George Johnstone StoneyFRS, Irish physicist, is born on February 15, 1826, at Oakley Park, near Birr, County Offaly, in the Irish Midlands. He is most famous for introducing the term “electron” as the “fundamental unit quantity of electricity.” He introduces the concept, though not the word, as early as 1874, initially naming it “electrine,” and the word itself comes in 1891. He publishes around 75 scientific papers during his lifetime.
Stoney is the son of George Stoney and Anne (née Bindon Blood). His only brother is Bindon Blood Stoney, who becomes chief engineer of the Dublin Port and Docks Board. The Stoney family is an old-established Anglo-Irish family. During the time of the famine (1845–52), when land prices plummet, the family property is sold to support his widowed mother and family. He attends Trinity College Dublin (TCD), graduating with a BA degree in 1848. From 1848 to 1852 he works as an astronomy assistant to William Parsons, 3rd Earl of Rosse, at Birr Castle, County Offaly, where Parsons had built the world’s largest telescope, the 72-inch Leviathan of Parsonstown. Simultaneously he continues to study physics and mathematics and is awarded an MA by TCD in 1852.
From 1852 to 1857, Stoney is professor of physics at Queen’s College Galway. From 1857 to 1882, he is employed as Secretary of the Queen’s University of Ireland, an administrative job based in Dublin. In the early 1880s, he moves to the post of superintendent of Civil Service Examinations in Ireland, a post he holds until his retirement in 1893. He continues his independent scientific research throughout his decades of non-scientific employment duties in Dublin. He also serves for decades as honorary secretary and then vice-president of the Royal Dublin Society (RDS), a scientific society modeled after the Royal Society of London and, after his move to London in 1893, he serves on the council of that society as well. Additionally, he intermittently serves on scientific review committees of the British Association for the Advancement of Science from the early 1860s.
Stoney publishes seventy-five scientific papers in a variety of journals, but chiefly in the journals of the Royal Dublin Society. He makes significant contributions to cosmic physics and to the theory of gases. He estimates the number of molecules in a cubic millimeter of gas, at room temperature and pressure, from data obtained from the kinetic theory of gases. His most important scientific work is the conception and calculation of the magnitude of the “atom of electricity.” In 1891, he proposes the term “electron” to describe the fundamental unit of electrical charge, and his contributions to research in this area lays the foundations for the eventual discovery of the particle by J. J. Thomson in 1897.
Stoney proposes the first system of natural units in 1881. He realizes that a fixed amount of charge is transferred per chemical bond affected during electrolysis, the elementary chargee, which can serve as a unit of charge, and that combined with other known universal constants, namely the speed of lightc and the Newtonian constant of gravitationG, a complete system of units can be derived. He shows how to derive units of mass, length, time and electric charge as base units. Due to the form in which Coulomb’s law is expressed, the constant 4πε0 is implicitly included, ε0 being the vacuum permittivity.
Like Stoney, Max Planck independently derives a system of natural units (of similar scale) some decades after him, using different constants of nature.
Hermann Weyl makes a notable attempt to construct a unified theory by associating a gravitational unit of charge with the Stoney length. Weyl’s theory leads to significant mathematical innovations, but his theory is generally thought to lack physical significance.
Stoney marries his cousin, Margaret Sophia Stoney, by whom he has had two sons and three daughters. One of his sons, George Gerald Stoney FRS, is a scientist. His daughter Florence StoneyOBE is a radiologist while his daughter Edith is considered to be the first woman medical physicist. His most scientifically notable relative is his nephew, the Dublin-based physicist George Francis FitzGerald. He is second cousin of the grandfather of Ethel Sara Turing, mother of Alan Turing.
After moving to London, Stoney lives first at Hornsey Rise, north London, before moving to 30 Chepstow Crescent, Notting Hill, West London. In his later years illness confines him to a single floor of the house, which is filled with books, papers, and scientific instruments, often self-made. He dies at his home in Notting Hill, on July 5, 1911. His cremated ashes are buried in St. Nahi’s Church, Dundrum, Dublin.
Conor is born on May 9, 1881, in Fortingale Street, Belfast, the third son and fourth child of William Connor, a tinsmith and sheet metal worker, who later becomes a gas fitter, and Mary Connor (née Wallace). He is educated at the Clifton Park central national school, where his artistic abilities are noticed by his music teacher. In 1894, he enrolls at the Belfast government school of design. He is a very successful student, and by 1903 has become an assistant teacher. He completes his studies in 1904, and begins an apprenticeship with the Belfast firm of lithographers, David Allen and Son. Through his work in the poster design department he develops an enthusiasm for using crayons on a textured surface. This becomes a characteristic feature of his later drawings. In these early years he first starts recording images of Belfast life, often sketched from behind a folded newspaper in the street. Influenced by the Gaelic revival, in the years 1907–9 he signs his name in several different ways such as “Liam” and “Liam Conor.” In later years he signs himself simply “Conor.”
Having abandoned his career as a lithographer around 1910, Conor concentrates his efforts on painting professionally. He begins exhibiting with the Belfast Art Society in 1910, and in the period that follows he spends time in Craigavad, County Down, the Blasket Islands in County Kerry, Dublin, and Donegal. During a visit to Paris, which he later recalls as being in 1912 and 1913, he meets the painter André Lhote. After his return to Belfast he is elected to the committee of the Belfast Art Society in 1913. On the outbreak of World War I, he is commissioned by the British government to record the everyday activities of munitions workers and soldiers in Ulster. His pictures mostly show soldiers in training and various scenes from the home front, including the work of women in munitions factories and hospitals. Described as “vigorous and personable, if rather folksy . . . effectively uniformed versions of the tinkers and shipyard workers for which he subsequently became known,” these paintings are exhibited and subsequently, in 1916, auctioned for the Ulster Volunteer Patriotic Fund. His long association with the Royal Hibernian Academy (RHA) begins in 1918 and he shows up to 200 works at the academy over the next forty-nine years.
In 1921, Conor moves to London, where he becomes acquainted with, among others, Sir William Orpen, Sir John Lavery, and Augustus John. He becomes a member of the Chelsea Arts Club, and contributes four paintings to the National Portrait Society as part of its spring exhibition in 1921. His friendship with Lavery is significant. Through him Conor receives a commission to paint the opening of the first Northern Ireland parliament in June 1921. He goes on to exhibit with a variety of influential bodies, including the Royal Academy of Arts, the Société Nationale des Beaux-Arts in Paris, and the Royal Society of Portrait Painters. In 1922, The Twelfth, executed c.1918, is shown in the Galerie Barbazanges in Paris, under the title Le cortège Orangiste à Belfast, as part of the World Congress of the Irish Race. He is represented at the Paris salon in 1923 and the following year he has a successful exhibition at the St. Stephen’s Green Gallery, Dublin.
In 1926, Conor travels to Philadelphia and New York, where, during his nine-month stay, he receives numerous commissions for portraits and has work shown in the Babcock Galleries, the Brooklyn Art Gallery, and the American Irish Historical Society. In 1932, he designs the costumes for the principals in the Pageant of St. Patrick, which marks the 1,500th anniversary of the saint’s coming to Ireland. That year also sees the unveiling of his muralUlster Past and Present at the Belfast Municipal Museum and Art Gallery. Measuring 2.8 by 7.4 metres, it is at the time the largest mural in the country. During World War II he is again appointed an official war artist and his work is represented at the exhibition of war artists at the National Gallery, London, in 1941. His book The Irish Scene is published in 1944, and though it sells well, the subsequent bankruptcy of his publishers mean that Conor receives no royalties. He also provides the illustrations for books by Lynn C. Doyle, the pseudonym of his friend Leslie Montgomery.
Although Conor is best known for his depictions of the everyday life of people in his native Belfast, in which he attempts to capture the “flash of humour which lightens their daily toil,” he also produces landscapes and portraits. His sitters included Douglas Hyde, St. John Greer Ervine, Charles D’Arcy, and Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry. The Council for the Encouragement of Music and the Arts organises several successful Conor exhibitions. Their one-man show of 1945 becomes the first to tour the province, while their exhibition of his work in 1954 has an attendance in excess of 2,800. Conor closes his long-established studio on Stranmillis Road in 1960 but continuea to exhibit, notably with the Bell Gallery in 1964, 1966, and 1967.
(From: “Conor, William” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “William Conor,” oil on canvas by Gladys Maccabe, Ulster Folk Museum)
Colin MiddletonMBE, Northern Irishlandscape artist, figure painter, and surrealist, is born on January 29, 1910, in Victoria Gardens in north Belfast. Hus prolific output in an eclectic variety of modernist styles is characterised by an intense inner vision, augmented by his lifelong interest in documenting the lives of ordinary people. He has been described as “Ireland’s greatest surrealist.”
Middleton is the only child of damask designer Charles Middleton. He attends the nearby Belfast Royal Academy until 1927 and then continues his studies with night classes at Belfast School of Art where he trains in design under the Cornish artist Newton Penprase. However, he finds the college too traditional in outlook, as his first influence, his father, had been a follower of European Modernism, particularly the Impressionists.
Middleton shows his first works with the Ulster Academy of Arts in 1931, where he exhibits frequently until the late nineteen-forties. He first comes to public attention with the inclusion of his works in the groundbreaking inaugural exhibition of the Ulster Unit at Locksley Hall, Belfast, in December 1933. The Ulster Unit is a short-lived grouping of Ulster artists who take their inspiration from Paul Nash’s Unit One formed earlier in the same year. Just two years thereafter in the same year, he marries Maye McLain, also an artist and a domestic science teacher, who unfortunately dies four years later. He is also a poet and writer, whom along with his wife, is an active member of the Northern Drama League in the 1930s, with whom he designs sets. After the death of his first wife he destroys all of his early paintings and enters a period of seclusion at his mother’s home outside Belfast. He becomes a follower of Vincent van Gogh and James Ensor after viewing exhibitions in London and Belgium respectively. On his return to Ulster he begins to experiment with styles derived from European Modernism, the antithesis to traditional academism. Throughout the 1930s he is also a keen follower of Paul Nash, Tristam Hillier and Edward Wadsworth. After exposure to the works of Salvador Dalí, he declares himself “the only surrealist painter working in Ireland.”
Middleton’s work first appears at the Royal Hibernian Academy in 1938 where he shows intermittently until the final year of his life. He participates in an exhibition at 36 Arthur Street, Belfast, with the Czech artist Otakar Gregor, Joan Loewenthal and Sidney Smith in aid of the war effort at the end of 1940. He completes three paintings immediately after the Belfast Blitz and the trauma of the events prevent him from working for six months before his work is included in a portfolio of lithographs published by the Ulster Academy in December 1941 to raise money for rebuilding the Ulster Children’s and Women’s Hospital which had been destroyed in the Blitz earlier in the year.
Middleton’s first solo exhibition is given by the Belfast Municipal Museum and Art Gallery in 1943. It is the first exhibition staged at the gallery when it re-opens after the Belfast Blitz. At the time it is the largest one-person show the gallery has staged comprising one hundred fifteen works and it is also the first solo exhibition accorded to a local contemporary artist by the gallery. In an interview with Patrick Murphy in 1980, he says that the paintings represent “a first endeavour to harmonize the seemingly opposed and conflicting tendencies in human nature.” Dickon Hall says of this period that “Middleton’s painting is dominated by the female form; it is only rarely that men appear in his work. In part these women reflect his experience of Belfast and the difficult conditions that so many lived through.” This can be seen in the three female figures of The Poet’s Garden (1943), and even more so in The Conspirators (1942), both of which are featured in the 1943 exhibition. “The female form, pictorially and symbolically, becomes the landscape and the life force.”
The Belfast exhibition is followed by his first one-man show at the Grafton Galleries, Dublin, in 1944. In the following year he debuts at the Irish Exhibition of Living Art where he returns on a number of occasions, particularly in the periods 1949–55 and 1963–71. In 1945, he is married for the second time, to Kate Giddens, after both are named co-respondents at the Belfast High Court a few months earlier, in civil servant Lionel P. Barr’s application for a decree nisi. The suit is undefended and the couple has costs awarded against them. In the same year Middleton returns to the Belfast Museum for a solo exhibition arranged by the Council for the Encouragement of Music and the Arts. He is a founding member of the Northern Ireland branch of the Artists’ International Association, who show at the Belfast Municipal Gallery in spring 1945. Other members include Joan Loewenthal, Kathleen Crozier, Pat Hicking, Trude Neu, Sidney Smith, Nevill Johnston, George Campbell and Gerard Dillon.
Middleton’s work is displayed in New York‘s Associated American Artists gallery in 1947 with a selection of works chosen by Dublin art critic Theodore Goodman that includes paintings by his Northern contemporaries Daniel O’Neill, George Campbell, Gerard Dillon and Patrick Scott. He also retires from the family business that year to devote his time to painting, having worked at the business since his father’s death in 1933. He then takes his wife and child to live and work on John Middleton Murry’sSuffolk commune for a short period, before returning to Belfast in 1948. Their life in Suffolk is not a success as the family suffers from ill health, but the experience of working the land is to prove a profound influence on his future work.
In 1949, Middleton shows his first works at the Oireachtas na Gaeilge, where he returns periodically until 1977. Upon their return from Suffolk, his wife sends Victor Waddington photos of his work whereupon Waddington comes to represent him for a period of five years, until the Waddington Galleries face financial hardship in 1958. It is Waddington’s patronage that enables the Middleton family to live and work in Ardglass, County Down, for four years from 1949, which Middleton later describes as the happiest time of his life. When his works are displayed at Victor Waddington’s Dublin gallery in that same year, it acts as a springboard that opens Middleton’s work to an international audience. Group exhibitions in Boston and London follow in 1950 and 1951 respectively.
Middleton’s first solo show at London’s Tooth Gallery takes place in 1952, where his work had been shown in the previous year.
In 1953, Middleton moves to Bangor, County Down, where he designs for Marjery Mason‘s The Repertory Theatre. He later designs sets for the Circle Theatre and the Lyric Theatre, including the sets for a series of W. B. Yeats’s plays in 1970, and Seán O’Casey‘s Red Roses for Me in 1972, both at the latter. In 1952, he exhibits alongside Daniel O’Neill, Nevill Johnson, Gerard Dillon and Thurloe Connolly at the Tooth Galleries in London. He begins his career as an art teacher by the invitation of James Warwick who offers him a one year part-time post at the Belfast College of Art in 1954. That year he shows forty-two works at the Belfast Municipal Gallery under the auspices of the Council for the Encouragement of Music and the Arts. In the following year he delivers full-time classes at the Coleraine Technical School, before becoming head of art at Friends’ School, Lisburn in 1961 where he remains until 1970. He lives on Plantation Avenue in Lisburn for nine years next door to fellow artist and pedagogueDennis Osborne, who presents a portrait of Middleton at the annual exhibition of the Royal Ulster Academy in 1965.
A poet and musician, Middleton also produces murals, mosaics and posters. One such mural is commissioned for a house in Ballymena designed by the architect Noel Campbell in an international modernist style in 1951, and other works include a mosaic for a school in Lisburn, and a mural in a health clinic. He shows in many group shows throughout the fifties including the Royal Academy of Arts in 1955, in addition to more solo exhibitions at the Waddington Galleries in 1955, and his first showing at the Richie Hendricks Gallery in 1958. Of the Waddington exhibition TheDublin Magazine writes: “Apart from the brilliance of his paint, he has one rare quality in his inexhaustible capacity for wonder.”
Middleton shows in the Arts Council of Northern Ireland‘s gallery in 1965 with additional works at the Bell Gallery and his Bruges Series is shown at Alice Berger Hammerschlag’s New Gallery upon his return from a Belgian trip in 1966. The Arts Council of Northern Ireland suffers an extensive fire at their storage facility in south Belfast in autumn 1967 which decimates their collection of contemporary art and theatre costumes. Losses include several of Middleton’s paintings, in addition to the works of many other leading Ulster artists such as William Conor and T. P. Flanagan. He Is among the prizewinners at the Arts Council of Northern Ireland’s 4th Open Painting Exhibition in 1968. In the same year, John Hewitt curatea a joint exhibition of his paintings with T. P. Flanagan at the Herbert Art Gallery and Museum in Coventry.
The Arts Council hosts a joint retrospective of Middleton’s work in co-operation with the Scottish Arts Council in 1970. A major retrospective is to follow at the Ulster Museum and the Hugh Lane Municipal Gallery of Modern Art in Dublin in 1976. Comprising almost three hundred exhibits, the show is accompanied by a monograph written by Middleton’s lifelong friend, the patron and poet John Hewitt. Hewitt later bequeaths his art collection, including several of Middleton’s paintings to the Ulster Museum.
The Royal Mail uses Middleton’s painting of Slieve na Brock in the Mourne Mountains to commemorate the Ulster ’71 exhibition in a series of postage stamps that also feature the work of Thomas Carr and T. P. Flanagan. In 1972, Middleton tours extensively with his wife visiting Australia for two months and shows his works from the trip at the McClelland International Galleries on Belfast’s Lisburn Road the following year. In 1973 he also visits Barcelona and later shows a series of surrealist works inspired by the two trips at the Tom Caldwell Gallery in Belfast.
Middleton lives the last twelve years of his life in Bangor, County Down.
Middleton dies of leukemia in Belfast City Hospital on December 23, 1983. He is survived by his wife Kate, their daughter and a step-daughter. His son predeceases him by a year. Christie’s of London is entrusted with the sale of his studio works in 1985. The works are displayed before auction in both Dublin and Belfast during August 1985. In 2005, the Ulster History Circle unveils a commemorative blue plaque at his former home on Victoria Road in Bangor.
In September 2023, eighty years since the ground-breaking exhibition Middleton held at the Belfast Museum and Art Gallery, now the Ulster Museum, and forty years after his death, the Ulster Museum holds a new exhibition of his works, celebrating his association with Belfast, the city of which he says, “I belong here as I never belonged anywhere else in the country.” This exhibition brings together works held in the public collection with those from private lenders to provide a full picture of the artist’s talent and life.
Middleton wins the Royal Dublin Society‘s Taylor Scholarship worth £50 in 1932, and two further awards of £10 in 1933. In 1935, he is elected associate of the Ulster Academy, inducted alongside Helen Brett, Kathleen Bridle, Patrick Marrinan, Maurice Wilks, Romeo Toogood and William St. John Glenn,and in 1948 he becomes an elected Academician at the same.
In 1968, Middleton is appointed MBE in the Queen’s birthday honours list, and in 1969 he is elected an associate at the Royal Hibernian Academy with full membership conferred just a year later. He is awarded an honoraryMaster of Arts degree from Queen’s University Belfast in 1972. The Arts Council of Northern Ireland grants him a substantial subsistence award in 1970 which covers two years enabling him to retire from teaching to concentrate on painting full-time. In the same year, the Arts Council of Northern Ireland also commissions him to paint a portrait of their director, Kenneth Jamison.
Hammond is the son of Leslie Hammond, a tram driver, and his wife Annie (née Lamont). His parents are not city people; his mother grew up near Ballybogy in the Ballymoney area of County Antrim, and his father, though from a family with roots in south County Londonderry, had lived in Ballymoney as a boy, and had been apprenticed to a blacksmith there. Both have a strong sense of their rural identity and maintain the Ulster Scots dialect of their childhood. They are never quite at home in the Belfast suburb of Cregagh, and in particular do not share the sectarian attitudes that are much more present in 1930s Belfast than they had been in north Antrim, one of the last strongholds of Presbyterian radicalism. Even as a boy, Hammond is interested in the old songs that his mother sang and realises that the traditions in which his parents had been nurtured are disappearing quickly in an increasingly urbanising and modernising world. When he encounters the work of Emyr Estyn Evans in the early 1940s, he is encouraged to document both rural tradition and the street life of the city, and he and a couple of friends, though still just teenagers, ride off on their bicycles to look for folklore in the hinterland of Belfast.
After primary school, Hammond wins a scholarship in 1941 to Methodist College Belfast, where he does well in examinations, and then goes to Stranmillis University College to train as a teacher. In his first job, in Harding Memorial primary school in east Belfast, he proves to be a popular, idealistic teacher, and is remembered by his pupils fifty years later as a fine singer and a teller of ghost stories, who had taken the class on memorable youth-hosteling trips to the Mourne Mountains. Youth hosteling and folklore collecting increases his awareness and understanding of the rich traditions of the whole community in the north of Ireland, and he is never constrained by political or religious barriers. His early career mirrors closely that of James Hawthorne, and their paths are to cross in later life.
Hammond is friendly with many others active in the cultural life of Northern Ireland and makes a name for himself as a song collector and eventually as an expert on all aspects of traditional singing. In 1956, he is awarded a scholarship to travel in the United States to meet the important pioneers of folk-music collecting and performance there. He records his first LP record of Ulster songs, I Am The Wee Falorie Man (1958), in the United States, and becomes friends with Pete Seeger, the Appalachian singer Jean Ritchie, with old blues singers, and notably with Liam Clancy, one of the three Clancy brothers who as a quartet with Tommy Makem are to popularise Irish folk music in the United States and elsewhere.
On returning to Belfast, Hammond takes a job in 1958 in Orangefield secondary school in the east of the city, where the highly regarded headmaster John Malone encourages new approaches to education. Among his pupils at Orangefield is George Ivan “Van” Morrison, who credits him with inspiring his interest in Irish traditional music. Hammond enjoys teaching but is increasingly drawn to folk-song performance and recording. He appears regularly on radio programmes of the BBC and Radio Éireann, and in 1964 joins the school’s department in BBC Northern Ireland. There, with colleagues like Sam Hanna Bell, James Hawthorne and others, he works on programmes such as Today and Yesterday in Northern Ireland, which for the first time introduces pupils (and many adults) to local history and to aspects of tradition. In 1968, with two friends, the poets Seamus Heaney and Michael Longley, he puts on poetry and traditional music events in schools all over the province. The Arts Council funds the Room to Rhyme project, which is immensely influential and inspiring, and is still talked about many years later by those who attended as children.
Hammond is creatively involved with hundreds of hours of broadcasting, in television as well as radio, and eventually for adults as well as children. He writes scripts, produces documentary series such as Ulster in Focusand Explorations, and brings an artistic sensibility to filming, as well as working sympathetically with traditional singers and craftspeople. Dusty Bluebells, a sensitively made film of Belfast children’s street games, wins the prestigious Golden Harp award in 1972. After he leaves the BBC to work as a freelance, and founds Flying Fox Films in 1986, he continues making documentaries on many aspects of Ulster life and heritage. His film called Steel Chest, Nail in the Boot and the Barking Dog (1986), about working in the Belfast shipyards, also wins a Golden Harp award. A companion book of the same name is published. Another book is Belfast, City of Song(1989), with Maurice Leyden. In 1979, he edits a volume of the songs of Thomas Moore. His documentary programmes include films about singers from Boho, County Fermanagh, and about the big houses of the gentry in Ireland. The Magic Fiddle (1991/2) examines the role of the instrument in the folk music of Ireland, Scandinavia, Canada, and the American south, while Another Kind of Freedom (1993) is about the experiences of a former Orangefield pupil, the Beirut hostage Brian Keenan. He also produces and directs the films Something to Write Home About (1998), Where Are You Now? (1999), and Bogland (1999), all of which explore Seamus Heaney’s home region and experiences.
The first poem in Heaney’s collection Wintering Out (1972) is entitled “For David Hammond and Michael Longley.” Their lifelong friendship leads to several other creative collaborations. In particular, after a distressing evening in 1972 when Hammond, affected by the despair and terror unleashed by Irish Republican Army (IRA) bombing of his city, is for once unable to sing, Heaney meditates on the experience in an essay and in an important poem, “The singer’s house” (subsequently included in his 1979 Field Work collection). The poem urges the singer to keep singing, to defend the values of art and friendship in a hostile time. Hammond collaborates with Dónal Lunny and other traditional musicians to bring out an LP also called The Singer’s House(1978), which includes Heaney’s poem on the album sleeve, and features some of the songs that he had made famous, such as “My Aunt Jane” and “Bonny Woodgreen,” from his vast repertoire of songs from Ulster. The album is reissued in 1980.
In 1995, Hammond is one of Heaney’s personal guests at the award of his Nobel prize in Stockholm, characteristically wearing his usual, mustard-yellow, cattle-dealer boots with evening dress. On another formal occasion, when he is awarded an honorary doctorate by Dublin City University in November 2003, he surprises the audience by standing up in his academic robes to sing “My Lagan love,” instead of giving an address. His unique, light mellow voice is an ideal vehicle for the traditional ballads which he knows so well. He records a number of records in the 1960s, including Belfast Street Songs, and publishes the book Songs of Belfast (1978). He also encourages traditional musicians like Arty McGlynn, and collaborates with them on various recording projects. He is well known for live and often impromptu performances at festivals and venues in Ireland and the United States. He also performs at the John F. Kennedy Center for the Performing Arts in Washington, D.C.
Hammond is also a notable collaborator with poets and dramatists, especially in the important Field Day Theatre Company project, of which he is a director, along with Seamus Heaney, Tom Paulin, Seamus Deane, Thomas Kilroy, and the project’s founders, Brian Friel and Stephen Rea. He supports the Field Day search for a “fifth province,” where history and community and culture can intersect, believing that to speak unthinkingly of “two traditions” is to perpetuate superficial political divisions. As he says in an interview in The Irish Times on July 4, 1998, songs can “take you out of yourself” and become bridges to unite people.
Hammond receives many honours. In 1994, he receives the Estyn Evans award for his contribution to mutual understanding, and his work is featured in several major events in his honour: in the University of North Florida (1999), in the Celtic Film Festival in Belfast (2003), and in Belfast’s Linen Hall Library (2005). A Time to Dream, a film about his life and work, is broadcast on BBC Northern Ireland in December 2008.
Hammond dies in hospital in Belfast, after a long illness, on August 25, 2008, survived by his wife Eileen (née Hambleton), whom he marries on July 19, 1954, and by their son and three daughters. His funeral in St. Finnian’s Church is a major cultural event, where friends sing, play and speak in his honour.
In Seamus Heaney’s last collection of poetry, Human Chain (2010), he includes a poignant farewell to Hammond. The poet imagines (or perhaps dreams) of another visit to the singer’s house, but this time “The door was open, and the house was dark.”
(From: “Hammond, David Andrew (‘Davy’)” by Linde Lunney, Dictionary of Irish Biography, http://www.dib.ie, December 2014)
Corrigan is the son of a dealer in agricultural tools. He is educated in St. Patrick’s College, Maynooth, which then has a department for secular students apart from the ecclesiastical seminary. He is attracted to the study of medicine by the physician in attendance, and spends several years as an apprentice to the local doctor, Edward Talbot O’Kelly. He studies medicine in Dublin later transferring to Edinburgh Medical School where he receives his degree as MD in August 1825.
Corrigan returns to Dublin in 1825 and sets up a private practice at 11 Ormond Street. As his practice grows, he moves to 12 Bachelors Walk in 1832, and in 1837 to 4 Merrion Square West. Apart from his private practice, he holds many public appointments. He is a physician to St. Patrick’s College, Maynooth, the Sick Poor Institute, the Charitable Infirmary Jervis Street (1830–43) and the House of Industry Hospitals (1840–66). His work with many of Dublin’s poorest inhabitants leads to him specialising in diseases of the heart and lungs, and he lectures and published extensively on the subject. He is known as a very hard-working physician, especially during the Great Famine of Ireland. At the 1870 Dublin City by-election he is elected a LiberalMember of Parliament for Dublin City. In parliament he actively campaigns for reforms to education in Ireland and the early release of Fenian prisoners. He does not stand for re-election in 1874. His support for temperance and Sunday closing (of pubs) antagonises his constituents and alcohol companies
In 1847, Corrigan is appointed physician-in-ordinary to the Queen in Ireland. Two years later he is given an honorary MD from Trinity College Dublin (TCD). In 1846, his application to become a fellow of the Royal College of Physicians of Ireland (RCPI) is blocked. In 1855, he gets around this opposition by sitting the college’s entrance exam with the newly qualified doctors. He becomes a fellow in 1856, and in 1859 is elected president, the first Catholic to hold the position. He is re-elected president an unprecedented four times. There is a statue of Corrigan in the Graves’ Hall of the college by John Henry Foley.
Corrigan is President of the Royal Zoological Society of Ireland, the Dublin Pathological Society, and the Dublin Pharmaceutical Society. From the 1840s he is a member of the senate of the Queen’s University and in 1871 becomes its vice-chancellor. In 1866, he is created a baronet, of Cappagh and Inniscorrig in County Dublin and of Merrion Square in the City of Dublin, partly as a reward for his services as Commissioner of Education for many years. He is a member of the board of Glasnevin Cemetery and a member of the Daniel O’Connell Memorial Committee. Armand Trousseau, the French clinician, proposes that aortic heart disease should be called Corrigan’s disease.
The Corrigan Ward, a cardiology ward in Beaumont Hospital, Dublin is named in his honour. Part of his family crest is also part of the Beaumont Hospital crest.
Corrigan marries Joanna Woodlock, the daughter of a wealthy merchant, and sister of the Bishop Dr. Bartholomew Woodlock, in 1827. They have six children, three girls and three boys. Hus eldest son, Captain John Joseph Corrigan, Dragoon Guards, dies on January 6, 1866, aged 35 years and is interred at the Melbourne General Cemetery, Melbourne, Australia.
Corrigan dies at Merrion Square, Dublin, on February 1, 1880, having suffered a stroke the previous December. He is buried in the crypt of St. Andrews Church on Westland Row, Dublin. His grandson succeeds him to the baronetcy.
According to Sam Smyth in the Irish Independent, Mac Mathúna is “on a mission to collect songs and stories, music, poetry and dance before they were buried under the coming tsunami of pop music.”
Mac Mathúna presents the radio programme, Mo Cheol Thú, for 35 years. Upon his retirement in 2005, the managing director of RTÉ Radio, Adrian Moynes, describes him as “inseparable from RTÉ Radio.” Upon his death in 2009, the Irish Independent describes him as “a national treasure.”
After college Mac Mathúna works as a teacher and later at the Placenames Commission. In 1954, he joins Radio Éireann where his job is to record Irish traditional musicians playing in their own locales. This entails visiting such places as Sliabh Luachra, County Clare and County Sligo, and the resulting recordings feature in his radio programmes: Ceolta Tire, A Job of Journeywork and Humours of Donnybrook.
Mac Mathúna’s long-running Sunday morning radio series, Mo Cheol Thú (You are my music), begins in 1970 and continues until November 2005, when he retires from broadcasting. Each 45-minute programme offers a miscellany of archive music, poetry and folklore, mainly of Irish origin. It is one of radio’s longest running programmes. The last episode is broadcast on November 27, 2005, at 8:10 a.m.
Mac Mathúna wins two Jacob’s Awards, in 1969 and 1990, for his RTÉ Radio programmes promoting Irish traditional music. He receives the Freedom of Limerick city in June 2004. He is also awarded honorary doctorates by NUI Galway and the University of Limerick. In 2007, he receives the Musicians Award at the 10th annual TG4 Traditional Music Awards.
Joe Kennedy in the Sunday Independent in 2007 compares Mac Mathúna to “an amiable rock, rolling gently along, still picking up some moss and morsels of music that he may have missed.”
Mac Mathúna‘s wife, Dolly MacMahon (using the English version of her surname), is a singer of traditional songs. She comes from Galway and meets her husband in 1955. He has two sons named Padraic and Ciarán, one daughter named Déirdre, and four grandchildren at the time of his death: Eoin, Colm, Conor and Liam.
Musicians performing at the ceremony include Peadar Ó Riada, Cór Cúil Aodha and members of The Chieftains and Planxty. The corpse is then taken to Mount Jerome Crematorium. Journalist Kevin Myers says Mac Mathúna’s legacy will be the “rebirth of Irish music,” adding, “Well, if Ciarán Mac Mathúna can die, I suppose anyone can. Actually, I had always thought that he was immortal. He certainly appeared to have all the ingredients.”
Lyons is a lecturer in history at the University of Hull and then at Trinity College Dublin. He becomes the founding Professor of Modern History at the University of Kent in 1964, serving also as Master of Eliot College from 1969 to 1972.
Lyons principal works include Ireland Since the Famine, the standard university textbook for Irish history from the mid-19th to late-20th century, which The Times calls “the definitive work of modern Irish history” and a biography of Charles Stewart Parnell.
Lyons is critical of Cecil Woodham-Smith‘s much-acclaimed history of the Great Irish Famine and has generally been considered among the “revisionist” historians who reconsiders the role of the British state in events like the Famine.
Lyons marries Jennifer Ann Stuart McAlister in 1954, and has two sons, one of whom, Nicholas, is a former Lord Mayor of London.
On September 15, 1983, Lyons is nominated, unopposed, as chancellor of Queen’s University Belfast (QUB). But less than a week later he is dead, succumbing in Dublin on September 21 to acute pancreatitis, which had struck him in mid-August. He had begun to write the first draft of his W. B. Yeats biography (having accumulated a great archive of material) only a few weeks before. His ashes are buried beside Trinity College chapel.
Manahan’s career begins when, as a young woman, she is recruited by the legendary Irish impresarios and theatrical directorsMicheál Mac Liammóir and Hilton Edwards. She later marries stage director Colm O’Kelly, who dies not long afterward of polio, which he contracts after swimming in the Nile during a theatre tour of Egypt. They have no children and she never remarries. She is known professionally by her maiden name. In 1946 she appears in a production by Irish playwrightTeresa Deevy, The Wild Goose, where she plays the part of Eileen Connolly. This is performed by Equity Productions in the Theatre Royal, Waterford.
In 1957, Manahan plays Serafina in the first Irish production of Tennessee Williams‘s The Rose Tattoo and achieves unexpected notoriety when she and several other members of the cast are arrested for the possession of a condom on stage.
Manahan plays a minor role in the Irish cultsoap operaThe Riordans (1960s), and as Mrs. Mary Kenefick in the TV comedy Me Mammy (1970s). She also plays the lead in the Irish comedy series, Leave It To Mrs O’Brien (1980s) and Mrs. Cadogan in The Irish R.M. (1980s). Most recently she plays Ursula in Fair City, for which her niece, Michele Manahan (daughter of Michael Manahan), is a writer.
Manahan has an extensive theatre portfolio having played at theatres throughout Ireland including the Abbey Theatre, the United Kingdom, continental Europe, the United States and Australia. She wins the Tony Award for Best Featured Actress in a Play for her role as Mag in Martin McDonagh’s The Beauty Queen of Leenane on Broadway. She previously receives a Tony nomination in 1969 for Brian Friel’s Lovers.
The Irish playwright John B. Keane writes the play Big Maggie specifically for Manahan. In 2001 she stars in Keane’s The Matchmaker with veteran Irish actor Des Keogh. In 2005 she stars in Sisters, a new play by Declan Hassett that is also written for her and for which she is nominated for a Drama Desk Award in the category of Outstanding Solo Performance. The production tours Ireland and is staged at the International Festival of World Theatre in Colorado and also plays at the 59E59 Theater in New York City in 2006.
In 2004 Manahan starts to play the role of Ursula in Fair City. All About Anna (2005), a documentary on her life and work is made by Charlie Mc Carthy/Icebox Films for RTÉ Television. In 2008, she becomes the first ever patron of the Active Retirement Ireland organization.
Manahan dies of multiple organ failure on March 8, 2009 in Waterford. She had suffered from a longterm illness.
Her funeral is held on March 11, officiated by her “longtime friend” the psychoanalyst, poet, and priest Bernard Kennedy. “As the final curtain falls, the lights dim, the auditorium becomes silent, we remember her” he says. Describing her as a woman of faith (who “sought to bring the word of God alive”), he says she had brought everyone together to be present at “her last great exit from this great stage of life,” saying her life’s work had drawn people from all over the world. “Anna believed in the empty tomb of the Resurrection and she believed the empty tomb could be filled by hearing the word take the place of the emptiness,” he says. “She knew the bedsits which preceded the Tony nomination.”
Horniman, the elder child of Frederick John Horniman and his first wife Rebekah (née Emslie). Her father is a tea merchant and the founder of the Horniman Museum. Her grandfather is John Horniman who founds the family tea business of Horniman and Company. She and her younger brother, Emslie, are educated privately at their home. Her father is opposed to the theatre, which he considers sinful, but their Germangoverness takes her and Emslie secretly to a performance of The Merchant of Venice at The Crystal Palace when she is fourteen years old.
Horniman’s father allows her to enter the Slade School of Fine Art in 1882. Here she discovers that her talent in art is limited but she develops other interests, particularly in the theatre and opera. She takes great pleasure in Richard Wagner‘s Der Ring des Nibelungen and in Henrik Ibsen‘s plays. She cycles in London and twice over the Alps, smokes in public and explores alternative religions. The “lonely rich girl” has become “an independent-minded woman.” In 1890 she joins the occult society, the Hermetic Order of the Golden Dawn, where she remains a member until disagreements with its leaders lead to her resignation in 1903. During this time she meets and becomes a friend of W. B. Yeats, acting as his amanuensis for some years. Their friendship endures. Frank O’Connor recalls that on the day Yeats hears of her death, he spends the entire evening speaking of his memories of her.
Horniman’s first venture into the theatre is in 1894 and is made possible by a legacy from her grandfather. She anonymously supports her friend Florence Farr in a season of new plays at the Royal Avenue Theatre, London. This includes a new play by Yeats, The Land of Heart’s Desire, and the première of George Bernard Shaw’s play Arms and the Man. In 1903, Yeats persuades her to go to Dublin to back productions by the Irish National Theatre Society. Here she discovers her skill as a theatre administrator. She purchases a property and develops it into the Abbey Theatre, which opens in December 1904. Although she moves back to live in England, she continues to support the theatre financially until 1910. Meanwhile, in Manchester she purchases and renovates the Gaiety Theatre in 1908 and develops it into the first regional repertory theatre in Britain.
At the Gaiety, Horniman appoints Ben Iden Payne as the director and employs actors on 40-week contracts, alternating their work between large and small parts. The plays produced include classics such as Euripides and Shakespeare, and she introduces works by contemporary playwrights such as Ibsen and Shaw. She also encourages local writers who form what becomes known as the Manchester School of dramatists, the leading members of which are Harold Brighouse, Stanley Houghton and Allan Monkhouse. The Gaiety company undertakes tours of the United States and Canada in 1912 and 1913. Horniman becomes a well-known public figure in Manchester, lecturing on subjects which include women’s suffrage and her views about the theatre. In 1910 she is awarded the honorary degree of MA by the University of Manchester. During World War I the Gaiety continues to stage plays but financial difficulties lead to the disbandment of the permanent company in 1917, following which productions in the theatre are by visiting companies. In 1921 she sells the theatre to a cinema company.
As a result of her tea connection, Horniman is known as “Hornibags.” She holds court at the Midland Hotel, wearing exotic clothing and openly smoking cigarettes, which is considered scandalous at the time. She introduces Manchester to what is called at the time “the play of ideas.” The theatre critic James Agate notes that her high-minded theatrical ventures have “an air of gloomy strenuousness” about them.
Horniman dies, unmarried, on August 6, 1937, while visiting friends in Shere, Surrey. Her estate amounts to a little over £50,000. The Annie Horniman Papers are held in the John Rylands Research Institute and Library at the University of Manchester. Her portrait, painted by John Butler Yeats in 1904, hangs in the public area of the Abbey Theatre.
Christened as William O’Brien, Ó Briain is born at 10 Church Street, North Wall, Dublin, on September 16, 1888, the seventh child of Arthur O’Brien, clerk, and Mary O’Brien (née Christie), who is from County Meath. He takes an interest in the Irish language from an early age and begins learning Irish by himself from a grammar book, as it is not encouraged by his teachers at the Christian Brothers’ O’Connell School nor spoken by his parents. While still at the O’Connell School, he starts using the Irish version of his name. He also attends meetings of the Gaelic League, then attends University College Dublin (UCD) on a scholarship, where he studies French, English and Irish, receiving a BA (1909) and an MA (1910).
UCD decides to start awarding one annual scholarship for overseas travel in 1911, and Ó Briain wins the first one, using it to visit Germany and study under Kuno Meyer and Rudolf Thurneysen. After three years, he returns home, where he rejoins the Gaelic League and begins teaching French at UCD. He also joins the Irish Volunteers then, the following year, Seán T. O’Kelly convinces him to join the Irish Republican Brotherhood (IRB).
Around this time, Ó Briain joins Sinn Féin, and he stands unsuccessfully for the party in Mid Armagh at the 1918 United Kingdom general election in Ireland, taking 5,689 votes. His campaign leads, indirectly, to his arrest and three months in jail in Belfast. In 1920, following his release, he is appointed a judge in the then-illegal republican court system in Galway, and visits both France and Italy to try to source weapons for the Irish Republican Army (IRA). In November 1920, he is arrested in the UCG dining room by Black and Tans, and is imprisoned for thirteen months, first in Galway and then in the Curragh camp in County Kildare, thereby missing the conclusion of the Irish War of Independence. By the time he is released, the Anglo-Irish Treaty has been signed. He supports the treaty and takes no further part in militant activity.
In the newly independent Ireland, Ó Briain remains a professor at Galway. He also stands in the 1925 Seanad election, although he is not successful. He is the founding secretary of the Taibhdhearc na Gaillimhe theatre, also acting in many of its productions, and spends much time translating works from English and the Romance languages into Irish. He stands to become president of UCG in 1945, but is not elected, and in the 1940s and 1950s is best known for his many appearances on television and radio.
From his retirement in 1959, Ó Briain lives in Dublin. In 1974, the National University of Ireland (NUI) confers an honorary doctorate on him. He dies on August 12, 1974, at St. Gabriel’s Hospital, Cabinteely, County Dublin. His funeral to Glasnevin Cemetery is almost a state occasion, with a huge attendance of public figures, and a military firing party at the graveside, where the oration is given by Micheál Mac Líammóir and a lesson is read by Siobhán McKenna. For days after his death, the newspapers carry tributes to his many-sided career and personality. On the one hundredth anniversary of his birth, Proinsias Mac Aonghusa and Art Ó Beoláin write commemorative articles in Feasta.
On September 1, 1921, Ó Briain marries Helen Lawlor, of Dublin, who dies two years before him. The couple’s only child is Eibhlín Ní Bhriain, who is a journalist for The Irish Times and other periodicals.
seamus dubhghaill 