Catherine O’Leary (née Donegan), was an Irish immigrant living in Chicago, Illinois, dies in Chicago on July 3, 1895. She becomes associated with the origin of the Great Chicago Fire in 1871. She is widely accused of starting the fire when a cow in her barn allegedly kicks over a lantern, though the story is later shown to be unfounded.
Donegan is born in Ireland in March 1827, with more specific accounts placing her birth near Cork, in the Munster province, later emigrating to the United States. She marries Patrick O’Leary, and the couple has three children. Their son, James Patrick O’Leary, later operates a saloon and gambling establishment in Chicago.
On the evening of October 8, 1871, a fire begins in the O’Leary family’s barn on DeKoven Street. Fueled by dry conditions and strong winds, the fire spreads rapidly and destroys a large portion of Chicago.
Shortly after the fire, journalist Michael Ahern publishes a story claiming that the fire had started when a cow kicked over a lantern while it was being milked. Although he does not initially name Catherine O’Leary, she soon becomes associated with the incident because the fire began on her property. The story gains widespread attention and is reinforced by illustrations and caricatures.
In 1893, Ahern admits that he had fabricated the story. The official investigation into the fire concludes that its exact cause could not be determined. Anti-Irish sentiment at the time contributes to the O’Leary family being treated as scapegoats, and various unverified claims circulate about the circumstances of the fire.
O’Leary continues to live in Chicago after the fire. She dies of pneumonia on July 3, 1895, and is buried at Mount Olivet Cemetery.
The story of O’Leary’s cow becomes a widely repeated explanation for the Great Chicago Fire, despite its lack of evidence. In 1997, the Chicago City Council formally exonerates O’Leary of any responsibility for the fire, following research by historian Richard Bales.
Barry returns to Bandon in early 1919. He describes in his guerilla days in Ireland a Damascus-like conversion to Irish nationalism on hearing of the Easter Rising while with the Mesopotamian expeditionary force, but he is only accepted into the IRA with considerable caution. Initially tested in intelligence and training work, in mid-1920 he takes charge of the new brigade flying column, which is used both to train officers and to stage offensive actions.
Barry adapts his military experience successfully to the demands of guerrilla warfare, becoming the most famed of column leaders during the Irish War of Independence. In his memoirs, he pours scorn on the obsession of many with military titles and orthodox procedure, complaining of a “paper army.” He stresses the need for spontaneity, initiative, and knowledge of local conditions. “The reality,” he writes, “was a group of fellows, mostly in caps and not-too-expensive clothing, wondering how to tackle their job and where they would sleep that night or get their supper.” (The Reality of the Anglo–Irish War (1974)). He well realises that the war’s character does not permit any close control from the IRA’s GHQ in Dublin, hence increasing the importance of local leaders. His tactics put strong emphasis on speed of movement and on the need to attack the enemy at his weakest point. The column’s ambush successes are small in number but among the best-remembered of the war. He admits, however, that his own and his column’s lack of experience with mines frequently weakened their offensives.
The column’s first successful ambush is at Tooreen on October 22, 1920, followed on November 28 by the dramatic ambushing of a patrol of auxiliaries at Kilmichael while traveling from their Macroom base. A column of thirty-six men, divided into three sections, kill sixteen auxiliaries, with one captured and later shot, suffering two fatalities of their own. Controversy has raged since over whether a false surrender by the British force caused the brutality of some of the deaths. Together with the Bloody Sunday killings of a week earlier in Dublin, Kilmichael has a profound effect on the British military and political establishment, with the declaration in December of martial law for much of Munster and the implementation of wide-ranging internment, together with the authorisation of official reprisals.
After a short period in hospital with a heart condition, in early 1921 Barry leads unsuccessful attacks on Kilbrittain, Innishannon, Drimoleague, and Bandon barracks. The seizure of Burgatia House, outside Rosscarbery, in early February, and the successful resistance made there to British troops, wins much publicity but has little military significance. He is a leading figure in the brutal final stage of the war in the first six months of 1921, which sees widespread shooting of suspected spies and destruction of loyalist property. By March 1921, his flying column, with 104 men, is easily the largest in Ireland, and an explosives expert, Capt. McCarthy, has joined them.
The protracted engagement between Barry’s column and encircling British forces at Crossbarry on March 19, 1921, comes at a time when large-scale sweeps are making life increasingly difficult for the IRA. It consists of a daring and courageous breakout. Crossbarry is the largest action of the war, and Barry is to regard it as even more important than Kilmichael. Soon afterwards, Rosscarbery barracks is successfully attacked by a Barry-led party, representing one of the few successful such initiatives in 1921. Isolated triumphs, however, cannot hide the fact that pressure is increasing on the column, and he becomes increasingly critical of inactive regions. He is later to say that all County Kerry does during the war is to shoot one decent police inspector at Listowel Racecourse and a colleague of his. He is strongly critical also of the lack of assistance from GHQ and of the divisionalisation policy. He visits Dublin in May, travels around with Michael Collins, and is present when two American officers demonstrate the Thompson submachine gun. He is more aware than most of his 1st Southern Division colleagues of the scarcity of arms and ammunition at the war’s end.
During the truce, Barry becomes liaison officer for Munster, riling the British by insisting on his military rank, and criticising the IRA liaison men in Dublin for being overly deferential. He joins the overwhelming majority of the Cork IRA in opposing the Anglo–Irish Treaty but plays a characteristically maverick role throughout the treaty split. His independent attitude is heightened by his dislike of Liam Lynch, the republican IRA’s Chief of Staff, and his continuing respect for Michael Collins. He shows impatience at the long-drawn-out peace initiatives. In March 1922, therefore, he advocates armed confrontation with pro-treaty units over the occupation of barracks in Limerick, and on June 18 he submits a resolution, which only narrowly fails, at the army convention, giving British troops seventy-two hours to leave Dublin.
At the beginning of the Irish Civil War, Barry is arrested entering the Four Courts disguised as a woman. He escapes from an internment camp at Gormanston in early September 1922. For the rest of the war his actions mirror its confused nature. In late October 1922, he leads successful raids on the small towns of Ballineen and Enniskean, and later on Inchigeelagh and Ballyvourney. In December his column takes Carrick-on-Suir, demonstrating the weakness of the Free State army, but his talk of advancing on the Curragh and of large-scale actions does not materialise. There is no evidence that he is acting in accordance with any coordinated plan. By February 1923, he realises that the Republican IRA cause is hopeless and he is involved with Fr. Tom Duggan in efforts to get 1st Southern Division to declare a ceasefire. He journeys to Dublin to put pressure on the intransigent Lynch in this connection, telling Lynch, “I did more fighting in one week than you did in your whole life.”
Barry avoids capture in roundups after the war, remaining on the run until 1924. Unlike many republicans, he does not turn to constitutionalism, remaining strongly militaristic. He is always an unreconstructed republican, though by no means a naive one. In 1924 he becomes attached to Cleeves Milk Co., based in Limerick and Clonmel, and from 1927 to retirement in 1965 is general superintendent with the Cork harbour commissioners. He strongly advocates preserving the independence of the IRA army executive during the republican split of 1925–27. He is instrumental in continuing the drilling of IRA members and is a strong supporter of armed opposition to the Blueshirts.
During the 1930s Barry is arrested at various times for possession of arms and seditious utterances. He promotes an attack against a Freemasons’ meeting in Cork in 1936 and gives the orders for the killing on March 4 of that year of Vice-AdmiralHenry Boyle Somerville. He is opposed to the use by Frank Ryan of IRA volunteers to support the republican cause in the Spanish Civil War and to the proposals of Seán Russell for a bombing campaign in England. To maintain the link with traditional republicanism, he is elected IRA chief of staff in 1937. His plan, however, for the seizure of Armagh city, as part of a direct northern offensive, quickly collapses due to a leak of information, and he soon resigns his position. He forcefully attacks the bombing of English cities in 1938, regarding attacks on innocent civilians as immoral and counterproductive. He enlists in the National Army on July 12, 1940, only to be demobilised a month later. In 1946, he stands as an independent candidate in a by-election in the Cork Borough constituency, finishing at the bottom of the poll. He is more comfortable the following year touring the United States on an anti-partition platform.
In 1949 his Guerilla Days in Ireland is published. It proves a best-seller and has frequently been reprinted. It is well written in a forceful and direct style, one memoir needing no assistance from a ghost writer. Age does not mellow him: lawyers and bank managers are threatened by him over matters relating to his own column, and in 1974 he publishes a fierce pamphlet, angry at perceived slights in the Irish War of Independence memoir of Liam Deasy. He does strive to achieve a public reconciliation with Collins’s memory by unveiling the memorial to Collins at Sam’s Cross in 1966. On the outbreak of the Northern Ireland crisis in the late 1960s, he takes a militant line, castigating the argument that the Six Counties can be brought into the Republic by peaceful means, and asking when had peaceful means existed there. At the memorial meeting in Carrowkennedy, County Mayo, in 1971, he claims that there is a perfect right at the opportune time to take the Six Counties by force. He remains opposed to IRA bombing of civilian targets.
Barry dies in Cork on July 2, 1980. He is buried in St. Finbarr’s Cemetery, Cork. Early in the truce of 1921 he marries Leslie Price, one of the most active of Cumann na mBan members during and after the rising. They have no children.
While Barry always remains an influential figure in republican circles, he will be remembered best as the pioneer of guerrilla warfare, the hero of Kilmichael and Crossbarry. His military flair, individualism, and ruthlessness are well suited to the 1919–21 conflict. After that, his strained relations with colleagues and his lack of flexibility reduce his importance. While his life after the revolutionary era appears anti-climactic, he retains much of his charisma. In later years, he is ever willing to remind politicians and historians how far Ireland has retreated from republican ideals. He is often prickly and autocratic yet could be generous to old colleagues of either side of the treaty split. He is arguably the most intelligent but also the most intolerant of the revolutionary leaders.
(From: “Barry, Thomas Bernadine (‘Tom’)” by M. A. Hopkinson, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
MacCormack (sometimes spelled McCormack) is born in 1892, the daughter of Constance MacCormack, and niece of Evelyn Gleeson. Following the death of her father in 1902, the family lives with Gleeson at her home, at Runnemede, Sandyford Road, Dublin, with her mother and siblings, Grace (1898–1982) and Edward (1889–1906). With her sister, she works in the Dun Emer Guild from a young age, particularly after the Yeats sisters, Lily and Elizabeth, leave Dun Emer to form Cuala Industries.
MacCormack also does some acting, theatre set design and is an author. She appears in Joseph Plunkett‘s 1912 play The Dance of Osiris at the Hardwicke Theatre, and designs the sets. She often acts under the name Catia or Caitia Nic Cormac. She also designs sets for the Irish National Theatre Society, Theatre Company of Ireland and the Dublin Drama League.[5]
Some of MacCormack’s most notable works are the tapestries for the Honan Chapel, Cork, in 1917, the vestments for St. Patrick’s Catholic Church, San Francisco in 1923, and a carpet presented to Pope Pius XI in 1931. The carpet is commissioned in an effort by Ireland’s ambassador to the Vatican, Charles Bewley, to secure Ireland as the host of the 31st International Eucharistic Congress. It is designed by MacCormack and takes workers in the Guild almost four months to hand weave at a cost of £450. As “The Pope’s Carpet” it is exhibited in Clerys department store on O’Connell Street in Dublin from January 19 to 30, 1931.
MacCormack designs the poster for the 1927 “Grand Pageant of Dublin History.” She also develops a set of designs for judicial robes for W. T. Cosgrave in 1924, drawing on the Brehon style sketches of which are held in University College Dublin Archives. In 1911 and 1920, she exhibits at the Oireachtas Art Exhibitions, and with the Water Colour Society of Ireland throughout the 1920s. She is also an illustrator, beginning with Christmas card designs for Dun Emer in the 1910s. She illustrates John Hackett Pollock’s 1919 The wisdom of the world: A book of wonder-tales, published by Colm Ó Lochlainn‘s Candle Press under Pollock’s pseudonym An Philibín. She edits a volume for Ó Lochlainn in 1920, The Book of St Ultan; a collection of pictures and poems by Irish artists and writers, proceeds of which go to Saint Ultan’s Hospital. As well as editing, she contributes illustrations and two poems to the volume.
After her aunt’s death in 1944, MacCormack continues to run Dun Emer Guild until its store on Harcourt Street closes around 1964.
MacCormack dies on June 26, 1975. A large collection of theatre ephemera collected by MacCormack is sold in 2008. The Kitty MacCormack Archive is held by the Jackie Clarke Archive, and the National Library of Ireland also holds a collection of her theatre ephemera and letters. A dress designed by MacCormack for Clare Kennedy, the wife of Hugh Kennedy, is on display as part of The Way We Wore, an exhibition in National Museum of Ireland at Collins Barracks, Dublin.
Rice joins the Irish Volunteers in 1913 but does not take part in the 1916 Easter Rising. For a time, he shares lodgings in Rock Street, Tralee, with Austin Stack, and like Stack he is a Gaelic Athletic Association (GAA) member, playing hurling with Kenmare. At the outbreak of the Irish War of Independence (1919-1921), he becomes Officer Commanding of the 5th Battalion of the Kerry No. 2 Brigade. He also holds the post of second in command of that brigade, under Humphrey Murphy. On April 26, 1921, he attends the meeting in Kippagh, County Tipperary, that sees the establishment of the First Southern Division. After the truce, Murphy is transferred to command Kerry No. 1 Brigade, and Rice becomes commanding officer of Kerry No. 2.
Rice opposes the Anglo-Irish Treaty and leads the brigade throughout the Irish Civil War (1922-1923). When Michael Collins comes to Killarney on April 22, 1922, to speak in favour of the agreement, he is met at the train station by a group of fifty men, led by Rice, who attempt to prevent him from speaking. The meeting goes ahead despite several attempts by the group to stop it. During the civil war he leads his men into Limerick, briefly seizing Rathkeale, but for the most part they are on the defensive. In September he commands a force of seventy republicans to take Kenmare. This is a rare and morale-boosting success. When the First Southern Division council meets on February 26-28, 1923, he is one of only two senior officers, among a group of eighteen, who feel that it is worth fighting on.
Shortly after the civil war, Rice marries Nora Aherne, a Cumann na mBan member; they have one son, George. After the war he continues to be active in the Irish Republican Army (IRA) and Sinn Féin. He attends IRA executive meetings in 1923 and is involved in attempts to reorganise the IRA in 1924. He is a delegate to the Sinn Féin ardfheis in 1926, opposing the proposal of Éamon de Valera that abstention be a matter of policy rather than principle. He is elected as a Sinn Féin TD for the Kerry South constituency at the 1957 Irish general election. He does not take his seat in the Dáil due to the Sinn Féin policy of abstentionism. He is one of four Sinn Féin TDs elected at the 1957 Irish general election, the others being Ruairí Ó Brádaigh, John Joe McGirl and Eighneachán Ó hAnnluain. During his time as a TD, he campaigns against the Special Powers Act, which grants the Irish state extra abilities to deal with and punish suspected members of the IRA. He is defeated at the 1961 Irish general election.
In 1966, Rice and fellow Kerry Republican John Joe Sheehy are expelled from Sinn Féin, as are many others, by the new Marxist-Leninist party leadership that had recently come into power. This move both foreshadows and fuels the split in 1969/1970 of both the IRA and Sinn Féin, which leads to the creation of the Marxist-Leninist Official IRA and the more traditional but still left-wing Provisional IRA, and in parallel Sinn Féin – The Workers’ Party and “Provisional” Sinn Féin. Rice gives his support to the Provisionals.
Rice drives an oil lorry for a time and then becomes manager of the Tralee branch of Messrs Nash, mineral water manufacturers and bottlers. He remains in this position until his retirement in 1965. He dies on July 24, 1970, at his son’s residence in Oakview, Tralee.
Rice’s sister, Rosalie, is a member of Cumann na mBan during the 1916 Easter Rising and is arrested for sending a telegram alerting the Irish Republican Brotherhood (IRB) in the United States to the rising. His cousins Eugene and Timothy Ring are members of the IRB and are also involved with the telegram. His grandfather, Timothy Ring, was a Fenian who fought in the uprising. Two of his cousins are members of the Royal Irish Constabulary (RIC) who both help the republican side during the Irish revolutionary period.
As part of the 2008 Cork Midsummer Festival, 1,100 volunteers gather on the grounds of Blarney Castle in the early hours of Tuesday, June 17, 2008, and strip naked to have their picture taken at the famous location.
The occasion is the first shoot in Ireland by the American photographic artist Spencer Tunick, who has already made quite a name for himself shooting large groups of naked people in public spaces in New York City, Montreal, London and Amsterdam.
Like many of Tunick’s projects, the event in Cork comes about by invitation. “It was Mary McCarthy, the art curator at Dublin Docklands, who contacted me first,” says Tunick, via Zoom from his office in New York, of the organiser who is director of the Crawford Art Gallery in Cork. “Mary thought to make it a two-city project, in Cork and Dublin, and brought Cork Midsummer Festival on board. People think I can choose where I want to work, but it’s not as if I can get up and say, ‘hmm, I want to photograph 1,000 people in a volcanic crater in Hawaii.’ In reality, I need a team on the other side, helping me. And it was Mary who established that team in Ireland.”
McCarthy’s crew works with Tunick on selecting locations for his shoots. Blarney Castle appeals to Tunick. “When you think of a castle, you think of swords, you think of dreams, you think of battle and war,” he says. “But you might also think of the rose. I tried to combine a lot of different ideas or fantasies about the castle and connect them to the body. But there were also a lot of grounds around the castle, so I could have different set-ups and positions to shoot in.”
When Cork Midsummer Festival puts out a call for volunteers, it is inundated with applications. Those chosen are of all ages, and from all walks of life. “I think sometimes people associate my live works with young people. But there’s often a lot of people over 50, and into their 80s, at this great unifying event that touches on the idea of group photo gatherings from the 1920s. When you see a big haul of people lined up, undressed of course, it combines group portraiture with abstraction and the naked body.”
At Blarney Castle, beginning around 5:30 a.m., he shoots the crowd in a variety of poses on the castle lawns, facing toward and away from the camera, then lying on their backs as they each held a single rose aloft (pictured above), red for the women and white for the men. He then photographs a small number on their knees in the river that runs through the grounds, and a smaller number again kissing the Blarney Stone. Some participants see the photo shoot as an opportunity to challenge the general disapproval of nakedness that prevails in the Ireland of their youth. Others see it as a way to make peace with their body image.
Later that morning, Tunick photographs about 50 naked volunteers covered in foam at White Street Carpark in Cork city centre. “As a kid, I was always fascinated by the bubble scene in Willie Wonka and the Chocolate Factory, the film,” says Tunick. “So, I wanted, in a whimsical and surreal way, to amplify my memories of that. But I also wanted to work with the history of the area, so I infused Murphy’s beer into four bubble machines and created a snow globe effect with the nudes. That was beautiful.”
Looking back on the photographs, one is struck by how most of the bodies are white. If it is true that Cork has become far more ethnically diverse city since that day in 2008, one must also wonder if Tunick’s call for volunteers appealed to a certain demographic. “I always ask the organisers to do community outreach in different areas, so we can get more colour and ethnicities into the work,” he says. “But sometimes it doesn’t really resonate, and sometimes the population is not there, you know. And often, where that population exists, it might not be connected to the body in contemporary art. But I’ve always tried, and now I insist that the organisers make an extra effort.”
Tunick’s shoots at Blarney Castle and White Street attract lavish coverage in the media, a reflection perhaps on how they coincide with a change in the public perception of nudity. The project would almost certainly have caused an uproar even twenty years previously. Participants describe a sense of joy and liberation. “This was definitely pre-Instagram, right? And now when we’re on Instagram, we think the whole world is accepting of nudity in public, but back then, there was not that same outlet for my images. But there was that documentation by the press, and through that, I think people realised that something had happened that went against the grain in a positive way.”
Four days later, Tunick photographs 2,500 naked volunteers on the South Wall in Dublin. Again, the event attracts headlines, but already, it seems, the culture has moved on, and there is not quite that same element of surprise and delight as there had been in Cork.
Tunick has done many projects since. Some of his favourites include those in Kingston upon Hull in 2016 and on the Dead Sea in 2011 and again in 2021. “I like working with props. In Cork, I used roses and beer foam. But now I like working with body paint. In Hull, we covered around 4,000 people in four shades of blue. The blues were those of the water I saw in a number of paintings in the Maritime Museum in the city. I asked Pantone to replicate the colours, and those were the blues we used. Not many people know that.”
“My projects in the Dead Sea were partly about showing how the salt in the water could elevate the body. That created a very interesting, otherworldly effect in the photographs. But they also aimed to raise awareness of how the Dead Sea is disappearing because of irrigation to serve the need for drinking water by adjoining countries such as Israel and Jordan. It’s a very difficult situation.”
Many photographers find their work curtailed by pandemic restrictions of the early 2020s. Tunick too is forced to postpone photographing groups of people on location, but he does find a way to go on creating. “An art collective called Studio 333 in Mexico asked me if I wanted to do group works on video chats, and offered to manage it technically. So we started making group works with people from all walks of life, all around the world. We had someone in Saudi Arabia posing with someone in Israel. We had people in Australia, people in Europe, people all over the world. I think the only place we weren’t able to work with was Antarctica, but who knows? Maybe that’s in the future.” The resulting images are published online, on Tunick and Studio 333’s websites and social media accounts, under the collective title ”Stay Apart Together.”
As for the future, Tunick would love to work in Ireland again, he says. “It’s always been my dream to do a work in Northern Ireland, maybe with 100 or 200 people on the Giant’s Causeway? I can’t have too many, because then you wouldn’t see the rocks. Northern Ireland, the Giant’s Causeway… that project’s been on my mind for a long time, so hopefully some museum or curator will invite me to do it.”
(From: “Cork in 50 Artworks, No 49: Spencer Tunick’s nude installation at Blarney Castle” by Marc O’Sullivan, Irish Examiner, http://www.irishexaminer.com, April 11, 2022 | Pictured: Blarney Castle with the crowd assembled by Spencer Tunick)
O’Riordan is born at 37 Pope’s Quay, Cork, County Cork, on November 11, 1917, the youngest of five children. His parents come from the West Cork Gaeltacht of Ballingeary–Gougane Barra. Despite his parents being native speakers of the Irish language, it is not until he is interned during World War II that he learns Irish.
As a teenager, O’Riordan joins the republican youth movement, Fianna Éireann, and then the Irish Republican Army (IRA). Much of the IRA at the time is inclined toward left-wing politics. A lot of its activity at the time involves street fighting with the quasi-fascistBlueshirt movement, and he fights the Blueshirts on the streets of Cork in 1933–34. He Is friends with left-wing inclined republicans such as Peadar O’Donnell and Frank Ryan, and in 1934, he follows them into the Republican Congress – a short-lived socialist republican party.
O’Riordan joins the Communist Party of Ireland (1933) in 1935 while still in the IRA and works on the communist newspaper The Irish Workers’ Voice. In 1937, following the urgings of Peadar O’Donnell, several hundred Irishmen, mostly IRA or ex-IRA men, go to fight for the Spanish Republic in the Spanish Civil War with the XVth International Brigade. They are motivated in part by enmity towards the 800 or so Blueshirts, led by Eoin O’Duffy who went to Spain to fight on the “nationalist” side in the Irish Brigade. He accompanies a party led by Frank Ryan. In the Republic’s final offensive of July 25, 1938, he carries the flag of Catalonia across the River Ebro. On August 1 he is severely injured by shrapnel on the Ebro front. He is repatriated to Ireland the following month, after the International Brigades are disbanded.
In 1938, O’Riordan is offered an Irish Army commission by the Irish Free State but chooses instead to train IRA units in Cork. As a result of his IRA activities during World War II, he is interned in the Curragh Camp from 1939 until 1943 where he is Officer Commanding of the Cork Hut and partakes in Máirtín Ó Cadhain‘s Gaelic League classes as well as publishes Splannc (Irish for “Spark”, named after Vladimir Lenin‘s newspaper). He is secretary of the “Connolly group,” composed of leftist internees. Following his release from internment, he terminates his IRA membership.
In 1944, O’Riordan is founding secretary of the Liam Mellows Branch of the Labour Party. This branch becomes infamous for what is regarded during the period as its controversial nature and becomes an intractable enemy of Branch Chair Timothy Quill. The branch is initially established by former members of the Curragh Camp’s Communist Group, including Bill Nagle and Jim Savage. During this time, the Irish Transport and General Workers’ Union (ITGWU) disaffiliates from the Labour Party and the National Labour Party is established on the basis that communists have infiltrated the party. Quill, who is made branch chair by the Labour Party, allegedly has O’Riordan and his fellow members expelled, with the branch being dissolved. O’Riordan later accuses Quill of antisemitism and both Quill and Timothy J. Murphy of “red-baiting.” In 2001, he claims that any attempt to raise the issue of defence of communist Spain “was shouted down at Labour Party Conferences.” In 1945, he is a founding secretary of the Cork Socialist Party.
O’Riordan subsequently works as a bus conductor in Cork and is active in the ITGWU. He stands as a Cork Socialist Party candidate in the 1946 Cork Boroughby-election, placing third behind Fianna Fáil‘s Patrick McGrath and Fine Gael‘s Michael O’Driscoll with 3,184 votes. Afterward, he moves to Dublin where he lives in Victoria Street with his wife Kay, and continues to work as a bus conductor and remains active in the ITGWU.
In 1948, O’Riordan is a founding secretary of the Irish Workers’ League and general secretary thereafter, and of its successor organisation the Irish Workers’ Party from 1962 to 1970.
O’Riordan meets and befriends folk musician Luke Kelly, and the two develop a “personal-political friendship.” Kelly endorses him for election, and holds a rally in his name during campaigning in 1965.
In all O’Riordan runs for election five times, campaigning throughout for the establishment of a socialist republic in Ireland but given Ireland’s Catholic conservatism and fear of communism, he does so without success. He does, however, receive playwright Seán O’Casey‘s endorsement in 1951. O’Casey writes: “Mr. O’Riordan is his own message. He has nothing to sell but his soul. But he hasn’t done that, though he will be told he’ll lose it by holding on to it.”
O’Riordan’s participation in the Spanish Civil War is always an important part of his political identity. In 1966, he attends the International Brigades’ Reunion in Berlin and is instrumental in having Frank Ryan’s remains repatriated from Germany to Ireland in 1979.
O’Riordan is a member of the Irish Chile Solidarity Committee and attends the 1st Party Congress of the Communist Party of Cuba in 1984. He also campaigns on behalf of the Birmingham Six and attends their appeal trial in 1990. He serves between 1970 and 1983 as General Secretary of the Communist Party of Ireland (CPI) and from 1983 to 1988 as National Chairman of the party publishing many articles under the auspices of the CPI. Hus staunchly pro-Soviet direction of the party leads to a number of members leaving to form the EurocommunistIrish Marxist Society.
O’Riordan’s last major public outing is in 2005 at the re-dedication of the memorial outside Dublin’s Liberty Hall to the Irish veterans of the Spanish Civil War. With other veterans, he Is received by President of IrelandMary McAleese. He is also presented with Cuba’s Medal of Friendship by the Cuban Consul Teresita Trujillo to Ireland on behalf of Cuban President Fidel Castro.
In 1969, according to Soviet dissident Vasili Mitrokhin, O’Riordan is approached by IRA leaders Cathal Goulding and Seamus Costello with a view to obtaining guns from the Soviet KGB to defend Irish republican areas of Belfast during the communal violence that marked the outbreak of the Troubles. Mitrokhin alleges that O’Riordan then contacts the Kremlin, but the consignment of arms does not reach Ireland until 1972. The operation is known as Operation Splash.
In the meantime, the IRA has split into the Provisional IRA and the Official IRA and it is the latter faction who receives the Soviet arms. Mitrokhin’s allegations are repeated in Boris Yeltsin‘s autobiography. After the split in the Republican movement, O’Riordan unsuccessfully attempts to bring about a reunification of the two sides.
O’Riordan’s book, Connolly Column: The Story of the Irishmen who fought for the Spanish Republic, 1936–1939, published in 1979, deals with the Irish volunteers of the International Brigade who fought in support of the Spanish Republic against Francisco Franco in the Spanish Civil War (1936–39). An updated version of the book is reprinted in 2005 and is launched by the Lord Mayor of Dublin, Cllr. Michael Conaghan at a book launch at SIPTU headquarters, Liberty Hall. The book is the inspiration for Irish singer-songwriter Christy Moore‘s famous song Viva la Quinta Brigada.
In 1991, O’Riordan’s wife, Kay Keohane of Clonakilty, County Cork dies at their home at the age of 81. He continues to live in their family home before moving to Glasnevin in 2000 to be close to his son Manus who lives nearby. In 1999, he describes himself as an atheist and believes that communism will rise again. He lives there until falling ill in November 2005 and is taken to the Mater Hospital. His health rapidly deteriorates and he quickly develops Alzheimer’s disease. Soon afterward he is moved to St. Mary’s Hospital in the Phoenix Park where he spends the final few months of his life, before his death at the age of 88 on May 18, 2006. Then Labour Party leader Ruairi Quinn praises O’Riordan after his death, saying, “As leader of the Labour Party I had the honour of ensuring he received a special citation at our 2001 national conference. Michael O’Riordan stood out against the tide of Irish conservatism and clerical domination that kept Ireland backward and isolated in the 1930s, 1940s and 1950s.”
O’Riordan’s funeral at Glasnevin Crematorium is attended by over a thousand mourners. Following a wake the previous night at Finglas Road, hundreds turn up outside the house of his son and traffic grinds to a halt as family, friends and comrades – many of whom are waving the red flag of the Communist Party of Ireland – escort O’Riordan to Glasnevin Cemetery. A secular ceremony takes place led by Manus O’Riordan (Head of Research at SIPTU) with contributions from O’Riordan’s family, Communist Party general secretary Eugene McCartan and IBMT representative Pauline Frasier.
Though Gregg is instinctively conservative, his awareness of contemporary trends make him responsive to demands for change: he supports the resolution for women to hold parochial office and presents a petition to the General Synod in 1914, signed by 1,400 women. Though the motion is lost, he perseveres undaunted, and a bill for the ecclesiastical enfranchisement of women is finally carried in 1920. A unionist, he is also one of three Anglican and seventeen Catholic bishops to sign the declaration against partition in 1917, which is organised by the Catholic Bishop of Derry, Charles McHugh.
From the 1920s the Irish church is dominated by Gregg, first as Archbishop of Dublin (1920–39) and later as Archbishop of Armagh and Primate of All Ireland (1939–59). He provides stability to the church during a turbulent period of political and social change and is outspoken in defence of its interests, pragmatically espousing policies that will lead to the greater integration of the Protestant community into the new Irish state, as in his acceptance of the teaching of compulsory Irish in national schools. Despite a declining Protestant community in the south of Ireland, he maintains the unity of the church, overcoming the political division of the country into two entities. He regrets constitutional change but pledges the loyalty of the church to the Irish Free State. While recognising that the Protestant ethos is different from that of the majority of Irishmen, he maintains that “whatever our religious or political outlook may be, here is our home, and we have a right to be here.” He is elected to the first Irish Free State senate, and is subsequently consulted by Éamon de Valera, who later describes him as “a most learned and kindly gentleman, and . . . a highly valued friend,” in framing the text of the 1937 constitution. In 1949, he adapts, albeit with sadness, the state prayers to fit the republican form of government, observing that “the republic is a fact” and that “in our prayers, above all, there must be reality.”
Gregg is an able administrator, and his courage and integrity in facing difficult situations and his scholarship and devotion to the church earn him respect in the councils of the wider Anglican communion. He is known as “the churchman’s bishop” for his emphasis on doctrinal orthodoxy, ecclesiastical discipline, and loyalty to the clergy. Though conservative in his approach to church unity, he seeks closer relations between the Christian churches and frequently visits the reformed churches of the Iberian Peninsula, where a portrait plaque is unveiled in 1950 in St. John’s Church, Vila Nova de Gaia, Portugal. A baptistry in St. Paul’s Cathedral, Lisbon, is dedicated to his memory. Well known in England as a writer and preacher, he is appointed select preacher at the University of Cambridge (1916, 1930, 1936) and the University of Oxford (1946, 1947) and supports the institution of annual theological lectures at Queen’s University Belfast (QUB). His publications include Epistle of St. Clement of Rome (1899) and The Primitive Faith and Roman Catholic Developments (1909) – a minor classic which is used as a textbook for ordinands of the Church of England. He writes the introduction and notes to the revised version of the Wisdom of Solomon for the Cambridge Bible for Schools (1909) and publishes sermons and articles in religious journals. Elected Member of the Royal Irish Academy (MRIA) in 1914, he is elected to honorary fellowship in 1934 by Christ’s College, Cambridge, is awarded an honorary Doctor of Divinity (DD) in 1949 by QUB, and is created Order of the Companions of Honour (CH) in 1957.
A commanding figure, tall, thin, with raven-black hair, piercing eyes, and fine features, Gregg has an air of sacerdotal austerity, lightened on occasion by his dry sense of humour. He maintains a well regulated daily timetable and keeps a diary, writing his most personal thoughts in Greek. He makes time for recreation, a daily walk of two miles, tennis, and (from 1929) sailing, and holidays in Ireland and on the Continent. He has a great love of English literature and church music. In 1959, he retires to the Woodhouse, Rostrevor, County Down. Though incapacitated by blindness, deafness, and lameness, he never complains, and according to his wife, his life of prayer is enriched. He dies on May 2, 1961, at his home and is buried in Enniskerry, County Wicklow, beside his first wife and son.
Gregg marries Anna Alicia Jennings on November 26, 1902. They have two sons and two daughters. Anna dies in 1945. On January 22, 1947, he marries secondly Leslie Alexandra, daughter of the Rev. T. J. McEndoo, dean of Armagh, who officiates at the marriage of his daughter and of his archbishop.
(From: “Gregg, John Allen Fitzgerald” by Helen Andrews, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Elvery is the second among seven children of William Elvery , merchant, and Theresa Elvery (née Moss), singer and music teacher, whose parents are English Quakers. Her father’s ancestors were silk merchants from Spain, called Alvarez. Her early childhood is spent in Carrickmines, County Dublin. In 1896 the family moves to Foxrock and she attends the Dublin Metropolitan School of Art. Her mother’s family is artistic – one aunt is the artist Phoebe Anna Traquair – and she and her sisters are talented artists and singers. Her younger sister, Dorothy Kay, becomes a noted portrait painter in South Africa. At the age of sixteen, she wins a three-week scholarship to study at the Royal College of Art in South Kensington, London. Back in Dublin, she models for William Orpen, then teaching in the school. They become friends, and she regrets never studying painting under him. She concentrates on sculpture under John Hughes and has great success, winning the Taylor scholarship three years in a row (1901–03). The first year she wins, the judges, seeking evidence that she had worked unaided, asks her to model a head from life in their presence.
Elvery’s first exhibit in the Royal Hibernian Academy (RHA) is a bronze statuette of a boy in 1902. Thereafter she is a lifelong exhibitor with the RHA, showing almost annually until her death. Friendship with the older Sarah Purser introduces her to Dublin’s artistic milieu and to the arts and crafts movement. In the movement’s 1904 exhibition she shows ten items, including terracotta statuettes, a holy water stoup, and a plaster cast of a lectern, which is cast in bronze in Paris that year and placed in her former parish church in Carrickmines. The movement’s historian, Paul Larmour, calls this lectern “a remarkable piece of organic Art Nouveau . . . There is nothing else like it in Ireland.”
In 1904, after a brief period studying in Paris with her sister and fellow students Estella Solomons and Frances “Cissie” Beckett, Elvery takes lessons in stained glass from Alfred E. Child, and is then persuaded by Purser to join her Tower of Glass (An Túr Gloine) studio. She remains six years, executing windows for St. Stephen’s Church, Mount Street, Dublin; St. Nicholas Church, Carrickfergus; and a war memorial at the Church of Ireland church, Carrickmines. Although her work is generally well received, she does not rate her skill in the medium highly – “I never got the right feeling for glass or the detached, austere quality necessary for ecclesiastical art” – and her window for a Gortconvent leads to a critical review of Purser’s studio by W. B. Yeats. She does not, however, confine herself to glass but also designs for silversmiths and illustrated books for children. For Iosagán agus Sgealta Eile (1907), by Patrick Pearse, she provides a black-and-white frontispiece and four colour illustrations. For the Cuala Press, run by Lily and Elizabeth Yeats, she designs calendars, Christmas cards, and fifteen hand-coloured prints, which continue to be issued until after World War II.
Elvery’s social life in Dublin is busy. An active member of the United Arts Club, she is called by Lady Gregory “the beautiful Miss Elvery,” and Orpen’s portrait, showing her long-necked, graceful, and vivacious, bears out this description. Tiring of glass, and wishing to become a painter, she leaves in 1910 for the Slade School of Fine Art in London. There Henry Tonks is less complimentary than her Dublin teachers. He finds her work facile: “The speed, the slickness, the skill. It is horrible!” Orpen also comes to this view: “her only fault was that the transmission of her thoughts from her brain to paper or canvas, clay or stained glass, became so easy to her that all was said in a few hours. Nothing on earth could make her go on and try to improve on her first translation of her thought.”
Back in Dublin, Elvery takes a studio in Kildare Street and teaches for a time in the Metropolitan School of Art, before her parents arrange a marriage with Charles Henry Gordon Campbell, eldest son of the future Lord Chancellor of Ireland, James Campbell. They marry on August 1, 1912, and move to London where he is called to the English bar. It is not initially a love match but they are well-suited – he likes artistic, Bohemian circles and they become friends with D. H. and Frieda Lawrence, the painter Mark Gertler, the publisher John Middleton Murry, and his wife, the writer Katherine Mansfield, who describes Campbell as “a queer mixture for she is loving and affectionate, and yet she is malicious.”
Campbell’s husband becomes secretary of the Department of Industry and Commerce in the Irish Free State and in 1922 the family moves to Clonard, Terenure, Dublin. His government position means that within six months the house is burned down by anti-Treatyites, who are, however, almost comically accommodating – local men, they express distress at the job and allow her to save the children’s Christmas presents. In 1931 she becomes Lady Glenavy after her husband succeeds to his father’s title, an important member of Dublin’s social and artistic scene. She helps establish the Dublin Drama League and assists Shelah Richards in the production of two plays in 1936. Her friendships are wide and varied and her conversation imaginative and engaged. Dressed in beige – what her son calls “variations on a theme of porridge” – she entertains constantly. Her house has what she terms a “caravanserai” character and is constantly full of people.
Appointed an associate of the RHA in 1932, Campbell becomes a full member in 1934 and takes her turn at teaching. She also joins the more radical Society of Dublin Painters and holds in February 1935 a one-person show at their premises, 7 Stephen’s Green, but she never shows with the Irish Exhibition of Living Art, though her work is more avant-garde than that of most academicians. At its best in still lifes and figure compositions, her work has “a sense of drama and an enigmatic or near-surrealist appearance.” Brian Kennedy notes that she is the first Irish painter to go surrealist (though she never thinks of herself in this way) and although she is serious about her work – taking lessons at an advanced age from Patrick Hennessy – she is also diffident. Her memoir does not trace her development as an artist and mentions only one work with approbation – The Intruder (exhibited at the RHA in 1932). Now in the National Gallery of Ireland, it depicts in bold, rich colours a female centaur beckoning a young man from a group of picnickers. It immediately attracts attention. Richard Orpen wants the academy to buy it, but they think it obscene.
About 1941 the Campbells move to a large Georgian house in Rathfarnham, and twenty years later they transfer to a smaller house in Sandycove. After her husband’s death in 1962, she publishes her memoirs, And Today We Will Only Gossip (1964). The title is well chosen as the book is not self-revelatory but full of characters she encountered. Monk Gibbon calls her a “unique mixture: of talent and diffidence; of gregariousness and contempt for the herd; of gentle consideration and a savage determination to wound. Only those who knew her well knew her at all; and even to them she remained something of a mystery” (The Irish Times, December 2, 1980).
Campbell dies in Dublin on May 21, 1970, and is survived by her two sons, the writer and humorist Patrick Campbell and the novelist Michael Campbell, and predeceased by her daughter, Bridget, an Irish international lacrosse player and talented scientist, who is killed by a bomb during the London blitz.
(From: “Campbell, Beatrice Moss” by Bridget Hourican and Pauric J. Dempsey, Dictionary of Irish Biography, http://www.dib.ie, October 2009 | Pictured: “Bridgit – a picture of Miss Elvery (Beatrice Elvery),” oil on canvas by William Orpen, 1909)
Santry is born in Cork, County Cork, on May 14, 1879, to Denis Santry, Sr., a carpenter and joiner. He studies at the Cork Municipal School of Art from 1894 to 1896 after serving an apprenticeship as a cabinetmaker. In 1895, he also studies at the Crawford School of Art. In 1897, he is articled to architect James Finbarre McMullen. From 1897 to 1898, he studies at the Royal College of Art in London under a Lane scholarship. While he is at the college, he wins the Queen’s prize for freehand drawing. After graduating, he returns to McMullen’s office and works there for the next two years.
Santry comes to South Africa at the end of 1901 due to ill health. He settles in Cape Town and is employed at Tully & Waters, an architectural firm, from 1901 to 1902. He then spends a year working for architect William Patrick Henry Black. In 1903, his cartoons begin to appear in local newspapers and magazines, including the South African Review. He uses the pseudonym “Adam” in his cartoons. He continues to work as an architect until 1910 when he begins working as a cartoonist, as well as a metalworker, sculptor and filmmaker. He then moves to Johannesburg and is employed at the Sunday Times and The Rand Daily Mail as a cartoonist. During World War I, his cartoons are reproduced in several other countries. He becomes a pioneer of animated cartoons in South Africa. He is a member of the Royal Society of Arts and a council member of the South African Society of Artists.
Santry comes to Singapore in 1918 and joins the architectural firm Swan & Maclaren as a partner. While in Singapore, he serves as the architect of several prominent buildings and monuments, including the Sultan Mosque, The Cenotaph, the Maritime Building, the Hongkong and Shanghai Bank Building and the Telok Ayer Chinese Methodist Church. He serves as the first president of the St. Patrick’s Society Singapore, the first president of the Singapore Amateur Boxing Association, the chairman of the Singapore Art Club, a member of the board of control of the Victoria Theatre and Concert Hall, a member of the Censorship Appeal Board and the vice-president of the Straits Settlements Association. He is also a frequent contributor to the Straits Produce, a satirical magazine. He helps to found the Singapore Society of Architects and the Institute of Architects of Malaya and is the founder and the chairman of the Singapore Musical Society. He retires to England in March 1934.
Santry returns to South Africa in 1940. Following the end of World War II, he resumes his practice as a result of lost income caused by the Japanese occupation of Malaya. In 1950, he becomes a member of the Institute of South African Architects. He designs several private houses in Hillcrest, KwaZulu-Natal.
Santry marries Madeline Hegarty in 1904. From 1910 to 1918, he lives in Kleine Schuur on Rhodes Avenue in Johannesburg. The house is designed by prominent architect Herbert Baker. He dies in Durban, South Africa, on April 14, 1960.
Although born in Cork, Moynihan-Cronin is a native of Killarney, County Kerry. She is educated at St. Brigid’s Secondary School in Killarney, Dominican College Sion Hill in Dublin, and Skerry’s College, Cork. Her father, Michael Moynihan, is a TD for Kerry South from 1981 to 1987 and from 1989 to 1992. She works as a bank official before becoming involved in politics in 1991 when she is elected to Kerry County Council. She is first elected to Dáil Éireann at the 1992 Irish general election as a Labour Party TD for Kerry South, succeeding her father. She is re-elected at every election until 2007.
On October 11, 2005, Moynihan-Cronin announces that she will not stand for re-election at the forthcoming general election due to ill-health. Her decision to retire presents considerable difficulties for the Labour Party to retain her seat, as the party performed poorly at the 2004 Kerry County Council election, failing to elect any councillors within the county. However, on October 28, 2006, she announces that she will stand in the forthcoming general election, having overcome her health difficulties. However, she fails to retain her seat.
In June 2011, Moynihan-Cronin returns to politics when she is co-opted onto Kerry County Council to represent the Killarney area, filling the seat left vacant when Marie Moloney is elected to the 24th Seanad. In 2013, she stands down from the council and is replaced by Sean Counihan.
seamus dubhghaill 