George Petrie was born in Dublin in 1790 and has a strong King’s/ County Offaly connection through his work at Clonmacnoise, Birr, Banagher, Clonony, Lemanaghan and Rahan. He may have been the most significant topographical artist so far as Offaly is concerned. He was certainly the greatest exponent of the heritage of Clonmacnoise first visiting the site in 1818–22. Dates differ as the visits to Clonmacnoise as was noted in the most attractive publication by Peter Murray and published by the Crawford Gallery in 2004.[1] The other great work on Petrie is that of William Stokes, The life and labours in art and archaeology of George Petrie (Longmans, London, 1868). Also important is Crookshank and Knight of Glin, Irish painters, 1600–1940 (Yale, 2002).
The Dictionary of Irish Biography (DIB) entry by David Cooper records that Petrie, was an artist, antiquary and collector of Irish traditional music, and was born on 1 January 1790 in Dame Street, Dublin, the only child of James Petrie, portrait painter, of Dublin, and Elizabeth Petrie (née Simpson) of Edinburgh, Scotland. James Petrie (d. 1819) was born in Dublin of Scottish parents and studied at the drawing school of the Dublin Society. Afterwards he practised as a miniature painter and a dealer in jewellery, coins, and antique objects at 83 Dame Street. The collecting instinct would stand Irish heritage in good stead with James Petrie’s son George performing an outstanding archival and museum service.
Clonmacnoise and its churches is the subject of a lecture by Con Manning at Offaly History Centre, Bury Quay, Tullamore R35 Y5VO on Monday 14 April 7 30 p.m. Your chance to meet one of the foremost experts on Clonmacnoise – the most important heritage site in County Offaly. So do come all are welcome. Conleth Manning worked for nearly forty years as an archaeologist with the National Monuments Service. During that time he directed excavations at Clonmacnoise as well as at many other monuments around the country. He has a special interest in medieval churches and castles and has published widely on aspects of the medieval and post-medieval periods in Ireland.
Do come to the lecture and musical event on 12 April, 3 p.m. Saturday at Offaly History Centre, Bury Quay, Tullamore (beside New Aldi and Old Warehouse)
Bernard Delaney (1854-1923) – Offaly piper conquers America
Bernard Delaney was an extraordinary man, a superb musician and above all a survivor. Birr Historical Society presented the story of piper Bernard (Barney) Delaney in January and we are glad to confirm a further lecture and musical afternoon to recall his life and contribution to Irish traditional music. This time in his home town of Tullamore. Delaney suffered the loss of three of his four children and his wife in the late 1870s and was forced to leave his country in search of hope and a better life in the New World. Delaney was a master of the Uileann Pipes. The Talk will focus on his life, the story behind his enrolment into the elite Irish Music Club of the Chicago Police Department and his legacy.
Short presentations will be given by both Frank Kelly and Seamus Kelly.
Delaney’s musical heritage will be played at the event by Frank Kelly and musical friends.
Frank Kelly is from Lusmagh and has written articles about Delaney for the Fleadh Cheoil Clár and the Comhaltas magazine Treoir.
Seamus Kelly is from Kildare with Birr connections. He has researched Barney’s life and written the book Bernard ‘Barney’ Delaney (1854-1923) Offaly and Chicago Piper. Copies available from Offaly History Centre.
Bernard Delaney, Source: Francis O’Neill, Irish Minstrels and Musicians (1913)
‘We are more or less indebted to Bernard Delaney for the introduction of many fine tunes to our community. His well-deserved reputation as an Irish piper did much to spread the local knowledge of his music among local musicians, as well as to promote the popularity of Irish music in general.’ Source: Francis O’ Neill, Irish Folk Music (1910)
Ahead of Fleadh Cheoil ns h-Éireann 2009, I researched the life of Bernard (Barney) Delaney of Killeigh so as to publish a piece on him in the Fleadh brochure. Offaly has a rich Traditional-Music Heritage and a multitude of All-Ireland champions since modern competitions began in Fleadhanna in the 1950s. However, our folklore is filled with records in the oral and written traditions of musicians dating back to the courts of our Gaelic Chieftains, our famed monastic settlements and music even has filtered through to us from the Celtic mists of ancient Ireland.
Due to the devastating famines of the 1840s and the following poverty in the 1860s and 70s when the people’s main motivation was pure survival, our musical heritage fell away among the general population. It fell to the immigrant classes to carry their music and song with them to the far-flung places where they could find work and sustenance.
Bernard Delaney of Killeigh was typical of these survivors. Unlike many of his fellow immigrants, he had a “magic wand” in his pocket in the form of a penny whistle and all the melodies that instrument could conjure up. Melodies that would provide his sorry Irish comrades with hope, joy, and the happier memories they may have associated with these tunes.
Following my meagre scraping of the surface in 2009, a hero emerged in the form of Seamus Kelly of County Kildare who dug deeper Delaney’s life. Then, with the backing of Attracta Brady; the soon-to-be Uachtarán of Comhaltas Ceoltóirí Éireann, local researcher, Brendan Berry and Seamus’ own team of sleuths, the life of Bernard or Barney Delaney was uncovered. Before the launch of this delightful publication, few in Offaly or Killeigh would have known much of the life of the once-celebrated uilleann piper of Chicago and American fame. Now, it’s about time Barney was given the recognition he truly deserves. The following are a few snippets of background from Seamus Kelly.
Frank Kelly
The musicians at the Birr Historical Society event in January 2025.Courtesy Bantry Historical Society
Seamus:
Frank Kelly’s article in Treoir outlined some of Barney’s background and early life in Ireland. Without Frank Kelly, and his many Offaly contacts, my publication would not have seen the light of day. The support of Attracta Brady, now President of Comhaltas Ceoltóirí Eireann (CCE), was also crucial.
The Offaly Independent (18 September 1992 stated that Offaly has a tradition of excellence in music and added that ‘Offaly can also boast one of the great Irish pipers in Barney Delaney who was born in the Tullamore area about 1860…’. He was, in fact, born there in 1854.
The book was brought to fruition by three Kellys – Seamus, Frank and Michael. Michael Kelly and Brendan Berry’s pioneering work in following up on Delaney’s family in Ireland has made a real difference to our knowledge of the ‘Offaly piper’. An article by John Ennis in The Gael magazine (February 1902) also provided us with a wonderful photo of Delaney.
Francis O’Neill wrote in 1910 that he was delighted that Bernard Delaney brought himself and his tunes from Offaly ‘Here, indeed was a prize and what a repertory of unfamiliar tunes he had from Tullamore, his native place! Chief O’Neill, mentioned that Barney was from around Tullamore. Well, could we be more specific? Yes, we can.
Finding out that his father’s name was Patrick (from Bernard’s passport application in 1919) was a start. Frank Kelly’s article entitled ‘The Offaly-Chicago connection from Scrubb, Killeigh, to Ocean Springs, Mississippi’ (Treoir, 2009, 2020) tried to identify Barney Delaney’s birthplace. Brendan Berry was able to pinpoint Patrick Delaney’s plot to Meelaghans instead of Scrubb.
The Killeigh Co. Offaly Delaney connection was further confirmed by the excellent research of Michael Kelly. Aileen Saunders accessed the transcript of Bernard Delaney’s baptismal record. It informs us that Bernard was from the Parish of Killeigh, just south of Tullamore. The name was misspelt ‘Delay’ on this electronic record which was unhelpful. It gives us Bernard’s mother’s name as Eliza Dinn (possibly Elizabeth Dunne). It also gives the date of his baptism, in Killeigh, as the 25 May 1854.That date is reliable although it conflicts with other records. For example, in the 1900 US Census Barney gave his birth date as August 1852. His police record says he was born on 24 March 1854.
Bernard had a family of his own, in Offaly, before he emigrated to America in the early 1880s. Aileen Saunders noted from US Census records that Bernard Delaney had a daughter Elizabeth. Barney was around 20 years old when he married Mary Farrell on the 23rd October 1874. Bernard’s age was given as 20 while Mary was 24. They were married in Tullamore. Mary Farrell, from Tullamore, worked as a servant and was the daughter of Charles Farrell who was a carpenter. Bernard’s father Patrick had died before the wedding. Throughout this period (1876–1882) Bernard Delaney is described as a labourer. The children of Mary and Barney Delaney:
Thanks to Michael Kelly’s research we know when the Delaney children were born and when they died. Bernard and Mary lived in Charleville Road, Tullamore but mostly after that they were in Distillery Lane until at least May 1882. Their first child Patrick was born on 25 March 1875 at Charleville Road in Tullamore. Soon after they moved to Distillery Lane in Tullamore where most of the children were born. Second son John was born there on 6 September 1876. Their first daughter Mary arrived in April 1879 followed by Elizabeth on 2 July 1880. Their last child, Ellen was born in February 1880. Five children in five years!
Note: ‘The Tullamore Piper’ title is still accurate in the sense that he lived as a young married man in Tullamore though he was a native of and was baptised in Killeigh; RC parish. A tune in O’Neill’s Music of Ireland (1903) (Number 1773) is called The Tullamore piper. The title can only refer to one man!
Tragically, all of the Delaney children, except Elizabeth, died young between 1879 and 1882. Patrick died from typhoid fever on 1 March 1877, aged 2. Mary died (aged 1 year), John died (aged 6) and Ellen (aged 3 months). Barney’s wife Mary Farrell died from measles, pneumonia and heart disease in Tullamore Union Workhouse or the infirmary attached to it, on 21 May 1882, aged 30.
Their youngest child Ellen had died the day before. Mary died 8 days after her son John died from measles.
The family struggles must have been traumatic. Mary Delaney must have suffered terribly. The losses of his wife and four of his children must have taken its toll on Bernard. These very harsh family circumstances probably influenced his very rapid decision to emigrate, and may have impacted on him later in life.
The full publication is available in the Offaly Historical Society book shop on Bury Quay.
Frank Kelly
Venue for the Saturday lecture and music session, Bury Quay (beside New Aldi and Old Warehouse restaurant).
Published as part of the County Offaly 2025 Commemorative Programme with the support of Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media
How often have we seen relatively small scale and cheap solutions deferred in the expectation that more ambitious longer-term projects will arrive at some future date to solve everything? Frequently the costs of the more grandiose schemes balloon over time and their implementation indefinitely deferred or even abandoned. Meanwhile the problem gets progressively worse – often to the point that any solution becomes unrealistic.
While the making of good long-term plans must always be pursued, the delivery of shorter term and achievable remedies should not be easily dismissed. Two high profile projects in the Tullamore area offer classic examples of the dilemma.
The Murals Bar Cultural life in 1950s Tullamore centred around ‘The Murals’ bar. This was where us local artists, actors, historians and writers drank, clutching our copies of ‘Ulysses’ in its concealing brown paper cover while engaging in fevered and sparkling debates on cubism, existentialism, atonality and Marxism.
I may be exaggerating somewhat, but ‘The Murals’ really was our Deux Magots, our Cafe de Flore. The bar was the meeting place of what passed for an intelligentsia in Tullamore at a time, which, though it is now regarded as restrictive and obscurantist, I remember as stimulating and progressive. Maybe I was lucky.
The attraction of ‘The Murals’ was its design which was quite unlike any of the more traditional pubs of the town which were usually small, dark and poky. With its high ceiling, stripped down design, timber veneering, bright red stools, it was cool and elegant and above all- modern.
Richard Rothwell holds a place as Ireland’s foremost portrait painter of the 19th century but there has been much confusion about his identity owing to W.E. Strickland’s biography of him in ‘A Dictionary of Irish Painters’ (1913), which had him born in Athlone, a son of James Rothwell, and a descendent of the Rothwells of Co Meath, none of which was correct. This was repeated by other art historian and in a 1961 family history by his descendant Desmond Rothwell of Montreal, where Desmond wrote that Richard’s grandfather was Thomas Rothwell of Lisdaly, Co. Offaly, and that his father, James Rothwell, married Elizabeth Holmes and had seven children. He states that James fled Ireland in 1798, perhaps to America, after he allowed forces to rest overnight in his barns during the 1798 rebellion. This tradition, however, is not compatible another tradition recorded by Desmond of Richard supposedly being born in Athlone in 1800.
Research by Angus Mitchell into the life and work of Alice Stopford Green (1847–1929), ‘the passionate historian’ as R.B. McDowell called her, brought Mitchell to Durrow, Tullamore, County Offaly in March 2024 to explore a monastic site that Green had visited in the company of the solicitor, antiquarian and nationalist, Francis Joseph Bigger (1863–1926) in September 1912. Green and Bigger would have shared cultural interests in the Celtic Revival. As the DIB contributor, Joseph McBrinn noted, Bigger saw his role as ‘promoting all things Irish including numerous processions, pageants, ceilidhs and feiseanna’. Angus Mitchell will be speaking on Durrow in 1914 at Offaly History Centre, Bury Quay, Tullamore on Monday 24 March at 7 30 p.m. and you are welcome to attend. See his blog in this series earlier this week.
Today, 113 years on, the same story is playing out about Durrow and is ‘ongoing’ for the past 35 years. Now there is no access to Durrow high cross and neither is the public right of way to the site adhered to by the OPW and this after a spend of €5 million to protect and promote the monastic site.
In early 1914, a controversy erupted over public access to Durrow Abbey that illuminates broader tensions regarding cultural heritage, religious identity, and national monuments in pre-independence Ireland. The dispute began when the Local Government Board ordered the closure of Durrow’s graveyard, citing “insanitary conditions.” This administrative decision catalyzed a remarkable public debate that revealed deep fissures in how Ireland’s sacred spaces were controlled, preserved, and accessed.
On Monday, 24 March. at 7 30 p.m. (please note the earlier time) Angus Mitchell will speak at Offaly History Centre, Tullamore. All are welcome. The public lecture is titled:
Sacred Space and Public Access: The Durrow Abbey Controversy of 1914
The 1914 controversy over public access to Durrow Abbey serves as a compelling lens through which to examine broader questions of cultural heritage, national identity, and preservation rights in pre-independence Ireland. When historian Alice Stopford Green published her indignant letter about restricted access to this ancient monastic site, she ignited a significant public debate that transcended local boundaries. The ensuing discourse, played out in Ireland’s leading newspapers, revealed deep tensions about proprietorial rights, Protestant privilege, and the role of local authorities in monument preservation. This controversy emerged at a crucial moment when sacred spaces were being reimagined as vital coordinates in Ireland’s cultural landscape. The debate highlighted a fundamental disparity in how ancient monuments were protected under British law in Ireland compared to Britain itself, raising questions about cultural sovereignty that would resonate well beyond independence. Though the immediate controversy lasted only weeks, its implications for heritage management and public access endured well past 1922. That Durrow Abbey remains largely inaccessible to the public in 2025 invites reflection on the persistent challenges of balancing preservation, private property rights, and public cultural access. This lecture examines how historical controversies about sacred spaces shaped, and continue to shape, dialogues about cultural identity and heritage management in Ireland.
Between 1849 and 1867 a nationwide network of almost thirty Model Schools was established by the Board of National Education. These schools were under the exclusive control of the Board and it was expected that attendance would be drawn from the various denominations to be found in the area of each school’s location. The primary aim of these institutions was to provide a regulated system of training for candidate teachers. Due to a growing reluctance on the part of the Roman Catholic hierarchy and clergy to be associated with these institutions where they had no input into management, the establishments were decidedly skewed towards Ulster. This became even more pronounced when a scheme for the establishment of those schools termed Minor Model Schools – as opposed to the more prestigious District Model Schools – was put in train. Of the seven such schools, only one – Parsonstown Minor Model School – was located outside of Ulster. As such it was an exotic.
According to the Irish Aviation Authority (IAA) there are no airships currently registered in Ireland. However, this was not always the case when as far back as 740 AD there were reported sightings of airships over County Offaly and for the duration of World War 1 these hydrogen-filled lighter than air (LTA) craft were a common sight over the coastal regions of Ireland.
offalyhistoryblog 