Dillon leaves school at the age of fourteen and for seven years works as a painter and decorator, mostly in London. From an early age he is interested in art, cinema, and theatre. About 1936 he starts out as an artist.
Dillon’s Connemara landscapes provide the viewer with context, portraits of the characters who work the land, atmosphere and idiosyncratic colour interpretations. At the age of 18, he goes to London, initially working as a decorator. With the outbreak of World War II, he returns to Belfast. Over the next five years he develops as a painter in Dublin and Belfast. His works during this period are more than simple depictions of the life and people around him, they are reactions and interactions in paint.
In 1942, Dillon’s first solo exhibition is opened by his friend and fellow artist, Mainie Jellett, at The Country Shop, St. Stephen’s Green, Dublin. “Father, Forgive Them Their Sins” depicts his concerns about the new war that has broken out. Despite a growing reputation, he returns to London in 1944 to work on demolition gangs to restore his finances. In the late 1940s and during the 1950s, he finds himself favouring the town of Roundstone, County Galway. In 1951 he is introduced to Noreen Rice by her piano teacher. She has no formal training and takes Dillon and George Campbell as her mentors for decades and her work is of a similar surrealistic and primitive style.
In 1958, Dillon has the double honour of representing Ireland at the Guggenheim International, and Great Britain at the Pittsburg International Exhibition. He and his sister, Mollie, have a property on Abbey Road in 1958. They let out part of the house to Arthur Armstrong and they let a flat to Noreen Rice and her brother. He and Noreen tour junk yards to find objects like leather and string that they include in their artwork.
Dillon travels widely in Europe and teaches for brief periods in the London art schools.
In 1967, Dillon suffers a stroke and spends six weeks in hospital. From this time his work changes direction. A notion of imminent death sends his work almost into another world, a realm of dreams and paintings intimating his death. In 1968 he is back in Dublin, where he helps to design sets and costumes for Seán O’Casey‘s play Juno and the Paycock. He continues to paint and also to make tapestries, sitting at his Singersewing machine.
In 1969, Dillon pulls his artworks from the Belfast leg of the Irish Exhibition of Living Art in purported protest during the Troubles against the “arrogance of the Unionist mob.” However, he does send work to Ulster when he donates work to Sheelagh Flanagan who had organised an exhibition for the relief of victims of the Belfast riots, in October 1969. His picture is hanged alongside the donated works of T. P. Flanagan, William Scott, F. E. McWilliam, Deborah Brown and Carolyn Mulholland as well as more than twenty others. Michael Longley retorts in a further letter, “Belfast needed creativity, it needed people like Gerard Dillon.” During his last years, he is invited to be involved in a children’s art workshop in the National Gallery of Ireland.
Dillon dies of a second stroke at the age of 55 on June 14, 1971. His grave, as requested, is unmarked in Belfast’s Milltown Cemetery. Danlann Gerard Dillon/The Gerard Dillon Gallery in Cultúrlann McAdam Ó Fiaich is named in his honour.
In his biography of the artist, James White briefly touches on the artists homosexuality: “such was his religious feeling that although he was drawn to people of that type, if he once had an encounter I believe that it never occurred again.” The artist’s nephew, Martin Dillon, recalls that after his uncle’s death he found a diary entry describing a homosexual encounter with a sense of guilt, but the author Gerard Keenan insists he was “a very well-adjusted homosexual.” Reihill expands on this, pointing to a probably unrequited love for the painter Daniel O’Neill and also highlights Dillon’s association with Basil Rákóczi and The White Stag Group‘s Kenneth Hall both strong gay connections. Pictures with both overt and covert references are known.
Maher is born on April 29, 1922, at Castlemoyle, Boherlahan, Cashel, County Tipperary, the seventh child of Thomas Maher, farmer, and his wife Julianne Maher. Raised on the family’s forty-five-acre holding and educated locally at Ardmaylenational school and at the Christian Brothers school and VEC school in Cashel, he takes over the farm in 1948 when ill health forces his father into retirement. He subsequently enlarges it to 120 acres. Mechanically adept, a talented sportsman, and a member of Cashel Dramatic Society, he joins Macra na Feirme and is a founder member of the National Farmers’ Association (NFA) in January 1955.
Maher is a member and chairman of the dairy committee of the NFA before coming to national attention through his participation in the historic farmers’ rights march to Dublin led by Rickard Deasy (October 7-19, 1966), part of the militant campaign for fairer agricultural prices and for reform of taxation and rates on farmland. His part in the subsequent three-week sit-down protest and meeting with incoming minister Neil Blaney, at the Department of Agriculture, confirms his reputation as a tenacious campaigner for agricultural causes. In August 1967, shortly after 100 farmers have served prison sentences for withholding rates, he succeeds Deasy as NFA president. Charismatic, articulate, and decisive, he also has a strong sense of personal responsibility, which governs his expectations of colleagues and associates. With exhausting rounds of travel and meetings, he is impossible to ignore and grist to the media mill, with his apparently impromptu but, in reality, carefully rehearsed speeches criticising politicians, parties, bureaucracy, and tardy national policy. He warns of national economic failure unless government and public services take radical modernising initiatives. He is at once nationalist, internationalist, and a revolutionary campaigner for change, an idealistic firebrand who is essentially conservative in social matters.
Maher’s campaign for agriculture is tempered by a wider interest in the social and economic future of Ireland ahead of crucial negotiations for membership of the European Economic Community (EEC). He becomes a household name, gadfly of bureaucrats and hero of farmers. In November 1967 he attends the European Congress of the International Federation of Agricultural Producers in Rome as an advance action prior to taking part in the subsequent negotiations leading to Ireland’s “entry to Europe” in January 1973. He is re-elected president of the NFA in 1970.
Amalgamating the NFA with several of the agricultural producers’ organisations, Maher oversees its reemergence as the Irish Farmers’ Association (IFA) in January 1971 and remains president until 1976. Strengthened by his pro-European leadership, the IFA withstands the counter-propaganda which, in the referendum of May 1972, urges rejection of the EEC on economic, social, and religious grounds. Despite his own moderately conservative social views and unequivocal opposition to abortion in Ireland, his commitment to European integration is not in question.
Maher is a director of prestigious state-sponsored bodies including Bord Bainne, the Irish Sugar Company, and the B & I shipping line. He also serves six terms between 1976 and 1983 as president of the Irish Co-operative Organisation Society (ICOS). Such relative sinecures are balanced by adherence to humanitarian causes that occupy most of his subsequent life. Passionate about practical support for developing countries, he becomes a founder and chairman of Bóthar, the Irish self-help relief agency for supply of livestock overseas. He urges prison reform and supports Amnesty International in its prisoners’ rights campaigns. Running as an independent candidate, he is elected Member of the European Parliament (MEP) for Munster in 1979, beating the strong Fine Gael candidate Alan Dukes. Describing himself as a public representative rather than a politician, he sits in the Liberal and Democratic parliamentary group and continues to fly agricultural and other kites as a non-party deputy. Typically, he criticises the scale of Irish embassies abroad, suggesting alternative teams of trade and tourism personnel. He advocates fairer agricultural policies towards developing countries in spite of prevailing European attitudes of self-interest, and urges the transfer of Northern Ireland from British jurisdiction to European protectorate status. At home he seeks all-party consensus on economic recovery from the depressed condition of the mid 1980s, well intentioned and lonely causes that fail to draw significant political support.
Maher’s habit of traveling with tools to unlock sealed hotel windows is an example of his sometimes eccentric practicality. His unsuccessful attempt to win a Dáil seat for Tipperary South in the 1981 Irish general election postpones his return to Ireland, although he is twice reelected an MEP before retiring in 1994. During his time in Strasbourg he is a quaestor of the European Parliament and a member of its committees on rural development, regions and petitions. He advocates decentralisation of power in Ireland while also criticising local authorities for laxity in their commitment to environmental protection.
For all his outspokenness, Maher is widely respected for the courageous positions he adopts. When time permits, he is an avid reader of history. He maintains his rural pastimes, especially attendance at Gaelic sports, where he can test the political pulse of his constituents. Following a short illness, he dies on April 19, 2002, aged 79, at St. Vincent’s Hospital, Dublin. He is buried at Boherlahan cemetery following a Requiem Mass, celebrated by his surviving brother, the Rev. Michael Maher CSSp (a former veterinary surgeon), and his cousin Denis.
Maher marries Elizabeth (Betty) Kennedy from Bansha, near Cashel, on January 8, 1958. They live at Castlemoyle and have one daughter, Julianne, and two sons, Thomas and Denis. His brother James (Jamesie), who predeceases him in October 1975, had been a medical consultant at St. Vincent’s and consultant surgeon to the Irish Rugby Football Union (IRFU).
(From: “Maher, Thomas Joseph” by Patrick Long, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Mac Airt first becomes involved in Irish republicanism as a boy when he joins the Fianna Éireann. His first imprisonment is in 1942 when he is sent to jail for illegal military foot drilling. He Is later interned during the IRA’s Border Campaign of 1956-1962.
Having retired at some earlier point, Mac Airt returns to the republican movement in 1969, throwing his lot in with the newly established Provisional Irish Republican Army (PIRA) and their political arm Provisional Sinn Féin. Indeed, in early 1970 his Patrick Pearsecumann, which he sets up in the Clonard area of the Falls Road, is the first branch of Provisional Sinn Féin established in Belfast and proves central to the growth of the dissident party in the city. In August 1970, he Is appointed editor of the Belfast-based Republican News, succeeding Jimmy Steele who had died soon after being appointed editor. Despite his advancing age Mac Airt also becomes involved in the gun battles that rage between the republicans from Falls and loyalists from the neighbouring Shankill Road. As a consequence, he becomes one of the leaders of the nascent PIRA in Belfast. He is publicly named as a leading republican by General Anthony Farrar-Hockley who commands the British Army present during the clashes and with whom Mac Airt has held failed negotiations at the scene of conflict. He serves as Adjutant to Billy McKee, who is first commander of the Provisional IRA Belfast Brigade. According to Brendan Hughes, Mac Airt’s Kane Street home doubles as Belfast Brigade headquarters at the early stage in the movement’s history.
On April 15, 1971, Mac Airt, along with Billy McKee, is arrested by the British Army when found in possession of a handgun. Both men are sentenced under the Explosive Substances Act 1883 and sent to Crumlin Road Gaol. In the prison the two men are recognised as the leaders of the republican prisoners, a role held by Gusty Spence on the loyalist side. They co-operate informally with Spence to maintain order until they agree to establish an official Camp Council. The make-up of this group sees Mac Airt and McKee representing the PIRA, Spence and an associate identified only as “Robert” representing the Ulster Volunteer Force (UVF) and Ned McCreery and James Craig as Ulster Defence Association (UDA) delegates, with members of the Official IRA (OIRA) and Irish National Liberation Army (INLA) eventually added.
Mac Airt is involved in the talks held between republicans and clergymen from various Protestant churches held at Feakle, County Clare, on December 12, 1974. While the talks produced little, he Is one of those who maintains contact with the clergymen. Indeed, on January 19, 1975, one of the ministers, Rev William Arlow of the Irish Council of Churches (ICC), even introduces Mac Airt and his ally Jimmy Drumm to British government officials Michael Oatley and James Allan in an attempt to have the republican grievances heard.
Although a new generation of leaders emerges in the Provisional IRA and Sinn Féin, Mac Airt remains an influential veteran. He is close to Danny Morrison and Tom Hartley and helps to ensure the removal of Seán Caughey from the editorship of Republican News in 1975 and his replacement by Morrison.
In 1968, Mac Airt records two vocal songs, “Croppy Boy” and “Flag of the Fianna” on the LP record Irish Songs of Freedom produced for the Outlet Recording Co. Ltd, Belfast.
Mac Airt dies on January 8, 1992, at the age of 69. The President of Sinn Féin, Gerry Adams, delivers the graveside oration at his funeral, describing him as “a radical in the Connolly tradition.”
Ginnell is born in Delvin, County Westmeath, in 1852, (baptised April 9, 1852) the son of Laurence Ginnell and Mary Monaghan and twin to Michael Ginnell. He is self-educated and is called to the Irish bar as well as the Bar of England and Wales. In his youth, he is involved with the Land War and acts as private secretary to John Dillon.
The last great social and agrarian campaign of the Irish home rule movement, the Ranch War (1906 and 1909), is largely led and organised by Ginnell from the central office of the United Irish League. He is elected an MP in 1906, takes his seat at Westminster and swears allegiance to Edward VII. On October 14, 1906, he launches the “war” at Downs, County Westmeath.
The purpose of the war is to bring relief to the large numbers of landless and smallholders, particularly in the West, who are relatively untouched by the Wyndham Land Act (1903) and by the larger policy of purchase. The strategy that Ginnell pursues is the Down’s Policy, or cattle driving, a proceeding designed to harass the prosperous grazier interests, whose “ranches” occupy large, under populated and under worked tracts. The Down’s Policy is also meant to draw public attention to the scandalous inequalities that survive in the Irish countryside. The conservatives within the home rule leadership are understandably suspicious about the revival of agrarian disturbances, but the mood of the party organisation is hardening in the aftermath of a disappointing devolution bill in May 1907, from the new Liberal government, so that it seems logical to turn to the traditional mechanism for reactivating the national question: agrarian agitation.
Ginnell’s cattle drives begin to tail off after the summer of 1908, and the agitation is finally dissolved with the passage of a 1909 Act by the Liberal Chief Secretary Augustine Birrell that allows the transfer to the Irish Land Commission of farmland by compulsory purchase, which is hailed by the national movement as an historic victory. In reality, the Ranch War involves an implosion within sectors of the Irish Parliamentary Party, as its leadership has not facilitated the working of the Wyndham Land Act in the first place because John Dillon and his like want conflict above victory.
In 1909, Ginnell is expelled from the Irish Parliamentary Party for the offence of asking to see the party accounts after which he sits as an Independent Nationalist. During this time, he is addressed frequently as “The MP for Ireland.” At Westminster, he is highly critical of the British government‘s war policy and its holding of executions of certain participants in the Easter Rising of 1916. On May 9, he accuses British Prime MinisterH. H. Asquith, of “Murder” and is forcibly ejected from the Chamber. He visits many of the prisoners who are interned in various prisons in Wales and England.
At the Sinn Féin ardfheis in 1917, at which the party is reconstituted as a republican party with de Valera as president, Ginnell and W. T. Cosgrave are elected Honorary Treasurers. He is imprisoned in March 1918 for encouraging land agitation and later deported to Reading Gaol. In the 1918 United Kingdom general election, he is elected as a Sinn Féin MP for the Westmeath constituency by comfortably defeating his IPP challenger. After his release from prison, he attends the proceedings of the First Dáil. Along with fellow TDJames O’Mara, he is one of the only TDs to serve as a member in both the House of Commons and Dáil Éireann.
He is one of the few people to have served in the House of Commons and in the Oireachtas. He is appointed Director of Propaganda in the Second Ministry of the Irish Republic. After spending a year as a republican campaigner in Chicago, he is appointed the Representative of the Irish Republic in Argentina and South America by de Valera. He carries out his propaganda work here to distribute copies of the Irish Bulletin and to provide the Sinn Féin version of the conflict during the Irish War of Independence. On August 16, 1921, he returns home to attend the first meeting of the Second Dáil. He travels back to Argentina some months later to serve as the Representative of the Republic there.
On September 9, 1922, Ginnell is the only anti-Treaty TD to attend the inaugural meeting of the Provisional Parliament or Third Dáil. Before signing the roll, he says, “I want some explanation before I sign. I have been elected in pursuance of a decree by Dáil Éireann, which decree embodies the decree of May 20, 1922. I have heard nothing read in reference to that decree, nothing but an Act of a foreign Parliament. I have been elected as a member of Dáil Éireann. I have not been elected to attend any such Parliament. Will anyone tell me with authority whether it is…”.
Ginnell is at this point interrupted but resumes by saying that he will sign the roll and take his seat in the Assembly if the Assembly is Dáil Éireann. He is informed he is not allowed raise any such question until a Ceann Comhairle has been elected. He continues to ask questions regardless to which he gets no answer including his question: “Will any member of the Six Counties be allowed to sit in this Dáil?” W. T. Cosgrave moves at this point that he be excluded from the House. Ginnell protests, and he is dragged out by force.
De Valera later appoints Ginnell a member of his “Council of State,” a twelve-member body set up to advise him on the deteriorating situation in the civil war. He returns to the United States soon afterward to serve as the Republic‘s envoy in the country. He orders Robert Briscoe and some of his friends to take possession of the Consular Offices in Nassau Street, New York City, then in the hands of the Irish Free State Government, to obtain the list of the subscribers to the bond drive organized to aid the struggle in the War of Independence. At the time, a court case is ongoing to decide on who has the right to the funds: the newly installed Provisional Government or de Valera, as one of the three trustees among the anti-Treatyites.
Ginnell dies in Washington, D.C. on April 17, 1923, at the age of 71, still campaigning against the Anglo-Irish Treaty.
Milligan is the son of an Irish father, Leo Alphonso Milligan, a regimental sergeant major in the British Indian Army, and English mother, Florence Mary Winifred (née Kettleband). He is raised in India and Burma (Myanmar). He is educated at the Convent of Jesus and Mary, Poona, and later at St. Paul’s High School, Rangoon. He moves to England with his family in 1933. He serves in the army during World War II and, when he is wounded in combat, begins a struggle with manic-depressive illness that lasts the rest of his life. Toward the end of the war, he meets Harry Secombe, and they work together entertaining the troops. After the war the pair, along with Peter Sellers and Michael Bentine, begin spending time at the Grafton Arms pub, where they develope their comedy routines. BBC radio begins broadcasting the group’s work in 1951, as Crazy People, and in 1952 it is renamed The Goon Show. As such it continues until early 1960 (though Bentine soon leaves the show) and becomes a cult classic.
Milligan later acts onstage and in small parts in movies—including Monty Python’s Life of Brian (1979)—and writes numerous books of poems, war memoirs, the play The Bedsitting Room (with John Antrobus; first performed 1962), and a number of television series. He also supports a multitude of causes, especially those involving the environment. Because his father is Irish and he is born in India—and despite his years of military service—the British government does not consider him a citizen. Rather than take an oath of allegiance, he takes Irish citizenship. Nonetheless, he is made an honorary Commander of the British Empire in 1992 and is given an honorary knighthood in 2000.
Milligan dies from kidney failure, at the age of 83, on February 27, 2002, at his home on Dumb Woman’s Lane near Rye, East Sussex. On the day of his funeral, March 8, 2002, his coffin is carried to St. Thomas Church in Winchelsea, East Sussex, and is draped in the flag of Ireland. He had once quipped that he wanted his headstone to bear the words: “I told you I was ill.” He is buried at St. Thomas’ churchyard but the Chichester diocese refuses to allow this epitaph. A compromise is reached with the Gaelic translation of “I told you I was ill,” Dúirt mé leat go mé breoite, and in English, “Love, light, peace.” The additional epitaph Grá mhór ort Shelagh can be read as “Great love for you Shelagh.”
According to a letter published in the Rye and Battle Observer in 2011, Milligan’s headstone is removed from St. Thomas’ churchyard in Winchelsea and moved to be alongside the grave of his wife, but is later returned.
Although O’Connell begins calling for repeal in the early 1830s, the formal Association is only established in 1840. Prior to this, candidates supporting repeal contest the 1832 United Kingdom general election and between 1835 and 1841, form an electoral pact with the Whigs. Repealer candidates, unaffiliated with the Whigs also contest the 1841 and 1847 general elections.
Following the movement’s decline in the late 1840s, nationalists, including members of the Young Ireland movement, emerge from its ranks.
Santry is born in Cork, County Cork, on May 14, 1879, to Denis Santry, Sr., a carpenter and joiner. He studies at the Cork Municipal School of Art from 1894 to 1896 after serving an apprenticeship as a cabinetmaker. In 1895, he also studies at the Crawford School of Art. In 1897, he is articled to architect James Finbarre McMullen. From 1897 to 1898, he studies at the Royal College of Art in London under a Lane scholarship. While he is at the college, he wins the Queen’s prize for freehand drawing. After graduating, he returns to McMullen’s office and works there for the next two years.
Santry comes to South Africa at the end of 1901 due to ill health. He settles in Cape Town and is employed at Tully & Waters, an architectural firm, from 1901 to 1902. He then spends a year working for architect William Patrick Henry Black. In 1903, his cartoons begin to appear in local newspapers and magazines, including the South African Review. He uses the pseudonym “Adam” in his cartoons. He continues to work as an architect until 1910 when he begins working as a cartoonist, as well as a metalworker, sculptor and filmmaker. He then moves to Johannesburg and is employed at the Sunday Times and The Rand Daily Mail as a cartoonist. During World War I, his cartoons are reproduced in several other countries. He becomes a pioneer of animated cartoons in South Africa. He is a member of the Royal Society of Arts and a council member of the South African Society of Artists.
Santry comes to Singapore in 1918 and joins the architectural firm Swan & Maclaren as a partner. While in Singapore, he serves as the architect of several prominent buildings and monuments, including the Sultan Mosque, The Cenotaph, the Maritime Building, the Hongkong and Shanghai Bank Building and the Telok Ayer Chinese Methodist Church. He serves as the first president of the St. Patrick’s Society Singapore, the first president of the Singapore Amateur Boxing Association, the chairman of the Singapore Art Club, a member of the board of control of the Victoria Theatre and Concert Hall, a member of the Censorship Appeal Board and the vice-president of the Straits Settlements Association. He is also a frequent contributor to the Straits Produce, a satirical magazine. He helps to found the Singapore Society of Architects and the Institute of Architects of Malaya and is the founder and the chairman of the Singapore Musical Society. He retires to England in March 1934.
Santry returns to South Africa in 1940. Following the end of World War II, he resumes his practice as a result of lost income caused by the Japanese occupation of Malaya. In 1950, he becomes a member of the Institute of South African Architects. He designs several private houses in Hillcrest, KwaZulu-Natal.
Santry marries Madeline Hegarty in 1904. From 1910 to 1918, he lives in Kleine Schuur on Rhodes Avenue in Johannesburg. The house is designed by prominent architect Herbert Baker. He dies in Durban, South Africa, on April 14, 1960.
It is the first parade of the marching season along the controversial route where nationalist residents oppose loyal order marches through their area.
One band and some fifteen members of the Apprentice Boys take part in the parade from Ballynafeigh to the Ormeau Bridge, where police have erected barriers across the road. The Apprentice Boys then board buses to go to the organisation’s main parade in Ballymena, County Antrim.
The police presence on the bridge is low-key as the Apprentice Boys previously said they would abide by the ruling and the Lower Ormeau Concerned Community group (LOCC) said it would not hold any protest.
The Apprentice Boys hand in a letter of protest to the Royal Ulster Constabulary (RUC), and Worthington McGrath, of the Ballynafeigh Walkers Club of the Apprentice Boys, saying they are “bitterly disappointed” they cannot walk into the city centre through the lower Ormeau.
“We have gone to great lengths to try and meet the wishes of the Parades Commission, and we have been rebuffed,” McGrath says. He hopes they might be able to walk down the Lower Ormeau Road on another occasion this year. They are having “ongoing meetings with the greater community in the Ormeau area” in an attempt to satisfy the Commission, he says.
Gerard Rice, of the LOCC, welcomes the Apprentice Boys’ action, but says the loyal orders will have to meet his group if the issue is to be resolved. “Turning away at the bridge will not resolve the issue. Direct dialogue is necessary.”
Rice says that if the Parades Commission followed its own guidelines, there could be no marches on the Ormeau Road in 1998 because the loyal orders refused to talk to residents.
The Parades Commission banned the march ten days earlier on the basis that it would have harmful effects on “relationships with the community.” In the ruling, the Commission says it hopes at least one parade will go ahead on the Ormeau Road this year.
The chairman of the Parades Commission, Alistair Graham, who watches the parade, says he is encouraged by the “mature and sensible action” taken by the Apprentice Boys. Alisdair McDonnell, a Social Democratic and Labour Party (SDLP) councillor, says he welcomes the Commission’s decision and urges the Apprentice Boys and the Orange Order to talk to residents’ groups about future marches. The RUC’s sub-divisional commander in the area, Supt. Steven Graham, says the Apprentice Boys have shown “a high degree of integrity.”
(From: “Apprentice Boys parade passes off without incident” by Theresa Judge, The Irish Times, http://www.irishtimes.com, April 14, 1998)
Walker is born in Dublin, son of Cooper Walker, merchant, and educated by Thomas Ball. He suffers from asthma, which prevents him from attending college. Instead he travels to Italy, where he possibly receives some private tuition in Latin, Greek, French, Italian, and Spanish. He takes a special interest in Italian literature and Irish antiquities, and on his return to Ireland (where he is employed in the Irish treasury as third clerk in the upper department) resides in an Italianate villa, St. Valerie, on the road from Bray to Enniskerry.
In 1785, Walker is elected one of the original members of the Royal Irish Academy (RIA) and on March 17, 1786, is requested to sit on its committee of antiquities. In this capacity he submits several essays to the Academy’s Transactions. However, his best-known work is Historical Memoirs of the Irish Bards (1786). His interest in poetry, and in eighteenth-century vernacular survivals of the ancient bardic tradition, suggests important new contemporary and literary dimensions for what had previously been antiquarian and scholarly pursuits. He also breaks new ground by considering modern as well as historical Irish culture, and introduces it to an Anglo-Irish audience by providing English translations of Gaelic songs and poems.
The authorities Walker cites covers the entire range of Irish and Anglo-Irish scholarship on Irish antiquities. He includes excerpts from his correspondence with Charles O’Conor, Charles Vallancey, and Sylvester O’Halloran and carries out an extensive correspondence with Thomas Percy after he becomes Bishop of Dromore in 1782. He focuses on both poetry and music, which according to the popular eighteenth-century view has been the two traditional pursuits of the Irish bards. He presents a historical outline of their progress from the earliest times to the eighteenth century and ends with nine appendices, which are almost as lengthy as the main text. In these, his appreciation of what he considers to be the contemporary survivals of the ancient Irish bardic tradition is apparent in his including an account of Cormac Common, a blind eighteenth-century poet from Mayo, as well as a lengthy biographical notice of Turlough O’Carolan, together with translations of several of his songs. The book brings together many of the literary, scholarly, popular, Celtic, antiquarian, political, and musical dimensions of eighteenth-century Irish culture and prefigures the synthesis of literary modes, cultural theories, and musical styles that would occur in the literary productions of the United Irishmen.
Despite his linguistic skills, Walker has little knowledge of the Irish language, yet he (a member of the Anglo-Irish elite) is consistent in his praise of Gaelic culture, portraying it as sophisticated and literate and, although he highly romanticises his work, he does help to challenge negative appraisals of the Irish character. By the standards of the time it is a work of great erudition. However, today the book is judged to be of limited academic merit as Walker is severely hampered by a shortage of primary documents and by his limited grasp of the Irish language. This is illustrated by his ambiguous use of James Macpherson‘s volumes of Ossianic poems, published in the 1760s, which he quotes as authentic in the text while hinting in the footnotes that they are unreliable.
Charlotte Brooke translates three poems, and in return Walker encourages her to produce her Reliques of Irish Poetry (1789). Her work reflects Walker’s influence and she thanks him in the preface for affording her “every assistance which zeal, judgment and extensive knowledge, could give” as well as for prevailing on people to subscribe to her work and for being a subscriber himself. He is part of a literary circle that includes Edward Ledwich, Charles O’Conor, Edward Berwick, John Philpot Curran, and Henry Grattan. He also writes Historical essay on the dress of the ancient and modern Irish (1788), dedicated to his friend James Caulfeild, 1st Earl of Charlemont, for which he interviews the older generation, consults manuscripts, and even visits tombs to examine the clothing of corpses, and admits he has received copious aid from Elizabeth Rawdon, Countess of Moira. The English Review receives it warmly but Richard Gough, the reviewer for TheGentleman’s Magazine, states he is “much disappointed in the perusal of this high priced history.” Other works by Walker include “an historical essay on the Irish stage,” RIA Trans., ii (1788), Historical Memoir on Italian Tragedy (1799) and contributions to Vallancey’s Collectanea de rebus Hibernicis (Dublin, 1770–1804). In the 1790s he subscribes to Anthologia Hibernica: a monthly collection of science, belles lettres and history and in December 1794 submits an “Historical essay on the Irish stage” which surveys Irish drama from bardic times through to contemporary folk plays.
Walker dies on April 12, 1810, in Enniskerry, County Wicklow, leaving a fine gallery of pictures, a library containing Irish manuscripts, and a collection of antiquities. He is buried on April 14 in St. Mary’s Churchyard, Dublin. His memoirs of Alessandro Tassoni are published posthumously in London in 1815 (with a lengthy preface by his brother Samuel), as is the second edition of Historical Memoirs of the Irish Bards (2 vols., Dublin, 1818).
(From: “Walker, Joseph Cooper” by Rosemary Ritchie, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
A railway engineer by training, Crofts introduces railway themes into many of his stories, which are notable for their intricate planning. Although Raymond Chandler, Agatha Christie, and authors of the so-called golden age of detective fiction are more famous, he is esteemed by those authors, and many of his books are still in print.
Crofts is born at 26 Waterloo Road, Dublin. His father, also named Freeman Wills Crofts, is a surgeon-lieutenant in the Army Medical Services but dies of fever in Honduras before the young Freeman Wills Crofts is born. In 1883, his mother, Celia Frances (née Wise), marries the Venerable Jonathan Harding, Vicar of Gilford, County Down, later Archdeacon of Dromore, and Crofts is raised in the vicarage at Gilford. He attends Methodist College and Campbell College in Belfast. In 1912, he marries Mary Bellas Canning, daughter of the manager of the Coleraine branch of the Provincial Bank. They have no children.
In 1896, at the age of seventeen, Crofts is apprenticed to his maternal uncle, Berkeley Deane Wise, who is chief engineer of the Belfast and Northern Counties Railway. In 1899, he is appointed Junior Assistant on the construction of the Londonderry and Strabane Extension of the Donegal Railway. In 1900, he becomes District Engineer at Coleraine for the London, Midland and Scottish Railway (LMS) Northern Counties Committee at a salary of £100pa, living at 11 Lodge Road in the town. In 1922, he is promoted to Chief Assistant Engineer of the railway, based in Belfast. He lives at “Grianon” in Jordanstown, a quiet village some six miles north of Belfast, where it is convenient for him to travel by train each day to the railway’s offices at York Road. One of the projects he works on is the design of the “Bleach Green Viaduct” in Whiteabbey, close to his Jordanstown home. This is a significant ten arch reinforced concrete viaduct approved in 1927 and completed in 1934. It carries a new loop line which eliminates the need for trains between Belfast and the northwest to reverse at Greenisland. He continues his engineering career until 1929. In his last task as an engineer, he is commissioned by the Government of Northern Ireland to chair an inquiry into the Bann and Lough Neagh Drainage Scheme.
In 1919, during an absence from work due to a long illness, Crofts writes his first novel, The Cask (1920), which establishes him as a new master of detective fiction. He continues to write steadily, producing a book almost every year for thirty years, in addition to a number of short stories and plays.
Crofts is remembered best for his fictional detective, Inspector Joseph French, who is introduced in his fifth book, Inspector French’s Greatest Case (1924). Inspector French always solves each of the mysteries presented him in a workmanlike, precise manner – this method sets him apart from most other fictional sleuths.
In 1929, Crofts abandones his railway engineering career and becomes a full-time writer. He settles in the village of Blackheath, near Guildford, in Surrey, and a number of his books are set in the Guildford area, including The Hog’s Back Mystery (1933) and Crime at Guildford (1935). Many of his stories have a railway theme, and his particular interest in the apparently unfalsifiable alibi often emphasizes the intricacies of railway timetables. Near the end of his life, he and his wife relocate to Worthing, West Sussex, in 1953, where they live until his death in 1957, the year in which his last book is published.
Crofts also writes one religious book, The Four Gospels in One Story, several short stories, and short plays for the BBC.
Crofts is not only a railway engineer and writer, but also an accomplished musician. He is organist and choirmaster in Killowen Parish Church, Coleraine, St. Patrick’s Church, Jordanstown, and the parish church of St. Martin’s in Blackheath.
Crofts is esteemed, not only by his regular readers, but also by his fellow writers of the so-called Golden Age of Detective Fiction. Agatha Christie includes parodies of Inspector French alongside Sherlock Holmes and her own Hercule Poirot in Partners in Crime (1929).
Raymond Chandler describes Crofts as “the soundest builder of them all when he doesn’t get too fancy” (in The Simple Art of Murder). His attention to detail and his concentration on the mechanics of detection makes him the forerunner of the “police procedural” school of crime fiction. However, it has also given rise to a suggestion of a certain lack of flair – Julian Symons describing him as of “the humdrum school.” This may explain why his name has not remained as familiar as other more imaginative Golden Age writers, although he has fifteen books included in the Penguin Books “green” series of the best detective novels and 36 of his books are in print in paperback in 2000.
seamus dubhghaill 