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)
Luke is born at 4 Lewis Street in Belfast on January 19, 1906, the fifth of seven sons and one daughter of James Luke and his wife Sarah, originally from Ahoghill, County Antrim. He attends the Hillman Street National School and in 1920 goes to work at the York Street Flax Spinning Company. He goes on soon after to become a riveter at the Workman, Clark shipyard. While working there he enrolls in evening classes at the Belfast School of Art.
Luke excells at the college under the tutelage of Seamus Stoupe and Newton Penpraze. His contemporaries include Romeo Toogood, Harry Cooke Knox, George MacCann and Colin Middleton. In 1927 he wins the coveted Dunville Scholarship which enables him to attend the Slade School of Fine Art in London, where he studies painting and sculpture under the celebrated Henry Tonks, who greatly influences his development as a draughtsman.
Luke remains at the Slade School of Fine Art until 1930, in which year he wins the Robert Ross Scholarship. On leaving the Slade School he stays in London, intent on establishing himself in the art world. For a time he shares a flat with fellow Ulsterman F. E. McWilliam, and enrolls as a part-time student of Walter Bayes at the Westminster School of Art to study wood engraving. He begins to exhibit his work and in October 1930 shows two paintings, Entombment and Carnival, in an exhibition of contemporary art held at Leger Galleries. The latter composition, depicting a group of masked merry-makers, is singled out by the influential critic, Paul George Konody of the Daily Mail (October 3, 1930), as “one of the most attractive features of the exhibition.” But the economic climate is deteriorating and a year later, at the end of 1933, he is driven back to Belfast by the recession. He remains in Belfast, apart from a time during World War II when he goes to Killylea, County Armagh.
Luke paints in the style known as Regionalism, whose main proponents are Thomas Hart Benton, Grant Wood, John Steuart Curry and Harry Epworth Allen. His painting technique is painstakingly slow, his manner precise. “I’m afraid I’m very much a one job man,” he once writes to John Hewitt, continuing, “my strength lies in making the most of one job at a time, in sustained thought and effort, to bring it to the highest level of organisation and completeness I desire: the other way I lead to disintegrate in looseness and frustration with its inevitable weakness.” The precision characteristic of his work is manifested, too, in his appearance and personal manner. Dark haired, in stature he is erect and spare of build. Always tidy, his clothes brushed, his hair short, he is, in Hewitt’s words, “not at all close to the romantic stereotype of the artist.”
Apart from Luke’s work as a practising artist, he teaches from time to time in the Belfast School of Art, where he influences a generation of students “especially in the matter of drawing,” as he once puts it. Although principally a painter, throughout his career he occasionally makes sculptures, such as the Stone Head, Seraph of c. 1940 (Ulster Museum). Indeed it is for sculpture that he wins the Robert Ross Prize at the Slade School of Fine Art. He is also much interested in philosophical theories of art. In the 1930s, for example, as John Hewitt records, topical books such as Roger Fry’s Vision and Design, Clive Bell’s Art and R. H. Wilenski‘s Modern Movement in Art direct his thinking.
From the late 1930s until 1943, when Luke produces Pax, there is a gap in his output, occasioned, no doubt, by his move to County Armagh in order to escape Belfast after the Blitz. In 1946, he holds his first one-man exhibition at the Belfast Museum and Art Gallery, and this is followed two years later by a similar show, held under the aegis of CEMA, nearby at number 55A Donegal Place. In 1950, to celebrate the Festival of Britain the following year, he is commissioned to paint in Belfast City Hall, a mural representing the history of the city, a work which brings his name to the attention of a wider audience. In later years, other commissions follow for murals in the Masonic Hall, Rosemary Street, in 1956, and the College of Technology at Millfield in the 1960s. He also carves in relief coats of arms for the two Governors of Northern Ireland, John Loder, 2nd Baron Wakehurst (1959) and John Erskine, 1st Baron Erskine of Rerrick (1965). He is also a member of the Royal Ulster Academy.
Having been in declining health for some years, Luke dies, unmarried, at the Mater Infirmorum Hospital in Belfast on February 4, 1975, just a month into his sixty-ninth year. A retrospective exhibition of his work is held, in association with the Arts Councils of Ireland, in the Ulster Museum in 1978, and is accompanied by a short monograph on his life and career written by John Hewitt. Since that time his reputation has grown enormously, his loss rekindling memories in many of his former students of a fastidiously arranged life-room in the College of Art, his coat folded to perfection and his soft, gentle manner of instruction.
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.
Fitzgibbon is an early and extremely militant opponent of Catholic emancipation. The Earl is possibly the first person to suggest to King George III that granting royal assent to any form of Catholic Emancipation will violate his coronation oath.
FitzGibbon is born in 1748 near Donnybrook, Dublin, the son of John FitzGibbon of Ballysheedy, County Limerick, and his wife Isabella Grove, daughter of John Grove, of Ballyhimmock, County Cork. His father is born a Catholic but converts to the state religion in order to become a lawyer, and amasses a large fortune. He has three sisters, Arabella, Elizabeth, and Eleanor.
When appointed Lord Chancellor for Ireland in 1789, FitzGibbon is granted his first peerage as Baron FitzGibbon, of Connello Lower in County Limerick, in the peerage of Ireland that year. This does not entitle him to a seat in the British House of Lords, only in the Irish House of Lords. His later promotions come mostly in the peerage of Ireland, being advanced to a Viscountcy (1793) and the Earldom of Clare in 1795. He finally achieves a seat in the British House of Lords in 1799 when created Baron FitzGibbon, of Sidbury in the County of Devon, in the Peerage of Great Britain.
FitzGibbon is a renowned champion of the Protestant Ascendancy and an opponent of Catholic emancipation. He despises the Parliament of Ireland‘s popular independent Constitution of 1782. He is also personally and politically opposed to the Irish politician Henry Grattan who urges a moderate course in the Irish Parliament, and is responsible for defeating Grattan’s efforts to reform the Irish land tithe system (1787–1789) under which Irish Catholic farmers (and all non-Anglican farmers) are forced to financially support the minority Anglican Church of Ireland. These are not fully repealed until 1869 when the Church of Ireland is finally disestablished, although Irish tithes are commuted after the Tithe War (1831–1836).
FitzGibbon opposes the Irish Roman Catholic Relief Act 1793, for which, in a “magnificently controlled vituperation in vigorous, colloquial heroic couplets,” The Gibbonade, he is pilloried by the satirist Henrietta Battier. But acceding to pressure exerted through the Irish executive by government of William Pitt in London, intent, in advance of war with the new French Republic, to placate Catholic opinion, he is persuaded to recommend its acceptance in the Irish House of Lords. Pitt, and King George III, who had been petitioned by delegates from the Catholic Committee in Dublin, expects Ireland to follow the British Roman Catholic Relief Act 1791 and admit Catholics to the parliamentary franchise (although not to Parliament itself), enter the professions and assume public office.
FitzGibbon’s role in the recall, soon after his arrival, of the popular pro-Emancipation Lord Lieutenant of Ireland, William Fitzwilliam, 4th Earl Fitzwilliam, is debatable. Although he is probably politically opposed to the Lord Lieutenant of Ireland, Fitzwilliam is recalled, apparently due to his own independent actions. Fitzwilliam is known to be friendly to the Ponsonby family (he is married to one of their daughters), and is generally a Foxite liberal Whig. His close association with and patronage of Irish Whigs led by Grattan and Ponsonby during his short tenure, along with his alleged support of an immediate effort to secure Catholic emancipation in a manner not authorized by the British cabinet is probably what leads to his recall. Thus, if any is to blame in the short-lived “Fitzwilliam episode” it is the great Irish politician Henry Grattan and the Ponsonby brothers – presumably William Ponsonby, later Lord Imokilly, and his brother John Ponsonby—not to mention Lord Fitzwilliam himself. Irish Catholics at the time and later naturally see things very differently and blame hardline Protestants such as FitzGibbon.
Irish Catholics and FitzGibbon agree on one point apparently – Irish political and economic union with Great Britain, which eventually takes place in 1801. Pitt wants Union with Ireland concomitantly with Catholic emancipation, commutation of tithes, and the endowment of the Irish Catholic priesthood. Union is opposed by most hardline Irish Protestants, as well as liberals such as Grattan. FitzGibbon has been a strong supporter of the Union since 1793 but refuses to have Catholic emancipation with the Union.
In a speech to the Irish House of Lords on February 10, 1800, FitzGibbon elucidates his point of view on union: “I hope and feel as becomes a true Irishman, for the dignity and independence of my country, and therefore I would elevate her to her proper station, in the rank of civilised nations. I wish to advance her from the degraded post of mercenary province, to the proud station of an integral and governing member of the greatest empire in the world.”
In the end, FitzGibbon’s views win out, leading to the Union of Ireland with Great Britain to form the United Kingdom of Great Britain and Ireland without any concessions for Ireland’s Catholic majority (or for that matter, Catholics in the rest of the new United Kingdom). He later claims that he had been duped by the way in which the Act was passed with the new Viceroy Charles Cornwallis, 1st Marquess Cornwallis, promising reforms to Irish Catholics, and is bitterly opposed to any concessions during the short remainder of his life.
The role of the Earl of Clare (as FitzGibbon becomes in 1795) as Lord Chancellor of Ireland during the period of the Irish Rebellion of 1798 is questionable. According to some, he supports a hardline policy which uses torture, murder and massacre to crush the rebellion, or that as Lord Chancellor, he has considerable influence on military affairs, and that martial law cannot be imposed without his consent. Others allege that as Lord Chancellor, he has no say in military affairs and the Encyclopædia Britannica states that he is “neither cruel nor immoderate and was inclined to mercy when dealing with individuals.” However, the same source also states that “(FitzGibbon)… was a powerful supporter of a repressive policy toward Irish Catholics”. His former side is displayed by sparing the lives of the captured United Irish leaders, “State prisoners,” in return for their confession of complicity and provision of information relating to the planning of the rebellion. However, this willingness of the prisoners to partake of the agreement is spurred by the execution of the brothers John and Henry Sheares on July 14, 1798.
In contrast to the leniency shown to the largely upper-class leadership, the full weight of military repression is inflicted upon the common people throughout the years 1797–98 with untold thousands suffering imprisonment, torture, transportation and death. FitzGibbon is inclined to show no mercy to unrepentant rebels and, in October 1798, he expresses his disgust upon the capture of Wolfe Tone that he has been granted a trial, and his belief that Tone should be hanged as soon as he set foot on land.
FitzGibbon is quick to recognise that sectarianism is a useful ally to divide the rebels and prevent the United Irishmen from achieving their goal of uniting Protestant, Catholic and Dissenter, writing in June 1798, “In the North nothing will keep the rebels quiet but the conviction that where treason has broken out the rebellion is merely popish.”
Another anecdote is to the effect of FitzGibbon’s callousness. Supposedly, upon being informed during a debate in the Irish Parliament that innocent as well as guilty are suffering atrocities during the repression, he replies, “Well suppose it were so…,” his callous reply purportedly shocking William Pitt.
FitzGibbon is noted by some as a good, improving landlord to both his Protestant and Catholic tenants. Some claim that the tenants of his Mountshannon estate call him “Black Jack” FitzGibbon. There is, however, no evidence to support this claim, although there is little to no evidence on his dealings as a landlord. Irish nationalists and others point out that while he might be interested in the welfare of his own tenants on his own estate, he treats other Irish Catholics very differently. Without further evidence, his role as a Protestant landowner in mainly Catholic Ireland is of little importance against his known dealings as Lord Chancellor.
FitzGibbon dies at home, 6 Ely Place near St. Stephen’s Green, Dublin, on January 28, 1802, and is buried in St. Peter’s Churchyard. A hero to Protestant hardliners, but despised by the majority Catholic population, his funeral cortege is the cause of a riot and, according to a widespread story, a number of dead cats are thrown at his coffin as it departs Ely Place.
Charles Harding Smith, a Northern Irish loyalist and the first effective leader of the Ulster Defence Association (UDA), is born in Belfast, Northern Ireland, on January 24, 1931. An important figure in the Belfast-based “defence associations” that form the basis of the UDA on its formation in 1971, he later becomes embroiled in feuds with other UDA leaders and is eventually driven out of Northern Ireland by his opponents.
A former soldier in the British Army, Smith, at the time residing in Rosebank Street on the Shankill Road, calls a meeting of other locals at the Leopold Street Pigeon Fanciers Club to develop a response to attacks by republicans from the neighboring Ardoyne area. The location is chosen because Smith is himself a pigeon fancier and a member of the club. At the meeting, it is agreed to establish a vigilante group, the Woodvale Defence Association (WDA), with Smith in command and assisted by Davy Fogel, who organises military drilling for the forty or so recruits, and Ernie Elliott.
The WDA gains widespread notoriety and is blamed for a series of bomb attacks and shootings, most of which have been carried out by the Ulster Volunteer Force (UVF). Nevertheless, Smith’s reputation as a hardline loyalist is boosted as a result and when his group merges with other similar vigilante movements to form the Ulster Defence Association (UDA) in late 1971, he is chosen as chairman of the new group’s thirteen-member Security Council ahead of the other leading candidates, Tommy Herron and Jim Anderson. According to journalist Martin Dillon, Smith is heavily influenced by William Craig and William McGrath, both of whom see a need for a group to replace the Ulster Special Constabulary (USC) and feel that they can easily influence Smith to their way of thinking.
Smith soon takes charge of procuring arms for the UDA. In early 1972, working in tandem with Belfast businessman John Campbell who agrees to bankroll the purchases, he is put in contact with a Scottish arms dealer from whom he is to purchase £50,000 worth of weapons. He sends three WDA associates, John White, Bobby Dalzell, and Robert Lusty (who is also a serving officer in the Royal Ulster Constabulary (RUC)), to meet the arms dealer in a London hotel, following them without attending the actual meeting. The “arms dealer” is actually an RUC Special Branch agent and, after recording the conversation with the WDA men, arrests all three. Smith goes to Scotland Yard the same day to inquire about his friends only to be arrested himself.
Smith remains in custody in England until December 1972 when his case comes to trial. Campbell claims that the deal had been organised for the RUC to entrap the arms dealer, whom they believe to be a Provisional Irish Republican Army member and a series of mistakes by the prosecution helps to ensure that the case collapses with Smith acquitted. The trial is used as part of early arguments regarding collusion between the RUC and loyalists as a list of RUC Special Branch suspects is uncovered in Smith’s house while he attempts to call Chief ConstableGraham Shillington as a character witness.
By the time Smith returns to Belfast in December 1972 there has been changes in the UDA with Tommy Herron in effective control of the organisation and Davy Fogel the dominant figure amongst the WDA. He immediately takes back control of his west Belfast stronghold, threatening Fogel with death if he does not fall into line. Fogel, a close ally of Ernie Elliott, who was killed in circumstances that Smith had been rumoured to be involved in, although it is later determined that Elliott was shot dead after a drunken brawl on Sandy Row had descended into a gunfight, decides it is best not to go up against Smith and stands down.
However, Smith is not satisfied and, after putting out intelligence that Fogel has been taking UDA funds for himself, arrests Fogel and holds him captive for three hours in a Shankill social club where he is told to leave the area. Fogel briefly leaves for east Belfast but when the UDA there makes it clear he is not welcome either he leaves to live in England, from where he controversially gives an interview about his time in the UDA to The Sunday Times. Among claims made by Fogel in this interview is one that Smith was attempting to take control of the UDA with the help of the UVF. Smith is a strong admirer of the UVF’s military structure and hopes to replicate it in the UDA but he has a deep dislike of UVF leader Gusty Spence. As part of his remit to instill military discipline, Smith moves against a culture of racketeering that has become endemic in the west Belfast UDA during his absence. It is this initiative that leads to the rumours concerning his involvement in the death of Elliott, who had been named by some of his rivals in the UDA as a gangster.
Despite Smith’s show of strength following his return to Belfast his public persona remains low-key, with Herron fast emerging as the public face of the UDA. Much of this is down to the fact that Smith is inarticulate and unable to project a good image, unlike Herron who is a good talker and fairly charismatic. The emergence of these two leaders at the same time however is to bring the fledgling movement into near civil war.
Following a period of marginalisation Jim Anderson, who is serving as caretaker leader of the UDA, resigns as chairman of the UDA and as a result a meeting is called of the group’s leaders in March 1973 to determine who will succeed him. By this time Smith and Herron are recognised as the undisputed leaders of the Belfast UDA. There is a fear that whichever of the two is chosen as chairman, the other one will automatically feel obliged to challenge his leadership. As a result, it is determined that someone else should be appointed chairman as a compromise candidate and as Highfield-based activist Andy Tyrie, a man noted for his skill as an organiser, is chairing the conference it is decided that he will be acceptable to both men as chairman of the UDA. Tyrie soon proves to be a powerful rival to the two leaders. In September 1973, Herron is kidnapped and shot dead. His murder remains unsolved.
Tyrie had not proven to be the puppet Smith had hoped and had consolidated his power through his close involvement with Glenn Barr and the Ulster Workers’ Council during the strike of May 1974, an event that had helped to give real credence to Tyrie’s leadership abilities. Fearing the growing power of Tyrie, Smith criticises the UDA leader for sending a delegation to Libya to meet Muammar Gaddafi, who is a hated figure for many loyalists due to his providing arms to the Provisional Irish Republican Army. Smith, who had known about the trip in advance but had raised no objections, verbally attacks Tyrie over the Libya debacle in a meeting of the Inner Council in December 1974 before declaring the following January that he intends to split his West Belfast Brigade from the rest of the UDA.
Two weeks after announcing the schism, Smith is attending a meeting at the West Belfast UDA’s headquarters with Tommy Lyttle when he notices a sniper on a nearby roof. Smith, who is wearing a bulletproof vest, opens his coat as if to challenge the sniper to fire but is seriously wounded when the sniper shoots twice, hitting him both times with armour-piercing bullets. With Smith in hospital, Tyrie calls a meeting of the leading figures in the Shankill UDA and manages to convince Lyttle and other leading figures that Smith is too divisive a figure to remain in charge.
Smith is out of the hospital after only two weeks and declares himself back in charge, but before long he has fallen foul of a number of important people. Two Shankill UDA members are interned on the basis of evidence that rumours suggest had come from Smith, while he also clashed with the local UVF after suggesting that they merge but only on the basis that he will be in control. He begins to make threats against Barr and Chicken, two popular members who are leading figures on the UDA’s political side. Smith calls a meeting of his commanders, but, on February 6, 1975, in an attack arranged in advance by his opponents within the UDA, a gunman bursts in and shoots him twice in the chest. The gunman walks up to the injured Smith and prepares to shoot him in the head but the gun jams and he again survives an attempt on his life.
Smith spends another week in hospital after which he again returns to his Belfast home. Loyalist Davy Payne is sent to his house with another hitman and the two order Smith to leave Northern Ireland. He is taken to the airport the following day and leaves for England, leaving Tyrie as sole leader of the UDA. He settles in Southowram, West Yorkshire, where he works as a lorry driver before his death in 1997. During Dáil Éireann debates in 2005 he is named as a “self-confessed British intelligence agent.”
In 1849, O’Donoghue, together with William Smith O’Brien, Terence MacManus, Thomas Francis Meagher and many others, are on board the prisoner transport ship The Swift for a six-month, 14,000-mile journey under difficult conditions on which some fellow prisoners do not survive.
On January 26, 1850, “Using materials he had begged and borrowed” as one account gives it, O’Donoghue starts publishing in Hobart a weekly newspaper named The Irish Exile, aimed mainly at fellow Irish prisoners and deportees and considered to be the first Irish Nationalist paper to be published in Australia.
The paper features Irish ballads and poetry, articles about Irish history, and a regular column by John Martin reporting on the situation of the Repeal Movement, a campaign to repeal the Acts of Union 1800 under which the Irish Parliament had been abolished. There is also local news of the Irish deportee community, then numbering in the thousands, and of Hobart daily life in general.
O’Donoghue uses The Irish Exile to publish excerpts of his journal aboard The Swift, which are reprinted in Australian, British and Irish newspapers. Brisbane‘s The Moreton Bay Courier, reprinted from Dublin’s The Nation, finds that the journal “will show how severely the tyrannical government of England visited the offences of the Ballingarry cabbage-tree heroes. The studies of Messrs. O’Brien, Meagher (afterwards O’), and O’Donoghoe, will amuse the reader”. While in Van Diemen’s Land, The Examiner, the daily newspaper of Launceston, Tasmania, reprints London‘s The Examiner‘s view that “a singularly large amount of mercy has been shown to those grown-up children who made the escapade from Dublin to raise the standard of Irish rebellion at Ballingarry. One of the worthies, Mr. Patrick O’Donoghue, has published an account of his deportation; and certainly a more pleasureable [sic] voyage could not have been under taken at the expanse of government. A roomy cabin, a capital library, a fair dinner, with a couple of glasses of wine, and cigars upon deck, from the dietary and the entertainment of the political exiles.”
Publication of the paper is not in itself illegal, but is highly displeasing to the Governor, Sir William Denison, who finds that the paper can be suppressed by arresting O’Donoghue and charging him with having “left his allocated district.” He is sentenced to one year’s work in a chain gang – a time spent at hard labour, living in a convict station and wearing a convict uniform, mainly in the company of non-political prisoners such as “rapists, muggers and thieves.”
In March 1851, O’Donoghue is released and taken back to Hobart. Undeterred, he immediately restarts his paper, prominently featuring an extensive personal account of his year with the chain gang. The governor reacts by sending him again to a chain gang, at a more distant location this time – the Cascades Penal Station. Three months later the governor orders him released from there and sent to Launceston.
On the way there, O’Donoghue succeeds in escaping from his guards with the help of fellow-prisoners, who manage to smuggle him on board the ship Yarra Yara, on its way to Melbourne. There, he successfully hides from the British authorities and, with further help from Irish sympathisers, manages to get to San Francisco, where some of his fellows such as MacManus and Meagher have also ended up.
O’Donoghue dies in New York City on January 22, 1854, shortly before the arrival of his wife on a ship from Ireland. The time spent in the chain gang may have contributed to undermining his health. The other escaped state prisoners do not attend his funeral, although Michael Doheny and Michael Cavanagh, fellow Young Irelanders who are living in New York City at the time, are in attendance.
The local Sinn Féin branch in Carlow is named after O’Donoghue.
Congreve is born on January 24, 1670, at Bardsley, West Yorkshire, England, the son of William Congreve, an army officer, and Mary Browning of Doncaster. In 1674, his father gains a commission as lieutenant in the army in Ireland, and moves with his family to the garrison port of Youghal, County Cork, where they remain until 1678. After a brief period at Carrickfergus, they move in 1681 to Kilkenny, where his father is assigned to the Duke of Ormond‘s regiment. This service entitles Congreve to a free education at the renowned Kilkenny College, where Jonathan Swift is also a student, and where he receives an excellent schooling in classics. He forms a lasting friendship with another pupil, Joseph Kelly, a lawyer and MP for Doneraile (1705–13), with whom he later maintains a lengthy correspondence. In April 1686, he enters Trinity College Dublin (TCD) as a classical scholar and, again like Swift, is taught by St. George Ashe. It seems likely that his degree is disrupted by the political upheaval of 1688 as the college is forced to close in 1689 and his BA is not recorded.
At this point, Congreve leaves Ireland and spends the spring and summer of 1689 with relatives in Staffordshire. He subsequently moves to London, and in March 1691 enters the Middle Temple. He is not assiduous in his legal studies, preferring to socialise with intellectuals and writers, notably John Dryden, to pursue literary projects. In 1692, under the pseudonym “Cleophil,” he published Incognita, or, Love and Duty Reconciled, a romantic novella reputedly written while he is a student in Dublin. He also contributes some verse to Charles Gildon‘s Miscellany (1692), as well as two translations from Homer and three odes to Dryden’s Examen poeticum (1693). Dryden evidently thinks highly of the young writer, and with his advice and approbation Congreve’s first play, The Old Batchelor, is recommended by the Irish playwright Thomas Southerne to Thomas Davenant, manager of the Theatre Royal, Drury Lane. A fast-paced and witty comedy, concerning amorous appetites, The Old Batchelor is accepted and opens on March 9, 1693, to popular acclaim, enjoying an unusually long run of fourteen nights. Among the cast are Thomas Doggett, still relatively unknown, as Fondlewife, and a young English actress and singer, Anne Bracegirdle as Amarinta, with whom Congreve falls in love and begins a prolonged relationship. The play is dedicated to his friend Charles Boyle, eldest son of Richard Boyle, 1st Earl of Burlington, whose estates Congreve’s father had begun to manage in 1690.
After this early success, Congreve is dismayed by the poor reception of his next play, a domestic comedy with dark undertones entitled The Double Dealer, which is staged in December 1693 and criticised as immoral and unflattering in its representation of women. Its popularity improves somewhat when Mary II, Queen of England, soon after its undistinguished debut, commands a performance. When the queen dies the following year, Congreve eulogises her in The Mourning Muse of Alexis, a Pastoral. Regarded by contemporaries as his finest literary work, it is rewarded by a gift of £100 from King William III. Production of his next play is delayed by the revolt of the Drury Lane actors against the management of Christopher Rich. Congreve supports the actors and their petition to the Lord Chamberlain to reopen the theatre at Lincoln’s Inn Fields. When their request is granted, the renovated theatre opens on April 30, 1695, with Congreve’s enduring romantic comedy Love for Love, and the playwright being made a shareholder in the new company. A characteristically witty and well-plotted comedy, the production of Love for Love is particularly notable for Doggett’s sparkling performance as Sailor Ben. Congreve’s dramatic success also brings political advancement, as he receives his first government appointment as commissioner for hackney coaches.
Congreve returns to Ireland for most of 1696, where, with Southerne, he receives an MA from TCD, and probably visits his parents, then living at Lismore Castle, County Waterford. He also begins work on a tragedy entitled The Mourning Bride, which becomes an instant hit at Lincoln’s Inn Fields when it is first performed in February 1697 and running for thirteen nights. Despite his considerable success and popularity, he is deeply disconcerted by Jeremy Collier‘s aggressively anti-theatrical pamphlet, Short View of the Immorality and Profaneness of the English Stage (1698), which targets John Vanbrugh, Dryden, and Congreve. He is stung into a response, publishing Amendments of Mr. Collier’s False and Imperfect Citations (1698), which eloquently defends his dramatic methodology, but is rendered less effective by an emotional and ill-judged tone. His theatrical acumen seems to be at odds with the times, for in the dedication to his next play, The Way of the World, he observes that “little of it was prepar’d for that general taste which seems now to be predominant in the pallats of our audience.” Nevertheless, he is still bitterly disappointed by the disparaging response to its first performance on March 12, 1700. Dryden, however, realises the merit of the play, which is now recognised as Congreve’s masterpiece and a landmark in the dramatic tradition of the comedy of manners.
Disheartened, Congreve abandons play-writing, but he maintains his theatrical connections and embarks upon several collateral projects, producing a libretto for The Judgement of Paris (1701), and collaborating with Vanbrugh and the poet William Walsh on a translation of Molière‘s Monsieur de Pourceaugnac, staged as Squire Trelooby at the Lincoln’s Inn Fields theatre in 1704. Less successfully, he makes an ill-advised investment with Vanbrugh in a new theatre and opera house in the Haymarket, from which he withdraws with financial losses in 1705. His opera libretto Semele, written for the opening of the new theatre, is not performed until 1744, when it is scored by George Frideric Handel, though John Eccles writes a score in 1707 which remains unperformed until 1972. In the early 1700s his relationship with Anne Bracegirdle falters, though they remain lifelong friends.
In 1710, Congreve publishes The Works of Mr. William Congreve in three volumes. He continues throughout his life to write poetry, ballads, essays, and other miscellaneous pieces. He remains active and influential in literary and theatrical circles, often assisting young writers such as Charles Hopkins, son of Ezekiel Hopkins, Bishop of Derry, and Alexander Pope, who dedicates to him The Iliad (1715). Financially, however, he becomes increasingly dependent upon various minor government posts. He belongs for many years to the celebrated Kit-Cat Club, alongside such prominent writers, wits, and whigs as Richard Boyle, 2nd Earl of Cork, Richard Steele, Joseph Addison, Walsh, and Vanbrugh. Through the good offices of his friend Jonathan Swift, he retains his government position as Commissioner of Wines during the Tory administration of 1710–14. His party loyalty is rewarded in 1714 when he receives a lucrative government appointment as Secretary of the island of Jamaica. His personal life also improves around this time, as a friendship with Lady Henrietta Godolphin develops into a love affair that lasts for the rest of his life. They have one daughter, Mary (1723–64).
Congreve suffers for much of his life from gout and failing eyesight. These afflictions worsen with age, though friends remark that his cheerful temper survived unaffected. He is involved in a coach accident in September 1728, and dies January 19, 1729, at his home in Surrey Street, likely from a related injury. He names Francis Godolphin, 2nd Earl of Godolphin, his lover’s husband, as his executor, and bequeaths almost his entire estate to Henrietta, thereby discreetly leaving his property to his daughter. He is buried in Poet’s Corner, Westminster Abbey, on January 26.
(From: “Congreve, William” by Sinéad Sturgeon, Dictionary of Irish Biography, http://www.dib.ie, October 2009; Pictured: Portrait of William Congreve (1709) by Sir Godfrey Kneller)
This is a challenging time for the Catholic Church in Ireland, then led by Cardinal William Conway, as it adjusts to both the internal changes generated by the Second Vatican Council and the wider social changes. He is ill-suited to coping with these changes and in particular the violence in Northern Ireland. It is widely assumed that he sees to it that the more overtly nationalistTomás Ó Fiaich is appointed to Armagh in 1977 after the death of Cardinal Conway. The journalist and authorEd Moloney in his book on the Irish Republican Army (IRA) asserts that Alibrandi’s “sympathy for the IRA was a constant source of friction with the government in London.”
Alibrani plays a major role in the 1971 decision by the Vatican to accept the resignation of John Charles McQuaid as Archbishop of Dublin. This comes as a shock to McQuaid, who expected that he would be allowed to remain for some time after the normal retirement age of 75.
In many of the episcopal appointments made while Alibrandi is nuncio, he favours doctrinally “sound,” right-of-centre priests and in the case of the Archdiocese of Dublin picks two priests, Kevin McNamara and Desmond Connell, who are notably ill-suited. In a profile of the Archbishop at the time of his retirement, T. P. O’Mahony observes in The Tablet, “although he rarely gave interviews, and never overtly intervened in policy-making or in public controversies, it is beyond dispute that Archbishop Alibrandi wielded considerable influence behind the scenes.”
The respected academic and church historian Dermot Keogh assessing this period argues that “there was a general view that the best candidates had not been appointed…that a number were not up to the job, that most of the appointees shared a defensive attitude to matters of church and state.”
Alibrandi has “a very testy relationship with three Taoisigh – Jack Lynch, Liam Cosgrave and Garret FitzGerald.” After reaching the retirement age of 75, he returns to his home town in Sicily where he dies on July 3, 2003. His funeral Mass was celebrated on Saturday in Castiglione di Sicilia by Archbishop Paolo Romeo, Apostolic Nuncio to Italy. A memorial Mass for Archbishop Alibrandi will be celebrated by Archbishop Giuseppe Lazzarotto, Apostolic Nuncio to Ireland, on Friday, 11 July at 19.30 in the Church of Our Lady Help of Christians, Navan Road, Dublin.
It is reported in September 2012 during the second Dr. Garret FitzGerald Memorial Lecture at University College Cork (UCC) by Seán Donlon, former secretary general at the Department of Foreign Affairs, that “It came to our [Department of Foreign Affairs] attention that a substantial amount in three bank accounts in Dublin [held by the archbishop] were way in excess of what was needed to run the nunciature. The source [of the money] appeared to be South America.” Donlon goes on to say, “Because of its size, we thought it appropriate to ask if the funds belonged to the Holy See.” When contacted for an answer, Alibrandi “quickly answered ‘no’ and that they belonged to ‘family’. When it was pointed out to him that the money was then liable under Irish taxation law to DIRT, he said he would retire shortly and the accounts would be closed.”
Patrick Pollen, a British stained glass artist who spends most of his life working in Ireland, is born Patrick La Primaudaye Pollen in London on January 12, 1928.
In 1952, Pollen’s father takes him to see Evie Hone‘s “Crucifixion and Last Supper” window in Eton College Chapel. Upon seeing it he announces, “That’s what I want to do.” He moves to Dublin to study with the stained glass cooperative Evie Hone is a member of, An Túr Gloine, which is run by Catherine O’Brien and she and Hone become his mentors. When Hone dies in 1955, she leaves him her brushes.
Following the Second Vatican Council, newly designed churches feature less stained glass, and Pollen finds he is receiving less commissions. As a consequence he and his family move to the United States in 1981. They settle in Winston-Salem, North Carolina but there is very little work there and in 1997 they return in Ireland, living in his wife’s native County Wexford.
Pollen marries sculptor Nell Murphy in 1963, with the couple buying a house in Dublin in which Pollen had his studio. Murphy works in plaster, clay and stone, her works often featured in churches with those of her husband. They hav four sons, Peter, Ciaran, Laurence and Christopher, and a daughter, Brid.
Pollen dies on November 30, 2010, in Enniscorthy, County Wexford. His remains are cremated and the location of his ashes is unknown.
Callan is born on December 22, 1799, in Darver, County Louth. He attends school at an academy in Dundalk. His local parish priest, Father Andrew Levins, then takes him in hand as an altar boy and Mass server and sees him start the priesthood at Navanseminary. He enters Maynooth College in 1816. In his third year at Maynooth, he studies natural and experimental philosophy under Dr. Cornelius Denvir. He introduces the experimental method into his teaching and has an interest in electricity and magnetism.
Callan is ordained a priest in 1823 and goes to Rome to study at Sapienza University, obtaining a doctorate in divinity in 1826. While in Rome he becomes acquainted with the work of the pioneers in electricity such as Luigi Galvani (1737–98), who is a pioneer in bioelectricity, and Alessandro Volta (1745–1827), who is known especially for the development of the electric battery. In 1826, he returns to Maynooth as the new Professor of Natural Philosophy (now called physics), where he also begins working with electricity in his basement laboratory at the college.
Influenced by William Sturgeon and Michael Faraday, Callan begins work on the idea of the induction coil in 1834. He invents the first induction coil in 1836. An induction coil produces an intermittent high voltagealternating current from a low voltage direct current supply. It has a primary coil consisting of a few turns of thick wire wound around an iron core and subjected to a low voltage (usually from a battery). Wound on top of this is a secondary coil made up of many turns of thin wire. An iron armature and make-and-break mechanism repeatedly interrupts the current to the primary coil, producing a high voltage, rapidly alternating current in the secondary circuit.
Callan invents the induction coil because he needs to generate a higher level of electricity than currently available. He takes a bar of soft iron, about 2 feet long, and wraps it around with two lengths of copper wire, each about 200 feet long. He connects the beginning of the first coil to the beginning of the second. Finally, he connects a battery, much smaller than the enormous contrivance just described, to the beginning and end of winding one. He finds that when the battery contact is broken, a shock can be felt between the first terminal of the first coil and the second terminal of the second coil.
Further experimentation shows how the coil device can bring the shock from a small battery up the strength level of a big battery. So Callan tries making a bigger coil. With a battery of only 14 seven-inch plates, the device produces power enough for an electric shock “so strong that a person who took it felt the effects of it for several days.” He thinks of his creation as a kind of electromagnet, but what he actually makes is a primitive induction transformer.
Callan’s induction coil also uses an interrupter that consists of a rocking wire that repeatedly dips into a small cup of mercury (similar to the interrupters used by Charles Grafton Page). Because of the action of the interrupter, which can make and break the current going into the coil, he calls his device the “repeater.” Actually, this device is the world’s first transformer. He induces a high voltage in the second wire, starting with a low voltage in the adjacent first wire. The faster he interrupts the current, the bigger the spark. In 1837 he produces his giant induction machine using a mechanism from a clock to interrupt the current 20 times a second. It generates 15-inch sparks, an estimated 60,000 volts and the largest artificial bolt of electricity then seen.
Callan experiments with designing batteries after he finds the models available to him at the time to be insufficient for research in electromagnetism. Some previous batteries had used rare metals such as platinum or unresponsive materials like carbon and zinc. He finds that he can use inexpensive cast iron instead of platinum or carbon. For his Maynooth battery he uses iron casting for the outer casing and places a zinc plate in a porous pot (a pot that had an inside and outside chamber for holding two different types of acid) in the centre. Using a single fluid cell, he disposes of the porous pot and two different fluids. He is able to build a battery with just a single solution.
While experimenting with batteries, Callan also builds the world’s largest battery at that time. To construct this battery, he joins together 577 individual batteries (“cells“), which use over 30 gallons of acid. Since instruments for measuring current or voltages have not yet been invented, he measures the strength of a battery by measuring how much weight his electromagnet can lift when powered by the battery. Using his giant battery, his electromagnet lifts 2 tons. The Maynooth battery goes into commercial production in London. He also discovers an early form of galvanisation to protect iron from rusting when he is experimenting on battery design, and he patents the idea.
Callan dies at the age of 64 in Maynooth, County Kildare, on January 10, 1864. He is buried in the cemetery in St. Patrick’s College, Maynooth.
The Callan Building on the north campus of Maynooth University, a university which is part of St. Patrick’s College until 1997, is named in his honour. In addition, Callan Hall in the south campus, is used through the 1990s for first year science lectures including experimental & mathematical physics, chemistry and biology. The Nicholas Callan Memorial Prize is an annual prize awarded to the best final year student in Experimental Physics.
seamus dubhghaill 