Killen is the third of four sons and nine children of John Killen (1768–1828), a grocer and seedsman in Ballymena, by his wife Martha, daughter of Jesse Dool, a farmer in Duneane. His paternal grandfather, a farmer at Carnmoney, marries Blanche Brice, a descendant of Edward Brice. A brother, James Miller Killen (1815–1879), is a minister in Comber, County Down. Thomas Young Killen is his father’s great-nephew.
After attending local primary schools, Killen goes to Ballymena Academy around 1816, and in November 1821 enters the collegiate department of the Royal Belfast Academical Institution, under James Thomson. In 1827, he is licensed to preach by the Presbytery of Ballymena, and on November 11, 1829 he is ordained minister at Raphoe, County Donegal.
In July 1841 Killen is appointed, by the General Assembly of the Presbyterian Church in Ireland, its professor of church history, ecclesiastical government, and pastoral theology, in succession to James Seaton Reid. He concentrates on history. When Assembly’s College, Belfast is set up in 1853, he becomes one of the professors there. In 1869 he is appointed president of the college, in succession to Henry Cooke, and undertakes fundraising for professorial endowments and new buildings. In 1889 he resigns his chair but continues as president.
During his career Killen receives the degrees of D.D. (1845) and of LL.D. (1901) from the University of Glasgow. His portrait, painted by Richard Hooke, hangs in the Gamble library of the college.
William Dool Killen dies on January 10, 1902, and is buried in Balmoral Cemetery, Belfast, where a monument marks his resting place.
Bennett attends Hamblin and Porter’s School in Cork, and the Academic Institute in Hardcourt Street. He enrolls in medical school at Trinity College, Dublin in 1854 at the age of 17. At college he studies under professor Robert Smith, under whom he develops an interest in bone fractures. He gains the degrees of BA and MB before graduating with a M.Ch. in 1859 and MD in 1864. He is conferred with a fellowship of the Royal College of Surgeons in Ireland (RCSI) in 1863.
Following a period as an anatomy demonstrator Bennett is appointed as Surgeon to Sir Patrick Dun’s Hospital in 1864. He succeeds Robert Smith as Professor of Surgery in 1873 following his death. He studies fractures, joint dislocations and bone diseases, recording them at the Pathology Museum at Trinity College. He describes his eponymous fracture at the British Medical Association meeting in Cork in 1880 and today he is best remembered for the fracture he describes which still bears his name. Perhaps more importantly, however, he is accredited with having introduced antiseptic techniques to Dublin hospitals. Bennett also serves as President of the RCSI.
Edward Hallaran Bennett dies in Dublin on June 21, 1907.
Trevelyan is the son of a Cornish clergyman, the Venerable George Trevelyan, who becomes Archdeacon of Taunton, and his wife Harriet, daughter of Sir Richard Neave. As a young man, he works with the colonial government in Calcutta, India. In the late 1850s and 1860s he serves there in senior-level appointments.
Trevelyan’s most enduring mark on history may be the quasi-genocidalanti-Irish racial sentiment he expresses during his term in the critical position of administrating relief to the millions of Irish peasants suffering under the Great Famine, an Gorta Mór, as Assistant Secretary to HM Treasury (1840–1859) under the Whig administration of Lord John Russell.
During the height of the famine Trevelyan deliberately drags his feet in disbursing direct government food and monetary aid to the Irish due to his strident belief in laissez-faire economics and the free hand of the market. In a letter to an Irish peer, Thomas Spring Rice, 1st Baron Monteagle of Brandon, a former Chancellor of the Exchequer, he describes the famine as an “effective mechanism for reducing surplus population” as well as “the judgement of God” and writes that “The real evil with which we have to contend is not the physical evil of the Famine, but the moral evil of the selfish, perverse and turbulent character of the people.”
Trevelyan never expresses remorse for his comments, even after the full dreadful scope of the Irish famine becomes known. His defenders claim that other factors than Trevelyan’s personal acts and beliefs are more central to the problem.
Sir Charles Trevelyan dies at the age of 70 at 67 Eaton Square, London, on June 19, 1886.
Trevelyan is referred to in the modern Irish folk songThe Fields of Athenry about an Gorta Mór. For his actions, or lack thereof, during the Great Famine, he is commonly considered one of the most detested figures in Irish history, along with the likes of Oliver Cromwell.
Seán O’Casey, Irish playwright renowned for realistic dramas of the Dublin slums in war and revolution, in which tragedy and comedy are juxtaposed in a way new to the theatre of his time, is born at 85 Upper Dorset Street in Dublin on March 30, 1880.
Born as John Casey into a lower middle-class Irish Protestant family, his father dies when he is six, and thereafter the family becomes progressively poorer. With only three years of formal schooling, he educates himself by reading. He starts work at 14, mostly at manual labour, including several years with the Irish railways.
O’Casey becomes caught up in the cause of Irish nationalism, and he changes his name to its Irish form and learns the Irish language. His attitudes are greatly influenced by the poverty and squalor he witnesses in Dublin’s slums and by the teachings of the Irish labour leader Jim Larkin. He becomes active in the labour movement and writes for The Irish Worker. He also joins the Irish Citizen Army, a paramilitary arm of the Irish labour unions, and draws up its constitution in 1914. At this time, he becomes disillusioned with the Irish nationalist movement because its leaders put nationalist ideals before socialist ones. He does not take part in the 1916 Easter Rising against the British authorities.
Disgusted with the existing political parties, he turns his energies to drama. His tragicomedies reflect in part his mixed feelings about his fellow slum dwellers, seeing them as incapable of giving a socialist direction to the Irish cause but at the same time admirable for their unconquerable spirit.
After several of his plays have been rejected, the Abbey Theatre in Dublin produces The Shadow of a Gunman (1923), set during the guerrilla warfare between the Irish Republican Army and British forces. In 1924 the Abbey stages Juno and the Paycock, his most popular play, set during the period of civil war over the terms of Irish independence. The Plough and the Stars (1926), with the 1916 Easter Rising as its background, causes riots at the Abbey by patriots who think the play denigrates Irish heroes. When first produced in the 1920s, these plays have an explosive effect on the audiences at the Abbey and help to enlarge the theatre’s reputation.
O’Casey goes to England in 1926, meets the Irish actress Eileen Carey Reynolds, marries her, and henceforth makes England his home. His decision to live outside Ireland is motivated in part by the Abbey’s rejection of The Silver Tassie, a partly Expressionist antiwar drama produced in England in 1929. Another Expressionist play, Within the Gates (1934), follows, in which the modern world is symbolized by the happenings in a public park. The Star Turns Red (1940) is an antifascist play, and the semiautobiographical Red Roses for Me (1946) is set in Dublin at the time of the Irish railways strike of 1911.
O’Casey’s later plays, given to fantasy and ritual and directed against the life-denying puritanism he believes has beset Ireland, include Cock-a-Doodle Dandy (1949), The Bishop’s Bonfire (1955), and The Drums of Father Ned (1958). His last full-length play is a satire on Dublin intellectuals, Behind the Green Curtains, published in 1961.
O’Casey’s three indisputably great plays are The Shadow of a Gunman, Juno and the Paycock, and The Plough and the Stars. All are tragicomedies set in the slums of Dublin during times of war and revolution. Violent death and the everyday realities of tenement life throw into relief the blustering rhetoric and patriotic swagger of men caught up in the struggle for Irish independence. The resulting ironic juxtapositions of the comic and tragic reveal the waste of war and the corrosive effects of poverty. His gifts are for vivid characterization and working-class language and, though he portrays war and poverty, he writes some of the funniest scenes in modern drama. His later plays are not considered as powerful or moving as his earlier realistic plays. In his later plays he tends to abandon vigorous characterization in favour of expressionism and symbolism, and sometimes the drama is marred by didacticism.
Six volumes of O’Casey’s autobiography appeared from 1939 to 1956. They are later collected as Mirror in My House (1956) in the United States and as Autobiographies (1963) in Great Britain. O’Casey’s letters from 1910 to 1941 are edited by David Krause in two volumes (1975, 1980).
Peig Sayers, Irish author and seanchaí, is born in the townland of Vicarstown, Dunquin, County Kerry, on March 29, 1873. Seán Ó Súilleabháin, the former archivist for the Irish Folklore Commission, describes her as “one of the greatest woman storytellers of recent times.”
Sayers is born Máiréad (Margaret) Sayers, the youngest child of the family. She is called Peig after her mother, Margaret “Peig” Brosnan, from Castleisland. Her father Tomás Sayers is a renowned storyteller who passes on many of his tales to Peig. At age 12, she is taken out of school and goes to work as a servant for the Curran family in the nearby town of Dingle. She spends two years there before returning home due to illness.
She spends the next few years as a domestic servant working for members of the growing middle class produced by the Land War. She plans to join her best friend, Cáit Boland, in the United States, but Boland writes that she has had an accident and can not forward the cost of the fare. Peig moves to the Great Blasket Island after marrying Pádraig Ó Guithín, a fisherman and native of the island, on February 13, 1892. She and Pádraig have eleven children, of whom six survive.
The Norwegian scholar Carl Marstrander, who visits the island in 1907, urges Robin Flower of the British Museum to visit the Blaskets. Flower is keenly appreciative of Sayers’ stories and tales. He records them and brings them to the attention of the academic world.
In the 1930s, a Dublin teacher, Máire Ní Chinnéide, who is a regular visitor to the Blaskets, urges Sayers to tell her life story to her son Micheál. She is illiterate in the Irish language, although she receives her early schooling through the medium of English. She dictates her biography to Micheál. He then sends the manuscript pages to Máire Ní Chinnéide in Dublin, who edits them for publication. It is published in 1936.
Over several years beginning in 1938 she dictates 350 ancient legends, ghost stories, folk stories, and religious stories to Seosamh Ó Dálaigh of the Irish Folklore Commission.
Sayers continues to live on the island until 1942, when she leaves the Island and returns to her native Dunquin. She is moved to a hospital in Dingle, County Kerry where she dies on December 8, 1958. She is buried in the Dún Chaoin Burial Ground on the Dingle Peninsula. Her surviving children, except for her son Micheál, emigrate to the United States and live with their descendants in Springfield, Massachusetts.
Harry Furniss, artist and illustrator, is born in Wexford, County Wexford on March 26, 1854. His father is English and his mother Scottish, Furniss identifying himself as English. He is educated at Wesley College in Dublin.
After some years Furniss moves to The Graphic, initially writing and illustrating a series of supplements titled “Life in Parliament,” and he comments that “from this time forward it would be difficult to name any illustrated paper with which I have not at some time or other been connected.”
Furniss’s most famous humorous drawings are published in Punch, for which he starts working in 1880, and to which he contributes over 2,600 drawings. He leaves Punch in 1894 when its owners discover that he has sold one of his Punch drawings to Pears Soap for use in an advertising campaign.
He illustrates Lewis Carroll‘s novel Sylvie and Bruno in 1889 and Sylvie and Bruno Concluded in 1893. Carroll and Furniss sometimes produce both pictures and text simultaneously. Carroll exerts strong control over Furniss’s illustration, to such an extent that Furniss pretends to be out when Carroll calls at his home. After completing Sylvie and Bruno Concluded Furniss vows never to work for the author again. In 1890, he illustrates the Badminton Library‘s volume on Golf.
Upon leaving Punch, Furniss brings out his own humorous magazine, Lika Joko, but when this fails, he moves to the United States where he works as a writer and actor in the fledgling film industry and where, in 1914, he pioneers the first animated cartoon film for Thomas Edison.
His two-volume autobiography, titled The Confessions of a Caricaturist is published in 1902, and a further volume of personal recollections and anecdotes, Harry Furniss At Home, is published in 1904.
Furniss writes and illustrates 29 books of his own, including Some Victorian Men and Some Victorian Women and illustrates 34 works by other authors, including the complete works of Charles Dickens and William Makepeace Thackeray. On some projects, like his illustrations for G. E. Farrow‘s Wallypug books, Furniss collaborates with his daughter, fellow artist Dorothy Furniss.
Harry Furniss dies on January 14, 1925, in London, England.
McAuliffe’s parents are Cornelius McAuliffe and Jane Bailey, who are living at 5 Christ Church Lane, Cork, at the time of Jack’s birth. He emigrates to the United States in 1871, where he spends his early years in Bangor, Maine.
McAuliffe makes his first appearance as an amateur boxer in 1883. He turns professional soon after, fighting Jem Carney 78 rounds to a draw at Revere Beach, Massachusetts. He fights Billy Dacey for the lightweight championship and a $5,000 purse in 1888, knocking him out in eleven rounds. He is known as a strong two-handed fighter with “cat-like” reflexes.
McAuliffe is married twice, both times to stage actresses. His first wife is Katie Hart, who plays in farce comedies. After her death, he marries Catherine Rowe in 1894, whose stage name is Pearl Inman, of the song and dance team The Inman Sisters. Between marriages he dates a third actress, Sadie McDonald. McAuliffe and Rowe move back to Bangor, Maine, in 1894, where he undertakes preliminary training for a fight later that year at the Seaside Athletic Club on Coney Island.
McAuliffe retires in 1897. According to the International Boxing Hall of Fame, he has 36 professional fights. He finishes his career with 30 victories with 22 by knockout, five draws and one no decision.
Jack McAuliffe dies on November 5, 1937, at his home on Austin Street in Forest Hills, Queens.
Gibbons was born to architect Austin P. Gibbons and Veronica Fitzpatrick Simmons. He is privately tutored and studies at the Art Students League of New York. In 1911 he begins working in his father’s office as a junior draftsman. From 1915 he serves as art director at Edison Studios in New Jersey and then serves in the United States Navy during World War I. He then joins Goldwyn Studios and begins a long career with Metro-Goldwyn-Mayer in 1924, the year the studio is founded.
In 1930, Gibbons marries actress Dolores del Río and co-designs their house in Santa Monica, an intricate Art Deco residence influenced by Rudolf Schindler. They divorce in 1941. Three years later he marries actress Hazel Brooks, with whom he remains until his death.
Gibbons’s set designs, particularly those in such films as Born to Dance (1936) and Rosalie (1937), heavily inspire motion picture theater architecture in the late 1930s through 1950s. The style is found very clearly in the theaters that are managed by the Skouras brothers, whose designer Carl G. Moeller uses the sweeping scroll-like details in his creations. Among the more classic examples are the Loma Theater in San Diego, The Crest in Long Beach and Fresno, and the Culver Theater in Culver City. The style is sometimes referred to as Art Deco and Art Moderne.
Gibbons retires in 1956 with about 1,500 films credited to him, however, his contract with MGM dictates that he receives credit as art director for every MGM film released in the United States, even though other designers might do the bulk of the work. Even so, his actual hands-on art direction is believed to be about 150 films.
Gibbons’ second cousin, Frederick Gibbons, a musician, orchestra conductor, and entertainer who works with him at MGM, is the father of Billy Gibbons of the rock band ZZ Top.
Clarke is the younger son and third child of Joshua Clarke and Brigid Clarke (née MacGonigal). Church decorator Joshua Clarke moves to Dublin from Leeds in 1877 and starts a decorating business, Joshua Clarke & Sons, which later incorporates a stained-glass division. Through his work with his father, Clarke is exposed to many schools of art but Art Nouveau in particular.
Clarke is educated at the Model School in Marlborough Street, Dublin and Belvedere College, which he leaves in 1905. After his mother’s death in 1903, he is apprenticed into his father’s studio and attends evening classes in the Metropolitan College of Art and Design. His The Consecration of St. Mel, Bishop of Longford, by St. Patrick wins the gold medal for stained glass work in the 1910 Board of Education National Competition. At the art school in Dublin, he meets fellow artist and teacher Margaret Crilley. They marry on October 31, 1914.
Clarke moves to London to seek work as a book illustrator. Picked up by London publisher George G. Harrap and Co., he starts with two commissions which are never completed. Difficulties with these projects makes Fairy Tales by Hans Christian Andersen his first printed work, in 1916. It includes 16 colour plates and more than 24 halftone illustrations. This is followed by illustrations for an edition of Edgar Allan Poe‘s Tales of Mystery and Imagination, the second version of which, published in 1923, makes his reputation as a book illustrator. His work can be compared to that of Aubrey Beardsley, Kay Nielsen, and Edmund Dulac. His final book, Selected Poems of Algernon Charles Swinburne, is published in 1928.
Clarke also continues to work in stained-glass, producing more than 130 windows. His glass is distinguished by the finesse of its drawing and his use of rich colours. He is especially fond of deep blues. His use of heavy lines in his black-and-white book illustrations echoes his glass techniques.
Clarke is plagued with ill health, in particular respiratory problems. He is diagnosed with tuberculosis in 1929 and goes to a sanatorium in Davos, Switzerland. Fearing that he will die abroad, he begins his journey back to Dublin in 1931, but dies on this journey on January 6, 1931, in Chur where he is buried. A headstone is erected but local law requires that the family pledge to maintain the grave 15 years after the death. This is not explained to the Clarke family and Harry Clarke’s remains are disinterred in 1946 and reburied in a communal grave.
Reeves is born at Charleville, County Cork, the eldest child of Boles D’Arcy Reeves, an attorney, whose wife Mary is a daughter of Captain Jonathan Bruce Roberts, land agent to the Edmund Boyle, 8th Earl of Cork. This grandfather had fought at the Battle of Bunker’s Hill, and Reeves is born at his house in Charleville.
From 1823, Reeves is educated at the school of John Browne in Leeson Street, Dublin, and after that at a school kept by the Rev. Edward Geoghegan. In October 1830, he enters Trinity College, Dublin, where he quickly gains a prize for Hebrew. In his third year, he becomes a scholar and goes on to graduate BA in 1835. He proceeds to read medicine, wins the Berkeley Medal, and graduates MB in 1837. His object in taking his second degree is that he intends to become a clergyman and to practice the medical profession among the poor of his parish.
In 1844, Reeves rediscovers the lost site of Nendrum Monastery when he visits Mahee Island in Strangford Lough, County Down, searching for churches recorded in 1306, and recognises the remains of a round tower. By 1845, he is corresponding with the Irish scholar John O’Donovan, and an archive of their letters between 1845 and 1860 is preserved at University College, Dublin. In July 1845, Reeves visits London.
Reeves resides in Ballymena from 1841 to 1858, when he is appointed vicar of Lusk following the success of his edition of Adomnán‘s Life of Saint Columba (1857), for which the Royal Irish Academy awards him their Cunningham Medal in 1858. In 1853, he purchases from the Brownlow family the important 9th-century manuscript known as the Book of Armagh, paying three hundred pounds for it. He sells the book for the same sum to Archbishop Beresford, who has agreed to present it to Trinity College, Dublin.
In 1875 Reeves is appointed Dean of Armagh, a position he holds until 1886 when he is appointed as Bishop of Down, Connor and Dromore. In 1891 he is elected as President of the Royal Irish Academy. As bishop, he resides at Conway House, Dunmurry, County Antrim, and signs his name “Wm. Down and Connor.”
William Reeves dies in Dublin on January 12, 1892, while still President of the Academy. At the time of his death, he is working on a diplomatic edition of the Book of Armagh, by then in the Trinity College Library. The work is completed by Dr. John Gwynn and published in 1913.
