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Frontispiece From the Harleian MSS.

Richard II. in Ireland, showing scene at the conference between Richard and the King of Leinster.

The Harleian MSS. take their name from the Hadleys, father
and son, who made the collection during the eighteenth
century. They are perhaps among the most valuable ancient
historical MSS. that Great Britain possesses.

It was in 1395 that King Richard received the submission of
Art MacMurrough and the other Irish Chieftains near
Carlow. Good accounts of Art MacMurrough will be found in
the work on him by T. D'Arcy McGee and in Joyce's “Short
History of Ireland.”


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2908 From a photograph by Lafayette of London. JOHN E. REDMOND, M.P., ASSOCIATE EDITOR OF IRISH LITERATURE

2926 From a photograph by the London Stereoscopic Company. MARKET DAY IN AN IRISH TOWN


2959 From a photograph by Pirie Macdonald, “photographer of

men," New York. T. W. HAZEN ROLLESTON

2968 From a photograph by Fred Hollyer, London.



2979 From a photograph.

In quiet watered land, a land of roses,

Stands Saint Kieran's city fair ;
And the warriors of Erin in their famous generations
Slumber there.

-T. W. Hazen Rolleston.


G. W. RUSSELL, (“A. E.”)

From the painting by Jack B. Yeats. INNISFALLEN, KILLARNEY .

From a photograph.



. 3068 After the painting by Sir Joshua Reynolds. JOSEPH JEFFERSON AS “BOB ACRES"

3088 From a photograph. "Mark me, Sir Lucius, I fall as deep as need be in love with a


3105 In the" Screen Scene"in “ The School for Scandal” from a

photograph by Sarony, New York. VANCIENT IRISH COSTUMES

.3144 Costumes of the Druidical order. From Merrick and Smith's “ Costumes of the Inhabitants

of the British Isles." SIR RICHARD STEELE

3196 From a contemporary print.




After the painting by Sir Joshua Reynolds.

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GEORGE PETRIE was born in Dublin in 1789. His father, James Petrie, was a noted portrait painter and a man of much intellect and culture. Mr. Whyte of Dublin, who taught Sheridan and Moore, had charge of his early education. He was intended for a surgeon, but he preferred art, and displayed very early considerable proficiency. In his excursions into the country for subjects for his pencil he was attracted to the round towers, cromlechs, raths, ruined monasteries, etc., in which Ireland abounds. Endowed with the true spirit of an antiquarian, he did not content himself with merely sketching from this mine of treasures, but pushed his researches into the origin, history, and uses of these remains, and by his notes and observations he was able during these excursions to accumulate such valuable information as afterward gained for him the reputation of an accomplished antiquary. He collected, also, as he wandered through the cottages of the peasantry, the old national airs, which, in the process of being handed down from father to son, were rapidly dying out.

After his marriage in 1821, he settled down to the regular work of an artist. Several of his large water-color drawings, such as Walks in Connemara,' 'Shruel Bridge,' “Pilgrims at Clonmacnoise,' The Home of the Herons,' 'Dun Aengus, Gougane Barra, etc., appeared from time to time on the walls of the Royal Hibernian Academy, of which he was elected a member in 1826. He also contributed to the Royal Academy in London. In 1830 he was chosen President of the Academy of his own country. He succeeded in having a proper museum established for the preservation of antiquities in Ireland; he assisted in the formation of a library, and he induced the purchase of ancient Irish manuscripts. He also contributed himself numerous and valuable papers on archeology, the principal among them being “On the Origin and Uses of the Round Towers of Ireland,' for which he gained a prize of £50 ($250) and a gold medal from the Royal Irish Academy. In 1832 he became editor of the Dublin Penny Journal, in connection with Cæsar Otway, Carleton's earliest patron, and in this his notes, sketches, and articles on the antiquities of Ireland were a marked and valuable feature. In 1833 he was employed to superintend the topographical department connected with the Ordnance Survey of Ireland. A staff of learned men was placed at his disposal, among them being John O'Donovan and Eugene O'Curry.

When the scheme of the Irish Ordnance Survey was abandoned, after one volume on the city of Londonderry and its vicinity had been published and much valuable historical and antiquarian material collected, Petrie returned again to his brush as a means of support, but shortly afterward a pension from the civil list relieved him from difficulty and sufficed for his modest wants. The degree of LL.D. was conferred upon him by the Dublin University as a mark of the value of his labors. He continued his tours through Ireland, visiting occasionally Scotland and Wales, seeking everywhere subjects for pen and pencil, and adding bells, croziers, coins, etc., to the store of antiquities he had collected from an early period. This collection was purchased after his death by the Government and now rests in the Royal Irish Academy. He was a proficient performer on the violin, and, although appreciating the works of the Italian and German masters, he loved most the ancient and pathetic melodies of his native country; and the closing years of his life were devoted to their collection and to the arrangement of what he had already collected. He organized a society for the purpose, which ultimately published one volume and supplement, containing about one hundred and eighty airs, with curious and interesting annotations.

He died at Rath ines, Dublin, Jan. 17, 1866. His great work, "The Ecclesiastical Architecture of Ireland Anterior to the AngloNorman Invasion in which is included the essay already mentioned On the Origin and Uses of the Round Towers of Ireland' —was published in 1845. He also wrote a number of essays. One lasting service which Dr. Petrie rendered the Irish Academy deserves to be specially recorded. In 1831 he secured for it a hitherto uncaredfor and neglected autograph copy of the second part ofthe ' Annals of the Four Masters.'

His friend, Dr. William Stokes, a distinguished medical practitioner of Dublin, published in 1869 an account of his life and labors in art and arche ogy.

That the time was ripe for the work to which he devoted his life is proved by the following anecdote : "I shall not easily forget, said Dr. Petrie, addressing a meeting of the Royal Irish Academy upon that celebrated example of early Celtic workmanship, the Tara Brooch," that when in reference to the existence of a similar remain of ancient Irish art, I had first the honor to address myself to a meeting of this high institution, I had to encounter the incredulous astonishment of the illustrious Dr. Brinkley " (of Trinity College, President of the Academy), " which was implied in the following remarks : 'Surely, sir, you do not mean to tell us that there exists the slightest evidence to prove that the Irish had any acquaintance with the arts of civilized life anterior to the arrival in Ireland of the English ?' nor shall I forget that in the skepticism which this remark implied nearly all the members present very obviously participated."


From The Round Towers.'

"An opinion has long prevailed, chiefly countenanced by Mr. Somner, that the Saxon churches were mostly built with timber; and that the few they had of stone consisted

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