Luke is born at 4 Lewis Street in Belfast on January 19, 1906, the fifth of seven sons and one daughter of James Luke and his wife Sarah, originally from Ahoghill, County Antrim. He attends the Hillman Street National School and in 1920 goes to work at the York Street Flax Spinning Company. He goes on soon after to become a riveter at the Workman, Clark shipyard. While working there he enrolls in evening classes at the Belfast School of Art.
Luke excells at the college under the tutelage of Seamus Stoupe and Newton Penpraze. His contemporaries include Romeo Toogood, Harry Cooke Knox, George MacCann and Colin Middleton. In 1927 he wins the coveted Dunville Scholarship which enables him to attend the Slade School of Fine Art in London, where he studies painting and sculpture under the celebrated Henry Tonks, who greatly influences his development as a draughtsman.
Luke remains at the Slade School of Fine Art until 1930, in which year he wins the Robert Ross Scholarship. On leaving the Slade School he stays in London, intent on establishing himself in the art world. For a time he shares a flat with fellow Ulsterman F. E. McWilliam, and enrolls as a part-time student of Walter Bayes at the Westminster School of Art to study wood engraving. He begins to exhibit his work and in October 1930 shows two paintings, Entombment and Carnival, in an exhibition of contemporary art held at Leger Galleries. The latter composition, depicting a group of masked merry-makers, is singled out by the influential critic, Paul George Konody of the Daily Mail (October 3, 1930), as “one of the most attractive features of the exhibition.” But the economic climate is deteriorating and a year later, at the end of 1933, he is driven back to Belfast by the recession. He remains in Belfast, apart from a time during World War II when he goes to Killylea, County Armagh.
Luke paints in the style known as Regionalism, whose main proponents are Thomas Hart Benton, Grant Wood, John Steuart Curry and Harry Epworth Allen. His painting technique is painstakingly slow, his manner precise. “I’m afraid I’m very much a one job man,” he once writes to John Hewitt, continuing, “my strength lies in making the most of one job at a time, in sustained thought and effort, to bring it to the highest level of organisation and completeness I desire: the other way I lead to disintegrate in looseness and frustration with its inevitable weakness.” The precision characteristic of his work is manifested, too, in his appearance and personal manner. Dark haired, in stature he is erect and spare of build. Always tidy, his clothes brushed, his hair short, he is, in Hewitt’s words, “not at all close to the romantic stereotype of the artist.”
Apart from Luke’s work as a practising artist, he teaches from time to time in the Belfast School of Art, where he influences a generation of students “especially in the matter of drawing,” as he once puts it. Although principally a painter, throughout his career he occasionally makes sculptures, such as the Stone Head, Seraph of c. 1940 (Ulster Museum). Indeed it is for sculpture that he wins the Robert Ross Prize at the Slade School of Fine Art. He is also much interested in philosophical theories of art. In the 1930s, for example, as John Hewitt records, topical books such as Roger Fry’s Vision and Design, Clive Bell’s Art and R. H. Wilenski‘s Modern Movement in Art direct his thinking.
From the late 1930s until 1943, when Luke produces Pax, there is a gap in his output, occasioned, no doubt, by his move to County Armagh in order to escape Belfast after the Blitz. In 1946, he holds his first one-man exhibition at the Belfast Museum and Art Gallery, and this is followed two years later by a similar show, held under the aegis of CEMA, nearby at number 55A Donegal Place. In 1950, to celebrate the Festival of Britain the following year, he is commissioned to paint in Belfast City Hall, a mural representing the history of the city, a work which brings his name to the attention of a wider audience. In later years, other commissions follow for murals in the Masonic Hall, Rosemary Street, in 1956, and the College of Technology at Millfield in the 1960s. He also carves in relief coats of arms for the two Governors of Northern Ireland, John Loder, 2nd Baron Wakehurst (1959) and John Erskine, 1st Baron Erskine of Rerrick (1965). He is also a member of the Royal Ulster Academy.
Having been in declining health for some years, Luke dies, unmarried, at the Mater Infirmorum Hospital in Belfast on February 4, 1975, just a month into his sixty-ninth year. A retrospective exhibition of his work is held, in association with the Arts Councils of Ireland, in the Ulster Museum in 1978, and is accompanied by a short monograph on his life and career written by John Hewitt. Since that time his reputation has grown enormously, his loss rekindling memories in many of his former students of a fastidiously arranged life-room in the College of Art, his coat folded to perfection and his soft, gentle manner of instruction.
Colin MiddletonMBE, Northern Irishlandscape artist, figure painter, and surrealist, is born on January 29, 1910, in Victoria Gardens in north Belfast. Hus prolific output in an eclectic variety of modernist styles is characterised by an intense inner vision, augmented by his lifelong interest in documenting the lives of ordinary people. He has been described as “Ireland’s greatest surrealist.”
Middleton is the only child of damask designer Charles Middleton. He attends the nearby Belfast Royal Academy until 1927 and then continues his studies with night classes at Belfast School of Art where he trains in design under the Cornish artist Newton Penprase. However, he finds the college too traditional in outlook, as his first influence, his father, had been a follower of European Modernism, particularly the Impressionists.
Middleton shows his first works with the Ulster Academy of Arts in 1931, where he exhibits frequently until the late nineteen-forties. He first comes to public attention with the inclusion of his works in the groundbreaking inaugural exhibition of the Ulster Unit at Locksley Hall, Belfast, in December 1933. The Ulster Unit is a short-lived grouping of Ulster artists who take their inspiration from Paul Nash’s Unit One formed earlier in the same year. Just two years thereafter in the same year, he marries Maye McLain, also an artist and a domestic science teacher, who unfortunately dies four years later. He is also a poet and writer, whom along with his wife, is an active member of the Northern Drama League in the 1930s, with whom he designs sets. After the death of his first wife he destroys all of his early paintings and enters a period of seclusion at his mother’s home outside Belfast. He becomes a follower of Vincent van Gogh and James Ensor after viewing exhibitions in London and Belgium respectively. On his return to Ulster he begins to experiment with styles derived from European Modernism, the antithesis to traditional academism. Throughout the 1930s he is also a keen follower of Paul Nash, Tristam Hillier and Edward Wadsworth. After exposure to the works of Salvador Dalí, he declares himself “the only surrealist painter working in Ireland.”
Middleton’s work first appears at the Royal Hibernian Academy in 1938 where he shows intermittently until the final year of his life. He participates in an exhibition at 36 Arthur Street, Belfast, with the Czech artist Otakar Gregor, Joan Loewenthal and Sidney Smith in aid of the war effort at the end of 1940. He completes three paintings immediately after the Belfast Blitz and the trauma of the events prevent him from working for six months before his work is included in a portfolio of lithographs published by the Ulster Academy in December 1941 to raise money for rebuilding the Ulster Children’s and Women’s Hospital which had been destroyed in the Blitz earlier in the year.
Middleton’s first solo exhibition is given by the Belfast Municipal Museum and Art Gallery in 1943. It is the first exhibition staged at the gallery when it re-opens after the Belfast Blitz. At the time it is the largest one-person show the gallery has staged comprising one hundred fifteen works and it is also the first solo exhibition accorded to a local contemporary artist by the gallery. In an interview with Patrick Murphy in 1980, he says that the paintings represent “a first endeavour to harmonize the seemingly opposed and conflicting tendencies in human nature.” Dickon Hall says of this period that “Middleton’s painting is dominated by the female form; it is only rarely that men appear in his work. In part these women reflect his experience of Belfast and the difficult conditions that so many lived through.” This can be seen in the three female figures of The Poet’s Garden (1943), and even more so in The Conspirators (1942), both of which are featured in the 1943 exhibition. “The female form, pictorially and symbolically, becomes the landscape and the life force.”
The Belfast exhibition is followed by his first one-man show at the Grafton Galleries, Dublin, in 1944. In the following year he debuts at the Irish Exhibition of Living Art where he returns on a number of occasions, particularly in the periods 1949–55 and 1963–71. In 1945, he is married for the second time, to Kate Giddens, after both are named co-respondents at the Belfast High Court a few months earlier, in civil servant Lionel P. Barr’s application for a decree nisi. The suit is undefended and the couple has costs awarded against them. In the same year Middleton returns to the Belfast Museum for a solo exhibition arranged by the Council for the Encouragement of Music and the Arts. He is a founding member of the Northern Ireland branch of the Artists’ International Association, who show at the Belfast Municipal Gallery in spring 1945. Other members include Joan Loewenthal, Kathleen Crozier, Pat Hicking, Trude Neu, Sidney Smith, Nevill Johnston, George Campbell and Gerard Dillon.
Middleton’s work is displayed in New York‘s Associated American Artists gallery in 1947 with a selection of works chosen by Dublin art critic Theodore Goodman that includes paintings by his Northern contemporaries Daniel O’Neill, George Campbell, Gerard Dillon and Patrick Scott. He also retires from the family business that year to devote his time to painting, having worked at the business since his father’s death in 1933. He then takes his wife and child to live and work on John Middleton Murry’sSuffolk commune for a short period, before returning to Belfast in 1948. Their life in Suffolk is not a success as the family suffers from ill health, but the experience of working the land is to prove a profound influence on his future work.
In 1949, Middleton shows his first works at the Oireachtas na Gaeilge, where he returns periodically until 1977. Upon their return from Suffolk, his wife sends Victor Waddington photos of his work whereupon Waddington comes to represent him for a period of five years, until the Waddington Galleries face financial hardship in 1958. It is Waddington’s patronage that enables the Middleton family to live and work in Ardglass, County Down, for four years from 1949, which Middleton later describes as the happiest time of his life. When his works are displayed at Victor Waddington’s Dublin gallery in that same year, it acts as a springboard that opens Middleton’s work to an international audience. Group exhibitions in Boston and London follow in 1950 and 1951 respectively.
Middleton’s first solo show at London’s Tooth Gallery takes place in 1952, where his work had been shown in the previous year.
In 1953, Middleton moves to Bangor, County Down, where he designs for Marjery Mason‘s The Repertory Theatre. He later designs sets for the Circle Theatre and the Lyric Theatre, including the sets for a series of W. B. Yeats’s plays in 1970, and Seán O’Casey‘s Red Roses for Me in 1972, both at the latter. In 1952, he exhibits alongside Daniel O’Neill, Nevill Johnson, Gerard Dillon and Thurloe Connolly at the Tooth Galleries in London. He begins his career as an art teacher by the invitation of James Warwick who offers him a one year part-time post at the Belfast College of Art in 1954. That year he shows forty-two works at the Belfast Municipal Gallery under the auspices of the Council for the Encouragement of Music and the Arts. In the following year he delivers full-time classes at the Coleraine Technical School, before becoming head of art at Friends’ School, Lisburn in 1961 where he remains until 1970. He lives on Plantation Avenue in Lisburn for nine years next door to fellow artist and pedagogueDennis Osborne, who presents a portrait of Middleton at the annual exhibition of the Royal Ulster Academy in 1965.
A poet and musician, Middleton also produces murals, mosaics and posters. One such mural is commissioned for a house in Ballymena designed by the architect Noel Campbell in an international modernist style in 1951, and other works include a mosaic for a school in Lisburn, and a mural in a health clinic. He shows in many group shows throughout the fifties including the Royal Academy of Arts in 1955, in addition to more solo exhibitions at the Waddington Galleries in 1955, and his first showing at the Richie Hendricks Gallery in 1958. Of the Waddington exhibition TheDublin Magazine writes: “Apart from the brilliance of his paint, he has one rare quality in his inexhaustible capacity for wonder.”
Middleton shows in the Arts Council of Northern Ireland‘s gallery in 1965 with additional works at the Bell Gallery and his Bruges Series is shown at Alice Berger Hammerschlag’s New Gallery upon his return from a Belgian trip in 1966. The Arts Council of Northern Ireland suffers an extensive fire at their storage facility in south Belfast in autumn 1967 which decimates their collection of contemporary art and theatre costumes. Losses include several of Middleton’s paintings, in addition to the works of many other leading Ulster artists such as William Conor and T. P. Flanagan. He Is among the prizewinners at the Arts Council of Northern Ireland’s 4th Open Painting Exhibition in 1968. In the same year, John Hewitt curatea a joint exhibition of his paintings with T. P. Flanagan at the Herbert Art Gallery and Museum in Coventry.
The Arts Council hosts a joint retrospective of Middleton’s work in co-operation with the Scottish Arts Council in 1970. A major retrospective is to follow at the Ulster Museum and the Hugh Lane Municipal Gallery of Modern Art in Dublin in 1976. Comprising almost three hundred exhibits, the show is accompanied by a monograph written by Middleton’s lifelong friend, the patron and poet John Hewitt. Hewitt later bequeaths his art collection, including several of Middleton’s paintings to the Ulster Museum.
The Royal Mail uses Middleton’s painting of Slieve na Brock in the Mourne Mountains to commemorate the Ulster ’71 exhibition in a series of postage stamps that also feature the work of Thomas Carr and T. P. Flanagan. In 1972, Middleton tours extensively with his wife visiting Australia for two months and shows his works from the trip at the McClelland International Galleries on Belfast’s Lisburn Road the following year. In 1973 he also visits Barcelona and later shows a series of surrealist works inspired by the two trips at the Tom Caldwell Gallery in Belfast.
Middleton lives the last twelve years of his life in Bangor, County Down.
Middleton dies of leukemia in Belfast City Hospital on December 23, 1983. He is survived by his wife Kate, their daughter and a step-daughter. His son predeceases him by a year. Christie’s of London is entrusted with the sale of his studio works in 1985. The works are displayed before auction in both Dublin and Belfast during August 1985. In 2005, the Ulster History Circle unveils a commemorative blue plaque at his former home on Victoria Road in Bangor.
In September 2023, eighty years since the ground-breaking exhibition Middleton held at the Belfast Museum and Art Gallery, now the Ulster Museum, and forty years after his death, the Ulster Museum holds a new exhibition of his works, celebrating his association with Belfast, the city of which he says, “I belong here as I never belonged anywhere else in the country.” This exhibition brings together works held in the public collection with those from private lenders to provide a full picture of the artist’s talent and life.
Middleton wins the Royal Dublin Society‘s Taylor Scholarship worth £50 in 1932, and two further awards of £10 in 1933. In 1935, he is elected associate of the Ulster Academy, inducted alongside Helen Brett, Kathleen Bridle, Patrick Marrinan, Maurice Wilks, Romeo Toogood and William St. John Glenn,and in 1948 he becomes an elected Academician at the same.
In 1968, Middleton is appointed MBE in the Queen’s birthday honours list, and in 1969 he is elected an associate at the Royal Hibernian Academy with full membership conferred just a year later. He is awarded an honoraryMaster of Arts degree from Queen’s University Belfast in 1972. The Arts Council of Northern Ireland grants him a substantial subsistence award in 1970 which covers two years enabling him to retire from teaching to concentrate on painting full-time. In the same year, the Arts Council of Northern Ireland also commissions him to paint a portrait of their director, Kenneth Jamison.
Foster is the fourth of the six children of Presbyterian minister of Newmills congregation, James Foster, and Lydia (née Harkness). She has three brothers and two sisters. She is educated at home and is later sent to board at Miss Black’s school in Holywood, County Down. She, with her sisters Jane and Bessie, move to Belfast to establish a girls’ school, the Ladies’ Collegiate School, in the Balmoral suburbs, first at Myrtlefield Park, at 434 Lisburn Road, and then in Maryfield Park. This is after Bessie graduates from Trinity College Dublin in 1896 having studied modern languages. Their school teaches boys and girls, both day pupils and boarders. Foster and Jane teach music, and possibly other subjects as well. Their brother Henry, who works in Belfast, lives with them. All four of the siblings attend the Malone Presbyterian Church and are members of the temperance movement. Throughout her life, Foster remains attached to Newmills, visiting regularly and laying the foundation stone for the new manse in 1910. Her brother, Nevin, is the only one of the six siblings to marry and is an Irish ornithological expert.
The school closes after the deaths of Bessie in December 1917 and Jane in October 1918. The death of Henry in December 1922 leaves Foster alone, and having lost her hearing almost completely, she is in difficult circumstances. To support herself, she begins to write literary sketches and dialect verse for a number of publications such as the Northern Whig, Ireland’s Own, and the annual miscellany Ulster Parade. A selection of these writings are published as a volume, Tyrone Among the Bushes, in 1933. She also writes plays, but these are not collected or produced. She is best known for her three books which are set in rural County Tyrone around the time of Foster’s parents and her childhood. The books, The Bush that Burned (1931), Manse Larks (1936), and Elders’ Daughters (1942) are published by Quota Press in Belfast and are seen as part of the Scottish Kailyard school genre of writing. The Bush that Burned details the story of a young man becoming a minister despite opposition, and is widely read in Ulster and beyond. Aodh de Blácam references the book as evidence that there is little difference between rural Ulster Protestants and their Catholic counterparts. Manse Larks recounts a rural childhood of six siblings growing up in the minister’s house. Foster’s fondness for animals is clear from the book, she is a supporter of the Royal Society for the Prevention of Cruelty to Animals (RSPCA), and her companion in later years is a dog named Stewart. Elders’ Daughters explores the experiences, romantic dreams and misadventures of young women subject to paternal authority in rural County Tyrone.
As Foster’s health declines and after the Belfast Blitz of April 1941, she goes to live with a married niece in Hollowbridge House near Royal Hillsborough, County Down. It is to this niece that she dictates the last chapters of Elders’ Daughters. She dies at Hollowbridge House on December 13, 1943. She is buried at Newmills Presbyterian Church, with her parents and siblings.
Father Des Wilson, Irish Catholic priest and church dissident who in the course of the Northern IrelandTroubles embraces ideas and practice associated, internationally, with liberation theology, dies in his native Belfast on November 5, 2019. He believes the Word of God can never be silent in the face of oppression, injustice and suffering. He seeks to apply the ideas of liberation theology to the North, supporting and empowering marginalised communities, and acting as a voice for the voiceless.
Wilson is born in Belfast on July 8, 1925, the youngest of five sons to William Wilson, a publican and native of County Cavan, and his wife Emma (née McAvoy), a native of south County Down. He spends his earliest years above his father’s pub in Belfast, before the family moves to a house in the suburbs.
Wilson attends primary school locally, then receives secondary education at St. Malachy’s College. During his time there Belfast is blitzed in April and May 1941. Almost 1,000 are killed. The carnage he sees is a factor in his deciding on the priesthood.
After ordination Wilson serves as chaplain in Belfast’s Mater Infirmorum Hospital, then spends 15 years in St. Malachy’s as spiritual director. Former pupils remember him as fair, and able to play jazz excellently on the organ.
Wilson lives out his beliefs, spending half a century in Belfast’s Ballymurphy estate, among the North’s most deprived, and one of the areas which suffers worst from the Troubles. There he plays a role in community development, establishing projects to provide employment in the area. He suffers, finding himself for years outside the official Catholic Church.
Wilson plays a significant role in providing adult education. He wants an education that does not just provide qualifications and open career paths but is psychologically liberating.
Life changes in 1966 when Wilson is moved to St. John’s Parish in West Belfast as a curate. Having come from a comfortable background in Ballymurphy, he is shocked by the poverty, the poor housing and the treatment of women. Unusual for a priest at the time, he moves into a terraced house in the estate. He finds the Catholic Church unable to respond to the multiple problems people are facing. That inability worsens as the Troubles erupt.
Wilson’s personal probity is so recognised that he is accepted as a mediator in feuds between the Provisional Irish Republican Army and Official Irish Republican Army in the 1970s and is able to broker permanent peace. He also helps bring about the ceasefires in the 1990s.
Wilson does not shirk unpopular stances. In the 1970s he refuses to condemn the Irish Republican Army (IRA). Later he says the conviction of former Real Irish Republican Army leader Michael McKevitt for directing terrorism is unsafe. He also publicly visits and supports a Ballymurphy couple which has a very bitter falling out with Sinn Féin, leading to a picket on their home.
By 1975 relations with his bishop has broken down and Wilson resigns but continues ministering in Ballymurphy. Forbidden to say Mass in a church, his pay cut off, he says Mass in his house. He suffers hardship, living from savings, some earnings from writing, broadcasting and lecturing, and help from Quaker and Presbyterian friends. By the early 1980s his Ballymurphy home becomes too small for the many classes he organises. His classes are rehoused and expanded as the Conway Education Centre in a vacant mill. He is able to offer a range of vocational and non-vocational courses with almost 1,000 students. In the mid-1980s his relationship with the Dioceses of Down and Connor is re-established, and he is allowed to continue his ministry.
Personally, Wilson has great gifts of head and heart and is incapable of rancour. A strong belief is that it is important to share food to talk, as happened in Biblical times. Thus, a lunch would last an afternoon.
Wilson dies on November 5, 2019, in Belfast. Instead of wreaths, he asks mourners to donate to the Ballymurphy Massacre Memorial Garden. The garden is dedicated to the victims of the Ballymurphy massacre of August 1971, which saw the killing in the district of eleven civilians by soldiers of the 1st Battalion, Parachute Regiment. The victims include Fr. Hugh Mullan, who had been a student of Wilson’s at St. Malachy’s. He was shot while going to the aid of a wounded man.
A Luftwaffe bomb kills thirteen people in Belfast, Northern Ireland, on the night of April 7, 1941. Ultimately, the city is devastated by air raids. Seven hundred people are killed and 400 seriously injured in what becomes known as the Belfast Blitz. The Blitz consists of four German air raids on strategic targets in Belfast, in April and May 1941 during World War II.
There had been a number of small bombings, probably by planes that missed their targets over the River Clyde in Glasgow or the cities of North West England. On March 24, 1941, John MacDermott, Minister for Public Security, writes to the Prime Minister of Northern Ireland, John Andrews, expressing his concerns that Belfast is so poorly protected. “Up to now we have escaped attack. So had Clydeside until recently. Clydeside got its blitz during the period of the last moon. There [is] ground for thinking that the … enemy could not easily reach Belfast in force except during a period of moonlight. The period of the next moon from say the 7th to the 16th of April may well bring our turn.” MacDermott is proved right.
The first deliberate raid takes place on the night of April 7. It targets the docks. Neighbouring residential areas are also hit. Six Heinkel He 111 bombers, from Kampfgruppe 26, flying at 7,000 feet, drop incendiaries, high explosive and parachute mines. By British mainland blitz standards, casualties are light. Thirteen die, including a soldier killed when an anti-aircraft gun at the Balmoral show-grounds misfires. The most significant loss is a 4.5-acre factory floor for manufacturing the fuselages of Short Stirling bombers. The Royal Air Force (RAF) announces that Squadron Leader J.W.C. Simpson shot down one of the Heinkels over Downpatrick. The Luftwaffe crews return to their base in Northern France and report that Belfast’s defences are “inferior in quality, scanty and insufficient.” This raid overall causes relatively little damage, but a lot is revealed about Belfast’s inadequate defences.
On Easter Tuesday, April 15, 1941, spectators watching a football match at Windsor Park notice a lone LuftwaffeJunkers Ju 88 aircraft circling overhead. That evening over 150 bombers leave their bases in northern France and the Netherlands and head for Belfast. There are Heinkel He 111s, Junkers Ju 88s and Dornier Do 17s. At 10:40 p.m. the air-raid sirens sound. Accounts differ as to when flares are dropped to light up the city. The first attack is against the city’s waterworks, which had been attacked in the previous raid. High explosives are dropped. Initially it is thought that the Germans had mistaken this reservoir for the harbour and shipyards, where many ships, including HMS Ark Royal are being repaired. However, that attack is not an error. Three vessels nearing completion at Harland & Wolff are hit as is its power station. Wave after wave of bombers drop their incendiaries, high explosives and landmines. When incendiaries are dropped, the city burns as water pressure is too low for effective firefighting. There is no opposition. In the mistaken belief that they might damage RAF fighters, the anti-aircraft batteries cease firing. But the RAF does not respond. The bombs continued to fall until 5:00 a.m.
Outside of London, with some 900 dead, this is the greatest loss of life in a night raid during the Blitz. A stray bomber attacks Derry, killing fifteeen. Another attacks Bangor, County Down, killing five. By 4:00 a.m. the entire city seems to be in flames. At 4:15 a.m., John MacDermott, the Minister of Public Security, manages to contact Minister of AgricultureBasil Brooke seeking permission to seek help from the Irish government. Brooke notes in his diary, “I gave him authority as it is obviously a question of expediency.” Since 1:45 a.m. all telephones have been cut. Fortunately, the railway telegraphy link between Belfast and Dublin is still operational. The telegram is sent at 4:35 a.m. asking the Irish Taoiseach, Éamon de Valera, for assistance.
By 6:00 a.m., within two hours of the request for assistance, 71 firemen with 13 fire tenders from Dundalk, Drogheda, Dublin, and Dún Laoghaire are on their way to cross the Irish border to assist their Belfast colleagues. In each station volunteers are requested, as it is beyond their normal duties. In every instance, all step forward. They remain in Belfast for three days, until they are sent back by the Northern Ireland government. By then 250 firemen from Clydeside have arrived.
There is a second massive air raid on Belfast on Sunday, May 4-5, 1941, three weeks after the Easter Tuesday raid. Around 1:00 a.m., Luftwaffe bombers fly over the city, concentrating their attack on the Harbour Estate and Queen’s Island. Nearby residential areas in east Belfast are also hit when “203 metric tonnes of high explosive bombs, 80 land mines attached to parachutes, and 800 firebomb canisters containing 96,000 incendiary bombs” are dropped. Over 150 people die in what becomes known as the “Fire Blitz.” Casualties are lower than at Easter, partly because the sirens sound at 11:45 p.m. while the Luftwaffe attack more cautiously from a greater height. St. George’s Church in High Street is damaged by fire. Again, the Irish emergency services cross the border, this time without waiting for an invitation.
(Pictured: Rescue workers search through the rubble of Eglington Street in Belfast, Northern Ireland, after a German Luftwaffe air raid, May 7, 1941)
Campbell is the son of Matthew Arthur Campbell (1866-1925), caterer, and Gretta Campbell (née Bowen) (1880-1981). He attends boarding school at Masonic Orphan Boys’ School at Clonskeagh, Dublin, before moving to Belfast to live with his widowed mother and family.
Campbell is working in an aircraft factory at the time of the Belfast Blitz, and begins to paint, taking the bomb-damage as his subject. He is one of the founders of the Irish Exhibition of Living Art in 1943. In the same year, along with his brother Arthur (1909-94), he publishes a sixteen page book entitled Ulster in Black and White, that includes drawings from the two brothers and their close contemporaries Maurice Wilks and Patricia Webb. Owing to the success of the original publication, the brothers then publish Now in Ulster (1944), an anthology of short stories, essays and poetry by young Belfast writers.
Campbell holds a joint exhibition at the William Mol Gallery, Belfast, with his brother Arthur in 1944. In the same year he also shows with Gerard Dillon at the Portadown gallery of John Lamb. In 1946 he shows with the Victor Waddington Gallery in Dublin, where he is to return on a number of occasions. The Council for the Encouragement of Art and Music hosts a solo exhibition in 1949 where he is to show twice more, in 1952 and 1960. He wins £500 at the first Council for the Encouragement of Music and the Arts (CEMA) Open Painting Competition at the Ulster Museum in 1962. Campbell also shows in one-man exhibitions with the Arts Council of Northern Ireland in 1966 and 1972.
After the war Campbell becomes increasingly interested in Spain. In 1946 he comes to know Spaniards who had settled in Dublin, and when in London paints visiting Spanish dancers in their traditional costume. He first visits Spain in 1951, encouraged by his friendship with Gerard Dillon and “an interest in bohemian characters.” He lives there for six months almost every year throughout much of the following twenty-five years.
Campbell dies in Dublin on May 18, 1979, and is buried at St. Kevin’s Cemetery in Glendalough, County Wicklow. He is survived by his wife Margaret, his mother, and two brothers, Arthur and Stanley. After his death the Arts Council of Northern Ireland and An Chomhairle Ealáion join with the Instituto Cervantes to initiate the George Campbell Memorial Travel Award. In May 2017, Arklow Municipal District Council unveils two plaques at St. Patrick’s Terrace, Arklow, marking Campbell’s birthplace and the centennial of his birth.
Brian Moore, novelist and screenwriter who is acclaimed for the descriptions in his novels of life in Northern Ireland after World War II, is born in Belfast, Northern Ireland on August 25, 1921. He has been described as “one of the few genuine masters of the contemporary novel.”
In 1948 Moore emigrates to Canada to work as a reporter for the Montreal Gazette and becomes a Canadian citizen. While eventually making his primary residence in California, he continues to live part of each year in Canada up to his death.
Moore lives in Canada from 1948 to 1958, where he meets his first wife, Jacqueline (“Jackie”) Sirois, a French Canadian and fellow journalist. They marry in 1952. He moves to New York City in 1959 to take up a Guggenheim Fellowship and remains there until his divorce in October 1967. He then moves to the west coast of the United States, settling in Malibu, California, with his new wife Jean Denney, a former commentator on Canadian TV. There he teaches creative writing at UCLA.
Moore writes his first novels in Canada. His earliest novels are thrillers, published under his own name or using the pseudonyms Bernard Mara or Michael Bryan. His first novel outside the genre, Judith Hearne, remains among his most highly regarded. The book is rejected by ten American publishers before being accepted by a British publisher. It is made into a film, with British actress Maggie Smith playing the lonely spinster who is the book/film’s title character.
Some of Moore’s novels feature staunchly anti-doctrinaire and anti-clerical themes, and in particular he speaks strongly about the effect of the Church on life in Ireland. A recurring theme in his novels is the concept of the Catholic priesthood. On several occasions he explores the idea of a priest losing his faith. At the same time, several of his novels are deeply sympathetic and affirming portrayals of the struggles of faith and religious commitment, Black Robe most prominently.
Moore dies at his Malibu home, which is celebrated in Seamus Heaney‘s poem Remembering Malibu, on January 11, 1999, from pulmonary fibrosis. His widow, Jean, lives on in the house until it is destroyed in 2018 in the Woolsey Fire.
At the time of his death, Moore is working on a novel about the 19th-century French symbolist poet Arthur Rimbaud. His last published work before his death is an essay entitled “Going Home.” It is a reflection inspired by a visit he made to the grave in Connemara of his family friend, the Irish nationalist Bulmer Hobson. The essay is commissioned by Granta and published in The New York Times on February 7, 1999.
In 1996, the Brian Moore Short Story Awards is launched by the Creative Writers Network in Northern Ireland and is open to all authors of Irish descent. Previous judges have included Glenn Patterson, Lionel Shriver, Carlo Gébler and Maeve Binchy.
In 1975 Moore arranges for his literary materials, letters and documents to be deposited in the Special Collections Division of the University of Calgary Library, an inventory of which is published by the University of Calgary Press in 1987. His archives, which include unfilmed screenplays, drafts of various novels, working notes, a 42-volume journal (1957–1998), and his correspondence, are housed at the Harry Ransom Center at the University of Texas at Austin.
There is a large influx of students in the wake of the 1859 Ulster revival and the south wing with its dining hall and student accommodations is added in 1869. Princeton Theological Seminary has an important influence in the shaping of the ethos of the College during this period as the Reverend Roberts Watts, who is appointed Professor of Systematic Theology in 1866, hopes to make “Belfast another Princeton.” The north wing with its wood-panelled chapel is designed by John Lanyon, son of original architect, and completed in 1881. The first degrees under the Royal Charter are conferred in 1883. However, the death of Watts in 1895 marks the beginning of the end of the Princetonian influence. A partial union takes place between the faculties in Belfast and Magee in 1922.
The newly formed Parliament of Northern Ireland meets in Assembly’s College from 1921 until 1932 while Stormont is being built with the House of Commons meeting in the Gamble Library and the Senate in the College chapel. During this period the College conducts classes in a house and provides library resources in a house on University Square. In 1926 the College becomes a Recognised College of Queen’s University. During this period the College comes under criticism for its embrace of theological liberalism. This culminates in a charge of heresy being brought against Professor James Ernest Davey in 1926-27. The College officially reopens in October 1932 and the inaugural lecture is delivered by the Scottish Historian Robert Rait.
Between 1941 and 1948 the Royal Ulster Constabulary, the city police, use the College as its own headquarters are bombed in the Belfast Blitz. In 1953, to mark the College’s centenary year, Prof. Davey is elected Moderator of the General Assembly.
In 1976 theological teaching at Magee College in Derry, County Londonderry, ceases and the two colleges amalgamate in 1978. The new college, constituted by an Act of Parliament, is named Union Theological College.
Today Union Theological College offers a full range of courses in Theology. The professors at the College constitute the Presbyterian Theological Faculty Ireland (PTFI) which was granted a Royal Charter in 1881 to confer academic degrees. The PTFI still awards degrees, diplomas and certificates. The majority of students are enrolled for degrees and diplomas, undergraduate and postgraduate, through the Institute of Theology of the Queen’s University of Belfast, in particular the BTh, BD, MTh and PhD.
Four German bombs are dropped on north Dublin at approximately 2:00 AM on May 31, 1941. One bomb falls in the Ballybough area, demolishing the two houses at 43 and 44 Summerhill Park, injuring many but with no loss of life. A second bomb falls at the Dog Pond pumping works near the zoo in Phoenix Park, again with no casualties but damaging Áras an Uachtaráin, the official residence of the Irish President. A third bomb makes a large crater in the North Circular Road near Summerhill, again causing no injuries. A fourth bomb falls in North Strand destroying seventeen houses and severely damaging about fifty others, the worst damage occurring in the area between Seville Place and Newcomen Bridge. The raid claims the lives of 28 people, injures 90, destroys or damages approximately 300 houses, and leaves 400 people homeless.
The first bombing of Dublin during World War II occurs early on the morning of January 2, 1941, when German bombs are dropped on the Terenure area of south Dublin. This is followed, early on the following morning of January 3, 1941, by further German bombing of houses on Donore Terrace in the South Circular Road area of south Dublin. A number of people are injured, but no one is killed in these bombings.
After the war, what becomes West Germany accepts responsibility for the raid, and by 1958 it has paid compensation of £327,000. Over 2,000 claims for compensation are processed by the Irish government, eventually costing £344,000. East Germany and Austria, which are both part of Nazi Germany in 1941, make no contribution. The amounts are fixed after the 1953 London Agreement on German External Debts, allowing maximum compensation.
Several reasons for the raid have been asserted over time. German Radio, operated by the Ministry of Public Enlightenment and Propaganda, broadcasts that “it is impossible that the Germans bombed Dublin intentionally.” Irish airspace has been violated repeatedly, and both Allied and German airmen are being interned at the Curragh Camp. A possible cause is a navigational error or a mistaken target, as one of the pathfinders on the raid later recounts. Numerous large cities in the United Kingdom are targeted for bombing, including Belfast, which like Dublin, is across the Irish Sea from Great Britain. War-time Germany’s acceptance of responsibility and post-war Germany’s payment of compensation are cited as further indications that the causation is error on the part of the Luftwaffe pilots.
Another possible reason is that in April 1941, Germany has launched the Belfast blitz, which results in Belfast being heavily bombed. In response, Ireland sends rescue, fire, and emergency personnel to Belfast to assist the city. Éamon de Valera, the Taoiseach, formally protests the bombing to the German government, as well as making his famous “they are our people” speech. Some contend that the raid serves as a warning to Ireland to keep out of the war. This contention is given added credibility when Colonel Edward Flynn, second cousin of Ireland’s Minister for Coordination of Defensive Measures, recalls that Lord Haw Haw has warned Ireland that Dublin’s Amiens Street Railway Station, where a stream of refugees from Belfast is arriving, will be bombed. The station, now called Connolly Station, stands a few hundred metres from North Strand Road, where the bombing damage is heaviest. Flynn similarly contends that the German bombing of Dundalk on July 4 is also a pre-warning by Lord Haw Haw as a punishment for Dundalk being the point of shipment of Irish cattle sold to the United Kingdom.
seamus dubhghaill 