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Birth of George Noble Plunkett, Scholar & Revolutionary

George Noble Plunkett, scholar and revolutionary, is born on December 3, 1851, at 1 Aungier Street, Dublin, the youngest and only survivor from infancy of the three children of Patrick Joseph Plunkett (1817–1918), builder and politician, and his wife, Elizabeth (née Noble). The Plunketts are Catholic, claiming collateral descent from Archbishop of Armagh Oliver Plunkett, and nationalist: the two drummers from the republican army at Vinegar Hill in 1798 visit George’s cradle.

Plunkett is educated expensively: at a primary school in Nice, making him fluent in French and Italian, then at Clongowes Wood College, and, from 1872, at Trinity College Dublin (TCD), where his generous allowance allows him to study renaissance and medieval art. He enrolls at King’s Inns in 1870 and the Middle Temple in 1874, but is not called to the bar until 1886. While there he befriends Oscar Wilde and Jeremiah O’Donovan Rossa. In 1877, he endows a university gold medal for Irish speakers and publishes a book of poems, God’s Chosen Festival, and the following year he issues a pamphlet, The Early Life of Henry Grattan. He also writes articles for magazines, editing a short-lived one, Hibernia, for eighteen months from 1882. In 1883, he donates funds and property to the nursing order of the Little Company of Mary (Blue Sisters), and on April 4, 1884, Pope Leo XIII makes him a count.

On June 26, 1884, Plunkett marries Mary Josephine Cranny (1858–1944). The couple has seven children: Philomena (Mimi) (b. 1886), Joseph (b. 1887), Mary Josephine (Moya) (b. 1889), Geraldine (b. 1891), George Oliver (b. 1894), Fiona (b. 1896), and Eoin (Jack) (b. 1897).

Plunkett surprises many in 1890 by declaring for Charles Stewart Parnell against the Catholic hierarchy. In the 1892 United Kingdom general election in Ireland he is a Parnellite candidate for Mid Tyrone but withdraws from a potential three-cornered fight lest he let in the unionist. He is sole nationalist candidate for Dublin St. Stephen’s Green in the 1895 United Kingdom general election in Ireland, and at an 1898 by-election there he cuts the unionist majority to 138 votes. The reunited Irish Party wins the seat in 1900.

In 1894, Plunkett part-edits Charles O’Kelly‘s memoir The Jacobite War in Ireland. By 1900, when he publishes the standard biography Sandro Botticelli, he is supplementing his income by renewed artistic studies, which until 1923 finances his lease of Kilternan Abbey, County Dublin. His Pinelli (1908) is followed by Architecture of Dublin, and, in 1911, by his revised edition of Margaret McNair Stokes‘s Early Christian Art in Ireland. In 1907, he becomes director of the National Museum of Ireland, where he increases annual visits from 100 to 3,000.

Joseph Plunkett swears his father into the Irish Republican Brotherhood (IRB) in April 1916, sending him secretly to seek German aid and a papal blessing for the projected Easter rising. After its defeat, Plunkett is sacked by the National Museum of Ireland and deported with the countess to Oxford, and the following January he is expelled by the Royal Dublin Society (RDS). This earns him nomination as the surviving rebels’ candidate in the North Roscommon by-election. He returns to Ireland illegally on January 31, 1917, and wins the seat easily three days later. Pledging abstention from attendance at Westminster in accordance with Sinn Féin policy, he initiates a Republican Liberty League, which coalesces with similar groups such as Sinn Féin. In October this front becomes the new Sinn Féin, committed to Plunkett’s republic rather than to the “king, lords and commons“ of Arthur Griffith. Plunkett and Griffith become the new party’s vice-presidents, under Éamon de Valera.

On May 18, 1918, Plunkett is interned again. Released after Sinn Féin’s general election landslide (in which he is returned unopposed), he presides, Sinn Féin’s oldest MP, at the planning meeting for Dáil Éireann on January 17, 1919, and at its opening session on January 21. On the 22nd he is made foreign affairs minister by Cathal Brugha, an appointment reaffirmed by de Valera on April 10. He criticises his president for advocating a continuing Irish external relationship with Britain, and fails to organise an Irish foreign service. In February 1921, de Valera makes Robert Brennan his departmental secretary and a ministry takes shape, while Plunkett publishes a book of poems, Ariel. After uncontested “southern Irish“ elections to the Second Dáil, de Valera moves his implacable foreign minister from the cabinet to a tailor-made portfolio of fine arts. Plunkett’s Dante sexcentenary commemoration is overshadowed by news of the Anglo–Irish Treaty. Opposing this, Plunkett cites his oath to the republic and its martyrs including his son. He leaves his ministry on January 9, 1922.

Plunkett chairs the anti-treaty Cumann na Poblachta, which loses the June general election, though he is returned again unopposed. In the Irish Civil War the treatyites intern him and the republicans appoint him to their council of state. In the August 1923 Irish general election, his first electoral contest since 1917, the interned count tops the poll in County Roscommon. He is released in December.

When de Valera forms Fianna Fáil in 1926, Plunkett stays with Sinn Féin, and loses his deposit in the June 1927 Irish general election. A year later he publishes his last poetry collection, Eros. He runs for a new Cumann Poblachta na hÉireann in a County Galway by-election in 1936, but loses his deposit again. On December 8, 1938, with the other six surviving abstentionist Second Dáil TDs, he transfers republican sovereignty to the IRA Army Council.

Plunkett is a big man with a black beard which whitens steadily after his fiftieth birthday. He is always formally pleasant and courteous. His oratory is described by M. J. MacManus as “level, cultured tones . . . [more] used to addressing the members of a learned society than to the rough and tumble of the hustings” (The Irish Press, March 15, 1948). Theoretically and practically, he is more scholar than politician. His portrait is on display at the Royal Society of Antiquaries of Ireland (RSAI).

Plunkett dies from cancer on March 12, 1948, and is buried in Glasnevin Cemetery, survived by his children Geraldine (wife of Thomas Dillon), Fiona, and Jack. His grandson Joseph (1928–66), son of George Oliver Plunkett, inherits the title.

(From: “Plunkett, Count George Noble” by D. R. O’Connor Lysaght, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Death of Leo Whelan, Portrait & Genre Painter

(Michael) Leo Whelan, portrait and genre painter, dies from leukemia on November 6, 1956, at the Mater private nursing home in Dublin.

Whelan is born on January 17, 1892, at 20 St. George’s Villas, Fairview, Dublin, one of two sons and three daughters of Maurice Whelan, a draper, of County Kerry ancestry, and Mary Whelan (née Cruise), from County Roscommon. The family subsequently moves to 65 Eccles Street, where his parents operated a small hotel. Educated at Belvedere College, Dublin, he then attends the Dublin Metropolitan School of Art (DMSA) (1908–14), where he is a student of William Orpen, who has a huge influence on his artistic style. His fellow students at the school include Patrick Tuohy and Séan Keating.

Whelan is awarded many prizes in the Royal Dublin Society (RDS) Taylor art competitions, including one in 1912 for a portrait of his sister Lena, entitled On the Moors, rendered in a strongly academic technique. In 1916, he wins the Taylor scholarship for the Royal Hibernian Academy (RHA) schools for his finest early work, The Doctor’s Visit, an adroitly executed composition of contrasting shadows and light. Typical of many of his genre interiors, the painting depicts a room in the family home, with relatives as models: Whelan’s mother sits by the bed watching over his ill cousin, while his sister, dressed in a Mater hospital nurse’s uniform, is in the background opening the door for the doctor. The subtly evoked atmosphere of restrained emotion foreshadowed a hallmark of his mature style.

Whelan exhibits annually at the RHA for forty-five years (1911–56), averaging six works per year. He is elected an RHA associate in 1920, becoming a full member in 1924. He participates in the Exposition d’art irlandais at the Galerie Barbazanges in Paris in 1922. A visiting teacher at the RHA schools in 1924, he also teaches in the DMSA for a time. He has studios at 64 Dawson Street (1914–27) and 7 Lower Baggot Street (1931–56). Beginning in the 1910s, he receives regular commissions for portraits, constituting his primary source of income. Having become the family’s main breadwinner following his parents’ deaths in the 1920s, he concentrates most of his production on this lucrative activity, portraying numerous leading figures in the spheres of politics, academia, religion, society, medicine, and law.

Coming from a family of militant nationalist sympathies, in 1922 he begins a large group portrait, GHQ Staff of the Pre-Treaty IRA, including Michael Collins, Richard Mulcahy, Rory O’Connor, Liam Mellows and nine others, composed from individual studies of the men rendered during clandestine sittings in his home and studio. The painting, which he leaves unfinished, is in McKee Barracks, Dublin. He receives special praise for his portraits of John Henry Bernard, Provost of Trinity College Dublin (TCD) and of Louis Claude Purser, TCD vice-provost. The latter is awarded a medal at the 1926 Tailteann Games. He exhibits seventeen paintings at the Royal Society of Portrait Painters, London, of which he is a member, and shows two works at the Royal Academy of Arts, London. His 1929 portrait of John McCormack, one of his major patrons, is presented by the tenor’s family some fifty years later to the National Concert Hall, Dublin.

Situated securely in the academic tradition, in most of his portraits Whelan favours a sombre, restricted palette, with the sitter placed, in grave demeanour, against a monotone background with few accessories. In a 1943 interview he asserts that twentieth-century portraiture suffers from the drabness of modern costume, for which the artist must compensate by careful rendition of the subject’s hands. He tends to depart from his prevailing portrait style when painting women, whom he characteristically depicts in meticulously observed interiors, a notable example being his portrait of Society hostess Gladys Maccabe (c.1946; NGI).

Whelan’s commercial concentration on portraiture notwithstanding, he expresses his true talent in genre compositions, especially kitchen interiors, in which he emulates the technique of the Dutch painter Johannes Vermeer. Two of the most accomplished of these depict his sister Frances in the basement kitchen of the family home: The Kitchen Window (1927; Crawford Art Gallery, Cork) demonstrates a particularly skillful use of light, while Interior of a Kitchen (1935) is notable for the dexterous handling of objects of varied shapes and textures. His genre works include both urban and rural scenes, with a distinctive interest in portraying occupations and other activities. Gypsy (1923), an Orpenesque composition of a shawled woman in a west-of-Ireland landscape with a caravan in the background, receives wide contemporary critical acclaim. Jer (c.1925), depicting a man seated by the fire in a cottage interior, is reproduced in J. Crampton Walker’s Irish Art and Landscape (1927). The Fiddler (c.1932), a naturalistic, sensitively characterised study, is first shown at an Ulster Academy exhibition at Stranmillis, Belfast. A Kerry Cobbler is reproduced in Twelve Irish Artists (1940), introduced by Thomas Bodkin, as among the works denoting the development of a distinctively Irish school of painting.

In 1929, Whelan designs the first Irish Free State commemorative stamp, a portrait of Daniel O’Connell for the centenary of Catholic emancipation. Commissioned by the Thomas Haverty trust to paint an incident from the life of Saint Patrick for the 1932 Eucharistic Congress, he executes The Baptism by St. Patrick of Ethna the Fair and Fedelmia the Ruddy, Daughters of the Ard Rí Laoghaire, a work highly conservative in style. He rapidly completes an oil study of the papal legate, Lorenzo Lauri, also for the Eucharistic Congress. He is represented in the art competitions at the 1932 Summer Olympics in Los Angeles. His depiction of Saint Brigid, shown at the Academy of Christian Art exhibition (1940), becomes a familiar image owing to the wide circulation of reproductions.

Whelan’s political portraits are influential in creating a strong, assured image of the newly formed Irish state, and thus retain an historical significance. His posthumous portrait, The Late General Michael Collins, exhibited at the RHA in 1943 and now held in Leinster House, is an iconic, heroic image of the fallen leader. His portraits of Arthur Griffith and Kevin O’Higgins – commissioned posthumously, as is the Collins, by Fine Gael – also hang in Leinster House, while that of John A. Costello, exhibited at the RHA in 1949, is now held in the King’s Inns, Dublin. He paints two presidents, Douglas Hyde and Seán T. O’Kelly, both works currently in Áras an Uachtaráin. A portrait of Éamon de Valera, painted in 1955 when the sitter is Leader of the Opposition, is in Leinster House. In 1954, he designs a second commemorative stamp, picturing a reproduction of a portrait bust of John Henry Newman, to mark the centenary of the Catholic University of Ireland.

Whelan is elected an honorary academician of both the Ulster Academy of Arts (1931), and the Royal Ulster Academy (1950). He becomes a member of the United Arts Club in 1934. As a representative of the RHA, he sits on the board of governors of the National Gallery of Ireland for many years, and is on the advisory committee of the Municipal Gallery of Modern Art. Unmarried, he resides until his death at the Eccles Street address, with two sisters who continue to manage the family hotel. He dies on November 6, 1956, from leukemia at the Mater private nursing home in Dublin. He is buried in Glasnevin Cemetery.

(From: “Whelan, (Michael) Leo,” by Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Death of William Thrift, Academic & Politician

William Edward Thrift, Irish academic and politician who serves as the 37th Provost of Trinity College Dublin (TCD) and a Teachta Dála (TD) for the Dublin University constituency from 1921 to 1937, dies in Dublin, on April 23, 1942.

Thrift was born in Halifax, West Yorkshire, England, on February 28, 1870, one of at least two sons and two daughters of Henry George Thrift, civil servant, and Sarah Anne Thrift (née Smith). The family moves in his childhood to Dublin, where his father is an officer in the Inland Revenue.

He is educated at The High School, Dublin, and enters Trinity College Dublin in 1889 with a second sizarship in mathematics, and commences a highly distinguished university career, scoring firsts in several examinations and winning numerous prizes. Elected fellow in mathematics and experimental science, and in mental and moral philosophy in 1896, he becomes Erasmus Smith’s Professor of Natural and Experimental Philosophy at TCD from 1901 to 1929. He is awarded a Doctor of Science (DSc) in 1936. He is appointed Provost of Trinity College Dublin in 1937, serving until his death in 1942.

Thrift is also active in politics. He is elected to the House of Commons of Southern Ireland at the 1921 Irish elections, representing the Dublin University constituency. As an independent Unionist, he does not participate in the Second Dáil. He is re-elected for the same constituency at the 1922 Irish general election and becomes a member of the Third Dáil. He is re-elected at the next five general elections until 1937 when he retires from politics.

While rarely speaking on controversial issues, Thrift opposes the 1925 legislation banning divorce, which he describes as an infringement of individual and minority rights, and a betrayal of commitments made by Arthur Griffith during the Anglo-Irish Treaty debates. His capable service on various Dáil committees is recognised by his election as Leas-Ceann Comhairle (deputy speaker). A long-serving council member of the Royal Dublin Society (RDS) (1902–42), he is a commissioner of charitable donations and bequests, and financial adviser to the General Synod of the Church of Ireland. He sits on the governing boards of the Erasmus Smith schools and of the Incorporated Society for Promoting Protestant Schools in Ireland.

Thrift’s portrait is painted by Leo Whelan. He marries Etta Robinson, a daughter of C. H. Robinson, a medical doctor, and they have three sons and three daughters. He dies at the provost’s house, Trinity College Dublin, on April 23, 1942. He is buried at Mount Jerome Cemetery, Harold’s Cross, County Dublin.


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Birth of Rob Kearney, Former Rugby Union Player

Robert Kearney, former rugby union player, is born on a dairy farm on March 26, 1986, on the Cooley Peninsula in County Louth. He plays for 15 years for Leinster followed by a six-month stint in Australia, playing for Perth based side Western Force. He also plays over a decade for the Ireland national rugby union team with whom he earns 95 caps and goes on two British & Irish Lions tours in 2009 and 2013. As a youth he also plays rugby union for Clongowes Wood College and Gaelic football for Louth in the All-Ireland Minor Football Championship.

Kearney is the third of five children. He has an older brother, Richard, a younger brother Dave (who plays for Leinster) and a sister, Sara, the youngest of the five children. His elder brother Ross dies at the age of six following an accident in 1988. He is a seventh cousin of former U.S. President Joe Biden.

Like many of his peers, Kearney gets involved in athletics at an early age. The dominant sport in the area is Gaelic football. As a youth, he plays Gaelic for Naomh Muire, and in the Cooley Kickhams underage setup, before graduating to the Cooley senior football team at the age of 17 in 2004 and also Louth at minor level.

Kearney attends Clongowes Wood College in County Kildare for his secondary education. After his Leaving Certificate he moves to University College Dublin (UCD) on a sports scholarship, where he plays for the rugby team. He graduates in April 2010 with a Bachelor of Arts degree in economics. In 2005 he helps the U-20s team win the McCorry Cup, beating Dublin University Football Club (DUFC) in the final. In 2018, he is awarded the UCD Alumni Award in Sport.

Kearney plays for Leinster at both schoolboy and U-19 level before going on to represent them as a senior. He scores a hat-trick of tries on his debut for Leinster in a pre-season friendly win over Parma.

Kearney makes his Celtic League debut for Leinster in 2005 in a 22–20 defeat away to the Ospreys. He makes 32 appearances in the competition, scoring eight tries, with three penalties during a period in September 2006, when usual place kicker, Felipe Contepomi, is injured. He plays in his first Heineken Cup game in a 19–22 defeat against Bath at the Royal Dublin Society (RDS) on October 22, 2005. It is the first of ten appearances scoring ten tries in the process. He is part of Leinster’s Heineken Cup winning team in 2009 but misses the 2011 final due to injury. On May 21, 2012, the day after Leinster wins their second straight Heineken Cup, he is announced as the ERC Player of the Year for 2012. During the 2011–12 campaign he starts all nine European matches scoring six tries. He is crowned Leinster player of the year for the 2011–12 season. He confirms his departure from Leinster on September 24, 2020.

In late September 2020, it is confirmed that Kearney has signed a one-year contract with Australian side Western Force. He makes his Force debut in an 11–27 defeat to the Brumbies on February 19, 2021. He announces his retirement from rugby after one season with Western Force in Super Rugby AU and Super Rugby Trans-Tasman. Following his retirement, he returns to Louth GAA club Cooley Kickhams where he begins training in August 2021 for the first time since 2005.

Kearney represents Ireland at schoolboy and U-19 level, and tours with Ireland A in the 2006 Churchill Cup. He is first called into the Irish training squad for 2005’s autumn internationals but does not play. He is named in the Irish squad to the 2007 summer tour of Argentina and earns his first cap against Argentina on June 2, 2007, in a 16–0 defeat. During the 2008 Six Nations Championship he scores two tries, one against Scotland and one against England. He is a member of the victorious Ireland team that wins the 2009 Six Nations Championship, Triple Crown and Grand Slam. One of the most famous incidents in his career is a high tackle incident involving Italy‘s Andrea Masi in the first minute of a game. The incident is taken as an indication of the danger posed by Kearney in attack. He misses almost a year – from November 2010 until August 2011 – due to a knee injury that requires surgery.

In the 2011 Rugby World Cup, Kearney is selected but is injured for the first game against the United States. However, he plays in all the other matches which take Ireland through to the quarterfinals, in which they are knocked out by Wales, 22–10. He is selected in the Ireland squad for the 2012 Six Nations Championship and named in the starting team to play Wales in the opening match. He plays in all the other games, which see Ireland finish third in the table. He is also in the first Irish rugby team in 39 years to beat Australia on Australian soil, in the 2018 summer series. He is named in the Ireland squad for the 2019 Rugby World Cup in Japan, starting three of Ireland’s five matches and splitting time at fullback with Jordan Larmour.

Kearney is named in the British & Irish Lions squad for the 2009 tour to South Africa. He makes his Lions test debut as a substitute in the 26–21 first test defeat in Durban. Due to an injury to Lee Byrne, he is selected again for the second test in Pretoria. He scores the only try for the Lions in a 28–25 defeat. He then plays in the final test in Johannesburg which the Lions win 28–9. On April 30, 2013, he is named in his second British & Irish Lions squad.

Kearney marries Jess Redden in 2021, and their son is born in 2023.


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Birth of Lilian Davidson, Artist, Teacher & Writer

Lilian Davidson ARHA, Irish landscape and portrait artist, teacher and writer, is born on January 26, 1879, at Castle Terrace, Bray, County Wicklow.

Davidson is the sixth of ten children of clerk of petty session, Edward Ellice Davidson, and Lucy Rising Davidson (née Doe). Her mother dies in 1888, and it is presumed that she receives a private education but as the family are not affluent, the details are unclear. She goes on to attend the Dublin Metropolitan School of Art (DMSA) from 1895 to 1905. While at the DMSA, she wins prizes in 1895 and 1896 and is awarded a scholarship and free studentship at the Royal Dublin Society (RDS) in 1897, the same year her father dies. She completes her studies in 1905. In the early 1910s, she is living in Rathmines and spends some time in England and Wales.

Davidson is commissioned by Switzer’s department store on Grafton Street to draw costumes in 1899. In 1909, her painting After Rain is exhibited by the Dublin Sketching Club, with her continuing to show work there until 1920. She exhibits The Bonfire with the Water Colour Society of Ireland in 1912, becoming a committee member in 1934 and continuing to exhibit with them until 1954. In 1914, she is one of the artists included in a sale of paintings to aid Belgian refugees. She is first exhibited at the Royal Hibernian Academy (RHA) in 1914, with The Student. Her painting exhibited by the RHA in 1916, The Harbour, St. Ives, demonstrates an influence from Stanhope Forbes and the Newlyn School, with a bright palette and contrasting illumination, which become characteristic of her work. She illustrates C. H. Bretherton’s collection of humorous poems and recollections about London Zoo, A Zoovenir (1919).

Davidson holds a joint exhibition with Mainie Jellett in 1920, at Mill’s Hall, Merrion Row, Dublin. Jellett produces a pencil portrait of Davison (pictured above), which shows her in a straw hat she frequently wears. The RHA exhibits Davidson’s oil painting, The Flax Pullers, in 1921. This work shows an influence from Paul Henry and French Impressionism in her use of colour-blocking. In the early 1920s, she travels to Switzerland, Belgium, and France, producing works such as Fish Market, Bruges. She lives in Paris in the late 1920s, exhibiting at the Salon de la Societé Nationale in 1924 and 1930. She places a self-portrait in her depiction of a peasant gathering, The Country Races. Reproductions of her drawing of Leinster House and Christ Church Cathedral by Bulmer Hobson are included in A Book of Dublin (1929). Her landscape, Low Tide, Wicklow, which is exhibited at the RHA in 1934, and Boats at Wicklow, Dusk show her ability to depict reflections in water. She continues to paint scenes of rural life, including Cottages – Keel, Achill, which shows an influence from Jack Butler Yeats in her use of space and colour. The fact that her family is not wealthy likely influences her choice of poorer people as her subjects, depicting them in a sympathetic manner. Her work is part of the painting event in the art competitions at the 1928 Summer Olympics.

Davidson’s paintings are exhibited at the Contemporary Picture Galleries, Dublin in 1930, alongside Yeats, Evie Hone, and Harry Kernoff. She is a member of the Picture Hire Club, 24 Molesworth Street, Dublin from 1941 to 1942, and is a frequent contributor to the Munster Fine Arts Club. Her work is exhibited at the Salon des Beaux Arts, Paris, the Royal Academy of Arts, London, and in Amsterdam. A large number of her works from the 1930s show the Irish-speaking area of Galway, Claddagh, such as Night in Claddagh, exhibited with the RHA in 1933. Her Irish landscapes, such as Claddagh Cottages, are included in the Oireachtas Art Exhibitions from 1932 to 1946. From around 1934, she is a member of the Society of Dublin Painters, exhibiting with them from 1939 to 1954. She influences the Society’s move toward the avant-garde in the 1940s. She is elected associate to the RHA in 1940 and continues to exhibit there until her death. Her 1946 work, Gorta, shows influence from Zola, Rilke, Dostoyevsky and Picasso.

Davidson teaches drawing at her studio at 1 Earlsfort Terrace, Dublin. Her pupils include Bea Orpen, Anne Yeats, and Mo Irwin. She also is a teacher at a number of Dublin schools, such as Belgrave school, Rathmines, Wesley College, St. Stephen’s Green, and Castle Park School, Dalkey. She travels to Abbeyleix, County Laois, once a week to teach at Glenbawn boarding school.

As well as painting, Davidson writes a number of plays, short stories, and monologues under a pseudonym, “Ulick Burke.” In 1927, a collection of her poems and Donegal rhymes is published. In 1931, Hilton Edwards directs her stage play Bride, at the Gate Theatre. Her short story, Her Only Son, is published in The Bell under a pseudonym in 1942. In 1935, she is a founder-member of the Torch Theatre, Dublin. She designs scenery, and is the co-director with Hugh Hyland in 1936, under the stage name “Jennifer Maude.”

Davidson dies at her home at 4 Wilton Terrace, Dublin on March 29, 1954. She is buried in an unmarked grave in Mount Jerome Cemetery. The National Gallery of Ireland (NGI) holds her 1938 portrait of Yeats, as well as her crayon drawing of Sarah Purser. She is a regular attendee at Purser’s “Second Tuesdays” gatherings. The Abbey Theatre holds her portrait of Joseph Holloway. She bequeaths The Golden Shawl to the Hugh Lane Gallery, which is a large self-portrait. Two of her works are included in the NGI’s 1987 exhibition, Irish Women Artists from the Eighteenth Century to the Present Day.


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Birth of Richard Orpen, Architect, Painter & Illustrator

Richard Francis Caulfield Orpen, Irish architect, painter, illustrator and designer, is born on December 24, 1863.

Orpen is born to Anne (née Caulfield) and Arthur Herbert Orpen, a solicitor of Oriel, Blackrock, Dublin. His maternal grandfather is the Bishop of Nassau, Charles Caulfield. He is the eldest of four brothers and two sisters. His youngest brother is William, the painter. He attends St. Columba’s College in Whitechurch, Dublin, and graduates from Trinity College Dublin (TCD) with a BA in 1885. While attending St. Columba’s, he publishes an Irish comic alphabet for the present times in 1881, which is a mix of cartoons and verse mocking Charles Stewart Parnell and the home rule movement.

Orpen wants to pursue painting, but “for family reasons” he becomes an architect. He spends eleven years with Thomas Drew, initially as a pupil, and later as a managing assistant from 1885 to 1892. From around 1884, he attends the annual excursions of the English Architectural Association. Around 1890, he establishes his own architectural practice in Drew’s offices at 22 Clare Street, Dublin. In 1896, he moves his office to 7 Leinster Street. In 1888 he is elected as a member of the Royal Institute of the Architects of Ireland (RIAI), serving as a council member from 1902 to 1910, as honorary secretary from 1903 to 1905, and as president from 1914 to 1917. He designs the institute’s official seal in 1909. In 1904, the Irish Builder describes him as the “originator of the bungalow in Ireland.”

From 1888, Orpen exhibits with the Royal Hibernian Academy (RHA), with watercolours and architectural drawings. He continues to exhibit with them until 1936. He collaborates with Percy French on a number of projects, including illustrating Racquetry Rhymes (1888) and The First Lord Liftinant and Other Tales (1890). He provides cartoons for French’s periodical, The Jarvey. His architectural illustrations are included in H. Goldsmith Whitton’s Handbook of the Irish Parliament Houses… (1891). He is one of the original members of the Architectural Association of Ireland, serving as its first president in 1896, and as vice-president in 1910.

Orpen is appointed the architect to St. Columba’s from 1897 to 1938, following a fire at the college in 1896. He becomes a fellow of the college, and the sanatorium becomes known as the Orpen building. He is an active member of the Arts and Crafts Society of Ireland, serving as secretary in 1895, on the committee in 1904, and in 1917 sits on the organising committee for the fifth exhibition. In 1906, he is a founding member of the Arts Club. In 1906 he moves his architectural practice to 13 South Frederick Street, and moves into a house he designed, Coologe, Carrickmines, County Dublin.

At the 1907 Irish International Exhibition, Dublin, Orpen exhibits a number of chalk drawings. The same year he designs the cover of a satirical pamphlet, The Abbey row, not edited by W. B. Yeats, which mocks The Arrow and the riots at the first production of The Playboy of the Western World. He unveils a bust of Hugh Lane at the opening of the Municipal Gallery of Modern Art on Harcourt Street in 1908. He is appointed secretary to the municipal gallery committee by Lane. In 1910, he is appointed architect to Christ Church Cathedral, as well as architect to St. Canice’s Cathedral, Kilkenny, and St. Patrick’s Cathedral, Dublin. In 1911 he is elected an associate of the Royal Hibernian Academy, a full member in 1912, and was the academy’s secretary from 1925 to 1937.

From 1910 to 1914, Orpen is in an architectural partnership with Page Dickinson, with the two collaborating on plans for the new Dublin municipal gallery and conversion of the Turkish Baths, Lincoln Place. Lane rejects his and Dickinson’s gallery plans, leading to him refusing to work with Lane’s choice of architect, Sir Edwin Lutyens. In 1914, he is appointed a guardian of the National Gallery of Ireland, and lectures at the Dublin Metropolitan School of Art on architectural history in 1914 and 1915. He is involved in the design of a number of memorials including the setting for a bronze relief by Beatrice Campbell for the members of the Royal Irish Regiment killed in the Second Boer War and the war memorial at the Rathgar Methodist church. He serves as president of the arts and crafts section of the Royal Dublin Society (RDS). He is also a governor of the Royal National Hospital for Consumption for Ireland in Newcastle, County Wicklow.

Orpen marries Violet Caulfield in 1900. They are both descended from William Caulfeild, 1st Viscount Charlemont. He dies on March 27, 1938, at his home, Coologe, and is buried in Dean’s Grange Cemetery.

Orpen features as one of the many portraits in Seán Keating‘s Homage to Sir Hugh Lane. St. Columba’s College holds a portrait of Orpen by his brother, William, as well as a memorial stained-glass window to him by Catherine O’Brien.


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Death of Michele Esposito, Composer, Conductor & Pianist

Michele Esposito, Italian composer, conductor and pianist who spends most of his professional life in Dublin, dies on November 19, 1929.

Esposito is born at Castellammare di Stabia, near Naples, Italy, on September 29, 1855. In 1865, he wins a scholarship to the Naples Conservatory as a piano pupil of Beniamino Cesi, himself a favourite pupil of Sigismond Thalberg, and studies composition there for eight years under Paolo Serrao, teacher of Francesco Cilea and others. He is a near-contemporary of Giuseppe Martucci, and a few years the senior of Alessandro Longo, both taught by these teachers. In 1878, he goes to Paris for several years where he establishes a growing reputation.

In 1879, Esposito marries Natalia Klebnikoff, the only daughter of Pierre Klebnikoff, professor of chemistry and physics at Saint Petersburg University. They have four children, including the noted scholar, Mario Esposito.

On December 24, 1881, Esposito is visited by an old friend, Caracciolo, who is principal professor of singing at the Royal Irish Academy of Music (RIAM) in Dublin. Upon his recommendation, Esposito is offered the position of chief pianoforte professor of piano at the RIAM at Easter 1882.

Esposito remains in Dublin for more than forty years, devoting himself to the encouragement of classical music in Dublin. He inaugurates the Royal Dublin Society (RDS) chamber music recitals, with great success, and gives piano recitals for the Society every year. He establishes the Dublin Orchestral Society in 1898 and is its conductor until its disbandment in 1914. He is also the conductor of the Sunday Orchestral Concerts until they are discontinued in 1914. He conducts concerts of the London Symphony Orchestra at Woodbrook in 1913 and 1914, and also performs his piano concerto with them under the baton of Hamilton Harty. Together with Sir Stanley Cochrane, he founds the music publishing company C. E. Edition.

Esposito receives awards from the Feis Ceoil for his cantata Deirdre, his Irish Symphony and his String Quartet in D major. His Cello Sonata wins a prize from the London Incorporated Society of Musicians in 1899. His Violin Sonata in E minor gains a prize offered by La Société Nouvelle, Paris, in 1907, and his String Quartet in C minor wins another offered by the Accademia Filarmonica di Bologna.

In 1923, King Victor Emmanuel III awards Esposito the Order of the Crown of Italy, with the title “Commendatore,” to mark his contribution to Irish music.

Esposito retires in 1928 and returns to Italy after failing to revive the Dublin Orchestral Society the previous year. He dies on November 19, 1929, in Florence. He is buried at the Cimitero di Trespiano where his gravestone is inscribed with three bars of music by “H. H.” Of his four children, Vera Esposito is involved in Irish theatre, and Mario Esposito becomes a scholar of Latin learning in medieval Ireland.


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Birth of George Francis Mitchell, Historian, Archaeologist & Educator

George Francis (Frank) Mitchell, FRS, HonFRSE, MRIA, environmental historian, archaeologist, geologist, and educator, is born on October 15, 1912, in Dublin.

Mitchell is the younger son of David William Mitchell, owner of a Dublin ironmongery and furniture business, and Francis Elizabeth Mitchell (née Kirby). His elder brother David becomes president of the Royal College of Physicians of Ireland (RCPI) and his sister Lillias is a noted weaver and teacher. He is educated at The High School, Dublin, and Trinity College Dublin (TCD), where he is a scholar in 1933 and receives a gold medal the following year. In 1934 he is appointed assistant to the professor of geology at TCD, and later is lecturer in geology (1940), reader in Irish archaeology (1959) and professor of Quaternary studies – a personal chair (1965). He is an efficient administrator and serves TCD successively as registrar, senior lecturer, and tutor, and after retirement is briefly a pro-chancellor of the university.

Mitchell’s major research focuses on the evolution of Ireland during the last two million years, particularly during the Quaternary since the retreat of the glacial ice over Ireland, and the effect man has had on this landscape. His interest in Quaternary studies begins in 1934, when he is appointed by the Royal Irish Academy (RIA) as an assistant to the Danish botanist and Quaternary geologist Knud Jessen, who uses the distribution of ancient pollen grains to reconstruct vegetational history. From 1940 he publishes a series of papers on topics such as the distribution of Irish giant deer and reindeer remains in Ireland, lacustrine deposits in County Meath, interglacial deposits in southeast Ireland, the palynology of Irish raised bogs, cave deposits, fossil pingos in County Wexford, bog flows, and the deposits of the older Pleistocene period in Ireland. His major study in this field is the documentation (1965) of the vegetational history of Littleton bog, County Tipperary, which has given its name to the present interglacial – the Littletonian warm stage.

Mitchell does not confine his studies to Ireland but also carries out work in Glasgow, Cornwall, and the Isle of Man. In 1957, he helps organise the British Association for the Advancement of Science meeting in Dublin and is later chairman of the Geological Society of London sub-commission on British and Irish Quaternary stratigraphy, which produces a comprehensive report in 1973. He is a frequent broadcaster on radio and a prolific author of academic papers, and in later life writes several acclaimed books, including The Irish Landscape (1976), which goes through two further editions as Reading the Irish Landscape (1986, 1997), and a volume of semi-autobiography, The Way That I Followed (1990).

Although the recipient of many honours, Mitchell is modest about his achievements. He is a member of the Royal Irish Academy (RIA) (1939), its president (1976–79), and Cunningham medalist (1989); president of the Dublin Naturalists’ Field Club (1945–46); Fellow of Trinity College Dublin (1945); president of the Royal Society of Antiquaries of Ireland (RSAI) (1957–60); president of the Royal Zoological Society of Ireland (RZSI) (1958–61); president of the International Union for Quaternary Research (1969–73); Fellow of the Royal Society (FRS) (1973); founder member and later president (1991–93) of An Taisce; Boyle medalist of the Royal Dublin Society (RDS) (1978); pro-chancellor of Dublin University (1985–87); personal chair in Quaternary studies, Trinity College Dublin (TCD) (1965–79); honorary member, Royal Hibernian Academy (RHA) (1981); honorary life member, Royal Dublin Society (RDS) (1981); honorary member, The Prehistoric Society (1983); honorary member, Quaternary Research Association (1983); honorary member, International Association for Quaternary Research (1985); and honorary fellow, Royal Society of Edinburgh (1984). He receives honorary degrees from Queen’s University Belfast (QUB) (D.Sc., 1976), the National University of Ireland (NUI) (D.Sc., 1977), and Uppsala University (fil.D., 1977).

Mitchell dies on November 25, 1997, in Townley Hall, County Louth.

In 1940, Mitchell marries Lucy Margaret (‘Pic’) (1911–87), daughter of E. J. Gwynn, provost of TCD. They have two daughters. For many years they live at Townley Hall, near Drogheda, County Louth, which had been TCD’s agricultural facility. A 1985 portrait by David Hone is displayed at Trinity College Dublin.

(From: “Mitchell, George Francis (‘Frank’)” by Patrick N. Wyse Jackson, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Death of Physicist George Johnstone Stoney

George Johnstone Stoney FRS, Irish physicist, dies on July 5, 1911, at Notting Hill, London, England. 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 born on February 15, 1826, at Oakley Park, near Birr, County Offaly, in the Irish Midlands, 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’s scientific work is carried out in his spare time. A heliostat he designed is in the Science Museum Group collection. He is elected a Fellow of the Royal Society in June 1861.

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 charge e, which can serve as a unit of charge, and that combined with other known universal constants, namely the speed of light c and the Newtonian constant of gravitation G, 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 Stoney OBE 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 on July 5, 1911. His cremated ashes are buried in St. Nahi’s Church, Dundrum, Dublin.

Stoney receives an honorary Doctor of Science (D.Sc.) from the University of Dublin in June 1902. Also in 1902, he is elected as a member to the American Philosophical Society. The street that he lived on in Dundrum is later renamed Stoney Road in his memory.

Craters on Mars and the Moon are named in his honour.


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Death of Sir Thomas Farrell, Irish Sculptor

Sir Thomas Farrell, Irish sculptor, dies at his home, Redesdale House, Stillorgan, County Dublin, on July 2, 1900.

Farrell is born in 1827 in Mecklenburgh Street (later called Railway Street) in Summerhill, Dublin, one of six sons of Terence Farrell, sculptor, and Maria Farrell (née Ruxton). He trains as a sculptor in his father’s workshops. In 1842 he enters the modelling school of the Royal Dublin Society, where he is awarded the prize for “Original design in clay” the following year. He is awarded premiums by the Royal Irish Art Union in 1844 and 1846. As a student he becomes acquainted with the neoclassical sculpture of John Flaxman and John Hogan. His first commission is a monument to Archbishop Daniel Murray in St. Mary’s Pro-Cathedral in Dublin.

One of the first works that make Farrell prominent is the bas-relief representing the last charge at Waterloo, designed for the Wellington Monument in the Phoenix Park. His work is accepted after public competition. Another of his early works is his memorial to Captain John McNeil Boyd in St. Patrick’s Cathedral, Dublin. He enters the competition for the monument to Daniel O’Connell in 1864, but the commission is awarded to John Henry Foley.

His statue of William Smith O’Brien, the Young Ireland leader, formerly at the head of D’Olier Street, is now in O’Connell Street, as is another statue by him, that of Sir John Gray, the surgeon and politician who is instrumental in giving Dublin its water supply.

Throughout his career, Farrell remains actively involved in the Royal Hibernian Academy (RHA). He is elected directly as a full member in 1860 rather than undergoing an initial phase of associate membership. He exhibits almost annually with the academy until his death. He holds a number of posts, including professor of sculpture and treasurer, before being elected president in 1893, being the first sculptor to be so honoured. His achievements are recognised with a knighthood in May 1894.

Farrell dies at his residence, Redesdale House, in Stillorgan, County Dublin, on July 2, 1900. He is a shy, retiring man, and his death is not announced to the public for three days, in keeping with his wishes to avoid any sort of elaborate display on his behalf. Intensely private, he never marries and lives a life immersed in his work. Contemporary accounts describe him as constantly dissatisfied with his work despite consistent public approval for it.