Alice Taylor, best-selling Irish writer and novelist particularly known for her nostalgia works looking back at life in a small village, is born on February 28 , 1938, on a farm in Lisdangan, Newmarket in northern County Cork.
Taylor is educated at Drishane Convent. She works in Bandon before marrying Gabriel Murphy. They have four sons and one daughter. When she marries she moves to Innishannon in the southern part of the county in 1961. There she runs a guesthouse, the local post office, and a shop.
In 1984 she edits and publishes a local magazine, Candlelight, and in 1986 she publishes an illustrated collection of her poetry. However it is the launch of her book To School Through the Fields, published in May 1988, which brings her fame. She has numerous interviews on national shows including RTÉ Radio‘s Gay Byrne Show and The Late Late Show. The next books are equally successful and have been sold internationally. Since then she has moved on to novels which have also become best sellers.
Her husband dies in 2005. Taylor remains very connected to the village of Innishannon where she continues to live. Since her eldest son has taken over responsibility for the shop, she has been able to devote more time to her writing. One of the programs she has been involved in is the restoration of the old Innishannon Tower.
Greatrakes is the son of William Greatrakes and Mary, daughter of Sir Edward Harris, Chief Justice of Munster, who are English Protestants settlers. He goes to the free school at Lismore until he is 13 years of age and is designed for the college of Dublin. However, when the Irish Rebellion of 1641 breaks out, he and his mother flee into England, where he is received by his great uncle, Edmund Harris. After Harris dies, his mother places him with John Daniel Getsius, a German minister, of Stoke Gabriel, in Devonshire.
After five or six years in England, Greatrakes returns to his native country, which he finds in a distracted state, and therefore spends a year in contemplation at the Castle of Cappoquin. In 1649 he is a lieutenant in Lord Broghill‘s regiment in the English Parliamentary army in Ireland, then campaigning in Munster against the Irish Royalists. In 1656, with a great part of the army being disbanded, Greatrakes retires to Affine, his native place, and is made clerk of the peace for County Cork, Register for transplantation, and a Justice of the Peace. However, he loses these positions after the Restoration.
Greatrakes seems to have been very religious. His outlook is grave but simple. He says himself, that ever since the year 1662 he has felt a strange impulse or persuasion that he has the gift of curing the King’s evil. This suggestion becomes so strong, that he strokes several persons, and cures them.
Three years afterwards, an epidemical fever is raging in the country, he is again persuaded that he can also cure the fever. He makes the experiment, and he affirms to his satisfaction that he cures all who come to him. At length, in April 1665, another kind of inspiration suggests to him, that he has the gift of healing wounds and ulcers. He even finds that he cures convulsions, the dropsy, and many other distempers.
On April 6, 1665, Robert Phayre, a former Commonwealth Governor of County Cork, is living at Cahermore, in that county, when he is visited by Greatrakes, who had served in his regiment in 1649. Greatrakes cures Phayre in a few minutes of an acute ague. John Flamsteed, the famous astronomer, then aged 19, goes to Ireland in August 1665 to be touched by Greatrakes for a natural weakness of constitution, but receives no benefit. Crowds flock to him from all parts, and he performs such extraordinary cures, that he is summoned into the bishop’s court at Lismore, and, not having a licence for practising, is forbidden to lay hands on anyone else in Ireland.
In 1665, Greatrakes is invited to England by his old commander, Lord Broghill, now Earl of Orrery, to cure Anne, Viscountess Conway of an inveterate headache. He arrives in England in early 1666 but fails to cure the Viscountess. Undaunted, he travels through the country healing the sick.
King Charles II, being informed of it, summons Greatrakes to Whitehall. While unpersuaded that Greatrakes has miraculous power, the king does not forbid him to continue his ministrations.
Every day Greatrakes goes to a place in London where many sick persons, of all ranks in society, assemble. Pains, gout, rheumatism, convulsions, and so forth are allegedly driven by his touch from one body part to another. Upon reaching the extremities, all symptoms of these ailments cease. As the treatment consists entirely of stroking, Greatrakes is called The Stroker. He ascribes certain disorders to the work of evil spirits. When persons possessed by such spirits see Greatrakes or hear his voice, the afflicted fall to the ground or into violent agitation. He then proceeds to cure them by the same method of stroking. While many are skeptical, Greatrakes does find zealous advocates for the efficacy of his healing powers.
In 1667, Greatrakes returns to Ireland and resumes farming in 1668 on £1,000 a year. Although he lives for many years, he no longer keeps up the reputation of performing the strange cures which procured him a name. But in this his case is very singular, that on the strictest enquiry no sort of blemish is ever thrown upon his character, nor does any of those curious and learned persons, who espouse his cause, draw any imputation upon themselves.
Greatrakes dies on November 28, 1682, at Affane, County Waterford. It is believed that he may be buried in Lismore Church or under the aisle of the old Affane Church near to his father.
His early education is of the plainest kind, but he is eager for culture, fond of reading, and anxious to become an artist. He later studies at the Cork School of Art.
Maclise exhibits for the first time at the Royal Academy of Arts in 1829. Gradually he begins to confine himself more exclusively to subject and historical pictures, varied occasionally by portraits – such as those of Lord Campbell, novelist Letitia Landon, Charles Dickens, and other of his literary friends. In 1833, he exhibits two pictures which greatly increase his reputation and, in 1835, the Chivalric Vow of the Ladies and the Peacock procure his election as associate of the Academy, of which he becomes full member in 1840. The years that follow are occupied with a long series of figure pictures, deriving their subjects from history and tradition and from the works of William Shakespeare, Oliver Goldsmith, and Alain-René Lesage.
Maclise also designs illustrations for several of Dickens’s Christmas books and other works. Between the years 1830 and 1836 he contributes to Fraser’s Magazine, under the pseudonym of Alfred Croquis, a remarkable series of portraits of the literary and other celebrities of the time – character studies, etched or lithographed in outline, and touched more or less with the emphasis of the caricaturist, which are afterwards published as the Maclise Portrait Gallery (1871). During the rebuilding of the Houses of Parliament in London in 1834–1850 by Charles Barry, Maclise is commissioned in 1846 to paint murals in the House of Lords on such subjects as Justice and Chivalry.
In 1858, Maclise commences one of the two great monumental works of his life, The Meeting of Wellington and Blücher, on the walls of the Palace of Westminster. It is begun in fresco, a process which proves unmanageable. The artist wishes to resign the task, but, encouraged by Prince Albert, he studies in Berlin the new method of water-glass painting, and carries out the subject and its companion, The Death of Nelson, in that medium, completing the latter painting in 1864.
Maclise’s vast painting of The Marriage of Strongbow and Aoife (1854) hangs in the National Gallery of Ireland, Dublin. It portrays the marriage of the main Norman conqueror of Ireland “Strongbow” to the daughter of his Gaelic ally. By the grand staircase of Halifax Town Hall, which is completed in 1863, there is a wall painting by Maclise.
The intense application which he gives to these great historic works, and various circumstances connected with the commission, has a serious effect on Maclise’s health. He begins to shun the company in which he formerly delighted, his old buoyancy of spirits is gone, and in 1865, when the presidency of the Royal Academy is offered to him he declines the honour. He dies of acute pneumonia on April 25, 1870 at his home 4 Cheyne Walk, Chelsea, London.
(Pictured lower right: The Marriage of Strongbow and Aoife)
Patrick Scott, Irish artist, is born in Kilbrittain, County Cork, on January 24, 1921. He is perhaps best known for his gold paintings, abstracts incorporating geometrical forms in gold leaf against a pale tempura background. He also produces tapestries and carpets.
He has his first exhibition in 1944, but trains as an architect and does not become a full-time artist until 1960. He works for fifteen years for the Irish architect Michael Scott, assisting, for example, in the design of Busáras, the central bus station in Dublin. He is also responsible for the orange livery of Irish intercity trains.
His paintings are in several important collections including the Museum of Modern Art in New York City. He wins the Guggenheim Award in 1960 and represents Ireland in the 1960 Venice Biennale. The Douglas Hyde Gallery holds a major retrospective of his work in 1981 and the Hugh Lane Gallery in Dublin holds a major survey in 2002. His works are distinguished by their purity and sense of calm, reflecting his own interest in Zen Buddhism.
In October 2013, Scott weds his companion of 30 years, Eric Pearce, in a civil ceremony at the Dublin Registry Office.
On July 11, 2007, Scott, who is a founding member of Aosdána, is conferred with the title of Saoi, the highest honour that can be bestowed upon an Irish artist. The President of Ireland, Mary McAleese, makes the presentation, placing a gold torc, the symbol of the office of Saoi, around his neck. No more than seven living members may hold this honour at any one time.
Patrick Scott dies in Ballsbridge, Dublin, on February 14, 2014 at the age of 93. He is survived by his partner.
Her parents, Matthew and Julia Moore, had come to the United States in 1888 and are living at 32 Monroe Street in Manhattan. Moore departs from Queenstown aboard the S.S. Nevada, one of 148 steerage passengers. Accompanied by her brothers, Anthony and Philip, she spends twelve days at sea, including Christmas Day, arriving in New York City on Thursday evening, December 31. It is reported that her arrival is on her 15th birthday, but records in Ireland reveal that her birthday is in May, and she is actually seventeen.
Ellis Island officially opens on January 1, 1892, and, as the first person to be processed at the newly opened facility, Moore is presented with an American $10 gold piece from an American official. All three children are soon reunited with their parents in New York. From 1820 to 1920, more than 4 million people leave their native shores of Ireland bound for the Port of New York and a new life in America.
Moore marries a son of German immigrants, Joseph Augustus Schayer, an employee at Manhattan’s Fulton Fish Market, with whom she has at least eleven children. She dies of heart failure on December 6, 1924, and is buried in Calvary Cemetery, Queens. Her previously unmarked grave is identified in August 2006. On October 11, 2008, a dedication ceremony is held at Calvary which celebrates the unveiling of a marker for her grave, a Celtic cross made of Irish Blue Limestone.
A woman named “Annie Moore” who died near Fort Worth, Texas in 1924 had long been thought to be the one whose arrival marked the beginning of Ellis Island. Further research, however, established that the Annie Moore in Texas was born in Illinois.
Saint Colmán of Cloyne, also known as Colmán mac Léníne, monk, founder, and patron of Cluain Uama, now Cloyne, County Cork, and one of the earliest known Irish poets to write in the vernacular, dies on November 24, 600.
Colmán is remembered as the founder of the monastery at Cluain Uama in Munster, which lay in the kingdom of the Uí Liatháin and the Uí Meic Caille, a sept of the former. The origin legend Conall Corc and the Corco Loígde claims that the land for the foundation is not given by the local king, but by Coirpre Cromm mac Crimthainn, who is king of Munster from the Eóganacht Glendamnach.
Cloyne appears to be his earliest settlement. The cathedral and round tower are situated on a limestone eminence in the midst of the valley, surrounded by rich meadows. In the rock is the cave extending in various branches underground to a great distance, from which the town derives its name. Here it is believed that Colmán took up his abode as a place of security. Colmán is also believed to have founded a monastery at what would become Killagha Abbey in County Kerry.
Colmán is credited with extraordinary poetic powers, being styled by his contemporaries “royal poet of Munster.” Several of his Irish poems are still extant, notably a metrical panegyric on Saint Brendan.
It is unclear whether Colmán is brought up as a Christian, but what is certain is that he is educated and becomes a bard or file, which requires a special education. As a member of the class of filí, he becomes attached to the court of Cashel where he remains until about the age of 48 years. In 570, he and Saint Brendan of Clonfert are said to have settled a dispute between rivals to the throne of Cashel and Aodh Caomh is acknowledged as king, the first Christian king of Cashel. The King is installed by Saint Brendan. During the time of the coronation Colmán and some others discover the lost shrine of Ailbhe of Emly. Brendan says that it is not right that the hands which have held this sacred relic should be defiled henceforth, thus it is that the son of Leinin offers himself to God. Brendan blesses him and gives him the name Colmán, which is a diminutive of Colm.
Colmán then goes to the school of Saint Iarlaithe of Tuam and after his studies he is next mentioned as preaching to the heathen population in the east of County Cork. He is described as a “religious and holy presbyter, who afterwards became a famous bishop.” The Prince of Déise, in the present county of Waterford, presents his child to Colmán for baptism. Colmán baptizes him Declán and urges his parents to educate him well in his faith. This child becomes Saint Declán of Ardmore.
Colmán is given churches in Erry and Killenaule by Coirpre Cromm mac Crimthainn, King of Munster (Cashel), as well as lands in Cloyne, County Cork. It may well be that the lands in Cloyne are conquered lands and to prevent the possibility of reconquest are given to the church. The Cloyne estate is large and contains some of the best land in the area.
After the king’s death (c. 580) Colmán somehow becomes involved in factional strife between Coirpre’s descendants in which some of them persecute him while others, the ancestors of the later dominant line, protect him.
His surviving verses date from the period 565 and 604, and are among the earliest examples of Irish writing in the Latin alphabet. He is commonly thought to have composed Luin oc laib, a poem in praise of Domnall mac Muirchertaig, king of Tara, and another poem on the death of Áed Sláine, king of the UÍ Néill. The latter poem has not survived complete.
Colmán dies on November 24, 600, and is likely buried is Cloyne, where he may have left a school of poetry in existence. The calendars are unanimous in dating his death on November 24, now his feast day.
Lane is brought up in Cornwall, England, and begins his career as an apprentice painting restorer and later becomes a successful art dealer in London.
Through regular visits to the home of his aunt, Lady Gregory, in Coole Park, near Gort in County Galway, Lane remains in contact with Ireland. He soon counts among his family, friends, and social circle those who collectively form the core of the Irish cultural renaissance in the early decades of the 20th century.
Extolling the cause of Irish art abroad, Lane also becomes one of the foremost collectors and dealers of Impressionist paintings in Europe, and amongst those works purchased by him for the new gallery are La Musique aux Tuileries by Édouard Manet, Sur la Plage by Edgar Degas, Les Parapluies by Pierre-Auguste Renoir, and La Cheminée by Jean-Édouard Vuillard.
The Municipal Gallery of Modern Art opens in January 1908 in temporary premises in Harcourt Street, Dublin. Lane hopes that Dublin Corporation will run it, but the corporation is unsure if it will be financially viable. Lane does not live to see his gallery permanently located as he dies on May 7, 1915, during the sinking of the RMS Lusitania off the west coast of Cork. The gallery, extended in 2005, is now in Parnell Square in central Dublin.
For his “services to art” in Ireland, Lane is knighted in June 1909 at the comparatively young age of 33.
Following his death, Lane’s will bequeaths his collection to London, but an unwitnessed later codicil bequeaths it to Dublin. Having possession, London’s National Gallery does not recognise the codicil. At the request of Lane’s aunt, Lady Gregory, W.T. Cosgrave, leader of the Irish Government unsuccessfully approaches Ramsay MacDonald on the matter in 1929. When John A. Costello becomes Taoiseach in 1948, he initiates further negotiations with the government of the United Kingdom, eventually leading to a compromise in 1959, under Taoiseach Seán Lemass, whereby half of the Lane Bequest will be loaned and shown in Dublin every five years. In 1993 the agreement is varied so that 31 of the 39 paintings would stay in Ireland. The remaining 8 are divided into two groups, so that four would be loaned for six years at a time to Dublin. In 2008, The National Gallery in London arranges for the entire collection to be on display in Dublin together for the first time.
The style of trompe-l’œil painting that Harnett develops is distinctive and inspired many imitators, but it is not without precedent. A number of 17th century Dutch painters, Pieter Claesz for instance, specialize in tabletop still life of astonishing verisimilitude. Raphaelle Peale, working in Philadelphia in the early 19th century, pioneers the form in America. What sets Harnett’s work apart, besides his enormous skill, is his interest in depicting objects not usually made the subject of a painting.
Harnett paints musical instruments, hanging game, and tankards, but also painted the unconventional Golden Horseshoe (1886), a single rusted horseshoe shown nailed to a board. He paints a casual jumble of second-hand books set on top of a crate, Job Lot, Cheap (1878), as well as firearms and even paper currency. His works sell well, but they are more likely to be found hanging in a tavern or a business office than in a museum, as they did not conform to contemporary notions of high art.
Harnett spent the years 1880–1886 in Europe, staying in Munich from 1881 until early 1885. Harnett’s best-known paintings, the four versions of After the Hunt, are painted between 1883 and 1885. Each is an imposing composition of hunting equipment and dead game, hanging on a door with ornate hinges at the right and keyhole plate at the left. These paintings, like the horseshoe or currency depictions mentioned earlier, are especially effective as trompe-l’œil because the objects occupy a shallow space, meaning that the illusion is not spoiled by parallax shift if the viewer moves.
Overall, Harnett’s work is most comparable to that of the slightly younger John F. Peto. The two artists know each other, and a comparison can be made between two paintings featuring violins. Harnett’s Music and Good Luck from 1888 shows the violin hanging upright on a door with ornate hinges and with a slightly torn piece of sheet music behind it. The elements are arranged in a stable, deliberate manner. Peto’s 1890 painting shows the violin hanging askew, as well as chipped and worn, with one string broken. The sheet music is dog-eared and torn around the edges and placed haphazardly behind the instrument. The hinges are less ornate, and one is broken. Harnett’s objects show signs of use but are well preserved, while Peto’s more humble objects are nearly used up.
Crippling rheumatism plagues Harnett in his last years, reducing the number but not the quality of his paintings. He seeks relief in the waters at Karlsbad and Wiesbaden, Germany and later at Hot Springs, Arkansas. But he continues to worsen and is hospitalized several times. He dies in New York City in 1892.
Charles Edgeworth Cagney Lynch, Irish pianist who premiers works by several important 20th-century composers, is born in Parkgariff, County Cork, on October 22, 1906.
Lynch’s father is a British army colonel and his mother comes from a well-known Cork business dynasty, the Suttons. While still a young boy, the family moves to Greenock in western Scotland and it is there, at the Tontine Hotel, that the young pianist gives his first public recital at the age of nine. When he is fifteen, he wins a scholarship to the Royal Academy of Music in London, where he studies under York Bowen and, later, Egon Petri.
Lynch becomes a popular recitalist in London during the 1920s and 1930s. He gives the first performance in England of Sergei Rachmaninoff‘s Piano Sonata No. 2 in B flat minor, having been coached beforehand by the composer. Sir Arnold Bax‘s Fourth Piano Sonata (1932) is dedicated to the 26-year-old Lynch, whom Bax later describes as “Ireland’s most imaginative pianist.” In addition to concert recitals he broadcasts regularly with the BBC and, in 1937, acts as assistant to Sir Thomas Beecham at Covent Garden. Lynch is the Ballet Rambert‘s pianist for many years, having helped Marie Rambert form the company.
A pacifist, Lynch returns to Ireland following the outbreak of World War II, where he becomes the country’s premier concert pianist. During this phase of his career he premiers a number of works by leading Irish composers, including Brian Boydell‘s Sonata for Cello and Piano (1945) and Sean Ó Riada‘s Nomos No. 4 (1959). Lynch also performs in the world première of English composer Ernest John Moeran‘s Cello Sonata in A minor, given in Dublin in May 1947. He is joined by the composer’s wife, cellist Peers Coetmore.
Lynch continues to give public recitals throughout Ireland until shortly before his death at the age of 77. He also lectures in music at University College Cork and gives masterclasses at the Cork School of Music. In 1982, Lynch receives a doctorate in music from the National University of Ireland.
Lynch’s technique is remarkable for the stillness with which he sits, making the most difficult of music seem almost technically unremarkable. His recorded legacy is small, but includes music by Samuel Barber, Ernest John Moeran‘s Violin Sonata (with Geraldine O’Grady, violin) as well as music by Irish composers such as Aloys Fleischmann.
Toward the end of his life he lives in very reduced circumstances. He dies in Cork on September 15, 1984 at St. Finbarr’s Hospital and is buried near Sir Arnold Bax in St. Finbarrs Cemetery, Glasheen Road, Cork.
Mathew receives his schooling in Kilkenny, then moves for a short time to Maynooth. From 1808 to 1814 he studies in Dublin, where in the latter year he is ordained to the priesthood. Having entered the Capuchin order, after a brief period of service at Kilkenny, he joins the mission in Cork.
The movement with which his name is associated begins on April 10, 1838, with the establishment of the Cork Total Abstinence Society, which in less than nine months enrolls no fewer than 150,000 names. It rapidly spreads to Limerick and elsewhere, and some idea of its popularity may be formed from the fact that at Nenagh 20,000 persons are said to take the pledge in one day, 100,000 at Galway in two days, and 70,000 in Dublin in five days. At its height, just before the Great Famine, his movement enrolls some 3 million people, or more than half of the adult population of Ireland. In 1844 he visits Liverpool, Manchester, and London with almost equal success.
His work has a remarkable impact on the condition of the people in Ireland. The number committed to jail falls from 12,049 in 1839 to 9,875 by 1845. Sentences of death fall from 66 in 1839 to 14 in 1846, and transportations fall from 916 to 504 over the same period.
Mathew visits the United States in 1849, returning in 1851. While there, he finds himself at the center of the Abolitionist debate. Many of his hosts are pro-slavery and want assurances that their influential guest will not stray outside his remit of battling alcohol consumption. But Mathew has signed a petition encouraging the Irish in the U.S. to not partake in slavery in 1841 during Charles Lenox Remond‘s tour of Ireland. Now however, in order to avoid upsetting his slave-owning friends in the U.S., he snubs an invitation to publicly condemn chattel slavery, sacrificing his friendship with that movement. He defends his position by pointing out that there is nothing in the scripture that prohibits slavery. He is condemned by many on the abolitionist side, including the former slave and abolitionist Frederick Douglass who had received the pledge from Mathew in Cork in 1845.
Mathew dies on December 8, 1856, in Queenstown, County Cork, after suffering a stroke. He is buried at St. Joseph’s Cemetery, Cork City, which he had established himself.
seamus dubhghaill 