Hone is born in Dublin on April 24, 1718, the son of a Dublin-based Dutch merchant. He moves to England as a young man and, after marrying Molly Earle, daughter of the John Campbell, 4th Duke of Argyll, in 1742, eventually settles in London, by which time he has acquired a reputation as a portrait painter. While his paintings are popular, his reputation is particularly enhanced by his skill at producing miniatures and enamels. He interrupts his time in London by spending two years (1750–52) studying in Italy.
As a portrait painter, several of Hone’s works are now held at the National Portrait Gallery in London. His sitters include magistrate Sir John Fielding and Methodist preacher John Wesley, and General Richard Wilford and Sir Levett Hanson in a double portrait. He often uses his son John Camillus Hone (1745-1836) in some of his works, including his unique portrait of “The Spartan Boy,” painted in 1774.
Hone courts controversy in 1775 when his satirical picture The Conjurer (National Gallery of Ireland, Dublin) is seen to attack the fashion for Italian Renaissance art and to ridicule Sir Joshua Reynolds, leading the Royal Academy to reject the painting. It also originally includes a nude caricature of fellow Academician Angelica Kauffman in the top left corner, which is painted out by Hone after Kauffman complains to the academy. The combination of a little girl and an old man has also been seen as symbolic of Kauffman and Reynolds’s closeness, age difference, and rumoured affair. To show that his reputation is undamaged, Hone organises a one-man retrospective in London, the first such solo exhibition of an artist’s work.
The Hone family is related to the old Dutch landed family the van Vianens, who hold the hereditary title of Vrijheer. His great-grand-nephew shares the same name and is also a notable Irish painter, known as Nathaniel Hone the Younger (1831–1917). He is also a relation to painter Evie Hone.
Nathaniel Hone the Elder dies in London at the age of 66 on August 14, 1784.
(Pictured: Oil on canvas self-portrait by Nathaniel Hone, circa 1760)
Francis Hutcheson, Scotch-Irishphilosopher and major exponent of the theory of the existence of a moral sense through which man can achieve right action, is born on August 8, 1694, in Saintfield, County Down, Ulster. He is remembered for his book A System of Moral Philosophy. He is an important influence on the works of several significant Enlightenment thinkers, including David Hume and Adam Smith.
Hutcheson is licensed as a preacher in 1719 by Irish Presbyterians in Ulster, but in 1738 the Glasgow presbytery challenges his belief that people can have a knowledge of good and evil without, and prior to, a knowledge of God. His standing as a popular preacher is undiminished, however, and the celebrated Scottish philosopher David Hume seeks his opinion of the rough draft of the section “Of Human Morals” in Hume’s A Treatise of Human Nature.
Hutcheson’s ethical theory is propounded in his Inquiry into the Original of Our Ideas of Beauty and Virtue (1725), in Essay on the Nature and Conduct of the Passions and Affections (1728) and Illustrations upon the Moral Sense (1728), and in the posthumous A System of Moral Philosophy (1755). In his view, besides his five external senses, man has a variety of internal senses, including a sense of beauty, of morality, of honour, and of the ridiculous. Of these, Hutcheson considers the moral sense to be the most important. He believes that it is implanted in man and pronounces instinctively and immediately on the character of actions and affections, approving those that are virtuous and disapproving those that are vicious. His moral criterion is whether or not an act tends to promote the general welfare of mankind. He thus anticipates the utilitarianism of the English thinker Jeremy Bentham, even to his use of the phrase “the greatest happiness for the greatest number.” Hutcheson is also influential as a logician and theorist of human knowledge.
Hutcheson spends time in Dublin and dies while on a visit to the city on August 8, 1746, his fifty-second birthday. He is buried in the churchyard of Saint Mary’s, which is also the final resting place of his cousin William Bruce. Today Saint Mary’s is a public park located in what is now Wolfe Tone Street. He lies in what is now an unmarked grave in the Dublin he loved and where his best work was done.
The Purser family had come to Ireland from Gloucestershire in the eighteenth century. Purser is born in Kingstown (now Dún Laoghaire) in County Dublin on March 22, 1848. She is raised in Dungarvan, County Waterford, one of the numerous children of Benjamin Purser, a prosperous flour miller and brewer, and his wife Anne Mallet. She is related to Sir Frederic William Burton, RHA (1816-1900), who is a son of Hannah Mallet. Two of her brothers, John and Louis, become professors at Trinity College Dublin. Her niece Olive Purser, daughter of her brother Alfred, is the first woman scholar at Trinity.
At thirteen Purser attends the Moravian school, Institution Evangélique de Montmirail, Switzerland where she learns to speak fluent French and begins painting. In 1873 her father’s business fails and she decides to become a full-time painter. She attends classes at the Dublin Metropolitan School of Art and joins the Dublin Sketching Club, where she is later appointed an honorary member. In 1874 she distinguishes herself in the National Competition. In 1878 she again contributes to the Royal Hibernian Academy (RHA), and for the next fifty years becomes a regular exhibitor, mainly portraits, and shows an average of three works per show.
Purser becomes wealthy through astute investments, particularly in Guinness, for which several of her male relatives have worked over the years. She is very active in the art world in Dublin and is involved in the setting up of the Municipal Gallery of Modern Art, persuading the Irish government to provide Charlemont House in Parnell Square to house the gallery.
Purser works mostly as a portraitist. Through her talent and energy and owing to her friendship with the Gore-Booths, she is very successful in obtaining commissions. When the Lord Lieutenant of Ireland commissions her to portray his children in 1888, his choice reflects her position as the country’s foremost portraitist. Various portraits painted by Purser are held in the National Gallery of Ireland.
Purser finances An Túr Gloine (The Tower of Glass), a stained-glass cooperative, at 24 Upper Pembroke and runs it from its inauguration in 1903 until her retirement in 1940. Michael Healy is the first of a number of distinguished recruits, such as Catherine O’Brien, Evie Hone, Wilhelmina Geddes, Beatrice Elvery and Ethel Rhind. She is determined the stained-glass workshop should adhere to true Arts and Crafts philosophy. An Túr Gloine archive is held in the Centre for the Study of Irish Art, National Gallery of Ireland.
Purser does not produce many items of stained glass herself. Most of the stained-glass works are painted by other members of the co-operative, presumably under her direction. Two early works are St. Ita (1904) for St. Brendan’s Cathedral, Loughrea and The Good Shepard (1904) for St. Columba’s College, Dublin. Her last stained-glass work is believed to be The Good Shepard and the Good Samaritan (1926) for the Church of Ireland at Killucan, County Westmeath.
Until her death Purser lives for many years in Mespil House, a Georgian mansion with beautiful plaster ceilings on Mespil Road, on the banks of the Grand Canal. Here she is “at home” every Tuesday afternoon to Dublin’s writers and artists. Her afternoon parties are a fixture of Dublin literary life.
Purser dies in Dublin on August 7, 1943, and is buried in Mount Jerome Cemetery beside her brothers John and Louis. Mespil House is demolished after her death and developed into apartments.
Purser is the second woman to sit on the Board of Governors and Guardians, National Gallery of Ireland, 1914-1943. She is made an Honorary Member of the Royal Hibernian Academy in 1890, becoming the first female Associate Member in 1923 and the first female Member in 1924. Also, in 1924 she initiates the movement for the launching of the Friends of the National Collection of Ireland. Archives relating to Sarah Purser are housed in the Centre for the Study of Irish Art, National Gallery of Ireland.
(Pictured: Portrait of Sarah Purser by John Butler Yeats, c. 1880–1885)
The RTÉ Television Centre is a television studio complex which is owned by Raidió Teilifís Éireann (RTÉ) and has been home to Ireland’s national public service broadcaster since 1961. The building houses the main production studios for RTÉ Television, the control rooms for all RTÉ’s TV channels, and RTÉ’s main newsroom.
At 1:30 AM on the morning of August 5, a bomb explodes at the RTÉ Television Centre causing damage primarily to the western end of the studios. The explosion is heard over a wide area of Dublin. Only a skeleton staff are on duty and nobody is injured. The bombing takes place during the protest campaign by the Northern Ireland Civil Rights Association but before the 1969 Northern Ireland riots.
The bomb, which is believed to be a time bomb placed at the rear wall of the studio building, causes no structural damage to the building but destroys the wardrobe department and shatters windows in a large section of the building, including the large structural plate glass panels which are a feature of the building.
Army explosive experts are called in to investigate the cause of the explosion and determine who planted it.
John Dillon, a Member of Parliament (MP) for over 35 years and the last leader of the Irish Parliamentary Party in the struggle to secure Home Rule by parliamentary means, dies in a Londonnursing home on August 4, 1927. Through the 1880s he is perhaps the most important ally of the greatest 19th-century Irish nationalist, Charles Stewart Parnell, but, following Parnell’s involvement as co-respondent in a divorce case, he repudiates Parnell for reasons of political prudence.
Dillon is a member of the British House of Commons during 1880–1883 and 1885–1918. For his vigorous work in the Irish National Land League, which seeks fixed tenure, fair rents, and free sale of Irish land, he is imprisoned twice between May 1881 and May 1882. He is Parnell’s fellow inmate in Kilmainham Gaol in Dublin from October 1881. For six months in 1888 he is imprisoned for aiding William O’Brien, author of the “plan of campaign” against high rent charges by English absentee landlords in Irish farming districts.
When Parnell is named co-respondent in Captain William Henry O’Shea’s divorce suit in 1890, Dillon and O’Brien at first affirm their support of him, but they finally decide that he will thenceforth be a liability as party leader. The party then splits, the anti-Parnellite majority forming the Irish National Federation, of which Dillon serves as chairman from 1896. In 1900, however, he agrees to join a reunited party under the Parnellite John Redmond.
During the prime ministry of Arthur James Balfour (1902–1905), Dillon comes to believe that the British Conservative government intends to grant Irish reforms without independence, thereby “killing Home Rule by kindness.” In 1905 he advises Irishmen to vote for Liberal Party candidates for Parliament, and, after the Liberals had taken office that year, he supports their reform program.
Throughout World War I Dillon vehemently opposes the extension of British military conscription to Ireland, both because that measure would strengthen the agitation by the more extreme nationalistSinn Féin party and because he never accepted the view that British imperial interests necessarily coincided with those of Ireland. After the Easter Rising in Dublin in 1916, he protests against the harsh measures that ensue and, in the House of Commons, makes a passionate speech in defense of the Irish rebels.
Upon Redmond’s death on March 6, 1918, Dillon, who had broken with him over Irish support for the British war effort, succeeds him as Irish Parliamentary Party leader. By that time, however, the party has been discredited and in the 1918 Irish general election Sinn Féin wins easily. On losing his House of Commons seat to Éamon de Valera, the future president of the Republic of Ireland, he retires from politics.
Lynch is tried, convicted and sentenced to ten years for conspiracy to obtain arms, taking part in a punishment shooting and conspiring to take arms from the security forces. He is sent to the Maze Prison in County Down in December 1977. He becomes involved with the blanket protest and joins the 1981 hunger strike at the Maze on May 23, 1981. He dies at Maze Prison 71 days later on August 1, 1981.
Harper exhibits regularly in Ireland and abroad. His paintings are well known for their metaphoric themes, including boats, the human form, landscape and angels usually in painterly expressive form.
Harper is influenced by Francis Bacon and David Hockney which is apparent in his portrait work. In his treatment of the human head, the influence of Bacon is obvious as is the work of the Irish artist Louis Le Brocquy. He is also influenced by the Irish artist Patrick Collins. For Harper the actual act of painting is what matters as he sees the actual process as one of exploration and discovery. He says, “the process, the making excites me more than any end product.”
Harper represents Ireland at International Biennials in many countries throughout his career. He receives many national awards for his painting, including first prize for his work commemorating the 1916 Easter Rising at the Municipal Gallery of Modern Art in Dublin, the Carrols Open Award at the Irish Exhibition of Living Art in Dublin and The Arts councils Bonn an Uachtarain de Hide at the Oireachtas Art Exhibition. More recently he is awarded the BulBulia Award at the Royal Hibernian Academy (RHA) in 2008.
“Painting being a cultural and creative activity should be accessible to all. Though it may also confuse the viewer. I find this totally understandable and acceptable, as art should challenge our perception and established aesthetic.”
(Pictured: Skellig Arrival, acrylic on linen by Charles Harper)
Rhys Meyers is born to Geraldine (née Meyers) and folk musician John O’Keeffe. The family moves to County Cork when he is almost a year old. At the age of three, his father leaves the family, leaving his mother alone to care for him and his three younger brothers.
Rhys Meyers grows up with a tumultuous childhood and attends North MonasteryChristian Brothers school, from which he is permanently expelled at age sixteen. Happy to be out of school, he begins spending time in a local pool hall where he is discovered by Hubbard Casting. The casting agents are talent-spotting for the David Puttnam production of War of the Buttons (1994) and ask him to appear for an audition. After three days of auditions, however, he does not get the role and gives up on his acting aspirations. Soon after the failed audition, he receives a call to audition for a national ad campaign for Knorr soup, and though embarrassed by the attention from the ad, he soon finds himself considered for a major film.
Rhys Meyers movie acting debut is a very small role in the film A Man of No Importance (1994), where his simple cast credit is as “First Young Man.” His first lead role is in the film The Disappearance of Finbar (1996). During a 6-month postponement in production, he returns home to Cork and there receives a call about the film Michael Collins (1996). He travels to Dublin to meet with director Neil Jordan and successfully wins the role of Collins’s assassin. Jordan writes about his meeting with the actor, “I have found someone to play Collins’s killer. Jonathan Rhys Meyers, from County Cork, apparently, who looks like a young Tom Cruise. He comes into the casting session with alarming certainty. Obviously gifted.”
Rhys Meyers has been the face of several Hugo Boss advertising campaigns. He has also been involved in several charitable causes, including the Hope Foundation, and the children’s charity, Barretstown. He is married to Mara Lane, and they have one son together. He still resides in County Cork.
In 2020, Rhys Meyers is listed as number 44 on The Irish Times list of Ireland’s greatest film actors.
Ní Mhaonaigh’s father, Proinsias Ó Maonaigh, is a noted fiddler, song writer and school teacher and is her first main influence. Her mother, Kitty Rua is also raised in a musical house that holds frequent house dances. It is no surprise that she and her siblings, Gearóid and Anna, all play music together.
In the early 1980s, Ní Mhaonaigh qualifies as a Primary school teacher and teaches in Saint Oliver Plunkett National School in Malahide, County Dublin. She and her husband, Frankie Kennedy, record Ceol Aduaidh (Music from the North) for Irish label Gael Linn in 1983. This timeless recording is the genesis of what later becomes Altan. The recording features her brother Gearóid Ó Maonaigh on guitar, Fintan Mc Manus on bouzouki, Ciaran Curran on bouzouki and Eithne Ní Bhraonáin (now known as Enya) on keyboards. The album quietly gains praise among enthusiasts of traditional Irish music worldwide, which leads the way for a career in music.
Ní Mhaonigh’s teaching career comes to a halt after she and her husband take a career break in 1987 and formed Altan. The band goes on to become one of the most acclaimed Irish traditional bands touring the world. They record for Green Linnet Records in the United States and tour North America extensively.
In 1994, Frankie Kennedy passes away to cancer, which is a tremendous loss to Ní Mhaonigh. She continues with the band at her late husband’s request and signs to multinational record label Virgin Records London in late 1994. This marks the first traditional Irish band to be signed to a major record label and propels Altan and Ní Mhaonigh into a wider audience of followers.
Ní Mhaonaigh, along with fronting Altan, remains close her roots between touring and returns to her native County Donegal to play, sing and teach her music to a new generation. She helps set up Cairdeas na bhFidléirí (The Fellowship / Friendship of Fiddlers) in the early 1980s to promote and preserve the fiddle music of County Donegal.
In 2009, Ní Mhaonaigh releases her first solo album, Imeall (Edge/Theshold), as a limited edition. After many years of playing with the band and numerous requests for a solo recording she finally gets time to record the album after parting with her second husband Dermot Byrne, with whom she has her daughter Nia. She tours the album between Altan commitments with her co-producer and recording engineer Manus Lunny.
The album prompts one reviewer, Paul O’Connor, to remark, “Her identified success as the leader of Altan has dominated our sense of her to the point that we aren’t cognisant of how good she is as an artist, musician, composer in her own right.”
This new focus on Ní Mhaonaigh as an artist in her own right, prompts The Donegal Association in Dublin to grant her “Donegal Person of the Year 2009” at a gala dinner in Dublin’s prestigious Burlington Hotel.
Ní Mhaonaigh is awarded the top recognition in traditional Irish music by her fellow peers in 2018, when she is awarded TG4Gradam Ceoil’s Traditional Musician of the Year. The following year, she is honoured in her own county at the now world famous “Cup o’Tae Festival” which is held annually in Ardara, County Donegal.
Ní Mhaonaigh is also a member of String Sisters, which is a Grammy listed folk supergroup of six of the world’s leading female fiddlers. Together they have released two albums – the Grammy-longlisted Live and Between Wind and Water. She is a member of T with the Maggies, which is a vocal supergroup of Donegal singers comprised of Maighread and Tríona Ní Dhomhnaill and Moya Brennan of Clannad fame.
Recently Ní Mhaonaigh has recorded with a group of thirteen County Donegal-based female fiddlers which is called ‘SíFiddlers.’
The Irish Convention is an assembly which sits in Dublin from July 1917 until March 1918 to address the Irish question and other constitutional problems relating to an early enactment of self-government for Ireland, to debate its wider future, discuss and come to an understanding on recommendations as to the best manner and means this goal can be achieved. It is a response to the dramatically altered Irish political climate after the 1916 Easter rebellion and is proposed by Lloyd George in May 1917 to John Redmond, leader of the Irish Parliamentary Party, announcing that “Ireland should try her hand at hammering out an instrument of government for her own people.”
The Convention is publicly called in June 1917, to be composed of representative Irishmen from different political parties and spheres of interest. After months of deliberations, the Convention’s final report, which had been agreed upon in March 1918, is seriously undermined. With the urgent need for military manpower on the Western Front following the German Spring Offensive, the government decides in April 1918 to simultaneously introduce Home Rule and apply conscription to Ireland. This “dual policy” of conscription and devolution heralds the end of a political era.
(Pictured: Group portrait of the members of the Irish Convention at Trinity College, taken on August 21, 1917 | National Library of Ireland, NPA Conv.)
