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’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.
Ó Dubhda leaves the local primary school at the age of twelve with only the most basic of an education, but when he goes to work as a delivery boy driving around the roads of North Louth on his horse and cart he always has his O’Growney grammar book at his side, perfecting his knowledge of the Irish language. As a youth he joins the local brass band, where he is taught the cornet, but such is the depth of his intellect and his love for music he is an accomplished violinist, flautist and pianist in a very short time.
From his youth stretching into early manhood Ó Dubhda’s love of the Irish language is evident. He helps found a Gaelic League branch in Dundalk and perfects his use of the language by visiting Gaeltacht areas in the west of Ireland and Omeath. He is awarded a certificate to teach Irish by the Patrick Pearse and is a teacher in St. Mary’s College in Dundalk for over 20 years from 1915.
Ó Dubhda leaves teaching when he is offered his own children’s hour on Radio Éireann, a programme that lasts for over 30 years and through which a generation of Irish youth come to know and love his stories.
Ó Dubhda’s major work is the translation of the entire Douay version of the bible into Irish. The work takes twelve years and involves the deciphering of over three million words. The work is presented to the Irish nation in 1955 and is held in the National Museum of Ireland.
In 1950 Ó Dubhda is presented with the Papal medal, Pro Ecclessia el Pontifice by Pope Pius XII, to mark his 50th year as a member of his St. Malachy’s choir and one of his most prized possessions is a personal letter from Pope John XXIII praising him for his work for the church.
Peadar Ó Dubhda is just a month shy of his 90th birthday when he passes away in the loving care of his nieces in their Park Drive home on May 26, 1971. He is buried in Dundalk and his funeral is attended by PresidentÉamon De Valera.
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.
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.
Finucane, born on October 16, 1920 in Rathmines, Dublin, is credited with 28 aerial victories, five probably destroyed, six shared destroyed, one shared probable victory, and eight damaged. Included in his total are twenty-three Messerschmitt Bf 109s, four Focke-Wulf Fw 190s and one Messerschmitt Bf 110. Official records differ over the exact total. After the war, two of Finucane’s victories that had been credited as probables had, in fact, been destroyed, but are not officially included. His total victory count could be as high as 32.
On July 15, Finucane is killed at the age of 21 while leading the Hornchurch Wing in a fighter “Ramrod” operation targeting a German Army camp at Étaples, France. He takes off with his wing at 11:50 AM. The attack is timed to hit the Germans at lunchtime. Crossing the beach at Le Touquet, they target machine gun positions. His plane is hit in the radiator at 12:22 PM. His wingman, Alan Aikman, notifies him of the white plume of smoke and Finucane acknowledges it with a thumbs up. Standard regulations insist the wing carry on the mission even if the leader is in trouble. Radio silence is maintained so the enemy radio-interception services do not become aware that a person of importance has been hit.
Finucane flies slowly out to sea, talking calmly to Aikman as he glides along in his stricken fighter. Finally, some 8 miles off Le Touquet on the French coast, he breaks radio silence and sends his last message. Aikman, flying alongside Finucane, sees him pull back the canopy, and before taking off his helmet, say “This is it Butch.” It is a well–executed landing, but the waves are difficult to predict and the Spitfire‘s nose strikes the water and disappears in a wall of spray. Before he hits the water, witnesses Aikman and Keith Chisholm of 452 Squadron see him release, or perhaps tighten, his parachute release harness and straps. If Finucane did release them, it is possible he could have been thrown forward onto the gun-sight and killed, or knocked unconscious and drowned. The exact circumstances remain unknown.
The Richmond Tower at the end of the formal avenue leading to the Royal Hospital is designed by Francis Johnston, one of the leading architects of the day. This gateway originally stands beside the River Liffey at Bloody Bridge (now Rory O’More Bridge), but has to be moved after the arrival of the railway in 1844 increases traffic congestion. Johnston places his personal coat of arms above the arch, concealed by a piece of wood painted to match the stone, his idea being that his arms would be revealed to future generations after the wood becomes rotten. However, his little trick is uncovered when the gateway is taken down for removal. The coat of arms currently on the gateway is that of the Royal Hospital.
The Royal Hospital Kilmainham graveyards, including Bully’s Acre, are 400 metres to the west. A cross-shaft in the former cemetery may be the remains of a boundary cross associated with a ninth-century monastery located at this site.
Following the creation of the Irish Free State the Royal Hospital is considered as a potential home for Oireachtas Éireann, the new Irish national parliament. Eventually it is decided to keep parliament in its temporary home in Leinster House. The Hospital remains the home of a dwindling number of soldiers, before being variously used by the Garda Síochána and as a storage location for property belonging to the National Museum of Ireland. The large statue Queen Victoria which used to stand in the forecourt of Leinster House, before its removal in 1947, is stored in the main courtyard of the Hospital, as are various state carriages, including the famously spectacular State Coach of the Lord Chancellor of Ireland. The Royal Hospital Kilmainham is finally restored by the Irish Government in 1984 and controversially opens as the Irish Museum of Modern Art (IMMA). Some people working in heritage organisations criticise the decision to demolish the eighteenth-century barrack rooms in one section of the quadrangle to create open spaces for the IMMA.
In recent years, Royal Kilmainham Hospital has become a popular location for concerts during the summer months. Acts such as Blur, Leonard Cohen, The Flaming Lips, Jack White and Public Enemy have played within the grounds in the past.
The Derrynaflan Chalice, an 8th- or 9th-century chalice, is found as part of the Derrynaflan Hoard of five liturgical vessels on February 17, 1980 near Killenaule, County Tipperary. According to art historian Michael Ryan the hoard “represents the most complex and sumptuous expression of the ecclesiastical art-style of early-medieval Ireland as we know it in its eighth- and ninth-century maturity.” The group is among the most important surviving examples of Insular metalwork.
The hoard is probably secreted during the turbulent 10th to 12th centuries, when Viking raids and dynastic turmoil create many occasions when valuables are hidden. The early and later 10th century is marked by a particular concentration of hoarding in Ireland.
Derrynaflan, the site of an early Irish abbey, is a small island of dry land situated in a surrounding area of peat bogs, in the townland of Lurgoe, County Tipperary, northeast of Cashel. The monastery is an important foundation in the period preceding the Viking raids. The present modest ruins of a small Cistercian nave-and-chancel abbey church there, however, date from a later period.
The Derrynaflan Hoard is discovered on February 17, 1980 by Michael Webb from Clonmel and his son, also Michael, while they are exploring the ancient monastic site of Derrynaflan with a metal detector. They have permission of the owners of the land on which the ruins stand to visit the site but they have no permission to dig on the lands. A preservation order had been made in respect of the ruin under the National Monuments Act, 1930, so that it is an offence to injure or to interfere with the site. The discovery is initially kept secret for three weeks.
The behaviour of the Webbs, and nearly seven years of litigation, culminating in the Supreme Court action where they unsuccessfully seek over £5,000,000 for the find, leads to the replacement of Irish laws of treasure trove by the law in the National Monuments (Amendment) Act, 1994, with a new Section 2 being included in the legislation.
The Ardagh Chalice dates from around the same period, perhaps a century earlier, of the Derrynaflan Hoard and is found close by in neighbouring County Limerick. At the time, the ruling dynasty in Tipperary and most of Munster are the Eóganachta, while their longtime allies and possible cousins the Uí Fidgenti rule in the Limerick area. Feidlimid mac Cremthanin, king-bishop of Cashel, who becomes King of Munster in 821 and dies in 847, is a patron of the monastic foundation at Derrynaflan and has been suggested as a possible patron of the chalice.
As a masterpiece of Insular art, the Derrynaflan chalice is included in the exhibition “The Work of Angels: Masterpieces of Celtic Metalwork, 6th–9th Centuries AD” (London, 1989). The Derrynaflan Hoard is donated to the Irish State and the items are now on display in the National Museum of Ireland.
A statutory provision, the National Gallery of Ireland Act, 1854, is made on August 10, 1854, for the establishment of a national gallery of paintings, sculpture, and fine arts in Ireland.
The National Gallery of Ireland, which opens its doors ten years later, houses the national collection of Irish and European art. It is located in the centre of Dublin with one entrance on Merrion Square, beside Leinster House, and another on Clare Street. The Gallery has an extensive, representative collection of Irish painting and is also notable for its Italian Baroque and Dutch masters painting.
The façade of the National Gallery copies the Natural History building of the National Museum of Ireland which is already planned for the facing flank of Leinster House. The building itself is designed by Francis Fowke, based on early plans by Charles Lanyon.
The Gallery is unlucky not to have been founded around an existing collection, but through diligent and skillful purchase, by the time it opens it has 125 paintings. In 1866 an annual purchase grant is established and by 1891 space is already limited. In 1897, the Dowager Countess of Milltown indicates her intention of donating the contents of Russborough House to the Gallery. This gift includes about 223 paintings, 48 pieces of sculpture, 33 engravings, much silver, furniture and a library, and prompts construction from 1899 to 1903 of what is now called the Milltown Wing, designed by Thomas Newenham Deane.
At around this time Henry Vaughan leaves 31 watercolours by J.M.W. Turner with the requirement that they can only be exhibited in January, this to protect them from the ill-effects of sunlight. Though modern lighting technology has made this stipulation unnecessary, the Gallery continues to restrict viewing of the Vaughan bequest to January and the exhibition is treated as something of an occasion.
Another substantial bequest comes with the untimely death in the sinking of the RMS Lusitania of Hugh Lane (1875–1915), since 1914 director of the Gallery. Not only does he leave a large collection of pictures, he also leaves part of his residual estate and the Lane Fund has continued to contribute to the purchase of art works to this day. In addition to his involvement in the Gallery, Hugh Lane has also hoped to found a gallery of modern art, something only realised after his death in Dublin City Gallery The Hugh Lane. George Bernard Shaw also makes a substantial bequest, leaving the Gallery a third of royalties of his estate in gratitude for the time he spent there as a youth.
In the 1990s a lost Caravaggio, The Taking of Christ, known through replicas, is discovered hanging in a Jesuit house of studies in Leeson Street in Dublin by Sergio Benedetti, senior conservator of the gallery. The Jesuits generously allow this painting to be exhibited in the Gallery and the discovery is the cause of national excitement. In 1997 Anne Yeats donates sketchbooks by her uncle Jack Yeats and the Gallery now includes a Yeats Museum. Denis Mahon, a well known art critic, promises the Gallery part of his rich collection and eight painting from his promised bequest are on permanent display, including Jacob Blessing the Sons of Joseph by Guercino.
The National Gallery of Ireland, home of the national collection of Irish and European art, opens on January 30, 1864. It is located in the centre of Dublin with one entrance on Merrion Square, beside Leinster House, and another on Clare Street. The Gallery has an extensive, representative collection of Irish painting and is also notable for its Italian Baroque and Dutch masters painting.
In 1853 an exhibition, the Great Industrial Exhibition, is held on the lawns of Leinster House in Dublin. Among the most popular exhibits is a substantial display of works of art organised and underwritten by the railway magnate William Dargan. The enthusiasm of the visiting crowds demonstrates a public need for art, and it is decided to establish a permanent public art collection as a lasting monument of gratitude to Dargan. The moving spirit behind the proposal is the barristerJohn Edward Pigot (1822-1871), son of David Richard Pigot, Chief Baron of the Irish Exchequer, and he becomes one of the first Governors of the Gallery. The façade of the National Gallery copies the Natural History building of the National Museum of Ireland which is already planned for the facing flank of Leinster House. The building itself is designed by Francis Fowke, based on early plans by Charles Lanyon.
The Gallery is unlucky not to have been founded around an existing collection, but through diligent and skilful purchase, by the time it opens it has 125 paintings. In 1866 an annual purchase grant is established and by 1891 space is already limited. In 1897, the Dowager Countess of Milltown indicates her intention of donating the contents of Russborough House to the Gallery. This gift includes about 223 paintings, 48 pieces of sculpture, 33 engravings, much silver, furniture, and a library, and prompts construction from 1899 to 1903 of what is now called the Milltown Wing, designed by Thomas Newenham Deane.
At around this time Henry Vaughan leaves 31 watercolours by J.M.W. Turner with the requirement that they can only be exhibited in January, this to protect them from the ill-effects of sunlight. Though modern lighting technology has made this stipulation unnecessary, the Gallery continues to restrict viewing of the Vaughan bequest to January and the exhibition is treated as something of an occasion.
Another substantial bequest comes with the untimely death in the sinking of the RMS Lusitania of Hugh Lane, director of the Gallery since 1914. Not only does he leave a large collection of pictures, he also leaves part of his residual estate and the Lane Fund has continued to contribute to the purchase of art works to this day. In addition to his involvement in the Gallery, Lane has also hoped to found a gallery of modern art, something only realised after his death in Dublin City Gallery The Hugh Lane. George Bernard Shaw also makes a substantial bequest, leaving the Gallery a third of royalties of his estate in gratitude for the time he spent there as a youth.
The Gallery is again extended in 1962 with a new wing designed by Frank DuBerry of the Office of Public Works. This opens in 1968 and is now named the Beit Wing. In 1978 the Gallery receives from the government the paintings given to the nation by Chester Beatty and in 1987 the Sweeney bequest brings fourteen works of art including paintings by Pablo Picasso and Jack Butler Yeats. The same year the Gallery is once again given some of the contents of Russborough House when Alfred Beit donates 17 masterpieces, including paintings by Diego Velázquez, Bartolomé Esteban Murillo, Jan Steen, Johannes Vermeer, and Henry Raeburn.
In the 1990s a lost Caravaggio, The Taking of Christ, known through replicas, is discovered hanging in a Jesuit house of studies in Leeson Street in Dublin by Sergio Benedetti, senior conservator of the gallery. The Jesuits generously allow this painting to be exhibited in the Gallery and the discovery is the cause of national excitement. In 1997 Anne Yeats donates sketchbooks by her uncle, Jack Yeats, and the Gallery now includes a Yeats Museum. Denis Mahon, well known art critic, promises the Gallery part of his rich collection and eight paintings from his promised bequest are on permanent display, including Jacob Blessing the Sons of Joseph by Rembrandt.
The collection currently contains about 14,000 artworks, including approximately 2,500 oil paintings, 5,000 drawings, 5,000 prints, and some sculpture, furniture, and other works of art.
The German merchant steam ship SS Libau, also known as SS Castro and masquerading under the cover name of SS Aud, sets sail from the Baltic port of Lübeck on April 9, 1916, loaded with guns and ammunition for the Irish Republican Brotherhood (IRB) as part of the preparation for the Easter Rising.
Masquerading as SS Aud, an existing Norwegian vessel of similar appearance, SS Libau sets sail from the port of Lübeck, under the command of Karl Spindler, bound for the southwest coast of Ireland. Under Spindler is a crew of 22 men, all of whom are volunteers. SS Libau, laden with an estimated twenty thousand rifles, one million rounds of ammunition, ten machine guns, and explosives under a camouflage of a timber cargo, evade patrols of both the British 10th Cruiser Squadron and local Auxiliary patrols.
After surviving violent storms off Rockall, SS Libau arrives in Tralee Bay on April 20. There they are due to meet Roger Casement and others, with Casement having been landed nearby by the German submarine U-19. The SS Libau has no communications equipment aboard, giving them no means of contacting the Irish while en route. As a result, they are unaware that the date for its arrival off Fenit has been altered from Thursday, April 20 to Sunday, April 23.
One of the two cars carrying Volunteers who are supposed to meet SS Libau crash into the River Laune, many miles away, at Ballykissane pier, Killorglin, resulting in the death of three of the four occupants of the car. This leads to no hope of an organised transfer of arms and the gun-running plan nears an end.
SS Libau, attempting to escape the area, is trapped by a blockade of British ships. Captain Spindler allows himself to be escorted towards Cork Harbour, in the company of the Acacia-class sloopHMS Bluebell. The German crew then scuttles the ship. Spindler and his crew are interned for the duration of the war. Roger Casement and his companions are captured in an old ringfort or rath between Ardfert and Tralee.
A number of rifles are recovered from SS Libau before the vessel is scuttled. Several examples exist in various museums in Britain and Ireland. Among these are the Cork Public Museum in Fitzgerald’s Park in Cork, a museum in Lurgan County Armagh, the National Museum of Ireland in Dublin, and the Imperial War Museum in London.
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