--- Page 1 ---
SIR JOHN LAVERY'S FUNERAL
CAPTAIN S. BRENNAN (right), who represented the Premier, Mr. de Valera, at Sir John Lavery's funeral, arriving at the cemetery with the Rev. Father Senan, O.M. Cap.
MOURNERS at the funeral of Sir John Lavery, R.A., at Mount Jerome Cemetery yesterday.
FUNERALS
SIR JOHN LAVERY
The remains of Sir John Lavery were interviewed yesterday in Mount Jerome Cemetery, Dublin. They had been removed from Rossenarra House, Kilkenny, and brought by train to Kingsbridge, whence the funeral took place to the cemetery.
When the coffin had been placed in the vault the final prayers were said by the Mort Rev. Dr. Fogarty, Bishop of Killaloe.
The chief mourners were—Mrs. J. McEnery (step-daughter), Mr. J. McEnery (son-in-law); Mrs. K. Clenaghan (Belfast), Miss Patricia Clenaghan; Messrs. Edward and Scams Clenaghan (relatives); and Miss Fitzgerald (secretary to the late Sir John).
In deference to the wishes of the family, the funeral was private, but among the sympathisers and friends were the Rev. J. Leonard, C.M., All Hallows; Captain Sean Brennan, representing An Taoiseach; Mr. W. T. Cograve, T.D.; Mr. Justice O'Byrne, Mr. Dermod O'Brien, President of the Royal Hibernian Academy; Mr. Leo Whelan, R.H.A. Mr. James Sleator, R.H.A.; the Rev. Fr. Senan, O.F.M. Cap.; the Rev. Fr. Frederick, C.P.; the Rev. Fr. Coleman, C.P.; the Rev. Fr. Edmund, C.P., Mount Argus; the Rev. P. Cahill, C.C., Ennis; Senator D. Fitzgerald, Alderman A. Byrne, T.D.; Alderman P. S. Doyle, T.D.; Mr. A. Byrne, Jun., T.D.; Mr. Joseph Brennan, Chairman, Currency Commission; Mr. Ernest C. Hayes, Mr. Donal O'Cahill, Colonel C. F. Russell, Mr. T. F. Bacon, Mr. J. P. O'Reilly, Dr. J. Boyd Barrett, Captain H. St. George Harpor, P. Beeves Smyth, and John P. Kelly, Curator, Municipal Gallery of Art.

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Issued standing on a high eminence with all Erinn in my sight, and from every point of it were issuing bright flames that joined above and filled the atmosphere.
I looked again and behold fires were still burning on mountains and hills but the sight was poor compared to the former wide brilliance.
The third time I cast my eyes abroad nothing brighter than the waning flames of torches and candles met my saze. This was sad enough but when I looked again the land was covered with ashes save where a solicary torches burned in caverns and shadows of rocks.
I shut my eyes and wept comforted on again them to
Few
In the
but was
opening
Eriu
banba
Inis-Fáil.
Ire
Inis-Fáil
Foðla
Scota
lerne
hibernia
moira
juverna
OR an on te
do rinne - i
Art ó Mórnacáin,
1922
See a steady bright flame blazing in the north and which spread scattering itself from its focus till the whole island was once more brilliantly lighted up.
the
vision
of
brigad

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COMMITTEE CACHIN CONCAIŞE UM SARM-OIDEACAR
(CITY OF CORK VOCATIONAL EDUCATION COMMITTEE)
DAITÍ Ó DÁLAIŞ,
Priom-Oirigeac gnóta,
DAVID DALY, B.E.
CHIEF EXECUTIVE OFFICER
TELEPHONE NO. 807
OIRIG AN PRIOM-OIRIGIŞ,
SPÁIRO SEARMAN CHÁROPRO,
CONCAIŞ.
....20Ad...tá de...Meitean,.....19,39.....
OFFICE OF CHIEF EXECUTIVE OFFICER.
SHARMAN CRAWFORD STREET,
CORK.
Dear Rev. Father,
I have to inform you that my Committee has unanimously granted you permission to reproduce in the Capuchin Annual for 1940, the pictures as set out in your letter to the Principal of the School of Art, Mr. McCann.
Yours faithfully,
Chief Executive Officer.
Rev. Father Senan,
Post Office Box, 105,
DUBLIN.

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DÁRDAS ÁTÁ CLIAT
CORPORATION OF DUBLIN
Dánlann Freacnairceac asur teac
Fean-reoo na catrac
MUNICIPAL GALLERY OF MODERN ART AND CIVIC MUSEUM.
CEAPNÓS PARNELL
PARNELL SQUARE
Daile Átá Cliat, ..... 2nd.November 193 5.
DUBLIN.
Dear Father Senan,
With reference to your letter of 16th.Ult.
I beg to confirm notification verbally conveyed to Mrs.Geoghegan, 2 Essex Quay, that the desired permission had been accorded to reproduce in your 1936 issue of "The Capuchin Annual" the four pictures by Sir John Lavery R.A.:-
(1) The Blessing of the Colours(2) Archbishop Mannix(3) Michael Collins-"Love of Ireland" &(4) The Court of Criminal Appeal.
subject to the usual regulations-copy of which you received.
As mentioned to Mrs.Geoghegan, the copyright of numbers 2 and 3 are held by Messrs.Grove & Son, 73 Earl's Court Road, London W.8, and Geo.Pulman & Sons, 24 Thayer Street, London W.1., respectively. I gave these particulars to her, so that permission might be obtained from the firms concerned, before proceeding with the work.
Yours faithfully,
Rev.Father Senan, O.M.Cap.
The Father Matthew Record Office.
P.O.Box 105.
DUBLIN.

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We hope that you
will have the thorough
success you already
earn.
40, ELGIN ROAD,
DUBLIN.
29th November
Glob
My Dear Father Serena,
The proof is quite
correct. It is a kind action
to hature the slides so quickly -
I was urgent, as the call
for James Barry is lively,
and "This is the time, these be
the days" to avoid of any sutturing
for our neglected greatness.
I am glad that you are
making use of the Irish-
American journals.
We - the whole family -
send our best wishes and
regards to you and of course
to Father Gerald. Yours sincerely,
G. M. Martin Flambett
You flatter me terribly - while my
age is my greatest recompellments

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PROPOSED ASSOCIATION OF PATRONS OF
THE CAPUCHIN ANNUAL
“THE CAPUCHIN ANNUAL is more than a national magazine: it is a national movement.” This is a sentence from a joint-letter received from a number of enthusiastic supporters of the Annual. In the letter, which is too long to publish here, a proposal is put forward to found an association of Patrons of the Capuchin Annual. The Annual, the letter points out, is, since its first issue in December, 1929, recognised throughout the world as the most representative of Irish publications. Its literary and artistic contributors include many of the most distinguished living Irish writers, painters, photographers, et al., and, in addition, the editor has consistently endeavoured to encourage young writers and artists. In short, with its associated periodicals, the monthly Father Mathew Record (founded 1908) and the quarterly Bonaventura (founded 1937, suspended temporarily owing to the war) the Annual may be said to provide a complete and worthy survey of everything worth while in the life of resurgent Ireland.
We may add that it is the ambition of the editors of Capuchin Periodicals to establish a centre of national cultural activities, with the Annual as its nucleus. Already the bases have been laid down in a representative collection of original paintings and drawings of national interest by modern Irish artists, including, notably, works by Jack B. Yeats, R.H.A., Somhairle MacCann, A.R.C.A., Patrick Tuohy, R.H.A., Walter Osborne, R.H.A., Nathaniel Hone, R.H.A., William J. Leech, R.H.A., Seán Keating, R.H.A., Richard J. King, Seán O'Sullivan, R.H.A., Frank McKelvey, R.H.A., Maurice McGonigal, R.H.A., J. Humbert Craig, R.H.A., and William Conor, A.R.H.A. These works are on exhibition at the head offices of Capuchin Periodicals, 2, Capel Street, Dublin, and may be viewed any day between 3 and 5 p.m. (Saturdays, Sundays and Holydays excepted). As time goes on it is hoped to expand this collection so as to make it as nationally comprehensive as possible.
At the same time we cherish the hope of establishing a studio for the actual production of works of art, and more particularly works of ecclesiastical art, and thus help to establish and maintain such a standard of artistic values as would be conducive not only to elevation of taste but to the spirit of religion itself. If such a studio could be set up, adequate training in stained glass, painting, wood-carving, etc., would be provided for gifted children of less well-to-do parents.
To return to The Capuchin Annual itself: it may be pointed out that before the war it already had a
circulation of well over twenty thousand (20,000) copies and that it is as popular amongst the Irish of the United States, Canada, Australia, New Zealand and South Africa as it is with the people at home in Ireland, and amongst the Irish of Great Britain and the Continent.
It may be well to mention here that, apart from the employment given to printers, blockmakers, paper manufacturers, and others concerned in the production and distribution of Capuchin Periodicals, the editorial offices maintain a permanent staff of twenty-five. (A feature of the establishment is a non-contributory pensions scheme which is an attempt to implement suggestions contained in the social encyclicals of Pope Pius XI.)
It has been decided, therefore, on the suggestion of the letter referred to, and in order to maintain and expand the activities associated with the Annual, to appeal to Irishmen and Irishwomen everywhere to come together in an association to be known as THE PATRONS OF THE CAPUCHIN ANNUAL. Subscribers of £25 and upwards would be recognised as Foundation-Life Members. The ordinary fee for Life Membership would be £10 and the Annual Membership fee would be £1. Members of the Association will, without further commitment, have their names included in the lists of subscribers to Capuchin Periodicals.
We believe ourselves that the Capuchin Annual is doing pioneer work which is of real religious and cultural value to Ireland and we confidently appeal to our subscribers (and their friends who read the Annual) to join the Association of Patrons. A first list of Members, Life Members and Foundation Members will be published in next year's issue.
2 Capel Street, Dublin.
March, 1942.
FATHER SENAN, O.F.M.CAP.
FATHER GERALD, O.F.M.CAP.

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THE CHRISTIAN MEANING OF CHRISTMAS IS ILLUSTRATED BY THESE CHRISTMAS CARDS
A campaign for Christian Christmas cards has been a yearly feature of C.A.G.O. (Catholic Action Girls' Organisation). This year, although Christmas cards will be fewer, C.A.G.O. has kept up its good work.
Miss Carmy Greville, Secretary, writes:
"We all know that a true and lasting peace is only possible if a truly Christian spirit is brought back into every sphere of life. Unhappily, so many seem to forget this, and even our greatest of Christian feasts is little by little losing every aspect of Christianity. Everything which could remind people of the Christian meaning of Christmas is fast being done away with.
"To take only one example, Christmas cards, which should remind us that Christmas is the birthday of Our Saviour, are more and more becoming the 'plum pudding' variety, and many, even among Catholics, send these cards. They do it without thought, no doubt, or perhaps because they cannot find suitable Christian ones.
"Our Youth Movement is once again launching a campaign for a truly Christian Christmas."
C.A.G.O.'s cards (one is illustrated on this page) are obtainable (complete set, 1s. 6d.) from their headquarters. The other cards reproduced here are the work of Edward R. Westbrook.
Nativity (Edward Westbrook)
Our Lady of the Blackout
(C.A.G.O.)

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TWELVE IRISH ARTISTS
is the name of a publication in portfolio form containing twelve full-colour reproductions of paintings personally selected by each artist as the picture by which he or she would like to be represented. An informative introduction has been written by Thomas Bodkin, D.Litt., Professor of Fine Arts and Director of the Barber Institute in the University of Birmingham.
The portfolio measures 15\frac{3}{4} in. by 11\frac{1}{2} in. and, apart from the introduction by Professor Bodkin, it contains twelve separate and complete units, each comprising a folded paper mount (the full size of the portfolio) on which is tipped the picture, faced with a synopsis of the artist's life and work. There is also an edition available bound in book form.
In the making of the portfolio materials of excellent quality have been used throughout. It is simple, artistic and dignified. There has been nothing wasted on elaborations of any sort; but on the reproduction of the pictures themselves expense has not been spared. They are very fine, and each has been approved by the artist before being passed for printing. The printing and binding has been entrusted to the Sign of the Three Candles, Dublin.
The price, which is exceptionally low, has been based on the publishers' complete confidence of a large demand for this much-needed publication, which will rank with the best of similar work from other countries.
An edition of the portfolio is available with reading matter in Irish. It is printed in the newly-designed Column Cille Gaelic type.
A photograph of each artist, together with the title of the picture chosen, appears overfold.
Portfolios are One Guinea each. Bound books, 4s. extra.
An order form is attached. Immediate application is advised.
J. HUMBERT CRAIG, R.H.A.
COMING FROM MASS
(from the Municipal Gallery, Cork)
GRACE HENRY
THE TOP OF THE HILL
(from the Limerick Municipal Gallery)
SEÁN KEATING, R.H.A.
Leat-cule (Half Flood)
CHARLES LAMB, R.H.A.
HEARING THE NEWS
(by the courtesy of Mr. Jack Toobey)
FRANK McKELVEY, R.H.A.
ON THE LAGAN
(by courtesy of Mr. Alton S. Welpley)
SEÁN O'SULLIVAN, R.H.A.
WILLIAM BUTLER YEATS
(by the courtesy of the Trustees of the 'Thomas Haverty Bequest' and the Directors of the Abbey Theatre)
WILLIAM CONOR, R.O.I., A.R.H.A.
THE LOW-BACKED CAR
PAUL HENRY, R.H.A.
OLD PEOPLE WATCHING A DANCE
HARRY KERNOFF, R.H.A.
NAYLOR'S COVE, BRAY
MAURICE MACGONIGAL, R.H.A.
Coir na Fairpge (By the Sea)
(by the courtesy of Mrs. James Ryan)
DERMOD O'BRIEN, P.R.H.A.
SCUFFLING THE MANGOLDS
LEO WHELAN, R.H.A.
A KERRY COBBLER
(by the courtesy of Senator Joseph Brennan)
All the photographs shown here are by Chancellor of Dublin, to whom the publishers are indebted

--- Page 9 ---
A beautiful statue was erected in front of the Junior House on May 1st, 1922; and in the afternoon of that day it was formally unveiled and blessed by His A Statue to the Virgin Mary Grace the Archbishop of Dublin. The Staff of the College and some visitors, clerical and lay, assisted at the simple ceremony; and the President made a few preliminary remarks as follows:—
"MY LORD ARCHBISHOP AND GENTLEMEN,—I do not think it is necessary for me to explain the purpose of our meeting here this afternoon, namely, the unveiling, by His Grace the Archbishop of Dublin, of a statue in honour of the Virgin Mary and her Divine Infant. But I should like to point out what gives a special interest and even distinction to our little ceremony. This statue is Irish in a unique manner. The giver, the sculptor, the material, the form, and the beauty are all Irish. The giver, John D'Arcy, was a simple Irish workman, who served this College faithfully for fifty years. Much of his savings he left to the College, and in particular a generous sum for the erection of this statue, in memory of Monsignor Sylvester Barry and of the venerable Dr. Fortune. The sculptor is Mr. Albert Power, an artist held in high esteem here in Dublin. The material is Irish marble, brought from Durrow, in Queen's County, a place historically associated with Irish art and Irish sanctity. Of the beauty of the statue, I should prefer to allow others more capable to speak; but this I may say of its form. It seemed to Mr. Power that as the women of Ireland, our mothers and sisters, have always loved and initiated Mary, it was appropriate to represent her as a daughter of Erin, clad in the mantle of our country and bending over her Child with Ireland's maternal affection.
Unveiling of Statue by The Most Rev. Dr. Byrne,
Archbishop of Dublin.
Inset on right, The Sculptor, ALBERT POWER.

--- Page 10 ---
COMBRIDGE LIMITED
Booksellers · Stationers · Tine Art Dealers
IS & 20 · GRAFTON STREET
IA DUKE STREET
DUBLIN
TELEPHONE:
DUBLIN · 43880
TELEGRAMS:
COMBRIDGE · DUBLIN
13. 10. 42.
Father Senan O.F.M.
Church St.,
Dear Father Senan,
Mr. Henry has replied to our inquiry with reference to the painting of "The Dance" and told us that he will accept 40 guineas for it.
We trust you will be interested and we shall be glad to know how you feel about it.
Yours faithfully
Fowars
COMBRIDGE & CO. LTD.

--- Page 11 ---
The Honour of your Company is requested at an
EXHIBITION OF SOME OF
MR. PAUL HENRY'S
RECENT PAINTINGS
AT
COMBRIDGE'S GALLERY
20 Grafton Street
Opening - - Monday, 16th November

--- Page 12 ---
CATALOGUE
OF
PICTURES
BY
MAURICE MacGONIGAL, R.H.A.
IN
MILLS' HALL,
8 Merrion Row,
DUBLIN,
November 26th to December 9th, 1942.
CATALOGUE
NO.
TITLE
GUINEAS
1
Farm at the Sea
... 12
2
September Morning
... 11
3
Yawls and Slipway
... 12
4
Harvest, Clogher
... 15
5
Harbour and Sea
... 15
6
Clogherhead
... 12
7
Sunshine, Clogher
... 12
8
Connemara Village
... 15
9
The Village of Clogher
... 15
10
Ropes and Boats
... 12
11
Sheep on the Mullagh
... 12
12
Portmarnock Sketch
... 12
13
Connemara Landscape
... 15
14
Sheep and the Mountains of Cooley
... 12
15
Seascape
... 12
16
The Inner Harbour, Port Oriel
(Lent by Desmond Egan, Esq.)
... —
17
Rainstorm
... 15
18
Green Sea
... 15
19
Sunset, Port Oriel
... 15
20
Clogher, from the Mullagh
(Lent by Senator Joseph Brennan)
... —
21
The Blue Sea
... 12
22
South Strand, Clogher
... 12
23
Wheatfields
... 12
24
Mending Nets
... 12
25
The "Santa Maria"
(Lent by Rev. Father Michael Clarke)
... —
NO.
TITLE
GUINEAS
26
A Calm Day
(Lent by Rev. Father Michael Clarke)
... —
27
The "Little Flower"
... —
28
The Pier, Evening
... 12
29
The Cooley Mountains
... 12
30
Landscape, Clogherhead
... 12
31
Golden Pier
... 15
32
Little Fields, Connemara
... 15
33
Silver Sea
... 12
34
Farm on the Hill
... 12
35
Landscape in Connemara
... 12
36
Punchestown
... 9
37
Balscadden Bay
... 9
38
Nightfall, Connemara
... 9
39
The Sea
... 35
40
Farmstead, Rush, Co. Dublin
... 9
41
Yellow Daisies
... 30
42
Sketch for Crucifixion
... —
43
Mother and Child
... 200
44
Mid-day, Port Oriel
... 35
45
Western Harbour
... 75
46
The Harbour, Port Oriel
... 40
47
Fishing Boats, Clogherhead
... 25
48
Costelloe River, Connemara
... 10
49
Low Tide
... 15
50
Landscape at Inverin
... 12

--- Page 13 ---
EXHIBITION
OF
PAINTINGS
BY
Frank McKelvey, R.H.A.
at
The Victor Waddington Galleries,
28 South Anne Street, Dublin.
24th October to 3rd November 1939.
No.
£ s. d.
1.
Landscape Co. Down.
...
...
14
0
0
2.
Sunday morning, Co. Donegal.
...
...
14
0
0
3.
Portrush, Co. Antrim.
...
...
12
10
0
4.
Co. Mayo.
...
...
33
10
0
5.
Lagan River at Maze, Co. Down.
...
...
34
0
0
6.
Fishing boats, Strangford, Co. Down.
...
...
45
0
0
7.
Road to Glenveigh, Co Donegal.
...
...
34
0
0
8.
Fair Day, Co. Donegal.
...
...
45
0
0
9.
Beach at Ballywalter, Co. Down.
...
...
18
10
0
10.
Connemara.
...
...
12
10
0
11.
Landscape near Lough Neagh, Co. Donegal.
...
...
18
10
0
12.
Sheephaven Bay, Co. Donegal.
...
...
45
0
0
13.
Sunlit Farmyard.
...
...
21
0
0
14.
Harvest Time, Co. Donegal.
...
...
45
0
0
15.
Happy Days.
...
...
18
10
0
16.
Sand End, Ballywater, Co. Down.
...
...
12
15
0
17.
The Park Pond.
...
...
45
0
0
18.
Road to Falcarragh Beach
...
...
11
15
0
19.
On the Lagan, near Lisburn.
...
...
18
10
0
20.
Bog Road, Co Mayo.
...
...
18
10
0
21.
Coast of Donegal.
...
...
18
10
0
22.
Blackberry Gatherers.
...
...
45
0
0
23.
Landscape at Hillsboro, Co. Down.
...
...
17
10
0
24.
River at Maze, Co. Down.
...
...
17
10
0
No.
£ s. d.
25.
Errigal, Co. Donegal.
...
...
17
10
0
26.
Coast of Down.
...
...
17
10
0
27.
Shores of Lough Neagh.
...
...
45
0
0
28.
At a farm, Co. Antrim.
...
...
19
0
0
29.
Landscape, Co. Donegal.
...
...
45
0
0
30.
Road to the Fair.
...
...
21
0
0
31.
Farm House at Glen Dun, Co. Antrim.
...
...
45
0
0
32.
Grey Day, Coast of Donegal.
...
...
18
10
0
33.
Trout River near Falcarragh, Co. Donegal
...
...
18
10
0
34.
A City Park.
...
...
19
0
0

--- Page 14 ---
TELEPHONE.
DUBLIN.
35232.
14 HADDON RD.
CLONTARF, DUBLIN.
14th April 1939
best mr. Burke
I am now
answered you in
Paddis Yorkship of
Frank Kahn.
I feel that you
will appear that
fro is a new
resortable price
to ask in all the
circumstances.
fro includes the
frame for which I
paid barrel garness
& alon. Stephens
Exem f 5.
Thanks & you
for your Rusher
watersh
Yours sincerely
William Tusher
John Warder Esq
Solicitor

--- Page 15 ---
18 FITZWILLIAM SQUARE, DUBLIN.
February 10
1942
Dear Dr Smith
This is a copy (except that the titles of the pictures are different) of the permission Father Senan had for the previous pictures... as I am very glad that he should have this permission
Permission
(a)
to reproduce in full colours in one issue of The Capuchin Annual your two two paintings
"The Oldsea Road. Clifden"
"Dublin Pavement Artist"
"Skibbareen County Cork"
(b)
to reproduce (in black & white) any one of
The two three paintings listed above on the cover of one issue of "The Father Matthew Record"
perhaps he will be kind enough to. as before
send me a line acknowledging the arrangement
Sick your truly
Jack. B & Eddie

--- Page 16 ---
BELFAST ART EXHIBITIONS
SIR JOHN LAVERY AMONG THE
EXHIBITORS
The 40th annual exhibition of paintings by the Belfast Art Society was opened by Lord Massacre and Ferrard, in the Art Gallery of the Free Library, Royal Avenue. Some 300 works are on exhibit, some of which are masterly in conception and execution. Sir John Lavery, who is president of the Society, has lent some of his masterpieces, including "Lady Lavery and Alice" and "Lady in Black," which occupy the place of honour, and are in the great Catholic artist's best style. There
Sir John Lavery.
are many other notable exhibitions, including Messrs. O'Rourke, Dickey, Charles Lamb, P. J. Woods, William Conor. A new "Ulster Society of Painters," confined to a membership of 25, has inaugurated an exhibition in Mr. Magee's Gallery, Donegall Sq., Belfast. The idea is to have an almost exclusively professional society similar to "hut in Dublin. The pictures treat mostly of the characteristics and beauty spots of Ulster Messrs. R. Grahame, G. Waters, and Seamus Stouppe and D. Cloud are some of the artists.

--- Page 17 ---
MARCH 27, 1943
FOR THIS YEAR'S ACADEMY
Voting on a submission for the coming R.H.A. Exhibition —
Messrs. Sean O'Sullivan, Jack B. Yeats, Albert Power, Leo
Whelan, Dermod O'Brien (President) and George Collie.

--- Page 18 ---
DEATH OF IRISH
SCULPTOR
Mr. Jerome Connor, well-known Irish-American sculptor, died in Dublin early this morning. He was 70.
Born at Annascaul, Co. Kerry, Mr. Connor was taken to America when nine years old.
A self-taught sculptor, he enjoyed a high reputation in the United States, where most of his work is to be seen in the large cities.
In Washington he is represented by many pieces, including the monument to the nuns who attended the wounded soldiers in the American Civil War.
It is considered one of the finest in the U.S. capital.
Another fine work is his memorial to the fallen American soldiers of the Great War, which is in New York.
Probably Mr. Connor's best work is the statue of Robert Emmet, now in the National Museum in Washington.
A bronze replica was made for presentation to the Irish National Gallery as a gift from the American Government.
NOTABLE STATUES
Other notable statues of Connor's are those of John Carroll, first Bishop and first Archbishop in the U.S., which stands at Georgetown; Thomas Moore, in the Corcoran Gallery at Washington, and General John Shields, of the U.S. Army and a native of Dungannon.
Mr. Connor's name came prominently before the public in connection with the memorial to the Munster poets at Killarney and in connection with the Lusitania memorial at Cobh.
He once told an interviewer: "I look on Ireland as an ideal country for the artist. With encouragement artists are sure to settle in Ireland and make it as important an art centre as there is to be had in any country in the world. The Irish people should make every effort to develop constructive culture."

--- Page 19 ---
JEROME CONNOR
BY NICHEVO.
JEROME CONNOR'S place as a sculptor has yet to be determined. That he was a magnificent craftsman is beyond all doubt, and the very crudity of his work gave it a vigour that would be almost reminiscent of Epstein. But it was as a man that I knew him best, and it is as a man rather than as an artist that I propose to write of him.
I got to know him shortly after his arrival in Ireland, when he came over from the United States to prepare the Lusitania Memorial, for which he had been given one of the biggest fees paid to any artist in modern times. Many wealthy Americans had gone down with the Lusitania, and it was their relatives, including members of the Vanderbilt family, that subscribed the better part of one hundred thousand dollars for the erection of the memorial, which was to have been situated in the square at Cobh. President Roosevelt, at that time a private citizen, was a member of the committee, which included several of the best known names in American society; but, for one reason and another, now buried for ever with poor Jerome, the memorial never was completed, and the plinth stands derelict in the square at Cobh.
PARK GATE
He and I became friendly almost at once. His studio near the Park Gate, in the North Circular road, soon was recognised as one of the centres of Dublin's bohemian life, and his parties were attended by writers, painters, musicians, as well as by the vague congeries of enthusiastic hangers-on who always cluster around an artist. Sooner or later you met everybody who was anybody at Jerome's. Liam O'Flaherty, Brinsley Macnamara, Austin Clarke, poor Fred Higgins, who used to pull Jerome's leg unmercifully, and all the rest of them—they all liked Jerome, for all his faults, or possibly even because of them—and they were not few—they all took their turn at his famous punch ball, by means of which in those days Jerome used to keep himself one of the fittest men in Europe, and they all enjoyed his racy stories, which he used to tell with amazing zest. He was one of the best raconteurs that I ever have known. I could fill a book with his anecdotes which he enjoyed so much that one had the impression that he was telling them to himself rather than to his audience; and if he had been able to write he could have produced as amusing and interesting an autobiography as ever was written.
EMIGRANT SHIP
He had a varied career. I well remember his description of his voyage as a boy of nine across the Atlantic in one of the emigrant ships in the early 'eighties. His father was a stonemason in the village of Annascaul, in County Kerry, and emigrated with his whole family to the United States. Jerome from early childhood showed a talent for modelling, and soon after his arrival in New York went to work in a foundry, where he learnt the technique of moulding, a trade in the practice of which he can have had few superiors. He was reticent about periods of his life in America—and Jerome was a past master in the art of reticence. But he told me that he spent some years as a professional boxer in a travelling show, having leapt into prominence when he knocked out his predecessor, who was offering a substantial sum to anybody that could stand up to him for a couple of rounds.
Apparently he made a little money in this way, and began to devote his attention to sculpture as a serious career. In 1905 he went to Italy, where he spent some time in the study of classical works. He always had been in fairly close touch with the Irish political movement in the United States, and it was through his association with some of the leaders that he got a number of valuable contracts, such for example, as his well-known statue of Robert Emmet. He was an in-new.
time friend of the late Elbert Hubbard, drowned, by the way, on the Lusitania; and also visited Walt Whitman, of whom he did an interesting plaque just before the poet died. That plaque, by the way, embodies some lines by Whitman, which, I am sure, recurred to Jerome's mind during his own last days:—
Come, lovely and soothing Death;
Undulate round the world, serenely
arriving, arriving
In the day, in the night, to all, to
each, sooner or later,
Delicate Death.
MYSTERY
One thing led to another, and by the time when the Great War broke out Connor was well established as one of the leading sculptors in the United States. His activities during the war were shrouded in mystery. But there is little doubt that he was exceedingly active! He was a prominent member of the National Press Club in Washington, where his ready wit made him persona grata with all the newspaper men, by whom he was known invariably as Saint Jerome. During this period he visited Mexico, being engaged, according to his story to me and to others, in intelligence work for the Japanese Government. Certainly he had a wide knowledge of the inner history of international diplomacy. He predicted many of the events of the present war with remarkable accuracy, and his famous "blue prints," which, he told us so often, he had hidden away in his studio, became a never-failing source of interest and amusement to his Dublin friends.
There was something immensely vital about Jerome; and something immensely strong. I always shall remember him by three things. One was his voice, one of the richest speaking voices in my experience. It had a deep, resonant quality, which compelled attention and made you listen to him whether you liked it or not. Another was his gait. Jerome was an honorary chief of the Cherokee Indians, and he had that soft, cat-like tread that one associates with the redskin; graceful, undoubtedly, but with something of the panther in it. You always had the feeling when you watched Jerome coming along the street that at any moment he might spring. And then woe betide the person upon whom he sprang; for he was tremendously powerful. I saw him one night when a party of University students tried to make fun of him knocking six of them out in six consecutive blows, and then going on his way with sublime unconcern.
HANDS
Then there were those terrifying hands. You had to see them to realise the fascination that they had for Jerome's companions. They were huge, almost brutal in the sheer force of their gnarled fingers. You could not imagine them caressing anything, although they approached tenderness when they fondled a cigar; and the man's sculpture conveys something of their ugliness to the beholder.
Jerome Connor died as he had lived for so many years of his strange life—alone. He was an inscrutable man who always wore a mask. I believe, indeed, that he even wore a mask against himself. There was an almost inhuman streak in him at times; and he never encouraged intimacy, although as a boon companion he could be vastly entertaining. He was inordinately proud, with a pride that amounted almost to arrogance. Few of us realised how desperately poor he must have been during the last years; for he walked apart, taking none into his consideration. You either liked him or you hated him. He was a man to whom you hardly could be indifferent; yet he knew no man's love. A turbulent, wayward, at times maddening personality, he had engaging qualities, but they all were on the surface. None of us ever knew what thoughts lay baind that granite-like face, with its ragged features and deep-set slumbering eyes. None of us ever will know

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SCULPTOR WHO WON FAME IN AMERICA
MR. JEROME CONNOR, the Kerry-born sculptor, who died on Saturday morning at the Adelaide Hospital, Dublin, had been very anxious to finish the Lusitania Memorial on which he had been working for some years past, an IRISH PRESS reporter was told yesterday.
His figures of the two mourning fishermen, shown as if standing beside a grave, were exhibited at last year's Royal Hibernian Academy exhibition and are now in Dublin. He recently made a model of the Angel of Peace, which was to dominate the figures, and, it appears, intended to start on the bronze castings within the next few weeks.
"He regarded this work as his 'unfinished symphony' and spoke of little else for the past few months," said a leading Dublin business man who knew him intimately. "As a tribute to him I suggest that steps should be taken to finish the memorial and have it erected on the base ready for it in Cobh."
Although his health had been failing for some years, Mr. Connor worked up for a few days before he died. He lived ate, and worked for some time past in a room in Crampton Court. Recently he was getting quite a good sale for his miniature bronze heads.
Born in Annascaul, Kerry, Mr. Connor was taken when young to America. There he learned sculpture and his work became famous in that country.
His statue of Robert Emmet, in the National Museum in Washington, is one of his finest works. Another is the memorial of the nuns who nursed in the American Civil War, which is also in Washington.
In New York is his memorial to the American soldiers who fell in the Great War.
His statues include John Carroll, first bishop and first archbishop in the United States, which is at Georgestown; Thomas Moore, in the Corcoran Gallery at Washington, and General John Shields, of the U.S. Army, who came from Dungannon.
A good deal of his bronze and marble work is in the private collection of Senator Joseph Brennan, Dublin. It includes "The Mourning Fisherman," a scale model of one of the figures cast for the Lusitania memorial.
"He was a very talented sculptor," said Senator Brennan, "and a man of very great genius."
An Appreciation
Two sculptors, writes M. J. MacM., who achieved fame across the Atlantic in our time and examples of whose work may be
seen in many cities of the United States, were Irishmen—Andrew O'Connor and Jerome Connor, and there are not wanting critics who hold that Jerome was the greater of the two. Certainly, there was neither power nor imagination lacking in his bold designs.
He was at work almost up to the last, a striking figure for all his seventy years, with features as rugged as those of one of his own bronzes.
Everybody in Dublin's art and literary circles knew Jerome and his deep resonant voice added force to many a discussion.
He had wandered far from his native Kerry in the course of his picturesque and often turbulent career and he had been many things in his time—champion skater, noted boxer, Bohemian, keen politican, as well as artist.
In the stirring days of 1919-1921 he was a staunch supporter of the Irish cause in America.
CAST OWN MODELS.
"The outstanding thing about Mr. Connor," said a member of the Royal Hibernian Academy yesterday, "is that he tackled the question of casting his own materials. The last time I met him he was collecting old casts to make bronze out of them. He was the first sculptor in this country to cast his own models. It is a very specialised job."
The late Jerome Connor (right) and Mr. Alvin Owsley, former U.S. Minister to Ireland, photographed with a section of the Lusitania memorial.

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IRISH REVIEW
JULY-AUG. 1914
FROM A PAINTING BY CASIMIR DUNIN MARKIEVICZ
IN THE POSSESSION OF MR THOMAS MACDONAGH

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JANUARY 2017

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MONUMENT
TO THE
MOST REV. ARCHBISHOP MURRAY.
WE the undersigned Roman Catholic Laity of the Archdiocese of Dublin, deeply sensible of the loss which we have sustained by the demise of our revered Archbishop, deem it our duty to record our sentiments of veneration for the eminent virtues that adorned his life, and the wisdom which directed all his acts during an episcopal career extending over nearly half a century.
His piety and christian charity, combining uniform mildness and conciliation with firmness and ardent zeal for religion, his unostentatious but untiring exertions for the amelioration of his country, for the promotion of education and the social and moral improvement of the people, entitled him to universal admiration, and won even from those who differed from him in religion a willing tribute of deference and respect.
During his episcopacy, increased facilities for the practice of our religion have been afforded in every parish under his spiritual rule, many splendid churches have been erected, and a dignified celebration of Divine Service established.
To perpetuate our feelings of veneration, we propose the erection of a suitable monument to the memory of one of the brightest ornaments of the Roman Catholic Church, and in requesting subscriptions for this object, for which it is suggested that no individual contribution should exceed Five Pounds, we feel confident of the support of all to whom the virtues of the illustrious deceased were known, and by whom his loss will be so long and so deeply deplored.

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Lady Lavery's Pictures.
1. i 2 1 x 1 2 1
A joint exhibition of landscapes by Sir John Lavery and of portraits by Lady Lavery opens at the Alpine Club on Sat. week. Sir John is exhibiting about 50 landscapes, and his wife will show about 8 oil portraits and nearly a score of portraits in red chalk. As an example of the latter Lady Lavery has been letting her friends see a delicately coloured sketch of Lady Essex.
Lady Lavery says she wished to exhibit separately, because she wanted to stand or fall entirely on her merits, but Sir John persuaded her to exhibit with him. Lady Lavery tells that she sent a picture to the Academy. Her husband advised her to send it under her married name, but she would not, so the picture came back.
Lady Lavery, however, is not the novice she would make herself out to be. She has already exhibited in Paris at the Salon under her maiden name. Lady Lavery was Hazel, daughter of Edward Jenner Martyn, of Chicago, and widow of Edward Livingstone Trudeau, of New York. The coming exhibition will, however, be her first real one, and will mark her first venture in oils.

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Art Day 12/12/15
ORIGINAL STAINED GLASS.
1. Times 1. 2. 6
DUBLIN-MADE WINDOW FOR
SINGAPORE.
People who are fond of stained glass have an opportunity of seeing something interesting and unusual this week. There will be on view from to-day to Friday, the 17th, at the Co-operative Stained Glass Works, 24 Upper Pembroke street, a large window in richly-coloured glass, with figures. The window, which was ordered by a Chinese gentleman, Mr. Eu Tong, for his house in Singapore, has been designed and executed by Miss Catherine O'Brien.
It is of very large dimensions, a semi-circle sixteen feet in diameter. The subject is "Night." The central part of the window is occupied by three figures, a little larger than life. In the middle stands Night, holding out her cloak of deep blue. To the left is Twilight; beginning to draw Night's mantle over her, while on the right side Dawn is lifting it from his head. At the feet of Night lies Day, a pretty little figure like a sleeping Cupid. To right and left are sleeping figures, with interesting landscape backgrounds. As the window is going to Singapore, and will have to hold its own with the strong sun of the East, it was found necessary to keep the deeper colours and be very sparing in the use of whites. Miss O'Brien's admirable feeling for colour has enabled her to overcome this difficulty in a very agreeable manner, and in the invention and disposal of her figures she has shown all her usual imagination and taste.
Mr. McGoldrick, another of the Pembroke street artists, is at work on a companion window of the same shape and size, the subject being "Day."

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CATALOGUE
TO
EXHIBITION
OF
PAINTINGS
BY
GRACE HENRY,
AT
THE VICTOR WADDINGTON GALLERIES,
8 South Anne Street, Dublin.
Daily from 10 a.m. to 5-30 p.m.
Saturday 10 a.m. to 1 p.m.
9th to 17th February, 1945.
£ s. d.
1.Doves.........161602.Moonlight Over the Recks..........14003.Roses..........9904.Lahinch..........10005.La route..........151506.Sandycove..........11007.Dun Laoghaire..........30008.Glen of the Downs..........12009.The Road to the Bog, Co. Kerry..........100010.Rainstorm, Caragh Lake..........200011.Hydrangea..........250012."Me Father Would Kill Me.".........77013.Sunset, Dun Laoghaire..........77014.The Dove..........1212015.Madonna of the Seagulls..........350016.Venice, The Lagoon. (Sketch).........77017.Tulips and Bric-a-brac..........250018.June..........880
£ s. d.
19.Rosecolour and Gold..........1515020.Ireland's Eye from Howth..........150021.Gorse at Sunset, Howth..........1919022.Caravan Interior..........1414023.Boats, Chioggia..........450024.Storm Approaching, Ireland's Eye..........150025.The Golden Curtain..........1515026.Bullock Harbour, Dalkey..........250027.Wexford Garden. (Sketch).........99028.Coast Scene..........77029.Monkstown..........120030.Mountainy Man..........210031.Champlay..........50032.Cottage in Wicklow Mountains..........50033.Boats..........50034.Lahinch..........50035.The Church..........500

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MR. JACK YEATS
has pleasure in inviting
Rev. Fr. Senan, O.F.M., Cap.,
to the private view of his exhibition of Paintings, at 3.30 p.m.
on Thursday, 1st March, 1945, at the Victor Waddington Galleries,
8 South Anne Street, Dublin.
Exhibition open daily from 10.30 a.m. to 5 p.m.; on Saturday,
10 a.m. to 1 p.m. From Friday 2nd until Wednesday 14th March.
PLEASE PRESENT THIS CARD

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THE RAIG.

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Jimles Plover
MARCH 10, 1945
7
QUICK SALE
OF PICTURES
Standing beside one of the twenty-three paintings in his latest exhibition at the Waddington Galleries in Dublin is Mr. Jack B. Yeats, R.H.A. Within two hours of the opening of the exhibition sixteen pictures were sold for £2,100.

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ST JARLATH'S.
TUAM.
30 March 1945.
My dear Gr. Senan,
In my own name and on
behalf of the Jessle of Yuan I desire
to express our heartfelt thanks and
our Reen appreciation of your wonderful
kindness. It is really you who have
made our str Exhibition something
outstanding. Please accept my hearty
thanks. Wishing you every Blessing
at Easter and always.
N. Sinderl - Joseph Walsh.

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APRIL, 1945
Girk Worker's Weekly (Review)
Some Artists I Have Known
By STEPHEN GWYNN.
IN the early eighties, when my father's household first moved to Dublin, all the talk about aestheticism was much in the air; but there was mighty little trace of its effect in the family where I first came in touch with professional artists. They were two—William and Walter Osborne—in a family of four; but indeed the daughter of the house had all an artist's talent when she sang; and as for the elder son, Charles, whenever he came back to Dublin from an English curacy, it was a kind of festival, for none of us had heard a more brilliant talker and in the pulpit he was even better. But I am to write about artists, in the limited sense. Old Mr. Osborne who painted dogs and horses looked like what he was—the unassuming gentleman who somehow suggested that he would speak in those early days, was only now and then in Dublin. For he worked by choice in England. Countryside, with cottages cultivated countryside, with cottages that had charm, and little inns where he could live on two shillings a day, he had a fine fastidiousness.
He looked as if he would live to a great age, but his virtues destroyed him. He was as handy about a house as a woman and when, after his sister's marriage, the old mother was desperately ill, he caught some infection nursing her—and it was the strong man who died. A picture of his in the Municipal of folk at tea under a tangled screen of rose bushes shows him at his best. Sunlight streams through and the fusion of light and greenery is rendered with delight.
WHATEVER he painted was apprehended through the senses which enjoy subtleties of colour and form. The opposite was true of another artist whom we got to know at the same time, but who outlasted all her contemporaries. Sarah Pursier belonged to a Trinity's brilliant periods, the days of Salmon, Mahaffy and Tyrrell. Miss Pursier (none of us ventured to call her Sarah) got her training in Paris and whatever was hardest and most penetrating in the French genius entered into her eyes. She saw with her mind and the pleasure which her best portraits give is almost purely intellectual. Free from the need to earn, she was without cares that humanise; and though she was very
good, she never gave that pleasure simply from her presence which many less gifted people can impart. A keen interest in clothes modified agreeably the sense of hardness which she created. Yet it habitually but surreptitiously many kind things.
These friends I met as we do meet each other in Dublin; but it was the luck of my trade which brought me in touch with Hugh Thomson, who he engaged to illustrate my book on Donegal and Antrim. Nobody could be more completely an Ulsterman than this little native of Coleraine, who got whatever little training he did get in his native province; yet, as compared with Osborne the Dubliner, he was incomparably more what the world regards as typically Irish. The books that he did for me in several books shows that his dominant faculty as an artist was humourous perception. Whether it is an outside-car driver, or fishwives in the Galway market, or a couple of the R.I.C. striding along in conscious pride, what he puts down is seen with delighted merriment. His bits of landscape mean nothing; his mountain when he draws it, has neither height nor mass. Certainly he had a feeling for the beauty of a building and his picture of the Dublin Custom House is first-rate. But what really matters are the figure subjects and every one of them comes clear, because, happily, none is genteel. There is a deal of genteel and really accomplished work in a beautiful
edition of "Henry Esmond" that Macmillan brought out in 1905; but what endears that example of him is the record of a characteristic kindness. My eldest boy was fifteen in that year and had been about fifteen with while I went fishing and Hugh sketching; so when the "Esmond" came to hand what should Hugh do sketch on the flyleaf of a youth with a sketch on the dress, handling a trout rod in the best manner.
PAUL, HENRY is another Ulsterman who assuredly belongs to Ireland and he can do to admiration all the things that Hugh failed in. Nor has he the least trace of Osborne's preference for cultivated beauty; and what an artist in clouds! Few, if any, can match him at indicating the contour of a mountain ridge against the sky so that it is not simply outlined but shown with impreceptible gradations that the brush caresses in passing.
As for Grace Henry, no-one could indicate indication of her work by any indication of its subjects. One day she will be painting flowers, the next, on sandy beach with shears, the next, on sandy beach with shears at her very best it. Yet perhaps she is at her very best when she paints flowering fruit trees.
She has painted portraits too, but the one which I value most is one of a young woman seen at a distance so that the face is only indicated, but the likeness is in the whole rhythm of the figure—of the gracious self which comes unmistakably into its own life.
NEW PAINTINGS
THE
VICTOR WADDINGTON
GALLERIES
8 SOUTH ANNE ST., DUBLIN

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Ivam Servald
7/4/45.
Archbishop's Call for Art Training in Schools.
SPEAKING at the official opening of the Tuam Art Club's annual Exhibition on Easter Sunday, His Grace the Archbishop said that the high standard of the children's exhibits led him to express what he had long felt very keenly—his disappointment that the National Board of Education had not made provision for the teaching of drawing to every child in the National Schools.
"Both in France and England children get an opportunity of learning drawing," said His Grace, "and here in Ireland not so many years ago hand and eye training formed a part of the curriculum. Now that all classes are developing such a love of art and that so many students inspire such high hopes inspite of lost opportunities, may we not expect that the Educational Authorities will give children at least some opportunities of developing their artistic temperament?"
In his address the Archbishop said: "You have often heard the old proverb 'Good wine needs no bushel,' which can be applied very aptly here to-day. No words of mine are needed to awaken your interest or kindle your enthusiasm, for this Exhibition is representative of what is best in contemporary Irish art. All schools of modern Irish painting are represented, something that could not be found in Dublin, so that this Exhibition is perhaps one of the very few of its kind in the country. My only purpose in coming here is to say a word of thanks on behalf of the Tuam Art Club to all those who have combined to make this Exhibition such a marvellous success. Let me mention at once Father Senan of the 'Capuchin Annual,' who has lent about fifteen paintings of outstanding merit and has given most valuable help and advice. I should like him to know that he has our sincere and abiding thanks. His kindness will not be forgotten in Tuam."
"As I have already said," His Grace continued, "this Exhibition is representative of what is best in contemporary Irish art; indeed outside some of the cities no one has seen at any time such a splendid collection of works by leading Irish artists. We in Tuam are certainly fortunate in having secured these works; so in the name of the Art Club and of the people I feel bound to express our sincere thanks to every single artist who sent his paintings and added so
much to our pleasure and our cultural development. Some of the artists have honoured us by coming here to-day for the Exhibition. It is a great pleasure for me to bid them a very hearty welcome, and to give them the personal assurance of our gratitude.
"I notice that amongst the distinguished company here to-day is Miss Mairin Allen, one of our foremost art critics and writers. She has very kindly come to help the Art Club in the big task of making the Exhibition a success, and I should like to assure her of our appreciation of her work and of our deep gratitude. That leads me to say that the success of the Exhibition is due largely to the feverish enthusiasm and hard work of the Committee of the Tuam Art Club. A small select band—they have been working for months to secure pictures; they hung the pictures, and they are going to remain here for the next few days to ensure that everything will go well. Their devotion and sacrifices are beyond all praise. No one will object if I express our thanks to them and if I say Tuam cannot forget the valuable work they have accomplished. I feel bound also to express our thanks to one lady who is not a member of the Committee, Miss O'Rorke. She it was who interviewed several artists, and through her efforts several of the paintings have been secured."
The Archbishop also thanked Mr. Victor Waddington, of the Waddington Galleries, for his very great assistance in having the paintings sent to the Exhibition, and for the pictures which he had sent on loan.
His Grace continued: "Some of you may think I am so carried away by the splendour of the exhibits from outside that I have forgotten our local artists. By no means. I am very proud of our local artists, proud because they have done so much to make Tuam a centre of art and culture, proud too because their own work even since last year has shown an improvement, a development towards artistic maturity. Above all, I am proud of the children's exhibits, which in some cases show great promise."
His Grace then concluded with the statement quoted at the outset.
Rev. Brother J. D. McKenna, on behalf of the Club, thanked the Archbishop for again doing them the honour of opening the Exhibition, and expressed their deep gratitude to Very Rev. Canon Gunnigan, President of St. Jarlath's College, for all the facilities he had given them.
There was a very big attendance at the opening, those present including Miss Norah McGuinness and Mr. Louis Le Brocquy, both of whom had pictures exhibited.

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