Drew’s parents are the Rev. Thomas Drew and Isabella (née Dalton) Drew. She is the third of the couple’s eight daughters and four sons, although most of her siblings die young. She spends her childhood in Belfast, where her father is the rector of Christ Church in Durham Street from 1833 to 1859. In 1866, she moves to 60 Upper Sackville Street, Dublin, to live with her brother, the architect Thomas Drew.
From here she appears to begin her journalist career, writing articles for the Irish Builder, going on to eventually become its assistant editor. She goes on to write for Belfast’s News Letter, and following advice from its proprietor James Alexander Henderson, she moves to London in 1871 becoming the paper’s London correspondent. She writes two columns, Metropolitan gossip and Ladies’ letter, which are among some of the earliest regular columns written specifically for women, providing society news for her readers in Belfast. Articles by her also appear in The Literary World, The British Architect and London Society.
Drew is one of the founding members of the Ladies’ Press Association, and campaigns for greater rights for women journalists. She becomes a prominent figure in the Institute of Journalists, representing the Institute at several international congresses. She is serving as the vice-president of the Institute at the time of her death. She also works on its Orphan Fund for many years, an initiative she originally suggests in 1891.
In 1894, Drew is one of the signatories of the Frances Power Cobbe memorial campaigning for greater recognition and rights for women journalists, alongside Millicent Fawcett and Jessie Boucherett. She writes a number of novels, including Harry Chalgraves’s Legacy (1876) and The Lutanistes of St. Jacobi’s (1881). In March 1885, she gives a lecture titled Dress, Economic and Technical at the Loan Exhibition of Women’s Industries in Bristol, which later appears as a pamphlet.
Drew dies at her home in Holland Street, Kensington, on August 26, 1910, and is buried at the Royal Borough of Kensington and Chelsea Cemetery, Hanwell. Lady Drew, her sister-in-law, erects a Celtic cross memorial there in her honour. She bequeaths a jewel-studded gold bracelet to the Institute of Journalists, which had been presented to her by the Institute to mark her retirement in 1908. It is worn by women presidents or the wives of male presidents, and is known as the “Drew Bracelet.”
Drew is born on September 18, 1838, in Victoria Place, Belfast, into the large family of Rev. Thomas Drew, son of a Limerick grocer, and Isabella Drew (née Dalton). He is one of four sons and eight daughters of the couple, although most of the children die young. His sister, Catherine Drew, is a prominent Londonjournalist and an early champion of women’s rights.
Drew is educated in Belfast and in 1854 articled to the Antrimcounty surveyor and architect Sir Charles Lanyon, before moving to work in Dublin in 1862, where he becomes principal assistant to William George Murray. In 1865, he becomes the diocesan architect of the united dioceses of Down, Connor and Dromore. From this point forward, church architecture is his principal activity. He is consulting architect for both St. Patrick’s Cathedral and Christ Church Cathedral in Dublin.
Drew marries Adelaide Anne, sister of William George Murray, in 1871.
Among other projects, Drew is responsible for the design of the Ulster Bank on Dame Street, Rathmines Town Hall and the Graduates’ Building at Trinity College Dublin (TCD). He takes an interest in historic buildings and is the first to draw serious attention to the architectural and historic importance of the St. Audoen’s Church, Dublin’s oldest parish church, in 1866. He produces detailed plans of the church for which he wins the Fitzgerald medal from the Royal Institute of the Architects of Ireland (RIAI), carries out excavations and draws up a paper on the church and its history.
From 1885 to 1892, Richard Orpen works with Drew as a managing assistant. Drew’s most significant work in Belfast is St. Anne’s Cathedral, completed in 1899.
From 1879 onward Drew lives in Gortnadrew, one half of a pair of semi-detached houses of his own design, on Alma Road in Monkstown, County Dublin. For many years he serves as a commissioner of the local township of Blackrock, Dublin. He dies on March 13, 1910, a month after an unsuccessful operation for appendicitis. He is buried in Dean’s Grange Cemetery in the suburban area of Deansgrange in Dún Laoghaire–Rathdown, County Dublin.
Drew is commemorated in a memorial brass in Christ Church Cathedral, Dublin. His wife survives him by three years and in her will bequeaths back to the RIAI the loving cup presented to her husband in commemoration of his knighthood, and to the Belfast Municipal Museum and Art Gallery (Ulster Museum since 1962) an 1852 portrait of his father Thomas. A portrait of Drew by Walter Osborne is held in the National Gallery of Ireland (NGI) in Dublin.
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.
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 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.
Drew is the son of the Rev. Thomas Drew, son of a Limerick grocer, and Isabella Drew (née Dalton), daughter of a Dublin attorney. He is one of four sons and eight daughters of the couple, although most of the children die young. His sister, Catherine Drew, is a prominent Londonjournalist and an early champion of women’s rights.
Drew is trained under Sir Charles Lanyon before moving to work in Dublin, where he becomes principal assistant to William George Murray. In 1865, he becomes the diocesan architect of the united dioceses of Down, Connor and Dromore, and from that point forward Church architecture is his principal activity. He is consulting architect for both St. Patrick’s Cathedral and Christ Church Cathedral in Dublin.
Drew marries Adelaide Anne, sister of William George Murray, in 1871.
From 1885 to 1892, Richard Orpen works with Drew as a managing assistant. Drew’s most significant work in Belfast is St. Anne’s Cathedral, completed in 1899.
Funded by public subscription, the arch is designed by John Howard Pentland and built by Henry Laverty and Sons. Thomas Drew consults on the design and construction.
The proportions of the structure are said to be modelled on the Arch of Titus in Rome. It is approximately 8.5 m (28 ft.) wide and 10 m (33 ft.) high. The internal dimensions of the arch are 5.6 m high and approximately 3.7 m wide (18 by 12 ft.). The main structure of the arch is granite, with the inscriptions carried out in limestone and a bronze adornment on the front of the arch.
The arch is commissioned to commemorate the four battalions (two regular and two militia) of the Royal Dublin Fusiliers that served in the Second Boer War. The names of 222 dead are inscribed on the underside of the arch.
The construction of the arch coincides with a time of political and social change in Ireland, and the colonial and imperial background to the dedication are anathema to a burgeoning nationalist movement – who label the structure “Traitor’s Gate.” Though damaged in a crossfire between the Irish Citizen Army and British forces during the 1916 Easter Rising, the arch remains “one of the few colonialist monuments in Dublin not blown up” in Ireland’s post-independence history.
Engraved on the western face of the monument is the Latin text, Fortissimis suis militibus hoc monumentum Eblana dedicavit MCMVII, “To its strongest soldiers, Dublin dedicates this monument, 1907.” (Eblana is a name that appears on Ptolemy‘s 2nd century AD map of Ireland, traditionally taken as a Latin name for Dublin, although it more likely refers to a site further north, around Loughshinny.) Six battlefields are inscribed on the arch:
seamus dubhghaill 