Kieran’s Our City, Our Town Article,

Cork Independent, 11 March 2021

Journeys to a Truce: The Opening of the Pavilion

Against the backdrop of the ruins on St Patrick’s Street from the Burning of Cork and the unsettling tit-for-tat violence across Cork City’s streets, the opening of the decorative Pavilion Cinema in early March 1921 was a very different and positive event of that time.

Cinema was a very popular form of entertainment in the 1910s and 1920s. Up to 1921 and before the Pavilion’s construction, Cork could boast having seven cinemas– Picturedrome at the Assembly Rooms on the South Mall, Imperial Cinema on Oliver Plunkett Street, The Washington Cinema on Washington Street, Bellevue at Barrackton, Lido Cinema on Watercourse Road, Lee Cinema on Winthrop Street and the community picture drome at St Mary’s Hall opposite the North Cathedral. The Picture Palace, 40-42 Grand Parade, was also in the course of construction.

The press commentary on 7 March 1921 in the Cork Examiner described the Pavilion as a “super cinema of the very latest, rich in design and finish”. Passing through the imposing and spacious entrance in St Patrick’s Street, two flights of broad marble stairs were ascended from the centre of the hallway. Here was the café and ballroom in a colour scheme of French grey.

The Cork Examiner further elaborates on the design: “The rose du Barri with gold with a fine arrangement of French mirrors and lustre lighting effects, and the artistic workmanship of the ceiling all combine in the richest and most artistic harmony. Then there is the oak panelled smokeroom where one could sit. Here there are lanterns hanging from the oak beams. The construction, ornamental and decorative work of the cinema portion of the buildings are superb in design and colour, while the seating is made to provide the most luxurious comfort”.

Great credit was given to the Dublin architect Thomas Francis McNamara for his design. McNamara was a popular architect who received a considerable number of commissions in the early twentieth century connected with the Catholic church, particularly for buildings in the Diocese of Dromore. He had become architect to the Dublin Joint Hospital Board and was later increasingly engaged in hospital work. His pupils and assistants included Harry Clarke whom he advised to take up art rather than architecture as a profession. McNamara travelled often in France, Italy and Spain. He had a special interest in Hispano-Romanesque architecture, which is an interest he brought to the design of the Pavilion.

The capacity of the Pavilion cinema was 900 people while the tea and smoke rooms could accommodate comfortably 150 persons. The luxurious furnishing was carried out by Cork’s Munster Arcade and the decorating and painting was completed by Messrs John O’Connell, Cork. On the ground floor three shops and managerial offices were fitted in. The entrance to the chief seats were viz – balcony and back parterre is on St Patrick’s Street and the front parterre seats entrance was in Carey’s Lane.

The cinema was originally conceived by T J Moran and other investors. The contractor though was Mr Moran’s firm. Under his direction, the ornamental, decorating and furnishing the theatre and café was carried out. The resident orchestra was under the direction of Dr William George Eveleigh and Signor Grossi, leader and violinist. Dr Eveleigh was an organist in St Finbarre’s Cathedral.

Ferrouccio Grossi was a lecturer in the Cork School of Music on violin, viola, and conductor of orchestra. He was part of a small orchestra of foreign musicians of various nationalities who had been engaged for the Cork International Exhibition in 1902. In the same year, Grossi took up residence in Cork, and with his pianist wife, began a career of concert hosting and teaching, up to 1930.

The Pavilion was to be managed by Mr Fred Harford, formerly of the Abbey Theatre. There he was a long standing actor there and eventually became manager of the venue.

Opening on 10 March 1921, the programme of the new Pavilion Cinema was composed of what was deemed “highest class items” and it included a violin solo by Signor Grossi and music by Dr Eveleigh’s orchestra.

D W Griffith’s “The Greatest Question” was the principal film. Griffith was an American film director and was one of the pioneers of the financing of the feature-length movie. Circa 1919-1920 together with Douglas Fairbanks, Charlie Chaplin and Mary Pickford, he established United Artists, allowing them to plan their own interests, rather than be dependent on commercial studios. By the time he made his final film he had made near 500 films.

Based upon a novel by William Hale, the silent film, The Greatest Question, had a plot about an orphan girl being given shelter by a farm family, but soon finds herself in the hands of a murderous farmer and his wife. The film also had ghostly apparitions and would have been deemed a thriller genre in its day.

The film was supported by one of Burton Holmes interesting travel pictures and also by a comedy entitled “It’s a Boy”. Burton Holmes was the first person to blend travel stories, slides shows and motion pictures into documentary travel lectures, for which he coined the word “travelogue”.  By the turn of the twentieth century Holmes was recognised as America’s leading travel lecturer. Holmes generally spent six months of each year travelling and photographing in various locations. His 1920-21 material for showing in cinemas is listed on his American archive at the US Smithsonian Institution and includes Constantinople Under Allied Control, Jerusalem – Holy City of Three Faiths, Gardens of Allah and the Barbary Coast, Spanish Cities and the Pyrenees, Vision of Venice and the Italian Lakes. Some or all of these may have been shown before the main feature at the Pavilion in Cork in the Spring of 1921.

Captions:

1090a. Pavilion Cinema, St Patrick’s Street, late 1920s from Cork City Through Time by Kieran McCarthy and Dan Breen.

1090b. Golden Discs, former Pavilion Cinema, St Patrick’s Street, present day (picture: Kieran McCarthy).

4 March 2021, “Independent councillor Kieran McCarthy, who is spearheading the call for the archway to be moved, has reiterated his call to the council to come forward with a plan to bring the historic archway out of its hidden corner and into the public realm”, Call for historic Cork archway that led to offices of creators of Tanora to be relocated,
Call for historic Cork archway that led to offices of creators of Tanora to be relocated (echolive.ie)

Kieran’s Our City, Our Town Article,

Cork Independent, 4 March 2021

Journeys to a Truce: The Relief of Irish Distress

In the first week March 1921, members of an American Committee for the Relief of Irish Distress arrived in Cork City. They were hosted by members of Cork Corporation and the Cork Harbour Board, amongst others. Their arrival was a positive one in the context of the narrative of repair after the Burning of Cork and of donating money to the impoverished of the city.

Towards the end of 1920 men and women came together on the invitation of (and under the chairmanship) of the Lord Mayor of Dublin, Laurence O’Neill to form the Irish White Cross. They met to consider how it was possible to alleviate the great amount of suffering that, even at that date, had resulted from the Irish War of Independence. The group were representative of practically every section of the political and religious beliefs of the Irish community. They were motivated solely by humanitarian motives.

Independently of the Irish White Cross in Ireland, in December 1920, a Committee for the Relief of Irish Distress was founded in America by Dr William J Maloney, a Republican cause sympathiser. The committee carried out its task in the same humane spirit that had inspired the many charitable organisations that went out from the United States to offer relief in the days of the First World War.

The committee influenced a series of great drives for funds, which were organised throughout 48 States of America. In a short period of time, it had at its command a large sum – approximately five million dollars – for the relief of people in Ireland.

From the establishment of the committee American members of the Religious Society of Friends were prominent in the ranks of its active members. In January 1921, several members of the latter group with experience in relief and reconstruction work in France and other areas devastated in the great war arrived in Ireland. The group comprised Messrs. R Barclay Spicer (Philadelphia), Oren B Wilbur (New York), William Price (Philadelphia), John C Baker (Philadelphia), Walter C Longstreth (Philadelphia) accompanied by Messrs C J France, (Seattle, Washington) and S D McCoy (New York) City. Their aim was to ascertain the nature and extent of American aid necessary for the relief of the Irish people.

During their mission of 49 days, which lasted until April 1921, C J France acted as Chairman, and S D McCoy as Secretary (the latter not returning to America until October 1921). Mr France remained in Ireland until June 1922, acting as a representative of the American Committee in connection with the distribution of the American Fund.

The delegation’s subsequent published report (which in the present day is now digitally scanned and online) outlines that during their visit members visited nearly one hundred communities in Ireland in which acute distress existed. They visited no less than 95 cities, towns, villages, and creameries, in which destruction of buildings or property by the military or police forces of the British Crown has occurred. In the 95 places visited there occurred 95 per cent, of the material damage to property owned by the civil population, which has been recorded during the twelve months ending 31 March 1921.

The places visited range in geographic location from Gortahork, on the extreme north-western coast of Ireland, to Timoleague, on the extreme southern coast; from Dublin, in the east, to Clifden and Aran Islands, in the west.

The delegation viewed the damage personally, and personally collected on the spot evidence as to the value of the property destroyed. In addition, written statements from reliable sources were supplied to the delegation regarding material damage in the small number of afflicted communities which they were unable to visit. They reported forty co-operative creameries, which were totally ruined and which had their whole machinery reduced to scrap-iron; thirty-five were partly wrecked and rendered unfit for work. The delegation reports on the conflict;

“In the course of this conflict at least 2,000 houses – dwelling houses, farmsteads, shops –were utterly destroyed, while about 1,500 were partially destroyed, many of the latter being rendered uninhabitable. In this way nearly 3,000 families were cast on the world homeless, and very often with the loss of their entire possessions. The majority of the victims were of the small farmer class in the country, and, of the shopkeeper and artisan class in the towns. These had little or no resources to fall back upon, and were it not for the aid of the charitable large numbers must have perished from cold or hunger”.

Summarising this data in regard to material damage and personal distress, the delegation reported that the material damage to Irish shop-buildings, factories, creameries, and private dwelling houses, inflicted by the British forces during the previous twelve months, amounted to approximately $20m. Without reductions in the cost of labour and materials they estimated the cost of replacing the buildings would be approximately $25m.

On arrival in Cork City the committee took the time to hear about the economic and fallout and the destitution created from the Burning of Cork event;

“In a city such as Cork it is difficult to estimate with accuracy the number of people who were directly involved in distress by this destruction, but it is safe to take the estimate given in the same report, that close upon 4,000 persons – men, women, and children – had to be relieved by reason of the loss of their employment. The ordinary charitable associations could not cope with the burden thus cast upon them, and the Irish White Cross had to undertake responsibility for their maintenance”.

Following the delegation’s report, over the ensuing 18 months £788,215 was sent to Ireland to be distributed through the Irish White Cross in Dublin and down to parish committees and in the Cork context to the city’s own Distress Committee. A total of £170, 398 was sent to Cork City to be distributed to those effected by the Irish War of Independence.

Caption:

1089a. Branding for Irish White Cross, 1922 (source: Report of the Irish White Cross to 31^st August, 1922)