LITMIR.BIZ

      NOTES

1.See Nicola Gordon Bowe, Harry Clarke: The Life & Work (Dublin: Irish Academic Press, 1989; new ed. Dublin; History Press, 2012) for full details; also Martin Steenson, A Bibliographical Checklist of the Work of Harry Clarke (London: Books & Things, 2003).

2.For the origins of Maunsel and Company, see Clare Hutton (ed.), The Irish Book in the Twentieth Century (Dublin: Irish Academic Press, 2004), pp. 36–46. Maunsel was the middle name of Joseph Maunsell Hone, a founding co-director of the firm with Roberts, ‘who really ran the company throught its existence – between 1905 and 1920 as Maunsel, and from December 1920 until 1925 as Maunsel and Roberts’ (p. 44).

3.See Bowe, Harry Clarke (Dublin: Douglas Hyde Gallery, Trinity College, 1979), pp. 63–65 and Bowe, Harry Clarke: His Graphic Art (Mountrath: Dolmen Press, 1983), pp. 112–116.

4.Thomas Bodkin, ‘The Art of Harry Clarke’, The Studio (November 1919), Vol. 79, no. 320, pp. 44–52.

5.Harraps’ prospectus, quoted in Bowe 1983, p. 52.

6.‘Books of the Week’, The Irish Times, November 20th 1925, p. 3.

7.See Bowe 2012, p. 203.

8.Kevin Myers, ‘An Irishman’s Diary’, The Irish Times, December 14th 1989, p. 13. Clarke’s poignant war memorial windows of the period include those in Killiney, Co. Dublin, Nantwich, Cheshire, Wexford town and in Gorey, Co. Wexford (see Bowe 2012, pp. 312–9). The figure of St. Martin (1922) in Gorey resembles the saintly warrior in the Memorial Records borders.

9.Illustrated in Bowe 1983, p. 59.

10.Viscount Ypres, Foreword, dated 28th December 1922 and Introduction in Ireland’s Memorial Records, 1914–1918 (Dublin: Maunsel and Roberts, 1923), Vol. 1. Lord French was created Earl of Ypres in June 1922 after resigning as Lord Lieutenant of Ireland in April 1921.

11.See Bowe, ‘Ireland’s Memorial Records, 1914-1918’, Ireland of the Welcomes, November/December 2006, pp. 18–23. With thanks to Miss Eva C. Barnard, secretary of the Committee, who compiled the list of names.

12.Two of the woodblocks faced with Clarke’s designs photo-engraved on metal survive from Miss Barnard’s private collection.

13.For Pender, see Bowe and Elizabeth Cumming, The Arts and Crafts Movements in Dublin and Edinburgh, 1885–1925 (Dublin: Irish Academic Press, 1998), p. 126 and Bowe, ‘Lord Dunsany 1878–1957. Portrait of a Collector’, The Decorative Arts Society 1850 to the Present, 28 (2004), pp. 126–147.

14.See Bowe and Cumming 1998, pp. 174–5 and Bowe, ‘Percy Oswald Reeves 1870–1967, Metalworker and Enamellist: Forgotten Master of the Irish Arts and Crafts Movement’, Omnium Gatherum 1994, Journal Number Eighteen (1994), The Decorative Arts Society 1850 to the Present, pp. 61–68.

15.P. O. Reeves, ‘Irish Arts and Crafts’, The Studio (October 1917), Vol. 72, no. 295, pp. 15–22.

16.See Alastair Duncan, Art Deco (London: Thames & Hudson, 1994), pp. 7–10.

17.Letter dated 21 January 1936, sent by Lutyens from London to Miss H.G. Wilson, by then secretary of the Irish National War Memorial Committee in Dublin, referred to by Dr Helmers in her text. I am grateful to her for drawing my attention to this.

Introduction

      ‘Cities, like dreams, are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.’

      Italo Calvino, Invisible Cities

      The Missing

For several years, when visiting Dublin, I attempted to spend an afternoon at the Irish National Memorial Gardens at Islandbridge, but there was always some barrier. Once, it was dramatic. When Queen Elizabeth visited the city in 2011, I walked along the Liffey only to find the memorial secured and guarded. I should also clarify my first statement: I attempted to visit the Irish National Memorial Gardens at Islandbridge once I became aware that the gardens existed, for five years of travels to the city had come and gone before I knew the memorial was there. It’s not featured on Streetwise Dublin or on city centre maps; tourist maps show bright bus lines circling from O’Connell Street to Kilmainham Gaol, but there’s typically a large blank space on the map where the memorial should be. My own curiosity about the memorial comes from an unlikely source. I have been teaching and researching the poems, memoirs and art of the First World War for two decades, and my interest was piqued by an extended scene set at the gardens in Paul Murray’s novel Skippy Dies, published in 2010. In that novel, erstwhile history teacher Howard Fallon, tired of history taught from books, takes his secondary students from Seabrook College on an impromptu field trip to Islandbridge. The students are nervous, traveling into a part of Dublin that they are not familiar with, but once they are among the monuments and hear the stories of the soldiers who fought and died in the First World War, they are intrigued with recovering lost history.1

In the process of cursory research of the Irish National War Memorial Gardens, mostly through websites, I learned that there were illustrated books of remembrance in the pavilion bookrooms. I am, by training, a rhetorician, and my particular field of interest is in visual rhetoric. Visual rhetoric is a field of study that the American scholar W. J. T. Mitchell has called an ‘indiscipline’, on the borders between philosophy, rhetoric and art history. Visual rhetoricians return to Aristotle’s concept

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