By David Joselit
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Additional resources for After Art
145 Court and City in Restoration Dublin 43 The ornamentation of the Tholsel was also conventional when seen alongside its British equivalents, though new for its locality. On the main façade, a pair of stubby Tuscan columns carried a balcony with a pierced balustrade, surmounted by a round-headed window and a pair of large niches holding life-sized statues of Charles I and Charles II. A possible inspiration for the arrangement of the sculptural details, though not the substantive symbolic content, was the street front of the hall of the Mercers’ Company of London, designed by Edward Jermyn and begun in 1674.
133 Nonetheless, there were still some important differences between Dublin’s civic ceremonial and those of the city that it appeared to imitate in matters of display. In London, the king attended the lord mayor’s shows: Charles II’s first recorded appearance was in 1671. The pageantry, mythological in theme, was formulated by poets and impresarios in the pay of the court. 134 Although royal imagery was present on the municipal regalia of Dublin, the City’s principal civic 40 Protestant Dublin, 1660–1760 ceremony was not addressed to the viceregal court and did not include any government personnel.
In each of these cities, centralising powers with large, disposable incomes created an iconography that Court and City in Restoration Dublin Illustration 7 ‘Parliament House in College Green, Anno’ 1727 (Private collection; photo: Irish Architectural Archive) 33 34 Protestant Dublin, 1660–1760 depicted the ruler or the executive as the altruistic heralds of political and social concord. The representational goals of the Irish viceroyalty were by no means dissimilar, but the character and achievement of the body differed from its Continental counterparts in two key respects.