A two-page feature on Birr and its new telescope (s) was featured in the Illustrated London News of 9 September 1843. It was the first such international treatment for Birr and was combined with valuable illustrations of the town. It was also the first treatment by a national or international publisher promoting ‘Offaly Tourism’. It was the third earl of Rosse who organised the publicity for Birr and was now on the UK stage himself with his presidency of the British Association for the Advancement of Science.
The window on Birr would be the first of many arising from the completion of the larger telescope in 1845. Birr town was the principal settlement in Offaly since the 1650s and was the premier shopping town, as is clear from the Pigot directory of 1824. Cooke would go on to write of the town’s significant history in his 1826 book – a first in the midlands and just six years after Hardiman’s Galway. What is interesting about the article of 1843 was the active role given to Mary Rosse in her work in the demesne and the town of Birr.
‘Catherine Maria Bury and the design of Charleville Castle’ is the title of an online lecture via Zoom provided by Offaly History for Mondy 20 September at 7. 30 p.m. Our speaker is Dr Judith Hill. She has kindly provided this note for Offalyhistoryblog readers on her forthcoming lecture.
When I started researching my PhD on Gothic revival architecture in Ireland after the Union I had no idea that Charleville Castle, one of the first and most impressive of the castles of this period, owed its inspiration to a woman. I wanted to compare the castles at Birr and Charleville, and was very much aware that their (male) owners had voted on different sides for the Union and that they came from different political traditions. Would this play any part in the designs for the castles that they built, or in the case of Sir Laurence Parsons, remodelled in the very first years of the nineteenth century?
Women at that time played no direct role in politics. They are also relatively (though not entirely) invisible in the historical record. It is only when you can look at family papers that you might find some evidence of what a woman might have done. Catherine Maria Bury’s letters have survived; some of these were published in 1937. They tell us about Catherine (later Lady Charleville) as a person, her friends, her interest in literature. They are tell us that she was close Charles William Bury, and that when he (for it was he) went to see how the building of the castle was progressing he would send detailed descriptions to her. Although he does not ask her directly for her advice, it is clear that when they were together they discussed the project.
The Homan Potterton sale on 7 September 2021 at Adam’s, Dublin features three painters with Offaly connections. But first a word about Potterton. After secondary education at Kilkenny College and Mountjoy School he began studying to be a solicitor, but (great for him ) he switched to art history at Trinity with the formidable Anne Crookshank. He was the youngest director of the National Gallery of Ireland ever appointed (1979) but stayed for only eight years. He retired in 1988 out of frustration with the bureaucracy, the bullying Charlie Haughey, and his being unable to secure much needed funds for the gallery. That was back in the difficult 1980s. Had Potterton remained he would have been able to oversee the wonderful gallery there is today. All the great institutions saw money flow in from the 1990s with the support of EC funds and the lift in the economy from 1993. While he took over the editorship of the Irish Arts Review in the 1990s (then an exciting annual event) he later moved to France and we heard no more of him save for several family histories, a memoir and a novel.
Over the years, Tullamore has been known as ’Towllaghmore’,‘Tullaghmore’ or ‘Tullymore’ -all anglicizations of ‘Tulach Mhór’ and most likely deriving from the high land to the south of the river. By the middle of the 19th c. the name of the now extensive town had morphed into ‘Tullamoore’- reflecting the influence of the Moore and later the Bury families and their ownership of all the lands around.
As urban developers, these skilled entrepreneurs with cultural pretensions reached their highest point during the overlordship between 1785 and 1835 of Charles William Bury, the first Earl of Charleville. Whether motivated by commercial considerations, a desire for social prestige and the admiration of his peers or by pure aesthetic sensibility, the development of Tullamore as promoted by Charles William, resulted in a coherent urban form which survived without much amendment into the middle of the 20th c., largely still exists today and will influence any future reconfiguration of the town centre.
When renowned Offaly archaeologist Caimin O’Brien, cited Sir Edmund Spenser’s inclusion of a verse on Croghan Hill in his most famous poem, The Faerie Queene, in Stories from a Sacred Landscape: from Croghan Hill to Clonmacnoise; the curiosity bells began to ring. This was an amazing revelation and posed questions as to how Spenser was familiar with Croghan Hill and its religious history? Had he visited the area? When did he visit? What were the circumstances pertaining to his visit? And latterly, the question arose as to whether it was possible that this visit influenced him in some distinctive way? And furthermore, whether that influence was positive or negative?
When the well-known musical historian Terry Moylan drew my attention to the Offaly poet John de Jean Frazer, I was forced to confess I had never heard of him, much to my shame. I made enquiries about him and surprisingly few had knowledge of him. Shannonbridge native, James Killeen, currently resident in Illinois, was able to tell me that Master John Lane, who taught in Shannonbridge National School, was aware of him and mentioned him. He always referred to him as Frazer, finding the de Jean a bit much. James also told that Francis Reddy, the son of Michael Reddy M.P. used to enthuse about the Nationalistic poetry of Frazer.
The object of this Blog is to rescue from the mists of time the name and career of this significant Birr poet. Writing in the first half of the 19th century John de Jean Frazer, has left a considerable body of work. His work is hard to source outside the major libraries and college archives.
This is a shame, as his poetry has not been published in a sole collection for a long time. It would be wonderful if this Blog were to give an impetus to someone to undertake such a project, as I feel his writings should be more readily available.
The questions I shall try to answer are, who was he, where did he hail from, what are his most notable works, what were his politics, his religion and his family details.
He is said to have been born and reared in Parsonstown, now Birr, King`s County, however like a lot of things about him there is a degree of uncertainty. On the 100th anniversary of his passing in 1952 The Westmeath Independent did a piece where it said tradition claimed he was from Moystown, near Clonony Castle. There is also a suggesting that he may have been from near Ferbane, guess his poem `Brosna`s Bank` lend a bit of credit to all these claims.
There is some conjecture as to the exact year he was born. We know his date of death was 23rd March 1852, at which time he is recorded as being 48 years old, suggesting he was born in 1804. The current Birr Tourism Brochure gives his year of birth as 1804. However ` A Compendium of Irish Biography 1878` by Alfred Webb gives his date of birth as 1809. Webb also gives his year of death as 1849 which we know is incorrect, so it seems Webb may have needed a better editor. I am inclined to accept the 1804 figure, especially as I discovered his wife was born in 1800.
He is believed to come from a Presbyterian family, but unfortunately records of Presbyterian births/baptisms for Birr only commence in 1854. His family were said to be from Huguenot stock. I have been unable to unearth details of his parents.
For many the habit of reading started with the local library and has never left us. Recollections of the several libraries we have had in Tullamore remind us that so far as reading and comfort goes we have never had it so good. This is the time to recall the first public library in Tullamore started in May 1921, just 100 years ago. For that we have to thank an unsung hero E. J. Delahunty, a native of Clonmel, who was in charge of technical education in the county from 1904 to 1930 and died in 1931. He organized the first ‘students’ union’ in Tullamore and a superb lecture series on the great issues of the day in the 1916–21 period, and with mostly well-known speakers with a national reputation. The Midland Tribune gave the opening of the library an editorial and regretted that the lecture series had to be abandoned that year. Delahunty was shrewd and had the Tribune editor, Seamus Pike, on side. Another unsung hero of the revolutionary decade was Revd John Humphreys, a Tullamore-based Presbyterian minister, and great advocate for technical education. These are three people who need to be included in the Offaly Dictionary of Biography.
I started collecting bottles a little over a year ago, interested in their origins and local history. I’ve picked a small collection of the type of breweriana bottles that were used in the day to day lives of the people of Tullamore and surrounding towns in the late 19th and early 20th century. I’ve provided a brief description of the types of bottles I’ve mentioned. Most of the dates provided are approximate and offered with the best knowledge I have at this moment. As I get more accurate information, the dates will be reviewed. I started off with some basic background information on bottles.
Carbonised mineral bottle It is widely known amongst bottle collectors that Joseph Priestly discovered how to make carbonised mineral water in 1772. It was prepared by dissolving carbon dioxide in water. By 1860, it had become easier to manufacture and was being flavoured with fruit syrups, lemons and limes. It was retailed by grocers, wine and spirit merchants, as well as chemists. At first the new drink was stored in earthenware bottles, but the gas escaped through the skin and so the drink became flat. Manufacturers switched to glass bottles. However, corks were still used to seal the carbonised mineral water drinks, and if they were allowed to dry out, they tended to loosen which allowed the gas to escape. If the bottles were stored on their side, this was less likely to happen.
Now that we are all locked down in our various counties I miss my occasional trips to Offaly to visit old friends. I keep an eye on local news on line and love the Tullamore Tribune and the Offaly Express. I was dismayed the other day to see a report on the Express that Offaly ranked lowest in Ireland on a Liveability Index! What in the name of Heaven is a Liveability Index!! I decided to look into it all a little further. Seemingly a father and son (with obviously too much time on their hands!) decided to rate every county in Ireland on four (4!!) parameters. One criterion was natural amenity which they assessed by developing ‘a unique method of ranking the natural amenity of a particular area using the percentage of each area covered by water and mountains and attributed as urban’ (Leinster Express 16 Jan 2021 Lynda Kiernan). Having spent so many happy years in Offaly I would certainly disagree with the findings and would challenge that duo to explain them fully! The very fact that Offaly is not covered with water and mountain makes it one of the most attractive counties in Ireland. Offaly’s unique landscape is one of peace and tranquility. The wide open stretches of bog covered with the most wonderful heathers and gorse throughout the year make it a joy to behold in any season. A mid 19th century saying that when gorse is out of bloom, kissing is out of season is certainly true of midland scenery!
The architect and town planner Frank Gibney (1905-1978) is today recognised as one of the most talented, influential and prolific housing designers of mid-20th c. Ireland.
Responsible for almost six thousand local authority dwellings in every part of the country, his deep concern for human scale and for good living standards delivered homes of a quality which have stood the test of time, while today many of their contemporaries have been altered or demolished.
Principal amongst his many achievements are the six Midland bog villages built in the 1950s for Bord na Mona workers, which were inspired by the aspirations of Patrick Pearse and Eamon de Valera for national self-sufficiency and which have been described by the Yale University Press/Royal Irish Academy volume on Irish architecture as ‘models for rural living’. These beautiful urban set pieces are cherished by their proud present day inhabitants and beg the question as to why contemporary housing policies have not emulated their success.
Gibney’s numerous and extraordinarily ambitious town planning schemes founded on Garden City and Beaux Arts principles, were less successful, being proposed at a time of cultural conservatism and financial stringency. His passion for plans based on aesthetic principles which would preserve the best of towns while creating new and beautiful public areas found little local response. Nonetheless, he was engaged by many Irish towns and cities including Waterford and Drogheda to chart their future and elements of his proposals are still capable of fulfilment today.