Cantwell plays as a full-back for Western Rovers, Cork Athletic F.C., West Ham United F.C. and Manchester United F.C. While at West Ham, he features in the London XI side that competes in the 1955–58 Inter-Cities Fairs Cup final on May 1, 1958. He captains the Hammers to winning the Division Two championship in the 1957–58 season and thereby leads the club into the topflight for the first time since 1932.
In November 1960, Cantwell joins Manchester United for £29,500 which at the time is a record for a full-back. He helps the club win the 1965 and 1967 league titles and captains United when winning the 1963 FA Cup Final, just as his fellow countryman Johnny Carey had done in United’s previous FA Cup win 15 years earlier. He also serves as Chairman of the Professional Footballers’ Association.
Cantwell wins 36 full International caps for the Republic of Ireland national football team, typically playing at left full-back and on several occasions at centre-forward. He makes his debut against Luxembourg in October 1953 with his final appearance coming away to Turkey in February 1967. He scores 14 goals including 5 from penalties and also captains the Republic on several occasions including a match against England at Wembley Stadium.
In his first managerial role at Coventry City F.C. he has the onerous task of following Jimmy Hill who had taken the club into the Football League First Division for the first time in their history. He narrowly keeps the Sky Blues in the top in his first two seasons before taking them to a sixth-place finish in 1969–70, earning them qualification for the Inter-Cities Fairs Cup, a year before it was replaced by the UEFA Cup.
Cantwell departs from Highfield Road on March 12, 1972, to take charge of the New England Tea Men in the United States, but within seven months is back in English football as manager of Peterborough United F.C. He helps Peterborough win the Football League Fourth Division title in his first full season as manager, before leaving on May 10, 1977, for a second spell with the Tea Men. This time he spends a year in the United States.
Cantwell returns to Peterborough on November 19, 1986, for a second spell as manager, remaining in this role until he becomes general manager on July 12, 1988. He is general manager at London Road for a year until he quits football to become licensee of the New Inn at Peterborough, where he remains for 10 years until he retires in 1999. He also is landlord of the Bull and Swan in Stamford, Lincolnshire.
Cantwell also plays cricket for Cork Bohemians Cricket Club and Ireland as a left-handed batsman and a right-arm medium bowler. He plays five times for Ireland making his debut in what is his sole first-class match versus Scotland at Edinburgh in 1956, scoring 31 and 17. His last match for Ireland is against Lancashire in July 1959.
Cantwell dies on September 8, 2005, from cancer at the age of 73, leaving a widow and two children. His former teams each hold a minute of silence for him before their next matches.
Butt is called to the Irish bar in 1838 and the English bar in 1859. Intermittently from 1852 he represents, successively, one English and two Irish constituencies in the House of Commons. In 1848 he undertakes the defense of the Young Ireland leaders, who are charged with high treason for their abortive insurrection that year. From 1865 to 1869 he is the principal defense counsel for the imprisoned leaders of the Fenians (Irish Republican, or Revolutionary, Brotherhood).
Despite his legal work for the Fenians, Butt, who is basically a conservative, fears the consequences of a successful Fenian revolt. Disillusioned, however, by the British government’s failure to relieve the Irish Great Famine of the late 1840s, he becomes convinced that a native parliament is required for Irish land reform and other needs. In May 1870 he calls for an Irish Parliament subordinate to the imperial Parliament at Westminster, and later that year he forms the Home Government Association. From 1871 he quickens the Irish nationalist agitation in the House of Commons but gradually loses his leadership, partly because he disapproves of Parnell’s tactics of obstructing routine parliamentary business.
Butt amasses debts and pursues romances. It is said that at meetings he is occasionally heckled by women with whom he had fathered children. He is also involved in a financial scandal when it is revealed that he had taken money from several Indian princes to represent their interests in parliament.
Isaac Butt dies on May 5, 1879, in Clonskeagh in Dublin. His remains are brought by train to Stranorlar, County Donegal, where he is buried in a corner of the Church of Ireland cemetery beneath a tree by which he used to sit and dream as a boy. His grave has been restored and the memorial now includes a wreath.
Despite his chaotic lifestyle and political limitations, Butt is capable of inspiring deep personal loyalty. Some of his friends, such as John Butler Yeats and the future Catholic Bishop of Limerick, Edward Thomas O’Dwyer, retain a lasting hostility towards Parnell for his role in Butt’s downfall.
In May 2010 the Church of Ireland parishes of Stranorlar, Meenglass and Kilteevogue instigate an annual memorial Service and Lecture in Butt’s honour, inviting members of the professions of law, politics and journalism to reflect aspects of his life. Speakers have included Dr. Joe Mulholland, Senator David Norris, Dr. Chris McGimpsey and Prof. Brian Walker.
(Pictured: Isaac Butt, portrait by John Butler Yeats)
Hely is born in 1724 at Gortroe, Mallow, son of Francis Hely, a gentleman of County Cork. He is educated at Trinity College Dublin (BA 1744) and is called to the Irish bar in 1748. He takes the additional name of Hutchinson upon his marriage in 1751 to Christiana Nixon, heiress of her uncle, Richard Hutchinson.
Hely-Hutchinson is elected member of the Irish House of Commons for the borough of Lanesborough in 1759, but from 1761 to 1790 he represents Cork City. He at first attaches himself to the patriotic party in opposition to the government, and although he afterwards joins the administration, he never abandons his advocacy of popular measures.
After a session or two in parliament he is made a privy councillor and prime Serjeant-at-law. From this time, he gives a general, though by no means invariable, support to the government. In 1767 the ministry contemplates an increase of the army establishment in Ireland from 12,000 to 15,000 men, but the Augmentation Bill meets with strenuous opposition, not only from Henry Flood, John Ponsonby and the habitual opponents of the government, but from the Undertakers, or proprietors of boroughs, on whom the government has hitherto relied on to secure them a majority in the House of Commons.
It therefore becomes necessary for Lord Townshend to turn to other methods for procuring support. Early in 1768 an English Act is passed for the increase of the army, and a message from King George III setting forth the necessity for the measure is laid before the House of Commons in Dublin. An address favourable to the government policy is, however, rejected as Hely-Hutchinson, together with the speaker and the attorney general, do their utmost both in public and private to obstruct the bill. Parliament is dissolved in May 1768, and the lord lieutenant sets about the task of purchasing or otherwise securing a majority in the new parliament. Peerages, pensions and places are bestowed lavishly on those whose support could be thus secured. Hely-Hutchinson is won over by the concession that the Irish army should be established by the authority of an Irish act of parliament instead of an English one.
The Augmentation Bill is carried in the session of 1769 by a large majority. Hely-Hutchinson’s support had been so valuable that he receives as reward an addition of £1,000 a year to the salary of his sinecure of alnager, a major’s commission in a cavalry regiment, and a promise of the Secretaryship of State. He is at this time one of the most brilliant debaters in the Irish parliament and is enjoying an exceedingly lucrative practice at the bar. This income, however, together with his well-salaried sinecure, and his place as prime serjeant, he surrenders in 1774 to become provost of Trinity College, although the statute requiring the provost to be in holy orders has to be dispensed with in his favour.
For this great academic position Hely-Hutchinson is in no way qualified and his appointment to it for purely political service to the government is justly criticised with much asperity. His conduct in using his position as provost to secure the parliamentary representation of the university for his eldest son brings him into conflict with Patrick Duigenan, while a similar attempt on behalf of his second son in 1790 leads to his being accused before a select committee of the House of Commons of impropriety as returning officer. But although without scholarship Hely-Hutchinson is an efficient provost, during whose rule material benefits are conferred on Trinity College.
Hely-Hutchinson continues to occupy a prominent place in parliament, where he advocates free trade, the relief of the Catholics from penal legislation, and the reform of parliament. He is one of the very earliest politicians to recognise the soundness of Adam Smith‘s views on trade and he quotes from the Wealth of Nations, adopting some of its principles, in his Commercial Restraints of Ireland, published in 1779, which William Edward Hartpole Lecky pronounces one of the best specimens of political literature produced in Ireland in the latter half of the 18th century.
In the same year, the economic condition of Ireland being the cause of great anxiety, the government solicits from several leading politicians their opinion on the state of the country with suggestions for a remedy. Hely-Hutchinson’s response is a remarkably able state paper, which also shows clear traces of the influence of Adam Smith. The Commercial Restraints, condemned by the authorities as seditious, goes far to restore Hely-Hutchinson’s popularity which has been damaged by his greed of office. Not less enlightened are his views on the Catholic question. In a speech in parliament on Catholic education in 1782 the provost declares that Catholic students are in fact to be found at Trinity College, but that he desires their presence there to be legalised on the largest scale.
In 1777 Hely-Hutchinson becomes Secretary of State. When Henry Grattan in 1782 moves an address to the king containing a declaration of Irish legislative independence, he supports the attorney general’s motion postponing the question. On April 16, however, after the Easter recess, he reads a message from the Lord Lieutenant, the William Cavendish-Bentinck, 3rd Duke of Portland, giving the king’s permission for the House to take the matter into consideration, and he expresses his personal sympathy with the popular cause which Grattan on the same day brings to a triumphant issue. Hely-Hutchinson supports the opposition on the regency question in 1788, and one of his last votes in the House is in favour of parliamentary reform. In 1790 he exchanges the constituency of Cork for that of Taghmon in County Wexford, for which borough he remains member until his death at Buxton, Derbyshire on September 4, 1794.
(Pictured: Portrait, oil on canvas, of John Hely-Hutchinson (1724–1794) by Sir Joshua Reynolds (1723–1792))
Hincks is educated at home by his father and at Midleton College before entering Trinity College Dublin. He is elected a Scholar of the College in 1810, and in 1812 wins the Gold Medal and Bishop Law‘s Prize for Mathematics. He is elected a Fellow of the College in 1813 and four years later takes his M.A. In 1819, following the death of Thomas Meredith, he is presented to the Rectory of Ardtrea in County Tyrone. Though Ardtrea is a valuable and highly prized Rectory, it is also isolated for a young bachelor, and he resigns the position in 1826, taking up the Rectory in nearby Killyleagh, County Down, an office he holds for the remainder of his life.
The undemanding nature of his clerical duties leave him with more than enough time to pursue his interest in ancient languages. His first love is for the hieroglyphic writing of ancient Egypt. His greatest achievement is the decipherment of the ancient language and writing of Babylon and Assyria: Akkadian cuneiform.
Hincks deduces correctly that cuneiform writing had been invented by one of the earliest civilisations of Mesopotamia, who then bequeathed it to later states such as Babylon, Assyria and Elam. In 1848 he is awarded the Cunningham Medal of the Royal Irish Academy for his achievements.
By 1850 Hincks comes to a number of important conclusions regarding the nature of Assyro-Babylonian cuneiform. He also discovers that cuneiform characters are “polyphonic,” by which he means that a single sign can have several different readings depending on the context in which it occurs. However, not everyone is convinced by the claims being made by the Irishman and his distinguished colleagues. Some philologists even suggest that they are simply inventing multiple readings of the signs to suit their own translations.
In 1857 the versatile English Orientalist William Henry Fox Talbot suggests that an undeciphered cuneiform text be given to several different Assyriologists to translate. If, working independently of one another, they come up with reasonably similar translations, it will surely dispel the doubts surrounding their claims.
As it happens, Talbot, Hincks, Rawlinson and Oppert, are in London in 1857. Edwin Norris, secretary of the Royal Asiatic Society, gives each of them a copy of a recently discovered inscription from the reign of the Assyrian emperor Tiglath-Pileser I. A jury of experts is impaneled to examine the resulting translations and assess their accuracy.
In all essential points the translations produced by the four scholars are found to be in close agreement with one another. There are of course some slight discrepancies. The inexperienced Talbot makes a number of mistakes, and Oppert’s translation contains a few doubtful passages due to his unfamiliarity with the English language. But Hincks’ and Rawlinson’s versions are virtually identical. The jury declares itself satisfied, and the decipherment of cuneiform is adjudged a fait accompli.
Hincks devotes the remaining years of his life to the study of cuneiform and makes further significant contributions to its decipherment. He dies at his rectory in Killyleagh on December 3, 1866, at the age of 74. He is survived by a wife and four daughters.
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 Dutch Golden Age painters, Pieter Claesz for instance, had specialized 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 paints 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. His 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 broken string. 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 dies in New York City on October 29, 1892. Other artists who paint similar compositions in Harnett’s wake include his contemporary John Haberle and successors such as Otis Kaye and Jefferson David Chalfant.
Broderick sits in the Irish House of Commons for Midleton from 1692 to 1693, for County Cork from 1695 to 1699 and again from 1703 to 1713, and for Midleton again from 1715 to 1727. He is appointed to the Privy Council of Ireland on May 10, 1695. He is removed on July 17, 1711, but reappointed on September 30, 1714.
The Buttevant Rail Disaster, a train crash that occurs at Buttevant Railway Station, County Cork, takes place on August 1, 1980. More than 70 people are injured, and 18 die, resulting as one of Ireland’s worst rail disasters to ever occur and the country’s worst rail disaster during peacetime history.
At 12:45 the 10:00 am Dublin (Heuston) to Cork (Kent) express train enters Buttevant Railway Station carrying some 230 bank holiday passengers. The train is diverted off the main line across a 1:8 temporary set of points into a siding. The locomotive remains upright but carriages immediately behind the engine and generator van jack-knife and are thrown across four sets of rail lines. Two coaches and the dining car are totally demolished by the impact. It results in the deaths of 18 people and over 70 people being injured.
The accident happens because a set of manual facing points are set to direct the train into the siding. These points are installed about four months previously and have not yet been connected to the signal cabin. The permanent way maintenance staff are expecting a stationary locomotive at the Up platform to move into the siding, and set the points for the diversion to the siding, without obtaining permission from the signalman. Upon seeing that this has been done, the signalman at Buttevant manually sets the signals to the Danger aspect and informs the pointsman to reset the points. The train is traveling too fast to stop in time. The train is moving at approximately 60 mph when the derailment occurs.
The train consists of one locomotive, a generator van and eleven coaches. Six of the coaches consist of wooden bodies on steel underframes. Four of these are either destroyed or badly damaged in the impact, the two which survive being at the rear of the train. The remainder of the coaches are light alloy Cravens stock and most survive the crash.
This event, and the subsequent Cherryville junction accident, which kills a further seven people, account for 70% of all Irish rail deaths over a 28-year period. CIÉ and the Government come under severe public pressure to improve safety and to modernise the fleet. A major review of the national rail safety policy is held and results in the rapid elimination of the wooden-bodied coaches that had formed part of the train.
The passengers who are most severely injured or killed are seated in coaches with wooden frames. This structure is incapable of surviving a high speed crash and does not come near to the safety standards provided by modern (post-1950s) metal-body coaches. The expert bodies that review the accident discover that the old timber-frame carriage bodies mounted on a steel frame are totally inadequate as they are prone to complete collapse under the enormous compression forces of a high-speed collision.
The more modern steel-framed carriage bodies survive due to their greater structural rigidity. On this basis the decision to purchase a new fleet of modern intercity coaches based on the British Rail Mark 3 design is quickly made. The Mark 3’s longitudinally corrugated roof can survive compression forces of over 300 tonnes. These coaches, an already well proven design, are built by British Rail Engineering Limited (BREL) in Derby, England and, under licence, at CIÉ’s own workshops at Inchicore Railway Works in Dublin between 1983 and 1989.
O’Connor is born into a prominent Irish Protestant family who claims to be the descendants of the 12th-century king Ruaidrí Ua Conchobair. He is educated mainly at Portarlington Grammar School and has some elementary schooling in England.
O’Connor practices law but exchanges law for politics when he enters the British Parliament in 1832 as a member for County Cork. Unseated in 1835, he turns to radical agitation in England, although he continues to press Irish grievances and to seek Irish support. As a result of his humour, invective, and energy, he becomes the best-known Chartist leader and the movement’s most popular speaker. His journal, the Northern Star (founded in 1837), gains a wide circulation.
O’Connor’s methods and views alienate other Chartist leaders, particularly William Lovett, but in 1841, after spending a year in prison for seditious libel, he acquires undisputed leadership of the Chartists. Failing to lead the movement to victory and vacillating in his attitude toward the middle class and toward the People’s Charter, a six-point bill drafted and published in May 1838, he begins to lose power, although he is elected to Parliament for Nottingham in 1847. The failure of the People’s Charter in 1848 marks the beginning of the end for O’Connor, whose egocentricity is already bordering on madness.
The circulation of the Northern Star falls steadily, and it loses money. O’Connor’s health is failing, and reports of his mental breakdown regularly appear in the newspapers. In the spring of 1852, he visits the United States, where his behaviour leaves no doubt that he is not a well man.
In 1852 in the House of Commons O’Connor strikes three fellow MPs, one of them Sir Benjamin Hall, a vocal critic of the Land Plan. Arrested by the Deputy Sergeant-at-Arms, he is sent by his sister to Dr. Thomas Harrington Tuke‘s private Manor House Asylum in Chiswick, where he remains until 1854, when he is moved to his sister’s house. He dies on August 30, 1855, at 18 Albert Terrace, Notting Hill Gate and is buried on September 10 in Kensal Green Cemetery. No fewer than 40,000 people witness the funeral procession. Most Chartists preferred to remember O’Connor’s strengths rather than his shortcomings.
In 2009, Shaw collaborates with Deborah Warner again, taking the lead role in Tony Kushner‘s translation of Bertolt Brecht‘s Mother Courage and Her Children. In a 2002 article for The Daily Telegraph, Rupert Christiansen describes their professional relationship as “surely one of the most richly creative partnerships in theatrical history.” Other collaborations between the two women include productions of Brecht’s The Good Woman of Szechuan and Henrik Ibsen‘s Hedda Gabler, the latter adapted for television.
Shaw appears in season four of American TV show True Blood. Her character, Marnie Stonebrook, has been described as an underachieving palm reader who is spiritually possessed by an actual witch. Her character leads a coven of necromancer witches who threaten the status quo in Bon Temps, erasing most of Eric Northman‘s memories and leaving him almost helpless when he tries to kill her and break up their coven.
A pair of paintings valued at more than £3,000,000 are stolen by an armed gang from Russborough House in County Wicklow on June 26, 2001. The stolen paintings are Thomas Gainsborough‘s Madame Baccelli, the more valuable of the pair, and Bernardo Belotto‘s Scene of Florence.
Three masked men burst their way into the house after ramming the front door with a Mitsubishi at midday. After grabbing the paintings the men set fire to their getaway vehicle and attempt to hijack a car at gunpoint but its driver refuses to give it up. They are last seen running from the scene.
Chief Superintendent Sean Feely says that there were people in the house at the time of the robbery but no one was hurt. He adds that, because they are so well known, the paintings will be near impossible to sell. Raymond Keaveney, the Director of the National Gallery of Ireland, describes the theft as “an outrage.”
The robbery is a case of history repeating itself for Russborough House, twenty miles from Dublin, which has been the scene of two previous major art thefts.
In 1974, an Irish Republican Army (IRA) gang which includes Dr. Rose Dugdale, the British heiress, steal 19 paintings, valued at IR£8 million, from Russborough House which, at the time, is the home of the late Sir Alfred Beit, a member of the De Beers diamond family, and his wife. The couple are bound and gagged during the raid. The paintings are later found in County Cork. Dugdale and the others involved are ultimately jailed.
In 1986, a 13-strong gang headed by Martin Cahill, the Dublin crime chief who is later shot dead by the IRA, steals 18 works including some of those taken and recovered in the earlier raid. The paintings taken on this occasion include those by Johannes Vermeer, Gabriël Metsu, Francisco Goya, Thomas Gainsborough and Peter Paul Rubens. All but three of the paintings are recovered over a period of years at a number of locations, including London, Belgium, Holland and Turkey, after apparent unsuccessful attempts to sell them. The Gainsborough painting stolen on June 26 was also taken in the 1986 raid.
The Beit collection is made over to the Irish nation and many of the works are still on display at Russborough House.
(Pictured: The Mitsubishi used to ram the entrance of Russborough House sits near the front steps. The thieves torch this car before fleeing in another car. Note the gas can to the right of the car.)
A pair of paintings valued at more than £3,000,000 are stolen by an armed gang from 
seamus dubhghaill 