The Plantation of Ulster is the organised colonisation, or plantation, of the Irish province of Ulster by people from Great Britain during the reign of King James I. Most of the settlers, or planters, come from southern Scotland and northern England. Their culture differs from that of the native Irish. Small privately funded plantations by wealthy landowners begin in 1606, while the official plantation begins in 1609. Most of the colonised land had been confiscated from the native Gaelic chiefs, several of whom had fled Ireland for mainland Europe in 1607 following the Nine Years’ War against English rule. The official plantation comprises an estimated half a million acres of arable land in counties Armagh, Cavan, Fermanagh, Tyrone, Donegal, and Coleraine. Land in counties Antrim, Down, and Monaghan is privately colonised with the king’s support.
Among those involved in planning and overseeing the plantation are King James, the Lord Deputy of Ireland, Arthur Chichester, and the Attorney-General for Ireland, John Davies. They see the plantation as a means of controlling, anglicising, and “civilising” Ulster. The province is almost wholly Gaelic, Catholic, and rural and has been the region most resistant to English control. The plantation is also meant to sever Gaelic Ulster’s links with the Gaelic Highlands of Scotland. The colonists, or “British tenants,” are required to be English-speaking, Protestant and loyal to the king. Some of the undertakers and settlers, however, are Catholic. The Scottish settlers are mostly PresbyterianLowlanders and the English mostly Anglican Northerners. Although some “loyal” natives are granted land, the native Irish reaction to the plantation is generally hostile, and native writers bewail what they see as the decline of Gaelic society and the influx of foreigners.
The Plantation of Ulster is the biggest of the Plantations of Ireland. It leads to the founding of many of Ulster’s towns and creates a lasting Ulster Protestant community in the province with ties to Britain. It also results in many of the native Irish nobility losing their land and leads to centuries of ethnic and sectarian animosity, which at times spills into conflict, notably in the Irish Rebellion of 1641 and, more recently, the Troubles.
Russell is born on April 10, 1867, in Lurgan, County Armagh, in what is now Northern Ireland. He writes with the pseudonym Æ (often written AE or A.E.). He is also a writer on mysticism, and a central figure in the group of devotees of theosophy which meets in Dublin for many years. He takes his pseudonym from a proofreader’s query about his earlier pseudonym, “AEon.”
Russell is the second son of Thomas Russell and Mary Armstrong. His father, the son of a small farmer, becomes an employee of Thomas Bell and Co., a prosperous firm of linen drapers. The family relocates to Dublin, where his father has a new offer of employment, when he is eleven years old.
Following his time at the Metropolitan School of Art, Russell becomes an accounts clerk in a drapery store but leaves in 1897 to organize agricultural cooperatives. Eventually he becomes editor of the periodicals Irish Homestead (1905–23) and The Irish Statesman (1923–30). In 1894 he publishes the first of many books of verse, Homeward: Songs by the Way, which establishes him in what is known as the Irish Literary Revival. His first volume of Collected Poems appears in 1913 and a second in 1926. He maintains a lifelong interest in theosophy, the origins of religion, and mystical experience. Candle of Vision: Autobiography of a Mystic (1918) is the best guide to his religious beliefs.
At the turn of the 20th century, Russell is considered by many to be the equal of Yeats, but he does not continue to grow and develop as Yeats does. He is prolific and versatile, but many critics find his poetry facile, vague, and monotonous, with “rather too much of the Celtic Twilight” in it.
Russell, who had become increasingly unhappy in the Irish Free State which, according to Yeats, he called “a country given over to the Devil,” moves to England soon after his wife’s death in 1932. Despite his failing health he goes on a final lecture tour in the United States but returns home utterly exhausted. He dies of cancer in Bournemouth, England, on July 17, 1935. His body is brought back to Ireland, and he is interred in Mount Jerome Cemetery, Dublin.
Salkeld works in tempera and oil, as well as etching and wood engraving. In 1921 he travels to Germany to study under Ewald Dulberg at the Kassell Kunstschule. He attends the Union of Progressive International Artists in Düsseldorf in May 1922, and is exhibited at the Internationale Kunstausstellung. Upon his return to Dublin in 1924, he holds his first solo exhibition in the Society of Dublin Painters gallery. He becomes a member of the Dublin Painters in 1927. With Francis Stuart, he co-edits the first two issues of To-morrow in 1924. His studio is in a converted labourer’s cottage at Glencree, County Wicklow. He also exhibits with the New Irish Salon and the Radical Painters’ Group.
Salkeld wins the 1926 Royal Dublin Society‘s Taylor scholarship, and has his first exhibited work with the Royal Hibernian Academy (RHA) in 1929. He lives in Berlin for a year in 1932. He exhibits in Daniel Egan’s Gallery in Dublin in 1935. He has a wide circle of literary friends, including Samuel Beckett and Flann O’Brien. In O’Brien’s At Swim-Two-Birds, the character of Michael Byrne is designed for Salkeld, reflecting his debilitating alcoholism. He also teaches at the Dublin Metropolitan School of Art, teaching artists such as Reginald Gray.
From 1937 to 1946 Salkeld runs a private press called Gayfield Press. This is co-founded with his mother, and operates from a garden shed at their home, 43 Morehampton Road. The press is a small Adana wooden hand press. He illustrates her 1938 The Engine Left Running, as well as Ewart Milne‘s Forty North Fifty West (1938) and Liam O’Flaherty‘s Red Barbara and Other Stories (1928). In 1951, he loans the press to Liam and Josephine Miller to found the Dolmen Press.
Salkeld’s most famous public work is his 1942 three-part mural in Davy Byrne’s pub. He is a co-founder of the Irish National Ballet School in the 1940s in his capacity as a pianist. In 1946 he is appointed an associate member of the RHA. In 1953 his play Berlin Dusk is staged at 37 Theatre Club, Dublin. During the 1950s he is a broadcaster with Radio Éireann as well as a director of cultural events for An Tóstal. He dies on May 11, 1969, in St. Laurence’s Hospital, Dublin.
Kathleen Cox, Irish artist, sculptor, and mystic, is born Christina Mary Kathleen Cox in Wo-Sung, China, on July 2, 1904. Cox is considered a pioneer of contemporary Irish pottery.
Cox is the eldest daughter of Dr. R. H. Cox, originally from Dundalk, County Louth, and the port health officer in Shanghai. He is also an amateur geologist and models in clay. In his retirement, he invents a periscope later used during World War I by the Royal Navy. The years living in China leave an impression on the young Cox, visually and culturally. The family returns to Ireland in 1911, first moving to Listowel, County Kerry, and later to Howth, County Dublin. She attends Alexandra College, and later the Dublin Metropolitan School of Art in 1921. While there she studies sculpture under Oliver Sheppard and is considered one of his most talented students, winning the Royal Dublin Society Taylor prize for modelling in 1925, 1926, and 1927. The money from these prizes allows Cox to travel to Paris in 1929.
Cox exhibits in 1924 at the Tailteann exhibitions, and in 1925 submits textile designs to the Arts and Crafts Society of Ireland. She establishes a pottery studio at 7 Schoolhouse Lane, Dublin, with college friend Stella Rayner in 1929. The studio has the first electric kiln in Ireland. The first exhibited piece by Cox shown by the Royal Hibernian Academy (RHA) is in 1930, with a pair of Madonna bookends, and portrait masks of the daughter of Dermod O’Brien, Brigid O’Brien, and writer Norris Davidson. Davidson is a friend and neighbour, who commissions her to design the poster for his 1929 film, Suicide. She exhibits with the RHA from 1931 to 1933, and the Tailteann 1932, while also holding exhibitions in her studio. During this period Hilda Roberts paints her portrait, Strange Spirit. Kathleen Cox in her studio. The theme of womanhood is prominent in her work, including in the sign of her studio.
In 1932, Cox begins producing a line of more commercial figurines, drawing influence from the Royal Doulton Burslem factory, where she works for a time. One such figurine is The Lavender Man (pictured), modelled on Michael Clifford, a Dublin street trader. In the mid 1930s, she develops a frustration with her work and with her lack of impact on the wider world. In attending the Chinese exhibition in London in 1935, it is confirmed to her that pottery should be practical rather than ornamental. It spurs her to destroy all her moulds and sell her kiln upon her return to Dublin.
Cox marries Alan Palmer in 1937, the couple has two daughters and relocate to England. Palmer is a conscientious objector during World War II, with the couple running a farm at Meopham, Kent, returning to London after the war.
Cox dies in early September 1972 in London. Some of her work is held in the collections of the National Museum of Ireland and with four works featured in the exhibition Not Just Pots: Contemporary Irish Ceramics of the 21st Century.
It is during the 1920s that Cox begins to question mainstream religion and becomes a vegetarian. Finding that her personal philosophy is similar to that of theosophy, she joins the movement and speaks at meetings. She is heavily influenced by the founder of the Order of the Great Companions, the Rev. William Hayes, who is living in Dublin in the 1930s. She writes and illustrates a children’s book on world religions, A story of stories, which she publishes under the pseudonym C.M. Kay in 1970.
Meagher is born on August 3, 1823, at Waterford, County Waterford, in what is now the Granville Hotel on the Quay. He is educated at Roman Catholicboarding schools. When he is eleven, his family sends him to the Jesuits at Clongowes Wood College in County Kildare. It is at Clongowes that he develops his skill of oratory, becoming at age 15 the youngest medalist of the Debating Society. After six years, he leaves Ireland for the first time, to study in Lancashire, England, at Stonyhurst College, also a Jesuit institution. He returns to Ireland in 1843, with undecided plans for a career in the Austrian army, a tradition among a number of Irish families.
Meagher becomes a member of the Young Ireland Party in 1845 and in 1847 is one of the founders of the Irish Confederation, dedicated to Irish independence. In 1848 he is involved, along with William Smith O’Brien, in an abortive attempt to mount an insurrection against English rule. Arrested for high treason, he is condemned to death, but his sentence is commuted to life imprisonment in Van Diemen’s Land, now Tasmania.
Meagher escapes in 1852 and makes his way to the United States. After a speaking tour of U.S. cities, he settles in New York City, studies law and is admitted to the bar in 1855. He soon becomes a leader of the Irish in New York and, from 1856, edits the Irish News.
At the close of the war, Meagher is appointed secretary of Montana Territory where, in the absence of a territorial governor, he serves as acting governor.
In the summer of 1867, Meagher travels to Fort Benton, Montana, to receive a shipment of guns and ammunition sent by General William Tecumseh Sherman for use by the Montana Militia. On the way to Fort Benton, the Missouri River terminus for steamboat travel, he falls ill and stops for six days to recuperate. When he reaches Fort Benton, he is reportedly still ill.
Sometime in the early evening of July 1, 1867, Meagher falls overboard from the steamboat G. A. Thompson, into the Missouri River. His body is never recovered. Some believe his death to be suspicious and many theories circulate about his death. Early theories included a claim that he was murdered by a Confederate soldier from the war, or by Native Americans. In 1913 a man claims to have carried out the murder of Meagher for the price of $8,000 but then recants. In the same vein, American journalist and novelist Timothy Egan, who publishes a biography of Meagher in 2016, claims Meagher may have been murdered by Montana political enemies or powerful and still active vigilantes. On the frontier men are quick to kill rather than adjudicate. A similar theory shown on Death Valley Days (1960) has him survive the assassination attempt because his aide had been mistakenly murdered when he accepted one of his trademark cigars, and Meagher uses his apparent death as leverage over his political opponents.
Mayhew is knighted in 1983. On June 1997, he is given a life peerage as Baron Mayhew of Twysden, of Kilndown in the County of Kent. He retires from the House of Lords on June 1, 2015.
Mayhew suffers from cancer and Parkinson’s disease in his later years. He dies at the age of 86 on June 25, 2016, in his home in Kent.
Garstin is born on August 28, 1847, in Caherconlish, County Limerick, to Captain William Garstin and Mary Moore Garstin. He is raised by aunts and grandparents following his father’s suicide and his mother’s incapacitating disabilities.
Garstin attends Victoria College on the island of Jersey and then he works in architecture and engineering for brief periods. He then travels to South Africa where he befriends Cecil Rhodes, works as a journalist and is involved in government in Cape Town.
In 1886, Garstin marries Louisa Jones, also known as Dochie. Many of Garstin’s friends from school in Antwerp had settled in Newlyn. He and Dochie move to Mount Vernon in Newlyn by 1886. They have three children: Crosbie, Denis and Alethea. The boys take up journalism and Alethea becomes an artist. The family moves to Penzance by 1895.
In 1888 Garstin becomes a member of the New English Art Club (NEAC). He becomes a member of the Newlyn Society of Artists (NSA) and is on the Newlyn Art Gallery‘s Provisional Committee for its opening in 1895. Regarding the plein-air approach used by St. Ives and Newlyn artists he says they are “filled with this idea of a fresh unarranged nature to be studied in her fields, and by her streams, and on the margin of her great seas – in these things they were to find the motives of their art.”
Garstin is a teacher and takes groups to “his favorite painting haunts on the Continent.” For instance, Frances Hodgkins, a New Zealand artist, attends Garstin’s 1901 and 1902 summer sketching classes in France. He teaches Harold Harvey, the only Cornish Newlyn School painter, and his daughter, Alethea.
Garstin’s work consists primarily of small oil panels in the plein air style, something he had picked up from the French Impressionists, like Édouard Manet. He is also fascinated by Japanese prints and admires the work of the American painter James Abbott McNeill Whistler. Some of his works are at Tate and Penlee House.
One of Garstin’s best and most famous works is his 1889 painting The Rain, It Raineth Every Day of the Penzance promenade. The title of the work comes from William Shakespeare‘s King Lear and Twelfth Night. “The composition of this painting demonstrates Garstin’s admiration for Japanese art,” says Penlee House.
Garstin dies in Penzance on June 22, 1926.
(Pictured: “The Rain It Raineth Every Day” oil on canvas by Norman Garstin, 1889, Penlee House)
Stewart is born in 28 Henry Street, in Dublin’s Northside. He is the second and only surviving child of Robert Stewart (the elder) and his wife Sarah Frances Seymour-Conway. His parents marry in 1766. He has recurring health problems throughout his childhood, and is sent to The Royal School, Armagh, rather than to England for his secondary education. At the encouragement of Charles Pratt, 1st Earl Camden, who takes a great interest in him and treats him as if he is a grandson by blood, he later attends St. John’s College, Cambridge (1786–87), where he applies himself with greater diligence than expected from an aristocrat and excels in his first-year examinations. But he then withdraws, pleading an illness that he admits to Camden is something “which cannot be directly acknowledged before women,” i.e. something sexually transmitted.
Stewart organises and finances the alliance that defeats Napoleon, bringing the powers together at the Treaty of Chaumont in 1814. After Napoleon’s second abdication in 1815, he works with the European courts represented at the Congress of Vienna to frame the territorial, and broadly conservative, continental order that holds until mid-century. He blocks harsh terms against France believing that a treaty based on vengeance and retaliation will upset a necessary balance of powers. France is restored to the frontiers of 1791, and her British-occupied colonies are returned. In 1820 Stewart enunciates a policy of non-intervention, proposing that Britain hold herself aloof from continental affairs.
After 1815, at home, Stewart supports repressive measures that link him in public opinion to the Peterloo Massacre of 1819. Widely reviled in both Ireland and Great Britain, overworked, and personally distressed, he commits suicide on August 12, 1822. He is found in a dressing room seconds after he has cut his own throat using a small knife. He collapses and dies almost instantly.
(Pictured: “Robert Stewart, 2nd Marquess of Londonderry,” oil on canvas by Thomas Lawrence, National Portrait Gallery)
McNally is born in Dublin in 1752, the son of a merchant and wine importer. He is raised by his mother with the support of his uncle. He is born into a Roman Catholic family, but at some point in the 1760s he converts to the Church of Ireland. He is passionate about theatre, entirely self-educated and initially becomes a merchant in Bordeaux like his father.
However, in 1774 McNally goes to London to study law at the Middle Temple but returns to Dublin to be called to the Irish bar in 1776. After returning to London in the late 1770s, he qualifies as a barrister in England as well, in 1783. He practises for a short time in London and, while there, supplements his income by writing plays and editing The Public Ledger.
Returning to Ireland, McNally developes a successful career as a barrister in Dublin. He develops an expertise in the law of evidence and, in 1802, publishes what becomes a much-used textbook, The Rules of Evidence on Pleas of the Crown. The text plays a crucial role in defining and publicising the beyond reasonable doubt standard for criminal trials.
Not long after returning to Ireland, McNally becomes involved in radical politics, having already in 1782 published a pamphlet in support of the Irish cause. He becomes Dublin’s leading radical lawyer of the day. In 1792, he represents James Napper Tandy, a radical member of the Irish Parliament, in a legal dispute over parliamentary privilege. In the early 1790s, he becomes a founder member of the United Irishmen, a clandestine society which soon develops into a revolutionary Irish republican organisation. He ranks high in its leadership and acts as the organisation’s chief lawyer, representing many United Irishmen in court. This includes defending Wolfe Tone and Robert Emmet, the leaders of the 1798 and 1803 rebellions respectively, at their trials for treason. In 1793, he is wounded in a duel with Sir Jonah Barrington, who had insulted the United Irishmen. Barrington subsequently describes McNally as “a good-natured, hospitable, talented and dirty fellow.”
After McNally’s death in 1820, it emerges that he had for many years been an informant for the government, and one of the most successful British spies in Irish republican circles that there has ever been. In 1794, when a United Irishmen plot to seek aid from Revolutionary France is uncovered by the British government, McNally turns informer to save himself, although, subsequently, he also receives payment for his services. He is paid an annual pension in respect of his work as an informer of £300 a year, from 1794 until his death in 1820.
From 1794, McNally systematically informs on his United Irishmen colleagues, who often gather at his house for meetings. It is he that betrays Lord Edward FitzGerald, one of the leaders of the 1798 rebellion, as well as Robert Emmet in 1803. A significant factor in the failure of the 1798 rebellion is the excellent intelligence provided to the government by its agents. McNally is considered to be one of the most damaging informers.
The United Irishmen represented by McNally at their trials are invariably convicted and he is paid by the crown for passing the secrets of their defence to the prosecution. During the trial of Emmet, he provides details of the defence’s strategy to the crown and conducts his client’s case in a way that assists the prosecution. For example, three days before the trial he assures the authorities that Emmet “does not intend to call a single witness, nor to trouble any witness for the Crown with a cross-examination, unless they misrepresent facts… He will not controvert the charge by calling a single witness.” For his assistance to the prosecution in Emmet’s case, he is paid a bonus of £200, on top of his pension, half of which is paid five days before the trial.
After McNally’s death, his activities as a government agent become generally known when his heir attempts to continue to collect his pension of £300 per year. He is still remembered with opprobrium by Irish nationalists. In 1997, the Sinn Féin newspaper, An Phoblacht, in an article on McNally, describes him as “undoubtedly one of the most treacherous informers of Irish history.”
McNally is a successful dramatist and writes a number of well-constructed but derivative comedies, as well as comic operas. His first dramatic work is The Ruling Passion, a comic opera written in 1771, and he is known to have authored at least twelve plays between 1779 and 1796 as well as other comic operas. His works include The Apotheosis of Punch (1779), a satire on the Irish playwright Richard Brinsley Sheridan, Tristram Shandy (1783), which is an adaptation of Laurence Sterne‘s novel, Robin Hood (1784), Fashionable Levities (1785), Richard Cœur de Lion (1786), and Critic Upon Critic (1788).
McNally also writes a number of songs and operettas for Covent Garden. One of his songs, The Lass of Richmond Hill, becomes very well-known and popular following its first public performance at Vauxhall Gardens in London in 1789. It is said to be a favourite of George III and popularises the romantic metaphor “a rose without a thorn,” a phrase which he used in the song.
Nothing is known of McNally’s first wife Mary O’Brien, other than that she dies in 1786. In London in 1787, he elopes with Frances I’Anson, as her father William I’Anson a solicitor, disapproves of McNally. Frances, and her family’s estate, Hill House in Richmond, North Yorkshire, is the subject of a song with lyrics by McNally and composed by James Hook, The Lass of Richmond Hill. In 1795, Frances dies during childbirth at age 29 and is survived by only one daughter. In early 1799, McNally marries his third wife, Louisa Edgeworth, the daughter of a clergyman from County Longford.
When McNally’s son, who has the same and professions, dies on February 13, 1820, it is widely reported to have been McNally. The son is buried in Donnybrook, Dublin, on February 17, 1820, and McNally sends a letter on March 6, 1820, to the Proprietor of Saunders’s Newsletter seeking damages for the severe injury caused by the circulation of his death. In June 1820, McNally is on his deathbed, and although he had been a Protestant for most of his adult life, he seeks absolution from a Roman Catholic priest. He dies and is also buried in Donnybrook on June 8, 1820.
Campbell’s books, mostly collections of humorous pieces that were originally published in newspapers and magazines, include A Long Drink of Cold Water (1949), A Short Trot with a Cultured Mind (1950), An Irishman’s Diary (1950), Life in Thin Slices (1951), Patrick Campbell’s Omnibus (1954), Come Here Till I Tell You (1960), Constantly in Pursuit (1962), How to Become a Scratch Golfer (1963), Brewing Up in the Basement (1963), Rough Husbandry (1965), The P-P-Penguin Patrick Campbell (1965), All Ways on Sundays (1966), A Bunch of New Roses (1967), an autobiography My Life and Easy Times (1967), The Coarse of Events (1968), Gullible Travels (1969), The High Speed Gasworks (1970), Waving All Excuses (1971), Patrick Campbell’s Golfing Book (1972), Fat Tuesday Tails (1972), 35 Years on the Job (1973), and The Campbell Companion (1987). Many of his books are illustrated by Quentin Blake.
Campbell is married three times, first in 1941 to Sylvia Alfreda Willoughby Lee, whom he divorces in 1947. He then marries Chery Louise Munro in 1947. The two divorce in 1966, the year he marries Vivienne Orme.
Campbell speaks with a stammer, but nevertheless delights television audiences with his wit, notably as a regular team captain on the long-running show Call My Bluff, opposite his longtime friend, Frank Muir. Muir notes that “When he was locked solid by a troublesome initial letter he would show his frustration by banging his knee and muttering ‘Come along! Come along!'” Some of his funniest short stories describe incidents involving his stammer. He stands six feet five inches tall, and several of his funniest pieces deal with the problems faced by a man of his build in merely finding shoes or clothes that fit him. He also makes regular appearances in That Was The Week That Was.
Campbell lives for many years in the South of France, commuting to England for his television work and continuing to produce his weekly column in The Sunday Times, which he drops in 1978.
In 1972 a period of illness leads to the discovery that Campbell had suffered an undetected heart attack some years previously and has a permanent heart weakness. An attack of viral pneumonia in 1980 exacerbates this condition, and he dies suddenly on November 9, 1980 while talking to a nurse at University College Hospital, London. He is succeeded as the 4th and last Lord Glenavy by his novelist brother Michael.
