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Birth of David Hammond, Singer & Folklorist

David Andrew (Davy) Hammond, singer, folklorist, television producer and documentary maker, is born on December 5, 1928, in Miss Kell’s nursing home on the Castlereagh Road in Belfast, Northern Ireland.

Hammond is the son of Leslie Hammond, a tram driver, and his wife Annie (née Lamont). His parents are not city people; his mother grew up near Ballybogy in the Ballymoney area of County Antrim, and his father, though from a family with roots in south County Londonderry, had lived in Ballymoney as a boy, and had been apprenticed to a blacksmith there. Both have a strong sense of their rural identity and maintain the Ulster Scots dialect of their childhood. They are never quite at home in the Belfast suburb of Cregagh, and in particular do not share the sectarian attitudes that are much more present in 1930s Belfast than they had been in north Antrim, one of the last strongholds of Presbyterian radicalism. Even as a boy, Hammond is interested in the old songs that his mother sang and realises that the traditions in which his parents had been nurtured are disappearing quickly in an increasingly urbanising and modernising world. When he encounters the work of Emyr Estyn Evans in the early 1940s, he is encouraged to document both rural tradition and the street life of the city, and he and a couple of friends, though still just teenagers, ride off on their bicycles to look for folklore in the hinterland of Belfast.

After primary school, Hammond wins a scholarship in 1941 to Methodist College Belfast, where he does well in examinations, and then goes to Stranmillis University College to train as a teacher. In his first job, in Harding Memorial primary school in east Belfast, he proves to be a popular, idealistic teacher, and is remembered by his pupils fifty years later as a fine singer and a teller of ghost stories, who had taken the class on memorable youth-hosteling trips to the Mourne Mountains. Youth hosteling and folklore collecting increases his awareness and understanding of the rich traditions of the whole community in the north of Ireland, and he is never constrained by political or religious barriers. His early career mirrors closely that of James Hawthorne, and their paths are to cross in later life.

Hammond is friendly with many others active in the cultural life of Northern Ireland and makes a name for himself as a song collector and eventually as an expert on all aspects of traditional singing. In 1956, he is awarded a scholarship to travel in the United States to meet the important pioneers of folk-music collecting and performance there. He records his first LP record of Ulster songs, I Am The Wee Falorie Man (1958), in the United States, and becomes friends with Pete Seeger, the Appalachian singer Jean Ritchie, with old blues singers, and notably with Liam Clancy, one of the three Clancy brothers who as a quartet with Tommy Makem are to popularise Irish folk music in the United States and elsewhere.

On returning to Belfast, Hammond takes a job in 1958 in Orangefield secondary school in the east of the city, where the highly regarded headmaster John Malone encourages new approaches to education. Among his pupils at Orangefield is George Ivan “Van” Morrison, who credits him with inspiring his interest in Irish traditional music. Hammond enjoys teaching but is increasingly drawn to folk-song performance and recording. He appears regularly on radio programmes of the BBC and Radio Éireann, and in 1964 joins the school’s department in BBC Northern Ireland. There, with colleagues like Sam Hanna Bell, James Hawthorne and others, he works on programmes such as Today and Yesterday in Northern Ireland, which for the first time introduces pupils (and many adults) to local history and to aspects of tradition. In 1968, with two friends, the poets Seamus Heaney and Michael Longley, he puts on poetry and traditional music events in schools all over the province. The Arts Council funds the Room to Rhyme project, which is immensely influential and inspiring, and is still talked about many years later by those who attended as children.

Hammond is creatively involved with hundreds of hours of broadcasting, in television as well as radio, and eventually for adults as well as children. He writes scripts, produces documentary series such as Ulster in Focusand Explorations, and brings an artistic sensibility to filming, as well as working sympathetically with traditional singers and craftspeople. Dusty Bluebells, a sensitively made film of Belfast children’s street games, wins the prestigious Golden Harp award in 1972. After he leaves the BBC to work as a freelance, and founds Flying Fox Films in 1986, he continues making documentaries on many aspects of Ulster life and heritage. His film called Steel Chest, Nail in the Boot and the Barking Dog (1986), about working in the Belfast shipyards, also wins a Golden Harp award. A companion book of the same name is published. Another book is Belfast, City of Song(1989), with Maurice Leyden. In 1979, he edits a volume of the songs of Thomas Moore. His documentary programmes include films about singers from Boho, County Fermanagh, and about the big houses of the gentry in Ireland. The Magic Fiddle (1991/2) examines the role of the instrument in the folk music of Ireland, Scandinavia, Canada, and the American south, while Another Kind of Freedom (1993) is about the experiences of a former Orangefield pupil, the Beirut hostage Brian Keenan. He also produces and directs the films Something to Write Home About (1998), Where Are You Now? (1999), and Bogland (1999), all of which explore Seamus Heaney’s home region and experiences.

The first poem in Heaney’s collection Wintering Out (1972) is entitled “For David Hammond and Michael Longley.” Their lifelong friendship leads to several other creative collaborations. In particular, after a distressing evening in 1972 when Hammond, affected by the despair and terror unleashed by Irish Republican Army (IRA) bombing of his city, is for once unable to sing, Heaney meditates on the experience in an essay and in an important poem, “The singer’s house” (subsequently included in his 1979 Field Work collection). The poem urges the singer to keep singing, to defend the values of art and friendship in a hostile time. Hammond collaborates with Dónal Lunny and other traditional musicians to bring out an LP also called The Singer’s House(1978), which includes Heaney’s poem on the album sleeve, and features some of the songs that he had made famous, such as “My Aunt Jane” and “Bonny Woodgreen,” from his vast repertoire of songs from Ulster. The album is reissued in 1980.

In 1995, Hammond is one of Heaney’s personal guests at the award of his Nobel prize in Stockholm, characteristically wearing his usual, mustard-yellow, cattle-dealer boots with evening dress. On another formal occasion, when he is awarded an honorary doctorate by Dublin City University in November 2003, he surprises the audience by standing up in his academic robes to sing “My Lagan love,” instead of giving an address. His unique, light mellow voice is an ideal vehicle for the traditional ballads which he knows so well. He records a number of records in the 1960s, including Belfast Street Songs, and publishes the book Songs of Belfast (1978). He also encourages traditional musicians like Arty McGlynn, and collaborates with them on various recording projects. He is well known for live and often impromptu performances at festivals and venues in Ireland and the United States. He also performs at the John F. Kennedy Center for the Performing Arts in Washington, D.C.

Hammond is also a notable collaborator with poets and dramatists, especially in the important Field Day Theatre Company project, of which he is a director, along with Seamus Heaney, Tom Paulin, Seamus Deane, Thomas Kilroy, and the project’s founders, Brian Friel and Stephen Rea. He supports the Field Day search for a “fifth province,” where history and community and culture can intersect, believing that to speak unthinkingly of “two traditions” is to perpetuate superficial political divisions. As he says in an interview in The Irish Times on July 4, 1998, songs can “take you out of yourself” and become bridges to unite people.

Hammond receives many honours. In 1994, he receives the Estyn Evans award for his contribution to mutual understanding, and his work is featured in several major events in his honour: in the University of North Florida (1999), in the Celtic Film Festival in Belfast (2003), and in Belfast’s Linen Hall Library (2005). A Time to Dream, a film about his life and work, is broadcast on BBC Northern Ireland in December 2008.

Hammond dies in hospital in Belfast, after a long illness, on August 25, 2008, survived by his wife Eileen (née Hambleton), whom he marries on July 19, 1954, and by their son and three daughters. His funeral in St. Finnian’s Church is a major cultural event, where friends sing, play and speak in his honour.

In Seamus Heaney’s last collection of poetry, Human Chain (2010), he includes a poignant farewell to Hammond. The poet imagines (or perhaps dreams) of another visit to the singer’s house, but this time “The door was open, and the house was dark.”

(From: “Hammond, David Andrew (‘Davy’)” by Linde Lunney, Dictionary of Irish Biography, http://www.dib.ie, December 2014)


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Death of Leslie Mary de Barra, Irish Nationalist & Republican

Leslie Mary de Barra (née Price), Irish nationalist and republican active during the Easter Rising of 1916, the Irish War of Independence and the Irish Civil War, dies in Cork, County Cork, on April 9, 1984. She becomes Director of Cumann na mBan and goes on to be chairman and President of the Irish Red Cross.

She is born Leslie Mary Price in Dublin on January 9, 1893, to Michael and Mary Price. Her father is a blacksmith, and she is one of six children. She wants to be a teacher and by 1911 has become a Monitress, a common way for girls to get into the teaching profession. Two of her brothers are involved in the Irish Volunteers and she is a member of Cumann na mBan. In advance of the Easter Rising, with the confusion over orders and lack of information, she states that she “did not question anything” as, with all that was happening, there are often odd events in her house. But they all wait for the mobilisation orders for the Rising.

De Barra’s role during the republican rebellion in Ireland, Easter 1916, is to act as a courier carrying messages and ammunition between the main headquarters in the General Post Office (GPO) and other posts. She does her role well during the Rising and gains the respect of many Irish Republicans. On the orders of Seán Mac Diarmada, one of the principal leaders of the rising, she and fellow Cumann na mBan member Bríd Dixon are promoted in the field and treated as officers. She later admits that the job was stressful. She is stationed both in the GPO and in the Hibernian Bank. It is while she is in the bank that she comes closest to death, standing beside Captain Thomas Weafer while he is shot. Another soldier who goes to his aid is also shot. She barely has time to grab Captain Weafer before he dies. She is the person sent to fetch a priest for the dying and wounded soldiers on the Thursday. By Friday evening, she is in the GPO and is with the group evacuated with Louise Gavan Duffy. Once they reach the hospital on Jervis Street, she parts company from Duffy and heads to Jacob’s factory to see how the rebels are getting on there. She is also arrested and held in Broadstone Station but quickly released.

By 1918, de Barra represents West Cork in the Cumann na mBan convention and becomes a member of the executive committee. She leaves her teaching career to focus fully on the organisation required by the republican movement in 1918. She travels the country by train and by bicycle to get women to join the local branches of the Cumann and take part in the activities needed by the movement. She is tasked by the Irish Republican Army’s (IRA) General Headquarters to set up specific lines of communication between Dublin and the Provincial commands. Within the year the organisation has grown from 17 to over 600 branches. She is Director of the organisation during the period up to the end of the war.

De Barra marries Tom Barry on August 22, 1921, in Cork during the Truce period in the lead up to the Anglo-Irish Treaty. At the wedding are men who later end up on opposite sides. Both Éamon de Valera and Michael Collins are guests. Her husband is staunchly Anti-Treaty even though he has been friends with Collins. Although her husband is a staunch republican and a major figure in the Irish War of Independence and the Irish Civil War, while she is serving in the GPO in Dublin during the rising, he is in Mesopotamia serving in the British Army in World War I.

In later years de Barra is central to the Irish Red Cross. Initially she gets involved by organising the care of children orphaned by World War II. She represents the Irish Red Cross at conferences in Toronto, Oslo, Monaco, New Delhi, Geneva, Vienna, The Hague, Athens, Istanbul and Prague. She and her husband handle refugees from Czechoslovakia and Poland. Through the Red Cross she is able to ascertain the status of Irish held by the Spanish during the Spanish Civil War, as officially Ireland remains neutral and cannot get involved. She is Chairman of the Irish Red Cross from 1950 to 1973.

De Barra is instrumental in the setting up of the Voluntary Health Insurance organisation in the late 1950s. In 1962, with the Red Cross she launches the “Freedom from hunger” campaign in Ireland which later becomes the organisation Gorta. She serves as chairman of Gorta also.

In 1956, a memorial to 1916 is unveiled in Limerick. It is designed by Albert Power and the commemoration of the Rising is held in May 1956 and the monument is unveiled by de Barra. In 1963 she is awarded an honorary degree from University College Dublin (UCD) along with Éamon de Valera and others.

In 1971, de Barra is part of a series to look back on the events leading to Irish Independence and her story is broadcast by Raidió Teilifís Eireann. In 1979 she wins the Henry Dunant Medal which is the highest award of the Red Cross Movement.

De Barra and her husband live on St. Patrick’s Street in Cork from the 1940s until his death in 1980. She dies in Cork on April 9, 1984, and is buried with her husband in St. Finbarr’s Cemetery. She is remembered today in the Leslie Bean de Barra Trophy awarded for the Cork Area Carer of the Year.


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Death of David Hammond, Singer, Folklorist & Television Producer

David Andrew (Davy) Hammond, singer, folklorist, television producer and documentary maker, dies in Belfast, Northern Ireland, following a long illness, on August 25, 2008.

Hammond is born on December 5, 1928, in Miss Kells’s nursing home on the Castlereagh Road in Belfast, the son of Leslie Hammond, a tram driver, and his wife Annie (née Lamont). His parents are not city people; his mother grew up near Ballybogy in the Ballymoney area of County Antrim, and his father, though from a family with roots in south County Londonderry, had lived in Ballymoney as a boy, and had been apprenticed to a blacksmith there. Both have a strong sense of their rural identity and maintain the Ulster Scots dialect of their childhood. They are never quite at home in the Belfast suburb of Cregagh, and in particular do not share the sectarian attitudes that are much more present in 1930s Belfast than they had been in north Antrim, one of the last strongholds of Presbyterian radicalism. Even as a boy, Hammond is interested in the old songs that his mother sang and realises that the traditions in which his parents had been nurtured are disappearing quickly in an increasingly urbanising and modernising world. When he encounters the work of Emyr Estyn Evans in the early 1940s, he is encouraged to document both rural tradition and the street life of the city, and he and a couple of friends, though still just teenagers, ride off on their bicycles to look for folklore in the hinterland of Belfast.

After primary school, Hammond wins a scholarship in 1941 to Methodist College Belfast, where he does well in examinations, and then goes to Stranmillis University College to train as a teacher. In his first job, in Harding Memorial primary school in east Belfast, he proves to be a popular, idealistic teacher, and is remembered by his pupils fifty years later as a fine singer and a teller of ghost stories, who had taken the class on memorable youth-hosteling trips to the Mourne Mountains. Youth hosteling and folklore collecting increases his awareness and understanding of the rich traditions of the whole community in the north of Ireland, and he is never constrained by political or religious barriers. His early career mirrors closely that of James Hawthorne, and their paths are to cross in later life.

Hammond is friendly with many others active in the cultural life of Northern Ireland and makes a name for himself as a song collector and eventually as an expert on all aspects of traditional singing. In 1956, he is awarded a scholarship to travel in the United States to meet the important pioneers of folk-music collecting and performance there. He records his first LP record of Ulster songs, I Am The Wee Falorie Man (1958), in the United States, and becomes friends with Pete Seeger, the Appalachian singer Jean Ritchie, with old blues singers, and notably with Liam Clancy, one of the three Clancy brothers who as a quartet with Tommy Makem are to popularise Irish folk music in the United States and elsewhere.

On returning to Belfast, Hammond takes a job in 1958 in Orangefield secondary school in the east of the city, where the highly regarded headmaster John Malone encourages new approaches to education. Among his pupils at Orangefield is George Ivan “Van” Morrison, who credits him with inspiring his interest in Irish traditional music. Hammond enjoys teaching but is increasingly drawn to folk-song performance and recording. He appears regularly on radio programmes of the BBC and Radio Éireann, and in 1964 joins the school’s department in BBC Northern Ireland. There, with colleagues like Sam Hanna Bell, James Hawthorne and others, he works on programmes such as Today and Yesterday in Northern Ireland, which for the first time introduces pupils (and many adults) to local history and to aspects of tradition. In 1968, with two friends, the poets Seamus Heaney and Michael Longley, he puts on poetry and traditional music events in schools all over the province. The Arts Council funds the Room to Rhyme project, which is immensely influential and inspiring, and is still talked about many years later by those who attended as children.

Hammond is creatively involved with hundreds of hours of broadcasting, in television as well as radio, and eventually for adults as well as children. He writes scripts, produces documentary series such as Ulster in Focus and Explorations, and brings an artistic sensibility to filming, as well as working sympathetically with traditional singers and craftspeople. Dusty Bluebells, a sensitively made film of Belfast children’s street games, wins the prestigious Golden Harp award in 1972. After he leaves the BBC to work as a freelance, and founds Flying Fox Films in 1986, he continues making documentaries on many aspects of Ulster life and heritage. His film called Steel Chest, Nail in the Boot and the Barking Dog (1986), about working in the Belfast shipyards, also wins a Golden Harp award. A companion book of the same name is published. Another book is Belfast, City of Song (1989), with Maurice Leyden. In 1979, he edits a volume of the songs of Thomas Moore. His documentary programmes include films about singers from Boho, County Fermanagh, and about the big houses of the gentry in Ireland. The Magic Fiddle (1991/2) examines the role of the instrument in the folk music of Ireland, Scandinavia, Canada, and the American south, while Another Kind of Freedom (1993) is about the experiences of a former Orangefield pupil, the Beirut hostage Brian Keenan. He also produces and directs the films Something to Write Home About (1998), Where Are You Now? (1999), and Bogland (1999), all of which explore Seamus Heaney’s home region and experiences.

The first poem in Heaney’s collection Wintering Out (1972) is entitled “For David Hammond and Michael Longley.” Their lifelong friendship leads to several other creative collaborations. In particular, after a distressing evening in 1972 when Hammond, affected by the despair and terror unleashed by Irish Republican Army (IRA) bombing of his city, is for once unable to sing, Heaney meditates on the experience in an essay and in an important poem, “The singer’s house” (subsequently included in his 1979 Field Work collection). The poem urges the singer to keep singing, to defend the values of art and friendship in a hostile time. Hammond collaborates with Dónal Lunny and other traditional musicians to bring out an LP also called The Singer’s House (1978), which includes Heaney’s poem on the album sleeve, and features some of the songs that he had made famous, such as “My Aunt Jane” and “Bonny Woodgreen,” from his vast repertoire of songs from Ulster. The album is reissued in 1980.

In 1995, Hammond is one of Heaney’s personal guests at the award of his Nobel prize in Stockholm, characteristically wearing his usual, mustard-yellow, cattle-dealer boots with evening dress. On another formal occasion, when he is awarded an honorary doctorate by Dublin City University in November 2003, he surprises the audience by standing up in his academic robes to sing “My Lagan love,” instead of giving an address. His unique, light mellow voice is an ideal vehicle for the traditional ballads which he knows so well. He records a number of records in the 1960s, including Belfast Street Songs, and publishes the book Songs of Belfast (1978). He also encourages traditional musicians like Arty McGlynn, and collaborates with them on various recording projects. He is well known for live and often impromptu performances at festivals and venues in Ireland and the United States. He also performs at the John F. Kennedy Center for the Performing Arts in Washington, D.C.

Hammond is also a notable collaborator with poets and dramatists, especially in the important Field Day Theatre Company project, of which he is a director, along with Seamus Heaney, Tom Paulin, Seamus Deane, Thomas Kilroy, and the project’s founders, Brian Friel and Stephen Rea. He supports the Field Day search for a “fifth province,” where history and community and culture can intersect, believing that to speak unthinkingly of “two traditions” is to perpetuate superficial political divisions. As he says in an interview in The Irish Times on July 4, 1998, songs can “take you out of yourself” and become bridges to unite people.

Hammond receives many honours. In 1994, he receives the Estyn Evans award for his contribution to mutual understanding, and his work is featured in several major events in his honour: in the University of North Florida (1999), in the Celtic Film Festival in Belfast (2003), and in Belfast’s Linen Hall Library (2005). A Time to Dream, a film about his life and work, is broadcast on BBC Northern Ireland in December 2008.

Hammond dies in hospital in Belfast, after a long illness, on August 25, 2008, survived by his wife Eileen (née Hambleton), whom he marries on July 19, 1954, and by their son and three daughters. His funeral in St Finnian’s church is a major cultural event, where friends sing, play and speak in his honour.

In Seamus Heaney’s last collection of poetry, Human Chain (2010), he includes a poignant farewell to Hammond. The poet imagines (or perhaps dreams) of another visit to the singer’s house, but this time “The door was open, and the house was dark.”

(From: “Hammond, David Andrew (‘Davy’)” by Linde Lunney, Dictionary of Irish Biography, http://www.dib.ie, December 2014)


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Birth of Mary Field Parsons, Countess of Rosse

Mary Parsons (née Field), Countess of Rosse, Anglo-Irish amateur astronomer, architect, furniture designer, and pioneering photographer, is born on April 14, 1813, at Heaton Hall, Heaton, Bradford, West Yorkshire, England. Often known simply as Mary Rosse, she is one of the early practitioners of making photographs from waxed-paper negatives.

Field is the daughter of John Wilmer Field, a wealthy estate owner. She has a sister, Delia, and they are educated at home by Susan Lawson, a governess who encourages her creativity and broad interests, including astronomy. The sisters are joint heirs to their father’s fortune.

Through her family Field meets William Parsons, then Lord Oxmantown and the future 3rd Earl of Rosse, an Anglo-Irish astronomer and naturalist, and they are married on April 14, 1836, her 23rd birthday. In February 1841, Lord Oxmantown succeeds his father in the family peerage to become the 3rd Earl of Rosse. She, Baroness Oxmantown since her marriage, thus now becomes the Countess of Rosse.

In the early 1840s the couple becomes interested in astronomy, and the Countess of Rosse helps her husband build a number of giant telescopes, including the so-called Leviathan of Parsonstown, that is considered a technical marvel in its time. The author, Henrietta Heald, contends that she is not only a financial support to the building of the telescope, but is also involved in a practical and intellectual capacity. The Leviathan of Parsontown is completed in 1845 and holds the record as the world’s largest telescope for over 70 years. It is mentioned in Jules Verne’s science fiction novel, From the Earth to the Moon.

The Countess of Rosse is an accomplished blacksmith, which is very unusual for higher class women of the time, and she may have constructed some of the iron work that supports the telescope. Other metal cast items around the castle grounds are designed by her, including bronze gates.

During the Great Famine of 1845–47 in Ireland, the Countess of Rosse is responsible for keeping over five hundred men employed in work in and around Birr Castle, where she and her husband live.

The Countess of Rosse creates a huge dining room at Birr Castle in which to entertain scientific guests, which becomes increasingly used when Lord Rosse becomes President of the Royal Society of London in 1848. Guests include mathematician William Rowan Hamilton, who writes her a sonnet about his experience of gazing through the Leviathan.

In 1842, Lord Rosse begins experimenting in daguerreotype photography, possibly learning some of the art from his acquaintance William Henry Fox Talbot. In 1854, he writes to Fox Talbot saying that the Countess too has just commenced photography and sends some examples of her work. Fox Talbot replies that some of her photographs of the telescope “are all that can be desired.”

The Countess of Rosse becomes a member of the Dublin Photographic Society, and in 1859 she receives a silver medal for “best paper negative” from the Photographic Society of Ireland. Many examples of her photography are in the Birr Castle Archives. Much of the topography of Birr Castle that she portrayed has changed very little, and it is possible to compare many of her photographs with the actual places. She records the Leviathan in her photographs including one image showing her three sons, Clere, Randal and Charles along with her sister-in-law, Jane Knox, standing upright at the mouth of the telescope.

The Countess of Rosse gives birth to eleven children, but only four survive to adulthood:

Mary, Dowager Countess of Rosse, dies in 1885.


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The Kilmeena Ambush

The Kilmeena ambush takes place at Kilmeena, County Mayo, on May 19, 1921 during the Irish War of Independence. The ambush ends in defeat for the local West Mayo Irish Republican Army (IRA), with six IRA volunteers killed and seven wounded. Two members of the Royal Irish Constabulary (RIC) and one Black and Tan are also killed in the action.

The IRA in west Mayo is relatively quiet until January 1921, when Michael Kilroy, described as “a puritanical and ascetic blacksmith” takes over command of the Brigade after Thomas Derrig is arrested by the Royal Irish Constabulary. Kilroy forms a relatively large “flying column” of 40 to 50 men to carry out attacks on Crown forces in the area. On May 6 they suffer a reverse at Islandeady, when a police patrol comes upon the IRA men cutting a road. Three volunteers are killed and two captured.

On May 18, 1921, the IRA decides to attack an RIC/Black and Tan convoy at Kilmeena. Two small-unit attacks are made on the RIC barracks in Newport and Westport to try to draw the police out of their well-defended barracks. One RIC man dies in these attacks.

At 3:00 AM the next day, May 19, the column of 41 IRA men take up position close to Knocknabola Bridge. The British convoy, traveling from Newport to Westport, consists of two Crossley lorries and one Ford touring car and a total of about thirty men. The convoy does not arrive until 3:00 PM and its arrival sparks a two-hour fire-fight. In the battle, one RIC man is wounded and later dies. The British regroup around the house of the parish priest, Father Conroy, and launch a counterattack.

Four IRA volunteers are killed. They are Seamus Mc Evilly, Thomas O’Donnell, Patrick Staunton and Sean Collins. Paddy Jordan of the Castlebar battalion is injured and dies later at Bricens Hospital in Dublin. Seven more IRA men are wounded.

The remainder of the column, carrying their wounded, flee over the mountains to Skerdagh, where they have safe houses. However, the police track them there and, in another exchange of fire, another IRA man is killed, Jim Brown from Newport, along with one RIC Constable and a Black and Tan.

The Black and Tans throw the dead and wounded IRA men onto the street outside the RIC barracks in nearby Westport, causing widespread revulsion among the local people and local police. The Marquis of Sligo, no friend of the republican guerrillas, visits the barracks to complain of their treatment of enemy dead. At the funerals of those killed, in Castlebar, the authorities allow only close family to attend and forbid the draping of the Irish tricolour over the coffins.

The local IRA blames their defeat in the ambush on the failure of an IRA unit from Westport to show up in time.

Kilroy’s column manages to get some revenge for the setback at Kilmeena the following month in an action at Carrowkennedy on June 3, where they kill eight policemen and capture sixteen.


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IRA Commander Seán Mac Eoin Captured at Mullingar

Seán Mac Eoin, Irish Republican Army (IRA) North Longford commander, is captured at Mullingar, County Westmeath, on March 1, 1921, and charged with the murder of a Royal Irish Constabulary (RIC) detective, dealing a severe blow to the IRA in that area.

Mac Eoin is born John Joseph McKeon on September 30, 1893, at Bunlahy, Granard, County Longford, the eldest son of Andrew McKeon and Catherine Treacy. After a national school education, he trains as a blacksmith at his father’s forge and, on his father’s death in February 1913, he takes over the running of the forge and the maintenance of the McKeon family. He moves to Kilinshley in the Ballinalee district of County Longford to set up a new forge.

Having joined the United Irish League in 1908, Mac Eoin’s Irish nationalist activities begin in earnest in 1913, when he joins the Clonbroney Company of the Irish Volunteers. Late that year he is sworn into the Irish Republican Brotherhood (IRB) and joins the Granard circle of the organization.

Mac Eoin comes to prominence in the Irish War of Independence as leader of an Irish Republican Army (IRA) flying column. In November 1920, he leads the Longford brigade in attacking Crown forces in Granard during one of the periodic government reprisals, forcing them to retreat to their barracks. On October 31, Inspector Philip St. John Howlett Kelleher of the RIC is shot dead in the Greville Arms Hotel in Granard. Members of the British Auxiliary Division set fire to parts of the town. The following day, Mac Eoin holds the village of Ballinalee situated on the Longford Road between Longford and Granard. They stand against superior British forces, forcing them to retreat and abandon their ammunition. In a separate attack on November 8, he leads his men against the RIC at Ballinalee. One constable is killed, and two others are wounded.

On the afternoon of January 7, 1921, a joint RIC and British Army patrol consisting of ten policemen appears on Anne Martin’s street. According to Mac Eoin’s own testimony at his trial he is in the house in partial uniform, wearing Sam Browne belt and revolver with two Mills No. 4 bombs in his pocket. Owing to some females being in the house, he has to get out as to not endanger them. He steps out on the street and opens fire with his revolver. The leading file falls and the second file brings their rifles to the ready. He then throws a bomb, after which he sees that the entire force has cleared away, save the officer who was dead or dying on the street.

On February 2, 1921, the Longford IRA ambushes a force of the Auxiliaries on the road at Clonfin, using a mine it had planted. Two lorries are involved, the first blown up, and the second strafed by rapid rifle fire. Four auxiliaries and a driver are killed and eight wounded. The IRA volunteers capture 18 rifles, 20 revolvers and a Lewis gun. At the Clonfin Ambush, Mac Eoin orders his men to care for the wounded British, at the expense of captured weaponry, earning him both praise and criticism. He is admired by many within the IRA for leading practically the only effective column in the midlands.

Mac Eoin is captured at Mullingar railway station on March 1, 1921, imprisoned and sentenced to death for the murder of an RIC district inspector in the shooting at Anne Martin’s street in January 1921.

In June 1921, Henry Wilson, the British Chief of the General Staff (CIGS), is petitioned for clemency by Mac Eoin’s mother, his brother Jemmy, and the local Church of Ireland vicar, but passes on the appeals out of respect for the latter two individuals. Three auxiliaries had already given character references on his behalf after he had treated them chivalrously at the Clonfin Ambush in February 1921. However, Nevil Macready, British Commander-in-Chief, Ireland, confirms the death sentence describing Mac Eoin as “nothing more than a murderer.”

While imprisoned Mac Eoin is elected to Dáil Éireann at the 1921 Irish elections, as a TD for Longford–Westmeath. He is eventually released from prison, along with all other members of the Dáil, after Michael Collins threatens to break off treaty negotiations with the British government unless they are freed.

Mac Eoin joins the National Army and is appointed GOC Western Command in June 1922. His military career soars after the Irish Civil War. He is appointed GOC Curragh Training Camp in August 1925, Quartermaster General in March 1927, and Chief of Staff in February 1929.

Mac Eoin resigns from the Army in 1929 and is elected at a by-election to Dáil Éireann for the Leitrim–Sligo constituency, representing Cumann na nGaedheal. At the 1932 Irish general election, he returns to the constituency of Longford–Westmeath and continues to serve the Longford area as TD until he is defeated at the 1965 Irish general election.

During a long political career Mac Eoin serves as Minister for Justice (February 1948 – March 1951) and Minister for Defence (March–June 1951) in the First Inter-Party Government, and again as Minister for Defence (June 1954 – March 1957) in the Second Inter-Party Government. He unsuccessfully stands twice as candidate for the office of President of Ireland, against Seán T. O’Kelly in 1945 and Éamon de Valera in 1959.

Mac Eoin retires from public life after the 1965 general election and dies in Dublin on July 7, 1973.


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Death of Cardinal Michael Logue

Michael Logue, Irish prelate of the Roman Catholic Church, dies in Armagh, County Armagh, Northern Ireland on November 19, 1924. He serves as Archbishop of Armagh and Primate of All Ireland from 1887 until his death. He is created a cardinal in 1893.

Logue is born in Kilmacrennan, County Donegal in the west of Ulster on October 1, 1840. He is the son of Michael Logue, a blacksmith, and Catherine Durning. From 1857 to 1866, he studies at Maynooth College, where his intelligence earns him the nickname the “Northern Star.” Before his ordination to the priesthood, he is assigned by the Irish bishops as the chair of both theology and belles-lettres at the Irish College in Paris in 1866. He is ordained priest in December of that year.

Logue remains on the faculty of the Irish College until 1874, when he returns to Donegal as administrator of a parish in Letterkenny. In 1876, he joins the staff of Maynooth College as professor of Dogmatic Theology and Irish language, as well as the post of dean.

On May 13, 1879, Logue is appointed Bishop of Raphoe by Pope Leo XIII. He receives his episcopal consecration on the following July 20 from Archbishop Daniel McGettigan, with Bishops James Donnelly and Francis Kelly serving as co-consecrators, at the pro-cathedral of Raphoe. He is involved in fundraising to help people during the 1879 Irish famine, which, due to major donations of food and government intervention never develops into a major famine. He takes advantage of the Intermediate Act of 1878 to enlarge the Catholic high school in Letterkenny. He is also heavily involved in the Irish temperance movement to discourage the consumption of alcohol.

On April 18, 1887, Logue is appointed Coadjutor Archbishop of the Archdiocese of Armagh and Titular Archbishop of Anazarbus. Upon the death of Archbishop MacGettigan, he succeeds him as Archbishop of Armagh, and thus Primate of All Ireland, on December 3 of that year. He is created Cardinal-Priest of Santa Maria della Pace by Pope Leo XIII in the papal consistory of January 19, 1893.

Logue thus becomes the first archbishop of Armagh to be elevated to the College of Cardinals. He participates in the 1903, 1914, and 1922 conclaves that elect popes Pius X, Benedict XV, and Pius XI respectively. He takes over the completion of the Victorian gothic St. Patrick’s Cathedral in Armagh. The new cathedral, which towers over Armagh, is dedicated on July 24, 1904.

Logue publicly supports the principle of Irish Home Rule throughout his long reign in both Raphoe and Armagh, though he is often wary of the motives of individual politicians articulating that political position. He maintains a loyal attitude to the British Crown during World War I, and on June 19, 1917, when numbers of the younger clergy are beginning to take part in the Sinn Féin agitation, he issues an “instruction” calling attention to the teaching of the Roman Catholic Church as to the obedience due to legitimate authority, warning the clergy against belonging to “dangerous associations,” and reminding priests that it is strictly forbidden by the statutes of the National Synod to speak of political or kindred affairs in the church.

In 1918, however, Logue places himself at the head of the opposition to the extension of the Military Service Act of 1916 to Ireland, in the midst of the Conscription Crisis of 1918. Bishops assess that priests are permitted to denounce conscription on the grounds that the question is not political but moral. He also involves himself in politics for the 1918 Irish general election, when he arranges an electoral pact between the Irish Parliamentary Party and Sinn Féin in three constituencies in Ulster and chooses a Sinn Féin candidate in South Fermanagh – the imprisoned Republican, Seán O’Mahony.

Logue opposes the campaign of murder against the police and military begun in 1919, and in his Lenten pastoral of 1921 he vigorously denounces murder by whomsoever committed. This is accompanied by an almost equally vigorous attack on the methods and policy of the government. He endorses the Anglo-Irish Treaty in 1921.

In 1921, the death of Cardinal James Gibbons makes Logue archpriest (protoprete) of the College of Cardinals. He is more politically conservative than Archbishop of Dublin William Joseph Walsh, which creates tension between Armagh and Dublin. In earlier life he was a keen student of nature and an excellent yachtsman.

Cardinal Michael Logue dies in Ara Coeli, the residence of the archbishop, on November 19, 1924, and is buried in a cemetery in the grounds of St. Patrick’s Cathedral, Armagh.


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Death of Thomas Blood, Anglo-Irish Officer

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Colonel Thomas Blood, Anglo-Irish officer and self-styled colonel best known for his attempt to steal the Crown Jewels of England and Scotland from the Tower of London in 1671, dies at his home in Bowling Alley, Westminster on August 24, 1680. He is also known for his attempt to kidnap and, later, to kill, his enemy, James Butler, 1st Duke of Ormond.

Sources suggest that Blood is born in County Clare in 1618, the son of a successful land-owning blacksmith of English descent. He is partly raised at Sarney, near Dunboyne, County Meath. He receives his education in Lancashire, England. At the age of 20, he marries Maria Holcroft, the daughter of John Holcroft, a gentleman from Golborne, Lancashire, and returns to Ireland.

At the outbreak of the First English Civil War in 1642, Blood returns to England and initially takes up arms with the Royalist forces loyal to Charles I. As the conflict progresses, he switches sides and becomes a lieutenant in Oliver Cromwell‘s Roundheads. Following the Restoration of King Charles II to the Crowns of the Three Kingdoms in 1660, Blood flees with his family to Ireland.

As part of the expression of discontent, Blood conspires to storm Dublin Castle, usurp the government, and kidnap James Butler, 1st Duke of Ormonde and Lord Lieutenant of Ireland, for ransom. On the eve of the attempt, the plot is foiled. Blood manages to escape to the United Dutch Provinces in the Low Country although a few of his collaborators are captured and executed.

In 1670, despite his status as a wanted man, Blood returns to England. On the night of December 6, 1670, he and his accomplices attack Ormonde while he travels St. James’s Street. Ormonde is dragged from his coach and taken on horseback along Piccadilly with the intention of hanging him at Tyburn. The gang pins a paper to Ormonde’s chest spelling out their reasons for his capture and murder. Ormonde succeeds in freeing himself and escapes. Due to the secrecy of the plot, Blood is not suspected of the crime.

Blood does not lie low for long, and within six months he makes his notorious attempt to steal the Crown Jewels. After weeks of deception, on May 9, 1671, he convinces Talbot Edwards, the newly appointed Master of the Jewel House, to show the jewels to him, his supposed nephew, and two of his friends while they wait for a dinner that Mrs. Edwards is providing. The jewel keeper’s apartment is in Martin Tower above a basement where the jewels are kept behind a metal grille. Reports suggest that Blood’s accomplices carried canes that concealed rapier blades, daggers, and pocket pistols. They enter the Jewel House, leaving one of the men to supposedly stand watch outside while the others joined Edwards and Blood. The door is closed, and a cloak is thrown over Edwards, who is struck with a mallet, knocked to the floor, bound, gagged and stabbed to subdue him.

As Blood and his gang flee to their horses waiting at St. Catherine’s Gate, they fire on the warders who attempt to stop them, wounding one. As they run along the Tower wharf it is said they join the calls for alarm to confuse the guards until they are chased down by Captain Beckman, brother-in-law of the younger Edwards. Although Blood shoots at him, he misses and is captured before reaching the Iron Gate. The Jewels are recovered although several stones are missing, and others are loose.

Following his capture, Blood refuses to answer to anyone but the King and is consequently taken to the palace in chains, where he is questioned by King Charles, Prince Rupert and others. To the disgust of Ormonde, Blood is not only pardoned but also given land in Ireland worth £500 a year. The reasons for the King’s pardon are unknown although speculation abounds.

In 1679 Blood falls into dispute with the Duke of Buckingham, his former patron, and Buckingham sues him for £10,000, for insulting remarks Blood had made about his character. In the proceedings that follow, Blood is convicted by the King’s Bench in 1680 and granted bail, although he never pays the damages.

Blood is released from prison in July 1680 but falls into a coma by August 22. He dies on August 24 at his home in Bowling Alley, Westminster. His body is buried in the churchyard of St. Margaret’s Church (now Christchurch Gardens) near St. James’s Park. It is believed that his body was exhumed by the authorities for confirmation as, such was his reputation for trickery, it is suspected he might have faked his death and funeral to avoid paying his debt to Buckingham.


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Birth of Sculptor Jerome Connor

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Jerome Connor, recognized world-class Irish sculptor, is born on February 23, 1874, in Coumduff, Annascaul, County Kerry.

In 1888, Connor emigrates to Holyoke, Massachusetts. His father is a stonemason, which leads to Connor’s jobs in New York as a sign painter, stonecutter, bronze founder and machinist. Inspired by his father’s work and his own experience, he would steal his father’s chisels as a child and carve figures into rocks.

It is believed Connor possibly assisted in the manufacture of bronzes such as the Civil War monument in Town Green in South Hadley, Massachusetts erected in 1896 and The Court of Neptune Fountain at the Library of Congress in Washington, D.C., completed in 1898.

Connor joins the Roycroft arts community in 1899 where he assists with blacksmithing and later starts creating terracotta busts and reliefs. Eventually he is recognized as Roycroft’s sculptor-in-residence.

After four years at Roycroft, Connor then works with Gustav Stickley and becomes well known as a sculptor being commissioned to create civic commissions in bronze for placement in Washington, D.C., Syracuse, East Aurora, New York, San Francisco, and in his native Ireland. In 1910, he establishes his own studio in Washington, D.C. From 1902 until his death, he produces scores of designs ranging from small portrait heads to relief panels to large civic commissions realized in bronze.

Connor is a self-taught artist who is highly regarded in the United States where most of his public works can be seen. He appears to be heavily influenced by the work of Irish American sculptor Augustus Saint-Gaudens. He uses the human figure to give expression to emotions, values and ideals. Many of the commissions he receives are for civic memorials and secular figures which he casts in bronze, a pronounced departure from the Irish tradition of stone carved, church sponsored works.

Connor’s best-known work is Nuns of the Battlefield located at the intersection of Rhode Island Avenue NW, M Street and Connecticut Avenue NW in Washington, D.C. It serves as a tribute to the over six hundred nuns who nursed soldiers of both armies during the American Civil War and is one of two monuments in the District that represent women’s roles in the Civil War. The sculpture is authorized by the United States Congress on March 29, 1918, with the agreement that the government will not fund it. The Ancient Order of Hibernians raises $50,000 for the project and Connor is selected since he focuses on Irish Catholic themes, being one himself. Connor, however, ends up suing the Order for nonpayment.

Connor works in the United States until 1925 at which time he moves to Dublin and opens his own studio but suffers from lack of financial support and patrons. In 1926 he is contacted by Roycroft and asked to design and cast a statue of Elbert Hubbard who, with his wife Alice, had died in the sinking of the RMS Lusitania. It is unveiled in 1930 and today stands on the lawn of East Aurora’s Middle School across the street from the Roycroft Chapel building.

While working on the Hubbard statue, Connor receives a commission to create a memorial for all the RMS Lusitania victims. It is to be erected in Cobh, County Cork where many of the victims are buried. The project is initiated by the New York Memorial Committee, headed by William Henry Vanderbilt whose father, Alfred Gwynne Vanderbilt, perished on the RMS Lusitania. He dies before the memorial is completed and based on Connor’s design its installation falls to another Irish artist.

Jerome Connor dies on August 21, 1943, of heart failure and reputably in poverty. There is a now a “Jerome Connor Place” in Dublin and around the corner there is a plaque in his honour on Infirmary Road, overlooking Dublin’s Phoenix Park, his favourite place.


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Death of Harpist & Composer Turlough O’Carolan

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Turlough O’Carolan, a blind early Irish harper, composer and singer whose great fame is due to his gift for melodic composition, dies in Ballyfarnon, County Roscommon on March 25, 1738.

Although not a composer in the classical sense, O’Carolan is considered by many to be Ireland’s first great composer. Harpers in the old Irish tradition are still living as late as 1792, and ten, including Arthur O’Neill, Patrick Quin and Donnchadh Ó hAmhsaigh, attend the Belfast Harp Festival. Ó hAmhsaigh plays some of O’Carolan’s music but dislikes it for being too modern. Some of O’Carolan’s own compositions show influences of the style of continental classical music, whereas others such as O’Carolan’s Farewell to Music reflect a much older style of “Gaelic Harping.”

O’Carolan is born in 1670 in Nobber, County Meath, where his father is a blacksmith. The family moves from Meath to Ballyfarnon in 1684. In Roscommon, his father takes a job with the MacDermott Roe family of Alderford House. Mrs. MacDermott Roe gives Turlough an education, and he shows talent in poetry. After being blinded by smallpox at the age of eighteen O’Carolan is apprenticed by Mrs. MacDermott Roe to a good harper. At the age of twenty-one, being given a horse and a guide, he sets out to travel Ireland and compose songs for patrons.

For almost fifty years, O’Carolan journeys from one end of Ireland to the other, composing and performing his tunes. One of his earliest compositions is about Brigid Cruise, with whom he is infatuated. Brigid is the teenage daughter of the schoolmaster at the school for the blind attended by O’Carolan in Cruisetown. In 1720, at age 50, O’Carolan marries Mary Maguire. Their first family home is a cottage on a parcel of land near the town of Manachain, now Mohill, in County Leitrim, where they settle. They have seven children, six daughters and one son. Mary dies in 1733.

Turlough O’Carolan dies at Alderford House on March 25, 1738. He is buried in the MacDermott Roe family crypt in Kilronan Burial Ground near Ballyfarnon, County Roscommon. The annual O’Carolan Harp Festival and Summer School commemorates his life and work in Keadue, County Roscommon.

A bronze monument by sculptor Oisín Kelly depicting Turlough O’Carolan playing his harp is erected on a plinth at the Market Square, Mohill, on August 10, 1986, and is unveiled by Patrick Hillery, President of Ireland.

A statue is erected to him at his place of birth in 2002, during the Annual O’Carolan Harp Festival, the first of which is held in Nobber in 1988.