George Johnstone StoneyFRS, Irish physicist, is born on February 15, 1826, at Oakley Park, near Birr, County Offaly, in the Irish Midlands. He is most famous for introducing the term “electron” as the “fundamental unit quantity of electricity.” He introduces the concept, though not the word, as early as 1874, initially naming it “electrine,” and the word itself comes in 1891. He publishes around 75 scientific papers during his lifetime.
Stoney is the son of George Stoney and Anne (née Bindon Blood). His only brother is Bindon Blood Stoney, who becomes chief engineer of the Dublin Port and Docks Board. The Stoney family is an old-established Anglo-Irish family. During the time of the famine (1845–52), when land prices plummet, the family property is sold to support his widowed mother and family. He attends Trinity College Dublin (TCD), graduating with a BA degree in 1848. From 1848 to 1852 he works as an astronomy assistant to William Parsons, 3rd Earl of Rosse, at Birr Castle, County Offaly, where Parsons had built the world’s largest telescope, the 72-inch Leviathan of Parsonstown. Simultaneously he continues to study physics and mathematics and is awarded an MA by TCD in 1852.
From 1852 to 1857, Stoney is professor of physics at Queen’s College Galway. From 1857 to 1882, he is employed as Secretary of the Queen’s University of Ireland, an administrative job based in Dublin. In the early 1880s, he moves to the post of superintendent of Civil Service Examinations in Ireland, a post he holds until his retirement in 1893. He continues his independent scientific research throughout his decades of non-scientific employment duties in Dublin. He also serves for decades as honorary secretary and then vice-president of the Royal Dublin Society (RDS), a scientific society modeled after the Royal Society of London and, after his move to London in 1893, he serves on the council of that society as well. Additionally, he intermittently serves on scientific review committees of the British Association for the Advancement of Science from the early 1860s.
Stoney publishes seventy-five scientific papers in a variety of journals, but chiefly in the journals of the Royal Dublin Society. He makes significant contributions to cosmic physics and to the theory of gases. He estimates the number of molecules in a cubic millimeter of gas, at room temperature and pressure, from data obtained from the kinetic theory of gases. His most important scientific work is the conception and calculation of the magnitude of the “atom of electricity.” In 1891, he proposes the term “electron” to describe the fundamental unit of electrical charge, and his contributions to research in this area lays the foundations for the eventual discovery of the particle by J. J. Thomson in 1897.
Stoney proposes the first system of natural units in 1881. He realizes that a fixed amount of charge is transferred per chemical bond affected during electrolysis, the elementary chargee, which can serve as a unit of charge, and that combined with other known universal constants, namely the speed of lightc and the Newtonian constant of gravitationG, a complete system of units can be derived. He shows how to derive units of mass, length, time and electric charge as base units. Due to the form in which Coulomb’s law is expressed, the constant 4πε0 is implicitly included, ε0 being the vacuum permittivity.
Like Stoney, Max Planck independently derives a system of natural units (of similar scale) some decades after him, using different constants of nature.
Hermann Weyl makes a notable attempt to construct a unified theory by associating a gravitational unit of charge with the Stoney length. Weyl’s theory leads to significant mathematical innovations, but his theory is generally thought to lack physical significance.
Stoney marries his cousin, Margaret Sophia Stoney, by whom he has had two sons and three daughters. One of his sons, George Gerald Stoney FRS, is a scientist. His daughter Florence StoneyOBE is a radiologist while his daughter Edith is considered to be the first woman medical physicist. His most scientifically notable relative is his nephew, the Dublin-based physicist George Francis FitzGerald. He is second cousin of the grandfather of Ethel Sara Turing, mother of Alan Turing.
After moving to London, Stoney lives first at Hornsey Rise, north London, before moving to 30 Chepstow Crescent, Notting Hill, West London. In his later years illness confines him to a single floor of the house, which is filled with books, papers, and scientific instruments, often self-made. He dies at his home in Notting Hill, on July 5, 1911. His cremated ashes are buried in St. Nahi’s Church, Dundrum, Dublin.
Conor is born on May 9, 1881, in Fortingale Street, Belfast, the third son and fourth child of William Connor, a tinsmith and sheet metal worker, who later becomes a gas fitter, and Mary Connor (née Wallace). He is educated at the Clifton Park central national school, where his artistic abilities are noticed by his music teacher. In 1894, he enrolls at the Belfast government school of design. He is a very successful student, and by 1903 has become an assistant teacher. He completes his studies in 1904, and begins an apprenticeship with the Belfast firm of lithographers, David Allen and Son. Through his work in the poster design department he develops an enthusiasm for using crayons on a textured surface. This becomes a characteristic feature of his later drawings. In these early years he first starts recording images of Belfast life, often sketched from behind a folded newspaper in the street. Influenced by the Gaelic revival, in the years 1907–9 he signs his name in several different ways such as “Liam” and “Liam Conor.” In later years he signs himself simply “Conor.”
Having abandoned his career as a lithographer around 1910, Conor concentrates his efforts on painting professionally. He begins exhibiting with the Belfast Art Society in 1910, and in the period that follows he spends time in Craigavad, County Down, the Blasket Islands in County Kerry, Dublin, and Donegal. During a visit to Paris, which he later recalls as being in 1912 and 1913, he meets the painter André Lhote. After his return to Belfast he is elected to the committee of the Belfast Art Society in 1913. On the outbreak of World War I, he is commissioned by the British government to record the everyday activities of munitions workers and soldiers in Ulster. His pictures mostly show soldiers in training and various scenes from the home front, including the work of women in munitions factories and hospitals. Described as “vigorous and personable, if rather folksy . . . effectively uniformed versions of the tinkers and shipyard workers for which he subsequently became known,” these paintings are exhibited and subsequently, in 1916, auctioned for the Ulster Volunteer Patriotic Fund. His long association with the Royal Hibernian Academy (RHA) begins in 1918 and he shows up to 200 works at the academy over the next forty-nine years.
In 1921, Conor moves to London, where he becomes acquainted with, among others, Sir William Orpen, Sir John Lavery, and Augustus John. He becomes a member of the Chelsea Arts Club, and contributes four paintings to the National Portrait Society as part of its spring exhibition in 1921. His friendship with Lavery is significant. Through him Conor receives a commission to paint the opening of the first Northern Ireland parliament in June 1921. He goes on to exhibit with a variety of influential bodies, including the Royal Academy of Arts, the Société Nationale des Beaux-Arts in Paris, and the Royal Society of Portrait Painters. In 1922, The Twelfth, executed c.1918, is shown in the Galerie Barbazanges in Paris, under the title Le cortège Orangiste à Belfast, as part of the World Congress of the Irish Race. He is represented at the Paris salon in 1923 and the following year he has a successful exhibition at the St. Stephen’s Green Gallery, Dublin.
In 1926, Conor travels to Philadelphia and New York, where, during his nine-month stay, he receives numerous commissions for portraits and has work shown in the Babcock Galleries, the Brooklyn Art Gallery, and the American Irish Historical Society. In 1932, he designs the costumes for the principals in the Pageant of St. Patrick, which marks the 1,500th anniversary of the saint’s coming to Ireland. That year also sees the unveiling of his muralUlster Past and Present at the Belfast Municipal Museum and Art Gallery. Measuring 2.8 by 7.4 metres, it is at the time the largest mural in the country. During World War II he is again appointed an official war artist and his work is represented at the exhibition of war artists at the National Gallery, London, in 1941. His book The Irish Scene is published in 1944, and though it sells well, the subsequent bankruptcy of his publishers mean that Conor receives no royalties. He also provides the illustrations for books by Lynn C. Doyle, the pseudonym of his friend Leslie Montgomery.
Although Conor is best known for his depictions of the everyday life of people in his native Belfast, in which he attempts to capture the “flash of humour which lightens their daily toil,” he also produces landscapes and portraits. His sitters included Douglas Hyde, St. John Greer Ervine, Charles D’Arcy, and Charles Vane-Tempest-Stewart, 7th Marquess of Londonderry. The Council for the Encouragement of Music and the Arts organises several successful Conor exhibitions. Their one-man show of 1945 becomes the first to tour the province, while their exhibition of his work in 1954 has an attendance in excess of 2,800. Conor closes his long-established studio on Stranmillis Road in 1960 but continuea to exhibit, notably with the Bell Gallery in 1964, 1966, and 1967.
(From: “Conor, William” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “William Conor,” oil on canvas by Gladys Maccabe, Ulster Folk Museum)
Sir Michael Terence WoganKBEDL, Irish-British radio and television broadcaster who works for the BBC in the United Kingdom (UK) for most of his career, dies on January 31, 2016, at his home in Taplow, Buckinghamshire, England. Between 1993 and his semi-retirement in December 2009, his BBC Radio 2 weekday breakfast programme Wake Up to Wogan regularly draws an estimated eight million listeners. He is believed at the time to be the most listened-to radio broadcaster in Europe.
Wogan, the elder of two children, is born at Cleary’s Nursing Home, Elm Park, Limerick, County Limerick, on August 3, 1938. He is the son of the manager of Leverett & Frye, a high-class grocery store in Limerick, and is educated at Crescent College, a Jesuit school, from the age of eight. He experiences a strongly religious upbringing, later commenting that he had been brainwashed into believing by the threat of going to hell. Despite this, he often expresses his fondness for the city of his birth, commenting on one occasion that “Limerick never left me, whatever it is, my identity is Limerick.”
At the age of 15, after his father is promoted to general manager, Wogan moves to Dublin with his family. While living there he attends Crescent College’s sister school, Belvedere College. He participates in amateur dramatics and discovers a love of rock and roll. After leaving Belvedere in 1956, he has a brief career in the banking profession, joining the Royal Bank of Ireland. Still in his twenties, he joins the national broadcaster of Ireland, Raidió Teilifís Éireann (RTÉ), as a newsreader and announcer, after seeing a newspaper advertisement inviting applicants.
Wogan conducts interviews and presents documentary features during his first two years at RTÉ, before moving to the light entertainment department as a disc jockey and host of TV quiz and variety shows such as Jackpot, a top-rated quiz show on RTÉ in the 1960s.
Wogan is a leading media personality in Ireland and Britain from the late 1960s, and is often referred to as a “national treasure.” In addition to his weekday radio show, he is known for his work on television, including the BBC One chat show Wogan, presenting Children in Need, the game show Blankety Blank and Come Dancing. He is the BBC’s commentator for the Eurovision Song Contest from 1971 to 2008 (radio in 1971, 1974–1977; television in 1973, 1978, 1980–2008) and the Contest’s host in 1998. From 2010 to 2015 he presents Weekend Wogan, a two-hour Sunday morning show on BBC Radio 2.
In 2005, Wogan acquires British citizenship in addition to his Irish nationality and is awarded a knighthood in the same year and is therefore entitled to use the title “Sir” in front of his name.
Wogan’s health declines after Christmas 2015. He does not present Children in Need in November 2015, citing back pain as the reason for his absence from the long-running annual show. One of his friends, Father Brian D’Arcy, visits him during January and notices he is seriously ill. He dies of cancer at the age of 77 on January 31, 2016, at his home in Taplow, Buckinghamshire, England.
After Wogan’s death and his private funeral a few weeks later, a public memorial service is held on September 27 of the same year. This is held at Westminster Abbey and is opened by a recording of Wogan himself, and features a number of his celebrity friends making speeches, such as Chris Evans and Joanna Lumley. The service is broadcast live on BBC Radio 2.
On November 16, 2016, the BBC renames BBC Western House, home of BBC Radio 2, in his memory, to BBC Wogan House.
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.
The Kingsmill massacre, also referred to as the Whitecross massacre, is a mass shooting that takes place on January 5, 1976, near the village of Whitecross in south County Armagh, Northern Ireland. Gunmen stop a minibus carrying eleven Protestant workmen, line them up alongside it and shoot them. Only one victim survives, despite having been shot 18 times. A Catholic man on the minibus is allowed to go free. A group calling itself the South Armagh Republican Action Force claims responsibility. It says the shooting is retaliation for a string of attacks on Catholic civilians in the area by Loyalists, particularly the killing of six Catholics the night before. The Kingsmill massacre is the climax of a string of tit for tat killings in the area during the mid-1970s, and is one of the deadliest mass shootings of the Troubles.
On January 5, 1976, just after 5:30 p.m., a red Ford Transit minibus is carrying sixteen textile workers home from their workplace in Glenanne. Five are Catholics and eleven are Protestants. Four of the Catholics get out at Whitecross and the bus continues along the rural road to Bessbrook. As the bus clears the rise of a hill, it is stopped by a man in combat uniform standing on the road and flashing a torch. The workers assume they are being stopped and searched by the British Army. As the bus stops, eleven gunmen in combat uniform and with blackened faces emerge from the hedges. A man “with a pronounced English accent” begins talking. He orders the workers to get out of the bus and to line up facing it with their hands on the roof. He then asks, “Who is the Catholic?” The only Catholic is Richard Hughes. His workmates, now fearing that the gunmen are loyalists who have come to kill him, try to stop him from identifying himself. However, when Hughes steps forward the gunman tell him to “get down the road and don’t look back.”
The lead gunman then says, “Right,” and the others immediately open fire on the workers. The eleven men are shot at very close range with automatic rifles, which includes Armalites, an M1 carbine and an M1 Garand. A total of 136 rounds are fired in less than a minute. The men are shot at waist height and fall to the ground, some falling on top of each other, either dead or wounded. When the initial burst of gunfire stops, the gunmen reload their weapons. The order is given to “Finish them off,” and another burst of gunfire is fired into the heaped bodies of the workmen. One of the gunmen also walks among the dying men and shoots them each in the head with a pistol as they lay on the ground. Ten of them die at the scene: John Bryans (46), Robert Chambers (19), Reginald Chapman (25), Walter Chapman (23), Robert Freeburn (50), Joseph Lemmon (46), John McConville (20), James McWhirter (58), Robert Walker (46) and Kenneth Worton (24). Alan Black (32) is the only one who survives. He had been shot eighteen times and one of the bullets had grazed his head. He says, “I didn’t even flinch because I knew if I moved there would be another one.”
After carrying out the shooting, the gunmen calmly walk away. Shortly after, a married couple comes upon the scene of the killings and begin praying beside the victims. They find the badly wounded Alan Black lying in a ditch. When an ambulance arrives, Black is taken to a hospital in Newry, where he is operated on and survives. The Catholic worker, Richard Hughes, manages to stop a car and is driven to Bessbrook Royal Ulster Constabulary (RUC) station, where he raises the alarm. One of the first police officers on the scene is Billy McCaughey, who had taken part in the Reavey killings. He says, “When we arrived it was utter carnage. Men were lying two or three together. Blood was flowing, mixed with water from the rain.” Some of the Reavey family also come upon the scene of the Kingsmill massacre while driving to hospital to collect the bodies of their relatives. Johnston Chapman, the uncle of victims Reginald and Walter Chapman, says the dead workmen were “just lying there like dogs, blood everywhere”. At least two of the victims are so badly mutilated by gunfire that immediate relatives are prevented from identifying them. One relative says the hospital mortuary “was like a butcher’s shop with bodies lying on the floor like slabs of meat.”
Nine of the dead are from the village of Bessbrook, while the bus driver, Robert Walker, is from Mountnorris. Four of the men are members of the Orange Order and two are former members of the security forces: Kenneth Worton is a former Ulster Defence Regiment (UDR) soldier while Joseph Lemmon is a former Ulster Special Constabulary (USC) officer. Alan Black is appointed a Member of the Order of the British Empire (MBE) in the 2021 New Year Honours, for his cross-community work since the massacre.
The next day, a telephone caller claims responsibility for the attack on behalf of the “South Armagh Republican Action Force” or “South Armagh Reaction Force.” He says that it was retaliation for the Reavey–O’Dowd killings the night before, and that there will be “no further action on our part” if loyalists stop their attacks. He adds that the group has no connection with the Irish Republican Army (IRA). The IRA denies responsibility for the killings as it is on a ceasefire at the time.
However, a 2011 report by the Historical Enquiries Team (HET) concludes that Provisional IRA members were responsible and that the event was planned before the Reavey and O’Dowd killings which had taken place the previous day, and that “South Armagh Republican Action Force” was a cover name. Responding to the report, Sinn Féin spokesman Mitchel McLaughlin says that he does “not dispute the sectarian nature of the killings” but continues to believe “the denials by the IRA that they were involved”. Social Democratic and Labour Party (SDLP) Assemblyman Dominic Bradley calls on Sinn Féin to “publicly accept that the HET’s forensic evidence on the firearms used puts Provisional responsibility beyond question” and to stop “deny[ing] that the Provisional IRA was in the business of organising sectarian killings on a large scale.”
The massacre is condemned by the British and Irish governments, the main political parties and Catholic and Protestant church leaders. Merlyn Rees, the British Secretary of State for Northern Ireland, condemns the massacre and forecasts that the violence will escalate, saying “This is the way it will go on unless someone in their right senses stops it, it will go on.”
The British government immediately declares County Armagh a “Special Emergency Area” and deploys hundreds of extra troops and police in the area. A battalion of the Ulster Defence Regiment (UDR) is called out and the Spearhead Battalion is sent into the area. Two days after the massacre, the British Prime MinisterHarold Wilson announces that the Special Air Service (SAS) is being sent into South Armagh. This is the first time that SAS operations in Northern Ireland are officially acknowledged. It is believed that some SAS personnel had already been in Northern Ireland for a few years. Units and personnel under SAS control are alleged to be involved in loyalist attacks.
The Kingsmill massacre is the last in the series of sectarian killings in South Armagh during the mid-1970s. According to Willie Frazer of Families Acting for Innocent Relatives (FAIR), this is a result of a deal between the local UVF and IRA groups.
(Pictured: The minibus carrying the textile factory workers is left peppered with bullet holes and blood stains the ground after the massacre, as detectives patrol the scene of the murders)
Trevor wins the 2008 International Nonino Prize in Italy. In 2014, he is bestowed with the title of Saoi within Aosdána. He resides in England from 1954 until his death in 2016, at the age of 88.
Trevor is educated at a succession of schools including St Columba’s College, Dublin (where he is taught by Oisín Kelly) and at Trinity College Dublin (TCD), from which he receives a degree in history. He works as a sculptor under the name Trevor Cox following his graduation from TCD, supplementing his income by teaching.
Trevor marries Jane Ryan in 1952 and emigrates to England, working as a teacher, a sculptor and then as a copywriter for an advertising agency. During this time he and his wife have their first son. In 1952, he becomes an art teacher at Bilton Grange, a prep school near Rugby. He is commissioned to carve reliefs for several churches, including All Saints’ Church, Braunston, Northamptonshire. In 1956, he moves to Somerset to work as a sculptor and carries out commissions for churches. He stops wood carving in 1960.
Trevor’s first novel, A Standard of Behaviour, is published in 1958 by Hutchinson & Co. of London, but receives little critical success. He later disowns this work, and, according to his obituary in The Irish Times, “refused to have it republished.” It is, in fact, republished in 1982 and in 1989.
In 1964, at the age of 36, Trevor is awarded the Hawthornden Prize for The Old Boys. This success encourages him to become a full-time writer.
In 1971, he and his family move from London to Devon in South West England, first to Dunkeswell, then in 1980 to Shobrooke, where he lives until his death. Despite having spent most of his life in England, he considers himself to be “Irish in every vein”.
Trevor dies peacefully in his sleep, at the age of 88, at Crediton, Devon, England, on November 20, 2016.
Following the sudden death of his father in 1918, Bell is brought at the age of seven to live near Raffery in the Strangford Lough area of County Down. He lives with his mother and two brothers in a cottage with no electricity or running water. This is the setting of his acclaimed novel of Ulster rural life, December Bride (1951). He moves to Belfast in 1921, where he works at a variety of manual jobs before securing a post with the BBC in 1945. He is a co-founder of the left-leaning literary journal, Lagan, in 1943.
Bel’s first collection of short stories, Summer Loanen and Other Stories, is published in 1943. His novels include December Bride (1951), The Hollow Ball (1961), A Man Flourishing (1973) and Across the Narrow Sea (1987).
Bell is recruited to the BBC in 1946, along with fellow writer, W. R. Rodgers, by poet and radio producer, Louis MacNeice. Some of his work as a radio producer is highly innovative. This is Northern Ireland, An Ulster Journey (1949) is a classic radio feature incorporating actuality, poetry, music and narration. In later work, Bell incorporates the voices of “ordinary people” in his attempt to paint a picture of Ulster as rooted in the lives and traditions of its people. His collaboration with W. R. Rodgers, The Return Room (1955), is one of the most important post-war Irish radio features and shows the influence of Dylan Thomas on Rodgers, the poet.
In 1977, Bell is honoured with an MBE in recognition of his contribution to the cultural life of Northern Ireland.
December Bride is made into an acclaimed film in 1990. Reviewing the film, The Irish Times columnist and literary critic Fintan O’Toole says it is “not just a remarkable artistic achievement, but also a remarkable political one…restoring a richness and complexity to a history that has been deliberately narrowed.” In April 1999, December Bride is selected by award-winning novelist and critic Colm Tóibín and publisher, writer and critic Dame Carmen Callil, for inclusion in The Modern Library: The 200 Best Novels in English Since 1950 (Picador).
Bell dies on February 9, 1990, at 190 King’s Road, Knock, Belfast, aged 80, shortly before the premiere of the film of December Bride. On October 15, 2009, the eve of what would have been Bell’s centenary, a blue plaque is unveiled by Northern Ireland Minister of Culture, Arts and Leisure Nelson McCausland on the Belfast house where Bell had written December Bride. Such plaques are erected to commemorate and honour notable people.
James NesbittMBE, a Royal Ulster Constabulary (RUC) Detective Chief Inspector who is best known for heading the Murder Squad team investigating the notorious Shankill Butchers‘ killings in the mid-1970s, dies on August 27, 2014, following a brief illness.
Nesbitt is born on September 29, 1934, in Belfast, Northern Ireland, the son of James, an electrician, and Ellen. He is brought up in the Church of Ireland religion and lives with his parents and elder sister, Maureen, in a terraced house in Cavehill Road, North Belfast, which is considered to be a middle class area at the time. Having first attended the Model Primary School in Ballysillan Road, in 1946 he moves on to Belfast Technical High School where he excels as a pupil. From an early age, he is fascinated by detective stories and dreams about becoming a detective himself.
As a child, Nesbitt avidly reads about all the celebrated murder trials in the newspapers. At the age of 16, he opts to leave school and goes to work as a sales representative for a linen company where he remains for seven years.
At the age of 23, Nesbitt seeks a more exciting career and realises his childhood dream by joining the Royal Ulster Constabulary as a uniformed constable. He applies at the York Road station in Belfast and passes his entry exams. His first duty station is at Swatragh, County Londonderry. During this period, the Irish Republican Army‘s Border Campaign is being waged. He earns two commendations during the twelve months he spends at the Swatragh station, having fought off two separate IRA gun attacks which had seen an Ulster Special Constabulary man shot. In 1958, he is transferred to the Coleraine RUC station where his superiors grant him the opportunity to assist in detective work. Three years later he is promoted to the rank of detective.
Nesbitt marries Marion Wilson in 1967 and begins to raise a family. By 1971 he is back in his native Belfast and holds the rank of Detective Sergeant. He enters the RUC’s Criminal Investigation Department (CID) section and is based at Musgrave Street station. Many members of the RUC find themselves targeted by both republican and loyalistparamilitaries as the conflict known as The Troubles grows in intensity during the late 1960s and early 1970s.
In September 1973, Nesbitt is promoted to Detective Inspector and moves to head up the RUC’s C or “Charlie” Division based in Tennent Street, off the Shankill Road, the heartland of loyalism and home of many loyalist paramilitaries. C Division covers not only the Shankill but also the republican Ardoyne and “The Bone” areas. Although he encounters considerable suspicion from his subordinates when he arrives at Tennent Street, he manages to eventually create much camaraderie within the ranks of those under his command when before there had been rivalry and discord. C Division loses a total of twelve men as a result of IRA attacks. During his tenure as Detective Chief Inspector at Tennent Street, he and his team investigate a total of 311 killings and solve around 250 of the cases.
By 1975, Nesbitt is encountering death and serious injury on a daily basis as the violence in Northern Ireland shows no signs of abating. However, toward the end of the year, he is faced with the first of a series of brutal killings that add a new dimension to the relentless tit-for-tat killings between Catholics and Protestants that has already made 1975 “one of the bloodiest years of the conflict.”
The Shankill Butchers are an Ulster loyalist paramilitary gang, many of whom are members of the Ulster Volunteer Force (UVF), that is active between 1975 and 1982 in Belfast. It is based in the Shankill area and is responsible for the deaths of at least 23 people, most of whom are killed in sectarian attacks.
The gang kidnaps, tortures and murders random civilians suspected of being Catholics. Each is beaten ferociously and has their throat slashed with a butcher knife. Some are also tortured and attacked with a hatchet. The gang also kills six Ulster Protestants over personal disputes and two other Protestants mistaken for Catholics.
Most of the gang are eventually caught by Nesbitt and his Murder Squad and, in February 1979, receive the longest combined prison sentences in United Kingdom legal history.
In 1991, after Channel 4 broadcasts a documentary claiming that the Ulster Loyalist Central Co-ordinating Committee had been reorganised as an alliance between loyalist paramilitaries, senior RUC members and leader figures in Northern Irish business and finance, Nesbitt and Detective Inspector Chris Webster are appointed by Chief Constable Hugh Annesley to head up an internal inquiry into the collusion allegations. The investigation delivers its verdict in February 1993 and exonerates all those named as Committee members who did not have previous terrorist convictions arguing that they are “respectable members of the community” and in some cases “the aristocracy of the country.”
Prior to his retirement, Nesbitt has received a total of 67 commendations, which is the highest number ever given to a policeman in the history of the United Kingdom. In 1980, he is awarded the MBE “in recognition of his courage and success in combating terrorism.”
Nesbitt dies on August 27, 2014, after a brief illness.
Murdoch is the daughter of Irene Alice (née Richardson) and Wills John Hughes Murdoch. Her father, a civil servant, comes from a mainly Presbyterian sheep farming family from Hillhall, County Down. In 1915, he enlists as a soldier in King Edward’s Horse and serves in France during World War I before being commissioned as a second lieutenant. Her mother trains as a singer before Iris is born and is from a middle-class Church of Ireland family in Dublin. Her parents first meet in Dublin when her father is on leave and are married in 1918. Iris is the couple’s only child. When she is a few weeks old the family moves to London, where her father had joined the Ministry of Health as a second-class clerk. She is a second cousin of the Irish mathematician Brian Murdoch.
From 1947 to 1948 Murdoch studies philosophy as a postgraduate at Newnham College, Cambridge. She meets Ludwig Wittgenstein at Cambridge but does not hear him lecture, as he had left his Trinity College professorship before she arrives. In 1948 she becomes a fellow of St. Anne’s College, Oxford, where she teaches philosophy until 1963. From 1963 to 1967 she teaches one day a week in the General Studies department at the Royal College of Art.
In 1956 Murdoch marries John Bayley, a literary critic, novelist, and from 1974 to 1992 Warton Professor of English at Oxford University, whom she had met in Oxford in 1954. The unusual romantic partnership lasts more than forty years until Murdoch’s death. Bayley thinks that sex is “inescapably ridiculous.” She in contrast has “multiple affairs with both men and women which, on discomposing occasions, Bayley witnesses for himself.”
Murdoch’s first novel, Under the Net, is published in 1954 and is selected in 1998 as one of Modern Library’s 100 best English-language novels of the 20th century. She had previously published essays on philosophy, and the first monograph about Jean-Paul Sartre published in English. She goes on to produce 25 more novels and additional works of philosophy, as well as poetry and drama.
Murdoch’s last novel, Jackson’s Dilemma, is published in 1995. She is diagnosed with Alzheimer’s disease in 1997 and dies on February 8, 1999, in Oxford, England. There is a bench dedicated to her in the grounds of Lady Margaret Hall, Oxford, where she enjoyed walking.
Dickey is the son of Edward O’Rorke Dickey. He later marries Eunice Emmeline Howard and they have one son, Daniel. He is educated at Wellington College and Trinity College, Cambridge. He studies painting under Harold Gilman at the Westminster School of Art.
Dickey becomes the first curator of The Minories in Colchester, Essex, a post he holds for five years from 1957 to 1962.
Dickey is a founder member of the Society of Wood Engravers in 1920, and exhibits with them from 1920 to 1924. He is at his most active in the early 1920s and virtually all his engravings date from this period.
In 1922 Dickey contributes a wood engraving to Contemporary English Woodcuts, an anthology of wood engravings produced by Thomas Balston, a director at Gerald Duckworth and Company and an enthusiast for the new style of wood engravings. Campbell Dodgson, Keeper of Prints and Drawings at the British Museum, writes about him in his introduction to the book Mr. Hagreen and Mr. Dickey are among the engravers who rely very much upon the effective use of white lines and spaces. This is a limited edition of 550 copies, as is the only book that he illustrates with wood engravings, Workers by the Irish writer Richard Rowley, published by Balston at Duckworth in 1923.
seamus dubhghaill 