cookies

The rail lines as they appear in this shot have changed dramatically and I guess there are housing developments on some of them by now! As I see it O'Dea was out on the permanent way looking back from near Janesboro towards the city. You can see the steeple of St. Johns Cathedral on the right centre and the old loco sheds on the left. In the centre are bulk cement tanks for transporting the powdered cement from Cement Limited out near Castlemungret. Off to the left is Mount St. Lawrence Cemetery where generations of Mulligans and many fine Cookies are buried. I don't know yet how to hide a long link but I reckon that the shot was taken around here as seen on Google Earth! www.google.ie/maps/place/Parnell+St,+Limerick/@52.653827,...

Swordscookie Spot on! This whole area of Limerick was known as Carey's Road Yard, one of two large railway goods handling areas in Limerick City (the other being located the passenger station), whereas Carey's Road was located to the west serving the lines leading to Foynes and Tralee. The train of wagons visible in the centre of the picture are not the cement bulks, but is the block-oil train which operated between Foynes and Drogheda. Locomotive A46 in the CIÉ black livery is shunting a rake of CIÉ standard 'H' vans, possibly conveying bagged cement from the nearby Castlemungret cement works, while A22 can be seen in the distance. A solitary CIÉ brakevan can be seen to the right, parked alongside what was formerly the passenger line leading into Limerick station from the North Kerry lines. Carey's Yard fell into disuse towards the late 1970s with the withdrawal of loose-coupled goods trains and the sidings fell silent after 1980, and nine years later the rusty tracks were removed leaving just the two separate parallel lines to Foynes and Castlemungret.

February 6 1967 – Quiet day in the Limerick railyard, but Hey!! Alexei Kosygin arrived in the UK for an 8-day visit. Alexei Kosygin was not from Limerick

Anyone know what that big black thing is that's half way down and above the wagons on the left?

Beara Peninsula Thats a grain chute where grain from Ranks Mill in the city was poured into wagons for transportation. Kosygin wasn't a Cookie either!

"The Dog Brigade", will that be an official tag from now on? I presume there is no point in looking for a Dog?

Not a lot for the Clock Brigade either ... = (

DannyM8 beachcomber australia Will the two of ye just get on and enjoy the photo. Stern Mary

[https://www.flickr.com/photos/maczeug2] thank you.

National Library of Ireland on The Commons Yes Ma'am

Dancing biscuits attract the attention of customers. An interesting commercial approach. Fairy wings, fairy music, and fairy taste.

Apart from bringing a former luxury food within the budget of working class households, Arnott's success was built on clever branding and advertising. The Milk Arrowroot 'Living pictures' campaign, which used customers' snapshots of their children, is perhaps the best-known example. As a result, Arnott's is one of a small number of brand names to gain a spurious association with Australian history and culture (others include Foster's, Holden and Vegemite), an association which has in turn been exploited in Arnott's advertising. The 1997 takeover of the company by US conglomerate Campbell's consequently inspired a degree of controversy. Because of its 'Australian' associations, Arnott's packaging and other artefacts are sought after by collectors and others. The Powerhouse Museum holds a large collection of Arnott's artefacts and in 1991 presented an exhibition on the company's history. Unlike some other manufacturers, Arnott's signage was not notable for innovation or striking graphic design, relying instead for its appeal on bold sign-writer's lettering and one of the most recognisable Australian trademarks. This sign is an excellent example of the genre. As the work of a sign-writer, rather than a lithographer or printer, the sign is also valuable as an example of this medium. Although sign-writing was the main form of advertising graphics for many decades, it is less well represented in graphic design collections than printed graphics. Charles Pickett, Curator, 2007 Source; collection.maas.museum/object/363575

The fourth grade students are: Barbara Thompson, left, and Myra Smith.

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From the Schoolhouse Group