https://foundsf.org/index.php?title=Shamrock_Isle_at_the_Panama_Pacific_International_Exposition_and_the_end_of_the_Irish_Village&feed=atom&action=historyShamrock Isle at the Panama Pacific International Exposition and the end of the Irish Village - Revision history2024-03-28T17:09:53ZRevision history for this page on the wikiMediaWiki 1.39.1https://foundsf.org/index.php?title=Shamrock_Isle_at_the_Panama_Pacific_International_Exposition_and_the_end_of_the_Irish_Village&diff=24799&oldid=prevElizabethCCreely at 23:40, 4 January 20162016-01-04T23:40:18Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Croft may have won the battle for the concession contract, but quickly discovered the limits on his vision: a suspicious community and a concession concept that was quickly becoming not just dated, but unpopular. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Croft may have won the battle for the concession contract, but quickly discovered the limits on his vision: a suspicious community and a concession concept that was quickly becoming not just dated, but unpopular. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Much of the complaining came from the pen of Father Peter Yorke. Known as the Labor priest, Yorke founded the pro-labor newspaper ''the Leader''. In the ''Leader'' and the ''Monitor'' Yorke flung accusation after accusation at the Shamrock Isle and Croft. “This Englishman has got from the fair directors a concession for the Irish Village . . . The whole thing has an ancient and moldy smell of small graft,”(17) he charged, suggesting corruption by Frank Burt, the director of the division of concessions and admissions.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Much of the complaining came from the pen of Father Peter Yorke<ins style="font-weight: bold; text-decoration: none;">, pastor of St. Peter's Church in the Mission district and vice president of Sinn Fein in the United States</ins>. Known as the Labor priest, Yorke founded the pro-labor newspaper ''the Leader''. In the ''Leader'' and the ''Monitor'' Yorke flung accusation after accusation at the Shamrock Isle and Croft. “This Englishman has got from the fair directors a concession for the Irish Village . . . The whole thing has an ancient and moldy smell of small graft,”(17) he charged, suggesting corruption by Frank Burt, the director of the division of concessions and admissions.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The minutes of the Committee of Concessions shows some caution in their dealing with the Englishman and some consciousness of Yorke’s, and perhaps others', reaction to their decision. Croft’s first choice of name for the concession was the Donnybrook Fair, a poor choice of name for a model Irish Village. On July 16, 1913, the committee approved the contract with the Kenneth Croft Amusement Company with the proviso that the proposed name be changed to the more mystical (and less pugilistic) name, the Shamrock Isle. The committee also took the unusual step of appointing six Irish-American “censors” —Thornwell Mullally, Joseph Tobin, Father Joseph McQuaid, Archbishop Riordan, J.M. Toner and P.B. Mahoney, all of whom had served on the short-lived Celtic Society of the Panama Pacific International Exposition —to oversee the concession. It was clear that the sight of Irish women plying their skill at the loom or the wheel under the supervision of anyone but Irish-American managers and censors was unthinkable. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The minutes of the Committee of Concessions shows some caution in their dealing with the Englishman and some consciousness of Yorke’s, and perhaps others', reaction to their decision. Croft’s first choice of name for the concession was the Donnybrook Fair, a poor choice of name for a model Irish Village. On July 16, 1913, the committee approved the contract with the Kenneth Croft Amusement Company with the proviso that the proposed name be changed to the more mystical (and less pugilistic) name, the Shamrock Isle. The committee also took the unusual step of appointing six Irish-American “censors” —Thornwell Mullally, Joseph Tobin, Father Joseph McQuaid, Archbishop Riordan, J.M. Toner and P.B. Mahoney, all of whom had served on the short-lived Celtic Society of the Panama Pacific International Exposition —to oversee the concession. It was clear that the sight of Irish women plying their skill at the loom or the wheel under the supervision of anyone but Irish-American managers and censors was unthinkable. </div></td></tr>
</table>ElizabethCCreelyhttps://foundsf.org/index.php?title=Shamrock_Isle_at_the_Panama_Pacific_International_Exposition_and_the_end_of_the_Irish_Village&diff=24798&oldid=prevElizabethCCreely at 23:32, 4 January 20162016-01-04T23:32:06Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>All of this rehabilitated Irish industriousness took place within an imaginary Irish village, situated within an imaginary Ireland. Both villages used a triad of symbols—cottages, colleens, and castles—to summon the spirit of the auld sod. Lady Aberdeen’s village used a replica of Cormac’s Chapel as an entrance; Mrs. Hart’s village was fronted by the St. Lawrence Gate that failed the villagers of Drogheda so badly in 1649. “It is impossible to describe the feeling which crowd upon the imagination; the grey hoar and solemn and melancholy ruins seem in their mute eloquence,”(4) the official guide to the Irish Industrial Village informed village visitors. Mute eloquence to be sure. Whether that was the muteness of ''le temps perdu'' or the funeral silence of the dead is debatable: it probably depended on who was walking around the replicas of relics and ruins, decayed remnants from the past re-purposed as picturesque decoration.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>All of this rehabilitated Irish industriousness took place within an imaginary Irish village, situated within an imaginary Ireland. Both villages used a triad of symbols—cottages, colleens, and castles—to summon the spirit of the auld sod. Lady Aberdeen’s village used a replica of Cormac’s Chapel as an entrance; Mrs. Hart’s village was fronted by the St. Lawrence Gate that failed the villagers of Drogheda so badly in 1649. “It is impossible to describe the feeling which crowd upon the imagination; the grey hoar and solemn and melancholy ruins seem in their mute eloquence,”(4) the official guide to the Irish Industrial Village informed village visitors. Mute eloquence to be sure. Whether that was the muteness of ''le temps perdu'' or the funeral silence of the dead is debatable: it probably depended on who was walking around the replicas of relics and ruins, decayed remnants from the past re-purposed as picturesque decoration.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In the Irish Industrial Village, merchandise was made onsite by the personnel, the Irish colleens, selected by Lady Aberdeen, who had toured Ireland inspecting Irish villages and looking for candidates to stock her exhibit. A description of this hiring tour —entitled “Selection of the Fittest”(5)— appears in the official guidebook to the Irish Village. The use of social Darwinism in Lady Aberdeen’s marketing materials corresponds to the marketing and production values of the Midway Plaisance, a site described by Otis T. Mason, ethnologist and curator from the Smithsonian Institution, as “one vast anthropological revelation”(6). [[Image:Oneof-LadyAberdeensColleens 2.jpg|left|230px|thumb|'''One of Lady Aberdeen's "Colleens";' ''Photo: Guide to the Irish Industries and Blarney Castle, Irish Industries Association'']] Calling the Irish women “colleens” emphasized the strategy of the ethnologists of depicting the cultures and ethnicities on display in the Midway Plaisance as childlike and in need of forthright Anglo-Saxon guidance. A picture from the Irish Industrial Village brochure, entitled “A Bright Worker,”(7) shows one of the colleens: an <del style="font-weight: bold; text-decoration: none;">un-named </del>woman with lines on her face, smiling gamely for the camera. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In the Irish Industrial Village, merchandise was made onsite by the personnel, the Irish colleens, selected by Lady Aberdeen, who had toured Ireland inspecting Irish villages and looking for candidates to stock her exhibit. A description of this hiring tour —entitled “Selection of the Fittest”(5)— appears in the official guidebook to the Irish Village. The use of social Darwinism in Lady Aberdeen’s marketing materials corresponds to the marketing and production values of the Midway Plaisance, a site described by Otis T. Mason, ethnologist and curator from the Smithsonian Institution, as “one vast anthropological revelation”(6). [[Image:Oneof-LadyAberdeensColleens 2.jpg|left|230px|thumb|'''One of Lady Aberdeen's "Colleens";' ''Photo: Guide to the Irish Industries and Blarney Castle, Irish Industries Association'']] Calling the Irish women “colleens” emphasized the strategy of the ethnologists of depicting the cultures and ethnicities on display in the Midway Plaisance as childlike and in need of forthright Anglo-Saxon guidance. A picture from the Irish Industrial Village brochure, entitled “A Bright Worker,”(7) shows one of the colleens: an <ins style="font-weight: bold; text-decoration: none;">anonymous </ins>woman with lines on her face, smiling gamely for the camera. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The women weren’t selected for their youth, but for their specific skills: Mary Flynn, was picked for her lace-making skills, while Bridget McGinley showed American visitors how a spinning wheel worked. Newspaper accounts and the promotional literature produced for the village show an almost fetishistic focus on the women’s nimble Celtic fingers, making the women sound robotic, their labor regimented and tightly controlled. A later account of the success of the village was blunt in its assessment of the women’s true status: “The Irish Village at Chicago with over 100 inmates was a great success.”(8) The word “inmates” may have been the most appropriate description, confined as they were to the precincts of the village/model colony with their bodies on display and their private lives under controlling scrutiny. Lady Aberdeen boasted to the women assembled at the Congress that “The forty Irish girls whom we brought out with us, go back the pure, true, sunny maidens that came out with us.”(9) (How could Lady Aberdeen know?) Perhaps the village colleen’s chastity and virtue functioned as a guarantee: the purer the maker, the purer the quality of the merchandise. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The women weren’t selected for their youth, but for their specific skills: Mary Flynn, was picked for her lace-making skills, while Bridget McGinley showed American visitors how a spinning wheel worked. Newspaper accounts and the promotional literature produced for the village show an almost fetishistic focus on the women’s nimble Celtic fingers, making the women sound robotic, their labor regimented and tightly controlled. A later account of the success of the village was blunt in its assessment of the women’s true status: “The Irish Village at Chicago with over 100 inmates was a great success.”(8) The word “inmates” may have been the most appropriate description, confined as they were to the precincts of the village/model colony with their bodies on display and their private lives under controlling scrutiny. Lady Aberdeen boasted to the women assembled at the Congress that “The forty Irish girls whom we brought out with us, go back the pure, true, sunny maidens that came out with us.”(9) (How could Lady Aberdeen know?) Perhaps the village colleen’s chastity and virtue functioned as a guarantee: the purer the maker, the purer the quality of the merchandise. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Lady Aberdeen displayed the some of merchandise by wearing traditional Irish dress inside her cottage, which she had specially built for her. Called ''Lyra na Grena'', it was there that she received important visitors to the exhibit, seated behind a spinning wheel, dressed in traditional garb, commissioned, perhaps, from one of the Irish workers. Professor Caroline Malloy who has written extensively on representations of the Irish and Ireland at Worlds Fairs,(10) likens this marketing ploy to high fashion. Indeed, it is not unlike Marc Jacobs’s infamous Fall 1992 grunge show, where the clothes of the street become the costumes of couture<del style="font-weight: bold; text-decoration: none;">. It was a canny marketing ploy on Lady Aberdeen’s part</del>. Posing in native Irish clothes to drive sales of merchandise isn’t a bad idea. But this “high fashion” moment of cultural appropriation is disorienting. Working at her spinning wheel, Bridget McGinley wore clothing based on what she could make herself, a material, embodied reality. When the Lady donned her elaborate Irish costume made of the finest materials and sat herself down behind her unused spinning wheel, she created a sort of shell game: which cottage is the real Irishwoman in? </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Lady Aberdeen displayed the some of merchandise by wearing traditional Irish dress inside her cottage, which she had specially built for her. Called ''Lyra na Grena'', it was there that she received important visitors to the exhibit, seated behind a spinning wheel, dressed in traditional garb, commissioned, perhaps, from one of the Irish workers. Professor Caroline Malloy who has written extensively on representations of the Irish and Ireland at Worlds Fairs,(10) likens this marketing ploy to high fashion. Indeed, it is not unlike Marc Jacobs’s infamous Fall 1992 grunge show, where the clothes of the street become the costumes of couture. Posing in native Irish clothes to drive sales of merchandise isn’t a bad idea<ins style="font-weight: bold; text-decoration: none;">. It was a canny marketing ploy on Lady Aberdeen’s part</ins>. But this “high fashion” moment of cultural appropriation is disorienting. Working at her spinning wheel, Bridget McGinley wore clothing based on what she could make herself, a material, embodied reality. When the Lady donned her elaborate Irish costume made of the finest materials and sat herself down behind her unused spinning wheel, she created a sort of shell game: which cottage is the real Irishwoman in? </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The villages were curious ventures: highhanded and maternalistic on the one hand, but nonpartisan as well. Both Irish Villages were supported by prominent Irish Americans, and no less a republican that Michael Davitt, founder of the Land League, sent a letter of support to Lady Aberdeen. “I fully believe you will succeed beyond your expectations,”(11) he wrote. Both the Irish Industrial Village and the Donegal Irish Village functioned as fair trade projects, minus the element of workers organizing themselves into worker’s cooperatives: native goods were being sustainably produced by the native workers with a percentage of profits being returned to the workers. Like the workers in the highlands of Guatemala today, the native Irish were tasked with righting their local and national economies, stitch by stitch, in the aftermath of famine, land wars, and the forced entry into the economic superstructure of the British Empire via the Act of Union. In Chicago, the Irish colleens were carrying out Ireland’s economic and social comeback in a staged performance as tightly choreographed as a theatrical production. A different future might unspool from this unreal presentation of the past. All that needed to be done was for the Irish to roll up their sleeves, get behind the spinning wheel or loom, and get back to work. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The villages were curious ventures: highhanded and maternalistic on the one hand, but nonpartisan as well. Both Irish Villages were supported by prominent Irish Americans, and no less a republican that Michael Davitt, founder of the Land League, sent a letter of support to Lady Aberdeen. “I fully believe you will succeed beyond your expectations,”(11) he wrote. Both the Irish Industrial Village and the Donegal Irish Village functioned as fair trade projects, minus the element of workers organizing themselves into worker’s cooperatives: native goods were being sustainably produced by the native workers with a percentage of profits being returned to the workers. Like the workers in the highlands of Guatemala today, the native Irish were tasked with righting their local and national economies, stitch by stitch, in the aftermath of famine, land wars, and the forced entry into the economic superstructure of the British Empire via the Act of Union. In Chicago, the Irish colleens were carrying out Ireland’s economic and social comeback in a staged performance as tightly choreographed as a theatrical production. A different future might unspool from this unreal presentation of the past. All that needed to be done was for the Irish to roll up their sleeves, get behind the spinning wheel or loom, and get back to work. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Does nostalgia restore the past? Or re-story it? It depends on whose gaze has settled on the barbican gate, the ruined castle or the quaint cottage. In 1893, it was entirely possible for an Irish-American visitor to an Irish Village to be a famine immigrant, one who left Ireland when the sight of deserted, roofless cottages was a common sight. The ideas conveyed by the bland romanticism of nostalgia—restoration, a new beginning from the ashes of the past—must surely have withered into mere sentimentality under the gaze of the knowing immigrant who understands that the past is spent, <del style="font-weight: bold; text-decoration: none;">but never </del>innocent. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Does nostalgia restore the past? Or re-story it? It depends on whose gaze has settled on the barbican gate, the ruined castle or the quaint cottage. In 1893, it was entirely possible for an Irish-American visitor to an Irish Village to be a famine immigrant, one who left Ireland when the sight of deserted, roofless cottages was a common sight. The ideas conveyed by the bland romanticism of nostalgia—restoration, a new beginning from the ashes of the past—must surely have withered into mere sentimentality under the gaze of the knowing immigrant who understands that the <ins style="font-weight: bold; text-decoration: none;">while </ins>past is spent, <ins style="font-weight: bold; text-decoration: none;">it is rarely </ins>innocent. </div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><font size=4>Irish Village in San Francisco</font size></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><font size=4>Irish Village in San Francisco</font size></div></td></tr>
</table>ElizabethCCreelyhttps://foundsf.org/index.php?title=Shamrock_Isle_at_the_Panama_Pacific_International_Exposition_and_the_end_of_the_Irish_Village&diff=24797&oldid=prevElizabethCCreely at 23:27, 4 January 20162016-01-04T23:27:42Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>All of this rehabilitated Irish industriousness took place within an imaginary Irish village, situated within an imaginary Ireland. Both villages used a triad of symbols—cottages, colleens, and castles—to summon the spirit of the auld sod. Lady Aberdeen’s village used a replica of Cormac’s Chapel as an entrance; Mrs. Hart’s village was fronted by the St. Lawrence Gate that failed the villagers of Drogheda so badly in 1649. “It is impossible to describe the feeling which crowd upon the imagination; the grey hoar and solemn and melancholy ruins seem in their mute eloquence,”(4) the official guide to the Irish Industrial Village informed village visitors. Mute eloquence to be sure. Whether that was the muteness of ''le temps perdu'' or the funeral silence of the dead is debatable: it probably depended on who was walking around the replicas of relics and ruins, decayed remnants from the past re-purposed as picturesque decoration.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>All of this rehabilitated Irish industriousness took place within an imaginary Irish village, situated within an imaginary Ireland. Both villages used a triad of symbols—cottages, colleens, and castles—to summon the spirit of the auld sod. Lady Aberdeen’s village used a replica of Cormac’s Chapel as an entrance; Mrs. Hart’s village was fronted by the St. Lawrence Gate that failed the villagers of Drogheda so badly in 1649. “It is impossible to describe the feeling which crowd upon the imagination; the grey hoar and solemn and melancholy ruins seem in their mute eloquence,”(4) the official guide to the Irish Industrial Village informed village visitors. Mute eloquence to be sure. Whether that was the muteness of ''le temps perdu'' or the funeral silence of the dead is debatable: it probably depended on who was walking around the replicas of relics and ruins, decayed remnants from the past re-purposed as picturesque decoration.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In the Irish Industrial Village, merchandise was made onsite by the personnel, the Irish colleens, <del style="font-weight: bold; text-decoration: none;">who had been </del>selected by Lady Aberdeen, who had toured Ireland inspecting Irish villages and looking for candidates to stock her exhibit. A description of this hiring tour —entitled “Selection of the Fittest”(5)— appears in the official guidebook to the Irish Village. The use of social Darwinism in Lady Aberdeen’s marketing materials corresponds to the marketing and production values of the Midway Plaisance, a site described by Otis T. Mason, ethnologist and curator from the Smithsonian Institution, as “one vast anthropological revelation”(6). [[Image:Oneof-LadyAberdeensColleens 2.jpg|left|230px|thumb|'''One of Lady Aberdeen's "Colleens";' ''Photo: Guide to the Irish Industries and Blarney Castle, Irish Industries Association'']] Calling the Irish women “colleens” emphasized the strategy of the ethnologists of depicting the cultures and ethnicities on display in the Midway Plaisance as childlike and in need of forthright Anglo-Saxon guidance. A picture from the Irish Industrial Village brochure, entitled “A Bright Worker,”(7) shows one of the colleens: an un-named woman with lines on her face, smiling gamely for the camera. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In the Irish Industrial Village, merchandise was made onsite by the personnel, the Irish colleens, selected by Lady Aberdeen, who had toured Ireland inspecting Irish villages and looking for candidates to stock her exhibit. A description of this hiring tour —entitled “Selection of the Fittest”(5)— appears in the official guidebook to the Irish Village. The use of social Darwinism in Lady Aberdeen’s marketing materials corresponds to the marketing and production values of the Midway Plaisance, a site described by Otis T. Mason, ethnologist and curator from the Smithsonian Institution, as “one vast anthropological revelation”(6). [[Image:Oneof-LadyAberdeensColleens 2.jpg|left|230px|thumb|'''One of Lady Aberdeen's "Colleens";' ''Photo: Guide to the Irish Industries and Blarney Castle, Irish Industries Association'']] Calling the Irish women “colleens” emphasized the strategy of the ethnologists of depicting the cultures and ethnicities on display in the Midway Plaisance as childlike and in need of forthright Anglo-Saxon guidance. A picture from the Irish Industrial Village brochure, entitled “A Bright Worker,”(7) shows one of the colleens: an un-named woman with lines on her face, smiling gamely for the camera. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The women weren’t selected for their youth, but for their specific skills: Mary Flynn, was picked for her lace-making skills, while Bridget McGinley showed American visitors how a spinning wheel worked. Newspaper accounts and the promotional literature produced for the village show an almost fetishistic focus on the women’s nimble Celtic fingers, making the women sound robotic, their labor regimented and tightly controlled. A later account of the success of the village was blunt in its assessment of the women’s true status: “The Irish Village at Chicago with over 100 inmates was a great success.”(8) The word “inmates” may have been the most appropriate description, confined as they were to the precincts of the village/model colony with their bodies on display and their private lives under controlling scrutiny. Lady Aberdeen boasted to the women assembled at the Congress that “The forty Irish girls whom we brought out with us, go back the pure, true, sunny maidens that came out with us.”(9) (How could Lady Aberdeen know?) Perhaps the village colleen’s chastity and virtue functioned as a guarantee: the purer the maker, the purer the quality of the merchandise. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The women weren’t selected for their youth, but for their specific skills: Mary Flynn, was picked for her lace-making skills, while Bridget McGinley showed American visitors how a spinning wheel worked. Newspaper accounts and the promotional literature produced for the village show an almost fetishistic focus on the women’s nimble Celtic fingers, making the women sound robotic, their labor regimented and tightly controlled. A later account of the success of the village was blunt in its assessment of the women’s true status: “The Irish Village at Chicago with over 100 inmates was a great success.”(8) The word “inmates” may have been the most appropriate description, confined as they were to the precincts of the village/model colony with their bodies on display and their private lives under controlling scrutiny. Lady Aberdeen boasted to the women assembled at the Congress that “The forty Irish girls whom we brought out with us, go back the pure, true, sunny maidens that came out with us.”(9) (How could Lady Aberdeen know?) Perhaps the village colleen’s chastity and virtue functioned as a guarantee: the purer the maker, the purer the quality of the merchandise. </div></td></tr>
</table>ElizabethCCreelyhttps://foundsf.org/index.php?title=Shamrock_Isle_at_the_Panama_Pacific_International_Exposition_and_the_end_of_the_Irish_Village&diff=24763&oldid=prevElizabethCCreely at 19:26, 2 December 20152015-12-02T19:26:23Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 12:26, 2 December 2015</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>None of Croft’s other ventures explains why the Shamrock Isle foundered. But it may throw light on Yorke’s suspicion of Croft. Alexander Carnegie Ross had been actively working with British Naval Intelligence before the start of World War I and was transforming the consul’s office into something much more than a diplomatic outpost in the far reaches of America. Under Ross’s direction, the British Consulate developed intelligence capacities and was actively collecting information about the Irish and Indian nationalists in San Francisco, throughout the war, leading in 1916 to the prosecution in a US federal court of an Indian-Irish-German conspiracy to provide arms to the Indian nationalist [[Ghadar Memorial|Ghadar Party]]. Historian Matthew Erin Plowman has described the British consulate under Ross’s direction as “the key forward base in the infiltration and destruction of the Indo-German-Irish network.”(34) There is no evidence that Croft did anything other than receive funds and escort willing recruits, in open defiance of US neutrality. To discover that Croft was working for the British government surely have been met with unease by the Irish community in San Francisco. But it’s impossible to overstate the probable outrage with which physical-force republicans like Kelleher (who were likely surveilled by the consulate) would have when they received the news of Croft’s association with the British government. If indeed, it was a secret. Kelleher’s abrupt departure (or demotion?) in early 1915 seems significant in light of Croft’s association with the Carnegie Ross. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>None of Croft’s other ventures explains why the Shamrock Isle foundered. But it may throw light on Yorke’s suspicion of Croft. Alexander Carnegie Ross had been actively working with British Naval Intelligence before the start of World War I and was transforming the consul’s office into something much more than a diplomatic outpost in the far reaches of America. Under Ross’s direction, the British Consulate developed intelligence capacities and was actively collecting information about the Irish and Indian nationalists in San Francisco, throughout the war, leading in 1916 to the prosecution in a US federal court of an Indian-Irish-German conspiracy to provide arms to the Indian nationalist [[Ghadar Memorial|Ghadar Party]]. Historian Matthew Erin Plowman has described the British consulate under Ross’s direction as “the key forward base in the infiltration and destruction of the Indo-German-Irish network.”(34) There is no evidence that Croft did anything other than receive funds and escort willing recruits, in open defiance of US neutrality. To discover that Croft was working for the British government surely have been met with unease by the Irish community in San Francisco. But it’s impossible to overstate the probable outrage with which physical-force republicans like Kelleher (who were likely surveilled by the consulate) would have when they received the news of Croft’s association with the British government. If indeed, it was a secret. Kelleher’s abrupt departure (or demotion?) in early 1915 seems significant in light of Croft’s association with the Carnegie Ross. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Croft was lucky he got anything in the exhibit. Todd’s official history says, “The war made it impossible to get any interesting exemplifications of Irish life and industry.” Laura Ackley estimates that 100,000 square feet of space in the Palace of Liberal Arts “evaporated”(35) following the start of the war in August 1914. The official file for the Shamrock Isle is silent on the question of the difficulties that the war made for the exhibit: how well stocked the exhibit was with Ireland’s finest china, jewelry, and other arts is unknown. This didn’t deter the managers of the Isle—whoever they were—from running ads in the ''Monitor'', urging readers to patronize the Shamrock Isle. In July, 1915, the ''Monitor'' ran a final story on the Shamrock Isle, alerting readers to that fact that a new tea shop had opened inside the concession. “The jaunting car, the scenic displays, the splendid array of Irish souvenirs . . . make the Irish Village one of the real successes of the Zone.”(36) Brave words, but to no avail. The concession closed five weeks later on August 31, 1915, six months after opening. </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Croft was lucky he got anything in the exhibit. Todd’s official history says, “The war made it impossible to get any interesting exemplifications of Irish life and industry.” <ins style="font-weight: bold; text-decoration: none;">Author </ins>Laura <ins style="font-weight: bold; text-decoration: none;">A. </ins>Ackley estimates that 100,000 square feet of space in the Palace of Liberal Arts “evaporated”(35) following the start of the war in August 1914. The official file for the Shamrock Isle is silent on the question of the difficulties that the war made for the exhibit: how well stocked the exhibit was with Ireland’s finest china, jewelry, and other arts is unknown. This didn’t deter the managers of the Isle—whoever they were—from running ads in the ''Monitor'', urging readers to patronize the Shamrock Isle. In July, 1915, the ''Monitor'' ran a final story on the Shamrock Isle, alerting readers to that fact that a new tea shop had opened inside the concession. “The jaunting car, the scenic displays, the splendid array of Irish souvenirs . . . make the Irish Village one of the real successes of the Zone.”(36) Brave words, but to no avail. The concession closed five weeks later on August 31, 1915, six months after opening. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:SFPL irishvillage.jpg]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:SFPL irishvillage.jpg]]</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''"The Shamrock Isle on the Zone." This photo was taken some time after February 1914, during the construction of the Joy Zone. Many thanks to architect and writer Laura Ackley, author of ''San Francisco's Jewel City: The Panama-Pacific International Exposition of 1915'', for her help in determining this. '''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''"The Shamrock Isle on the Zone." This photo was taken some time after February 1914, during the construction of the Joy Zone. Many thanks to architect and writer Laura Ackley, author of ''San Francisco's Jewel City: The Panama-Pacific International Exposition of 1915'', for her help in determining this. '''</div></td></tr>
</table>ElizabethCCreelyhttps://foundsf.org/index.php?title=Shamrock_Isle_at_the_Panama_Pacific_International_Exposition_and_the_end_of_the_Irish_Village&diff=24762&oldid=prevElizabethCCreely at 19:23, 2 December 20152015-12-02T19:23:27Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Croft was lucky he got anything in the exhibit. Todd’s official history says, “The war made it impossible to get any interesting exemplifications of Irish life and industry.” Laura Ackley estimates that 100,000 square feet of space in the Palace of Liberal Arts “evaporated”(35) following the start of the war in August 1914. The official file for the Shamrock Isle is silent on the question of the difficulties that the war made for the exhibit: how well stocked the exhibit was with Ireland’s finest china, jewelry, and other arts is unknown. This didn’t deter the managers of the Isle—whoever they were—from running ads in the ''Monitor'', urging readers to patronize the Shamrock Isle. In July, 1915, the ''Monitor'' ran a final story on the Shamrock Isle, alerting readers to that fact that a new tea shop had opened inside the concession. “The jaunting car, the scenic displays, the splendid array of Irish souvenirs . . . make the Irish Village one of the real successes of the Zone.”(36) Brave words, but to no avail. The concession closed five weeks later on August 31, 1915, six months after opening. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Croft was lucky he got anything in the exhibit. Todd’s official history says, “The war made it impossible to get any interesting exemplifications of Irish life and industry.” Laura Ackley estimates that 100,000 square feet of space in the Palace of Liberal Arts “evaporated”(35) following the start of the war in August 1914. The official file for the Shamrock Isle is silent on the question of the difficulties that the war made for the exhibit: how well stocked the exhibit was with Ireland’s finest china, jewelry, and other arts is unknown. This didn’t deter the managers of the Isle—whoever they were—from running ads in the ''Monitor'', urging readers to patronize the Shamrock Isle. In July, 1915, the ''Monitor'' ran a final story on the Shamrock Isle, alerting readers to that fact that a new tea shop had opened inside the concession. “The jaunting car, the scenic displays, the splendid array of Irish souvenirs . . . make the Irish Village one of the real successes of the Zone.”(36) Brave words, but to no avail. The concession closed five weeks later on August 31, 1915, six months after opening. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:SFPL irishvillage.jpg]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:SFPL irishvillage.jpg]]</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''"The Shamrock Isle on the Zone." This photo was <del style="font-weight: bold; text-decoration: none;">probably </del>taken during construction.'''</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''"The Shamrock Isle on the Zone." This photo was taken <ins style="font-weight: bold; text-decoration: none;">some time after February 1914, </ins>during <ins style="font-weight: bold; text-decoration: none;">the </ins>construction <ins style="font-weight: bold; text-decoration: none;">of the Joy Zone. Many thanks to architect and writer Laura Ackley, author of ''San Francisco's Jewel City: The Panama-Pacific International Exposition of 1915'', for her help in determining this</ins>. '''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Photo: San Francisco Historical Photograph Collection, San Francisco History Center, San Francisco Public Library ''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Photo: San Francisco Historical Photograph Collection, San Francisco History Center, San Francisco Public Library ''</div></td></tr>
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</table>ElizabethCCreelyhttps://foundsf.org/index.php?title=Shamrock_Isle_at_the_Panama_Pacific_International_Exposition_and_the_end_of_the_Irish_Village&diff=24761&oldid=prevElizabethCCreely at 18:26, 2 December 20152015-12-02T18:26:30Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Croft was lucky he got anything in the exhibit. Todd’s official history says, “The war made it impossible to get any interesting exemplifications of Irish life and industry.” Laura Ackley estimates that 100,000 square feet of space in the Palace of Liberal Arts “evaporated”(35) following the start of the war in August 1914. The official file for the Shamrock Isle is silent on the question of the difficulties that the war made for the exhibit: how well stocked the exhibit was with Ireland’s finest china, jewelry, and other arts is unknown. This didn’t deter the managers of the Isle—whoever they were—from running ads in the ''Monitor'', urging readers to patronize the Shamrock Isle. In July, 1915, the ''Monitor'' ran a final story on the Shamrock Isle, alerting readers to that fact that a new tea shop had opened inside the concession. “The jaunting car, the scenic displays, the splendid array of Irish souvenirs . . . make the Irish Village one of the real successes of the Zone.”(36) Brave words, but to no avail. The concession closed five weeks later on August 31, 1915, six months after opening. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Croft was lucky he got anything in the exhibit. Todd’s official history says, “The war made it impossible to get any interesting exemplifications of Irish life and industry.” Laura Ackley estimates that 100,000 square feet of space in the Palace of Liberal Arts “evaporated”(35) following the start of the war in August 1914. The official file for the Shamrock Isle is silent on the question of the difficulties that the war made for the exhibit: how well stocked the exhibit was with Ireland’s finest china, jewelry, and other arts is unknown. This didn’t deter the managers of the Isle—whoever they were—from running ads in the ''Monitor'', urging readers to patronize the Shamrock Isle. In July, 1915, the ''Monitor'' ran a final story on the Shamrock Isle, alerting readers to that fact that a new tea shop had opened inside the concession. “The jaunting car, the scenic displays, the splendid array of Irish souvenirs . . . make the Irish Village one of the real successes of the Zone.”(36) Brave words, but to no avail. The concession closed five weeks later on August 31, 1915, six months after opening. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:SFPL irishvillage.jpg]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:SFPL irishvillage.jpg]]</div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'''The Shamrock Isle on the Zone<del style="font-weight: bold; text-decoration: none;">, perhaps after closing in August of 1915</del>.'''</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>'''<ins style="font-weight: bold; text-decoration: none;">"</ins>The Shamrock Isle on the Zone<ins style="font-weight: bold; text-decoration: none;">." This photo was probably taken during construction</ins>.'''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Photo: San Francisco Historical Photograph Collection, San Francisco History Center, San Francisco Public Library ''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>''Photo: San Francisco Historical Photograph Collection, San Francisco History Center, San Francisco Public Library ''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
</table>ElizabethCCreelyhttps://foundsf.org/index.php?title=Shamrock_Isle_at_the_Panama_Pacific_International_Exposition_and_the_end_of_the_Irish_Village&diff=24760&oldid=prevElizabethCCreely at 21:07, 1 December 20152015-12-01T21:07:55Z<p></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 14:07, 1 December 2015</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l104">Line 104:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Croft was lucky he got anything in the exhibit. Todd’s official history says, “The war made it impossible to get any interesting exemplifications of Irish life and industry.” Laura Ackley estimates that 100,000 square feet of space in the Palace of Liberal Arts “evaporated”(35) following the start of the war in August 1914. The official file for the Shamrock Isle is silent on the question of the difficulties that the war made for the exhibit: how well stocked the exhibit was with Ireland’s finest china, jewelry, and other arts is unknown. This didn’t deter the managers of the Isle—whoever they were—from running ads in the ''Monitor'', urging readers to patronize the Shamrock Isle. In July, 1915, the ''Monitor'' ran a final story on the Shamrock Isle, alerting readers to that fact that a new tea shop had opened inside the concession. “The jaunting car, the scenic displays, the splendid array of Irish souvenirs . . . make the Irish Village one of the real successes of the Zone.”(36) Brave words, but to no avail. The concession closed five weeks later on August 31, 1915, six months after opening. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Croft was lucky he got anything in the exhibit. Todd’s official history says, “The war made it impossible to get any interesting exemplifications of Irish life and industry.” Laura Ackley estimates that 100,000 square feet of space in the Palace of Liberal Arts “evaporated”(35) following the start of the war in August 1914. The official file for the Shamrock Isle is silent on the question of the difficulties that the war made for the exhibit: how well stocked the exhibit was with Ireland’s finest china, jewelry, and other arts is unknown. This didn’t deter the managers of the Isle—whoever they were—from running ads in the ''Monitor'', urging readers to patronize the Shamrock Isle. In July, 1915, the ''Monitor'' ran a final story on the Shamrock Isle, alerting readers to that fact that a new tea shop had opened inside the concession. “The jaunting car, the scenic displays, the splendid array of Irish souvenirs . . . make the Irish Village one of the real successes of the Zone.”(36) Brave words, but to no avail. The concession closed five weeks later on August 31, 1915, six months after opening. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:SFPL irishvillage.jpg]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:SFPL irishvillage.jpg]]</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''The Shamrock Isle on the Zone, perhaps after closing in August of 1915.'''</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">''Photo: San Francisco Historical Photograph Collection, San Francisco History Center, San Francisco Public Library ''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>For the past 100 years, the evidence that the Shamrock Isle ever stood in the Joy Zone has been little more than a cursory descriptions in exposition guidebooks, a single folder in the Bancroft Library, and several paragraphs in Frank Morton Todd’s voluminous five-volume history, where he notes its financial failure. “As an Irish Village the Shamrock Isle, with its two theaters, failed to reach any very altitudinous position in the financial world.”(37) This is an understatement: the financial records tell the story of financial disappointment: the concession cost $100,000 (about $2.3 million in 2015 dollars) to build and stock. By the time it closed, its reported revenue was only $13,096.76. It was an irony that with all the ire that Yorke hurled at the exhibit and all the vigilance the concession censors and their managers mustered, they were hardly able to do much more than emulate—and hardly even that— the previous Irish Villages. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>For the past 100 years, the evidence that the Shamrock Isle ever stood in the Joy Zone has been little more than a cursory descriptions in exposition guidebooks, a single folder in the Bancroft Library, and several paragraphs in Frank Morton Todd’s voluminous five-volume history, where he notes its financial failure. “As an Irish Village the Shamrock Isle, with its two theaters, failed to reach any very altitudinous position in the financial world.”(37) This is an understatement: the financial records tell the story of financial disappointment: the concession cost $100,000 (about $2.3 million in 2015 dollars) to build and stock. By the time it closed, its reported revenue was only $13,096.76. It was an irony that with all the ire that Yorke hurled at the exhibit and all the vigilance the concession censors and their managers mustered, they were hardly able to do much more than emulate—and hardly even that— the previous Irish Villages. </div></td></tr>
</table>ElizabethCCreelyhttps://foundsf.org/index.php?title=Shamrock_Isle_at_the_Panama_Pacific_International_Exposition_and_the_end_of_the_Irish_Village&diff=24759&oldid=prevElizabethCCreely at 21:02, 1 December 20152015-12-01T21:02:22Z<p></p>
<table style="background-color: #fff; color: #202122;" data-mw="interface">
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 14:02, 1 December 2015</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l37">Line 37:</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Twenty-two years later, there was another exposition, and another authentic Irish Village in the offing. The Panama Pacific International Exposition was eagerly anticipated by San Francisco, and the Irish exhibit that would surely appear was anticipated as well. “Ireland to send big 1915 exhibit,” the ''San Francisco Chronicle'' reported in June of 1911. “Fast horses included.”(12) This article covered a speech given at Kendrick’s Hall on Valencia Street by one Canon J. Daly, who promised that Ireland and its manufacturers were ready to ship their finest wares across the ocean and through the Panama Canal on ships “all built in our Irish shipyards,”(13) mentioning the ''Lusitania'' and the ''Mauritania'' as carriers as well as two other new additions to the White Star fleet, the ''Olympic'' and the ''Titanic''. Belleek china, linen, textiles, and tobacco would sail through the soon-to-be-completed Panama Canal all bearing the mark ''Déanta in Éirinn'', all to be sold alongside the goods of other nations at the exposition. The plan just needed backers. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Twenty-two years later, there was another exposition, and another authentic Irish Village in the offing. The Panama Pacific International Exposition was eagerly anticipated by San Francisco, and the Irish exhibit that would surely appear was anticipated as well. “Ireland to send big 1915 exhibit,” the ''San Francisco Chronicle'' reported in June of 1911. “Fast horses included.”(12) This article covered a speech given at Kendrick’s Hall on Valencia Street by one Canon J. Daly, who promised that Ireland and its manufacturers were ready to ship their finest wares across the ocean and through the Panama Canal on ships “all built in our Irish shipyards,”(13) mentioning the ''Lusitania'' and the ''Mauritania'' as carriers as well as two other new additions to the White Star fleet, the ''Olympic'' and the ''Titanic''. Belleek china, linen, textiles, and tobacco would sail through the soon-to-be-completed Panama Canal all bearing the mark ''Déanta in Éirinn'', all to be sold alongside the goods of other nations at the exposition. The plan just needed backers. </div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">[[Image:Irishvillage.jpg|720px]]</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">'''Irish Village.'''</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">''Image: Elizabeth Creely''</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:2 20 15-ad-for-Shamrock-Isle-2.jpg]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:2 20 15-ad-for-Shamrock-Isle-2.jpg]]</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Croft was lucky he got anything in the exhibit. Todd’s official history says, “The war made it impossible to get any interesting exemplifications of Irish life and industry.” Laura Ackley estimates that 100,000 square feet of space in the Palace of Liberal Arts “evaporated”(35) following the start of the war in August 1914. The official file for the Shamrock Isle is silent on the question of the difficulties that the war made for the exhibit: how well stocked the exhibit was with Ireland’s finest china, jewelry, and other arts is unknown. This didn’t deter the managers of the Isle—whoever they were—from running ads in the ''Monitor'', urging readers to patronize the Shamrock Isle. In July, 1915, the ''Monitor'' ran a final story on the Shamrock Isle, alerting readers to that fact that a new tea shop had opened inside the concession. “The jaunting car, the scenic displays, the splendid array of Irish souvenirs . . . make the Irish Village one of the real successes of the Zone.”(36) Brave words, but to no avail. The concession closed five weeks later on August 31, 1915, six months after opening. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Croft was lucky he got anything in the exhibit. Todd’s official history says, “The war made it impossible to get any interesting exemplifications of Irish life and industry.” Laura Ackley estimates that 100,000 square feet of space in the Palace of Liberal Arts “evaporated”(35) following the start of the war in August 1914. The official file for the Shamrock Isle is silent on the question of the difficulties that the war made for the exhibit: how well stocked the exhibit was with Ireland’s finest china, jewelry, and other arts is unknown. This didn’t deter the managers of the Isle—whoever they were—from running ads in the ''Monitor'', urging readers to patronize the Shamrock Isle. In July, 1915, the ''Monitor'' ran a final story on the Shamrock Isle, alerting readers to that fact that a new tea shop had opened inside the concession. “The jaunting car, the scenic displays, the splendid array of Irish souvenirs . . . make the Irish Village one of the real successes of the Zone.”(36) Brave words, but to no avail. The concession closed five weeks later on August 31, 1915, six months after opening. </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[File:SFPL irishvillage.jpg]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>For the past 100 years, the evidence that the Shamrock Isle ever stood in the Joy Zone has been little more than a cursory descriptions in exposition guidebooks, a single folder in the Bancroft Library, and several paragraphs in Frank Morton Todd’s voluminous five-volume history, where he notes its financial failure. “As an Irish Village the Shamrock Isle, with its two theaters, failed to reach any very altitudinous position in the financial world.”(37) This is an understatement: the financial records tell the story of financial disappointment: the concession cost $100,000 (about $2.3 million in 2015 dollars) to build and stock. By the time it closed, its reported revenue was only $13,096.76. It was an irony that with all the ire that Yorke hurled at the exhibit and all the vigilance the concession censors and their managers mustered, they were hardly able to do much more than emulate—and hardly even that— the previous Irish Villages. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>For the past 100 years, the evidence that the Shamrock Isle ever stood in the Joy Zone has been little more than a cursory descriptions in exposition guidebooks, a single folder in the Bancroft Library, and several paragraphs in Frank Morton Todd’s voluminous five-volume history, where he notes its financial failure. “As an Irish Village the Shamrock Isle, with its two theaters, failed to reach any very altitudinous position in the financial world.”(37) This is an understatement: the financial records tell the story of financial disappointment: the concession cost $100,000 (about $2.3 million in 2015 dollars) to build and stock. By the time it closed, its reported revenue was only $13,096.76. It was an irony that with all the ire that Yorke hurled at the exhibit and all the vigilance the concession censors and their managers mustered, they were hardly able to do much more than emulate—and hardly even that— the previous Irish Villages. </div></td></tr>
</table>ElizabethCCreelyhttps://foundsf.org/index.php?title=Shamrock_Isle_at_the_Panama_Pacific_International_Exposition_and_the_end_of_the_Irish_Village&diff=24757&oldid=prevCcarlsson: added image for Elizabeth2015-12-01T20:39:36Z<p>added image for Elizabeth</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 13:39, 1 December 2015</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Twenty-two years later, there was another exposition, and another authentic Irish Village in the offing. The Panama Pacific International Exposition was eagerly anticipated by San Francisco, and the Irish exhibit that would surely appear was anticipated as well. “Ireland to send big 1915 exhibit,” the ''San Francisco Chronicle'' reported in June of 1911. “Fast horses included.”(12) This article covered a speech given at Kendrick’s Hall on Valencia Street by one Canon J. Daly, who promised that Ireland and its manufacturers were ready to ship their finest wares across the ocean and through the Panama Canal on ships “all built in our Irish shipyards,”(13) mentioning the ''Lusitania'' and the ''Mauritania'' as carriers as well as two other new additions to the White Star fleet, the ''Olympic'' and the ''Titanic''. Belleek china, linen, textiles, and tobacco would sail through the soon-to-be-completed Panama Canal all bearing the mark ''Déanta in Éirinn'', all to be sold alongside the goods of other nations at the exposition. The plan just needed backers. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Twenty-two years later, there was another exposition, and another authentic Irish Village in the offing. The Panama Pacific International Exposition was eagerly anticipated by San Francisco, and the Irish exhibit that would surely appear was anticipated as well. “Ireland to send big 1915 exhibit,” the ''San Francisco Chronicle'' reported in June of 1911. “Fast horses included.”(12) This article covered a speech given at Kendrick’s Hall on Valencia Street by one Canon J. Daly, who promised that Ireland and its manufacturers were ready to ship their finest wares across the ocean and through the Panama Canal on ships “all built in our Irish shipyards,”(13) mentioning the ''Lusitania'' and the ''Mauritania'' as carriers as well as two other new additions to the White Star fleet, the ''Olympic'' and the ''Titanic''. Belleek china, linen, textiles, and tobacco would sail through the soon-to-be-completed Panama Canal all bearing the mark ''Déanta in Éirinn'', all to be sold alongside the goods of other nations at the exposition. The plan just needed backers. </div></td></tr>
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<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''Irish Village.'''</ins></div></td></tr>
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<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">''Image: Elizabeth Creely''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:2 20 15-ad-for-Shamrock-Isle-2.jpg]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:2 20 15-ad-for-Shamrock-Isle-2.jpg]]</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Advert for the Shamrock Isle, Feb. 20, 1915.'''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Advert for the Shamrock Isle, Feb. 20, 1915.'''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>''Image:<del style="font-weight: bold; text-decoration: none;">'' </del>The San Francisco Monitor</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>''Image: The San Francisco Monitor<ins style="font-weight: bold; text-decoration: none;">''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1913, a group of twenty-five businessmen and community leaders calling themselves the Celtic Society of the Panama Pacific International Exposition were selected by the United Irish Societies to “procure a fitting representation of Irish commerce industries and art” at the upcoming Exposition. Claiming that “Ireland has never been properly represented at any of our great Expositions,”(14) — apparently Irish-American opinion of the Irish Villages had soured —they unveiled a plan to bring the best of Irish arts and industry to San Francisco. However, the man who won the concession contract from the exposition board of directors was an Englishman, Kenneth R. Croft. The Irish Village that emerged under Croft’s supervision, and the scrutiny of San Francisco Irish community, differed little from the Irish Villages that had been seen previously in America. </div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1913, a group of twenty-five businessmen and community leaders calling themselves the Celtic Society of the Panama Pacific International Exposition were selected by the United Irish Societies to “procure a fitting representation of Irish commerce industries and art” at the upcoming Exposition. Claiming that “Ireland has never been properly represented at any of our great Expositions,”(14) — apparently Irish-American opinion of the Irish Villages had soured —they unveiled a plan to bring the best of Irish arts and industry to San Francisco. However, the man who won the concession contract from the exposition board of directors was an Englishman, Kenneth R. Croft. The Irish Village that emerged under Croft’s supervision, and the scrutiny of San Francisco Irish community, differed little from the Irish Villages that had been seen previously in America. </div></td></tr>
</table>Ccarlssonhttps://foundsf.org/index.php?title=Shamrock_Isle_at_the_Panama_Pacific_International_Exposition_and_the_end_of_the_Irish_Village&diff=24755&oldid=prevLisaruth at 06:59, 23 November 20152015-11-23T06:59:55Z<p></p>
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