Conor is born on May 9, 1881, in Fortingale Street, Belfast, the third son and fourth child of William Connor, a tinsmith and sheet metal worker, who later becomes a gas fitter, and Mary Connor (née Wallace). He is educated at the Clifton Park central national school, where his artistic abilities are noticed by his music teacher. In 1894, he enrolls at the Belfast government school of design. He is a very successful student, and by 1903 has become an assistant teacher. He completes his studies in 1904, and begins an apprenticeship with the Belfast firm of lithographers, David Allen and Son. Through his work in the poster design department he develops an enthusiasm for using crayons on a textured surface. This becomes a characteristic feature of his later drawings. In these early years he first starts recording images of Belfast life, often sketched from behind a folded newspaper in the street. Influenced by the Gaelic revival, in the years 1907–9 he signs his name in several different ways such as “Liam” and “Liam Conor.” In later years he signs himself simply “Conor.”
Having abandoned his career as a lithographer around 1910, Conor concentrates his efforts on painting professionally. He begins exhibiting with the Belfast Art Society in 1910, and in the period that follows he spends time in Craigavad, County Down, the Blasket Islands in County Kerry, Dublin, and Donegal. During a visit to Paris, which he later recalls as being in 1912 and 1913, he meets the painter André Lhote. After his return to Belfast he is elected to the committee of the Belfast Art Society in 1913. On the outbreak of World War I, he is commissioned by the British government to record the everyday activities of munitions workers and soldiers in Ulster. His pictures mostly show soldiers in training and various scenes from the home front, including the work of women in munitions factories and hospitals. Described as “vigorous and personable, if rather folksy . . . effectively uniformed versions of the tinkers and shipyard workers for which he subsequently became known,” these paintings are exhibited and subsequently, in 1916, auctioned for the Ulster Volunteer Patriotic Fund. His long association with the Royal Hibernian Academy (RHA) begins in 1918 and he shows up to 200 works at the academy over the next forty-nine years.
In 1921, Conor moves to London, where he becomes acquainted with, among others, Sir William Orpen, Sir John Lavery, and Augustus John. He becomes a member of the Chelsea Arts Club, and contributes four paintings to the National Portrait Society as part of its spring exhibition in 1921. His friendship with Lavery is significant. Through him Conor receives a commission to paint the opening of the first Northern Ireland parliament in June 1921. He goes on to exhibit with a variety of influential bodies, including the Royal Academy of Arts, the Société Nationale des Beaux-Arts in Paris, and the Royal Society of Portrait Painters. In 1922, The Twelfth, executed c.1918, is shown in the Galerie Barbazanges in Paris, under the title Le cortège Orangiste à Belfast, as part of the World Congress of the Irish Race. He is represented at the Paris salon in 1923 and the following year he has a successful exhibition at the St. Stephen’s Green Gallery, Dublin.
In 1926, Conor travels to Philadelphia and New York, where, during his nine-month stay, he receives numerous commissions for portraits and has work shown in the Babcock Galleries, the Brooklyn Art Gallery, and the American Irish Historical Society. In 1932, he designs the costumes for the principals in the Pageant of St. Patrick, which marks the 1,500th anniversary of the saint’s coming to Ireland. That year also sees the unveiling of his muralUlster Past and Present at the Belfast Municipal Museum and Art Gallery. Measuring 2.8 by 7.4 metres, it is at the time the largest mural in the country. During World War II he is again appointed an official war artist and his work is represented at the exhibition of war artists at the National Gallery, London, in 1941. His book The Irish Scene is published in 1944, and though it sells well, the subsequent bankruptcy of his publishers mean that Conor receives no royalties. He also provides the illustrations for books by Lynn C. Doyle, the pseudonym of his friend Leslie Montgomery.
Although Conor is best known for his depictions of the everyday life of people in his native Belfast, in which he attempts to capture the “flash of humour which lightens their daily toil,” he also produces landscapes and portraits. His sitters included Douglas Hyde, St. John Greer Ervine, Charles D’Arcy, and Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry. The Council for the Encouragement of Music and the Arts organises several successful Conor exhibitions. Their one-man show of 1945 becomes the first to tour the province, while their exhibition of his work in 1954 has an attendance in excess of 2,800. Conor closes his long-established studio on Stranmillis Road in 1960 but continuea to exhibit, notably with the Bell Gallery in 1964, 1966, and 1967.
(From: “Conor, William” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “William Conor,” oil on canvas by Gladys Maccabe, Ulster Folk Museum)
Hanna is born on February 25, 1821, near Dromara, County Down, the eldest among three sons and two (possibly three) daughters of Peter Hanna, of Dromara farming stock, and his wife Ellen (née Finiston), whose father served in the Black Watch regiment during the Napoleonic Wars. In the 1820s, leaving their children behind, his parents move to Belfast, where his father establishes a business turing out horse–cars. Hanna does not join them until the mid-1830s. His education reflects the modest nature of his upbringing. It is patchy and always combined with paid employment. In the 1830s he attends Bullick’s Academy, a privately run commercial college in Belfast. In the 1840s, seemingly with the intention of preparing for the Presbyterian ministry, he takes classes at Belfast Academical Institution. In 1847, he enters the general assembly’s newly established Theological College and, after some absences, obtains his licence to preach in 1851. During this time he works, first as a woolen draper‘s assistant in High Street and then, after 1844, as a teacher in the national school associated with Townsend Street Presbyterian Church, where he is a member. He resigns his teaching post in January 1852, only a month before being ordained to full-time ministry. On August 25, 1852, he marries Frances (‘Fanny’) Spence Rankin, daughter of James Rankin, a Belfast salesman. Together they have four daughters and two sons.
Hanna’s first, and only, pastorate is in a congregation that emerges out of the evangelistic efforts he and other Townsend Street members had conducted among the working people of north Belfast. In 1852, they begin meeting in the old Berry Street church and quickly grow from 75 to over 750 families. By 1869 a new building is essential and in 1870 the foundation stone for St. Enoch’s church is laid in Carlisle Circus, on property purchased from the Belfast Charitable Society. Opened in 1872 at a cost of nearly £10,000, it seats over 2,000 people and has two galleries. With 800 families and 2,500 Sunday-school scholars, it is one of the largest congregations in Belfast.
Hanna’s influence as the leader of such a large flock is not translated into advancement within the Presbyterian church. Although he serves as the Presbyterian chaplain to the Belfast garrison (1869–91) and as moderator of the presbytery (1879) and synod (1870–71) of Belfast, he does not achieve any position of note within the denomination as a whole. This is most likely because of his penchant for public controversy. Letters to the newspapers, calls for action in presbytery, and public platform debates over issues such as public-house licensing laws, Sabbath observance and property rights, brand him a destablising force. It is no doubt for this reason, rather than for his open-air preaching, of which he does very little, that he acquires his famous sobriquet, “Roaring Hugh.” His aggressive manner in debate is noted by the Belfast News Letter early in his career.
Hanna’s political views contribute to his reputation as an intolerant firebrand. He is part of a small group of Presbyterian clergy, led by the Rev. Henry Cooke, who are staunch defenders of the Protestant interest and active supporters of the conservative cause. He hosts ”anti-popery” lectures in his church and joins the Orange Order, serving briefly, in 1871, as the deputy grand chaplain for Belfast (County Grand Lodge). His determination to uphold the “right” of Protestants to preach in the open air sparks a series of violent sectarian riots and a government inquiry in Belfast in 1857. As the century progresses, and as the Presbyterian community’s political allegiances begin to shift, he becomes one of a group of prominent figures associated with two populist campaigns: opposition in the 1860s to the disestablishment of the Church of Ireland and subsequently to the introduction of home rule. In 1886, as one of the honorary secretaries of the Ulster Constitutional Club, he helps to found the Ulster Loyalist Anti-Repeal Union, a forerunner of what eventually becomes the Ulster Unionist Party.
Such activity overshadows Hanna’s impressive contribution to education. Within St. Enoch’s he establishes an enormous network of Sunday schools and evening classes, including a training institute for teachers. As a former teacher, and later as a commissioner of national education (1880–92), he is a firm advocate of the national system, and sets up six national schools in north and west Belfast.
Hanna receives only two honours: a Doctor of Divinity (DD) from the theological faculty of the Presbyterian Church in Ireland (1885) and a Doctor of Laws (LL.D.) from Galesville University in Galesville, Wisconsin (1888). In good health throughout his life, he dies suddenly of a heart attack on February 3, 1892. Buried with much fanfare in Balmoral Cemetery, Belfast, he is clearly held in high regard by surviving friends and colleagues. In 1892, the Orange Order approves the naming of LOL 1956 as the “Hanna Memorial,” and in 1894 a bronze statue depicting him in full ecclesiastical garb is erected in Carlisle Circus. Since then, his achievements have fallen on hard times. In March 1970, an Irish Republican Army bomb blast topples his statue from its plinth; several high-profile attempts to re-erect it fail. After an arson attack in 1985, and with falling numbers, the decision is taken in 1992 to demolish St. Enoch’s and unite with the neighbouring Duncairn church in a new, much smaller, building on the site.
(From: “Hanna, Hugh” by Janice Holmes, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: Portrait of Reverend Hugh Hanna by Augustus George Whichelo in 1876, which is part of the collection owned by the National Museums Northern Ireland and is located in the Ulster Museum)
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.
In 1956, Whitaker is appointed Secretary of the Department of Finance, at the age of thirty-nine. His appointment takes place at a time when Ireland’s economy is in deep depression. Economic growth is non-existent, inflation apparently insoluble, unemployment rife, living standards low and emigration at a figure not far below the birth rate. He believes that free trade, with increased competition and the end of protectionism, will become inevitable and that jobs will have to be created by a shift from agriculture to industry and services. He forms a team of officials within the department which produce a detailed study of the economy, culminating in a plan recommending policies for improvement. The plan is accepted by the government and is transformed into a white paper which becomes known as the First Programme for Economic Expansion, and quite unusually is published with his name attached in November 1958. The programme becomes known as the “Grey Book” which many argue brings the stimulus of foreign investment into the Irish economy. However, other reforms such as the Department of Industry and Commerce‘s export profits tax relief introduced in 1956, are opposed by Whitaker.
In 1977, Taoiseach Jack Lynch nominates Whitaker as a member of the 14th Seanad. He serves as a Senator from 1977 to 1981, where he sits as an independent member.
In 1981, Whitaker is nominated to the 15th Seanad by Taoiseach Garret FitzGerald, where he serves until 1982. FitzGerald also appoints him to chair a Committee of Inquiry into the Irish penal system, and he chairs a Parole Board or Sentence Review Group for several years.
Whitaker also serves as Chancellor of the National University of Ireland (NUI) from 1976 to 1996. He was also President of the Royal Irish Academy (RIA) and as such, a member of the Board of Governors and Guardians of the National Gallery of Ireland, from 1985 to 1987. He has a very strong love for the Irish language throughout his career and the collection of Irish poetry, An Duanaire: Poems of the Dispossessed 1600–1900, edited by Seán Ó Tuama and Thomas Kinsella is dedicated to Whitaker. From 1995 to 1996 he chairs the Constitution Review Group, an independent expert group established by the government, which publishes its report in July 1996.
Whitaker receives many national and international honours and tributes for his achievements during his lifetime, most notably the conferral of “Irishman of the 20th Century” in 2001 and Greatest Living Irish Person in 2002. In November 2014, the Institute of Banking confers an Honorary Fellowship on him and creates an annual T. K. Whitaker Scholarship in his name. In April 2015, he is presented with a lifetime achievement award by University College Dublin‘s Economics Society for his outstanding contribution to Ireland’s economic policy.
In November 2016, to mark his centenary year, Dún Laoghaire–Rathdown County Council acknowledges Whitaker’s “outstanding and progressive contribution to Irish public service and to society.” The Cathaoirleach of Dún Laoghaire–Rathdown, Cormac Devlin, presents a special award to Whitaker which is accepted by Ken Whitaker on behalf of his father.
Whitaker marries Nora Fogarty in 1941 and they have six children. After his wife’s death in 1994, he remarries, to Mary Moore in 2005. The couple is invited to Áras an Uachtaráin in 2006 for his 90th birthday by the President of IrelandMary McAleese. Mary Moore Whitaker dies in 2008. T. K. Whitaker turns 100 in December 2016 and dies a month later on January 9, 2017, having survived both of his wives. He is buried at Shanganagh Cemetery, Shankill, Dublin.
Louisa (Louie) Bennett, suffragette, trade unionist, and peace activist, is born on January 7, 1870, in Garville Avenue, Rathgar, Dublin, the eldest daughter of James Cavendish Bennett, a prosperous auctioneer, and his wife Susan (née Bolger). She is brought up at Temple Hill, Blackrock, and educated at Alexandra College, and at an academy for young ladies in London, where she and her sisters form an Irish League. She goes on to study singing in Bonn, Germany. Already as a teenager she shows an interest in writing, her first literary effort being Memoirs of the Temple Road in the 80s. Afterward she publishes two unsuccessful romantic novels, The Proving of Priscilla (1902) and A Prisoner of His Word (1908), the latter set in County Down in the aftermath of the Irish Rebellion of 1798.
Bennett turns her attention to women’s issues and by 1910 has become involved in the suffrage movement, initially through her reading of the suffrage monthly TheIrish Citizen. In 1911, she co-founds, with her life-long friend and colleague Helen Chenevix, the Irish Women’s Suffrage Federation, an umbrella organisation, which by 1913 has connected fifteen Irish suffrage societies and has established links with Europe and the United States. She and Chenevix are the organisation’s first honorary secretaries. She is also associated with the Irish Women’s Franchise League, for which she runs public speaking classes. However, as the divide between militants and opponents of the use of violence become more pronounced, Bennett, as a confirmed pacifist, who endorses what she calls “constructive, rather than destructive action,” distances herself from the league, and through her involvement in the production of TheIrish Citizen seeks to sideline the militants.
Bennett’s concerns are not limited to the question of women’s franchise. As founder of the Irish Women’s Reform League, she not only addressea the suffrage question, but examines many social issues concerning women. The league focuses on working conditions, monitors court cases involving women, and demands school meals and better education. She is among those who assist in the relief effort at Liberty Hall during the 1913 strike and lockout in Dublin, and she appeals for funds for strikers’ families through TheIrish Citizen. In the period that follows she maintains her links with the labour movement. She often opposes the direct, uncompromising approach of both James Connolly and Helena Molony, and argues that labour and women’s issues can only be hampered by any affiliation with nationalist politics. The aftermath of the Easter Rising, and in particular, the murder of Francis Sheehy-Skeffington, causes her to revise some of her views on nationalism. In late 1916 she accepts an invitation to reorganise the Irish Women Workers’ Union (IWWU), on the understanding that she would have complete independence from Liberty Hall. Assisted by Chenevix and Father John Flanagan, she re-creates the union along professional lines, and by 1918 its membership has risen dramatically from a few hundred to 5,300. She consistently defends its separatist stance, arguing that women’s concerns in a male-dominated union will always be of secondary importance.
Throughout World War I Bennett campaigns for peace, and she is selected as the Irish representative to the Women’s International League for Peace and Freedom. She leads the IWWU in its opposition to the attempted introduction of conscription in 1918, and in 1920 she travels to the United States to highlight Black and Tan atrocities (she later meets David Lloyd George and demands the removal of the Black and Tans from Ireland). As a member of the Women’s Peace Committee, she acts as a mediator during the Irish Civil War.
In 1925, Bennett is appointed to an Irish Trades Union Congress (ITUC) committee to promote a scheme of working class education with the assistance of the labour movement. Her interest in adult education later leads to her involvement with The People’s College. A member of the national executive of the ITUC (1927–32, 1944–50), she becomes the first female president of the congress in 1932. She serves a second presidential term in 1947. Her knowledge of labour issues is officially acknowledged by the Irish government in 1932, when she is sent as a representative to Geneva to put forward the case of Irish women workers. In 1938 she delivers a paper entitled Industrialism in an Agrarian Country to the International Relations Institute in the Netherlands.
Despite the depth of Bennett’s involvement with the union movement, she has ambitions outside trade unionism, and in 1938 she lets her name be put forward by the IWWU as a congress candidate for election to the senate, but this comes to nothing. In that year she is appointed to the government commission on vocational organisation (1938–43). In 1943, she is elected as a Labour Party member of the Dún Laoghaire borough council. As a councillor she consistently lobbies for improved housing and is instrumental in the establishment of Dún Laoghaire’s housing council in 1949. She had refused a labour nomination in the 1918 general election, but she stands for Dublin County Council and Dáil Éireann in 1944, in both cases unsuccessfully. She is the only Labour Party member to criticise the party’s support for the Fianna Fáil minority government of 1932, arguing that it is “never right or wise to co-operate with another party with fundamentally different principles.” As an elected member of the Labour Party executive, she represents Ireland at the International Labour Organization in Europe. She is also a representative at the League of Nations.
Throughout her public career Bennett consistently condemns colonialism, fascism, and armaments expenditure. She is possibly best remembered for her leadership in the laundry workers’ strike of 1945, during which IWWU members successfully fight for a fortnight‘s paid holiday. Her management of the IWWU, which lasts until 1955, is marked by determination and diplomacy, though she often uses threatened resignations as a means of controlling her colleagues. She died, unmarried, on November 25, 1956, in Killiney, County Dublin.
(From: “Bennett, Louisa (‘Louie’)” by Frances Clarke, Dictionary of Irish Biography, October 2009)
Campbell is born on February 1, 1763, in County Down, Ireland (now Northern Ireland), and is raised as an Anglican. He is ordained a minister in the Scottish Seceder Presbyterian Church sometime after graduating from the University of Glasgow in 1786. He leaves Ireland for the United States in April 1807. This move is prompted by the advice of his physician. Once in America, disagreement arises between him and other Presbyterians over certain points related to Calvinist doctrine and the administration of the Eucharist.
When their study of the New Testament leads the reformers to begin to practice baptism by immersion, the nearby Redstone Baptist Association invites Brush Run Church to join with them for the purpose of fellowship. The reformers agree, provided that they will be “allowed to preach and to teach whatever they learned from the Scriptures.”
Thomas and his son, Alexander, work within the Redstone Baptist Association during the period 1815 through 1824. While both the Campbells and the Baptists share practices of baptism by immersion and congregational polity, it is soon clear that the Campbells and their associates are not traditional Baptists. Within the Redstone Baptist Association, some of the Baptist leaders consider the differences intolerable when Alexander Campbell begins publishing a journal, Christian Baptist, which promotes reform. The Campbells anticipated the conflict and move their membership to a congregation of the Mahoning Baptist Association in 1824.
Campbell is a student of the Enlightenment philosopher John Locke. While he does not explicitly use the term “essentials,” in the Declaration and Address, Campbell proposes the same solution to religious division as had been advanced earlier by Herbert and Locke: “[R]educe religion to a set of essentials upon which all reasonable persons might agree.” The essentials he identifies are those practices for which the Bible provides “a ‘Thus saith the Lord,’ either in express terms or by approved precedent.” Unlike Locke, who sees the earlier efforts by Puritans as inherently divisive, he argues for “a complete restoration of apostolic Christianity.” He believes that creeds serve to divide Christians. He also believes that the Bible is clear enough that anyone can understand it and, thus, creeds are unnecessary.
Campbell combines the Enlightenment approach to unity with the Reformed and Puritan traditions of restoration. The Enlightenment affects the Campbell movement in two ways. First, it provides the idea that Christian unity can be achieved by finding a set of essentials that all reasonable people can agree on. The second is the concept of a rational faith that is formulated and defended on the basis of a set of facts derived from the Bible.
Thomas dies on January 4, 1854, in Bethany, West Virginia, and is buried next to his wife in the Campbell family cemetery.
Mitchel is born Jane Verner around 1820 near Newry, County Down. At the time she, her brother and her mother, Mary Ward, are living with Captain James Verner (1777–1847), who is from a prominent Armagh family, and is involved in the Orange Order, going on to become Orange deputy grandmaster of Ireland in 1824. Although James Verner raises Mitchel, she is not believed to be his child. She attends Miss Bryden’s School for Young Ladies in Newry.
Mitchel meets her husband, John Mitchel, when she is fifteen. The couple elopes in November 1836, but do not marry as James Verner pursues them to Chester and brings her home to Ireland. They elope again in 1837, and are married at Drumcree Church, County Armagh, on February 3. At this point, Mitchel is disowned by James Verner, and goes to live with her in-laws at Dromalane, County Down. They then move to Banbridge in 1839 where her husband practises law. The couple goes on to have six children, three daughters and three sons.
The couple moves to Dublin in October 1845 when John Mitchel becomes the assistant editor of The Nation. They live at 8 Ontario Terrace, Rathmines, where they meet Young Irelanders. She is a full supporter of her husband’s nationalism. She aids in his work with The Nation, reading other newspapers, keeping and filing reference clippings, going on to become an editor and anonymous contributor to the United Irishman from February 1848. John Mitchel is convicted of treason for inciting insurrection in May 1848, and is sentenced to fourteen years’ transportation. Mitchel urges his fellow Young Irelanders to fight his removal, and denounces them when they fail to come out in support of him.
Due to her standing in the nationalist community, £1,450 is raised to support her and her family. For three years, Mitchel lives in Newry and Dublin, before she joins her husband in Van Diemen’s Land (Tasmania) in June 1851, where they settle in the village of Bothwell. Their youngest child, Isabel, is born there in 1853.
The Mitchels travel around the island with her husband, visiting fellow Irish exiles, becoming fond of William Smith O’Brien in particular.
When John Mitchel escapes in July 1853, Mitchel travels with her children to join him in Sydney, from where they sail to the United States. They live for a time in Brooklyn, New York, from 1853 to 1855, rekindling friendships with old friends who are fellow Young Ireland exiles.
In May 1855, the family moves to a remote farm at Tucaleechee Cove in Tennessee. She fears that the isolation and life in a primitive log cabin will be detrimental to their children’s education, and at her behest the family moves to Knoxville, Tennessee, in September 1856. From here, John Mitchel runs a pro-slavery newspaper, the Southern Citizen.
The family moves again in December 1858 to Washington, D.C. Mitchel supports her husband in the Southern cause, albeit with some reservation. Nothing, she says, will induce her “to become the mistress of a slave household.” Her objection to slavery is “the injury it does to the white masters.”
Mitchel accompanies her husband to Paris in September 1860, and in opposition to some of the family, she supports her daughter Henrietta’s conversion to Catholicism and entrance into a convent. She remains in Paris and Ireland with her daughters, while her husband and sons assist the Confederacy during the American Civil War. Without letting her husband know, she resolves to return to America when she hears of her youngest son, William’s, death at Gettysburg in July 1863. She sails with her daughters, Mary and Isabel, as Henrietta had died earlier the same year. While their ship runs a blockade by the Union, the ship is shelled, runs aground, and catches fire near the coast of North Carolina. She and her daughters are unhurt, but lose all of their possessions. By December 1863, she has joined her husband in Richmond, Virginia, remaining their for the rest of the Civil War. Their eldest son, John, is killed in action in July 1864.
The family returns to New York after the war, and John Mitchel sets up another paper, The Irish Citizen (1867–72). Due to lack of funding for the Irish American press and her husband’s ill health results in the family falling into poverty. This is alleviated by a testimonial raised by William and John Dillon in 1873. Mitchel is widowed in March 1875, going on to receive $30,000 from nationalist sympathisers. She invests this money in a photolithographic firm she and her son, James, run. She dies at home in Bedford Park, New York, on December 31, 1899. She is buried in Woodlawn Cemetery, Bronx, New York, with her plot marked with a large Celtic cross. She is survived by two of her children, James (1840–1908) and Mary (1846–1910).
Agar is known to have held particularly marked Calvinistic positions. He serves as Dean of Kilmore from 1765 to 1768, and then as Bishop of Cloyne until 1779.
In 1794, Agar is raised to the Peerage of Ireland as Baron Somerton. In 1801, he is translated to become Archbishop of Dublin and is created Viscount Somerton. In 1806, he is further honoured when he is made Earl of Normanton. These titles are all in the Peerage of Ireland. He remains as Archbishop of Dublin until his death in 1809, and from the beginning of 1801 onward, sits in the House of Lords as one of the twenty-eight original Irish representative peer, following the Acts of Union 1800 which unites Ireland and Great Britain.
Agar dies on July 14, 1809, aged 72, and is succeeded in his secular titles by his son Welbore Ellis Agar. He is buried in the north transept of Westminster Abbey. His widow Jane, Countess of Normanton, is buried alongside him following her death in 1826. His tomb dates from 1815 and is created by John Bacon.
Since the beginning of its campaign in 1970, the Provisional IRA has carried out many improvised land mine and roadside bomb attacks on British forces in the region. In September 1972, three British soldiers are killed when their armoured vehicle is blown up by an IRA land mine at Sanaghanroe, near Dungannon. In March 1974, two IRA members are killed on the Aughnacloy Road near Dungannon when a land mine they are planting explodes prematurely.
The Dungannon attack occurs just months after the Warrenpoint ambush on August 27, 1979, where the IRA kills eighteen British soldiers with roadside bombs in south County Down — the deadliest single attack on British forces during The Troubles.
On December 16, 1979, two armoured British Army Land Rovers are driving along Ballygawley Road, about two miles outside Dungannon. A unit of the IRA had planted a 600–1,000-pound (270–450 kg) improvised land mine in a culvert under the road at Glenadush. When the second vehicle reaches the culvert, the land mine is detonated by remote control from a concealed location, showcasing their evolving tactics in guerrilla warfare and ambush strategy. The blast is powerful enough to launch the armoured Land Rover into the air and killing four soldiers from the Royal Regiment of Artillery outright: William Beck (23), Keith Richards (22), Simon Evans (19), and Allan Ayrton (23).
John McCredy McAlery, an Irish association football pioneer, is born in Rathfriland, County Down, on November 29, 1848. His accomplishments include organizing the first ever properly organized football match in the history of Irish football in 1878, founding the first Irish football club in 1879, helping found the Irish Football Association in 1880, and wearing the captain‘s armband in Ireland‘s first ever international match in 1882. He is known as the “father of Irish association football.”
McAlery moves to Belfast to learn the drapery business and soon becomes very successful, opening the Irish Tweed House gentleman’s outfitters on Royal Avenue. A talented cricketer in his youth, his first involvement in the Belfast sport scene is helping in the formation of the Cliftonville Cricket Club in 1870, later serving as club treasurer. In 1878, during his honeymoon in Scotland, he witnesses his first ever association football match, and enjoys it so much he decides to introduce the sport back home.
The first match of organized association football on Irish soil is played on October 24, 1878, between Caledonian and Queen’s Park. McAlery invites the Scottish sides to play in the exhibition match at the Ulster Cricket Ground in an attempt to showcase the game to the Belfast crowd. Queen’s Park achieves a 3–2 victory, and more importantly, the demonstration is well received by the locals.
On September 20, 1879, less than a year later, McAlery places an advertisement in both the News Letter and the Northern Whig soliciting for individuals interested in becoming members of the Cliftonville Association Football Club.
The newly formed Cliftonville F.C. side plays their first match just nine days later, losing 2–1 to a team of rugby players called Quidnunces. They achieve their first victory on November 1 with a 2–0 defeat of Knock F.C., a team of former lacrosse players.
On November 18, 1880, McAlery organizes a meeting at the Queen’s Hotel in Belfast between the seven Irish football clubs that have been established at the time: Alexander, Avoniel, Cliftonville, Lisburn Distillery, Knock, Moyola Park and Oldpark. These teams become the founding members of the Irish Football Association (IFA), with Lord Spencer Chichester serving as its president and McAlery as secretary. In an appendix to the minutes of the meeting, McAlery writes: “If the spirit which pervaded from those present be acted upon the result will be a strong Association for promoting the game which we have espoused.”
The meeting also provides for Ireland’s first official football competition, the Irish FA Cup. In the first Cup final of the inaugural competition, played on April 9, 1881, Cliftonville is defeated by Moyola Park. They suffer the same fate the following year, losing to Queen’s Island in the final of the 1881–82 edition. McAlery, who captains Cliftonville while playing at fullback, wins his first trophy on his third try, as his club defeats Ulster to win the 1882–83 Irish Cup.
McAlery does not play much after this, deciding to focus on his administrative role in Irish football. He referees international matches until 1887, and remains the Irish FA secretary until 1888.
McAlery captains Ireland’s first ever international match on February 18, 1882, playing at right back. On a “bittery cold” Belfast night with occasional rain and hail, Ireland loses to the far more experienced England team by a score of 13–0. A week later, he makes his second and final international appearance, captaining his team again as they lose 7–1 to Wales in Wrexham.
seamus dubhghaill 