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Category Archives: Irish History


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Birth of Arthur Aston Luce, Professor at Trinity College

Arthur Aston Luce, professor of philosophy at Trinity College, Dublin, and also Precentor of St. Patrick’s Cathedral, Dublin (1952–1973), is born in Gloucester, England on August 21, 1882. He holds many clerical appointments, including Vice-Provost of Trinity from 1946 to 1952. He is widely known as an authority on the philosopher George Berkeley. His fellowship of Trinity College from 1912 to 1977 is a record.

Luce is the fourth son of the Reverend John James Luce and Alice Luce (née Stubbs). He is educated at Lindley Lodge School and Eastbourne College. He enters Trinity College, Dublin in 1901. He obtains his BA in 1905, BD in 1908 and MA in 1911.

Luce’s earlier work focuses largely on theological matters within Christianity. His academic career is interrupted by World War I, in which he serves with the 12th Royal Irish Rifles. He is awarded the Military Cross in 1917. After the war, he publishes “Monophysitism Past and Present” (1921) which deals with the nature of Jesus and his relationship to the world. The following year, he publishes his Donnellan Lectures on Henri Bergson where he examines issues in psychology and evolution as well as religion.

From the 1930s, Luce becomes interested in the Irish philosopher George Berkeley. He feels many of the previous studies of Berkeley are in many ways inadequate and sometimes wrong. His unearthing of new sources on Berkeley as well as better ways of interpreting existing sources guide his work in this direction. He stresses the role of the French monk Nicolas Malebranche on influencing the thought of the young Berkeley. Prior to his Berkeley and Malebranche (1934), Berkeley had been seen almost solely in the patrimony of John Locke and empiricism.

Berkeley’s mature philosophy is given lucid exposition by Luce in his 1945 work “Berkeley’s Immaterialism”. Along with Thomas Edmund Jessop, he edits The Works of George Berkeley (in nine volumes, 1948–1957).

Luce is not only a Berkeley scholar but comes to be a believer in Berkelianism itself. In “Sense without Matter” (1954) he attempts to bring Berkeley up to date by modernising the philosopher’s vocabulary and putting the issues Berkeley faced in today’s terms.

Berkeley’s personal reputation among historians and the public is also an area which Luce feels needs correcting and updating. Some studies of Berkeley had contributed to his reputation as a dreamer or a loner who often hid his real views. Luce’s “Life of George Berkeley, Bishop of Cloyne” (1949) takes aim at this picture of Berkeley and, by careful use of often new sources, paints a more grounded picture of the man.

In 1918, Luce marries Lilian Mary Thomson, with whom he has three children. Tragically, his wife and young daughter drown in 1940. His elder son, Professor John Victor Luce (1920–2011), is also an academic at Trinity and also serves as vice-provost.

Luce dies in Dublin on June 28, 1977, shortly after an assault by a man who has an antipathy towards clergymen.


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Birth of The Reverend Edward Hincks

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The Reverend Edward Hincks, Anglo-Irish clergyman best remembered as an Assyriologist and one of the decipherers of Mesopotamian cuneiform, is born in Cork, County Cork on August 19, 1792. He is one of the three men known as the “holy trinity of cuneiform,” with Sir Henry Creswicke Rawlinson and Jules Oppert.

Hincks is the eldest son of the Rev. Thomas Dix Hincks, a distinguished Protestant minister, orientalist and naturalist. He is an elder brother of Sir Francis Hincks, a prominent Canadian politician who is also sometime Governor of Barbados, and William Hincks, the first Professor of Natural History at Queen’s College, Cork and afterwards University College, Toronto.

Hincks is educated at home by his father and at Midleton College before entering Trinity College Dublin. He is elected a Scholar of the College in 1810, and in 1812 wins the Gold Medal and Bishop Law‘s Prize for Mathematics. He is elected a Fellow of the College in 1813 and four years later takes his M.A. In 1819, following the death of Thomas Meredith, he is presented to the Rectory of Ardtrea in County Tyrone. Though Ardtrea is a valuable and highly prized Rectory, it is also isolated for a young bachelor, and he resigns the position in 1826, taking up the Rectory in nearby Killyleagh, County Down, an office he holds for the remainder of his life.

The undemanding nature of his clerical duties leave him with more than enough time to pursue his interest in ancient languages. His first love is for the hieroglyphic writing of ancient Egypt. His greatest achievement is the decipherment of the ancient language and writing of Babylon and Assyria: Akkadian cuneiform.

Hincks deduces correctly that cuneiform writing had been invented by one of the earliest civilisations of Mesopotamia, who then bequeathed it to later states such as Babylon, Assyria and Elam. In 1848 he is awarded the Cunningham Medal of the Royal Irish Academy for his achievements.

By 1850 Hincks comes to a number of important conclusions regarding the nature of Assyro-Babylonian cuneiform. He also discovers that cuneiform characters are “polyphonic,” by which he means that a single sign can have several different readings depending on the context in which it occurs. However, not everyone is convinced by the claims being made by the Irishman and his distinguished colleagues. Some philologists even suggest that they are simply inventing multiple readings of the signs to suit their own translations.

In 1857 the versatile English Orientalist William Henry Fox Talbot suggests that an undeciphered cuneiform text be given to several different Assyriologists to translate. If, working independently of one another, they come up with reasonably similar translations, it will surely dispel the doubts surrounding their claims.

As it happens, Talbot, Hincks, Rawlinson and Oppert, are in London in 1857. Edwin Norris, secretary of the Royal Asiatic Society, gives each of them a copy of a recently discovered inscription from the reign of the Assyrian emperor Tiglath-Pileser I. A jury of experts is impaneled to examine the resulting translations and assess their accuracy.

In all essential points the translations produced by the four scholars are found to be in close agreement with one another. There are of course some slight discrepancies. The inexperienced Talbot makes a number of mistakes, and Oppert’s translation contains a few doubtful passages due to his unfamiliarity with the English language. But Hincks’ and Rawlinson’s versions are virtually identical. The jury declares itself satisfied, and the decipherment of cuneiform is adjudged a fait accompli.

Hincks devotes the remaining years of his life to the study of cuneiform and makes further significant contributions to its decipherment. He dies at his rectory in Killyleagh on December 3, 1866, at the age of 74. He is survived by a wife and four daughters.


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Death of Leslie Montgomery, Playwright & Writer

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Leslie Alexander Montgomery, playwright, humorist, and writer who writes under the pen name “Lynn Doyle,” dies in Dublin on August 18, 1961. He adopts the pseudonym for his writing, using a homophone of “linseed oil.” Supposedly, he chooses the name after seeing a large tin of linseed oil in a paint shop, initially signing “Lynn C. Doyle” but later dropping the “C.”

Born in Downpatrick, County Down on October 5, 1873, Montgomery is educated at Dundalk in County Louth. He commences work as a bank clerk at the age of 16, and remains with the Northern Banking Company, working in locations such as Keady and Cushendall before a transfer to the quaint seaside town of Skerries in County Armagh. There he becomes branch manager until his retirement in 1934.

Aside from this rather strait-laced, white-collar career, however, Montgomery fosters a life-time passion for writing in various forms and genres, and his contribution to Ulster literature in the early part of the 20th century should not be underestimated.

Montgomery is part of the Ulster Literary Theatre movement founded by Bulmer Hobson and David Parkhill in 1902, and early works include Love and Land, a play that is produced at the Little Theatre in London and represents Montgomery’s first critical success.

Other works during this decade include The Summons and The Lilac Ribbon. By the beginning of the 1920s, Montgomery is a leading northern playwright. He is best known, however for the Ballygullion series, twenty books which fondly caricature Northern Irish village life. The first in the series is published in 1908 and the last in 1957.

Montgomery writes the first book, which would lend its title to the rest of the series, in Dublin. This is followed by other works every few years such as Mr. Wildridge of the Bank, Lobster Salad, Dear Ducks, Me and Mr. Murphy and Rosabelle and Other Stories.

Written in the dialect of the east Ulster region, the stories celebrate an imaginary townland area in the Slieve Gullion region of County Down. They reflect Montgomery’s early years there and in Dundalk. The books also reveal a lot about contemporary Ulster life.

The versatile writer also produces poetry during the 1930s. Ballygullion Ballads, published in 1936 is illustrated by the famous Belfast artist William Conor, as are several of the later editions of his books.

In 1936, Montgomery has the somewhat dubious honour of being the first Irish writer to be appointed to the Censorship Board. He resigns within two years of accepting the job, however, claiming that it is “so terribly easy to read only the marked passages, so hard to wade through the whole book afterwards.”

Following his retirement from the Northern Banking Company, he gains further notoriety as a lecturer, and also regularly broadcasts his stories for the fledgling BBC in Belfast. Indeed, his most productive period as a writer is in his 1960s, during which time he writes his autobiography, An Ulster Childhood, in 1954.

Montgomery dies in Dublin on August 18, 1961, but his legacy is preserved in the Lynn Doyle Collection at Belfast Central Library, which consists of a series of archival boxes which were purchased by the library. The collection is extensive, and includes broadcasts and lecture transcripts, manuscripts, essays, short stories, poetry, personal correspondence, photographs, land leases and legal documents.


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Death of Keyboardist Lou Martin

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Louis Michael “Lou” Martin, piano and organ player from Belfast, dies in Bournemouth, Dorset, on August 17, 2012. He is most famous for his work with the London-based band Killing Floor and with fellow Irish musician Rory Gallagher.

Martin is born in Belfast on August 12, 1949. He starts learning the piano at the age of six and joins his first professional band, Killing Floor, in April or May 1968. In 1969 Martin and Stuart McDonald are recruited by 17-year-old Darryl Read who forms a band for Emperor Rosko‘s brother, Jeff Pasternak, called Crayon Angels. Read assembles the band and plays drums while Rosko acts as manager. Martin later leaves Killing Floor to play alongside Gallagher, and is featured on several of Gallagher’s albums, including Blueprint, Tattoo, Irish Tour ’74, Against the Grain, Calling Card, Defender and Fresh Evidence. He also plays rhythm guitar on one track, “Race the Breeze” from Blueprint.

After leaving Gallagher’s band, Martin and drummer Rod de’Ath form Ramrod, after which Martin plays with Downliners Sect and Screaming Lord Sutch. He also tours with Chuck Berry and Albert Collins.

Martin plays in the Nickey Barclay band in London in the 1980s, alongside Barclay on keyboards, with John Conroy and Dave Ball on lead guitar. The band plays across London on the blues rock circuit during the 1980s at venues such as The White Lion, Putney, The Star and Garter on Lower Richmond Road, The Golden Lion, Fulham and the Cartoon, Croydon.

Killing Floor releases an album in 2004 named Zero Tolerance, on which Martin participates.

After a period of illness including cancer and a number of strokes, Lou Martin dies peacefully in a hospital in Bournemouth, Dorset, at the age of 63, on August 17, 2012.


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The Battle of Luzzara

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The Irish Brigade of France fights at the Battle of Luzzara in Lombardy on August 15, 1702 during the War of the Spanish Succession, a battle between a largely French and Savoyard army led by Louis Joseph, Duke of Vendôme and an Imperial force under Prince Eugene of Savoy.

Control of the Duchies of Milan and Mantua is the main strategic prize in Northern Italy as they are key to the security of Austria‘s southern border. In May, an Austrian army under Prince Eugene of Savoy enters Northern Italy and wins a series of victories which by February 1702 forces the French behind the Adda river.

In early August, Vendôme’s army stops at the Austrian-held town of Luzzara on the right bank of the Po River. The total French force is around 30,000-35,000, including 10,000 Savoyards and five regiments of the Irish Brigade.

Eugene lifts his blockade of Mantua since these moves threaten to cut him off from his supply bases at Modena and Mirandola. Taking all available forces, around 26,000 men, he marches to intercept the French at Luzzara but arrives too late to prevent its surrender and establishes his headquarters at the village of Riva, north of the French positions.

Just above Luzzara, the sides of the Seraglo to Rovero canal have been built up to prevent the Po River flooding the countryside. Eugene plans to use these to conceal his movements and attack the French as they enter their camp. He splits his forces into two lines, the left wing under General Visconti, the right under Charles Thomas, Prince of Vaudémont and himself in charge of the centre.

During the morning and early afternoon of August 15, the Imperialists cross the Po River and manage to achieve a large measure of surprise in surrounding the French camp but are discovered shortly before completing this operation. Around 5:00 PM, Prince Eugene orders a general assault. The French are taken by surprise, some units marching into the camp and immediately out again to the front line but quickly recover. Eugene’s right wing is repulsed no less than four times, while the struggle on the left is equally bloody, his Danish mercenaries nearly break through on several occasions. The French line manages to hold until sheer exhaustion and darkness end the fighting around midnight.

Casualties on both sides are heavy, particularly among the Irish units and Albemarle’s Regiment on the right. During the night, Eugene entrenches his position and the French do not resume the attack the following morning.

The overall result is a draw, although in the practice of the times Eugene claims it as a victory, since he remains in possession of the ground. However, his forces are too weak to intervene as the French continue to take strongpoints. The two armies lay facing each other until early November, when both move into winter quarters.

Eugene is recalled to Vienna in January 1703 to take over as head of the Imperial War Council, while Vendôme continues preparations for the summer campaign. In October 1703, Victor Amadeus II of Sardinia, Duke of Savoy defects to the Alliance and Vendôme spends the next three years in Savoy.

In 1708 Prince Eugene commissions a series of paintings recording his victories from Dutch artist Jan van Huchtenburg, one being Luzzara which gives an indication of how he viewed it.

(Pictured: “The Battle of Luzzara, 1702,” oil on canvas by Jan van Huchtenburgh)


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Death of Patrick McGee, Actor & Director

patrick-mcgee

Patrick George McGee, Northern Irish actor and director of stage and screen known professionally as Patrick Magee, dies from a heart attack at his flat in Fulham, London on August 14, 1982. He is known for his collaborations with Samuel Beckett and Harold Pinter, as well as creating the role of the Marquis de Sade in the original stage and screen productions of Marat/Sade. He also appears in numerous horror films and in two Stanley Kubrick films, A Clockwork Orange and Barry Lyndon.

McGee is born into a middle-class family in Armagh, County Armagh, Northern Ireland on March 31, 1922. He is the first born of five children and is educated at St. Patrick’s Grammar School, Armagh.

McGee’s first stage experience in Ireland is with Anew McMaster’s touring company, performing the works of William Shakespeare. It is here that he first works with Pinter. He is then brought to London by Tyrone Guthrie for a series of Irish plays. He meets Beckett in 1957 and soon records passages from the novel Molloy and the short story From an Abandoned Work for BBC Radio. Impressed by “the cracked quality of Magee’s distinctly Irish voice,” Beckett requests copies of the tapes and writes Krapp’s Last Tape especially for the actor. First produced at the Royal Court Theatre in London on October 28, 1958, the play stars McGee and is directed by Donald McWhinnie. A televised version is later broadcast by BBC Two on November 29, 1972.

In 1964, McGee joins the Royal Shakespeare Company, after Pinter, directing his own play, The Birthday Party, specifically requests him for the role of McCann. In 1965 he appears in Peter Weiss‘s Marat/Sade, and when the play transfers to Broadway he wins a Tony Award. He also appears in the 1966 RSC production of Staircase opposite Paul Scofield.

McGee’s early film roles include Joseph Losey‘s The Criminal (1960) and The Servant (1963), the latter an adaptation scripted by Pinter. He also appears as Surgeon-Major James Henry Reynolds in Zulu (1964), Séance on a Wet Afternoon (1964), Anzio (1968), and in the film versions of Marat/Sade (1967) and The Birthday Party (1968). He is perhaps best known for his role as the victimised writer Frank Alexander, who tortures Alex DeLarge with Ludwig van Beethoven‘s music, in Stanley Kubrick’s film A Clockwork Orange (1971). His other role for Kubrick is as Redmond Barry’s mentor, the Chevalier de Balibari, in Barry Lyndon (1975).

McGee also appears in Young Winston (1972), The Final Programme (1973), Galileo (1975), Sir Henry at Rawlinson End (1980), The Monster Club and Chariots of Fire (1981) but is most often seen in horror films. These include Roger Corman‘s The Masque of Red Death (1964), and the Boris Karloff vehicle Die, Monster, Die! (1965) for AIP; The Skull (1965), Tales from the Crypt (1972), Asylum (1972), and And Now the Screaming Starts! (1973) for Amicus Productions; Demons of the Mind (1972) for Hammer Film Productions; and Walerian Borowczyk‘s Docteur Jekyll et les femmes (1981).

Patrick McGee dies from a heart attack at his flat in Fulham, London on August 14, 1982, at the age of 60, according to obituaries in The Herald and The New York Times. On July 29, 2017, a blue plaque is unveiled in Edward Street, Armagh to mark Patrick McGee’s birthplace.


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The Bayardo Bar Attack

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The Bayardo Bar attack takes place on August 13, 1975, in Belfast as a unit of the Provisional Irish Republican Army (IRA), led by Brendan McFarlane, launch a bombing and shooting attack on a pub on Aberdeen Street, in the loyalist Shankill Road area of the city.

By 1975, the conflict in Northern Ireland known as “the Troubles” is more than six years old. On February 10, 1975, the Provisional IRA and the British government enter into a truce and restart negotiations. There is a rise in sectarian killings during the truce, which ‘officially’ lasts until early 1976. The truce, however, is interrupted in the early hours of July 31, 1975, by the Miami Showband killings at Buskhill outside Newry, County Down.

Two weeks later, on August 13, 1975, the Bayardo Bar is crowded with people of all ages. Shortly before closing time a stolen green Audi automobile, containing a three-man unit of the IRA’s Belfast Brigade, pulls up outside. It is driven by the unit’s leader Brendan “Bik” McFarlane, a 24-year-old volunteer from Ardoyne. Volunteers Seamus Clarke and Peter “Skeet” Hamilton get out and approach the pub’s side entrance on Aberdeen Street. One of them immediately opens fire with an ArmaLite, instantly killing doorman William Gracey and his brother-in-law Samuel Gunning, with whom he had been chatting outside. The other volunteer then enters the pub, where patrons are drinking and singing, and drops a duffel bag containing a ten-pound bomb at the entrance. Both men make their getaway back to the waiting car. As panicked customers run to the toilets for safety, the bomb explodes and brings down a section of the old brick-and-plaster building upon them. The bodies of civilian Joanne McDowell and UVF member Hugh Harris are later found beneath the rubble of fallen masonry. Seventeen-year-old civilian Linda Boyle is pulled out alive but dies of her injuries at the hospital on August 21. Over 50 people are injured in the attack.

A Belfast Telegraph article later claims that, as the IRA unit drives away down Agnes Street, they fire into a crowd of women and children queuing at a taxi rank although there are no fatalities. Within 20 minutes of the blast, the IRA unit is arrested after their car is stopped at a roadblock. The ArmaLite that had been used to kill Gracey and Gunning is found inside the car along with spent bullet casings and fingerprints belonging to the three IRA men.

The IRA does not initially claim responsibility, however, IRA members later state that the Bayardo was attacked because it was a pub where Ulster Volunteer Force (UVF) members met and planned terrorist assaults against nationalists. The pub is in the UVF-dominated middle Shankill Road area, and the Ulster Banner is displayed from its upper windows. A former IRA prisoner claims that fellow inmate Lenny Murphy told him he had left the Bayardo ten minutes before the attack and that the Brigade Staff had just finished holding a meeting there.

Loyalists, especially the UVF, respond with another wave of sectarian attacks against Catholics. Two days after the pub attack, a loyalist car bomb explodes without warning on the Falls Road, injuring 35 people. On 22 August, the UVF launches a gun and bomb attack on McGleenan’s Bar in Armagh. The attack is strikingly similar to that at Bayardo. One gunman opens fire while another plants the bomb, the explosion causing the building to collapse. Three Catholic civilians are killed and several more are wounded. That same night, another bomb wrecks a Catholic-owned pub in nearby Blackwatertown, although there are no injuries.

In May 1976, Brendan McFarlane, Seamus Clarke, and Peter Hamilton are convicted in a non-jury Diplock court and sentenced to life imprisonment inside the HM Prison Maze for carrying out the Bayardo murders. In 1983 McFarlane leads the Maze Prison escape, a mass break-out of 38 republican prisoners, including Clarke and Hamilton.


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Death of John Holland, Irish Engineer

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John Philip Holland, Irish engineer who develops the first submarine to be formally commissioned by the U.S. Navy, and the first Royal Navy submarine, HMS Holland 1, dies in Newark, New Jersey on August 12, 1914.

Holland, the second of four siblings, all boys, is born on February 24, 1841 in a coastguard cottage in Liscannor, County Clare, where his father, John Philip Holland, Sr., is a member of the British Coastguard Service. His mother, a native Irish speaker from Liscannor, Máire Ní Scannláin, is John Holland’s second wife. His first wife, Anne Foley Holland, believed to be a native of Kilkee, dies in 1835. The area is heavily Irish-speaking and Holland learns English properly only when he attends the local English-speaking St. Macreehy’s National School, and from 1858, in the Christian Brothers in Ennistymon.

Holland joins the Irish Christian Brothers in Limerick and teaches in CBS Sexton Street in Limerick and many other centres in the country, including North Monastery CBS in Cork, St. Joseph’s CBS in Drogheda, and as the first Mathematics teacher in Coláiste Rís in Dundalk. Due to ill health, he leaves the Christian Brothers in 1873 and emigrates to the United States. Initially working for an engineering firm, he returns to teaching again for an additional six years in St. John’s Catholic school in Paterson, New Jersey.

While a teacher in Cork, Holland reads an account of the battle between the ironclads USS Monitor and USS Merrimack in the Battle of Hampton Roads during the American Civil War. He realizes that the best way to attack such ships would be through an attack beneath the waterline. He draws a design, but when he attempts to obtain funding, he is turned away. After his arrival in the United States, Holland slips and falls on an icy Boston street and breaks a leg. While recuperating from the injury in a hospital, he uses his time to refine his submarine designs and is encouraged by a priest, Isaac Whelan.

In 1875, his first submarine designs are submitted for consideration by the U.S. Navy, but are turned down as unworkable. The Fenians, however, continue to fund Holland’s research and development expenses at a level that allows him to resign from his teaching post. In 1881, Fenian Ram is launched, but soon after, Holland and the Fenians part company on bad terms over the issue of payment within the Fenian organization, and between the Fenians and Holland. The submarine is now preserved at Paterson Museum in New Jersey.

Holland continues to improve his designs and works on several experimental boats, prior to his successful efforts with a privately built type, launched on May 17, 1897. This is the first submarine having power to run submerged for any considerable distance, and the first to combine electric motors for submerged travel and gasoline engines for use on the surface. The submarine is purchased by the U.S. Navy on April 11, 1900, after rigorous tests and is commissioned on October 12, 1900 as USS Holland (SS-1). Six more of her type are ordered and built at the Crescent Shipyard in Elizabeth, New Jersey. The company that emerges from under these developments is called The Electric Boat Company, founded on February 7, 1899. Isaac Leopold Rice becomes the company’s first President with Elihu B. Frost acting as vice president and chief financial officer. The company eventually evolves into the major defense contractor General Dynamics.

The USS Holland design is also adopted by others, including the Royal Navy in developing the Holland-class submarine. The Imperial Japanese Navy employs a modified version of the basic design for their first five submarines, although these submarines are at least 10 feet longer at about 63 feet. These submarines are also developed at the Fore River Ship and Engine Company in Quincy, Massachusetts. Holland also designs the Holland II and Holland III prototypes. The Royal Navy ‘Holland 1’ is on display at the Submarine Museum in Gosport, England.

After spending 56 of his 73 years working with submersibles, John Philip Holland dies on August 12, 1914 in Newark, New Jersey. He is interred at the Holy Sepulchre Cemetery in Totowa, New Jersey.


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Birth of Dan Breen, IRA Volunteer & Fianna Fáil Politician

Irish republican Dan Breen (1967)

Daniel “Dan” Breen, volunteer in the Irish Republican Army (IRA) during the Irish War of Independence and the Irish Civil War, is born in Grange, Donohill parish, County Tipperary, on August 11, 1894. In later years, he is a Fianna Fáil politician.

Breen’s father dies when he is six, leaving the family very poor. He is educated locally before becoming a plasterer and later a linesman on the Great Southern Railways.

Breen is sworn into the Irish Republican Brotherhood in 1912 and the Irish Volunteers in 1914. On January 21, 1919, the day the First Dáil meets in Dublin, Breen takes part in the Soloheadbeg Ambush. The ambush party of eight men, led by Seán Treacy, attacks two Royal Irish Constabulary (RIC) men who are escorting explosives to a quarry. The two policemen, James McDonnell and Patrick O’Connell, are fatally shot during the incident. The ambush is considered to be the first incident of the Irish War of Independence.

During the conflict, the British put a £1,000 price on Breen’s head, which is later increased to £10,000. He quickly establishes himself as a leader within the Irish Republican Army. He is known for his courage. On May 13, 1919 he helps rescue his comrade Seán Hogan at gunpoint from a heavily guarded train at Knocklong station in County Limerick. Breen, who is wounded, remembers how the battalion is “vehemently denounced as a cold-blooded assassins” and roundly condemned by the Catholic Church. After the fight, Treacy, Séumas Robinson, and Breen meet Michael Collins in Dublin, where they are told to make themselves scarce although they do not necessarily agree.

Breen and Sean Treacy shoot their way out through a British military cordon in the northern suburb of Drumcondra (Fernside). They escape, only for Treacy to be killed the next day. Breen is shot at least four times, twice in the lung.

The British reaction is to make Tipperary a “Special Military Area,” with curfews and travel permits. Volunteer GHQ authorises entrerprising attacks on barracks. The British policy forces Breen and Treacy to retreat to Dublin. They join Michael Collins’ Squad of assassins, later known as the Dublin Guard, and Dublin becomes the centre of the war.

Breen is present in December 1919 at the ambush in Ashtown beside Phoenix Park in Dublin where Martin Savage is killed while trying to assassinate the Lord Lieutenant of Ireland, Viscount John French. The IRA hides behind hedges and a dungheap as the convoy of vehicles drives past. They have been instructed to ignore the first car but this contains their target, Lord French. Their roadblock fails as a policeman removes the horse and cart intended to stop the car.

Breen utterly rejects the Anglo-Irish Treaty, which makes him, like many others, angry and embittered. In the June 1922 elections Breen is nominated as a candidate by both the pro- and anti-Treaty sides, but is not elected.

Breen is elected to Dáil Éireann at the 1923 general election as a Republican anti-Treaty Teachta Dála (TD) for the Tipperary constituency. Following the Anglo-Irish Treaty, Breen joins the Anti-Treaty IRA in the civil war, fighting against those of his former comrades in arms who support the Treaty. He is arrested by the National Army of the Irish Free State and interned at Limerick Prison. He spends two months there before going on hunger strike for six days followed by a thirst strike of six days, prompting his release.

Breen writes a best-selling account of his guerrilla days, My Fight for Irish Freedom, in 1924. He represents Tipperary from the fourth Dáil in 1923 as a Republican with Éamon de Valera and Frank Aiken. He is defeated in the June 1927 Irish general election and travels to the United States where he opens a prohibition speakeasy. In 1932 he returns to Ireland and regains his seat as a member of Fianna Fáil in the Dáil at that year’s general election. During World War II he is said to hold largely pro-Axis views. He represents his Tipperary constituency without a break until his retirement at the 1965 election.

Breen dies in Dublin on December 27, 1969 and is buried in Donohill, near his birthplace. His funeral is the largest seen in west Tipperary since that of his close friend and comrade-in-arms Seán Treacy at Kilfeacle in October 1920. An estimated attendance of 10,000 mourners assemble in the tiny hamlet, giving ample testimony to the esteem in which he was held.

Breen is the subject of a 2007 biography Dan Breen and the IRA by Joe Ambrose.


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Birth of Irish American Painter William Harnett

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William Michael Harnett, Irish American painter known for his trompe-l’œil still lifes of ordinary objects, is born in Clonakilty, County Cork on August 10, 1848, during the time of the Great Famine.

Shortly after his birth Harnett’s family emigrates to the United States, settling in Philadelphia. Becoming a United States citizen in 1868, he makes a living as a young man by engraving designs on table silver, while also taking night classes at the Pennsylvania Academy of the Fine Arts and later, in New York City, at Cooper Union and at the National Academy of Design. His first known oil painting, a still life, dates from 1874.

The style of trompe-l’œil painting that Harnett develops is distinctive and inspired many imitators, but it is not without precedent. A number of Dutch Golden Age painters, Pieter Claesz for instance, had specialized in tabletop still life of astonishing verisimilitude. Raphaelle Peale, working in Philadelphia in the early 19th century, pioneers the form in America. What sets Harnett’s work apart, besides his enormous skill, is his interest in depicting objects not usually made the subject of a painting.

Harnett paints musical instruments, hanging game, and tankards, but also paints the unconventional Golden Horseshoe (1886), a single rusted horseshoe shown nailed to a board. He paints a casual jumble of second-hand books set on top of a crate, Job Lot, Cheap (1878), as well as firearms and even paper currency. His works sell well, but they are more likely to be found hanging in a tavern or a business office than in a museum, as they did not conform to contemporary notions of high art.

still-life-violin-and-music

Harnett spent the years 1880–1886 in Europe, staying in Munich from 1881 until early 1885. His best-known paintings, the four versions of After the Hunt, are painted between 1883 and 1885. Each is an imposing composition of hunting equipment and dead game, hanging on a door with ornate hinges at the right and keyhole plate at the left. These paintings, like the horseshoe or currency depictions mentioned earlier, are especially effective as trompe-l’œil because the objects occupy a shallow space, meaning that the illusion is not spoiled by parallax shift if the viewer moves.

Overall, Harnett’s work is most comparable to that of the slightly younger John F. Peto. The two artists know each other, and a comparison can be made between two paintings featuring violins. Harnett’s Music and Good Luck from 1888 shows the violin hanging upright on a door with ornate hinges and with a slightly torn piece of sheet music behind it. The elements are arranged in a stable, deliberate manner. Peto’s 1890 painting shows the violin hanging askew, as well as chipped and worn, with one broken string. The sheet music is dog-eared and torn around the edges and placed haphazardly behind the instrument. The hinges are less ornate, and one is broken. Harnett’s objects show signs of use but are well preserved, while Peto’s more humble objects are nearly used up.

Crippling rheumatism plagues Harnett in his last years, reducing the number but not the quality of his paintings. He dies in New York City on October 29, 1892. Other artists who paint similar compositions in Harnett’s wake include his contemporary John Haberle and successors such as Otis Kaye and Jefferson David Chalfant.

Harnett’s work is in collections in the Albright-Knox Art Gallery (Buffalo, New York), the Amon Carter Museum of American Art (Fort Worth, Texas), the Dallas Museum of Art, the Art Institute of Chicago, the Brooklyn Museum, the Carnegie Museum of Art (Pittsburgh, Pennsylvania), the Cincinnati Art Museum, the Cleveland Museum of Art, the Detroit Institute of Arts, the Fine Arts Museums of San Francisco, Harvard Art Museums, the High Museum of Art (Atlanta, Georgia), the Honolulu Museum of Art, the Joslyn Art Museum (Omaha, Nebraska), the Los Angeles County Museum of Art, the Metropolitan Museum of Art (New York, New York), the National Gallery of Art (Washington D.C.), the National Gallery of Canada (Ottawa, Ontario), the Philadelphia Museum of Art, the San Diego Museum of Art, Thyssen-Bornemisza Museum (Madrid, Spain), the Toledo Museum of Art (Toledo, Ohio), the Wadsworth Atheneum (Hartford, Connecticut), and the Wichita Art Museum (Wichita, Kansas) among others.

(Pictured: Music and Good Luck, oil on canvas by William Michael Harnett, 1888, Metropolitan Museum of Art)