O’Grady is the son of Admiral Hayes O’Grady and his wife, Susan Finucane. His father is one of the chiefs of the Cinél Donnghaile, the collective name of the O’Gradys. He is a nephew of Standish O’Grady, 1st Viscount Guillamore, and a cousin of the novelist Standish James O’Grady, with whom he is sometimes confused. As a child he is fostered in Coonagh, County Limerick, an Irish-speaking area. There he learns Irish and comes into contact with the Gaelic manuscript tradition, listening to stories read aloud from manuscripts in farmers’ houses during wakes or while carding wool. He maintains this interest in the literary tradition throughout his life.
O’Grady receives his secondary education in Rugby School in Rugby, Warwickshire, England, his name appearing in the school register for August 1846. Subsequently he attends Trinity College Dublin (TCD) from 1850 to 1854 but does not graduate. He is critical of an education system that makes no mention of Irish history and legend. During his student days he becomes a friend of the leading scholars and antiquarians, John O’Donovan, George Petrie and Eugene O’Curry, as well as the bookseller and publisher, John O’Daly. At this time he begins copying Gaelic manuscripts under their direction. He purchases from O’Daly in 1853 a collection in Irish of “tales and other pieces, in prose and verse” which he presents to the British Museum in 1892. He is a founding member of the Ossianic Society in 1853 and becomes its president in 1856. O’Curry attacks him publicly in a review in TheTablet, questioning his ability as a scholar. The publication of the society’s third volume prompts the review.
In 1857 O’Grady moves to the United States where he remains for thirty years. In 1901 he contributes an essay on Anglo-Irish Aristocracy to a collection entitled Ideals in Ireland edited by Augusta, Lady Gregory.
O’Grady is a bachelor all his life and dies on October 16, 1915, in his home in Ballinruan, Hale, Cheshire, England. He is buried in Altrincham cemetery.
Goddard Henry Orpen, lawyer and historian, is born in Dublin on May 8, 1852, the fourth son of the five sons and three daughters of John Herbert Orpen, barrister, of Dublin, and Ellen Susanna Gertrude Richards, youngest daughter of Rev. John Richards of Grange, County Wexford.
On August 18, 1880, in St. Peter’s Church, Aungier Street, Dublin, Orpen marries Adela Elizabeth Richards, the daughter and heiress of Edward Moore Richards, engineer and the landlord of Grange, County Wexford. Adela is his first cousin once removed, her great-grandfather and his grandfather being the Rev. John Richards. They live for two decades after their marriage at Bedford Park, Chiswick, London, with their daughter Lilian Iris (b. 1883) and son Edward Richards (b. 1884). Soon after their marriage, he begins taking lessons in the Irish language in line with his passionate interest in Irish historical and antiquarian research, which gradually supplants his languishing legal career. He translates and edits a French rhymed chronicle about the Anglo-Norman conquest of Ireland, entitled The Song of Dermot and the Earl (1892), the title which he gives it and by which it has since generally been known in English. He also translates Émile de Laveleye‘s Le Socialisme Contemporain (The Socialism of Today, 1884), to which he adds a chapter on English socialism.
After Adela’s father transfers ownership of his estate to her in 1900, now renamed Monksgrange, the Orpens reluctantly leave London to live there, enabling Orpen to devote his time fully to research and writing. His major work is Ireland Under the Normans (Vols. 1–2, 1911; Vols. 3–4, 1920), which argue that the Norman invasion benefited the Irish, leading to advances in agriculture and trade.
Both before and after his death Orpen’s work is the subject of hostile criticism from those with more nationalist inclinations, starting with Eoin MacNeill in a series of lectures delivered in 1917. Despite his own eminence as a scholar of medieval Ireland, MacNeill resorts to unfair polemic in his attack on Orpen, caricaturing his account of pre-Norman Irish society and disregarding the more subtle nuances in his views of the English Irish relationship. In this he has been followed by generations of other scholars and readers, overlooking the depth of Orpen’s research, the perceptiveness of his interpretations, and the extent of his fieldwork on the archaeological evidence from the medieval period. Orpen takes the study of Anglo-Norman Ireland out of the realm of vague antiquarianism and professionalises it. His standards are not those of “the gentleman-amateur” as might be expected from his background, but of the twentieth century “scientific” historian, and he is therefore now widely regarded as the founder of the professional study of Anglo-Norman Ireland. Perhaps the most striking evidence of the continued validity and relevance of his work is that his four-volume Ireland Under the Normans has been twice republished in more recent years, in 1968 by Oxford University Press and in 2002 in a one-volume version by Four Courts Press.
Orpen is elected a member of the Royal Society of Antiquaries of Ireland (RSAI), serving as president in 1930–32), and the Royal Irish Academy (RIA) (1911), and contributes historical articles to their journals as well as to periodicals such as The American Historical Review (1913–14) and The Cambridge Medieval History (1932, 1936). A lecture to the New Ross Literary Society is later published as New Ross in the Thirteenth Century (1911). He also contributes a major chapter on the medieval church to the second volume of Walter Alison Phillips‘s History of the Church of Ireland (1934). Though his literary work is recognised by an honorary doctorate from TCD in 1921, he feels increasingly isolated as Monksgrange is targeted during the Irish Civil War and raided on several occasions. On religion he lists himself as an agnostic in the 1911 census.
Orpen’s final work is The Orpen Family, a personal family history printed for private circulation in 1930. A portrait of Orpen (above) by Seán O’Sullivan hangs in Monksgrange.
Orpen dies on May 15, 1932, at Monksgrange, and is buried alongside his wife Adela in St. Anne’s Churchyard, Killanne, County Wexford. His very extensive papers, including correspondence, manuscripts and drawings, as well as records and papers of the Orpen family, are held at Monksgrange. Included there is a very large collection of his photographs, a skill in which he notably distinguishes himself. A small collection of his correspondence is also held in the National Library of Ireland (NLI).
(From: “Orpen, Goddard Henry” by Philip Bull, Dictionary of Irish Biography, http://www.dib.ie, October 2009, revised March 2021 | Pictured: Portrait of Goddard Henry Orpen by Seán O’Sullivan)
Drew is born on September 18, 1838, in Victoria Place, Belfast, into the large family of Rev. Thomas Drew, son of a Limerick grocer, and Isabella Drew (née Dalton). He is one of four sons and eight daughters of the couple, although most of the children die young. His sister, Catherine Drew, is a prominent Londonjournalist and an early champion of women’s rights.
Drew is educated in Belfast and in 1854 articled to the Antrimcounty surveyor and architect Sir Charles Lanyon, before moving to work in Dublin in 1862, where he becomes principal assistant to William George Murray. In 1865, he becomes the diocesan architect of the united dioceses of Down, Connor and Dromore. From this point forward, church architecture is his principal activity. He is consulting architect for both St. Patrick’s Cathedral and Christ Church Cathedral in Dublin.
Drew marries Adelaide Anne, sister of William George Murray, in 1871.
Among other projects, Drew is responsible for the design of the Ulster Bank on Dame Street, Rathmines Town Hall and the Graduates’ Building at Trinity College Dublin (TCD). He takes an interest in historic buildings and is the first to draw serious attention to the architectural and historic importance of the St. Audoen’s Church, Dublin’s oldest parish church, in 1866. He produces detailed plans of the church for which he wins the Fitzgerald medal from the Royal Institute of the Architects of Ireland (RIAI), carries out excavations and draws up a paper on the church and its history.
From 1885 to 1892, Richard Orpen works with Drew as a managing assistant. Drew’s most significant work in Belfast is St. Anne’s Cathedral, completed in 1899.
From 1879 onward Drew lives in Gortnadrew, one half of a pair of semi-detached houses of his own design, on Alma Road in Monkstown, County Dublin. For many years he serves as a commissioner of the local township of Blackrock, Dublin. He dies on March 13, 1910, a month after an unsuccessful operation for appendicitis. He is buried in Dean’s Grange Cemetery in the suburban area of Deansgrange in Dún Laoghaire–Rathdown, County Dublin.
Drew is commemorated in a memorial brass in Christ Church Cathedral, Dublin. His wife survives him by three years and in her will bequeaths back to the RIAI the loving cup presented to her husband in commemoration of his knighthood, and to the Belfast Municipal Museum and Art Gallery (Ulster Museum since 1962) an 1852 portrait of his father Thomas. A portrait of Drew by Walter Osborne is held in the National Gallery of Ireland (NGI) in Dublin.
Lady Harriet Kavanagh, Irish artist, traveler, and antiquarian, described as a “woman of high culture and of unusual artistic power,” is born Lady Harriet Margaret Le Poer Trench on October 13, 1799. She is believed to be the first Irish female traveler to Egypt.
Kavanagh is the second daughter of Richard Le Poer Trench and Henrietta Margaret Le Poer Trench (née Staples), with three brothers and three sisters. She marries Thomas Kavanagh of Borris House, County Carlow, on February 28, 1825, as his second wife. The couple has four children, three sons Charles, Thomas, Arthur, and one daughter, Harriet or “Hoddy.”
Kavanagh’s third son, Arthur MacMorrough Kavanagh, is born without fully formed limbs. Some attribute the disability to a peasant’s curse, while others speculate it is due to Lady Kavanagh taking laudanum during her pregnancy. She refuses to treat her son differently to his siblings, and with the help of local doctor Francis Boxwell, raises him as a normal child. During his initial education, she teaches Arthur herself, teaching him to paint and then write by holding brushes and pens in his mouth. With the help of the surgeon Sir Philip Crampton, she has a mechanical wheelchair constructed for Arthur, and also encourages him to ride horses and engage in other outdoor activities. Her husband dies after twelve years of marriage, in 1837.
In 1846, Kavanagh takes her children to learn French in Saint-Germain-en-Laye, later traveling to Rome. As an antiquarian, she also wants to visit Egypt and the Holy Land, setting off on the long journey from Marseille in October 1846. Accompanying her are her daughter, Harriet, her two sons, Thomas and Arthur, their tutor, the Rev. David Wood, and a maid, Miss Hudson. In Cairo, she hires two feluccas with Arab crews, and visits archaeological sites along the Nile, such as Thebes, Karnak, and the Nubia region. From there, she visits sites of biblical interest, including Tyre, Sidon, and Roda Island. She negotiates with Bedouin chiefs in Aqaba, hiring camels and Bedouin guides to travel to Hebron. She visits harems and a slave market and records the journey’s incidents in her diary, including her son Arthur’s accidental near drowning when he falls off their boat while fishing.
While visiting Jerusalem in Easter 1847, Kavanagh bears witness to a confrontation over the control of holy places between Roman and Orthodox Catholics priests. She goes on to visit Petra, the Sinai Peninsula, Beirut, Smyrna, and Constantinople. The group spends a second winter in Egypt before traveling to the Black Sea before returning to Marseilles in April 1848. Much of these journeys are conducted on horse or camel-back, with one desert crossing taking 36 days. She later comments on her travels as a woman, stating “quite enough danger to make it a very exciting business.”
In 1850 and 1852, Kavanagh travels to Corfu, returning to Borris with samples of Greek lace. She teaches a number of her tenants to copy these designs, which lead to the establishment of a local lace-making industry. She is elected to the Kilkenny Archaeological Society in 1851.
Kavanagh moves to Ballyragget Lodge, County Kilkenny, in 1860, dying there on July 14, 1885. She is buried in St. Mullin’s Abbey, Borris in County Carlow. She documented her travels in journals, with drawings and paintings of the sites she visited. These are held by the Kavanagh family, along with an oil portrait and a self-portrait. Her collection of roughly 300 Egyptian antiquities were donated to the Royal Society of Antiquaries of Ireland after her death. These collections were later moved to the National Museum of Ireland and form a core element of the Museum’s Egyptian collection. Copies of two of her watercolours, a self-portrait, and a landscape are on display in the Museum.
O’Byrne is the son of James Burns, a farmer, and his wife Isabella (née Arnett). His biographer states that his parents came from County Wicklow, which would imply that their name had been anglicised from the form “O’Byrne,” which their son readopts. He never marries and spends most of his life living with his unmarried sister Teresa. He has other siblings, as he is survived by four nieces and two nephews.
O’Byrne’s childhood is spent in the Balmoral district of south Belfast in a comfortable but slightly precarious middle-class Catholic environment. Although sparse in direct autobiographical references, his writings contain references to excursions around the Malone and Stranmillis areas, with particular reference to the Botanic Gardens. He is educated at St. Malachy’s College. After leaving school, he manages a spirit grocery on the Beersbridge Road in east Belfast and is active in the Sexton Debating Society, named after Thomas Sexton, then home rule MP for Belfast West, and led by Joseph Devlin, who remains a lifelong friend despite their later political differences. He also studiess music with Carl Hardebeck, acquiring an extensive knowledge of Irish folk music and becoming an accomplished singer of Irish tunes in Hardebeck’s arrangements.
O’Byrne subsequently joins the Belfast Gaelic League, becoming a leading member, though he never masters the Irish language. He moves in the literary and antiquarian circles around Francis Joseph Bigger, whose friendship becomes central to his career and self-definition. He is a regular participant in Bigger’s soirées and establishes friendships with many prominent political and cultural figures, among them Roger Casement and Alice Milligan. Although he is usually seen as a specifically northern writer, he draws extensively on a wider Irish tradition of defensively self-glorifying Catholic-nationalist antiquarianism, including the works of W. H. Grattan Flood and Archbishop of Tuam, John Healy, a major source for his later pamphlet on Saint Patrick and for the descriptions of Ulster monasteries in As I Roved Out: A Book of the North (1946).
In 1900, O’Byrne publishes a collection of verses, A Jug of Punch, of which no copies are known to survive, and in 1905 collaborates with Cahir Healy on another collection, The Lane of the Thrushes, which applies Celtic revival imagery to rural Ulster. He publishes another collection, The Grey Feet of the Wind, in 1917. The manuscript of his unpublished Collected Poems (1951) is in the Public Record Office of Northern Ireland.
In 1902, O’Byrne gives up the spirit grocery to work full time as a journalist, singer, and storyteller. He appears at a wide variety of concerts, where he cuts a striking figure in Gaelic dress with saffron kilt. He provides musical interludes at productions by the Ulster Literary Theatre, and his recitation of Eleanor Alexander’s humorous piece on the battle of Scarva inspires Harry Morrow’s celebrated satirical play Thompson in Tir-na-nOg (1912). In 1913, he founds and manages the Celtic Players, a theatre company which stages some plays of his own composition, including The Dream of Bredyeen Dara, possibly a nativity story incorporating Saint Brigid of Kildare.
During World War I O’Byrne achieves immense cross-community success with a weekly dialect column in the Unionist paper Ireland’s Saturday Night, describing the domestic activities of “Mrs. Twigglety” and her working-class friends. At the same time, he has abandoned his earlier support for Devlin’s home rule politics to embrace physical-force republicanism under the influence of Denis McCullough. During Casement’s imprisonment and trial, he carries on an intense correspondence with him, comforting him, urging him to convert to Catholicism, and sending him religious icons. Some commentators have detected homoerotic undertones in their exchanges, though this is a matter of opinion.
After the Easter Rising of 1916, O’Byrne is active in the reconstituted Irish Republican Army (IRA), and in 1919–20 he smuggles arms from Belfast to Dublin. In August 1920, he emigrates to the United States, where he goes on a six-month lecture tour to raise funds for victims of the Belfast pogroms. He allegedly raises $100,000 and funds the construction of Amcomri Street in west Belfast. He spends the next eight years in the United States as a speaker and entertainer, contributing to American Catholic publications. He develops an abiding fondness for Chicago and considers applying for American citizenship. At one point he corresponds with the film star Rudolph Valentino, who admires his verses on Italian themes.
O’Byrne returns to Belfast in September 1928 with the intention of opening a bookshop in Dublin, but this has to be abandoned after the loss of his savings in the Wall Street crash of October 1929. He settles into respectable semi-poverty in Cavendish Street, off the Falls Road, and remains a presence on the fringes of Belfast literary life. In 1930, he founds the Cathal O’Byrne Comedy Company, which performs plays of his own composition, notably the slight comedies The Returned Swank and The Burden, drawing on The Drone, by Samuel Waddell. In 1932, he sings at a concert in the Dublin Mansion House held to mark the Eucharistic Congress. He writes extensively for Catholic publications in Ireland and elsewhere, in particular the Capuchin Annual, Irish Monthly, and Irish Rosary, and publishes several pamphlets with the Catholic Truth Society (CTS). The sensibility displayed in these writings has much in common with that of Brian O’Higgins, Aodh de Blácam, Daniel Corkery and Gearoid Ó Cuinneagáin.
O’Byrne also publishes The Gaelic Source of the Brontë Genius (1932), Pilgrim in Italy (1930), and the story collection From Far Green Hills (1935), which retells gospel episodes in the style of an Irish storyteller with elements of Wildean orientalist exoticism. Pilgrim in Italy is published by the Three Candles Press of Colm Ó Lochlainn, an old friend through the Bigger circle, as is his last story collection, Ashes on the Hearth (1948), a series of slight reveries in which the narrator, wandering the back streets of Dublin, relives such resonant moments as the last days of James Clarence Mangan.
O’Byrne is best remembered, however, for As I Roved Out (1946), a collection of 128 articles on Belfast history originally published from the late 1930s in the Belfast Irish News. It displays considerable knowledge of Belfast history, drawn from lifelong reading and from conversations with Bigger, and can be seen as at once the summation of and a lament for the northern branch of the Irish revival associated with such figures as Bigger and Alice Milligan. The pieces, moving out from central Belfast to surrounding rural districts are held together by the storyteller surveying the landscape. Surveys of Belfast by journalistic flâneurs are not unprecedented, O’Byrne dismisses the mercantile and unionist establishment of Belfast as hopelessly materialistic and oppressive, casting himself and, by implication, his Catholic/nationalist readers as internal exiles forced into the side streets of history, treasuring a martyred religious faith and gazing back wistfully to the bright and fleeting hope represented by the Society of United Irishmen and the cultural revival. The book is punctuated by expressions of anger against the whole heritage of the Ulster plantation. The economic success of the planters is attributed solely to their plunder of the natives. The textile industry is discussed solely in terms of exploitation and starvation wages. Shipbuilding is dismissed with a remark that ships were built in Ulster long before the planters arrived. Finally, the history of Belfast is summed up in the confrontation between the Belfast merchant, ancestor of the unionist “establishment,” and would-be slave-trader Waddell Cunningham and the United Irishman and self-declared “Irish slave” William Putnam McCabe.
There are numerous contemptuous references to the Sabbatarianism and respectable dullness of late Victorian Belfast, contrasted with the lively artistic activities of the volunteer period. The book is reprinted three times in O’Byrne’s lifetime and is seen by nationalists as an underground classic. Its image of Belfast layered with fragmentary and hidden memories has been drawn on by authors as diverse as Ciaran Carson and Gerry Adams, and in the early twenty-first century O’Byrne is commemorated as one of the city’s significant writers. A plaque is placed on his Cavendish Street house in 2004. It is ironic that his reputation should rest on his memorialisation of Belfast, for he denounced it as “interminable miles of mean streets . . . one of the ugliest cities in the world.”
O’Byrne is believed by some, though not all, of his acquaintances to be homosexual. This view is supported by references to the descriptions of male beauty (based on Gaelic saga models) which recur in his writings and by the expressions of longing which permeate his work (which might also reflect a wider sense of loneliness or cultural displacement). His last years, 1954–57, are spent in the Nazareth Nursing Home in Ormeau Road, Belfast, where he dies on August 1, 1957, a month after suffering a stroke. His funeral is crowded, and his gravestone describes him as “singer, poet and writer who brought joy into the lives of others.”
(From: “O’Byrne, Cathal” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Born on December 18, 1895, Roe is the daughter of William Ernest Roe and Anne Lambert Sheilds of Mountrath, County Laois. Her grandfather is Francis Henry Sheilds of Parsonstown (now Birr, County Offaly), owner of the King’s County Chronicle. She is sent first to the local primary school and then to the Preston School in Abbeyleix. Although she attends Trinity College Dublin (TCD), she does not begin her career due to the outbreak of World War I. She joins the St. John’s Ambulance Brigade and serves at the Cambridge Military Hospital and at Aldershot Barracks. In the immediate aftermath, she continues her medical career with the Military Hospital in Bray, County Wicklow. She also spends time touring in Europe visiting museums and beginning her appreciation for medieval art. She is raised Protestant and has done her duty as part of the aristocracy by serving in the war. But the soldiers treat her as Irish and abuse her especially during the Easter Rising of 1916. The result is that she supports nationalism from that point forward. She goes back to TCD and completes her degree in modern languages in 1921. She finally completes her MA in 1924 and begins a teaching career. She spends time working in the Royal School, Dungannon, and Alexandra College, Milltown, Dublin.
In 1926, Roe’s parents need her, and she returns home. She then becomes the County Librarian in Laois. While working as a librarian she is able to study further and, as a rare person with a car, she tours sites and visits schools. One result of her presentations to schools is to inspire Ireland’s first female archaeologist, Ellen Prendergast. In 1940, she retires from the library and moves to Dublin where she is able to buy a house and garden. Apart from her antiquarian work, she is a regular supporter of charities and is honorary secretary of The Queen’s County Protestant Orphan’s Society and actively involved in The Dublin University Mission to Chota Nagpur, India.
Roe becomes a regular contributor to various journals and newspapers including Journal of the Royal Society of Antiquaries of Ireland, An Leabharlann, Béaloideas, Seanchas Ard Mhacha, Carloviana, the The Irish Press and the Leinster Express. From 1965 until 1968 she serves as the president of the Royal Society of Antiquaries of Ireland, the first woman to be elected to the position. She is elected to be a member of the Royal Irish Academy in 1984. She continues touring and lecturing into her nineties.
Roe lives at Santry, Dublin, and later at Oak House, Sussex Road, Dublin. She dies on May 28, 1988, at Grove Nursing Home, Killiney, County Dublin, and is buried beside her parents at St. Peter’s Churchyard, Mountrath, County Laois.
The Royal Society of Antiquaries of Ireland have an annual lecture in her honour and have named one of their lecture rooms after her.
In 1910 Day forms the local Irish Women’s Franchise League branch in Cork as an activist group for women’s suffrage. The following year she leaves that group and founds the non-militant Munster Women’s Franchise League. Her new interest in politics leads to her winning the election of poor law guardians the same year. Her later writings reveal that she sees the Cork workhouses as an expensive self-perpetuating evil run by amateurs. This leads to her first novel, The Amazing Philanthropists (1916). From 1913 to 1917 she writes three plays for the Abbey Theatre in collaboration with Geraldine Cummins, Broken Faith (1913), The Way of the World (1914), and Fox and Geese (1917), which is the most successful of the three.
The Battle of Verdun lasts most of 1916 and during that time Day is amongst a group from the Society of Friends who cares for the wounded. She is in France for fifteen months and uses the experience to create her 1918 book Round about Bar-le-Duc. Where the Mistral Blows is published in 1933 and describes her time in Provence in France.
Day works as a member of the fire service in London during World War II. She lives in Cork, France and London. At the time of her death she is living at 47 Argyle Road, Kensington, London. She dies in the Cromer and District Hospital on May 26, 1964.
The work of Suzanne Rouviere Day and Geraldine Cummins has been described as a mixture of paganism and melodrama and has been suggested as a precursor to John B. Keane.
(Pictured: Suzanne R. Day in the cast of the 1901 production of The Mikado, Cork, County Cork)
Unlike similar organisations of the time, which are antiquarian in nature, the SPIL aims at protecting the status of the Irish language, which is threatened with extinction at the time. Its mission statement says that it is “possible and desirable to preserve the Irish Language in those parts of the Country where it is spoken, with a view to its further extension and cultivation.” Hyde writes that the formation of the society can truly be said to be the first attempt made to recruit the common people to the cause of the Irish language. The society succeeds in having Irish included on the curriculum of primary and secondary schools and third-level colleges in 1878.
Milligan is brought up as a Methodist, the daughter of the writer Seaton Milligan, antiquarian and member of the Royal Irish Academy (RIA). She is one of eleven children, including music collector Charlotte Milligan Fox, and from 1877 to 1887 attends Methodist College Belfast (MCB), after which she completes a teacher-training course. Together with her father she writes a political travelogue of the north of Ireland in 1888, Glimpses of Erin. She writes her first novel, A Royal Democrat, in 1890.
After the death of Charles Stewart Parnell, Milligan becomes an ardent nationalist. In 1894 with Jenny Armour, she founds branches of the Irish Women’s Association in Belfast and other places and becomes its first president. With Ethna Carbery she founds two nationalist publications in the 1890s, The Northern Patriot, and later The Shan Van Vocht, a monthly literary magazine published in Belfast from 1896 to 1899.
Alice Milligan dies in Omagh in April 1953 and is buried in Blackford Municipal Cemetery, County Tyrone. On her headstone is inscribed “She loved no other place than Ireland.”
During 2010/2011 the Ulster History Circle mounts plaques for famous Ulster figures. Charlotte Milligan Fox and Alice Milligan have a plaque mounted on Omagh Library, 1 Spillar’s Place, Omagh, County Tyrone.
Charles O’Conor, Irish writer and antiquarian who is enormously influential as a protagonist for the preservation of Irish culture and history in the eighteenth century, is born on January 1, 1710 in Killintrany, County Sligo. He combines an encyclopaedic knowledge of Irish manuscripts and Gaelic culture in demolishing many specious theories and suppositions concerning Irish history.
O’Conor is born into a cadet branch of the land-owning family of O’Conor Don and is sent for his education to Father Walter Skelton’s school in Dublin. He grows up in an environment that celebrates Gaelic culture and heritage. He begins collecting and studying ancient manuscripts at an early age.
His marriage brings him financial stability so that he can devote himself to his writing, but he is widowed in 1750, within a year of his father’s death. When his eldest son Denis marries in 1760, he gives up the residence at Bellanagare to him and moves into a small cottage that he had built on the estate. He devotes the remainder of his life to the collection and study of Irish manuscripts, to the publication of dissertations, and especially to the cause of Irish and Catholic emancipation.
O’Conor is well known in Ireland from his youth as a civil-tongued, but adamant, advocate of Gaelic culture and history. He garners fame outside Ireland through his Dissertations on the ancient history of Ireland (1753), which is generally well received. When Samuel Johnson is made aware of it, he is moved to write a letter to O’Conor in 1755, complimenting the book, complimenting the Irish people, and urging O’Conor to write on the topic of Celtic languages.
The book is less well received in some Scottish circles, where there exists a movement to write Celtic history based upon Scottish origins. When James Macpherson publishes a spurious story in 1761 about having found an ancient Gaelic (and Scottish) cycle of poems by a certain “Ossian“, among the critics who rejects it as false is O’Conor, as an inclusion in the 1766 rewrite of his 1753 work. While the issue was laid to public rest by others, notably Samuel Johnson, the issue is laid to intellectual rest by O’Conor in 1775, with the publication of his Dissertation on the origin and antiquities of the antient Scots. The fact that the issue occurs provides O’Conor the opportunity to establish Ireland as the source of Gaelic culture in the minds of the non-Irish general public.
O’Conor’s later life is that of the respected dean of Irish historians. He continues to write as always in favour of ideas that he favours and are consistent with the historical record, and against any and all ideas that are inconsistent with the historical record, including those of other Irish historians. Such is his esteemed reputation that even those whom he challenges would include his challenges in the next edition of their own books. He continues to collect, study, and annotate Irish manuscripts. Upon his death in Bellanagare, County Roscommon on July 1, 1791, his collection becomes the first part of the Annals of the Four Masters at the Stowe Library. In 1883 these are returned to the Royal Irish Academy library.
His unfinished History of Ireland, that Johnson had encouraged in 1777, is destroyed on his instructions at his death.
seamus dubhghaill 