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Birth of Eoin MacNeill, Gaelic Revivalist, Nationalist & Politician

Eoin MacNeill, Irish scholar, Irish language enthusiast, Gaelic revivalist, nationalist and politician, is born John McNeill in Glenarm, County Antrim, on May 15, 1867.

MacNeill is one of five children born to Archibald McNeill, a Roman Catholic working-class baker, sailor and merchant, and his wife, Rosetta McNeill (née McAuley), also a Catholic. He is raised in Glenarm, an area which “still retained some Irish-language traditions.” His niece is nationalist and teacher, Máirín Beaumont.

MacNeill is educated at St. Malachy’s College and Queen’s College, Belfast. He is interested in Irish history and immerses himself in its study. He achieves a Bachelor of Arts degree in economics, jurisprudence and constitutional history in 1888, and then works in the British Civil Service.

MacNeill co-founds the Gaelic League in 1893, along with Douglas Hyde. He is unpaid secretary from 1893 to 1897 and then becomes the initial editor of the League’s official newspaper An Claidheamh Soluis (1899–1901). He is also editor of the Gaelic Journal from 1894 to 1899. In 1908, he is appointed professor of early Irish history at University College Dublin (UCD).

MacNeill marries Agnes Moore on April 19, 1898. The couple has eight children, four sons and four daughters (though the 1911 census entry for MacNeill notes eleven children, seven of whom are still alive).

The Gaelic League is from the start strictly non-political, but in 1915, a proposal is put forward to abandon that policy and become a semi-political organisation. MacNeill strongly supports this and rallies to his side a majority of delegates at the 1915 Oireachtas. Douglas Hyde, a non-political Protestant, who had co-founded the League and been its president for 22 years, resigns immediately afterward.

Through the Gaelic League, MacNeill meets members of Sinn Féin, the Irish Republican Brotherhood (IRB), and other nationalists and republicans. One such colleague, The O’Rahilly, runs the league’s newspaper An Claidheamh Soluis, and in October 1913 asks MacNeill to write an editorial for it on a subject broader than Irish language issues. He submits a piece called “The North Began,” encouraging the formation of a nationalist volunteer force committed to Irish Home Rule, much as the unionists had done earlier in the year with the Ulster Volunteers to thwart Home Rule in Ireland. In July 1915, he comments on the threat that the unarmed nationalists in Ulster might face: “…a demented…English driven Orange Army would be let loose upon the helpless Catholic people of Ulster, who would be driven out of the province or massacred where they stood.”

Bulmer Hobson, a member of the IRB, approaches MacNeill about bringing the idea to fruition, and, through a series of meetings, MacNeill becomes chair of the council that forms the Irish Volunteers, later becoming its chief of staff. Unlike the IRB, he is opposed to the idea of an armed rebellion, except in resisting any suppression of the Volunteers, seeing little hope of success in open battle against the British army.

The Irish Volunteers have been infiltrated by the Irish Republican Brotherhood, which plan on using the organisation to stage an armed rebellion, to separate Ireland from the United Kingdom and establishing an Irish Republic. The entry of the UK into World War I is, in their view, a perfect opportunity to do that. With the cooperation of James Connolly and the Irish Citizen Army, a secret council of IRB officials plan a general rising at Easter 1916. On the Wednesday before Easter, they present MacNeill with a letter, allegedly stolen from high-ranking British staff in Dublin Castle, indicating that the British are going to arrest him and all the other nationalist leaders. Unbeknownst to MacNeill, the letter—called the Castle Document—is a forgery.

When MacNeill learns about the IRB’s plans, and when he is informed that Roger Casement is about to land in County Kerry with a shipment of German arms, he is reluctantly persuaded to go along with them, believing British action is now imminent and that mobilization of the Irish Volunteers will be justified as a defensive act. However, after learning that the German arms shipment has been intercepted and Casement arrested, and having confronted Patrick Pearse, who refuses to relent, MacNeill countermands the order for the Rising by sending written messages to leaders around the country, and placing a notice in the Sunday Independent cancelling the planned “manoeuvres.” This greatly reduces the number of volunteers who report for duty on the day of the Easter Rising.

Pearse, Connolly and the others agree that the uprising will go ahead anyway, but it begins one day later than originally intended to ensure that the authorities are taken by surprise. Beginning on Easter Monday, April 24, 1916, the Rising lasts less than a week. After the surrender of the rebels, MacNeill is arrested although he has taken no part in the insurrection. The rebel leader Tom Clarke, according to his wife Kathleen, warns her on the day before his execution, “I want you to see to it that our people know of his treachery to us. He must never be allowed back into the National life of this country, for so sure as he is, so sure will he act treacherously in a crisis. He is a weak man, but I know every effort will be made to whitewash him.”

MacNeill is released from prison in 1917 and is elected Member of Parliament (MP) for the National University and Londonderry City constituencies for Sinn Féin in the 1918 United Kingdom general election. In line with abstentionist Sinn Féin policy, he refuses to take his seat in the British House of Commons in London and sits instead in the newly convened Dáil Éireann in Dublin, where he is made Secretary for Industries in the second ministry of the First Dáil. He is a member of the Parliament of Northern Ireland for Londonderry between 1921 and 1925, although he never takes his seat. In 1921, he supports the Anglo-Irish Treaty. In 1922, he is in a minority of pro-Treaty delegates at the Irish Race Convention in Paris. Following the establishment of the Irish Free State, he becomes Minister for Education in its second (provisional) government, the third Dáil. He strongly supports the execution of Richard Barrett, Liam Mellows, Joe McKelvey and Rory O’Connor during the Irish Civil War.

In 1923, MacNeill, a committed internationalist, is also a key member of the diplomatic team that oversees Ireland’s entry to the League of Nations.

MacNeill’s family is split on the treaty issue. One son, Brian, takes the anti-Treaty side and is killed in disputed circumstances near Sligo by Free State troops during the Irish Civil War in September 1922. Two other sons, Niall and Turloch, as well as nephew Hugo MacNeill, serve as officers in the Free State Army. One of his brothers, James McNeill, is the second and penultimate Governor-General of the Irish Free State.

In 1924, the three-man Irish Boundary Commission is set up to settle the border between Northern Ireland and the Irish Free State. MacNeill represents the Irish Free State. He is the only member of the Commission without legal training and has been described as being “pathetically out of his depth.” However, each of the Commissioners is selected out of political expediency rather than for any established competence or insight into boundary making. On November 7, 1925, a conservative British newspaper, The Morning Post, publishes a leaked map showing a part of eastern County Donegal (mainly The Laggan district) that is to be transferred to Northern Ireland, the opposite of the main aims of the commission. Perhaps embarrassed by that, especially since he said that it had declined to respect the terms of the Treaty, MacNeill resigns from the commission on November 20. Hus performance in the Boundary Commission has been deemed highly negative in a 2025 study The Root of All Evil: The Irish Boundary Commission.

On November 24, 1925, MacNeill also resign as Minister for Education, a position unrelated to his work on the commission.

On December 3, 1925, the Free State government agrees with the governments in London and Belfast to end its onerous treaty requirement to pay its share of the United Kingdom’s “imperial debt” and, in exchange, agrees that the 1920 boundary will remain as it is, overriding the commission. This angers many nationalists and MacNeill is the subject of much criticism, but in reality, he and the commission have been sidestepped by the intergovernmental debt renegotiation. In any case, despite his resignations, the intergovernmental boundary deal is approved by a Dáil vote of 71–20 on December 10, 1925, and MacNeill is listed as voting with the majority in favour. He loses his Dáil seat at the June 1927 Irish general election.

MacNeill is an important scholar of Irish history and among the first to study Early Irish law, offering both his interpretations, which at times are coloured by his nationalism, and translations into English. He is also the first to uncover the nature of succession in Irish kingship, and his theories are the foundation for modern ideas on the subject.

MacNeill is a contributor to the Royal Irish Academy‘s Clare Island Survey, recording the Irish place names of the island. His disagreements and disputes with Goddard Henry Orpen, particularly over the latter’s book Ireland under the Normans, generate controversy.

MacNeill is President of the Royal Society of Antiquaries of Ireland (RSAI) from 1937 to 1940 and President of the Royal Irish Academy (RIA) from 1940 to 1943.

MacNeill retires from politics completely and becomes Chair of the Irish Manuscripts Commission. In his later years he devotes his life to scholarship and publishes several books on Irish history. He dies in Dublin of natural causes, aged 78, on October 15, 1945. He is buried in Kilbarrack Cemetery.

MacNeill’s grandson Michael McDowell serves as Tánaiste, Minister for Justice, Equality and Law Reform, TD and a Senator. Another grandson, Myles Tierney, serves as a member of Dublin County Council, where he is Fine Gael whip on the council.


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Founding of the Irish Texts Society

The Irish Texts Society (Irish: Cumann na Scríbheann nGaedhilge) is founded in London on April 26, 1898, to advance public education by promoting the study of Irish literature. It is a text publication society, issuing annotated editions of texts in Irish with English translations and related commentaries.

Douglas Hyde is the Society’s first president, Frederick York Powell is its first chairman and Norma Borthwick and Eleanor Hull are the secretaries.

As of 2009, the Irish Texts Society has published sixty-three items in its main series and twenty items in its subsidiary series. Other publications have included Patrick S. Dinneen‘s Irish-English Dictionary and the Historical Dictionary of Irish Placenames.

The Society holds an annual seminar at University College Cork (UCC), with the 27th event scheduled to take place on November 7, 2026.

Distinguished past members include Norma Borthwick, Rachel Bromwich, Myles Dillon, Patrick Dinneen, Idris Foster, Robin Flower, Eleanor Hull, Douglas Hyde, Gerard Murphy, Maurice O’Connell, Noel O’Connell.


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Death of Artist William Conor

William Conor, figure and portrait painter, dies on February 6, 1968, at his home in Salisbury Avenue, Belfast, Northern Ireland.

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 mural Ulster 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.

The first Irishman to become a member of the Royal Institute of Oil Painters, Conor is a founder member of the Ulster Academy (later the Royal Ulster Academy), and from 1957 to 1964 serves as its president. In 1938 he becomes an associate member of the RHA, and in 1947 he receives full membership. He is awarded the Order of the British Empire (OBE) in 1952, an honorary MA from Queen’s University Belfast (QUB) in 1957, and a civil-list pension in 1959.

Conor dies on February 6, 1968, at his home in Salisbury Avenue, Belfast, and is buried in Carnmoney churchyard. He never marries. His work is represented in galleries and institutions throughout Ireland and Great Britain, including the Ulster Museum, Ulster Folk and Transport Museums, Dublin City Gallery the Hugh Lane, the Imperial War Museum, and the Victoria and Albert Museum.

(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)


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Birth of Sir Anthony Babington, Barrister, Judge & Politician

Sir Anthony Brutus Babington PC (NI), Anglo-Irish barrister, judge and politician, is born on November 24, 1877, at Creevagh House, County Londonderry, to Hume Babington JP, son of Rev. Hume Babington and a landowner of 1,540 acres, and Hester (née Watt), sister of Andrew Alexander Watt.

Babington is born into the Anglo-Irish Babington family that arrives in Ireland in 1610 when Brutus Babington is appointed Bishop of Derry. Notable relations include Robert Babington, William Babington, Benjamin Guy Babington and James Melville Babington and author Anthony Babington.

Babington is educated at Glenalmond School, Perthshire, and Trinity College, Dublin, where he wins the Gold Medal for Oratory of the College Historical Society in 1899.

Babington is called to the Irish Bar in 1900. He briefly lectures in Equity at King’s Inns, and it is during this time, in 1910, that he re-arranges and re-writes R.E. Osborne’s Jurisdiction and Practice of County Courts in Ireland in Equity and Probate Matters. He takes silk in 1917.

Babington moves to the newly established Northern Ireland in 1921 and practises as a barrister until his election to the House of Commons of Northern Ireland as the Ulster Unionist Party member for Belfast South in the 1925 Northern Ireland general election and subsequent appointment as Attorney General for Northern Ireland the same year in the cabinet of James Craig, 1st Viscount Craigavon. His appointment to the Privy Council of Northern Ireland in 1926 entitles him to the style “The Right Honourable.” From 1929 he is the MP for Belfast Cromac, the Belfast South constituency having been abolished. He is made an honorary bencher of the Middle Temple in 1930.

Babington resigns from politics in 1937 upon his appointment as a Lord Justice of Appeal and is knighted in the 1937 Coronation Honours.

In 1947, Babington chairs the Babington Agricultural Enquiry Committee, named in his honour, which is established in 1943 to examine agriculture in Northern Ireland. The committee’s first recommendation under Babington’s leadership is that Northern Ireland should direct all its energies to the production of livestock and livestock products and to their efficient processing and marketing.

Babington retires from the judiciary in 1949, taking up the chairmanship of the Northern Ireland Transport Tribunal, which exists until 1967, established under the Ulster Transport Act – promoting a car-centred transport policy – and which is largely responsible for the closure of the Belfast and County Down Railway. He endorses the closure on financial grounds and is at cross purposes with his co-chair, Dr. James Beddy, who advises against the closure, citing the disruption of life in the border region between the north and the south as his primary reason in addition to financial grounds.

Babington also chairs a government inquiry into the licensing of clubs, the proceeds of which results in new regulatory legislation at Stormont. While Attorney General, he is a proponent of renaming Northern Ireland as “Ulster.”

Babington is critical of the newly proposed Irish constitution, in which the name of the Irish state is changed to “Ireland,” laying claim to jurisdiction over Northern Ireland.

Michael McDunphy, Secretary to the President of Ireland, then Douglas Hyde, recalls Ernest Alton‘s correspondence with Babington on the question of Irish unity, in which Alton and Babington are revealed to be at cross purposes. The discussion is used as an example by Brian Murphy, in Forgotten Patriot: Douglas Hyde and the Foundation of the Irish Presidency, as an example of the office of the Irish President becoming embroiled in an initiative involving Trinity College Dublin and a senior Northern Ireland legal figure, namely Babington. 

Babington writes to Alton, then Provost of Trinity College, Dublin, expressing his view that, as Murphy summarises, “… Severance between the two parts of Ireland could not continue, that it was the duty of all Irishmen to work for early unification and that in his opinion Trinity College was a very appropriate place in which the first move should be made.” When Alton arrives to meet with Hyde, it emerges, after conversing with Hyde’s secretary McDunphy, that he and Babington are at cross purposes. “It soon became clear that the united Ireland contemplated by Mr. [sic] Justice Babington of the Northern Ireland Judiciary was one within the framework of the British Commonwealth of Nations, involving recognition of the King of England as the Supreme Head, or as Dr. Alton put it, the symbol of unity of the whole system,” writes McDunphy.

On September 5, 1907, Babington marries Ethel Vaughan Hart, daughter of George Vaughan Hart of Howth, County Dublin (the son of Sir Andrew Searle Hart) and his wife Mary Elizabeth Hone, a scion of the Hone family. They have three children.

Babington is a member of the Apprentice Boys of Derry. From 1926 to 1952, he is a member of the board of governors of the Belfast Royal Academy. He serves as warden (chairman) of the board from 1941 to 1943. Through his efforts the school acquires the Castle Grounds from Anthony Ashley-Cooper, 9th Earl of Shaftesbury in 1934.

Babington is a keen golfer. He is an international golfer from 1903 to 1913, during which he is runner-up in the Irish Amateur Golf Championships in 1909 and one of the Irish representatives at an international match in 1913. The Babington Room in the Royal Portrush Golf Club is named after him, as is the 18th hole on the course as a result of the key role he plays in shaping its history.

Babington dies at the age of 94 on April 10, 1972 at his home, Creevagh, Portrush, County Antrim.


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Death of Leo Whelan, Portrait & Genre Painter

(Michael) Leo Whelan, portrait and genre painter, dies from leukemia on November 6, 1956, at the Mater private nursing home in Dublin.

Whelan is born on January 17, 1892, at 20 St. George’s Villas, Fairview, Dublin, one of two sons and three daughters of Maurice Whelan, a draper, of County Kerry ancestry, and Mary Whelan (née Cruise), from County Roscommon. The family subsequently moves to 65 Eccles Street, where his parents operated a small hotel. Educated at Belvedere College, Dublin, he then attends the Dublin Metropolitan School of Art (DMSA) (1908–14), where he is a student of William Orpen, who has a huge influence on his artistic style. His fellow students at the school include Patrick Tuohy and Séan Keating.

Whelan is awarded many prizes in the Royal Dublin Society (RDS) Taylor art competitions, including one in 1912 for a portrait of his sister Lena, entitled On the Moors, rendered in a strongly academic technique. In 1916, he wins the Taylor scholarship for the Royal Hibernian Academy (RHA) schools for his finest early work, The Doctor’s Visit, an adroitly executed composition of contrasting shadows and light. Typical of many of his genre interiors, the painting depicts a room in the family home, with relatives as models: Whelan’s mother sits by the bed watching over his ill cousin, while his sister, dressed in a Mater hospital nurse’s uniform, is in the background opening the door for the doctor. The subtly evoked atmosphere of restrained emotion foreshadowed a hallmark of his mature style.

Whelan exhibits annually at the RHA for forty-five years (1911–56), averaging six works per year. He is elected an RHA associate in 1920, becoming a full member in 1924. He participates in the Exposition d’art irlandais at the Galerie Barbazanges in Paris in 1922. A visiting teacher at the RHA schools in 1924, he also teaches in the DMSA for a time. He has studios at 64 Dawson Street (1914–27) and 7 Lower Baggot Street (1931–56). Beginning in the 1910s, he receives regular commissions for portraits, constituting his primary source of income. Having become the family’s main breadwinner following his parents’ deaths in the 1920s, he concentrates most of his production on this lucrative activity, portraying numerous leading figures in the spheres of politics, academia, religion, society, medicine, and law.

Coming from a family of militant nationalist sympathies, in 1922 he begins a large group portrait, GHQ Staff of the Pre-Treaty IRA, including Michael Collins, Richard Mulcahy, Rory O’Connor, Liam Mellows and nine others, composed from individual studies of the men rendered during clandestine sittings in his home and studio. The painting, which he leaves unfinished, is in McKee Barracks, Dublin. He receives special praise for his portraits of John Henry Bernard, Provost of Trinity College Dublin (TCD) and of Louis Claude Purser, TCD vice-provost. The latter is awarded a medal at the 1926 Tailteann Games. He exhibits seventeen paintings at the Royal Society of Portrait Painters, London, of which he is a member, and shows two works at the Royal Academy of Arts, London. His 1929 portrait of John McCormack, one of his major patrons, is presented by the tenor’s family some fifty years later to the National Concert Hall, Dublin.

Situated securely in the academic tradition, in most of his portraits Whelan favours a sombre, restricted palette, with the sitter placed, in grave demeanour, against a monotone background with few accessories. In a 1943 interview he asserts that twentieth-century portraiture suffers from the drabness of modern costume, for which the artist must compensate by careful rendition of the subject’s hands. He tends to depart from his prevailing portrait style when painting women, whom he characteristically depicts in meticulously observed interiors, a notable example being his portrait of Society hostess Gladys Maccabe (c.1946; NGI).

Whelan’s commercial concentration on portraiture notwithstanding, he expresses his true talent in genre compositions, especially kitchen interiors, in which he emulates the technique of the Dutch painter Johannes Vermeer. Two of the most accomplished of these depict his sister Frances in the basement kitchen of the family home: The Kitchen Window (1927; Crawford Art Gallery, Cork) demonstrates a particularly skillful use of light, while Interior of a Kitchen (1935) is notable for the dexterous handling of objects of varied shapes and textures. His genre works include both urban and rural scenes, with a distinctive interest in portraying occupations and other activities. Gypsy (1923), an Orpenesque composition of a shawled woman in a west-of-Ireland landscape with a caravan in the background, receives wide contemporary critical acclaim. Jer (c.1925), depicting a man seated by the fire in a cottage interior, is reproduced in J. Crampton Walker’s Irish Art and Landscape (1927). The Fiddler (c.1932), a naturalistic, sensitively characterised study, is first shown at an Ulster Academy exhibition at Stranmillis, Belfast. A Kerry Cobbler is reproduced in Twelve Irish Artists (1940), introduced by Thomas Bodkin, as among the works denoting the development of a distinctively Irish school of painting.

In 1929, Whelan designs the first Irish Free State commemorative stamp, a portrait of Daniel O’Connell for the centenary of Catholic emancipation. Commissioned by the Thomas Haverty trust to paint an incident from the life of Saint Patrick for the 1932 Eucharistic Congress, he executes The Baptism by St. Patrick of Ethna the Fair and Fedelmia the Ruddy, Daughters of the Ard Rí Laoghaire, a work highly conservative in style. He rapidly completes an oil study of the papal legate, Lorenzo Lauri, also for the Eucharistic Congress. He is represented in the art competitions at the 1932 Summer Olympics in Los Angeles. His depiction of Saint Brigid, shown at the Academy of Christian Art exhibition (1940), becomes a familiar image owing to the wide circulation of reproductions.

Whelan’s political portraits are influential in creating a strong, assured image of the newly formed Irish state, and thus retain an historical significance. His posthumous portrait, The Late General Michael Collins, exhibited at the RHA in 1943 and now held in Leinster House, is an iconic, heroic image of the fallen leader. His portraits of Arthur Griffith and Kevin O’Higgins – commissioned posthumously, as is the Collins, by Fine Gael – also hang in Leinster House, while that of John A. Costello, exhibited at the RHA in 1949, is now held in the King’s Inns, Dublin. He paints two presidents, Douglas Hyde and Seán T. O’Kelly, both works currently in Áras an Uachtaráin. A portrait of Éamon de Valera, painted in 1955 when the sitter is Leader of the Opposition, is in Leinster House. In 1954, he designs a second commemorative stamp, picturing a reproduction of a portrait bust of John Henry Newman, to mark the centenary of the Catholic University of Ireland.

Whelan is elected an honorary academician of both the Ulster Academy of Arts (1931), and the Royal Ulster Academy (1950). He becomes a member of the United Arts Club in 1934. As a representative of the RHA, he sits on the board of governors of the National Gallery of Ireland for many years, and is on the advisory committee of the Municipal Gallery of Modern Art. Unmarried, he resides until his death at the Eccles Street address, with two sisters who continue to manage the family hotel. He dies on November 6, 1956, from leukemia at the Mater private nursing home in Dublin. He is buried in Glasnevin Cemetery.

(From: “Whelan, (Michael) Leo,” by Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Death of Agnes O’Farrelly, Professor Of Irish at UCD

Agnes Winifred O’Farrelly (Irish: Úna Ní Fhaircheallaigh), academic and Professor of Irish at University College Dublin (UCD), dies in Dublin on November 5, 1951.

O’Farrelly is born Agnes Farrelly on June 24, 1874, in Raffony House, Virginia, County Cavan, one of five daughters and three sons of Peter Dominic Farrelly and Ann Farrelly (née Sheridan), a family with a traditional interest in the Irish language. After her articles Glimpses of Breffni and Meath are published in The Anglo-Celt in 1895, the editor, E. T. O’Hanlon, encourages her to study literature. Graduating from the Royal University of Ireland (BA 1899, MA 1900), she is appointed a lecturer in Irish at Alexandra College and Loreto College. A founder member in 1902, along with Mary Hayden, of the Irish Association of Women Graduates and Candidate Graduates, to promote equal opportunity in university education, she gives evidence to the Robertson (1902) and Fry (1906) commissions on Irish university education, arguing successfully for full co-education at UCD. Appointed lecturer in modern Irish at UCD in 1909, she is also a member of the first UCD governing body and the National University of Ireland (NUI) senate (1914–49). In 1932, on the retirement of Douglas Hyde, she is appointed professor of modern Irish at UCD, holding the position until her retirement in 1947. She is also president of the Irish Federation of University Women (1937–39) and of the National University Women Graduates’ Association (NUWGA) (1943–47).

One of the most prominent women in the Gaelic League, a member of its coiste gnótha (executive committee) and a director of the Gaelic press An Cló-Chumann Ltd, O’Farrelly is a close friend of most of its leading figures, especially Douglas Hyde, Kuno Meyer, and Eoin MacNeill. One of Hyde’s allies in his battle to avoid politicising the league, she is so close to him that students at UCD enjoy speculating about the nature of their friendship. She advocates pan-Celticism, but does not get involved in disputes on the matter within the league. A founder member, and subsequently principal for many years, of the Ulster College of Irish, Cloghaneely, County Donegal, she is also associated with the Leinster and Connacht colleges and serves as chairperson of the Federation of Irish Language Summer Schools.

Having presided at the inaugural meeting of Cumann na mBan in 1914, espousing its subordinate role in relation to the Irish Volunteers, O’Farrelly leaves the organisation soon afterward because of her support for recruitment to the British Army during World War I. A close friend of Roger Casement, in 1916, along with Col. Maurice Moore she gathers a petition that seeks a reprieve of his death sentence. She is a member of a committee of women which negotiate unsuccessfully with Irish Republican Army (IRA) leaders to avoid civil war in 1922, and is heavily defeated as an independent candidate for the NUI constituency in the general elections of 1923 and June 1927. In 1937 she is actively involved in the National University Women Graduates’ Association’s campaign against the constitution, seeking deletion of articles perceived as discriminating against women.

Popular among students at UCD, O’Farrelly has a reputation as a social figure and entertains frequently at her homes in Dublin and the Donegal Gaeltacht. A founder member (1914) and president (1914–51) of the UCD camogie club, she persuades William Gibson, 2nd Baron Ashbourne, to donate the Ashbourne Cup for the camogie intervarsities. She is also president of the Camogie Association of Ireland in 1941–42. A supporter of native Irish industry, she is president of the Irish Industrial Development Association and the Homespun Society, and administrator of the John Connor Magee Trust for the development of Gaeltacht industry. A poet and writer in both Irish and English, often using the pseudonym ‘Uan Uladh’, her principal publications in prose are The reign of humbug (1900), Leabhar an Athar Eoghan (1903), Filidheacht Segháin Uí Neachtáin (1911), and her novel Grádh agus crádh (1901); and in poetry Out of the depths (1921) and Áille an domhain (1927).

O’Farrelly retires from UCD in 1947, and lives at 38 Brighton Road, Rathgar. An oil portrait by Seán Keating, RHA, is presented to her by the NUWGA on her retirement. She dies on November 5, 1951 in Dublin. Taoiseach Éamon de Valera and President Seán T. O’Kelly attend her funeral to Dean’s Grange Cemetery. She never marries, and leaves an estate valued at £3,109.


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Death of Dr. Douglas Hyde, First President of Ireland

Dr. Douglas Hyde, Gaelic scholar and the first President of Ireland, dies in Dublin on July 12, 1949, at the age of 89.

Hyde is born at Longford House in Castlerea, County Roscommon, on January 17, 1860. In 1867, his father is appointed prebendary and rector of Tibohine, and the family moves to neighbouring Frenchpark, in County Roscommon. He is home schooled by his father and his aunt due to a childhood illness. While a young man, he becomes fascinated with hearing the old people in the locality speak the Irish language.

Rejecting family pressure to follow previous generations with a career in the Church, Hyde instead becomes an academic. He enters Trinity College, Dublin (TCD), where he gains a great facility for languages, learning Latin, Greek, Hebrew, French, and German, but his great passion in life is the preservation of the Irish language.

After spending a year teaching modern languages in Canada, Hyde returns to Ireland. For much of the rest of his life he writes and collects hundreds of stories, poems, and folktales in Irish, and translates others. His work in Irish helps to inspire many other literary writers, such as W. B. Yeats and Lady Gregory.

In 1892, Hyde helps establish the Gaelic Journal and in November of that year writes a manifesto called The necessity for de-anglicising the Irish nation, arguing that Ireland should follow her own traditions in language, literature, and even in dress.

In 1893, Hyde founds the Gaelic League (Conradh na Gaeilge) along with Eoin MacNeill and Fr. Eugene O’Growney and serves as its first president. Many of the new generation of Irish leaders who play a central role in the fight for Irish independence in the early twentieth century, including Patrick Pearse, Éamon de Valera, Michael Collins, and Ernest Blythe first become politicised and passionate about Irish independence through their involvement in the Gaelic League. Hyde does not want the Gaelic League to be a political entity, so when the surge of Irish nationalism that the Gaelic League helps to foster begins to take control of many in the League and politicize it in 1915, Hyde resigns as president.

Hyde takes no active part in the armed upheaval of the 1910s and 1920s, but does serve in Seanad Éireann, the upper house of the Irish Free State’s Oireachtas, as a Free State senator in 1925-26. He then returns to academia, as Professor of Irish at University College Dublin (UCD), where one of his students is future Attorney General and President of Ireland Cearbhall Ó Dálaigh.

In 1938, Hyde is unanimously elected to the newly created position of President of Ireland, a post he holds until 1945. Hyde is inaugurated on June 26, 1938, in the first inaugural ceremony in the nation’s history. Despite being placed in a position to shape the office of the presidency via precedent, Hyde by and large opts for a quiet, conservative interpretation of the office. In April 1940, he suffers a massive stroke and plans are made for his lying in state and state funeral, but to the surprise of everyone he survives, albeit paralysed and confined to a wheelchair. One of his last presidential acts is a visit to the German ambassador Eduard Hempel on May 3, 1945, to offer his condolences on the death of Adolf Hitler, a visit which remains a secret until 2005.

Hyde leaves office on June 25, 1945, opting not to nominate himself for a second term. He opts not return to his Roscommon home due to his ill-health, but rather moves into the former Secretary to the Lord Lieutenant’s residence in the grounds of Áras an Uachtaráin, where he lived out the remaining four years of his life.

Hyde dies in Dublin on July 12, 1949, at age 89. As a former President of Ireland he is accorded a state funeral which, as a member of the Church of Ireland, takes place in Dublin’s St. Patrick’s Cathedral. Since contemporary rules of the Roman Catholic Church in Ireland at the time prohibit Roman Catholics from attending services in non-Catholic churches, all but one member of the Catholic cabinet remain outside the cathedral grounds while Hyde’s funeral takes place. Hyde is buried in Frenchpark, County Roscommon at Portahard Church.


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Death of Carl Hardebeck, Traditional Music Composer & Arranger

Carl Gilbert Hardebeck, or Carl G. Hardebec, British-born Irish composer and arranger of traditional music, dies in Dublin on February 10, 1945.

Hardebeck is born on December 10, 1869, in Clerkenwell, London, to a German father and Welsh mother. He loses his sight when he is a baby. He attends the Royal Normal School for the Blind in London (1880–92) where, under his teacher Frederick Corder, a professor from the Royal Academy of Music, he shows a marked aptitude for music.

In 1893, at the age of twenty-four, Hardebeck moves to Belfast, where he opens a music store, but the venture fails, and he becomes the organist of a small parish in the city, the Holy Family Church, Wellington Place. He enters an anthem, O God of My Salvation, for contralto and chorus, for the 1897 Dublin Feis Ceoil and wins. On this occasion he hears folk song arrangements of Charles Villiers Stanford and others for the first time. At the 1901 Feis Ceoil, he again wins a prize, this time for a large cantata, The Red Hand of Ulster. In 1914, his wife, Mary Reavy, dies.

In 1919, Hardebeck becomes the director of the music school in Cork and becomes the first professor of Irish music at University College Cork (UCC) in 1922. Ill-suited for administrative tasks, he relinquishes the post after one year and returns to Belfast, which after the Irish Civil War has become the capital of Northern Ireland. In 1932, he finally settles in Dublin, where he works for An Gúm, the Irish government publisher, as arranger of Irish traditional songs for piano and choirs, many of which become teaching material at schools in the nascent Republic of Ireland. He also teaches Irish and traditional music in the Dublin Municipal School of Music for two years. On many occasions he acts as adjudicator in singing and musical competitions across Ireland.

Despite Hardebeck’s mixed German/Welsh/English background, the events of the 1913 Dublin lock-out, the outbreak of World War I, and the 1916 Easter Rising radicalise him, turning him into an Irish nationalist. He is quoted as saying, “I believe in God, Beethoven and Patrick Pearse.” He studies the Irish language and collects folk songs from around the country, making some unique arrangements that bridge the gap between traditional and art song.

At home in Dublin, Hardebeck plays his excellent arrangements of Irish melodies on a Schiedmayer harmonium. The instrument has a “percussion” stop, which he uses to great effect. He also owns a Knauss piano but plays the harmonium by choice. He is quite an authority on plainchant. The noted Irish harpsichord maker Cathal Gannon is a close friend of his for many years. Hardebeck teaches him how to appreciate the structure of the classical symphony and concerto and passes on his enthusiasm and love of Irish melodies.

Following Hardebeck’s death at his home, 14 St. Vincent Street, Berkeley Road, Dublin, on February 10, 1945, a Radio Éireann-sponsored symphony concert, held in the Capitol Theatre in Dublin, begins with a sympathetic performance of his orchestral variations upon Seoithín Seó. A state funeral is held in Saint Joseph’s Church, Berkeley Road, Dublin. The church is packed; various government ministers, the Lord Mayor and representatives of President Douglas Hyde and of Éamon de Valera are there. Hardebeck’s own Kyrie and Agnus Dei are performed at the Requiem Mass. He is interred in Glasnevin Cemetery, where a Benedictus is chanted by the clergy present. A vote of sympathy is issued by the Irish National League of the Blind to Hardebeck’s widow and relatives, in which the hope is expressed “that the nation as a whole would not be unmindful of the important contribution which the late Dr. Hardebeck had made to Irish culture, music and art.”

Unfortunately, very little attention has been given to Hardebeck, who is one of the instigators in the revival of Irish music. Indeed, he is largely forgotten after his death. This is possibly due to his mixed origins and place of birth. His arrangement for orchestra of The Lark in the Clear Air is a fine piece of music, but he is content to sell it to the music publishers Boosey & Hawkes for just six guineas.

In June 2013, a plaque to Hardebeck’s memory is installed at Holy Family Church, Belfast.

(Pictured: “Carl Hardebeck (1869-1945),” oil on canvas, National Museums NI)


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Death of D. P. Moran, Journalist, Activist & Theorist

David Patrick Moran (Irish: Dáithí Pádraig Ó Móráin), better known as simply D. P. Moran, Irish journalist, activist and cultural-political theorist, dies on January 31, 1936. He is known as the principal advocate of a specifically Gaelic Catholic Irish nationalism during the early 20th century. Associated with the wider Celtic Revival, he promotes his ideas primarily through his journal, The Leader, and compilations of his articles such as the book The Philosophy of Irish Ireland.

Moran is born in Manor, a townland in Waterford, the youngest of twenty children born to James Moran, a builder, and Elizabeth Moran (née Casey). One of his brothers goes on to serve on the defense team of Patrick O’Donnell.

Moran is educated at Castleknock College, near Dublin, before working as a journalist in London, where he is a member of the Irish Literary Society. His brand of nationalism and concept of the decolonisation of Ireland is of a homogeneous Irish-speaking and Roman Catholic nation, promoting the revival of the Irish language and of Gaelic games in Irish cultural life. He often employes disparaging terms (West Brits, shoneens, sourfaces) in reference to Unionists and/or non-Catholics.

Despite the failure of the 1893 Home Rule Bill and the division of the Irish Parliamentary Party (IPP) in 1891, nationalists take heart from Douglas Hyde‘s 1892 speech, entitled “The Necessity for De-anglicising Ireland.” Moran builds upon this thesis and provides a wider ideology for enthusiasts, particularly after the re-unification of most of the nationalist parties from 1900.

In his 1905 text The Philosophy of Irish-Ireland, Moran argues that to be Irish requires:

  • the use of the Irish language
  • membership in the Roman Catholic Church
  • an anti-materialist outlook on life
  • the playing of only Gaelic games

Though a sponsor of the use of Irish, he never becomes fluent in the language himself. He emphasises the use of English in 1908–09 as “an active, vigilant, and merciless propaganda in the English language.” In the longer term, when Irish becomes again the language of the people, its use enables a de facto censorship of any foreign and unwelcome ideas written in English.

While Moran argues that the idea of “the Gael” is one that can assimilate others, he also feels that it will be hard if not impossible for members of the Church of Ireland who support the British Empire to ever qualify as Irish, being “resident aliens.” This extends to Anglo-Irish literature. He rejects the Abbey Theatre and questions Yeats‘ genius. He once speaks out against the influence Britain has over Irish Universities, stating, “We are all Palemen now.” In the matter of religious differences, Daniel O’Connell had said in 1826 that “the [Roman] Catholics of Ireland are a nation.” Moran moves beyond that, affirming in 1901 that “…the Irish Nation is de facto a Catholic nation.” He is virulent in his opposition to female suffrage.

Moran’s articles frequently contrast “Belfast” with “Ireland,” yet hope that Belfast can eventually change and assimilate. He feels that Ulster unionists should “… be grateful to the Irish nation for being willing to adopt them.” His paper publishes numerous articles by the future TD Arthur Clery (writing under the pen name “Chanel”), who advocates partition on the grounds that Ulster unionists are a separate nation, but Moran himself disagrees and refuses to concede the legitimacy of a northern Protestant identity.

When Irish republicans initiate the Irish War of Independence in 1919, widescale anti-Catholic rioting breaks out in Belfast in 1920 and 1922. Moran identifies this as being caused by Orangeism, which he describes as “a sore and a cancer” in Ireland. He also alleges that “bigotry on the part of Catholics in the Six Counties is immediately due to Orange bigotry.”

Moran is initially a supporter of the Irish Parliamentary Party, believing that the separatism advocated by Arthur Griffith‘s Sinn Féin is impracticable; however, he opposes John Redmond‘s support of the British World War I effort.

Moran supports the Anglo-Irish Treaty agreed in 1921–22 and sees the partition of Ireland as beneficial for a truly Irish culture in the Irish Free State. This causes a sea-change in his opinions; from now on Northern Ireland can be safely ignored, along with what he sees as the English evils of “free thought, free trade, and free literature.” He claims Irish life and culture has to be protected from foreign influences, including the twin evils of the music hall and the English press. The new jazz music of the 1920s and other imported cultural elements are deprecated as “imported debasement and rot.”

On January 9, 1901, Moran marries Theresa Catherine, daughter of Thomas Francis O’Toole, a former Parnellite mayor of Waterford. They have four sons and one daughter.

Moran dies suddenly at his home in Skerries, Dublin, on January 31, 1936. His daughter, Nuala, who has written for the paper since the early 1920s, generally on artistic and social matters, takes over the running of the paper on his death, though it is then much diminished in size and influence. Nuala, who never marries, retains control of The Leader until it ceases publication in 1971.


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Birth of Máire Ní Chinnéide, Language Activist & Playwright

Máire Ní Chinnéide (English: Mary or Molly O’Kennedy) Irish language activist, playwright, first president of the Camogie Association and first female president of Oireachtas na Gaeilge, is born in Rathmines, an affluent inner suburb on the Southside of Dublin, on January 17, 1879.

Ní Chinnéide attends Muckross Park College and the Royal University of Ireland (later the National University of Ireland) where she is a classmate of Agnes O’Farrelly, Helena Concannon, and Hanna Sheehy-Skeffington. She learns the Irish language on holiday in Ballyvourney, County Cork, and earns the first scholarship in Irish language from the Royal University of Ireland, worth £100 a year, which is spent on visits to the Irish college in Ballingeary.

She studies in the school of Old Irish established by Professor Osborn Bergin and is strongly influenced by the Irish Australian professor O’Daly. She later teaches Latin through Irish at Ballingeary and becomes proficient in French, German, Italian and Spanish.

She spends the last £100 of her scholarship on a dowry for her marriage to Sean MacGearailt, later first Accountant General of Revenue in the Irish civil service, with whom she lives originally in Glasnevin and then in Dalkey.

She is a founder member of the radical Craobh an Chéitinnigh, the Keating branch of Conradh na Gaeilge, composed mainly of Dublin-based Kerry people and regarded, by themselves at least, as the intellectual focus of the League.

In August 1904, some six years after the establishment of the earliest women’s hurling teams, the rules of camogie (then called camoguidheacht), first appears in Banba, a journal produced by Craobh an Chéitinnigh. Camogie had come to public attention when it was showcased at the annual Oireachtas (Conradh na Gaeilge Festival) earlier that year, and it differed from men’s hurling in its use of a lighter ball and a smaller playing-field. Ní Chinnéide and Cáit Ní Dhonnchadha, like Ní Chinnéide, an Irish-language enthusiast and cultural nationalist, are credited with having created the game, with the assistance of Ní Dhonnchadha’s scholarly brother Tadhg Ó Donnchadha, who drew up its rules. She is on the first camogie team to play an exhibition match in Navan, County Meath, in July 1904, becomes an early propagandist for the game and, in 1905, is elected president of the infant Camogie Association.

Ní Chinnéide later serves as Vice-President of Craobh an Chéitinnigh, to Cathal Brugha. She is active in Cumann na mBan during the Irish War of Independence and takes the pro-treaty side during the Irish Civil War and attempts to set up a woman’s organisation “in support of the Free State” alongside Jennie Wyse Power.

She first visits the Blasket Islands in 1932 with her daughter Niamh, who dies tragically young. In the summer of 1934, she puts the idea into Peig Sayers‘s head to write a memoir. According to a later interview with Ní Chinnéide “she knew and admired her gift for easy conversation, her gracious charm as a hostess, her talent for illustrating a point she was making by a story out of her own experience that was as rich in philosophy and thought as it was limited geographically.” Peig answers that she has “nothing to write.” She had learned only to read and write in English at school and most of it has been forgotten.

Ní Chinnéide suggests Peig should dictate her memoir to her son Micheal, known to everyone on the island as An File (“The Poet”), but Peig “only shook her head doubtfully.” At Christmas, a packet arrives from the Blaskets with a manuscript, she transcribes it word for word and the following summer brings it back to the Blaskets to read it to Peig. She then edits the manuscript for the Talbot Press. Peig becomes well known as a prescribed text on the Leaving Certificate curriculum in Irish.

Ní Chinnéide has an acting part in the first modern play performed in Irish on the stage, Casadh an tSugáin by Douglas Hyde in 1901. She is later author of children’s plays staged by An Comhar Drámuidhachta at the Oireachtas and the Peacock Theatre, of which Gleann na Sidheóg and An Dúthchas (1908) are published. She is a broadcaster in Irish on 2RN, a wholly owned subsidiary of Raidió Teilifís Éireann, after its foundation in 1926 and author of a translation of Grimms’ Fairy Tales (1923). She is president of the Gaelic Players Dramatic group during the 1930s and a founder of the Gaelic Writers Association in 1939.

She soon becomes interested in writing children’s plays, including Gleann na Sidheóg (Fairy Glen, 1905) and Sidheoga na mBláth (Flower Fairies, 1909. Although there is little information available on the staging of her first play, by the time her second children’s play, Sidheóga na mBláth, is published in An Claidheamh Soluis in December 1907, “Éire Óg” (“Young Ireland”) branches of Conradh na Gaeilge have been established in conjunction with adults’ branches. Patrick Pearse in particular voices the expectation that this play will be staged by many “Éire Óg” branches “before the New Year is very old,” thus indicating the immediate take up of such plays. Indeed, a week after the play’s publication, it is staged in the Dominican College in Donnybrook, Dublin, where Ní Chinnéide had spent several years as an Irish teacher.

Ní Chinnéide dies on April 25, 1967, and is buried in Dean’s Grange Cemetery.

In 2007 the camogie trophy (Máire Ní Chinnéide Cup) for the annual inter-county All-Ireland Junior Camogie Championship is named in her honour.

(Pictured: Máire Ní Chinéide at her graduation, photograph from Banba, 1903)