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Tag Archives: Kildare Street (Dublin)


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Birth of Beatrice Moss Elvery Campbell, Painter, Stained Glass Artist & Sculptor

Beatrice Moss Elvery Campbell, Lady Glenavy, painter, stained glass artist and sculptor, is born in Dublin on April 30, 1883.

Elvery is the second among seven children of William Elvery , merchant, and Theresa Elvery (née Moss), singer and music teacher, whose parents are English Quakers. Her father’s ancestors were silk merchants from Spain, called Alvarez. Her early childhood is spent in Carrickmines, County Dublin. In 1896 the family moves to Foxrock and she attends the Dublin Metropolitan School of Art. Her mother’s family is artistic – one aunt is the artist Phoebe Anna Traquair – and she and her sisters are talented artists and singers. Her younger sister, Dorothy Kay, becomes a noted portrait painter in South Africa. At the age of sixteen, she wins a three-week scholarship to study at the Royal College of Art in South Kensington, London. Back in Dublin, she models for William Orpen, then teaching in the school. They become friends, and she regrets never studying painting under him. She concentrates on sculpture under John Hughes and has great success, winning the Taylor scholarship three years in a row (1901–03). The first year she wins, the judges, seeking evidence that she had worked unaided, asks her to model a head from life in their presence.

Elvery’s first exhibit in the Royal Hibernian Academy (RHA) is a bronze statuette of a boy in 1902. Thereafter she is a lifelong exhibitor with the RHA, showing almost annually until her death. Friendship with the older Sarah Purser introduces her to Dublin’s artistic milieu and to the arts and crafts movement. In the movement’s 1904 exhibition she shows ten items, including terracotta statuettes, a holy water stoup, and a plaster cast of a lectern, which is cast in bronze in Paris that year and placed in her former parish church in Carrickmines. The movement’s historian, Paul Larmour, calls this lectern “a remarkable piece of organic Art Nouveau . . . There is nothing else like it in Ireland.”

In 1904, after a brief period studying in Paris with her sister and fellow students Estella Solomons and Frances “Cissie” Beckett, Elvery takes lessons in stained glass from Alfred E. Child, and is then persuaded by Purser to join her Tower of Glass (An Túr Gloine) studio. She remains six years, executing windows for St. Stephen’s Church, Mount Street, Dublin; St. Nicholas Church, Carrickfergus; and a war memorial at the Church of Ireland church, Carrickmines. Although her work is generally well received, she does not rate her skill in the medium highly – “I never got the right feeling for glass or the detached, austere quality necessary for ecclesiastical art” – and her window for a Gort convent leads to a critical review of Purser’s studio by W. B. Yeats. She does not, however, confine herself to glass but also designs for silversmiths and illustrated books for children. For Iosagán agus Sgealta Eile (1907), by Patrick Pearse, she provides a black-and-white frontispiece and four colour illustrations. For the Cuala Press, run by Lily and Elizabeth Yeats, she designs calendars, Christmas cards, and fifteen hand-coloured prints, which continue to be issued until after World War II.

Elvery’s social life in Dublin is busy. An active member of the United Arts Club, she is called by Lady Gregory “the beautiful Miss Elvery,” and Orpen’s portrait, showing her long-necked, graceful, and vivacious, bears out this description. Tiring of glass, and wishing to become a painter, she leaves in 1910 for the Slade School of Fine Art in London. There Henry Tonks is less complimentary than her Dublin teachers. He finds her work facile: “The speed, the slickness, the skill. It is horrible!” Orpen also comes to this view: “her only fault was that the transmission of her thoughts from her brain to paper or canvas, clay or stained glass, became so easy to her that all was said in a few hours. Nothing on earth could make her go on and try to improve on her first translation of her thought.”

Back in Dublin, Elvery takes a studio in Kildare Street and teaches for a time in the Metropolitan School of Art, before her parents arrange a marriage with Charles Henry Gordon Campbell, eldest son of the future Lord Chancellor of Ireland, James Campbell. They marry on August 1, 1912, and move to London where he is called to the English bar. It is not initially a love match but they are well-suited – he likes artistic, Bohemian circles and they become friends with D. H. and Frieda Lawrence, the painter Mark Gertler, the publisher John Middleton Murry, and his wife, the writer Katherine Mansfield, who describes Campbell as “a queer mixture for she is loving and affectionate, and yet she is malicious.”

Campbell’s husband becomes secretary of the Department of Industry and Commerce in the Irish Free State and in 1922 the family moves to Clonard, Terenure, Dublin. His government position means that within six months the house is burned down by anti-Treatyites, who are, however, almost comically accommodating – local men, they express distress at the job and allow her to save the children’s Christmas presents. In 1931 she becomes Lady Glenavy after her husband succeeds to his father’s title, an important member of Dublin’s social and artistic scene. She helps establish the Dublin Drama League and assists Shelah Richards in the production of two plays in 1936. Her friendships are wide and varied and her conversation imaginative and engaged. Dressed in beige – what her son calls “variations on a theme of porridge” – she entertains constantly. Her house has what she terms a “caravanserai” character and is constantly full of people.

Appointed an associate of the RHA in 1932, Campbell becomes a full member in 1934 and takes her turn at teaching. She also joins the more radical Society of Dublin Painters and holds in February 1935 a one-person show at their premises, 7 Stephen’s Green, but she never shows with the Irish Exhibition of Living Art, though her work is more avant-garde than that of most academicians. At its best in still lifes and figure compositions, her work has “a sense of drama and an enigmatic or near-surrealist appearance.” Brian Kennedy notes that she is the first Irish painter to go surrealist (though she never thinks of herself in this way) and although she is serious about her work – taking lessons at an advanced age from Patrick Hennessy  – she is also diffident. Her memoir does not trace her development as an artist and mentions only one work with approbation – The Intruder (exhibited at the RHA in 1932). Now in the National Gallery of Ireland, it depicts in bold, rich colours a female centaur beckoning a young man from a group of picnickers. It immediately attracts attention. Richard Orpen wants the academy to buy it, but they think it obscene.

About 1941 the Campbells move to a large Georgian house in Rathfarnham, and twenty years later they transfer to a smaller house in Sandycove. After her husband’s death in 1962, she publishes her memoirs, And Today We Will Only Gossip (1964). The title is well chosen as the book is not self-revelatory but full of characters she encountered. Monk Gibbon calls her a “unique mixture: of talent and diffidence; of gregariousness and contempt for the herd; of gentle consideration and a savage determination to wound. Only those who knew her well knew her at all; and even to them she remained something of a mystery” (The Irish Times, December 2, 1980).

Campbell dies in Dublin on May 21, 1970, and is survived by her two sons, the writer and humorist Patrick Campbell and the novelist Michael Campbell, and predeceased by her daughter, Bridget, an Irish international lacrosse player and talented scientist, who is killed by a bomb during the London blitz.

Campbell’s work is in inter alia the Ulster Museum, the National Gallery of Ireland, the Hugh Lane Gallery, and the Crawford Art Gallery in Cork, County Cork.

(From: “Campbell, Beatrice Moss” by Bridget Hourican and Pauric J. Dempsey, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Bridgit – a picture of Miss Elvery (Beatrice Elvery),” oil on canvas by William Orpen, 1909)


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Birth of Betty Ann Norton, Irish Drama Teacher

Betty Ann Norton, Irish drama teacher and founder of the Betty Ann Norton Theatre School and actor agency, is born on July 5, 1936.

Norton grows up in Dublin near the South Circular Road. Her mother, Frances, plays the violin and her father, Eugene, is a baritone singer. Frances is a full-time homemaker while Eugene works as manager of the Bacon Shops on Grafton Street. One of two children, her younger brother, Jim Norton, also becomes a successful actor. She attends school at St. Louis High School, Rathmines.

Norton attends the Ena Mary Burke School of Drama and Elocution on Kildare Street, Dublin, where Hollywood star Maureen O’Hara had also trained. Her acting school offers an annual Ena Mary Burke scholarship in Burke’s honour.

Norton is a Licentiate of the Guildhall School of Music and Drama (LGSM) in London and Associate of the Royal Irish Academy of Music (RIAM) in Dublin. She is a member of the Dublin Shakespeare Society.

Norton originally plans to become an actor, but her family does not approve and her mother encourages her to become a teacher. In 1959, she establishes the Betty Ann Norton Theatre School on Harcourt Street in Dublin. Her husband, Michael, is co-director of the school. According to Norton, changes to traffic by the new Luas tram system causes the business to change premises to her childhood school, St. Louis High School in Rathmines in 2006.

Norton meets her husband, Michael J. Cunneen, on the Aran Islands in 1965 and they marry in 1967. They lived in Dún Laoghaire. Michael dies in the Blackrock Clinic on May 12, 2017.

Norton dies in the Beacon Hospital in the Sandyford suburb of Dublin, on June 5, 2020, at the age of 83. She is cremated and interred at Mount Jerome Cemetery and Crematorium. President of Ireland, Michael D. Higgins, pays tribute to Norton, describing her as a “theatre legend” and “one of our foremost theatre teachers.”


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Birth of Rory O’Connor, Irish Republican Revolutionary

Rory O’Connor (Irish: Ruairí Ó Conchubhair), Irish republican revolutionary, is born in Kildare Street, Dublin, on November 28, 1883.

O’Connor is educated in St. Mary’s College, Dublin, and then in Clongowes Wood College, County Kildare, a public school run by the Jesuit order. It is also attended by the man who later condemns O’Connor to death, his close friend Kevin O’Higgins. He studies experimental physics, logic, and metaphysics. He also attends the College of Science, Merrion Street. He takes a BA (1906) and receives a B.Eng (1911). In 1910, he takes his Bachelor of Engineering and Bachelor of Arts degrees at University College Dublin (UCD), then known as the National University. Prominent in the university’s Literary and Historical Society, he advocates militant constitutional nationalism as one of the many society members active in the Young Ireland branch of the United Irish League.

O’Connor goes to work as a railway engineer, then he moves to Canada where he is an engineer in the Canadian Pacific Railway and Canadian Northern Railway, being responsible for the construction of 1,500 miles (2,400 km) of railroad. He returns to Ireland in 1915 at Joseph Plunkett‘s request and works for Dublin Corporation as a civil engineer. He joins the Catholic nationalist organisation the Ancient Order of Hibernians and serves in the Easter Rising in 1916 in the GPO as an intelligence officer. He is wounded by a sniper during reconnaissance at the Royal College of Surgeons.

During the subsequent Irish War of Independence (1919-21) O’Connor is Director of Engineering of the Irish Republican Army (IRA), a military organisation descended from the Irish Volunteers. The specialist skills of engineering and signaling are essential to the development of the 5th Battalion, Dublin Brigade. Its men are forbidden frontline duty as their contribution is regarded as vital, their number too small. But units only expand on an incremental local basis, disappointing General Richard Mulcahy.

O’Connor is also involved in the Republican breakout from Strangeways Prison in Manchester, England, on October 25, 1919. Michael Collins takes a particular interest in the escape and actually visits Austin Stack in the prison under a false name to finalise the arrangements. IRA men hold up traffic while a ladder is propped up against the outside of a prison wall. In all six prisoners escape, among them Piaras Beaslaí.

O’Connor refuses to accept the Anglo-Irish Treaty of 1921, which establishes the Irish Free State. It is ratified by a narrow vote in Dáil Éireann, the Irish parliament. He and many like him feel that the Treaty copper-fastens the partition of the six counties of Northern Ireland and undermines the Irish Republic declared in 1916.

On January 10, a meeting is held at O’Connor’s home in Monkstown, Dublin. In attendance are all senior anti-Treaty IRA officers except Liam Mellows. O’Connor is appointed to chair this grouping, known as the Republican Military Council. It is agreed that an IRA convention should be called without delay; failing this, a separate GHQ will be formed. At a further meeting in O’Connor’s office on March 20, a temporary IRA GHQ staff is elected under Liam Lynch as chief of staff. O’Connor remains in charge of engineering.

On March 26, 1922, the anti-Treaty officers of the IRA hold a convention in Dublin, in which they reject the Treaty and repudiate the authority of the Dáil. However, they are prepared to discuss a way forward. The convention meets again on April 9. It creates a new army constitution and places the army under a newly elected executive of 16 men, including O’Connor, that are to choose an army council and headquarters staff. Asked by a journalist if this development means the anti-Treatyites ware proposing a “military dictatorship” in Ireland, O’Connor replies, “You can take it that way if you want.”

On April 14, 1922, O’Connor is one of a number of IRA leaders in a 200-strong force that occupies the Four Courts building in the centre of Dublin in defiance of the Provisional Government. They intend to provoke the British troops, who are still in the country, into attacking them, which they believe will restart the war with Britain and re-unite the IRA against their common enemy. They also occupy other smaller buildings regarded as being associated with the former British administration, such as the Ballast Office and the Freemasons‘ Hall in Molesworth Street, but the Four Courts remains the focus of interest. On June 15, O’Connor sends out men to collect the rifles that belong to the mutineers of the Civic Guards.

Michael Collins tries desperately to persuade the IRA men to leave the Four Courts. At the Third IRA Convention on June 18, the Executive is split over whether the Irish Government should demand that all British troops leave within 72 hours. A motion to this effect, opposed by Lynch, is narrowly defeated, whereupon O’Connor and others leave the meeting to set up a separate GHQ. The IRA effectively splits into two factions opposed to the government.

On June 22, 1922, Sir Henry Wilson is assassinated in London by two IRA men, Reginald Dunne and Joseph O’Sullivan, each a former British soldier. Some now argue that this was done on the orders of Michael Collins, who had been a close friend of Dunne’s in the London Irish Republican Brotherhood (IRB). Prime Minister David Lloyd George writes an angry letter to Collins, which includes the line “…still less can Mr. Rory O’Connor be permitted to remain his followers and his arsenal in open rebellion in the heart of Dublin… organizing and sending out from this centre enterprises of murder not only in the area of your Government…”

On June 28, 1922, after the Four Courts garrison has kidnapped J. J. “Ginger” O’Connell, a general in the National Army, Collins gives orders for the shelling of the Four Courts with borrowed artillery lent by Winston Churchill. The shelling leads to the Four Courts catching fire, damaging parts of the building in addition to destroying numerous government documents. O’Connor is one of 130 men that surrender on June 30, some of whom are arrested and imprisoned in Mountjoy Prison. This incident marks the official start of the Irish Civil War, as fighting breaks out openly around the country between pro- and anti-Treaty factions.

On December 8, 1922, along with three other republicans, Liam Mellows, Richard Barrett and Joe McKelvey, captured with the fall of the Four Courts, O’Connor is executed by firing squad in reprisal for the anti-Treaty IRA’s killing of Free State Teachta Dála (TD) Sean Hales. The execution order is signed by Kevin O’Higgins. O’Connor had been best man at O’Higgins’s wedding on October 27, 1921. Their deaths remain a symbol of the bitterness and division of the Irish Civil War. O’Connor, one of 77 republicans executed by the Provisional Government, is seen as a martyr by the Republican movement in Ireland.

On O’Connor’s execution, the equestrienne Joan de Sales La Terriere, a close friend of his, names her son in his honour. “Rory O’Connor Place” in Arklow is named in his honour. There is also a pub in Crumlin, Dublin, named after him and a housing estate near Dún Laoghaire, County Dublin, called “Rory O’Connor Park.” A Sinn Féin cumann (UCD) is named after him.

(Pictured: Rory O’Connor addressing members of the IRA’s Dublin City Brigade at Smithfield, April 1922)


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Birth of Architect Sir Thomas Newenham Deane

Sir Thomas Newenham Deane, Irish architect, is born in Dundanion, County Cork on June 15, 1828. He is the son of Sir Thomas Deane and Eliza Newenham, and the father of Sir Thomas Manly Deane. His father and son are also architects.

Deane is educated at Trinity College, Dublin, from 1845 to 1849. On January 29, 1850, he marries Henrietta Manly, daughter of Joseph H. Manly of Ferney, County Cork. He and his wife have several children.

Deane joins his father’s architecture practice in 1850, and in 1851, he becomes a partner along with Benjamin Woodward. Their work is primarily a Gothic style influenced by the principles of John Ruskin, and include the museum at Trinity College, Dublin, the Oxford University Museum of Natural History, the Pitt Rivers Museum, the Kildare Street Club in Dublin, and Queen’s College Cork, now University College Cork. He is known as a conservation architect, involved in the restoration, including the incorporation of the original twelfth-century Romanesque chancel, of St. Mary’s Cathedral, Tuam.

Deane’s work on the conservation of St. Canice’s Cathedral, Kilkenny, is less successful and brings him into conflict with the dean and chapter, and in particular with the treasurer James Graves. It is possibly his interest in the restoration of medieval buildings which leads to his appointment as the first Inspector of National Monuments under the Irish Board of Works after the disestablishment of the Church of Ireland brought ruined buildings under their care. His work includes St. Cronan’s Church, Roscrea, County Tipperary.

In contemporary circles, Deane’s partner Woodward is seen as the creative influence behind the business, and their practice suffers after his early death on May 15, 1861. Nevertheless, Deane continues to work with his son, Thomas Manly Deane, designing the National Museum of Ireland and National Library of Ireland in Kildare Street, Dublin. He is knighted in 1890.

On November 8, 1899, Deane dies suddenly in his office on St. Stephen’s Green, into which he had only just moved. He is buried in Deans Grange Cemetery, where his son Thomas designs and erects a cross in his memory.


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Irish Protests of the War in Iraq

iraq-war-protest

On the evening of March 20, 2003, up to 2,000 people take part in a protest outside the United States Embassy at Ballsbridge in Dublin to voice their opposition to the war in Iraq. This is one of numerous protests held in response to the Irish Anti-War Movement‘s call on Irish citizens to mount mass protests against the U.S.-led war in Iraq. The group says thousands of workers, students and school pupils had taken part in stoppages and walk-outs throughout the day.

Richard Boyd Barrett, the chairman of the IAWM, says, “The complicity of the Irish government in this murderous war through providing facilities for the U.S. military at Shannon Airport is an absolute disgrace. “This war has little support among ordinary people and has provoked a wave of anger and revulsion. We call on the people of Ireland to come out in their thousands at 6:00 PM tonight to their town centre demonstrations to show this carnage is not being mounted in our names.”

Earlier in the day, several hundred protesters gather outside Dáil Éireann to protest the Irish Government‘s decision to continue allowing U.S. military aircraft use Shannon Airport. The Dáil is holding a six-hour debate on a Government motion which, among other topics, contains a clause permitting U.S. forces continued use of Irish airspace and facilities.

A 10-minute work stoppage at noon is observed by thousands of people, the IAWM claims. They say hundreds of students in University College Dublin, Dublin City University, University of Limerick and the Waterford Institute of Technology walked out, as did secondary school students in several schools in Dublin. Up to 1,000 students from second level colleges in Derry take part in an hour-long city centre protest. Around 50 health workers at Connolly Hospital Blanchardstown, staff at the National Museum of Ireland in Kildare Street and Collins Barracks and workers at the Motor Taxation office in Cork also stop work.

The NGO Peace Alliance says it is “extremely disappointed” at the Government’s refusal to condemn the attack on Iraq. “We call upon thousands of Irish people to reject this shameful position by thronging the streets of Dublin and other cities and towns next Saturday” said the alliance’s co-ordinator, Brendan Butler.

SIPTU‘s National Executive Council also interrupts their monthly meeting. “This war is not only unnecessary but illegitimate in the context of international law”, says Joe O’Flynn, SIPTU General Secretary.

The Irish Congress of Trade Unions organises peace vigils on March 21 at the Spire of Dublin and other locations in various town and cities. Weekend anti-war protests take place in Dublin, Cork, Derry, Belfast, Galway, Sligo and Waterford.

(From: “Thousands protest against war at US Embassy” by Kilian Doyle, The Irish Times, March 20, 2003)


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The Execution of Rory O’Connor

rory-o-connor

Rory O’Connor, Irish republican revolutionary, is executed by firing squad on December 8, 1922, in reprisal for the anti-treaty Irish Republican Army‘s (IRA) killing of Irish Free State member of parliament Sean Hales.

O’Connor is born in Kildare Street, Dublin on November 28, 1883. He is educated at St. Mary’s College, Dublin and then in Clongowes Wood College, a public school run by the Jesuit order and also attended by James Joyce, and his close friend Kevin O’Higgins, the man who later condemns him to death.

In 1910 O’Connor takes his Bachelor of Engineering and Bachelor of Arts degrees in University College Dublin, then known as the National University. He goes to work as a railway engineer in Ireland, then moves to Canada, where he is an engineer in the Canadian Pacific Railway and Canadian Northern Railway, being responsible for the construction of 1,500 miles of railroad.

After his return to Ireland, O’Connor becomes involved in Irish nationalist politics, joins the Ancient Order of Hibernians and is interned after the Easter Rising in 1916.

During the subsequent Irish War of Independence (1919-1921) O’Connor is made Director of Engineering of the Irish Republican Army (IRA) – a military organisation descended from the Irish Volunteers.

O’Connor does not accept the Anglo-Irish Treaty of 1921, which establishes the Irish Free State and abolishes the Irish Republic declared in 1916, which he and his comrades had sworn to uphold. On March 26, 1922, the anti-treaty officers of the IRA hold a convention in Dublin in which they reject the Treaty compromise and repudiate the authority of the Dáil, the elected Irish Parliament. Asked by a journalist if this means they are proposing a military dictatorship in Ireland, O’Connor replies, “you can take it that way if you want.”

On April 14, 1922, O’Connor, with 200 other hardline anti-treaty IRA men under his command, takes over the Four Courts building in the centre of Dublin in defiance of the new Irish government. They want to provoke the British troops, who are still in the country, into attacking them, which they believe will restart the war with Britain and re-unite the IRA against their common enemy. Michael Collins tries desperately to persuade O’Connor and his men to leave the building before fighting breaks out.

On June 28, 1922, after the Four Courts garrison has kidnapped JJ “Ginger” O’Connell, a general in the new Free State Army, Collins shells the Four Courts with borrowed British artillery. O’Connor surrenders after two days of fighting and is arrested and held in Mountjoy Prison. This incident sparks the Irish Civil War as fighting breaks out around the country between pro and anti-treaty factions.

On December 8, 1922, along with Liam Mellows, Richard Barrett and Joe McKelvey, three other republicans captured with the fall of the Four Courts, Rory O’Connor is executed by firing squad in reprisal for the anti-treaty IRA’s killing of Free State member of parliament Sean Hales. The execution order is given by Kevin O’Higgins, who less than a year earlier had appointed O’Connor to be best man at his wedding, symbolising the bitterness of the division that the Treaty has caused. O’Connor, one of 77 republicans executed by the Cumann na nGaedheal government of the Irish Free State, is seen as a martyr by the Republican movement in Ireland.


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Opening of The Museum of Science and Art, Dublin

national-museum-of-ireland

The Museum of Science and Art, Dublin on Kildare Street opens on August 29, 1890. The museum is founded on August 14, 1877, by act of Parliament. The decision to establish a state-run museum arises from requests by the Royal Dublin Society for continued government funding for its expanding museum activities.

A number of developments lead to the Science and Art Museums Act of 1877, which has the effect of transferring the buildings and collections of the Royal Dublin Society to state ownership. The collections are further enhanced by the transfer of other notable collections from institutions such as the Royal Irish Academy and Trinity College Dublin.

The Museum is the responsibility of the Department of Science and Art, which is also responsible for the South Kensington museums in London. State support for the institution is manifested in the construction of the new building on Kildare Street. It is built in the Victorian Palladian style and has been compared with the Altes Museum in Berlin, designed by Karl Friedrich Schinkel in the 1820s. Neoclassical influences can be seen in the colonnaded entrance and the domed rotunda, which rises to a height of 20 metres, and is modeled on the Pantheon in Rome.

The new museum houses coins, medals and significant Irish antiquities from the Royal Irish Academy including the Tara Brooch and Ardagh Chalice, ethnographical collections with material from Captain James Cooke‘s voyages from Trinity College Dublin, and the collections of the Geological Survey of Ireland.

These are joined by material from the decorative arts and ethnographical collections of the Royal Dublin Society along with their Irish collections of antiquities, minerals and plants. The old Royal Dublin Society museum on the Merrion Street side of Leinster House, erected with government assistance and opened in 1856, is devoted to natural history. It is dominated by zoology throughout much of its subsequent history and has an annex devoted to geology.

The building on Kildare Street is designed by Thomas Newenham Deane and is used to show contemporary Irish, British and Continental craftsmanship in its construction. State involvement in the running of the Museum allows for steady funding and a connection with other state museums in London and Edinburgh which is of considerable benefit. The collections grow with material acquired through purchase, public donation and shares of significant collections acquired by the state and dispersed by the London museums.

Catalogues are prepared by leading experts in various disciplines and printed in the Museum’s own press. In 1900 control passes to the Department of Agriculture and Technical Instruction and in 1908 its name is changed from “The Dublin Museum of Science and Art” to the “National Museum of Science and Art.” The name of the institution is changed again in 1921 to the “National Museum of Ireland.”