have not generally been studied on their own. These motifs deserve the concentration of study in their own rights. We endeavour to bring out, more clearly than hitherto, the history, iconography and ramifications of the chase and the equestrian motifs. In order to do so, the role of these motifs in Celtic literary tradition will be considered thereby heightening our understanding of the literary significance of these images within an Early Medieval Celtic context. Moreover, such art historical criticism as exists tends to categorize the chase and equestrian figures as simply secular (ie. non-Christian) in nature. It is argued that these motifs cannot be so simply described. Part of our purpose will be to show that the chase and equestrian motifs can meaningfully be regarded as simultaneously Christian and secular, literal and symbolic, local and universal in their statements. Their iconographies are multi-layered and complex, distinguished by an ambivalent interplay of sacred and secular symbolism at once thematically complementary and multivalent in meaning. Further, it is argued that the visual and literary evidence are mutually illuminating. It is not argued that this is always and necessarily the case, although we believe it usually to be so. We will consider how this is true in the context of the Irish crosses and Pictish cross-slabs which depict both hunting and riding vignettes. Of course, we shall attempt to demonstrate how and why the mutual artistic-literary illumination works.
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Ribolet, Mathieu. "La décoration architectonique des monuments édens, lignons et sénons, du règne d'Antonin à celui des Sévères." Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCH032.

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La monumentalisation de l’architecture figure parmi les marqueurs les plus éloquents de la pénétration de la culture romaine en Gaule, après la conquête. Peu de temps après l’instauration du Principat, de nouveaux édifices couverts de sculpture ornementale viennent en effet bouleverser le paysage architectural désormais gallo-romain. Sans précédent dans les constructions laténiennes, les décors architectoniques connaissent dès lors une importante diffusion et évoluent au gré d’influences diverses dont les premières sont dictées par des jalons métropolitains comme le temple de Mars Ultor.Plusieurs auteurs ont déjà proposé des synthèses retraçant l’évolution des décors architecturaux de Rome à l’époque impériale, pour le Ier siècle notamment. Elles sont en revanche beaucoup plus rares dès lors que l’on s’intéresse aux provinces de l’Empire et en particulier au nord des Gaules et aux Germanies, alors même que le matériel y est abondant. Ce constat est d’autant plus vrai à mesure que l’on avance vers la dynastie des Antonins puis vers les Sévères, à tel point que la seconde moitié du IIe et le IIIe siècles sont des époques quasiment désertées par les chercheurs.Situé dans la lignée de travaux récents concernant le décor architectonique « tardif » en Gaule et dans les Germanies (Genainville, Champlieu, Neumagen, Bordeaux, Pont-sainte-Maxence), ce travail propose une nouvelle synthèse centrée sur les deux derniers tiers du IIe et le IIIe siècle de notre ère. À partir d’un corpus réuni au sein des territoires éduen, lingon et sénon, il tente d’une part de caractériser les décors employés sur les bases, colonnes, chapiteaux, architraves, frises et corniches. En mettant en lumière une évolution pour chacun de ces éléments, il est alors possible de dégager des éléments chrono-typologiques. La question du répertoire ornemental est également abordée, ce qui permet de s’interroger sur les mécanismes évolutifs, la circulation des modèles et les différentes contraintes qui président aux changements observés. Enfin, l’étude des blocs permet de proposer plusieurs restitutions et d’ainsi avoir une idée de l’activité architecturale qui caractérise les différents sites observés
The development of monumental stone architecture was part of the most telling clues about roman culture entering in Gaul, after Cesar’s conquest. Short while after the Principate started, new buildings covered with ornamental sculpture created a new architectural landscape in the territories that thus formed the roman Gauls. Even though architectonic ornaments had no precedent in the Iron Age, their spread quickly became very important. Ornaments thus started to evolve, taking monuments from Rome itself as first models ; for example the temple of Mars Ultor.Several authors have already written papers about the evolution of architectonic ornaments in the Imperial Rome, in particular for the Ist century AD. However, publications about the Provinces of the Empire are scarcer, especially regarding north of Gauls and Germanies. This observation is even more obvious for later periods such as the second half of the IInd and the IIIrd century A.D.My thesis belongs to a serie of recent works about « late » architectonic ornaments in roman Gauls and Germanies (about collections such as those of Genainville, Champlieu, Neumagen, Bordeaux, Pont-sainte-Maxence). It focus on a period from the years 130 to the years 230 AD (approximately from the reign of Antoninus to this of Alexander Severus). From a corpus gathered over three civitates (Aedui, Lingones, Senones), my work tries to define which ornaments were employed on the components of architectural orders (basis, columns, capitals, architrave, friezes, cornices), to understand how they were allocated, and to highlight how they evolved over decades. Ornamental repertory is also an important point : it allows to question about evolution mechanisms, patterns diffusion and other reasons that made handcrafters change their carving techniques. To finish, studying architectonic pieces provide possibilities of reconstructing monuments, so as to have a idea of what was building activity like in the three studied civitates
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Books on the topic "Sculpture, Celtic"

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Allen, J. Romilly. Celtic crosses of Wales. Llanerch, Felinfach, Dyfed: JMF Bookbinding Services, 1989.

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La sculpture gauloise méridionale. Paris: Errance, 2011.

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Billingsley, John. Stony gaze: Investigating Celtic & other stone heads. Chieveley: Capall Bann, 1998.

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Monteagudo, Guadalupe López. Esculturas zoomorfas celtas de la península ibérica. Madrid: Consejo Superior de Investigaciones Científicas, Centro de Estudios Históricos, 1989.

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Nerzic, Chantal. La sculpture en Gaule romaine. Paris: Editions Errance, 1989.

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Walter, Hélène. Les Barbares de l'Occident romain: Corpus des Gaules et des provinces de Germanie. Paris: Belles lettres, 1993.

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Deyts, Simone. Images des dieux de la Gaule. Paris: Editions Errance, 1992.

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Daniele, Vitali, ed. L' immagine tra mondo celtico e mondo etrusco-italico: Aspetti della cultura figurativa nell'antichità. Bologna: Gedit, 2003.

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Musée archéologique de Lattes (Lattes, France) and Musée des antiquités nationales, eds. À la rencontre des dieux gaulois: Un défi à César : Musée archéologique Henri Prades, Lattes, du 27 novembre 1998 au 8 mars 1999, Musée des antiquités nationales, Saint-Germain-en-Laye, du 31 mars 1999 au 28 juin 1999. Lattes, France: Musée archéologique Henri Prades, 1998.

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Symbol and image in Celtic religious art. London: Routledge, 1989.

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Book chapters on the topic "Sculpture, Celtic"

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Allen, Felicity, and Celia Lury. "Figure to Ground: Felicity Allen Interviewed by Celia Lury." In Figure, 65–75. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-2476-7_4.

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AbstractIn this interview, the artist Felicity Allen discusses her residency as part of the research project People Like You: Contemporary Figures of Personalisation, which included the making of the film Figure to Ground—A Site Losing Its System. The interview locates the film in relation to Allen’s ongoing practice of Dialogic Portraits and considers the notion of the figure in relation to three meanings of site: the site as in a specific site and its parallel ‘non-sites’ as elucidated by the US sculptor Robert Smithson; the site as the commonly foreshortened term for a website; and sight.
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"Celtic Revival Sculpture." In Art and Architecture of Ireland Volume III: Sculpture 1600-2000. Royal Irish Academy, 2014. http://dx.doi.org/10.3318/978-1-908996-64-0.celticrevival.

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"Celtic Cross." In Art and Architecture of Ireland Volume III: Sculpture 1600-2000. Royal Irish Academy, 2014. http://dx.doi.org/10.3318/978-1-908996-64-0.celticcross.

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Wilson, David M. "Stylistic Influences in Early Manx Sculpture." In Anglo-Saxon/Irish Relations before the Vikings. British Academy, 2009. http://dx.doi.org/10.5871/bacad/9780197264508.003.0014.

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This chapter examines the influences in the early sculpture in the Isle of Man, particularly the crosses that were previously described as Celtic. It suggests that the inscriptions in the Manx sculpture epigraphically and linguistically relate the island to the lands round the Irish Sea, while their typology and style history provide rough chronological yardsticks. The findings reveal that most pre-Viking memorial stones can be found in cemeteries on the sites of keeills.
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Quin, Jack. "An Art School Education." In W. B. Yeats and the Language of Sculpture, 17–52. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192843159.003.0002.

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Abstract The first chapter constructs an unfamiliar portrait of Yeats—the famous autodidact—as a fledgling poet who was educated at art school in Dublin. The opening section documents Yeats’s art school years at the Dublin Metropolitan School of Art and later the Royal Hibernian Academy. It outlines how Yeats’s art school training in the mid-1880s put him in contact with John Hughes and Oliver Sheppard who would become the foremost Irish sculptors of the early twentieth century. By tracing his time at art school, the chapter recovers Yeats’s earliest exposure to the visual arts; sketching from casts of classical statues, and comparing antique and modern artworks. Subsequent sections compare Yeats’s earliest poems, The Island of Statues, ekphrastic verses, and verse fragments, with his later recollections of the Metropolitan School of Art and Royal Hibernian Academy in Reveries over Childhood and Youth, a 1906 committee deposition, and his draft Memoirs, arguing that a poetics of sculpture offered Yeats a creative escape from the dry, academic neoclassicism of his art schooling. The art writing of Yeats and George Russell (Æ)—another art school student—in the Daily Express promoted the sculpture of Sheppard and Hughes in the 1890s to early 1900s. The later sections propose a reciprocal relationship between Irish sculpture and poetry of the Revival, tracing Yeats and Russell’s reinterpretation of Matthew Arnold and his critique of the Celtic plastic arts, and closing with an examination of Sheppard’s unpublished essay on public sculpture in Ireland.
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