The Leprechaun was a stunningly beautiful Irish comic with a striking red masthead and yellow lettering, debuting in 1953, its publisher on a mission…
Feature by James Bacon
With its colourful front cover and striking red masthead The Leprechaun may have seemed very attractive to children in 1953, and this tabloid-sized Irish comic feels like it may have been influenced by and created to compete with the likes of the British comic Eagle – but in actual fact it was not, although its publisher, like the Eagle’s editor, the Reverend Marcus Morris, did have similar aims. The Leprechaun was also created to combat “the outcry against the harm being done by imported comics” and to provide for “the need for clean comics” for Irish readers.
As Mr. French of Bray Urban District Council noted about American Comics they “were nothing but sensual cesspools of iniquity” when he proposed a resolution calling on the Minister for Justice to ban the importation of all comics emanating from American publishers (reported in the Irish Independent on Wednesday, 11th June 1952).
The Horror Comics Campaign in Britain that the late Martin Barker so brilliantly wrote of in A Haunt of Fears encompassed a movement between 1949 and 1955 that brought about the Children and Young Persons (Harmful Publications) Act of 1955. The fear was mirrored in Ireland, and comics continually featured in contemporary newspaper reports across the country.
On 8th November 1952, the Connacht Tribune reported about the “COMICS: DÁIL QUESTION” with the Minister for Justice responding to a question with, “I have no information that objectionable comics are printed in Ireland.”
Into this hot fray of emotion, intellectual anxiety and fear of God, the first issue of the fortnightly comic The Leprechaun was published in early July 1953. The second issue, and the earliest issue I have seen, sits in the National Library of Ireland safely in a bound volume with the rest of the whole run. Issue 2 is franked with the date 17th July 1953 and subsequent issues are franked by the National Library. (Thankfully, since 1927, newspapers published in the Irish State have been acquired under legal deposit and the frank helpfully notes the date of receipt, which helps readers enjoy them).
The Leprechaun Launches
The launch of the comic received some mention in the Irish press. On Wednesday 3rd June 1953, The Evening Echo announced the news:
A NEW IRISH COMIC — THE LEPRECHAUN
The ” Leprechaun.” a new Irish comic, will be published within a few weeks by S. P. Publications. St. Peter’s Hall, Athlone, sponsored by the Society of St. Paul, founded in Italy, in 1914, to use the press, radio and films in the apostolate of souls, it will be the only Irish comic on the market. It will be published fortnightly, with eight pages and in four colours, the price being fivepence, and will be sold through the ordinary channels of the newsagents. One of the stories will be bilingual.
This gives us a clear indication of who the publisher is, and we get even more information that relates to further concerns voiced in Ireland about the dangers of comics. Looking at copies of The Leprechaun, at an early stage I was convinced that the comic art was being heavily sourced from Europe, but I needed signatures, or some indication that would help me to identify them. The Sligo Champion on Saturday 4 July 1953 gives a fuller report based on a press conference that was widely reported on in the press:
NEW IRISH COMIC
The new Irish Comic paper, “Leprechaun,” is now on sale on the newsstands throughout the country. It is the first four-coloured comic paper to be printed in Ireland and has been established to counteract the influence of pernicious and foreign produced comics which, to a large extent, are not fit reading matter for children. The new comic will, in subsequent issues, be larger and will also contain more stories suitable for children of all ages. In fact, the comic is so well written and produced that it has already been read with interest by adults.
The comic was first established in Italy by Fr. Renato Simone, a priest of the Society of St. Paul. On his coming to Ireland four years ago in search of vocations for his Society, which aims at defending Christian standards in the Press, the cinema, and on the Radio, Fr. Simone was struck by the increasing outcry against the harm being done by imported comics. He felt the need for clean comics and knew that he could count on the experience of his Society in providing these in Italy.
With the active help of Rev. Dean Crowe, P.P., V.G., Athlone, who is Dean of the Diocese of Elphin, Father Simone has now brought his plans for answering this need to fruition. “Leprechaun” was introduced to newspapermen at a Press Conference in Dublin within the past few days. The aim of the new magazine was to provide clean, healthy entertainment for Irish children, said Dean Crowe at the Conference.
We recommend this excellent children’s comic to parents, and amongst the stories contained in its eight pages is a well written serial (in Irish and English) (illustrated) on the famous Captain Kurt Carlson and his ill-fated ship “The Flying Enterprise.” Amongst the contributors is Eamon O Faolain, the well-known writer of Irish detective thrillers. The venture was not being run on a profit making basis, Father Simone told reporters, and he had not sought to introduce it through the Schools, which he felt, was overburdened already. He was sure, though, that the paper would receive every help both from parents and teachers.
The Westmeath Independent on Saturday 27th June 1953, offers us some more details about circulation and Father Simoni from the same Press Conference:
Father Simoni came to Ireland about four years ago, and, with the co-operation of the Right Rev. Dean Crowe, V.O., P.P., Athlone, and others, he has brought the plans for the new magazine to the final stages. The illustrations are by Italian artists. The English text has been written by Irish members of the “Order in Italy, and the Irish text by Eamon O’Faolain. The processes will be done in Dublin.
They were fortunate that Father Simoni had come to Ireland, sent by Don Alberione in March 1947 to establish the Irish arm of the Society of St. Paul, and was prepared to undertake the task of launching the new Irish “comic.” He expressed the hope that Irish people, at home and in Britain and America, would give it their support.
AMERICAN ORDERS – Father Simoni said it was intended for a start to print 20,000 copies of the “Leprechaun.” Orders had been received from England and America. He expressed the hope that eventually Irish artists would be able to undertake the work of illustration. The Rev. Father Leonard, O.F.M., Cap., pointed out that this country was spending £250,000 a year to promote Irish culture and the Irish language, and at the same time was expending £500,000 in importing literature which was diametrically opposed to everything Irish. Mr. Anthony Casserly, sales manager, said they would require a minimum circulation of about 100,000 copies for each issue to make the new “comic” a paying proposition.
The level of concern about comics is representative of this time. On Wednesday 11th June, 1952, The Irish Press reported how “Council Wants Ban On U.S. Comics” and noted that a “resolution calling on the Minister for Justice to ban the importation of comics from America has been passed by Bray Urban District Council”. The newspaper reported “If these comics are allowed to continue,” Mr. French said, “I do not think we need bother our heads about civilisation, especially Irish civilisation.”
A week later, the Irish Independent reported on Saturday 21st June, 1952, with the headline that “IMPORTED COMICS CONDEMNED” and stated “‘We have an avalanche of imported comic papers which are doing great harm to youth,’ said the Very Rev, P. Byrne, S.M., President at the distribution of prizes at the Catholic University School, Leeson Street, last night. Father Byrne said that these comics were “not fit to put in the hands of young people. They could not control them entirely, but the parents could cooperate.”
There was a move afoot to replace imported comics with something clean. Was the “something clean” The Leprechaun?
Given these sentiments, it is clear to see that The Leprechaun was timely, from a strict Irish Catholic perspective of the time, although reflective of an unfounded fear of comics in the US and UK. Thankfully, Rev. Dean John Cowe, who was a business like priest and Father Simone/Simoni/Sinotti (depending on the report one reads, but who is referred to as Don Renato Simoni in this account of his work in Italian on the Society of St. Pauls official site), of the Society of Saint Paul had produced the perfect Irish solution to an Irish problem, albeit leaning into the Italian love of “Fumetti” and acquiring European comic art, art and stories that would have been published in Italy, so from a much safer place than the US with their fearsome stories.
Inside the Leprechaun
The Leprechaun’s red masthead as mentioned is striking, and it has a Leprechaun sitting cross legged, with a comic in hand and a croc full of comics in front of him. As if to be clear what is being handed out and the clear value of The Leprechaun, the croc states “Clean Comics” on it. Just as important as gold perhaps.
In the first issue, “Uncle Tom’s Cabin,” based on Harriet Beecher Stowe’s eponymous 1852 novel, is on the front and back cover, in full colour. The artistic portrayal of Tom generally looks good; he feels representative, rather than stereotypical, and most of the characters are fairly drawn. While occasionally one might sense that the imagery does change, and may be less careful, the whole story deserves further consideration.
Of course, the story itself is an interesting choice; why an anti-slavery story by Harriet Beecher Stowe published in 1852? The story was also produced as a comic in the USA in 1943 as a Classics Illustrated, but that is not this iteration. By 1954, the novel Uncle Tom’s Cabin had been described by George Orwell as a “bad, good book” and critiqued through literary mechanism in the 1952 novel Invisible Man by Ralph Ellison. One might think that, to the publishers, the story, with its positive view of Christianity and an anti-slavery message might resonate with Irish readers. Or maybe it was simply what was available to Father Simoni.
We then have “Lost in the Woods” a western story which sees two children, George and Rita, kidnapped by two Native Americans. They escape and have a sequence of adventures, as we learn that the Native American captors are outcast, and the local chief and his men help the local sheriff seeking the children.
“Gaiscigh na Mara” (“Heroes of the Sea”) – a full colour two page per episode serial of modern seafaring adventure centred on The Flying Enterprise is really nicely drawn, and the issue includes the full translation at the end of the two pages. Very helpful that, but, sadly, it only lasts five episodes, and the final episode has no translation!
In the fifth issue we have a single page promoting a variety of Leprechauns, including an African leprechaun, representative of the children who were part of missions, which looks appalling.
Issue 6 has a new story in Irish, “Dreigí Dearga,” not so much crime noir, as it is full colour, but detective adventure around motor car racing. Unfortunately, the translation concept is lost at this vital stage, but subsequently it returns, and it is noted that it is translated by Eamon Ó Faoláin and in this, the second episode, we have set of notes in English which explain the plot, rather than a panel by panel translation.
“Everyone’s Column” appears in issue 8, recognising and engaging with children. The column reads:
Dear Boys and Girls,
Thanks for all the lovely letters you sent me. I was delighted to hear all your various opinions and suggestions. You are making me feel that the time has come for another step forward. So let’s have a chat together. Some of you wrote to say that The Leprechaun is too dear. Well, the fact of it being dear depends on the point from which one looks at it. Let me tell you the story from my point of view.
About three months ago, you and I decided to come together to plan something really good. Having listened for a long time to a lot of complaints about the bad comics, we said we were going to start a good one on our own. As you were very busy at that time preparing for your holidays, I tried to make out how much it would cont to buy the paper, to get some nice stories and get them printed. I found out that each copy of our new Comic would cost fivepence. “Gosh,” I said to myself, “it’s a bit too dear” and for a moment I thought I was going to give it up until things got cheaper. Then a friend said: “Surely you are not giving up, are you? Surely you do not think so little of your Irish boys and girls. Do you forget all the prayers they say every day for a good comic? They are so anxious to have it that they won’t even think of the fivepence.” I was so sorry to have doubted for a moment your generosity and I set with greater courage to make a start and with the help of God, we started.
You see, dear boys and girls, it is necessary for us to keep together if we want to succeed. I can tell you that it will take time to make our Comic as good as we all planned it. I know that you like stories, jokes and competitions. Well I have been gathering various items for you and in the next number, that is, in a fortnight from to-day, you will find four extra pages in The Leprechaun. But, remember, we are working together. I will make The Leprechaun as good as it can be, but I need your help. Many of you already asked your friends to buy The Leprechaun. This is the best help you can give me at school, in your free time, talk about The Leprechaun to your pals and explain to them that this is not just a comic like another.
This is our own Comic for which we all want to work, and if you think well fivepence every two weeks in not too much, is it? To make your propaganda easier you will find at the corner of this page a space to be filled with the names of your friends Before you write their names make sure they are going to buy it every fort-night and then you can bring the list to your newsagent where you buy The Leprechaun and tell him to keep the names and copies for all your friends
Now, before I leave you, I want to announce some other news: T.L.F. Does that convey anything to you? Yes, The Leprechaun Family. In the next number of The Leprechaun I will give full details. In the meantime be good and do your best to help me and do not forget to say a prayer for me.
The editorial continues, and makes mention of competitions and winners, and how to enter. The Leprechaun Family would become an aspect, with future editorials signed off by Mommy and Daddy Leprechaun.
Issue 8 also includes a “Jimín” cartoon, letters from children and both “Kidnapped” and “Uncle Tom’s Cabin” come to an end, and there is an announcement that the comic is expanding with four extra pages in its next issue.
A Change in Format
News of The Leprechaun‘s expansion received press mention. The Kerryman on Saturday, 31st October 31, 1953, has the news:
The Leprechaun Is Bigger And Better
GOOD news for the readers of The Leprechaun, the only Irish, comic paper, is that it has been increased, by four pages. The larger size means greater value for the boys, and girls who are regularly enjoying it thoroughly commendable publication.
The Kerryman is not alone, and we get a bigger mention in the Connacht Tribune on Saturday the 7th of November, 1953. In this article we get a clear understanding of the genesis of the comic as well as the artwork: Fr. Sinotti from Italy.
“THE LEPRECHAUN GETS BIGGER”
The Irish published comic, “The Leprechaun,” which was launched on July 4th last, has now been enlarged to twelve pages, and a number of new, attractive features has been included.
Attractively produced in bright colours and containing picture stories. trips, competitions and other features with a strong child appeal, “The Leprechaun” is not designed solely for Irish children. There are about 2,000 readers in the United States and inquiries have been received by the promoters from English speaking peoples in the Far East and in Africa.
The driving force behind the venture is an Italian priest of the Society of St. Paul, Fr. Sinotti, Athlone. The drawings are by Italian artists and the plates are made from negatives forwarded from Italy, The texts are translated by members of the Society in Rome.
The comic is designed to amuse children, not to instruct them, and the promoters hope that parents will encourage the circulation of the comic on its merits and as part of a campaign to discourage the circulation of the indecent and vulgar comics that have been condemned by teachers, sociologists and Catholic welfare organisations.
The Leprechaun – the tonic for “indecent and vulgar comics”! Quite a bit of detail there.
Replacing “Uncle Tom’s Cabin” on the front page in issue 9 is an Italian comic, “Arthur”, by Italian artist Ennio Zedda. The new nine-panel text comic is full colour and aimed at a younger audience. The presence of a signature allows one to find more details, and see where the story may have been published before.
Ennio Zedda was born in Macomer in 1910, and in 1927 he drew caricatures for the newspaper Biddio, where he signed himself Zezé. He had an extensive career, working through World War Two, and illustrating children’s books after the war, and also producing posters. “Arturino”, translated as Arthur here, was one of his characters, first published in Italy in the 1930s.
“Lost in the Woods” comes to an end with Issue 9, and we have two prose stories, and guidance on how a camera works. “The Editor” also shares a long essay about the positive lessons that can be taken from “Uncle Tom’s Cabin.” We are also introduced to “The Leprechaun Family”, signed off by “Mommy and Daddy Leprechaun,” an editorial conceit that would continue. Prose stories continue to feature among the comics and features. The quality of printing is very high and includes reprinted photographs.
There is a variety to the comics in issue 9. We have “Kura-Kura Island” by U. Nave, a half-page serial in black and white, which is a treasure hunting story set in 1700 in Kura Kura, which is off the north coast of “Africa.” Also included is a “Black Cyclone” (Elias Rhode) western story, also half-page, black and white serial, and the two-page “Daughter of the Forest,” set in colonial Canada in colour on the back inside and back cover, signed by BEDA.
Issue 10 contains an occurrence of some significance, as a homegrown story, “The Long Bright Pike”, by Martin Forestal, begins. This story starts in Gorey, in 1798, where we see a dark figure speaking to Crown forces, and, also, John Finn speaking eloquently. The art is noticeable in its difference, but there is a good narrative and, while lacking the polish and detail of the European stories, the connection to Ireland, across the sixteen instalments, makes it a personal favourite as we see this important aspect of Irish history shared in comic book format.
Meanwhile, the machinery of the Irish state continued its work initiated by The Committee on Evil Literature, which had been replaced in 1929 by the Censorship of Publications Board, whose task it was to ban obscene material. 20th November 1953 was the “Date of publication of prohibition order in Iris Oifigúil” of Action Comics Annual Vol 2 as it was entered into the list of banned books in Ireland. This book was published by “Superman D.C. National Comics U.S.A. and the T.B. Pub Co Sydney.” It is hard to know how a Superman title, the tamest of comics, could be obscene, and I have struggled so far to find this specific comic, as British annuals of Superman had been published since 1951 by Atlas, and also available in Australia.
Volume 1 issue 11 has the racing car story “Dreigí Dearga” come to an end, and we see that it is signed by Eiso Cassini, possibly Enzo Cassoni, whose career began as an illustrator on the Il Vittorioso AVE albums in 1940 and went on to be a prolific comic book artist, illustrator, postcard, and poster artist. The style is certainly similar to his work, for example, on the story “Il diavolo rosso“, number eight of the Jim Brady series, a supplement to Il Vittorioso published in 1948, written by Lodigiani.
Volume 1 issue 13 helps us date the issue, as it is a “Special Christmas Number” and has an amazing image on the cover of mother and child against a tree, with birds sitting around in the snow focused on the pair. The art is by Miki Ferro Pellizzari (1915 – 1981), whose career began aged just 15, before emigrating to North America. Her work often featured in Catholic Children’s Treasure Box booklets, which may be the source of this art. There are a number of Christmas elements to this issue of the comic.
The next issue is then Volume 2 issue 1 and we are back to an “Arthur” ten-panel full colour story by Zedda on the front cover. We also have a new serial in Irish, “An Corn Smarataide,” (“The Smart Cup”, aka the Holy Grail), again translated by Eamon Ó Faolín. This comic story has each caption and speech bubble numbered and translated in English. The story is about the Knights of the Round Table and how Pearsafal, the young knight plans to recover “The Sacred Graal, the Emerald Cup, which our Lord used to consecrate his blood at the Last Supper.”
A story that surprised me begins in Volume 2 issue 2, a small cartoon-sized comic, entitled “Martyred by the Black and Tans in the Valley of Knockanure” by Lemenceal. The six-panel comic continues over four issues, and runs concurrently with “The Long Bright Pike,” giving us two Irish historical stories. There is a sense of the comic and possibly artist finding their way, with the format and look adjusting with nearly each instalment.
Space Explorers Debut
With Volume 2 issue 3 there are full colour two-page pieces about flying saucers that continues onto the back cover, and then with Volume 2 issue 6, the masthead changes from red to green, and Volume 2 issue 8 we have a further cover change. “Arthur” is now gone from the front replaced by a new story, entitled “Space Explorers.”
“Space Explorers” is a space adventure story, the UFOs perhaps a precursor to this move into science fiction, as we follow the adventures of Professor Lydon and his children, Brendan and Mary on the Discovery I and Discovery II.
The strip is signed Ó Caesar, an indication that it was drawn by Kurt Kaiser, a fascinating German-Italian, who was born in 1906 in Montigny-les-Metz in France, studied in in Munich, worked as a journalist, then moved to Italy and moved into comics, changing his name to Kurt Caesar.
A trained pilot, his aviation comics were excellent, including the famed Spanish Civil War story featuring an Italian pilot “Romano il Legionario.” During World War Two, he reverted to being a reporter, and even accompanied General Rommel, but also worked for the Italian Resistance. His work included adaptations of “Legion of Space”, “The Cometeers” and “One Against the Legion” stories by American author Jack Williamson for Urania in the 1940s and 50s. Could one of these be the original source for this strip in The Leprechaun? He also illustrated Picture Library stories for Fleetway, including “Jet Ace Logan”.
This science fiction story has an older feeling, but is in line with the likes of Eagle’s “Dan Dare”, while the uniforms, spaceships and settings feel somewhat out of date and alien encounters with, well, what is essentially a large chameleon, a bit prosaic.
Volume 2 issue 10 sees the beginning of “An Scath Bán,” (“The White Mask”) by T.C.H. and Martin Forestal, a western serial published in Irish. It immediately paints Native Americans in a negative light, showing them attacking a wagon train. While we do not actually see much violence, there is firing of weapons, and the Native Americans are frightened off as they see, but we do not, “An Scath Bán”. In the second issue we have the appearance of the White Mask in imagery that might remind one of the Lone Ranger. Locally produced, it is unclear who T.C.H. is. For its first episode, it runs concurrently with the “Long Black Pike,” which comes to an end in the next issue, 11.
In Volume 2 issue 12 “Captain Courageous” by Rudyard Kipling begins, a full colour two-page serial. This issue also includes a variety of articles, including a half-page piece with the tricolour as a background in full colour, entitled “The National Flag.” In Volume 2 issue 20, we see the beginning of “The White Rider” adventures set in Czarist Russia.
At this time, if support was not needed for an Irish comic, it was definitely forthcoming. As the Tuam Herald reported on Saturday 23rd October, 1954, that there was now a “War on Comics”:
More and more County Councils are joining in the demand for stricter censorship of unsuitable comics. Last weekend, a leading Catholic journal in Dublin published a cartoon of children reading these comics, and advising each other to make the most of them, because when they grew up their literature would be censored.
Hundreds of adult books are censored each year; but many unsuitable comics – and even banned books – have filtered in. Dublin police have swooped on a number of shops to confiscate banned books, obscene pictures, and publications carrying objectionable illustrations.
Readers are also advised of how the Censorship Board works:
Under the present system, the Censorship Board – because of the impossible task of reading everything that is published abroad acts mainly on complaints, but by the time the machinery has gone into action, an undesirable publication may have got quite a big distribution… Everyone in Ireland will welcome the steps taken by various County Councils and will support the Censorship Board wholeheartedly in this matter.
There is an attack against authors who object to paragraphs being taken out of context, and defence of works, based on literary merit, but the Tuam Herald reports on this “there will be no resentment among such authors about the weeding out of objectionable comics, which are the worst of all forms of undesirable literature, attacking young minds that are not yet fully equipped to withstand the evils of the modern world.”
Finally we are informed that “various religious groups have decided to send copies of these horrible comics to the Censorship Board, and it is a public service in which parents and teachers everywhere should have a particular interest.”.
With Volume 2 issue 25 “An Scath Ban” ends, followed by a special Christmas 1954 issue, which is stamp-dated the 17th December, 1954. This has a splash image of a Mother and child along with words about Jesus. We see a one-page ending to “Space Explorers,” and while there is a lot of text and prose about Christmas, but less actual comics in this issue.
Volume 3 issue 1 sees “Arthur” return to the cover, now with thirteen panels, as well as another Irish-created story, “Prima Lux,” set in Roman times, by Martin Forrestal as writer. There is also an article about Padraic Pearse, as well as a colour comic serial, “Homeless”, a story about children in southern France set in the late 1800’s.
In Volume 3 issue 2 we see a new full colour two-page serial begin, “Men of the Frontier”, which is moved to the front cover in the next issue, Volume 3 issue 3, but “Arthur” returns to the cover soon enough. Also in Volume 3 issue 3, we have the colour serial “Stolen Documents,” and it is given an Irish setting, but the Gardai are in brown uniforms, with unusually shaped hat badges. This serial runs until Volume 3 issue 10.
Volume 3 issue 11 “The Last of the Mohicans”, based on James Fenimore Cooper’s 1826 novel, begins, but it does not displace “Arthur” who remains on the cover. Articles include ones such as “The King and the Convict” about James Connolly, and in Volume 3 issue 13, we have the beginning of “Sigfrid,” another colour serial, and in Volume 3 issue 15 there is an enchanting full-page article about Disneyland by Vincent Ryan.
The End of The Leprechaun
The Reverend Dean John Crowe died on the 27th May, 1955, aged 72. It is perhaps then no wonder, if he was one of the engines behind the comic’s success, that as the year goes by the colour stories start to be less interesting, with “Lost in the Jungle” and then “Robinson Crusoe” coming across as incredibly boring compared to earlier stories, which were not exactly thrillers to begin with. The black and white comic “Flint” appears, and we have a colour strip, “Generous Heart”, about Michelangelo, and then the blue-toned “20,000 Leagues Under the Sea”. All lacking somewhat.
With Christmas 1955 there is an image of the Baby Jesus as the cover painting.
Religious articles about Clann Mhuire had begun, and become more prominent with Sacred Heart, Mary Mother of God, and Papal images. While we continue to get colour stories, there is now a sense that the comic is not what it once was. “Arthur” is replaced by a Skinimalink cartoon on the cover of Volume 3 issue 27, dated the 31st December 1956, but returns after one issue.
In 1956 there is a feeling that somehow, the comic is diminishing at pace. The colour serials include “Encounter with Mr Whale,” “Mysterious Jungle,” and “Red Eagle”, set in North America, and are OK, if boring. The “I.G.5” adventure story about an airbase in the Atlantic misses the opportunity to present an Irish setting, and while “Casey and the Cork Gang”, a humorous kids black and white comic is fine, overall the stories feel bland. The blue-toned “Outlaw Trail” doesn’t capture the imagination, that is for sure.
One knows that the end is near though. As the year proceeds, we soon have an inevitable indication, as we see that a blue ink is used instead of colour, as “Red Eagle” becomes blue and white, and the story “The Congo War” is likewise blue-toned, a marked decrease in colour content.
Volume 4 issue 16 is the last issue. This has an August 1956 date stamp-franked on the cover and is dated 11th August on the masthead. On the “Clann Mhuire” page, which is now the editorial page, and which had been leaning heavily into the religious for some time, and we see an advert for joining Clann Mhuire, but also a message:
Paisdi Go Leir,
First of all, we would like to remind you that, as we announced before, our next issue, No. 17, will not be out on the 25th. August as it should, but on the Qst of September. The reason for this is to give you a chance to get your next copy of our paper in school. [Note the Q in Qst of September is their spelling error]
Now we are sorry to have to mention the name “school” as we know that for some boys and girls, the only thought of it will spoil the last few days of their holidays.
Well, such is life, and we all have to learn to take up our manly courage and do our duty. You see, the holidays must make us think of Heaven, because in Heaven we really enjoy ourselves in a way that we can’t even imagine in this life. We will see God and Our Lady and we will be in the company of all the Saints and we will be so full of joy and happiness that: we won’t be able to wish for any more. We will have all we’ll want.
That’s for the holidays. But when we have to go back to school we must think that we are still living in this world, and if we want to go to Heaven, we must be good and work hard, after the example of God Himself, who became Man to teach us how to live. And you know that it is in His honour because He is our Master, that we are going to change the name of The Leprechaun, from next issue which will be out on the 1st September. So, don’t be looking for “The Leprechaun” any more, but ask for
THE MASTER COMIC
It will be out like before, every fortnight and we will always try to give you the stories and the pictures you like the best.
Before we close, we want to show you the funny picture of a little boy who is saying his prayers before going to sleep.
Published by the Society of Saint Paul, Ballykeeran Athlone, Ireland
And so ended The Leprechaun. What of The Master Comic you may ask? Well, I have yet to find this comic named after “God Himself… our Master” but if anyone does come across this fascinating artifact, do let us know.
In a celebration of the 50th anniversary of the work of the Society of St. Paul on the organisation’s website (PDF), Father Simoni is credited as the founder of The Leprechaun, published out of the Society’s home near Athlone, but it’s noted “the venture soon proved too expensive and of little promise, given the limited scope of its circulation, and was therefore abandoned”.
Instead, Don Antonino Domenico Valente, who had founded the Society’s British arm in London, in 1947, travelled to Ireland in 1957 and organised an extension to the Society’s print operation, a large shed was added to the small building on the top of a hill overlooking Loch Rhee and modern machinery was purchased. “The first book printed was an illustrated edition of the Irish Catechism that met with considerable success,” the Society’s 50th celebration booklet notes. “Numerous children’s books followed, but undoubtedly what most absorbs the activity of the Irish house is The Sunday Messenger, a weekly religious leaflet started in 1961 by Father Thomas Fogarty that evidently met the taste of the Irish parish priests and that is now also distributed in England. The Sunday Messenger has reached fifty thousand copies and continues to increase and is undoubtedly the most suitable means to make oneself known and to gather vocations.”
Today, the Society of St Paul continue their work. Their Mission Statement for the United States states “The Society of St Paul is an international religious congregation located in 35 countries, whose particular call and ministry is to live and give to the world Jesus Master, the Way, the Truth, and the Life through the communications media.”
On 5th January 2024, the Irish government announced that “The Minister for Justice Helen McEntee obtained government approval to repeal the Censorship of Publications Acts.
“Repeal would mark another chapter in moving on from parts of Ireland’s past that no longer have a place in the present.” said the Minister.
Contemporary Criticism, Modern Rediscovery…
Not all commentary on The Leprechaun was fully effusive and in the Nationalist and Leinster Times, there is a light criticism and suggestion on Saturday 4th July 1953:
It is nevertheless an undoubted fact that a fair share of unwholesomeness nonsense is available to young readers through the medium of imported comics. For this reason alone – there are many others – there should be a welcome for ‘”The Leprechaun,” the new Irish children’s comic, plans for the launching of which were recently announced. A first venture, “The Leprechaun” will have many difficulties to contend with, but its aim – to provide suitable entertainment for Irish children, and counter the nastier type of import – assures it sympathy and support”
It is perhaps surprising that an Irish paper should feature as its principal contents items such as “Uncle Tom’s Cabin,” the Flying Enterprise story (though with an Irish text) and a tale of adventure in South America. One might have hoped for something more specifically Irish – short, of course, of Kitty the Hare. No doubt, the explanation lies in technical and other problems, which are bound to lie more heavily at the start. I recall that one of the better-class of English comics once ran a thrilling, pictorial life of St. Patrick which lacked nothing on the score of edification; also that an English Sunday paper has featured a strip-cartoon based on Olsin’s’ journey to Tir na-nOg I hope “The Leprechaun” will some day find it possible to exploit the magnificent material which lies ready to hand in the Fiannaiocht and the Cuchulainn Saga.
The RTE History Show first broadcast on 5th November 2023 featured The Leprechaun and a selection of excellent newspaper quotes, as Ian Kenneally reported on “Comic Books in 1950’s.” He spoke to comic collector and author David McDonald, publisher of Hibernia Comics, about the short-lived comic The Leprechaun. This is an excellent 12 minutes of radio, and also looks at the life and work of Reverend Dean Crowe.
David talks through an issue of The Leprechaun, which he found, a superb find, and about how it compared to Eagle, “the Rolls Royce of comics” and Kennelly offers an excellent selection of quotes, including one from Connacht Telegraph published in March 1955 stating that “His Holiness the Pope has approved of The Leprechaun as most suitable reading material for children” – although Kenneally casts doubt on the veracity of the approval.
Kenneally also noted an Irish Press article from February 1954 by Brian McMahon, and I think it is appropriate to consider his view in the article “Let’s Tame this new Pictorial Art.”
It starts with an example of comic swopping, and then continues, sharing a knowledge and detail that is considered:
“Super caveman – the amazing folk who inhabit these comics have their existence in the land-of-dreams-fulfilled. Bat Man with Robin the Boy Wonder, Superman, Plastic Man, Robot Man, Mandrake, Captain Marvel, Fighting Yank, Oracle, Captain Future, Captain Video, Captain Comet, Dan Dare, Jack Flash, Volto, Pyroman, Dollman ( this hero can make himself as small as a doll!), Wonder Woman and Super Boy. Inevitably some have their caricatures, as witness Super-Duper-Man.
Each art-form evolves its own conventions. And how ready we are to accept new conventions, just as long since we have accepted the conventions of the stage.
Thus, in this pictorial art, speech is printed in the cloud or balloon held by a line to the speaker’s mouth. Thought is illustrated by a mitred-edged cloud with bubbles of imagination rising from the character’s head.”
Mighty mouse – In this bizarre anything-is-possible world my favourite Is Mighty Mouse. If Oil-can Harry is about to hurl Pearl Pureheart to her doom, or the villainous cat known as The Claw is preparing to attack the mice of Terry town. the cry goes forth: “Send for Mighty Mouse!” And, then, lo and behold! retribution in the person of Mighty Mouse himself zooms to the scene with a comet blazing from his tail.
These two children on the pavement who have now completed their swapping—do they be seen as a blessing or a menace?
…Unqualified condemnation of comics Is as unwarranted as is wholesale condemnation of books, plays or films. Nobody approves of the passes, poses and antics of the sleek, svelte-looking fillies who, with their precocious chatter of conquests and dates, appear in some of these comic papers. These buttress the arguments of critics who state that many of these comics are published primarily with a view to their being read by mid-European immigrants to U.S.A. who learn their English (sorry, American!) in this fashion.
Teachers who wish to see developed in children a love of reading are slow to condemn comics outright. They hope that these comics will lead to better things. People who crap at the violence of comics should read the classics for real violence. Julius Caesar, which is now in pictorial art-form, is littered with dead and dying. Of course, who can point with pride to our own The Leprechaun and to the supplement to Our Boys, which are now entrenched in the affections of the young. Treasure Chest is a further example of an excellent comic on sound foundations.“
An interesting defence of comics from Bryan, and a timely mention of Treasure Chest, which will be the subject of a future article.
As for The Leprechaun, we leave it and its fascinating 82 issues, brought about by a priestly society interested in communicating with children, through the media of “Clean Comics” at a time when there was so much Irish and even worldwide anxiety and angst about the content of comics and so much objection towards them.
James Bacon
The Leprechaun: Raw Data
The Leprechaun was published by S.P. Publishing, St Peters Hall, Athlone. SP Publications was founded in 1955 and dissolved in 1999
• Leprechaun #1 July 1953
• Vol 1 # 13 which was the numbered Christmas issue. (13)
• Vol 2 # 1 to #25 and a Christmas issue, unnumbered. (26)
• Vol 3 # 1 to #26 the Christmas issue and then #27 on the 21st of December. (27)
• Vol 4 #1 14th jan 56 to #16 on the 11th august 1956 (16)
82 issues in total
The Leprechaun – Identified Creators
Editors and Publishers
• Don Renato Simoni, founder of Ireland’s branch of the Society of St. Paul, at the direction of Don Antonino Domenico Valente
• Canon John Crowe, P.P., V.G., Athlone, Dean of the Diocese of Elphin (28th March 1883, Clonbrock, Co Galway – 24th May 1955, Athlone, Roscommon, Ireland)
John Crowe was born in County Galway, studied at Summerhill College, Sligo, and later at Maynooth, being ordained in 1906. He arrived in Athlone in 1921, aged 38, and quickly became a dominant religious and social presence in the town, taking control of pre-existing plans to replace St. Peter’s.
The Dean Crowe Memorial Hall, today home to the Dean Crowe Theatre, was named in memory of Dean John Crowe a beloved pastor in St. Peter’s who had died four years earlier. It soon became a venue for a multitude of local and national events, ranging from the annual production of Athlone Musical Society to The All-Ireland Drama Festival. It also catered for less cultural events including the annual parish ‘Sale of Work’ featuring a variety of stalls and an endless supply of raffles for prizes such as: ‘a ten-shilling note’, ‘a pair of chickens or ducks’, ‘a calf’ or ‘a load of turf’.
• Westmeath County Council: “A Public Nuisance” – Athlone’s illegal lottery
Crowe went to court for running an illegal lottery to raise funds for a new church!
Writers
• Eamon Ó Faoláin (also translator) – information welcome
• T.C.H. – information welcome
Artists
• Lambiek: Kurt Caesar (Born 1906, France – 12th July 1974, Italy)
• Eiso Cassini, possibly Enzo Cassoni
• Martin Forestal – information welcome
• U. Nave – information welcome
• Miki Ferro Pellizzari (1915 – 1981)
• Ennio Zedda (1910 – 1933)
• Unione Sarda – Macomer remembers designer Ennio Zedda
Further Reading
• A huge bound volume of The Leprechaun, containing nearly all issues, is held in the National Library of Ireland. Sincerest thanks Sinead McCool, Frances Clarke, Nikki Ralston, and all at the National Library who have assisted me so much in gathering information on this matter.
• Collection Development Policy of the National Library of Ireland (PDF)
• RTE Radio The History Show – Comic Books in 1950s Ireland – 5th November 2023
Ian Kenneally reports, he talks to comic collector and author David McDonald about the short-lived comic The Leprechaun
• Uncovering Athlone
Dip into the riverside town of Athlone and discover a beguiling mix of ancient history, buzzing restaurants and incredible landscapes
• James Bacon found himself reading Greann while conducting research for his forthcoming book Rebellion, Nazi Spies and the Troubles; Irish Conflict in 20th Century Comics and welcomes any information on this subject, Irish Horror Comics, early Irish comic book publications, and welcomes corrections and correspondence to irishconflictincomicsATgmail dot com (replace “AT” with @)
• Wikipedia: Censorship in the Republic of Ireland
• Wikipedia: Book censorship in the Republic of Ireland
In Ireland, the state retains laws that allow for censorship, including specific laws covering films, advertisements, newspapers and magazines, as well as terrorism and pornography, among others. In the early years of the state, censorship was more widely enforced, particularly in areas that were perceived to be in contradiction of Catholic dogma, including abortion, sexuality and homosexuality. The church had banned many books and theories for centuries, listed in the Index Librorum Prohibitorum.
Book censorship was carried out in several instances in Ireland between 1929 and 1998, with all remaining bans from that period having expired by 2010. However, the laws remained on the statute books and a book was banned again in 2016. Censorship was enacted by a 1929 act of the Irish Free State
• A Haunt of Fears: The Strange History of the British Horror Comics Campaign by Martin Barker (AmazonUK Affiliate Link)
An exploration of the British campaign against horror comics between 1949 and 1955 that led to the passage of the Children and Young Persons Act of 1955
• “The Comics That Shook 1950s Britain discovered in the National Archives” – downthetubes feature by John Freeman
• Over on his Blimey! It’s Another Blog About Comics, Lew Stringer has a feature on some of the newspaper headlines of 1954 about the “horror” of “horror comics”, and another great item here – “The year Britain got the Horrors over Horror Comics”
For anyone interested in the history of comic censorship in the UK, Dave Dustin created this YouTube video in 2022, taking a look at all the British anti-comics propaganda. All the way from the books Juniors and Children’s Comics by George Pumphrey to the booklets Lure Of The Comics, Comics And Your Children, and British Comics An Appraisal, to the 1956 conference From Comics To Classics… and everything inbetween
Many thanks also to David McDonald, Allison Hartman Adams, and Pádraig Ó Méalóid
- About the Author
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James Bacon (he/him) is an Irish fan, a train driver living in London. A Hugo Award-winning editor of the fanzine “Journey Planet”, he is a comic fan and enjoys comic art, war Comics, Star Wars, Irish aspects to comics and railways in comics or otherwise. He has been writing about comics for over thirty years.
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Brilliant! Such an In-depth article that really makes me want to read the comic myself now!