Spring Rice is educated at Trinity College, Cambridge, and later studies law at Lincoln’s Inn, but is not called to the Bar. His family is politically well-connected, both in Ireland and Great Britain, and he is encouraged to stand for Parliament by his father-in-law, Lord Limerick.
Spring Rice first stands for election in Limerick City in 1818 but is defeated by the Tory incumbent, John Vereker, by 300 votes. He wins the seat in 1820 and enters the House of Commons. He positions himself as a moderate unionist reformer who opposes the radical nationalist politics of Daniel O’Connell and becomes known for his expertise on Irish and economic affairs. In 1824 he leads the committee which establishes the Ordnance Survey in Ireland.
Spring Rice’s fluent debating style in the Commons brings him to the attention of leading Whigs and he comes under the patronage of the Marquess of Lansdowne. As a result, he is made Under-Secretary of State for the Home Department under George Canning and Lord Goderich in 1827, with responsibility for Irish affairs. This requires him to accept deferral of Catholic emancipation, a policy which he strongly supports. He then serves as joint Secretary to the Treasury from 1830 to 1834 under Lord Grey. Following the Reform Act 1832, he is elected to represent Cambridge from 1832 to 1839. In June 1834, Grey appoints him Secretary of State for War and the Colonies, with a seat in the cabinet, a post he retains when Lord Melbourne becomes Prime Minister in July. A strong and vocal unionist throughout his life, he leads the Parliamentary opposition to Daniel O’Connell’s 1834 attempt to repeal the Acts of Union 1800. In a six-hour speech in the House of Commons on April 23, 1834, he suggests that Ireland should be renamed “West Britain.” In the Commons, he also champions causes such as the worldwide abolition of slavery and the introduction of state-supported education.
The Whig government falls in November 1834, after which Spring Rice attempts to be elected Speaker of the House of Commons in early 1835. When the Whigs return to power under Melbourne in April 1835, he is made Chancellor of the Exchequer. As Chancellor, he has to deal with crop failures, a depression and rebellion in North America, all of which create large deficits and put considerable strain on the government. His Church Rate Bill of 1837 is quickly abandoned and his attempt to revise the charter of the Bank of Ireland ends in humiliation. Unhappy as Chancellor, he again tries to be elected as Speaker but fails. He is a dogmatic figure, described by Lord Melbourne as “too much given to details and possessed of no broad views.” Upon his departure from office in 1839, he has become a scapegoat for the government’s many problems. That same year he is raised to the peerage as Baron Monteagle of Brandon, in the County of Kerry, a title intended earlier for his ancestor Sir Stephen Rice. He is also Comptroller General of the Exchequer from 1835 to 1865, despite Lord Howick‘s initial opposition to the maintenance of the office. He differs from the government regarding the exchequer control over the treasury, and the abolition of the old exchequer is already determined upon when he dies.
From 1839 Spring Rice largely retires from public life, although he occasionally speaks in the House of Lords on matters generally relating to government finance and Ireland. He vehemently opposes John Russell, 1st Earl Russell‘s policy regarding the Irish famine, giving a speech in the Lords in which he says the government had “degraded our people, and you, English, now shrink from your responsibilities.”
Spring Rice is well regarded in Limerick, where he is seen as a compassionate landlord and a good politician. An advocate of traditional Whiggism, he strongly believes in ensuring society is protected from conflict between the upper and lower classes. Although a pious Anglican, his support for Catholic emancipation wins him the favour of many Irishmen, most of whom are Roman Catholic. He leads the campaign for better county government in Ireland at a time when many Irish nationalists are indifferent to the cause. During the Great Famine of the 1840s, he responds to the plight of his tenants with benevolence. The ameliorative measures he implements on his estates almost bankrupts the family and only the dowry from his second marriage saves his financial situation. A monument in honour of him still stands in the People’s Park in Limerick.
Even so, Spring Rice’s reputation in Ireland is not entirely favourable. In a book regarding assisted emigration from Ireland, a process in which a landlord pays for their tenants’ passage to the United States or Australia, Moran suggests that Spring Rice was engaged in the practice. In 1838, he is recorded as having “helped” a boat load of his tenants depart for North America, thereby allowing himself the use of their land. However, he is also recorded as being in support of state-assisted emigration across the British Isles, suggesting that his motivation is not necessarily selfish.
Hanna is born on February 25, 1821, near Dromara, County Down, the eldest among three sons and two (possibly three) daughters of Peter Hanna, of Dromara farming stock, and his wife Ellen (née Finiston), whose father served in the Black Watch regiment during the Napoleonic Wars. In the 1820s, leaving their children behind, his parents move to Belfast, where his father establishes a business turing out horse–cars. Hanna does not join them until the mid-1830s. His education reflects the modest nature of his upbringing. It is patchy and always combined with paid employment. In the 1830s he attends Bullick’s Academy, a privately run commercial college in Belfast. In the 1840s, seemingly with the intention of preparing for the Presbyterian ministry, he takes classes at Belfast Academical Institution. In 1847, he enters the general assembly’s newly established Theological College and, after some absences, obtains his licence to preach in 1851. During this time he works, first as a woolen draper‘s assistant in High Street and then, after 1844, as a teacher in the national school associated with Townsend Street Presbyterian Church, where he is a member. He resigns his teaching post in January 1852, only a month before being ordained to full-time ministry. On August 25, 1852, he marries Frances (‘Fanny’) Spence Rankin, daughter of James Rankin, a Belfast salesman. Together they have four daughters and two sons.
Hanna’s first, and only, pastorate is in a congregation that emerges out of the evangelistic efforts he and other Townsend Street members had conducted among the working people of north Belfast. In 1852, they begin meeting in the old Berry Street church and quickly grow from 75 to over 750 families. By 1869 a new building is essential and in 1870 the foundation stone for St. Enoch’s church is laid in Carlisle Circus, on property purchased from the Belfast Charitable Society. Opened in 1872 at a cost of nearly £10,000, it seats over 2,000 people and has two galleries. With 800 families and 2,500 Sunday-school scholars, it is one of the largest congregations in Belfast.
Hanna’s influence as the leader of such a large flock is not translated into advancement within the Presbyterian church. Although he serves as the Presbyterian chaplain to the Belfast garrison (1869–91) and as moderator of the presbytery (1879) and synod (1870–71) of Belfast, he does not achieve any position of note within the denomination as a whole. This is most likely because of his penchant for public controversy. Letters to the newspapers, calls for action in presbytery, and public platform debates over issues such as public-house licensing laws, Sabbath observance and property rights, brand him a destablising force. It is no doubt for this reason, rather than for his open-air preaching, of which he does very little, that he acquires his famous sobriquet, “Roaring Hugh.” His aggressive manner in debate is noted by the Belfast News Letter early in his career.
Hanna’s political views contribute to his reputation as an intolerant firebrand. He is part of a small group of Presbyterian clergy, led by the Rev. Henry Cooke, who are staunch defenders of the Protestant interest and active supporters of the conservative cause. He hosts ”anti-popery” lectures in his church and joins the Orange Order, serving briefly, in 1871, as the deputy grand chaplain for Belfast (County Grand Lodge). His determination to uphold the “right” of Protestants to preach in the open air sparks a series of violent sectarian riots and a government inquiry in Belfast in 1857. As the century progresses, and as the Presbyterian community’s political allegiances begin to shift, he becomes one of a group of prominent figures associated with two populist campaigns: opposition in the 1860s to the disestablishment of the Church of Ireland and subsequently to the introduction of home rule. In 1886, as one of the honorary secretaries of the Ulster Constitutional Club, he helps to found the Ulster Loyalist Anti-Repeal Union, a forerunner of what eventually becomes the Ulster Unionist Party.
Such activity overshadows Hanna’s impressive contribution to education. Within St. Enoch’s he establishes an enormous network of Sunday schools and evening classes, including a training institute for teachers. As a former teacher, and later as a commissioner of national education (1880–92), he is a firm advocate of the national system, and sets up six national schools in north and west Belfast.
Hanna receives only two honours: a Doctor of Divinity (DD) from the theological faculty of the Presbyterian Church in Ireland (1885) and a Doctor of Laws (LL.D.) from Galesville University in Galesville, Wisconsin (1888). In good health throughout his life, he dies suddenly of a heart attack on February 3, 1892. Buried with much fanfare in Balmoral Cemetery, Belfast, he is clearly held in high regard by surviving friends and colleagues. In 1892, the Orange Order approves the naming of LOL 1956 as the “Hanna Memorial,” and in 1894 a bronze statue depicting him in full ecclesiastical garb is erected in Carlisle Circus. Since then, his achievements have fallen on hard times. In March 1970, an Irish Republican Army bomb blast topples his statue from its plinth; several high-profile attempts to re-erect it fail. After an arson attack in 1985, and with falling numbers, the decision is taken in 1992 to demolish St. Enoch’s and unite with the neighbouring Duncairn church in a new, much smaller, building on the site.
(From: “Hanna, Hugh” by Janice Holmes, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: Portrait of Reverend Hugh Hanna by Augustus George Whichelo in 1876, which is part of the collection owned by the National Museums Northern Ireland and is located in the Ulster Museum)
Daniel O’Connell (1775-1847) kills John D’Esterre in a duel on February 1, 1815.
O’Connell is sometimes referred to as an equivalent to Martin Luther King, Jr. or Mahatma Gandhi. Like King and Gandhi, O’Connell attempts to change the circumstances of his people, Irish Catholics in this case, through the use of nonviolence. He can take a great deal of credit for the passage of the Roman Catholic Relief Act 1829, which revokes the remaining discriminatory Penal Laws. This political success is achieved in significant part through mass protest and is notable for the absence of violence. O’Connell, however, is not always non-violent. He is known for being hot-tempered and capable of violence in his early days.
Rosmanagher Bridge and Toll Gate are built by D’Esterre in 1784 at his own expense. The large inscription stone on the bridge commemorates this piece of engineering. He owns extensive lands in the region and the Ratty River hinders both farming and communication, especially as the nearest bridge is at Sixmilebridge, County Clare. Despite objections that the structure will interfere with navigation on the river, he builds his bridge and then tries to recover his costs by erecting toll gates on the western side of the river. O’ Connell refuses to pay the toll according to local tradition and this leads to his famous duel with D’Esterre, a Limerick-born Protestant and former marine who is also a member of the Dublin Corporation. D’Esterre takes exception to O’Connell’s description of the Corporation as being “beggarly.”
D’Esterre is in difficult financial circumstances at the time of the duel. Some thought indicates that he is possibly encouraged into violent confrontation by influential figures who wish to break the forty-year-old O’Connell’s growing political power. Regardless of the motivation, the crack shot D’Esterre arranges to meet O’Connell to settle the matter on February 1, 1815, at the Bishopscourt estate in County Kildare.
D’Esterre shoots first and misses. O’Connell returns fire, wounding his opponent in the groin. The wound proves to be fatal two days later. It seems O’Connell is distressed by the deadly outcome and offers D’Esterre’s widow a pension as compensation. The offer is refused, but an allowance for D’Esterre’s daughter is accepted. O’Connell fulfills this obligation for the subsequent 30 years of his life.
(From: “OTD: O’Connell – D’Esterre Duel – 1815” by Martin Nutty, Irish Stew Podcast, http://www.irishstewpodcast.com, February 1, 2022)
Colin MiddletonMBE, Northern Irishlandscape artist, figure painter, and surrealist, is born on January 29, 1910, in Victoria Gardens in north Belfast. Hus prolific output in an eclectic variety of modernist styles is characterised by an intense inner vision, augmented by his lifelong interest in documenting the lives of ordinary people. He has been described as “Ireland’s greatest surrealist.”
Middleton is the only child of damask designer Charles Middleton. He attends the nearby Belfast Royal Academy until 1927 and then continues his studies with night classes at Belfast School of Art where he trains in design under the Cornish artist Newton Penprase. However, he finds the college too traditional in outlook, as his first influence, his father, had been a follower of European Modernism, particularly the Impressionists.
Middleton shows his first works with the Ulster Academy of Arts in 1931, where he exhibits frequently until the late nineteen-forties. He first comes to public attention with the inclusion of his works in the groundbreaking inaugural exhibition of the Ulster Unit at Locksley Hall, Belfast, in December 1933. The Ulster Unit is a short-lived grouping of Ulster artists who take their inspiration from Paul Nash’s Unit One formed earlier in the same year. Just two years thereafter in the same year, he marries Maye McLain, also an artist and a domestic science teacher, who unfortunately dies four years later. He is also a poet and writer, whom along with his wife, is an active member of the Northern Drama League in the 1930s, with whom he designs sets. After the death of his first wife he destroys all of his early paintings and enters a period of seclusion at his mother’s home outside Belfast. He becomes a follower of Vincent van Gogh and James Ensor after viewing exhibitions in London and Belgium respectively. On his return to Ulster he begins to experiment with styles derived from European Modernism, the antithesis to traditional academism. Throughout the 1930s he is also a keen follower of Paul Nash, Tristam Hillier and Edward Wadsworth. After exposure to the works of Salvador Dalí, he declares himself “the only surrealist painter working in Ireland.”
Middleton’s work first appears at the Royal Hibernian Academy in 1938 where he shows intermittently until the final year of his life. He participates in an exhibition at 36 Arthur Street, Belfast, with the Czech artist Otakar Gregor, Joan Loewenthal and Sidney Smith in aid of the war effort at the end of 1940. He completes three paintings immediately after the Belfast Blitz and the trauma of the events prevent him from working for six months before his work is included in a portfolio of lithographs published by the Ulster Academy in December 1941 to raise money for rebuilding the Ulster Children’s and Women’s Hospital which had been destroyed in the Blitz earlier in the year.
Middleton’s first solo exhibition is given by the Belfast Municipal Museum and Art Gallery in 1943. It is the first exhibition staged at the gallery when it re-opens after the Belfast Blitz. At the time it is the largest one-person show the gallery has staged comprising one hundred fifteen works and it is also the first solo exhibition accorded to a local contemporary artist by the gallery. In an interview with Patrick Murphy in 1980, he says that the paintings represent “a first endeavour to harmonize the seemingly opposed and conflicting tendencies in human nature.” Dickon Hall says of this period that “Middleton’s painting is dominated by the female form; it is only rarely that men appear in his work. In part these women reflect his experience of Belfast and the difficult conditions that so many lived through.” This can be seen in the three female figures of The Poet’s Garden (1943), and even more so in The Conspirators (1942), both of which are featured in the 1943 exhibition. “The female form, pictorially and symbolically, becomes the landscape and the life force.”
The Belfast exhibition is followed by his first one-man show at the Grafton Galleries, Dublin, in 1944. In the following year he debuts at the Irish Exhibition of Living Art where he returns on a number of occasions, particularly in the periods 1949–55 and 1963–71. In 1945, he is married for the second time, to Kate Giddens, after both are named co-respondents at the Belfast High Court a few months earlier, in civil servant Lionel P. Barr’s application for a decree nisi. The suit is undefended and the couple has costs awarded against them. In the same year Middleton returns to the Belfast Museum for a solo exhibition arranged by the Council for the Encouragement of Music and the Arts. He is a founding member of the Northern Ireland branch of the Artists’ International Association, who show at the Belfast Municipal Gallery in spring 1945. Other members include Joan Loewenthal, Kathleen Crozier, Pat Hicking, Trude Neu, Sidney Smith, Nevill Johnston, George Campbell and Gerard Dillon.
Middleton’s work is displayed in New York‘s Associated American Artists gallery in 1947 with a selection of works chosen by Dublin art critic Theodore Goodman that includes paintings by his Northern contemporaries Daniel O’Neill, George Campbell, Gerard Dillon and Patrick Scott. He also retires from the family business that year to devote his time to painting, having worked at the business since his father’s death in 1933. He then takes his wife and child to live and work on John Middleton Murry’sSuffolk commune for a short period, before returning to Belfast in 1948. Their life in Suffolk is not a success as the family suffers from ill health, but the experience of working the land is to prove a profound influence on his future work.
In 1949, Middleton shows his first works at the Oireachtas na Gaeilge, where he returns periodically until 1977. Upon their return from Suffolk, his wife sends Victor Waddington photos of his work whereupon Waddington comes to represent him for a period of five years, until the Waddington Galleries face financial hardship in 1958. It is Waddington’s patronage that enables the Middleton family to live and work in Ardglass, County Down, for four years from 1949, which Middleton later describes as the happiest time of his life. When his works are displayed at Victor Waddington’s Dublin gallery in that same year, it acts as a springboard that opens Middleton’s work to an international audience. Group exhibitions in Boston and London follow in 1950 and 1951 respectively.
Middleton’s first solo show at London’s Tooth Gallery takes place in 1952, where his work had been shown in the previous year.
In 1953, Middleton moves to Bangor, County Down, where he designs for Marjery Mason‘s The Repertory Theatre. He later designs sets for the Circle Theatre and the Lyric Theatre, including the sets for a series of W. B. Yeats’s plays in 1970, and Seán O’Casey‘s Red Roses for Me in 1972, both at the latter. In 1952, he exhibits alongside Daniel O’Neill, Nevill Johnson, Gerard Dillon and Thurloe Connolly at the Tooth Galleries in London. He begins his career as an art teacher by the invitation of James Warwick who offers him a one year part-time post at the Belfast College of Art in 1954. That year he shows forty-two works at the Belfast Municipal Gallery under the auspices of the Council for the Encouragement of Music and the Arts. In the following year he delivers full-time classes at the Coleraine Technical School, before becoming head of art at Friends’ School, Lisburn in 1961 where he remains until 1970. He lives on Plantation Avenue in Lisburn for nine years next door to fellow artist and pedagogueDennis Osborne, who presents a portrait of Middleton at the annual exhibition of the Royal Ulster Academy in 1965.
A poet and musician, Middleton also produces murals, mosaics and posters. One such mural is commissioned for a house in Ballymena designed by the architect Noel Campbell in an international modernist style in 1951, and other works include a mosaic for a school in Lisburn, and a mural in a health clinic. He shows in many group shows throughout the fifties including the Royal Academy of Arts in 1955, in addition to more solo exhibitions at the Waddington Galleries in 1955, and his first showing at the Richie Hendricks Gallery in 1958. Of the Waddington exhibition TheDublin Magazine writes: “Apart from the brilliance of his paint, he has one rare quality in his inexhaustible capacity for wonder.”
Middleton shows in the Arts Council of Northern Ireland‘s gallery in 1965 with additional works at the Bell Gallery and his Bruges Series is shown at Alice Berger Hammerschlag’s New Gallery upon his return from a Belgian trip in 1966. The Arts Council of Northern Ireland suffers an extensive fire at their storage facility in south Belfast in autumn 1967 which decimates their collection of contemporary art and theatre costumes. Losses include several of Middleton’s paintings, in addition to the works of many other leading Ulster artists such as William Conor and T. P. Flanagan. He Is among the prizewinners at the Arts Council of Northern Ireland’s 4th Open Painting Exhibition in 1968. In the same year, John Hewitt curatea a joint exhibition of his paintings with T. P. Flanagan at the Herbert Art Gallery and Museum in Coventry.
The Arts Council hosts a joint retrospective of Middleton’s work in co-operation with the Scottish Arts Council in 1970. A major retrospective is to follow at the Ulster Museum and the Hugh Lane Municipal Gallery of Modern Art in Dublin in 1976. Comprising almost three hundred exhibits, the show is accompanied by a monograph written by Middleton’s lifelong friend, the patron and poet John Hewitt. Hewitt later bequeaths his art collection, including several of Middleton’s paintings to the Ulster Museum.
The Royal Mail uses Middleton’s painting of Slieve na Brock in the Mourne Mountains to commemorate the Ulster ’71 exhibition in a series of postage stamps that also feature the work of Thomas Carr and T. P. Flanagan. In 1972, Middleton tours extensively with his wife visiting Australia for two months and shows his works from the trip at the McClelland International Galleries on Belfast’s Lisburn Road the following year. In 1973 he also visits Barcelona and later shows a series of surrealist works inspired by the two trips at the Tom Caldwell Gallery in Belfast.
Middleton lives the last twelve years of his life in Bangor, County Down.
Middleton dies of leukemia in Belfast City Hospital on December 23, 1983. He is survived by his wife Kate, their daughter and a step-daughter. His son predeceases him by a year. Christie’s of London is entrusted with the sale of his studio works in 1985. The works are displayed before auction in both Dublin and Belfast during August 1985. In 2005, the Ulster History Circle unveils a commemorative blue plaque at his former home on Victoria Road in Bangor.
In September 2023, eighty years since the ground-breaking exhibition Middleton held at the Belfast Museum and Art Gallery, now the Ulster Museum, and forty years after his death, the Ulster Museum holds a new exhibition of his works, celebrating his association with Belfast, the city of which he says, “I belong here as I never belonged anywhere else in the country.” This exhibition brings together works held in the public collection with those from private lenders to provide a full picture of the artist’s talent and life.
Middleton wins the Royal Dublin Society‘s Taylor Scholarship worth £50 in 1932, and two further awards of £10 in 1933. In 1935, he is elected associate of the Ulster Academy, inducted alongside Helen Brett, Kathleen Bridle, Patrick Marrinan, Maurice Wilks, Romeo Toogood and William St. John Glenn,and in 1948 he becomes an elected Academician at the same.
In 1968, Middleton is appointed MBE in the Queen’s birthday honours list, and in 1969 he is elected an associate at the Royal Hibernian Academy with full membership conferred just a year later. He is awarded an honoraryMaster of Arts degree from Queen’s University Belfast in 1972. The Arts Council of Northern Ireland grants him a substantial subsistence award in 1970 which covers two years enabling him to retire from teaching to concentrate on painting full-time. In the same year, the Arts Council of Northern Ireland also commissions him to paint a portrait of their director, Kenneth Jamison.
Fitzgibbon is an early and extremely militant opponent of Catholic emancipation. The Earl is possibly the first person to suggest to King George III that granting royal assent to any form of Catholic Emancipation will violate his coronation oath.
FitzGibbon is born in 1748 near Donnybrook, Dublin, the son of John FitzGibbon of Ballysheedy, County Limerick, and his wife Isabella Grove, daughter of John Grove, of Ballyhimmock, County Cork. His father is born a Catholic but converts to the state religion in order to become a lawyer, and amasses a large fortune. He has three sisters, Arabella, Elizabeth, and Eleanor.
When appointed Lord Chancellor for Ireland in 1789, FitzGibbon is granted his first peerage as Baron FitzGibbon, of Connello Lower in County Limerick, in the peerage of Ireland that year. This does not entitle him to a seat in the British House of Lords, only in the Irish House of Lords. His later promotions come mostly in the peerage of Ireland, being advanced to a Viscountcy (1793) and the Earldom of Clare in 1795. He finally achieves a seat in the British House of Lords in 1799 when created Baron FitzGibbon, of Sidbury in the County of Devon, in the Peerage of Great Britain.
FitzGibbon is a renowned champion of the Protestant Ascendancy and an opponent of Catholic emancipation. He despises the Parliament of Ireland‘s popular independent Constitution of 1782. He is also personally and politically opposed to the Irish politician Henry Grattan who urges a moderate course in the Irish Parliament, and is responsible for defeating Grattan’s efforts to reform the Irish land tithe system (1787–1789) under which Irish Catholic farmers (and all non-Anglican farmers) are forced to financially support the minority Anglican Church of Ireland. These are not fully repealed until 1869 when the Church of Ireland is finally disestablished, although Irish tithes are commuted after the Tithe War (1831–1836).
FitzGibbon opposes the Irish Roman Catholic Relief Act 1793, for which, in a “magnificently controlled vituperation in vigorous, colloquial heroic couplets,” The Gibbonade, he is pilloried by the satirist Henrietta Battier. But acceding to pressure exerted through the Irish executive by government of William Pitt in London, intent, in advance of war with the new French Republic, to placate Catholic opinion, he is persuaded to recommend its acceptance in the Irish House of Lords. Pitt, and King George III, who had been petitioned by delegates from the Catholic Committee in Dublin, expects Ireland to follow the British Roman Catholic Relief Act 1791 and admit Catholics to the parliamentary franchise (although not to Parliament itself), enter the professions and assume public office.
FitzGibbon’s role in the recall, soon after his arrival, of the popular pro-Emancipation Lord Lieutenant of Ireland, William Fitzwilliam, 4th Earl Fitzwilliam, is debatable. Although he is probably politically opposed to the Lord Lieutenant of Ireland, Fitzwilliam is recalled, apparently due to his own independent actions. Fitzwilliam is known to be friendly to the Ponsonby family (he is married to one of their daughters), and is generally a Foxite liberal Whig. His close association with and patronage of Irish Whigs led by Grattan and Ponsonby during his short tenure, along with his alleged support of an immediate effort to secure Catholic emancipation in a manner not authorized by the British cabinet is probably what leads to his recall. Thus, if any is to blame in the short-lived “Fitzwilliam episode” it is the great Irish politician Henry Grattan and the Ponsonby brothers – presumably William Ponsonby, later Lord Imokilly, and his brother John Ponsonby—not to mention Lord Fitzwilliam himself. Irish Catholics at the time and later naturally see things very differently and blame hardline Protestants such as FitzGibbon.
Irish Catholics and FitzGibbon agree on one point apparently – Irish political and economic union with Great Britain, which eventually takes place in 1801. Pitt wants Union with Ireland concomitantly with Catholic emancipation, commutation of tithes, and the endowment of the Irish Catholic priesthood. Union is opposed by most hardline Irish Protestants, as well as liberals such as Grattan. FitzGibbon has been a strong supporter of the Union since 1793 but refuses to have Catholic emancipation with the Union.
In a speech to the Irish House of Lords on February 10, 1800, FitzGibbon elucidates his point of view on union: “I hope and feel as becomes a true Irishman, for the dignity and independence of my country, and therefore I would elevate her to her proper station, in the rank of civilised nations. I wish to advance her from the degraded post of mercenary province, to the proud station of an integral and governing member of the greatest empire in the world.”
In the end, FitzGibbon’s views win out, leading to the Union of Ireland with Great Britain to form the United Kingdom of Great Britain and Ireland without any concessions for Ireland’s Catholic majority (or for that matter, Catholics in the rest of the new United Kingdom). He later claims that he had been duped by the way in which the Act was passed with the new Viceroy Charles Cornwallis, 1st Marquess Cornwallis, promising reforms to Irish Catholics, and is bitterly opposed to any concessions during the short remainder of his life.
The role of the Earl of Clare (as FitzGibbon becomes in 1795) as Lord Chancellor of Ireland during the period of the Irish Rebellion of 1798 is questionable. According to some, he supports a hardline policy which uses torture, murder and massacre to crush the rebellion, or that as Lord Chancellor, he has considerable influence on military affairs, and that martial law cannot be imposed without his consent. Others allege that as Lord Chancellor, he has no say in military affairs and the Encyclopædia Britannica states that he is “neither cruel nor immoderate and was inclined to mercy when dealing with individuals.” However, the same source also states that “(FitzGibbon)… was a powerful supporter of a repressive policy toward Irish Catholics”. His former side is displayed by sparing the lives of the captured United Irish leaders, “State prisoners,” in return for their confession of complicity and provision of information relating to the planning of the rebellion. However, this willingness of the prisoners to partake of the agreement is spurred by the execution of the brothers John and Henry Sheares on July 14, 1798.
In contrast to the leniency shown to the largely upper-class leadership, the full weight of military repression is inflicted upon the common people throughout the years 1797–98 with untold thousands suffering imprisonment, torture, transportation and death. FitzGibbon is inclined to show no mercy to unrepentant rebels and, in October 1798, he expresses his disgust upon the capture of Wolfe Tone that he has been granted a trial, and his belief that Tone should be hanged as soon as he set foot on land.
FitzGibbon is quick to recognise that sectarianism is a useful ally to divide the rebels and prevent the United Irishmen from achieving their goal of uniting Protestant, Catholic and Dissenter, writing in June 1798, “In the North nothing will keep the rebels quiet but the conviction that where treason has broken out the rebellion is merely popish.”
Another anecdote is to the effect of FitzGibbon’s callousness. Supposedly, upon being informed during a debate in the Irish Parliament that innocent as well as guilty are suffering atrocities during the repression, he replies, “Well suppose it were so…,” his callous reply purportedly shocking William Pitt.
FitzGibbon is noted by some as a good, improving landlord to both his Protestant and Catholic tenants. Some claim that the tenants of his Mountshannon estate call him “Black Jack” FitzGibbon. There is, however, no evidence to support this claim, although there is little to no evidence on his dealings as a landlord. Irish nationalists and others point out that while he might be interested in the welfare of his own tenants on his own estate, he treats other Irish Catholics very differently. Without further evidence, his role as a Protestant landowner in mainly Catholic Ireland is of little importance against his known dealings as Lord Chancellor.
FitzGibbon dies at home, 6 Ely Place near St. Stephen’s Green, Dublin, on January 28, 1802, and is buried in St. Peter’s Churchyard. A hero to Protestant hardliners, but despised by the majority Catholic population, his funeral cortege is the cause of a riot and, according to a widespread story, a number of dead cats are thrown at his coffin as it departs Ely Place.
The DSWA is formally founded at a meeting on January 26, 1876, in the Exhibition Palace, Earlsfort Terrace (now the National Concert Hall). After the Poor Law Guardians (Ireland) (Women) Act 1896 allows women to be elected to the boards of guardians of poor law unions, it renames itself the Dublin Women’s Suffrage and Poor Law Guardians’ Association. After the Local Government (Ireland) Act 1898 allows women to serve on local councils, it becomes the Dublin Women’s Suffrage and Local Government Association. It establishes branches outside Dublin in the 1890s and becomes the IWSLGA in 1901.
In 1919, after the Representation of the People Act 1918 provides full franchise at local elections and partial franchise at parliamentary elections, the IWSLGA merges with the Irish Women’s Association of Citizenship to become the Irish Women Citizens’ and Local Government Association, later renamed the Irish Women’s Citizens Association, which in 1949 merges into the Irish Housewives Association.
The association confines itself to constitutional, nonsectarian and peaceful methods, and attracts support from both unionist and nationalist suffragists. Its tactics include making friends in parliament, hosting meetings with important speakers, and issuing pamphlets and periodicals. Its first secretaries are Anna Haslam and Miss McDowell. Haslam serves as secretary until 1913. In regards to membership, Haslam suggests an annual subscription of one shilling per annum as membership in the association. Other goals include appointing women to positions “such as rate collectors and sanitary inspectors, while always pursuing the association’s main objective of the parliamentary vote.” Prominent members of the association in the 20th century are Lady Margaret Dockrell, Mary Hayden, and Bridget Dudley Edwards (mother of Robert Dudley Edwards). Prominent supporters include Charles Cameron, Sir Andrew Reed, Willie RedmondMP, and William Field MP. Following the Sex Disqualification (Removal) Act 1919, Lady Dockrell is one of the first women appointed Justice of the Peace.
(Pictured: Anna Haslam, co-founder of the DWSA along with her husband, Thomas)
Babington is born on September 1, 1804, to the Rev. Richard Babington and his wife Mary Boyle, both members of the Anglo-Irishlanded gentry. His father, the rector of Lower Comber (Diocese of Derry), leads an extravagant lifestyle and leaves debts of £40,000 on his death in 1831, aged 66, equivalent to some £4.1 million as of 2019. His father’s debt is paid off by his two brothers Richard (1795-1870) and Anthony of Creevagh (1800-1869). Another brother is Major GeneralWilliam Babington. He is educated at Trinity College Dublin (TCD).
Babington begins his career as a curate of Lower Cumber, where his father is rector, in 1827. He becomes rector of Moviddy in 1833, at the age of 29. As rector, he carries out improvements worth the equivalent of £166,766 in 2019. As a clergyman he is part of a wave toward secular education in Ireland in the 1800s. In this capacity he is remembered as a “very forward thinking individual.” He is one of the signatories of a progressive booklet titled Declaration in Favour of United Secular Education in Ireland in 1866. The declaration notes, on behalf of the united Church of England and Ireland, “We entirely admit the justice and policy of the rule which protects scholars from interference with their religious principles and thus enables members of different denominations, to receive together in harmony and peace, the benefits of a good education.”
Babington is also, notably, in 1843, an addressee of the “Crookstown letter,” a famous incident at the time covered by The Cork Examiner and Cork Commercial Courier. He publishes, in the Cork Constitution, the contents of a threatening letter he had received in which it threatens him, among others, with murder if he does not become a repealer of the Acts of Union 1800 and with making a bonfire of hay in his farmyard if he does not show the letter to its other addresses. The letter is allegedly to have been written by a Roman Catholic resident of Crookstown, County Cork. The Roman Catholic parish priest, Fr. Daly, and parishioners refute the allegation that the letter had been authored by a Roman Catholic and claim that, conversely, the letter is an invention of a local Protestant who wrote “repeal or die” on the Crookstown Bridge. A local magistrate, J. B. Warren, to whom the letter has also been addressed, pledges to carry out an investigation but Babington does not hand over the original letter, causing the local Roman Catholic population to regard his publication of the letter in the press as “prejudiced, premature and defamatory of the character of the people whose industry he derives his income.” Babington states that he has always been on friendly terms with the Roman Catholic parish priest and his Roman Catholic parishioners and has no intention of offending them but is in fact pushing to publish it by local magistrates. He continues as rector of Moviddy for another 43 years following this incident.
Babington is also involved with the Society for Promoting the Education of the Poor of Ireland.
In 1836, Babington marries Esther, daughter of Richard Nettles, Esq., JP, of Nettleville, County Cork, with whom he has five sons and eight daughters.
Babington dies at the age of 81 on January 23, 1886, at Moviddy Rectory, County Cork. He is buried with his wife, Esther, who died at the age of 70 on August 29, 1878.
In 1849, O’Donoghue, together with William Smith O’Brien, Terence MacManus, Thomas Francis Meagher and many others, are on board the prisoner transport ship The Swift for a six-month, 14,000-mile journey under difficult conditions on which some fellow prisoners do not survive.
On January 26, 1850, “Using materials he had begged and borrowed” as one account gives it, O’Donoghue starts publishing in Hobart a weekly newspaper named The Irish Exile, aimed mainly at fellow Irish prisoners and deportees and considered to be the first Irish Nationalist paper to be published in Australia.
The paper features Irish ballads and poetry, articles about Irish history, and a regular column by John Martin reporting on the situation of the Repeal Movement, a campaign to repeal the Acts of Union 1800 under which the Irish Parliament had been abolished. There is also local news of the Irish deportee community, then numbering in the thousands, and of Hobart daily life in general.
O’Donoghue uses The Irish Exile to publish excerpts of his journal aboard The Swift, which are reprinted in Australian, British and Irish newspapers. Brisbane‘s The Moreton Bay Courier, reprinted from Dublin’s The Nation, finds that the journal “will show how severely the tyrannical government of England visited the offences of the Ballingarry cabbage-tree heroes. The studies of Messrs. O’Brien, Meagher (afterwards O’), and O’Donoghoe, will amuse the reader”. While in Van Diemen’s Land, The Examiner, the daily newspaper of Launceston, Tasmania, reprints London‘s The Examiner‘s view that “a singularly large amount of mercy has been shown to those grown-up children who made the escapade from Dublin to raise the standard of Irish rebellion at Ballingarry. One of the worthies, Mr. Patrick O’Donoghue, has published an account of his deportation; and certainly a more pleasureable [sic] voyage could not have been under taken at the expanse of government. A roomy cabin, a capital library, a fair dinner, with a couple of glasses of wine, and cigars upon deck, from the dietary and the entertainment of the political exiles.”
Publication of the paper is not in itself illegal, but is highly displeasing to the Governor, Sir William Denison, who finds that the paper can be suppressed by arresting O’Donoghue and charging him with having “left his allocated district.” He is sentenced to one year’s work in a chain gang – a time spent at hard labour, living in a convict station and wearing a convict uniform, mainly in the company of non-political prisoners such as “rapists, muggers and thieves.”
In March 1851, O’Donoghue is released and taken back to Hobart. Undeterred, he immediately restarts his paper, prominently featuring an extensive personal account of his year with the chain gang. The governor reacts by sending him again to a chain gang, at a more distant location this time – the Cascades Penal Station. Three months later the governor orders him released from there and sent to Launceston.
On the way there, O’Donoghue succeeds in escaping from his guards with the help of fellow-prisoners, who manage to smuggle him on board the ship Yarra Yara, on its way to Melbourne. There, he successfully hides from the British authorities and, with further help from Irish sympathisers, manages to get to San Francisco, where some of his fellows such as MacManus and Meagher have also ended up.
O’Donoghue dies in New York City on January 22, 1854, shortly before the arrival of his wife on a ship from Ireland. The time spent in the chain gang may have contributed to undermining his health. The other escaped state prisoners do not attend his funeral, although Michael Doheny and Michael Cavanagh, fellow Young Irelanders who are living in New York City at the time, are in attendance.
The local Sinn Féin branch in Carlow is named after O’Donoghue.
In June 1846, Sir Robert Peel‘s Tory Ministry falls, and the Whigs under Lord John Russell comes to power. Daniel O’Connell, founder of the Repeal Association which campaigns for a repeal of the Acts of Union 1800 between Great Britain and Ireland, simultaneously attempts to move the Association into supporting the Russell administration and English Liberalism.
The intention is that Repeal agitation is to be damped down in return for a profuse distribution of patronage through Conciliation Hall, home of the Repeal Association. On June 15, 1846, Thomas Francis Meagher denounces English Liberalism in Ireland saying that there is a suspicion that the national cause of Repeal will be sacrificed to the Whig government and that the people who are striving for freedom will be “purchased back into factious vassalage.” Meagher and the other “Young Irelanders” (an epithet of opprobrium used by O’Connell to describe the young men of The Nation newspaper), as active Repealers, vehemently denounce in Conciliation Hall any movement toward English political parties, be they Whig or Tory, so long as Repeal is denied.
The “Tail” as the “corrupt gang of politicians who fawned on O’Connell” are named, and who hope to gain from the government places decide that the Young Irelanders must be driven from the Repeal Association. The Young Irelanders are to be presented as revolutionaries, factionists, infidels and secret enemies of the Church. For this purpose, resolutions are introduced to the Repeal Association on July 13 which declare that under no circumstances is a nation justified in asserting its liberties by force of arms. The Young Irelanders, as members of the association, have never advocated the use of physical force to advance the cause of repeal and oppose any such policy. Known as the “Peace Resolutions,” they declare that physical force is immoral under any circumstances to obtain national rights. Meagher agrees that only moral and peaceful means should be adopted by the Association, but if it is determined that Repeal cannot be carried by those means, a no less honourable one he would adopt though it be more perilous. The resolutions are again raised on July 28 in the Association and Meagher then delivers his famous “Sword Speech.”
Addressing the Peace Resolutions, Meagher holds that there is no necessity for them. Under the existing circumstances of the country, any provocation to arms will be senseless and wicked. He dissents from the Resolutions because by assenting to them he would pledge himself to the unqualified repudiation of physical force “in all countries, at all times, and in every circumstance.” There are times when arms will suffice, and when political amelioration calls for “a drop of blood, and many thousand drops of blood.” He then “eloquently defended physical force as an agency in securing national freedom.” Having been at first semi-hostile, Meagher carries the audience to his side and the plot against the Young Irelanders is placed in peril of defeat. Observing this he is interrupted by O’Connell’s son, John, who declares that either he or Meagher must leave the hall. William Smith O’Brien then protests against John O’Connell’s attempt to suppress a legitimate expression of opinion, and leaves with other prominent Young Irelanders, and never returns.
After negotiations for a reunion have failed, the seceders decide to establish a new organisation which is to be called the Irish Confederation. Its founders determine to revive the uncompromising demand for a national Parliament with full legislative and executive powers. They are resolute on a complete prohibition of place-hunting or acceptance of office under the existing Government. They wish to return to the honest policy of the earlier years of the Repeal Association, and are supported by the young men, who have shown their repugnance for the corruption and insincerity of Conciliation Hall by their active sympathy with the seceders. There are extensive indications that many of the previously Unionist class, in both the cities and among land owners, are resentful of the neglect of Irish needs by the British Parliament since the famine began. What they demand is vital legislative action to provide both employment and food, and to prevent all further export of the corn, cattle, pigs and butter which are still leaving the country. On this there is a general consensus of Irish opinion according to Dennis Gwynn, “such as had not been known since before the Act of Union.”
The first meeting of the Irish Confederation takes place in the Rotunda, Dublin, on January 13, 1847. The chairperson for the first meeting is John Shine Lawlor, the honorary secretaries being John Blake Dillon and Charles Gavan Duffy. Duffy is later replaced by Meagher. Ten thousand members are enrolled, but of the gentry there are very few, the middle class stand apart and the Catholic clergy are unfriendly. In view of the poverty of the people, subscriptions are purely voluntary, the founders of the new movement bearing the cost themselves if necessary.
Following mass emigration by Irish people to England, the Irish Confederation then organises there also. There are more than a dozen Confederate Clubs in Liverpool and over 700 members of 16 clubs located in Manchester and Salford.
Callan is born on December 22, 1799, in Darver, County Louth. He attends school at an academy in Dundalk. His local parish priest, Father Andrew Levins, then takes him in hand as an altar boy and Mass server and sees him start the priesthood at Navanseminary. He enters Maynooth College in 1816. In his third year at Maynooth, he studies natural and experimental philosophy under Dr. Cornelius Denvir. He introduces the experimental method into his teaching and has an interest in electricity and magnetism.
Callan is ordained a priest in 1823 and goes to Rome to study at Sapienza University, obtaining a doctorate in divinity in 1826. While in Rome he becomes acquainted with the work of the pioneers in electricity such as Luigi Galvani (1737–98), who is a pioneer in bioelectricity, and Alessandro Volta (1745–1827), who is known especially for the development of the electric battery. In 1826, he returns to Maynooth as the new Professor of Natural Philosophy (now called physics), where he also begins working with electricity in his basement laboratory at the college.
Influenced by William Sturgeon and Michael Faraday, Callan begins work on the idea of the induction coil in 1834. He invents the first induction coil in 1836. An induction coil produces an intermittent high voltagealternating current from a low voltage direct current supply. It has a primary coil consisting of a few turns of thick wire wound around an iron core and subjected to a low voltage (usually from a battery). Wound on top of this is a secondary coil made up of many turns of thin wire. An iron armature and make-and-break mechanism repeatedly interrupts the current to the primary coil, producing a high voltage, rapidly alternating current in the secondary circuit.
Callan invents the induction coil because he needs to generate a higher level of electricity than currently available. He takes a bar of soft iron, about 2 feet long, and wraps it around with two lengths of copper wire, each about 200 feet long. He connects the beginning of the first coil to the beginning of the second. Finally, he connects a battery, much smaller than the enormous contrivance just described, to the beginning and end of winding one. He finds that when the battery contact is broken, a shock can be felt between the first terminal of the first coil and the second terminal of the second coil.
Further experimentation shows how the coil device can bring the shock from a small battery up the strength level of a big battery. So Callan tries making a bigger coil. With a battery of only 14 seven-inch plates, the device produces power enough for an electric shock “so strong that a person who took it felt the effects of it for several days.” He thinks of his creation as a kind of electromagnet, but what he actually makes is a primitive induction transformer.
Callan’s induction coil also uses an interrupter that consists of a rocking wire that repeatedly dips into a small cup of mercury (similar to the interrupters used by Charles Grafton Page). Because of the action of the interrupter, which can make and break the current going into the coil, he calls his device the “repeater.” Actually, this device is the world’s first transformer. He induces a high voltage in the second wire, starting with a low voltage in the adjacent first wire. The faster he interrupts the current, the bigger the spark. In 1837 he produces his giant induction machine using a mechanism from a clock to interrupt the current 20 times a second. It generates 15-inch sparks, an estimated 60,000 volts and the largest artificial bolt of electricity then seen.
Callan experiments with designing batteries after he finds the models available to him at the time to be insufficient for research in electromagnetism. Some previous batteries had used rare metals such as platinum or unresponsive materials like carbon and zinc. He finds that he can use inexpensive cast iron instead of platinum or carbon. For his Maynooth battery he uses iron casting for the outer casing and places a zinc plate in a porous pot (a pot that had an inside and outside chamber for holding two different types of acid) in the centre. Using a single fluid cell, he disposes of the porous pot and two different fluids. He is able to build a battery with just a single solution.
While experimenting with batteries, Callan also builds the world’s largest battery at that time. To construct this battery, he joins together 577 individual batteries (“cells“), which use over 30 gallons of acid. Since instruments for measuring current or voltages have not yet been invented, he measures the strength of a battery by measuring how much weight his electromagnet can lift when powered by the battery. Using his giant battery, his electromagnet lifts 2 tons. The Maynooth battery goes into commercial production in London. He also discovers an early form of galvanisation to protect iron from rusting when he is experimenting on battery design, and he patents the idea.
Callan dies at the age of 64 in Maynooth, County Kildare, on January 10, 1864. He is buried in the cemetery in St. Patrick’s College, Maynooth.
The Callan Building on the north campus of Maynooth University, a university which is part of St. Patrick’s College until 1997, is named in his honour. In addition, Callan Hall in the south campus, is used through the 1990s for first year science lectures including experimental & mathematical physics, chemistry and biology. The Nicholas Callan Memorial Prize is an annual prize awarded to the best final year student in Experimental Physics.
seamus dubhghaill 