O’Donnell, son of Daniel O’Donnell, a farmer, and his wife, Mary (née Breslin), is one of nine children in a family that claim descent from the O’Donnells of Tyrconnell. He is educated in the High School, Letterkenny, the Catholic University, Dublin, and St. Patrick’s Pontifical University, Maynooth. He is ordained to the priesthood on June 29, 1880. In that same year he is appointed to the staff of St. Patrick’s College, Maynooth, holding the chairs of Dogmatic and Moral Theology. In 1884 he becomes dean of the revived post-graduate Dunboyne Institute and in 1885 is awarded his STD. From his desk in Maynooth he pours out a continuous stream of articles on moral theology and canon law.
O’Donnell becomes Bishop of Raphoe on February 26, 1888, and is consecrated by Cardinal Michael Logue on April 3 in Letterkenny. With superior qualities of mind and body, he is a benign figure who is yet gifted with sharp political acumen. He has the most distinguished episcopate, locally and nationally. He undertakes and completes prodigious building projects including a superbly sited neo-gothic cathedral, St. Eunan’s Diocesan College, and the Presentation Monastery and Loreto schools and an extension to Loreto Convent, all in Letterkenny.
He is appointed coadjutor Archbishop of Armagh on January 14, 1922, and succeeds Cardinal Logue on November 19, 1924. On December 14, 1925, Pope Pius XI makes O’Donnell a Cardinal.
O’Donnell takes an active part in the social, political, and economic life of Ireland. A staunch activist for social justice, as Bishop of Raphoe, he is a member of the first Committee of the Irish Agricultural Organisation Society, founded by Sir Horace Plunkett. In 1918, when representing the nationalist’s side at the Irish Convention, he opposes John Redmond‘s amendment intended to bring about unanimity on All-Ireland Home Rule.
Dobbs’ father, Conway Edward Dobbs, is Justice of the Peace for County Antrim, High Sheriff for Carrickfergus in 1875, and High Sheriff for County Louth in 1882. The family spends time living in Dublin which is where Dobbs is born. She attempts to learn Irish. However, when her father dies in 1898 her mother, Sarah Mulholland, daughter of St. Clair Kelvin Mulholland Eglantine, moves the family back to Glenariff.
Dobbs’ interest in learning Irish continues and she finds it easier to learn in Donegal where the language is still spoken. Her first teacher is Hugh Flaitile. She attends the Irish College at Cloughaneely in the Donegal Gaeltacht. She brings the idea of promoting the language to the Glens of Antrim and her circle of friends. Dobbs is one of the small numbers of Protestant women interested in the Gaelic revival.
The “Great Feis” takes place in Antrim in 1904. Dobbs is a founding member of the Feis na nGleann committee and later a tireless literary secretary. In 1946, the Feis committee decides to honour her by presenting her with an illuminated address. It can be seen today at Portnagolan House with its stained-glass windows commemorating a great Irishwoman. During her speech she says, “Ireland is a closed book to those who do not know her language. No one can know Ireland properly until one knows the language. Her treasures are hidden as a book unopened. Open the book and learn to love your language.”
Dobbs writes seven plays, published by Dundalgan Press in 1920, though only three are ever performed. The Doctor and Mrs. McAuley wins the Warden trophy for one-act plays at the Belfast festival in 1913. However, her plays are generally not a success and after 1920 she never writes another. She continues to work on historical and archaeological studies and her articles are published in the Ulster Journal of Archaeology, in a German magazine for Celtic studies, in the French Revue Celtique, and in the Irish magazine Eriu.
Roger Casement is a good friend and, although Dobbs never makes her political opinions known, she contributes to his defence costs when he is accused of treason. She also is a member of the Gaelic League and in the executive of Cumann na mBan.
She dies in Portnagalon, County Antrim, on January 2, 1962.
Lane is brought up in Cornwall, England, and begins his career as an apprentice painting restorer and later becomes a successful art dealer in London.
Through regular visits to the home of his aunt, Lady Gregory, in Coole Park, near Gort in County Galway, Lane remains in contact with Ireland. He soon counts among his family, friends, and social circle those who collectively form the core of the Irish cultural renaissance in the early decades of the 20th century.
Extolling the cause of Irish art abroad, Lane also becomes one of the foremost collectors and dealers of Impressionist paintings in Europe, and amongst those works purchased by him for the new gallery are La Musique aux Tuileries by Édouard Manet, Sur la Plage by Edgar Degas, Les Parapluies by Pierre-Auguste Renoir, and La Cheminée by Jean-Édouard Vuillard.
The Municipal Gallery of Modern Art opens in January 1908 in temporary premises in Harcourt Street, Dublin. Lane hopes that Dublin Corporation will run it, but the corporation is unsure if it will be financially viable. Lane does not live to see his gallery permanently located as he dies on May 7, 1915, during the sinking of the RMS Lusitania off the west coast of Cork. The gallery, extended in 2005, is now in Parnell Square in central Dublin.
For his “services to art” in Ireland, Lane is knighted in June 1909 at the comparatively young age of 33.
Following his death, Lane’s will bequeaths his collection to London, but an unwitnessed later codicil bequeaths it to Dublin. Having possession, London’s National Gallery does not recognise the codicil. At the request of Lane’s aunt, Lady Gregory, W.T. Cosgrave, leader of the Irish Government unsuccessfully approaches Ramsay MacDonald on the matter in 1929. When John A. Costello becomes Taoiseach in 1948, he initiates further negotiations with the government of the United Kingdom, eventually leading to a compromise in 1959, under Taoiseach Seán Lemass, whereby half of the Lane Bequest will be loaned and shown in Dublin every five years. In 1993 the agreement is varied so that 31 of the 39 paintings would stay in Ireland. The remaining 8 are divided into two groups, so that four would be loaned for six years at a time to Dublin. In 2008, The National Gallery in London arranges for the entire collection to be on display in Dublin together for the first time.
The style of trompe-l’œil painting that Harnett develops is distinctive and inspired many imitators, but it is not without precedent. A number of 17th century Dutch painters, Pieter Claesz for instance, specialize in tabletop still life of astonishing verisimilitude. Raphaelle Peale, working in Philadelphia in the early 19th century, pioneers the form in America. What sets Harnett’s work apart, besides his enormous skill, is his interest in depicting objects not usually made the subject of a painting.
Harnett paints musical instruments, hanging game, and tankards, but also painted the unconventional Golden Horseshoe (1886), a single rusted horseshoe shown nailed to a board. He paints a casual jumble of second-hand books set on top of a crate, Job Lot, Cheap (1878), as well as firearms and even paper currency. His works sell well, but they are more likely to be found hanging in a tavern or a business office than in a museum, as they did not conform to contemporary notions of high art.
Harnett spent the years 1880–1886 in Europe, staying in Munich from 1881 until early 1885. Harnett’s best-known paintings, the four versions of After the Hunt, are painted between 1883 and 1885. Each is an imposing composition of hunting equipment and dead game, hanging on a door with ornate hinges at the right and keyhole plate at the left. These paintings, like the horseshoe or currency depictions mentioned earlier, are especially effective as trompe-l’œil because the objects occupy a shallow space, meaning that the illusion is not spoiled by parallax shift if the viewer moves.
Overall, Harnett’s work is most comparable to that of the slightly younger John F. Peto. The two artists know each other, and a comparison can be made between two paintings featuring violins. Harnett’s Music and Good Luck from 1888 shows the violin hanging upright on a door with ornate hinges and with a slightly torn piece of sheet music behind it. The elements are arranged in a stable, deliberate manner. Peto’s 1890 painting shows the violin hanging askew, as well as chipped and worn, with one string broken. The sheet music is dog-eared and torn around the edges and placed haphazardly behind the instrument. The hinges are less ornate, and one is broken. Harnett’s objects show signs of use but are well preserved, while Peto’s more humble objects are nearly used up.
Crippling rheumatism plagues Harnett in his last years, reducing the number but not the quality of his paintings. He seeks relief in the waters at Karlsbad and Wiesbaden, Germany and later at Hot Springs, Arkansas. But he continues to worsen and is hospitalized several times. He dies in New York City in 1892.
The Irish language has largely retreated from Meath when O’Growney is born, and neither of his parents speak it. He becomes interested in the language when he chances upon the Irish lessons in the nationalist newspaper Young Ireland. He has help at first from a few old people who speak the language, and while at St. Patrick’s Pontifical University, Maynooth, where he continues his studies for the priesthood. He spends his holidays in Irish-speaking areas in the north, west, and south. He gets to know the Aran Islands and writes about them in the bilingual Gaelic Journal (Irisleabhar na Gaedhilge). He is ordained in 1888. His proficiency in the language leads him to be appointed in the re-established Chair of Irish at Maynooth in 1891. He serves as editor of the Gaelic Journal between 1894 and 1899 and during his tenure ensures that more material is published in Irish.
For O’Growney, language, nationality, and religion are closely linked. In 1890, writing in the Irish Ecclesiastical Review, he describes literature in Irish as “the most Catholic literature in the world.” He is aware, however, of its other aspects, adding that “even if Irish were to perish as a spoken language, it would remain valuable from the pure literature point of view.”
O’Growney’s Simple Lessons in Irish, first published in the newspaper the Weekly Freeman, prove so popular that they are published in booklet form. There are five books in the series and, by 1903, 320,000 copies have been sold.
O’Growney is a founding member of the Gaelic League, which is created in Dublin in 1893 “for the purpose of keeping the Irish language spoken in Ireland,” and later becomes its vice-president.
In 1894, failing health causes him to go to Arizona and California, where he dies in Los Angeles in 1899. Some years later, with the aid of Irish sympathisers in the United States, his body is brought back to Ireland.
His funeral, held on September 26, 1903 at the Catholic Pro-Cathedral, Dublin, is attended by 6,000 people, including members of the trade guilds, clerics, politicians, members of the nationalist Gaelic Athletic Association, and students. Eugene O’Growney is buried at Maynooth.
Wilde’s parents are successful Anglo-Irish Dublin intellectuals. Their son becomes fluent in French and German early in life. At university, Wilde read Greats and proves himself to be an outstanding classicist, first at Dublin, then at Magdalen College, Oxford. He becomes known for his involvement in the rising philosophy of aestheticism, led by two of his tutors, Walter Pater and John Ruskin. After university, Wilde moves to London into fashionable cultural and social circles.
As a spokesman for aestheticism, Wilde tries his hand at various literary activities. He publishes a book of poems, lectures in the United States and Canada on the new “English Renaissance in Art,” and then returns to London where he works prolifically as a journalist. Known for his biting wit, flamboyant dress and glittering conversation, Wilde becomes one of the best-known personalities of his day.
At the turn of the 1890s, he refines his ideas about the supremacy of art in a series of dialogues and essays, and incorporates themes of decadence, duplicity, and beauty into his only novel, The Picture of Dorian Gray (1890). The opportunity to construct aesthetic details precisely, and combine them with larger social themes, draws Wilde to write drama. He writes Salome (1891) in French in Paris, but it is refused a licence for England due to the absolute prohibition of Biblical subjects on the English stage. Unperturbed, Wilde produces four society comedies in the early 1890s, which make him one of the most successful playwrights of late Victorian London.
At the height of his fame and success, while his masterpiece, The Importance of Being Earnest (1895), is still on stage in London, Wilde has the John Douglas, 9th Marquess of Queensberry prosecuted for libel. The Marquess is the father of Wilde’s lover, Lord Alfred Douglas. The charge carries a penalty of up to two years in prison. The trial unearths evidence that causes Wilde to drop his charges and leads to his own arrest and trial for gross indecency with men. After two more trials he is convicted and imprisoned for two years’ penal labour.
In 1897, in prison, he writes De Profundis, which is published in 1905, a long letter which discusses his spiritual journey through his trials, forming a dark counterpoint to his earlier philosophy of pleasure. Upon his release he leaves immediately for France, never to return to Ireland or Britain. There he writes his last work, The Ballad of Reading Gaol (1898), a long poem commemorating the harsh rhythms of prison life.
Robinson is raised in a Protestant and Unionist family in which he is the youngest of seven children. His father, Andrew Robinson, is a middle-class stockbroker who in 1892 decides to become a clergyman in the Church of Ireland in the small Ballymoney parish, near Ballineen in West Cork. A sickly child, Robinson is educated by private tutor and at Bandon Grammar School. In August 1907, his interest in the theatre begins after he goes to see an Abbey production of plays by W.B. Yeats and Lady Gregory at the Cork Opera House. He publishes his first poem that same year. His first play, The Cross Roads, is performed in the Abbey in 1909 and he becomes manager of the theatre towards the end of that year. He resigns in 1914 as a result of a disastrous tour of the United States but returns in 1919. He is appointed to the board of the theatre in 1923 and continues to serve in that capacity until his death. His Abbey career and production involvement can be found in the Abbey archives.
As a playwright, Robinson shows himself as a nationalist with plays like Patriots (1912) and Dreamers (1915). On the other hand, he belongs to a part of Irish society which is not seen as fully Irish. This division between the majority native Irish (Roman Catholics) on one side and the Anglo-Irish (Protestants) on the other can be seen in a play such as The Big House (1926), which depicts the burning of a Protestant manor home by the Irish Republican Army (IRA). Robinson’s most popular play is The Whiteheaded Boy (1916).
Other plays include Crabbed Youth and Age (1924), The Far Off Hills (1928), Drama at Inish (1933), and Church Street (1935). Drama at Inish, which is presented in London and on Broadway as Is Life Worth Living?, is revived as part of the 2011 season at the Shaw Festival at Niagara-on-the-Lake, Ontario, Canada, with Mary Haney in the role of Lizzie Twohig. Robinson’s fiction includes Eight Short Stories (1919). In 1931 he publishes a biography of Bryan Cooper, who had recently died. In 1951, he publishes Ireland’s Abbey Theatre, the first full-length history of the company.
He publishes an edited edition of Lady Gregory’s diaries in 1947. In 1958 he co-edits with Donagh MacDonaghThe Oxford Book of Irish Verse. He is also a director and producer, in 1930 producing a play by Irish playwright Teresa Deevy called The Reapers. In 1931 he is co-director of A Disciple along with W.B. Yeats and Walter Starkie.
Conway is remembered for his application of biquaternion algebra to the special theory of relativity. He publishes an article in 1911, and in 1912 asserts priority over Ludwik Silberstein, who also applies biquaternions to relativity. This claim is backed up by George Temple in his book 100 Years of Mathematics. In 1947 Conway puts quaternions to use with rotations in hyperbolic space. The next year he publishes quantum mechanics applications which are referred to in a PhD thesis by Joachim Lambek in 1950.
Conway continues his scholarship in the field of mathematics and theoretical physics and makes a special study of William Rowan Hamilton. With John Lighton Synge, he edits the first volume of Hamilton’s mathematical papers, and, with A. J. McConnell, he edits the second volume of Hamilton’s mathematical papers. Conway is also active in college life, being appointed Registrar, a position he occupies until his election as president in 1940. He retires in 1947 from the presidency of UCD. In 1953, some of his writings are edited by J. McConnell for publication by the Dublin Institute for Advanced Studies.
Gilmore is born in Ballygar, County Galway, on December 25, 1829. He starts his music career at age fifteen and spends time in Canada with an English band. Already a fine cornet player, he settles in Boston, Massachusetts in 1848, becoming leader of the Suffolk, Boston Brigade, and Salem bands in swift succession. He also works in the Boston music store of John P. Ordway and founds Ordway’s Aeolians, a group of blackfaceminstrels. With the Salem Band, Gilmore performs at the 1857 inauguration of President James Buchanan.
In 1858, Gilmore founds “Gilmore’s Band,” and at the outset of the American Civil War the band enlists with the 24th Massachusetts Volunteers, accompanying General Ambrose Burnside to North Carolina. After the temporary discharge of bands from the field, Governor John Albion Andrew of Massachusetts entrusts Gilmore with the task of re-organizing military music-making. General Nathaniel P. Banks creates him Bandmaster-general.
When the war ends, Gilmore is asked to organize a celebration, which takes place in New Orleans. That success emboldens him to undertake two major music festivals in Boston, the National Peace Jubilee in 1869 and the World’s Peace Jubilee and International Musical Festival in 1872. These feature monster orchestras of massed bands with the finest singers and instrumentalists, including the only American appearance by “waltz king” Johann Strauss II, and cements Gilmore’s reputation as the leading musical figure of the age. Coliseums are erected for the occasions, holding 60- and 120,000 persons. Grateful Bostonians present Gilmore with medals and cash, but in 1873 he moves to New York City, as bandmaster of the 22nd Regiment. Gilmore takes this band on acclaimed tours of Europe.
On September 24, 1892, back in the United States preparing an 1892 musical celebration of the quadricentennial anniversary of Christopher Columbus‘ voyage of discovery, Gilmore collapses and dies in St. Louis. He is buried in Calvary Cemetery, Queens, New York, where his wife is later interred.
In many ways Gilmore can be seen as the principal figure in 19th-century American music. He holds the first “Promenade Concert in America” in 1855, the forerunner to today’s Boston Pops. He sets up “Gilmore’s Concert Garden,” which becomes Madison Square Garden. He is the Musical Director of the Nation in effect, leading the festivities for the 1876 Centennial celebrations in Philadelphia and the dedication of the Statue of Liberty in 1886. In 1888 he starts the tradition of seeing in the New Year in Times Square.
John Devoy, one of the most devoted revolutionaries the world has ever seen, is born in Kill, County Kildare, on September 3, 1842. Dedicating over 60 years of his life to the cause of Irish freedom, he is one of the few people to have played a leading role in the Fenian Rising of 1867, the 1916 Easter Rising, and the Irish War of Independence (1919 – 1921).
After the Great Famine, the family moves to Dublin where Devoy’s father obtains at job at Watkins’ brewery. Devoy attends night school at the Catholic University before joining the Fenians. In 1861 he travels to France with an introduction from Timothy Daniel Sullivan to John Mitchel. Devoy joins the French Foreign Legion and serves in Algeria for a year before returning to Ireland to become a Fenian organiser in Naas, County Kildare.
In 1865, when many Fenians are arrested, James Stephens, founder of the Irish Republican Brotherhood (IRB), appoints Devoy Chief Organiser of Fenians in the British Army in Ireland. His duty is to enlist Irish soldiers in the British Army into the IRB. In November 1865 Devoy orchestrates Stephens’ escape from Richmond Prison in Dublin.
In February 1866 an IRB Council of War calls for an immediate uprising but Stephens refuses, much to Devoy’s annoyance, as he calculated the Fenian force in the British Army to number 80,000. The British get wind of the plan through informers and move the regiments abroad, replacing them with regiments from Britain. Devoy is arrested in February 1866 and interned in Mountjoy Gaol, then tried for treason and sentenced to fifteen years penal servitude. In Portland Prison Devoy organises prison strikes and, as a result, is moved to Millbank Prison in Pimlico, London.
In January 1871, he is released and exiled to the United States as one of the “Cuba Five.” He receives an address of welcome from the House of Representatives. Devoy becomes a journalist for the New York Herald and is active in Clan na Gael. Under Devoy’s leadership, Clan na Gael becomes the central Irish republican organisation in the United States. In 1877 he aligns the organisation with the Irish Republican Brotherhood in Ireland.
Devoy’s fundraising efforts and work to sway Irish Americans to physical force nationalism makes possible the Easter Rising in 1916. In 1914, Patrick Pearse visits the elderly Devoy in America, and later the same year Roger Casement works with Devoy in raising money for guns to arm the Irish Volunteers. Though he is skeptical of the endeavor, he finances and supports Casement’s expedition to Germany to enlist German aid in the struggle to free Ireland from English rule. Also, before and during World War I, Devoy is also identified closely with the Ghadar Party, and is accepted to have played a major role in supporting Indian Nationalists, as well as playing a key role in the Hindu-German Conspiracy which leads to the trial that is the longest and most expensive trial in the United States at the time.
In 1916 Devoy plays an important role in the formation of the Clan-dominated Friends of Irish Freedom, a propaganda organization whose membership totals 275,000 at one point. The Friends fail in their efforts to defeat Woodrow Wilson for the presidency in 1916. Fearful of accusations of disloyalty for their cooperation with Germans and opposition to the United States’ entering the war on the side of Great Britain, the Friends significantly lower their profile after April 1917. Sinn Féin‘s election victories and the British government’s intentions to conscript in Ireland in April 1917 help to revitalize the Friends.
With the end of the war, Devoy plays a key role in the Friends’ advocacy for not the United States’ recognition of the Irish Republic but, in keeping with President Wilson’s war aims, self-determination for Ireland. The latter does not guarantee recognition of the Republic as declared in 1916 and reaffirmed in popular election in 1918. American Irish republicans challenge the Friends’ refusal to campaign for American recognition of the Irish Republic. Not surprisingly, Devoy and the Friends’ Daniel F. Cohalan become the key players in a trans-Atlantic dispute with de facto Irish president Éamon de Valera, touring the United States in 1919 and 1920 in hopes of gaining U.S. recognition of the Republic and American funds. Believing that the Americans should follow Irish policy, de Valera forms the American Association for the Recognition of the Irish Republic in 1920 with help from the Philadelphia Clan na Gael.
Devoy returns to Ireland and in 1919 addresses Dáil Éireann. He later supports the Anglo-Irish Treaty of 1921. Devoy is editor of The Gaelic American from 1903 until his death in Atlantic City on September 29, 1928. His body is returned to Ireland and buried in Glasnevin Cemetery. A large memorial to him stands on the road between his native Kill and Johnstown.
seamus dubhghaill 