Griffith purchases and drains the bogland at Pollagh, part of the Bog of Allen. A peat fueled power station is built which drives an excavator and excess peat is taken via the Grand Canal for sale in Dublin. The site is sold to the Turf Development Board in 1936 who use it as a basis for all of their later peat fueled power stations. The area is now a nature reserve.
Griffith receives a knighthood in 1911 and becomes vice-president of the Royal Dublin Society in 1922. He serves as Honorary Professor of Harbour Engineering at Trinity College, his alma mater, and receives an honorary M.A.I. degree from the University of Dublin in 1914. From 1922 he is an elected member of the Seanad Éireann, the Irish Free State senate, until its abolition in 1936. In the 1930s he and Sarah Purser endow the Purser Griffith Travelling Scholarship and the Purser Griffith Prize to the two best performing students in European Art History at University College Dublin.
Griffith dies at Rathmines Castle in Dublin on October 21, 1938.
Sheppard is based in Dublin for almost all of his life, having traveled widely across Europe. His wife Rosie dies in 1931, with whom he has several children. They live at Howth and 30 Pembroke Road in central Dublin.
From 1902 to 1937 Sheppard teaches sculpture at the Dublin Metropolitan School of Art. His annual stipend is £250 but for this he only has to lecture three mornings a week, allowing him plenty of time for work on commissioned projects. One of his most famous students is the sculptor, Kathleen Cox.
The Dying Cuchulain is considered Sheppard’s masterpiece and an important work of Irish art. It is a bronze figure of the mythological warrior-hero Cuchulain, who continued to fight against his enemies while gravely wounded and tied to a tree. It is created in 1911 and later chosen by Éamon de Valera in 1935 as the national memorial to the 1916 Easter Rising. It can still be viewed today in the General Post Office (GPO), O’Connell Street, Dublin.
Sheppard is generally critical of the low standards of sculpture in Ireland: “For the last sixty years or so thousands of figures and groups have been executed in Dublin for ecclesiastical purposes, and, with one or two exceptions … was not up to a reasonable standard. The making of a work of art hardly entered into it at all. The sculptor, well trained and properly encouraged, should collaborate with the architect.”
Sheppard is in the minority of Irish Protestants who support independence, starting with support for the Irish Parliamentary Party in the 1880s, when he is an art student.
In 1890–1910 Sheppard is a part of the Celtic Revival movement, and, from his works such as Inis Fáil, is admired by his student William Pearse. Through him he meets his brother Patrick Pearse who later helps launch the Easter Rising in 1916. While most of the Revival’s artists are writers, playwrights and poets, Sheppard can claim to be the main sculptor working on themes similar to theirs.
After the Irish War of Independence (1919–21) Sheppard says, “They thought me too old to fight but I have tried to help in other ways. My politics are simple. I have always thought that this country should be a free country.” His opinions are not overly dogmatic, considering his work on the war memorials in 1920.
In the mid-1920s the first series of Irish Free State coinage is planned and is finally launched in 1928. Sheppard is one of the designers short-listed but his designs are not accepted.
After his retirement in 1937 from the National College of Art, the now renamed Dublin Metropolitan School of Art, he is appointed in 1938 by the Minister for Education to the College’s standing committee. He is also made a judge in the Royal Dublin Society art competition in 1939 and 1940.
Sir Maziere Brady, 1st Baronet, PC (Ire), Irish judge, notable for his exceptionally long, though not particularly distinguished tenure as Lord Chancellor of Ireland, is born on July 20, 1796.
The Bradys are an old and distinguished Munster family who are particularly associated with the town of Bandon, County Cork. Probably the most celebrated of his ancestors is the poet and psalmist Nicholas Brady (1659–1726), who collaborated with Nahum Tate, the Poet Laureate, on New Version of the Psalms of David.
Other notable forebears include Hugh Brady, the first ProtestantBishop of Meath (d. 1584), his father-in-law Robert Weston who, like Maziere serves as Lord Chancellor of Ireland, and the judge and author Luke Gernon (d. 1672), who is now best remembered for his work A Discourse of Ireland (1620), which gives a detailed and (from the English colonial point of view) not unsympathetic picture of the state of Ireland in 1620.
In politics Brady is a Liberal and supports Catholic emancipation. He sits on a commission of inquiry into Irish municipal corporations in 1833. He is appointed Solicitor-General for Ireland in 1837 and Attorney-General for Ireland the following year. In 1840 he is appointed Lord Chief Baron of the Irish Exchequer. In 1846 he is appointed Lord Chancellor of Ireland and serves in that office, with short intervals, for the next 20 years. He retires in 1866 and is made a baronet, of Hazelbrook in the County of Dublin, in 1869. His appointment ends the practice which grew after the Acts of Union 1800 of appointing only English lawyers as Lord Chancellor of Ireland. He sits on the Government Commission on Trinity College Dublin in 1851 and is nominated as Vice-Chancellor of Queen’s University Belfast in 1850. All through his life he shows a keen interest in education.
According to Elrington Ball, Brady’s Lord Chancellorship is notable for its length but for nothing else. Ball calls him “a good Chief Baron spoiled to make a bad Chancellor.” By general agreement he had been an excellent Chief Baron of the Exchequer, having a reputation for being fair-minded, courteous and approachable, but in Ball’s view the more onerous (and partly political) office of Lord Chancellor is beyond his capacity. Unlike some judges whose training had been in the common law, he never quite masters the separate code of equity. Delaney takes a somewhat more favourable view of Brady as Lord Chancellor, arguing that while his judgements do not show any great depth of learning they do show an ability to identify the central issue of any case and to apply the correct legal principle to it.
An anonymous pamphlet from 1850, which is highly critical of the Irish judiciary in general, describes Brady as being unable to keep order in his Court, and easily intimidated by counsel, especially by that formidable trio of future judges, Jonathan Christian, Francis Alexander FitzGerald, and Abraham Brewster. The author paints an unflattering picture of Brady as sitting “baffled and bewildered” in a Court where he is “a judge but not an authority.” On the other hand, Jonathan Christian, who had often clashed with Brady in Court, later praises him as “no ordinary man” despite his shortcomings as a judge. He describes him as “independent-minded, patriotic, natural and unaffected.”
Brady is a founder member of the Stephen’s Green Club and a member of the Royal Dublin Society and the Royal Irish Academy. In addition to the arts, he shows a keen interest in science, especially after his retirement. Like most judges of the time, he has both a town house in central Dublin and a place some distance from the city centre. His country house is Hazelbrook, Terenure, Dublin. He changes his town house several times, settling finally in Pembroke Street.
Brady marries firstly Elizabeth Anne Buchanan, daughter of Bever Buchanan, apothecary of Dublin, and his wife Eleanor Hodgson, in 1823 and they have five children. Elizabeth dies in 1858. In 1860, Brady marries Mary Hatchell, daughter of John Hatchell, Attorney-General for Ireland and Elizabeth Waddy, who survives him. He dies at his house in Pembroke Street on April 13, 1871. He is buried in Mount Jerome Cemetery.
Salkeld works in tempera and oil, as well as etching and wood engraving. In 1921 he travels to Germany to study under Ewald Dulberg at the Kassell Kunstschule. He attends the Union of Progressive International Artists in Düsseldorf in May 1922, and is exhibited at the Internationale Kunstausstellung. Upon his return to Dublin in 1924, he holds his first solo exhibition in the Society of Dublin Painters gallery. He becomes a member of the Dublin Painters in 1927. With Francis Stuart, he co-edits the first two issues of To-morrow in 1924. His studio is in a converted labourer’s cottage at Glencree, County Wicklow. He also exhibits with the New Irish Salon and the Radical Painters’ Group.
Salkeld wins the 1926 Royal Dublin Society‘s Taylor scholarship, and has his first exhibited work with the Royal Hibernian Academy (RHA) in 1929. He lives in Berlin for a year in 1932. He exhibits in Daniel Egan’s Gallery in Dublin in 1935. He has a wide circle of literary friends, including Samuel Beckett and Flann O’Brien. In O’Brien’s At Swim-Two-Birds, the character of Michael Byrne is designed for Salkeld, reflecting his debilitating alcoholism. He also teaches at the Dublin Metropolitan School of Art, teaching artists such as Reginald Gray.
From 1937 to 1946 Salkeld runs a private press called Gayfield Press. This is co-founded with his mother, and operates from a garden shed at their home, 43 Morehampton Road. The press is a small Adana wooden hand press. He illustrates her 1938 The Engine Left Running, as well as Ewart Milne‘s Forty North Fifty West (1938) and Liam O’Flaherty‘s Red Barbara and Other Stories (1928). In 1951, he loans the press to Liam and Josephine Miller to found the Dolmen Press.
Salkeld’s most famous public work is his 1942 three-part mural in Davy Byrne’s pub. He is a co-founder of the Irish National Ballet School in the 1940s in his capacity as a pianist. In 1946 he is appointed an associate member of the RHA. In 1953 his play Berlin Dusk is staged at 37 Theatre Club, Dublin. During the 1950s he is a broadcaster with Radio Éireann as well as a director of cultural events for An Tóstal. He dies on May 11, 1969 in St. Laurence’s Hospital, Dublin.
Yeats spends her first three years between Ballylee, County Galway, and Oxford before her family moves to 82 Merrion Square, Dublin in 1922. She is very sick as a child and spends three years in two different hospitals, St. Margaret’s Hall, 50 Mespil Road, and Nightingale Hall, Morehampton Road, Dublin. She then goes to the Pension Henriette, a boarding school in Villars-sur-Bex, Switzerland from 1928–30. In 1923 her Aunt Elizabeth “Lolly” gives her brush drawing lessons which aid her in winning first prize in the Royal Dublin Society (RDS) National Art competition for children under eight years old in 1925 and 1926.
Yeats trains in the Royal Hibernian Academy school from 1933 to 1936 and works as a stage designer with the Abbey Theatre in Dublin. In 1936, at the age of 16, she is hired by the Abbey Theatre as assistant to Tanya Moiseiwitsch. She studies for four months at the School of Theatrical Design in Paris with Paul Colin in 1937. At 18, she begins her costume career on sets with Ria Mooney‘s company. At the Abbey, she designs the sets and costumes for revivals of W.B. Yeats’ plays The Resurrection and On Baile’s Strand (1938).
In 1938 Yeats designs the first production of W.B. Yeats’ play Purgatory. The designs for Purgatory are her most successful achievement. Purgatory is the last play that W.B Yeats sees on stage, and when it is performed it is a full house. When working on Purgatory, Hugh Hunt wants to have a moon on the back cloth of the production, but she refuses. “If she does not win, she is going to say that she doesn’t wish to have her name on the programme as a designer of the setting.” This could be the main reason why her name is not on many productions that she worked on. She also designs the first play of her uncle Jack Yeats to receive professional production, Harlequin’s Positions.
In 1939 Yeats is promoted to head of design at the Abbey until her departure in May 1941. In 1939 it is commented that her designs are “getting arty” and not in keeping with style of the Abbey. One of her last designs is her father’s last play, The Death of Cuchulain, for the Lyric Theatre on the Abbey stage in 1949. She designs and stage-manages for the Peacock Theatre, the Cork Opera House, the Olympia Theatre, the Gaiety Theatre, the Lyric Theatre, the Abbey Theatre and the Players Theatre.
Among the work Yeats is credited with in the Abbey Theatre, she also works on five productions in the Peacock Theatre with the Theatre Company: Alarm Among the Clerks (1937), The Phoenix (1937), Harlequin’s Positions (1939), The Wild Cat (1940), and Cavaliero (The Life of a Hawk) (1948).
Yeats chooses to move towards painting full-time beginning a brief study at the Dublin Metropolitan School of Art in 1941. She experiments with watercolour and wax. She has a touching naive expressionist style and is interested in representing domestic humanity. She designs many of the covers for the books of Irish language publisher Sáirséal agus Dill over a twenty-year period from 1958. She does illustrations for books by Denis Devlin, Thomas Kinsella and Louis MacNeice, and works with many young designers, such as Louis le Brocquy.
Yeats dies at the age of 82 on July 4, 2001, and is buried in Shanganagh Cemetery, south Dublin.
The Royal Hibernian Academy holds a retrospective of her work in 1995, as does the National Gallery of Ireland in 2002. She donates her collection of Jack B. Yeats’ sketch books to the National Gallery of Ireland, leading to the creation of the Yeats Museum within the Gallery. Her brother, Michael, in turn, donates her sketchbooks to the Museum.
(Pictured: “Coole Park,” oil on board by Anne Butler Yeats, Duke Street Gallery, Dublin)
The Sweepstake is generally referred to as the Irish Sweepstake or Irish Sweepstakes, frequently abbreviated to Irish Sweep or Irish Sweeps. The Public Charitable Hospitals (Temporary Provisions) Act, 1930 is the act that establishes the lottery. This act expires in 1934, in accordance with its terms, and the Public Hospitals Acts are the legislative basis for the scheme thereafter. The main organisers are Richard Duggan, Captain Spencer Freeman and Joseph McGrath. Duggan is a well known Dublinbookmaker who has organised a number of sweepstakes in the decade prior to setting up the Hospitals’ Sweepstake. Captain Freeman is a Welsh-born engineer and former captain in the British Army. After the Constitution of Ireland is enacted in 1937, the name Irish Hospitals’ Sweepstake is adopted.
The sweepstake is established because there is a need for investment in hospitals and medical services and the public finances are unable to meet this expense at the time. As the people of Ireland are unable to raise sufficient funds, because of the low population, a significant amount of the funds are raised in the United Kingdom and United States, often among the emigrant Irish. Potentially winning tickets are drawn from rotating drums, usually by nurses in uniform. Each such ticket is assigned to a horse expected to run in one of several horse races, including the Cambridgeshire Handicap, Epsom Derby and the Grand National. Tickets that draw the favourite horses thus stand a higher likelihood of winning and a series of winning horses have to be chosen on the accumulator system, allowing for enormous prizes.
The original sweepstake draws are held at the Mansion House, Dublin on May 19, 1939 under the supervision of the Chief Commissioner of Police, and are moved to a more permanent fixture at the Royal Dublin Society (RDS) in Ballsbridge later in 1940.
The Adelaide Hospital in Dublin is the only hospital at the time to not accept money from the Hospitals Trust, as the governors disapprove of sweepstakes.
From the 1960s onwards, revenues decline. The offices are moved to Lotamore House in County Cork. Although giving the appearance of a public charitable lottery, with nurses featured prominently in the advertising and drawings, the Sweepstake is in fact a private for-profit lottery company, and the owners are paid substantial dividends from the profits. Fortune magazine describes it as “a private company run for profit and its handful of stockholders have used their earnings from the sweepstakes to build a group of industrial enterprises that loom quite large in the modest Irish economy. Waterford Glassworks, Irish Glass Bottle Company and many other new Irish companies are financed by money from this enterprise and up to 5,000 people are given jobs.” At the time of his death in 1966, Joe McGrath has interests in the racing industry, and holds the Renault dealership for Ireland in addition to large financial and property assets. He is notorious throughout Ireland for his ruthless business attitude and his actions during the Irish Civil War.
In 1986, the Irish government creates a new public lottery, the National Lottery, and the company fails to secure the new contract to manage it. The final sweepstake is held in January 1986 and the company is unsuccessful for a licence bid for the National Lottery, which is won by An Post later that year. The company goes into voluntary liquidation in March 1987. The majority of workers do not have a pension scheme but the sweepstake has fed many families during lean times and is regarded as a safe job. The Public Hospitals (Amendment) Act, 1990 is enacted for the orderly winding up of the scheme, which has by then almost £500,000 in unclaimed prizes and accrued interest.
A collection of advertising material relating to the Irish Hospitals’ Sweepstakes is among the Special Collections of National Irish Visual Arts Library.
Griffith purchases and drains the bogland at Pollagh, part of the Bog of Allen. A peat fueled power station is built which drives an excavator, with excess peat being taken by the Grand Canal for sale in Dublin. The site is sold to the Turf Development Board in 1936 who uses it as a basis for all of their later peat fueled power stations. The area is now a nature reserve.
Griffith receives a knighthood in 1911 and becomes vice-president of the Royal Dublin Society in 1922. He serves as Honorary Professor of Harbour Engineering in Trinity College, his alma mater, and receives an honorary M.A.I. degree from the University of Dublin in 1914. From 1922 he is an elected member of the Seanad Éireann, the Irish senate, until its abolition in 1936. In the 1930s he and his niece, Sarah Purser, endow the Purser Griffith Travelling Scholarship and the Purser Griffith Prize to the two best performing students in European Art History at University College Dublin.
Griffith dies at Rathmines Castle in Dublin on October 21, 1938, having rightly earned the epithet ‘Grand Old Man of Irish engineering.’ A portrait in oils by his niece Sarah Purser, RHA, hangs in the Museum Building in Trinity College Dublin.
William Parsons, 3rd Earl of Rosse, Anglo-Irishastronomer, naturalist, and engineer, is born in York, England on June 17, 1800. He is President of the Royal Society (UK), the most important association of naturalists in the world in the nineteenth century. He builds several giant telescopes. His 72-inch telescope, built in 1845 and colloquially known as the “Leviathan of Parsonstown,” is the world’s largest telescope, in terms of aperture size, until the early 20th century. From April 1807 until February 1841, he is styled as Baron Oxmantown.
Parsons marries Mary Field, daughter of John Wilmer Field, on April 14, 1836. They have thirteen children, of which four sons survive to adulthood: Lawrence, 4th Earl of Rosse, Rev. Randal Parsons, the Hon. Richard Clere Parsons, and the Hon. Sir Charles Algernon Parsons.
During the 1840s, Parsons has the Leviathan of Parsonstown built, a 72-inch telescope at Birr Castle, Parsonstown, County Offaly. He has to invent many of the techniques he uses for constructing the Leviathan, both because its size is without precedent and because earlier telescope builders had guarded their secrets or had not published their methods. Details of the metal, casting, grinding and polishing of the 3-ton ‘speculum’ are presented in 1844 at the Belfast Natural History Society. His telescope is considered a marvelous technical and architectural achievement, and images of it are circulated widely within the British commonwealth. Building of the Leviathan begins in 1842, and it is first used in 1845, with regular use waiting another two years due to the Great Famine. Using this telescope, he sees and catalogues a large number of nebulae, including a number that would later be recognised as galaxies.
Parsons performs astronomical studies and discovers the spiral nature of some nebulas, today known to be spiral galaxies. His telescope Leviathan is the first to reveal the spiral structure of M51, a galaxy nicknamed later as the “Whirlpool Galaxy,” and his drawings of it closely resemble modern photographs.
Parsons’s son publishes his father’s findings, including the discovery of 226 New General Catalogue of Nebulae and Clusters of Stars (NGC) objects in the publication Observations of Nebulae and Clusters of Stars Made With the Six-foot and Three-foot Reflectors at Birr Castle From the Year 1848 up to the Year 1878, Scientific Transactions of the Royal Dublin Society Vol. II, 1878.
Sheppard is born to Simpson Sheppard, a sculptor, and Ellen White, of Ormond Quay, Dublin.
Sheppard is based in Dublin for almost all of his life, having travelled widely across Europe. He and his wife Rosie have several children. They live at Howth and 30 Pembroke Road in central Dublin. She dies in 1931.
From 1902 to 1937 Sheppard teaches sculpture at the Dublin Metropolitan School of Art, which is renamed the National College of Art in 1936. His annual stipend is £250 but for this he only has to lecture on three mornings per week, allowing him plenty of time for work on commissioned projects. One of his most famous students is the sculptor Kathleen Cox.
Sheppard is generally critical of the low standards of sculpture in Ireland, saying, “For the last sixty years or so thousands of figures and groups have been executed in Dublin for ecclesiastical purposes, and, with one or two exceptions…was not up to a reasonable standard. The making of a work of art hardly entered into it at all. The sculptor, well trained and properly encouraged, should collaborate with the architect.”
In 1890–1910 Sheppard is a part of the Celtic Revival movement, and, from his works such as Inis Fáil, is admired by his student William Pearse. Through him he meets his brother, Patrick Pearse, who later helps launch the Easter Rising in 1916. While most of the Revival’s artists are writers, playwrights and poets, Sheppard can claim to be the main sculptor working on themes similar to theirs.
Sheppard is in the minority of Irish Protestants who support independence, starting with support for the Irish Parliamentary Party in the 1880s, when he is an art student. After the Irish War of Independence (1919–21) he says, “They thought me too old to fight but I have tried to help in other ways. My politics are simple. I have always thought that this country should be a free country.” His opinions are not overly dogmatic, considering his work on the war memorials in 1920.
In the mid-1920s the first series of Irish Free State coinage is planned and is finally launched in 1928. Sheppard is one of the designers short-listed but his designs are not accepted.
Sheppard dies in Dublin on September 14, 1941.
(Pictured: “The Dying Cúchulainn,” sculpture by Oliver Sheppard, now at the General Post Office (GPO) in Dublin)
At age four, Banim’s parents send him to a local school where he learns the basics of reading and grammar. At age five, he is sent to the English Academy at Kilkenny where his older brother Michael (1796–1874) is a student. After five years at the English Academy, he is sent to a seminary run by a Reverent Magrath, considered to be the finest Roman Catholic school in Ireland. After a year at the seminary, he transfers to another academy run by a teacher named Terence Doyle. Throughout his school years, he reads avidly and writes his own stories and poems. When he is ten, he visits the poet Thomas Moore, bringing along some of his own poetry in manuscript. Moore encourages him to continue writing and gives him a season ticket to his private theatre in Kilkenny.
At the age of 13, Banim enters Kilkenny College and devotes himself specially to drawing and miniature painting. He pursues his artistic education for two years in the schools of the Royal Dublin Society, and afterwards teaches drawing in Kilkenny, where he falls in love with one of his pupils, a 17-year-old girl named Anne. His affection is returned, but her parents disapprove of their relationship and send her out of town. Anne dies two months later of tuberculosis. Her death makes a deep impression on him and his health suffers severely and permanently.
In 1820 Banim goes to Dublin and settles finally to the work of literature. He publishes a poem, The Celt’s Paradise, and his play Damon and Pythias is performed at Covent Garden in 1821. During a short visit to Kilkenny he marries, and in 1822, in conjunction with Michael, plans a series of tales illustrative of Irish life, which should be for Ireland what the Waverley Novels are for Scotland. The influence of his model is distinctly traceable in his writings.
Banim then sets out for London, and supports himself by writing for magazines and for the stage. A volume of miscellaneous essays is published anonymously in 1824, called Revelations of the Dead Alive. The first series of Tales of the O’Hara Family appears in April 1825, which achieves immediate and decided success. One of the most powerful of them, Crohoore of the Bill Hook, is by Michael Banim.
In 1826, a second series is published, containing the Irish novel, The Nowlans. Banim’s health has given way, and the next effort of the “O’Hara family” is almost entirely the production of his brother Michael. The Croppy, a Tale of 1798 (1828), a novel of the Irish Rebellion of 1798, is hardly equal to the earlier tales, though it contains some wonderfully vigorous passages.
The Mayor of Windgap, and The Ghost Hunter (both by Michael Banim), The Denounced (1830) and The Smuggler (1831) follow in quick succession, and are received with considerable favour. Most of these deal with the darker and more painful phases of life, but the feeling shown in his last, Father Connell, is brighter and tenderer. Banim, meanwhile, suffers from illness and consequent poverty. In 1829, he goes to France, and while he is abroad a movement to relieve his wants is set on foot by the English press, headed by John Sterling in The Times. A sufficient sum is obtained to remove him from any danger of actual want.
Banim returns to Ireland in 1835, taking up residence in Dublin. On meeting him again in August, Michael Banim finds his brother’s condition to be that of a complete invalid. He is often in pain and has to use opiates to sleep, but during the short intervals between the attacks of his illness, he is able to enjoy conversation and the company of his brother and friends. In September he returns to Kilkenny and is received with an address from the citizens of Kilkenny showing their appreciation of him, and a subscription from them of £85. After a short stay in his childhood home, he settles in Windgap Cottage, then a short distance from Kilkenny. He passes the remainder of his life there, dying on August 13, 1842.
Michael Banim acquires a considerable fortune which he loses in 1840 through the bankruptcy of a firm with which he had business relations. After this disaster he writes Father Connell (1842), Clough Fionn (1852), and The Town of the Cascades (1862). He dies at Booterstown.
“The true place of the Banims in literature is to be estimated from the merits of the O’Hara Tales; their later works, though of considerable ability, are sometimes prolix and are marked by too evident an imitation of the Waverley Novels. The Tales, however, are masterpieces of faithful delineation. The strong passions, the lights and shadows of Irish peasant character, have rarely been so ably and truly depicted. The incidents are striking, sometimes even horrible, and the authors have been accused of straining after melodramatic effect. The lighter, more joyous side of Irish character, which appears so strongly in Samuel Lover, receives little attention from the Banims.”
seamus dubhghaill 