Peter Sirr writes: Cut throat Lane, above a list of churches and directly above the engraved figure of the surveyor and his tripod, as if his view of the city might also be an inspection of its criminal underlife. The city obliges: Murdering Lane. Cutpurse Row. Dirty Lane. Dunghill Lane. Bedlam. Black Dog Prison. The names…

A huge influx of beggars displaced from the land frightened 19th century Dubliners: the benevolent were imposed upon, the modest shocked, the reflecting grieved and the timid alarmed, one observer wrote. In 1818 the Mendicity Institution in Hawkins Street was opened to deal with the problem.

An architectural competition for a design for a new church in Clonskeagh in Dublin attracted 101 entries. The winning entry, from a young architect with the OPW, was modernist in style. But the archbishop of Dublin wasn’t having any of it. Instead a ‘monstrous barn’ was built.

Peter Sirr sees ‘literary Dublin’ as having been characterised by the famous remark, the ultimate put-down, the libel trial, products all of a particular kind of competitive maleness. Behind the posters and brochures aimed at the tourists was a male kind of city, hard-drinking and cordially vicious.

Before Yuri Gagarin orbited the earth in 1961 it was deemed advisable to test out the operation with an animal. The dog Laika became famous, but did not survive. An earlier test flight by balloon, in Dublin in the 1780s, also featured an unwilling passenger, a cat who sadly remains anonymous.

The poet Patrick Kavanagh was a familiar figure in mid-twentieth century Dublin. Along Baggot Street he stepped out like a real countryman come up to town, long strides and hands swinging. Many young women were a bit afraid of him, but he could well have been putting it on a bit.

Ireland’s Jewish population, which increased dramatically around the turn of the twentieth century, differed from earlier influxes in that it was not focused on occupying land but was predominantly urban. Newspapers here kept the public well-informed about the horrors the Jews were fleeing.

Peter Sirr takes a walk about Dublin, looking up, sometimes looking down, at the ways in which the city has tried to commemorate its notable citizens, historical and imaginary. Statues, he finds, may be moving, may be moved elsewhere, and in extreme cases be removed by explosives.

John Speed’s 1610 Dublin map is one of the best-known images of the city, a picture of an intimate medieval town which was soon to embark on its modern expansion. Speed himself, writes Peter Sirr, may never have visited Dublin, rather having, as he cheerfully admitted, ‘put my sickle into other mens corne’.

Dublin, says Peter Sirr, has never bothered much with Thomas Street; it seems to exist in a state of permanent neglect, many of its fine old buildings on the brink of collapse. Yet it survives, tough, resolute, working class, with a bohemian sprinkle of cafés near the art college like a daub of icing on a crumbling cake.