IBVM (Loreto) Institute & Irish Province Archives Story Box 2016

Explore the evolution of Loreto education from 1821, through our convent and school archives from Loreto Archives, 55 St Stephen’s Green.

The first ‘Loreto’ school was opened in Dublin in 1821, by Dublin woman, Frances Teresa Ball, to educate Catholic girls. Founded on the principles of the IBVM foundress, Mary Ward that ‘women in time to come will do much’, Loreto pupils were offered a broad and empowering education. Explore the evolution of Loreto education through our storybox.

Prospectus from Loreto Fermoy late 1800’s

Loretto (sic) Abbey Fermoy was established in 1853. The prospectus offers a unique insight into life in a Loreto boarding school in the late 1880’s.

A broad curriculum was offered, and Loreto Sisters taught almost all of the subjects.

Fees were paid on a quarterly basis, and covered basic tuition, supervision, board, laundry and food. Extra tuition fees were charged for stationary, use of musical instruments, singing, drawing and harp classes.

Certificate presented to a pupil in Loreto Fermoy and Premium (prize) awarded to pupil inLoreto Abbey Rathfarnham (pre 1861)

Until 1878 there was no public system of examinations, but Loreto schools had a system of internal assessment. Pupils sat written and oral examinations in each term. At the conclusion of the examinations, pupils were presented with certificates and prizes, known as premiums. Prizes usually took the form of non-fiction books (on history, geography, and the lives of saints or French literature. The French books were especially valued, and were imported directly from France.

The Board of Intermediate Examination Gold Medal awarded to Ellen Burke, pupil Loreto Navan 1897

In 1878, the Intermediate Education Act introduced a series of public examinations. In 1880, Loreto schools, on the request of the Archbishop of Dublin, began to prepare pupils for the Intermediate exams. Successes in these public examinations were lauded and publicly celebrated. Gold medals (such as this) were awarded to pupils who had achieved top marks in the Intermediate Education Board Examinations.

Mary Hosey BA – one of the early Loreto pupils who obtained university degrees.

The question of higher education for women was a contentious issue in the late 19th century, and was initially opposed by Catholic hierarchy. In spite of this, Loreto, along with the Dominican and Ursuline orders worked successfully to promote higher education for middle-class Catholic women. Loreto College, St Stephen’s Green was amongst the most successful Catholic women’s colleges in the last years of the 19th Century. Mary Hosey was amongst one of the first Loreto pupils to be awarded a university degree.


                                                                                                            IBVM (Loreto) Institute & Irish Province Archive

The Abbey Theatre Story Box – Amharclann na Mainistreach scéal Bosca

The Abbey Theatre was founded as Ireland’s national theatre by W. B. Yeats and Lady Augusta Gregory in 1904. Its mission was ‘to bring upon the stage the deeper emotions of Ireland’. With patronage from Miss Annie Horniman, premises were purchased on Old Abbey Street and on December 27th 1904, the Abbey Theatre opened its doors for the first time.

The emotions expressed on stage sometimes led to riots in the theatre, most famously in connection with Synge’s The Playboy of the Western World in 1907 and O’Casey’s The Plough and the Stars in 1926. In 1925 the Abbey Theatre was awarded a subsidy by the new Free State, becoming the first state-subsidised theatre in the English speaking world. In 1927 the Peacock Theatre opened as a rental space, home to the Abbey Theatre School of Acting and School of Ballet. The Abbey Experimental Theatre, under the direction of Ria Mooney, produced new work at the Peacock from 1937 to 1944. Since then the Peacock Theatre has evolved as the fulcrum of new Irish writing - nurturing and staging work by emerging playwrights and encouraging experimentation.

Tragically in 1951, the original buildings of the Abbey Theatre were damaged by fire and the Abbey’s productions re-located to the Queen’s Theatre on Pearse Street. During its time there the Queen’s would play host to premieres by Brian Friel and John B. Keane.

Fifteen years to the day later, on the 18 July 1966, the Abbey moved back to its original and current home on Abbey Street, in a new theatre designed by Michael Scott Architects. The Peacock Theatre re-opened the following year. To the present day it continues the mission of its founders.

During the fire of 1951 considerable damage was done to the theatre’s archives. On the other hand we are fortunate that much of our national theatre’s archives survived through the efforts of Abbey Theatre staff to sort and dry the records in the aftermath of the fire. Indeed, the fire served to underscore the importance of the theatre’s archives to its past, present and future. Today the Abbey Theatre Archive has extensive holdings that shed light not only on the rich history of our national theatre and how theatre is made, but also on the history of the Irish nation.

  • Description:
    Façade of the old Abbey theatre, opened 27th December 1904.
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    Máire O'Neill as Pegeen Mike in the premiere of The Playboy of the Western World by John Millington Synge, Abbey Theatre, 1907.
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    Examiner of Play's English tour licence for The Playboy of the Western World by John Millington Synge, signed by G. A. Bedford, 23 May 1907.
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    The Shewing-Up of Blanco Posnet by George Bernard Shaw. Refused a licence by the English Examiner of Plays due to blasphemy, it premiered at the Abbey Theatre in 1909.
  • Description:
     Fire damaged curtain cue list for The Eloquent Dempsey by William Boyle, c.1920.
  • Description:
     The Abbey Theatre first toured to America in 1911 with a repertoire of Irish plays, this is the programme for their second tour, 1912.
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     Poster for Easter Week 1916. With the outbreak of the rebellion performances did not go ahead.
  • Description:
    Programme of cancelled performances, Easter 1916. Arthur Shields and Sean Connolly, along with several other Abbey actors and staff, took part in the Rising.
  • Description:
     The nightly curfew imposed in Dublin forces the Abbey to curtail shows. As a result the need for fundraising centres around performances and lecture series in London, 1921.
  • Description:
    Original prompt script for the The Plough and the Stars by Sean O'Casey. Based on the events  of 1916 it caused considerable controversy when it permiered in 1926.
  • Description:
    Financial ledger showing the  takings for Juno and the Paycock by Sean O'Casey, directed by Lennox Robinson, Abbey Theatre, 1926.
  • Description:
    Ticket for the opening night of the Peacock Theatre, 13 November 1927.
  • Description:
    Fire damaged photograph of stage setting for Spring by T. C. Murray, Abbey Theatre, c.1935. 
  • Description:
    Property list for The Man in the Cloak by Louis D'Alton, directed by Hugh Hunt, Abbey stage, 1937.
  • Description:
    Abbey Experimental Theatre programme, 1937. 
  • Description:
    Members of the Abbey company during their American tour, 1938. 
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    Programme for Muireann agus an Prionnsa, the first of the Abbey Theatre's Gaelic pantomimes, 1945. 
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    Abbey Theatre auditorium following the fire that destroyed much of the building, 18 July 1951. 
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    An Abbey Theatre audience arriving to the Queen's Theatre on Pearse street for the opening night of Song of the Anvil by Bryan MacMahon, 12 September 1960. 
  • Description:
    Ray MacAnally, Pat Laffan and Michael O'Briain in the premiere of The Enemy Within by Brian Friel, directed by Ria Mooney, Abbey Theatre at the Queen's Theatre, 1962.
  • Description:
    Minimalist façade of the new Abbey Theatre building, 1966.
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    Frank Mac Mahon’s adaptation of Brendan Behan’s autobiographical novel Borstal Boy was a major success when it premiered, 1967.
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    Peter O'Toole, Eamon Kelly and Donal McCann in Waiting For Godot by Samuel Beckett, directed by Sean Cotter, Abbey stage, 1969.
  • Description:
    Scene from Hatchet by Heno Magee, directed by Patrick Mason, Abbey stage, photographed by Fergus Bourke, 1979.
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    Scene from Translations by Brian Friel, directed by Joe Dowling, Abbey stage, photographed by Fergus Bourke, 1983.
  • Description:
    Poster for The Sanctuary Lamp by Tom Murphy, 1985.
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    Poster for the premiere of Observe the Sons of Ulster at the Peacock Theatre. Following a successful run and a national tour it was revived on the Abbey stage later that year, 1985. 
  • Description:
    Poster for The Great Hunger by Tom MacIntyre, tour to the Maison des Culture du Monde, Paris, 1987.
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    Poster for The Death and Ressurection of Mr Roche by Thomas Kilroy, Abbey stage, 1989.
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    Marion O'Dwyer and Maureen Potter in Moving by Hugh Leonard, directed by Joe Dowling, Abbey stage, photographed by Tom Lawlor, 1992.
  • Description:
    Poster for the premiere of By The Bog of Cats by Marina Carr, Abbey stage, 1998. In 2015 the show had a successful new production at the Abbey Theatre.
  • Description:
    Poster for the premiere of Terminus by Mark O'Rowe, Peacock stage, 2007.
  • Description:
    The auditorium of the Abbey Theatre today, photograped by Ros Kavanagh following renovation, 2007.

RTE Archive Story Box 2016

'Strumpet City' was a landmark RTÉ Television drama series, first broadcast in seven parts from 16 March 1980. It was set in Dublin during the turbulent period of labour unrest that took place between 1907 and 1914, and focused particularly on events leading to the ‘Lockout’ of 1913. Filming took place at several locations around Dublin, including Henrietta Street, North Wall and Dún Laoghaire.

The images selected here are part of the RTÉ Stills Library’s and RTÉ Document Archives’ holdings, and reflect some of the work that went into all aspects of the production. RTÉ designer Lona Moran’s sketch for a wedding dress is part of the RTÉ Document Archives’ Strumpet City Collection, while the production stills are among the RTÉ Stills Library’s holdings – they were taken by photographers working for the RTÉ Guide and the RTÉ Stills Department.

The series included a re-enactment of the 1913 baton charge by Dublin Metropolitan Police (DMP) of striking workers who had gathered to hear a speech by Jim Larkin. A still photo of the original event, part of the RTÉ Stills Library’s Cashman Collection, can be seen alongside the ‘Strumpet City’ recreation. Behind-the-scenes shots of the RTÉ Concert Orchestra recording the score, a shot of North King Street in 1979 taken for design purposes and the RTÉ Wardrobe Department at work on the costumes are also included.

Further information on RTÉ Archives can be found here: http://www.rte.ie/archives/

The RTÉ Stills Library’s holdings can be searched online here: https://stillslibrary.rte.ie/

                            2002_029   2002_037  2002_039  2002_070  


                           0510_033    2125_059_1  2250_93_1  2290_74_1


                                              2290_074  2314_090_1  RTÉ Document Archives


Guinness Archive storybox 2016:

Sketches of John Gilroy

On 7 February 1929, the Guinness Company embarked on a new phase in its history by publishing its first ever advertisement in two daily UK newspapers, The Daily Mail and The Daily Express. In the 87 years since this first advertisement, the brand has been responsible for creating some of the most memorable press, poster and television ads in popular memory and has truly been at the forefront of advertising innovation across the globe.

In the Guinness Archive we are very fortunate to have a large collection of original hard copy advertisements, which are preserved in our environmentally-controlled archival storage area. Approximately 4,500 posters, showcards, calendars, press advertisements and drawings within this collection have been digitized, enabling the staff of the Guinness Archive to easily share these images with researchers and current marketers of the brand in search of creative inspiration.

One of the most interesting parts of the collection is a series of original artwork comprising 602 items. This collection features the rough sketches of John Gilroy (1898-1985), the artist who shaped the first thirty years of GUINNESS® advertising.

Gilroy was recruited in 1925 by the advertising agency S.H. Benson's. In 1928 Benson's began work on the first advertising campaign for GUINNESS® beer and from then until the early 1960s Gilroy was above all associated with advertising of GUINNESS®.

Gilroy is particularly associated with two campaigns for GUINNESS®, which ran simultaneously for nearly thirty years from the 1930s. The first involved the slogan "Guinness for Strength" showing people performing incredible feats of strength empowered by GUINNESS®. The most popular posters in this series were the "Girder"(1934) depicting a workman effortlessly carrying a massive girder on his head and the horse and cart with the farmer pulling the cart (1949).

The second campaign featured zoo-animals. At the time Benson's had been trying unsuccessfully to develop a human "Guinness family" for its advertising. The idea of using animals to advertise GUINNESS® occurred to Gilroy after visiting the circus. While watching a performing sea-lion he entertained the curious thought that the animal would be smart enough to balance a glass of GUINNESS® on its nose! It became the concept for one of the world's longest running advertising campaigns "My Goodness, MY GUINNESS”. The hapless zookeeper, a caricature of Gilroy himself, watched over the family of animals which included an ostrich swallowing a GUINNESS®, glass and all, a pelican with a beak full of bottles, a tortoise, a lion, bear, crocodile, kangaroo, giraffe, polar bear, gnu, kinkajou, penguin (particularly associated with Draught GUINNESS® to emphasise its coolness) and, of course, most famous of all, the toucan. The last major Gilroy poster dates from 1961 and shows animals at the seaside.

Gilroy’s original sketches are a very valuable resource for fans of his work and of GUINNESS® advertising, as they vividly demonstrate the development of ideas for many iconic advertisements. This storybox also shows the aesthetic beauty of the original drawings, clearly demonstrating the depth of Gilroy’s talent as a portrait artist.

                                                 MK_01_01_00_05  MK_01_01_01_57  MK_01_01_03_08  MK_01_01_04_67 

                                                                mk06_01_08_0006     MK06_01_68_0007        MK06_01_08_0010 

                                                      MK06_01_08_0024  MK06_01_08_0025 MK06_01_08_0026

Royal Society of Antiquaries Storybox

The Weavers’ guild was formally established in Dublin in 1446 and operated in the city for almost 400 years. The records of guild are preserved in the library of the Royal Society of Antiquaries and date from the late seventeenth century. The function of the guild was to control the production and manufacture of woven cloth and to ensure that it was produced to a specific standard. The guild also regulated those who operated as weavers in the city. The wool trade was one of Ireland’s key industries and the weavers’ guild was a powerful corporation.Weavers occupied positions of influence among the political and social elite, but they also comprised a vast number of the city’s poor. The records provide an insight into almost 200 years of the guild’s history. They also illuminate the industrial, political and social history of the city of Dublin. As part of the Explore Your Archives week the RSAI invites you to explore aspects of the weaving industry through the records of the guild.

This oak chest dating from 1706 held the records of the weaver’s guild until their removal to more secure storage in the RSAI library. The chest is now located in the entrance hall of the RSAI building at 63 Merrion Square. The surviving records include lists of members, minutes of meetings, records of elections, accounts and records of the resolutions and proposals of the guild. 

RSAI/BV/WVRS/08.The above entry shows a list of persons fined by the guild in 1679. The fines were mainly imposed for the use of faulty weights to measure cloth, or for not presenting goods to be examined, but one entry also fines a member for ‘abusing the master’ of the guild.

RSAI Lantern Slide Collection: Box 08. A lantern slide showing the Weaver’s Hall in The Coombe. The hall was built in 1745 under the patronage of David Digges La Touche, of the well-known Dublin banking family. La Touche was master of the weavers’ guild in 1745. In the recess at the front is a statue of George II. The interior of the Hall was a testament to the civic loyalties of the guild and included portraits of Charles I, William III, George II, Jonathan Swift and David Digges La Touche. You can explore further images from the RSAI’s collection here.  

RSAI/BV/WVRS/10. A bond showing the admission of Margaret Nale into the guild in 1747. The professional weaving trade was largely a male occupation by the seventeenth century, but earlier medieval sources generally associate weaving with women. Nale may have joined the guild in place of a deceased male relative, most likely her spouse. Part of the guilds responsibility was to ensure that widows and dependent relatives of deceased guild members were looked after and the accounts of the guild often testify to this kind of support.

RSAI/BV/WVRS/16. The weaving trade was susceptible to periods of intense economic hardship and the industry was especially sensitive to English trade policies.The record above testifies to the efforts of the guild to promote local manufacture. It records a 1796 resolution by the guild to present an elaborate gold freedom box, in the shape of a weaver’s shuttle, to Lady Camden, the wife of the Lord Lieutenant, in recognition of her patronage of Irish cloth.

Weaver's Way Banner

The Discovery Programme,in conjunction with the RSAI, has developed a self-guided audio walking tour which explores the history of the weaving trade in Dublin. The tour can be accessed here


Royal College of Surgeons Story Box 2016

During the historic week of the 1916 Easter Rising hundreds of rebels, soldiers and civilians were injured and killed. Included in these casualties were a number of medical personnel who disregarded their own safety to help the wounded where they fell in the streets around Dublin.

Charles Hachette Hyland was a practising dentist living in Percy Place close to Mount Street in 1916. He was the eldest of five children and had attended Catholic University School on Leeson Street. He graduated from the Royal College of Surgeons Dental School in 1907. He married Kathleen Slyne of Slyne Couturiers, 71 Grafton Street. His father, also Charles, was the manager of the Gaiety Theatre.

Charles had been a successful student at the Incorporated Dental Hospital of Ireland, where he won senior prizes in Dental Mechanics and in Dental Surgery. He was one of the assistant staff of the Dental Hospital


..where his efficiency, modesty and courtesy gained the admiration and good will of all who were brought in contact with him.

-          British Dental Journal 1916 pg.479


On Easter Monday the Irish Citizen Army took up strategic positions around Mount Street, Northumberland Road and Haddington Road. They fired upon soldiers who were returning to nearby Beggars Bush barracks after weekend manoeuvres, causing many casualties. Two days later, they opened fire on British reinforcements who had just arrived in Ireland. Many of the new arrivals were with the Sherwood Foresters regiment. The British suffered heavy casualties against the small number of well-positioned insurgents. With their home close to the fighting, Hyland had sent his wife, Kathleen, and their young son to safety in Blackrock but he remained to help the wounded.

Nurses in the residence at 97 Lower Mount Street attached to nearby Sir Patrick Dun’s Hospital witnessed the fighting. The matron of the hospital said that the nurses ‘could see the soldiers falling and they felt they must go out and try to rescue them.’ During brief ceasefires, Hyland donned his white coat and joined the nurses and other staff from Sir Patrick Dun’s Hospital as they tried to help the wounded soldiers. They used quilts as stretchers and, at one stage, Hyland enlisted the help of a young man with a cart to transport injured men to the hospital.


He [Hyland] worked gallantly for several hours, rendered valuable aid to the wounded men and assisted the unfortunate victims of the battle into a place of safety.

-          Sinn Féin Rebellion Handbook Easter 1916 Irish Times, 1917 pg.266

On Thursday, 27 April, Charles Hachette Hyland was shot dead on Percy Place. He was one of several civilians killed during the battle at Mount Street Bridge.

Apart from Charles’ signature in the RCSI Roll of Licentiates no other material evidence of Charles existed in our collections. As he was one of the surgeons to feature in the College’s 1916 commemorative exhibition Surgeons & Insurgents: RCSI and the Easter Rising, a call was put out through social media to try and locate any relatives who may be able to put a face to the name. The week the exhibition was being installed we received an email from a relative in London who had some photo of Charles and his wife, Kathleen. These were couriered over and put on display beside Charles’ feature panel in the exhibition. By letting people gaze on Charles’s face it briefly brought him back to life 100 years after his life had ended so abruptly.


                                                                                           Charles Hachette Hyland           Charles Hachette Hylands signature


Explore Your Archive Events 2015

Full event details for the 2015 Expore your Archive campaign will be upload here and to a Google Map, 
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