seamus dubhghaill

Promoting Irish Culture and History from Little Rock, Arkansas, USA

Tag Archives: County Cork


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Birth of The Reverend Edward Hincks

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

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

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

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

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

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

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

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

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

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


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Birth of Irish American Painter William Harnett

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

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

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

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

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

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

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

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

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


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Birth of Thomas Brodrick, Politician

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Thomas Brodrick, Irish politician who sits in the Irish House of Commons between 1692 and 1727 and in the British House of Commons from 1713 to 1727 and leads the inquiry into the “South Sea Bubble,” is born in Midleton, County Cork on August 4, 1654.

Brodrick is the eldest son of Sir St. John Brodrick and his wife Alice Clayton, daughter of Laurence Clayton of Mallow, County Cork. He is brother of Alan Brodrick, 1st Viscount Midleton. He is admitted at Trinity Hall, Cambridge and also at Middle Temple in 1670. He marries Anne Piggott, daughter of Alexander Piggott of Innishannon and they have one son Laurence, who is appointed Register of Deeds and Conveyances in Ireland in 1735.

Broderick sits in the Irish House of Commons for Midleton from 1692 to 1693, for County Cork from 1695 to 1699 and again from 1703 to 1713, and for Midleton again from 1715 to 1727. He is appointed to the Privy Council of Ireland on May 10, 1695. He is removed on July 17, 1711, but reappointed on September 30, 1714.

Broderick has contacts with Whig politicians in England and is appointed comptroller of the salt in 1706 and joint comptroller of army accounts from 1708 to 1711. He is elected as Member of Parliament (MP) for Stockbridge at the 1713 general election and again at the 1715 general election. At the 1722 general election, he is elected as MP for Guildford. He does not stand in the 1727 general election.

Thomas Brodrick dies on October 3, 1730, at Wandsworth where he is buried.


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The Buttevant Rail Disaster

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The Buttevant Rail Disaster, a train crash that occurs at Buttevant Railway Station, County Cork, takes place on August 1, 1980. More than 70 people are injured, and 18 die, resulting as one of Ireland’s worst rail disasters to ever occur and the country’s worst rail disaster during peacetime history.

At 12:45 the 10:00 am Dublin (Heuston) to Cork (Kent) express train enters Buttevant Railway Station carrying some 230 bank holiday passengers. The train is diverted off the main line across a 1:8 temporary set of points into a siding. The locomotive remains upright but carriages immediately behind the engine and generator van jack-knife and are thrown across four sets of rail lines. Two coaches and the dining car are totally demolished by the impact. It results in the deaths of 18 people and over 70 people being injured.

The accident happens because a set of manual facing points are set to direct the train into the siding. These points are installed about four months previously and have not yet been connected to the signal cabin. The permanent way maintenance staff are expecting a stationary locomotive at the Up platform to move into the siding, and set the points for the diversion to the siding, without obtaining permission from the signalman. Upon seeing that this has been done, the signalman at Buttevant manually sets the signals to the Danger aspect and informs the pointsman to reset the points. The train is traveling too fast to stop in time. The train is moving at approximately 60 mph when the derailment occurs.

The train consists of one locomotive, a generator van and eleven coaches. Six of the coaches consist of wooden bodies on steel underframes. Four of these are either destroyed or badly damaged in the impact, the two which survive being at the rear of the train. The remainder of the coaches are light alloy Cravens stock and most survive the crash.

This event, and the subsequent Cherryville junction accident, which kills a further seven people, account for 70% of all Irish rail deaths over a 28-year period. CIÉ and the Government come under severe public pressure to improve safety and to modernise the fleet. A major review of the national rail safety policy is held and results in the rapid elimination of the wooden-bodied coaches that had formed part of the train.

The passengers who are most severely injured or killed are seated in coaches with wooden frames. This structure is incapable of surviving a high speed crash and does not come near to the safety standards provided by modern (post-1950s) metal-body coaches. The expert bodies that review the accident discover that the old timber-frame carriage bodies mounted on a steel frame are totally inadequate as they are prone to complete collapse under the enormous compression forces of a high-speed collision.

The more modern steel-framed carriage bodies survive due to their greater structural rigidity. On this basis the decision to purchase a new fleet of modern intercity coaches based on the British Rail Mark 3 design is quickly made. The Mark 3’s longitudinally corrugated roof can survive compression forces of over 300 tonnes. These coaches, an already well proven design, are built by British Rail Engineering Limited (BREL) in Derby, England and, under licence, at CIÉ’s own workshops at Inchicore Railway Works in Dublin between 1983 and 1989.


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Birth of Chartist Leader Feargus O’Connor

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Feargus Edward O’Connor, advocate of the Land Plan and prominent Chartist leader who succeeds in making Chartism the first specifically working-class national movement in Great Britain, is born near Castletown-Kinneigh, County Cork on July 18, 1796.

O’Connor is born into a prominent Irish Protestant family who claims to be the descendants of the 12th-century king Ruaidrí Ua Conchobair. He is educated mainly at Portarlington Grammar School and has some elementary schooling in England.

O’Connor practices law but exchanges law for politics when he enters the British Parliament in 1832 as a member for County Cork. Unseated in 1835, he turns to radical agitation in England, although he continues to press Irish grievances and to seek Irish support. As a result of his humour, invective, and energy, he becomes the best-known Chartist leader and the movement’s most popular speaker. His journal, the Northern Star (founded in 1837), gains a wide circulation.

O’Connor’s methods and views alienate other Chartist leaders, particularly William Lovett, but in 1841, after spending a year in prison for seditious libel, he acquires undisputed leadership of the Chartists. Failing to lead the movement to victory and vacillating in his attitude toward the middle class and toward the People’s Charter, a six-point bill drafted and published in May 1838, he begins to lose power, although he is elected to Parliament for Nottingham in 1847. The failure of the People’s Charter in 1848 marks the beginning of the end for O’Connor, whose egocentricity is already bordering on madness.

The circulation of the Northern Star falls steadily, and it loses money. O’Connor’s health is failing, and reports of his mental breakdown regularly appear in the newspapers. In the spring of 1852, he visits the United States, where his behaviour leaves no doubt that he is not a well man.

In 1852 in the House of Commons O’Connor strikes three fellow MPs, one of them Sir Benjamin Hall, a vocal critic of the Land Plan. Arrested by the Deputy Sergeant-at-Arms, he is sent by his sister to Dr. Thomas Harrington Tuke‘s private Manor House Asylum in Chiswick, where he remains until 1854, when he is moved to his sister’s house. He dies on August 30, 1855, at 18 Albert Terrace, Notting Hill Gate and is buried on September 10 in Kensal Green Cemetery. No fewer than 40,000 people witness the funeral procession. Most Chartists preferred to remember O’Connor’s strengths rather than his shortcomings.


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Birth of Fiona Shaw, Actress & Director

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Fiona Mary Shaw, accomplished classical actress and theatre and opera director, is born in Farranree, County Cork on July 10, 1958. She is best known for her role as Petunia Dursley in the Harry Potter films and her role portraying Marnie Stonebrook in the HBO series True Blood.

Shaw attends secondary school at Scoil Mhuire in Cork. She receives her degree at University College Cork. She trains at the Royal Academy of Dramatic Art (RADA) in London and is part of a ‘new wave’ of actors to emerge from the Academy. She receives much acclaim as Julia in the Royal National Theatre production of Richard Sheridan‘s The Rivals (1983).

Shaw’s theatrical roles include Celia in As You Like It (1984), Madame de Volanges in Les Liaisons Dangereuses (1985), Katherine in The Taming of the Shrew (1987), Lady Franjul in The New Inn (1987), Young Woman in Machinal (1993), for which she wins the Laurence Olivier Award for Best Actress, Winnie in Happy Days (2007), and the title roles in Electra (1988), The Good Person of Sechuan (1989), Hedda Gabler (1991), The Prime of Miss Jean Brodie (1998) and Medea (2000). She performs T. S. Eliot‘s poem The Waste Land as a one-person show at the Liberty Theatre in New York City to great acclaim in 1996, winning the Drama Desk Award for Outstanding One-Person Show for her performance.

Shaw plays Miss Morrison in the 1984 The Adventures of Sherlock Holmes episode “The Adventure of the Crooked Man” and Catherine Greenshaw in Agatha Christie’s Marple episode “Greenshaw’s Folly” in 2013.

Shaw notably plays the male lead in Richard II, directed by Deborah Warner in 1995. She has collaborated with Warner on a number of occasions, on both stage and screen. She has also worked in film and television, including My Left Foot (1989), Mountains of the Moon (1990), Three Men and a Little Lady (1990), Super Mario Bros. (1993), Undercover Blues (1993), Persuasion (1995), Jane Eyre (1996), The Butcher Boy (1997), The Avengers (1998), Gormenghast (2000), and five of the Harry Potter films in which she plays Harry Potter‘s aunt Petunia Dursley. She has a brief but key role in Brian DePalma‘s The Black Dahlia (2006).

In 2009, Shaw collaborates with Deborah Warner again, taking the lead role in Tony Kushner‘s translation of Bertolt Brecht‘s Mother Courage and Her Children. In a 2002 article for The Daily Telegraph, Rupert Christiansen describes their professional relationship as “surely one of the most richly creative partnerships in theatrical history.” Other collaborations between the two women include productions of Brecht’s The Good Woman of Szechuan and Henrik Ibsen‘s Hedda Gabler, the latter adapted for television.

Shaw appears in The Waste Land at Wilton’s Music Hall in January 2010 and in a Royal National Theatre revival of London Assurance in March 2010. In November 2010, she stars in Ibsen’s John Gabriel Borkman at the Abbey Theatre, Dublin alongside Alan Rickman and Lindsay Duncan. The play is also staged in New York’s Brooklyn Academy of Music in 2011.

Shaw appears in season four of American TV show True Blood. Her character, Marnie Stonebrook, has been described as an underachieving palm reader who is spiritually possessed by an actual witch. Her character leads a coven of necromancer witches who threaten the status quo in Bon Temps, erasing most of Eric Northman‘s memories and leaving him almost helpless when he tries to kill her and break up their coven.

In 2012, Shaw appears in the Royal National Theatre revival of Scenes from an Execution by Howard Barker.

The world’s largest solo theatre festival, United Solo Theatre Festival, recognizes her performance in The Testament of Mary on Broadway with the 2013 United Solo Special Award.

In 2018 Shaw begins portraying Carolyn Martens, head of the MI6 Russian Desk, in BBC America‘s Killing Eve, for which she wins the BAFTA Award for Best Actress in a Supporting Role in a Television Series. Later the same year, she plays a senior MI6 officer in Mrs. Wilson.


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Paintings Again Stolen from Russborough House

russborough-house-theft-2001A pair of paintings valued at more than £3,000,000 are stolen by an armed gang from Russborough House in County Wicklow on June 26, 2001. The stolen paintings are Thomas Gainsborough‘s Madame Baccelli, the more valuable of the pair, and Bernardo Belotto‘s Scene of Florence.

Three masked men burst their way into the house after ramming the front door with a Mitsubishi at midday. After grabbing the paintings the men set fire to their getaway vehicle and attempt to hijack a car at gunpoint but its driver refuses to give it up. They are last seen running from the scene.

Chief Superintendent Sean Feely says that there were people in the house at the time of the robbery but no one was hurt. He adds that, because they are so well known, the paintings will be near impossible to sell. Raymond Keaveney, the Director of the National Gallery of Ireland, describes the theft as “an outrage.”

The robbery is a case of history repeating itself for Russborough House, twenty miles from Dublin, which has been the scene of two previous major art thefts.

In 1974, an Irish Republican Army (IRA) gang which includes Dr. Rose Dugdale, the British heiress, steal 19 paintings, valued at IR£8 million, from Russborough House which, at the time, is the home of the late Sir Alfred Beit, a member of the De Beers diamond family, and his wife. The couple are bound and gagged during the raid. The paintings are later found in County Cork. Dugdale and the others involved are ultimately jailed.

In 1986, a 13-strong gang headed by Martin Cahill, the Dublin crime chief who is later shot dead by the IRA, steals 18 works including some of those taken and recovered in the earlier raid. The paintings taken on this occasion include those by Johannes Vermeer, Gabriël Metsu, Francisco Goya, Thomas Gainsborough and Peter Paul Rubens. All but three of the paintings are recovered over a period of years at a number of locations, including London, Belgium, Holland and Turkey, after apparent unsuccessful attempts to sell them. The Gainsborough painting stolen on June 26 was also taken in the 1986 raid.

The Beit collection is made over to the Irish nation and many of the works are still on display at Russborough House.

(Pictured: The Mitsubishi used to ram the entrance of Russborough House sits near the front steps. The thieves torch this car before fleeing in another car. Note the gas can to the right of the car.)


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The Sack of Baltimore

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The Sack of Baltimore takes place on June 20, 1631, when the village of Baltimore, County Cork is attacked by the Ottoman Algeria and Republic of Salé slavers from the Barbary Coast of North Africa. The attack is the largest by Barbary pirates on either Ireland or Great Britain.

The attack is led by a Dutch captain, Jan Janszoon van Haarlem, also known as Murad Reis the Younger. Murad’s force is led to the village by a man called Hackett, the captain of a fishing boat he had captured earlier, in exchange for his freedom. Hackett is subsequently hanged from the clifftop outside the village for conspiracy.

Murad’s crew, made up of Dutchmen, Moroccans, Algerians and Ottoman Turks, launches their covert attack on the remote village on June 20, 1631. They capture 107 villagers, mostly English settlers along with some local Irish people (some reports put the number as high as 237). The attack is focused on the area of the village known to this day as the Cove. The villagers are put in irons and taken to a life of slavery in North Africa.

There are conspiracy theories relating to the raid. It has been suggested that Sir Walter Coppinger, a prominent Catholic lawyer and member of the leading Cork family, who had become the dominant power in the area after the death of Sir Thomas Crooke, 1st Baronet, the founder of the English colony, orchestrates the raid to gain control of the village from the local Gaelic chieftain, Sir Fineen O’Driscoll. It is O’Driscoll who had licensed the lucrative pilchard fishery in Baltimore to the English settlers. Suspicion also points to O’Driscoll’s exiled relatives, who had fled to Spain after the Battle of Kinsale and had no hope of inheriting Baltimore by legal means. On the other hand, Murad may have planned the raid without any help. It is known that the authorities had advance intelligence of a planned raid on the Cork coast, although Kinsale is thought to be a more likely target than Baltimore.

Some prisoners are destined to live out their days as galley slaves, rowing for decades without ever setting foot on shore while others spend long years in harem or as labourers. At most, only three of them ever return to Ireland. One is ransomed almost at once and two others in 1646.

In the aftermath of the raid, the remaining villagers move to Skibbereen, and Baltimore is virtually deserted for generations.

(Pictured: “The sack of Baltimore (West Cork), ca. 1890-1891” pen and ink by Jack Butler Yeats)


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The Battle of Waterloo

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The Battle of Waterloo is fought on Sunday, June 18, 1815, near Waterloo, Belgium, which is part of the United Kingdom of the Netherlands at the time. The battle marks the end of the Napoleonic Wars.

A French army under the command of Napoleon Bonaparte is defeated by British forces under the command of Arthur Wellesley, 1st Duke of Wellington of Dublin and a Prussian army under the command of Field Marshal Gebhard Leberecht von Blücher. The Iron Duke is not the only Irish presence on the battlefield that day. Napoleon’s horse, Marengo, is reared in County Wexford, and the Duke of Wellington’s mount is from County Cork.

Upon Napoleon’s return to power in March 1815, many states that have opposed him form the Seventh Coalition and begin to mobilise armies. Wellington and Blücher’s armies are cantoned close to the northeastern border of France. Napoleon chooses to attack them separately in the hope of destroying them before they can join in a coordinated invasion of France with other members of the coalition. On June 16, he successfully attacks the bulk of the Prussian army at the Battle of Ligny with his main force, while a portion of the French army simultaneously attacks the Anglo-allied army at the Battle of Quatre Bras. Despite holding his ground at Quatre Bras, the defeat of the Prussians forces Wellington to withdraw north to Waterloo on June 17. Napoleon sends a third of his forces to pursue the Prussians, who have withdrawn parallel to Wellington in good order. This results in the separate and simultaneous Battle of Wavre with the Prussian rear-guard.

Upon learning that the Prussian army is able to support him, Wellington decides to offer battle on the Mont-Saint-Jean escarpment across the Brussels road. Here he withstands repeated attacks by the French throughout the afternoon of June 18, aided by the progressively arriving Prussians. In the evening, Napoleon commits his last reserves, the senior battalions of the French Imperial Guard infantry. The desperate final attack of the Guard is narrowly beaten back. With the Prussians breaking through on the French right flank, Wellington’s Anglo-allied army counterattacks in the centre, and the French army is routed.

Waterloo is the decisive engagement of the Waterloo Campaign and Napoleon’s last. Napoleon abdicates four days later, and coalition forces enter Paris on July 7. The defeat at Waterloo ends Napoleon’s rule as Emperor of the French and marks the end of his Hundred Days return from exile. This ends the First French Empire and sets a chronological milestone between serial European wars and decades of relative peace.

The battlefield is located in the municipalities of Braine-l’Alleud and Lasne, about 15 kilometres south of Brussels, and about 2 kilometres from the town of Waterloo. The site of the battlefield today is dominated by the monument of the Lion’s Mound, constructed from earth taken from the battlefield itself. The topography of the battlefield near the mound has not been preserved.


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The Rathcoole Ambush

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The Rathcoole Ambush, one of the largest ambushes of the Irish War of Independence, takes place at Rathcoole, County Cork on June 16, 1921.

The railway line between Banteer and Millstreet had been cut in several places so the British Auxiliary forces based at Millstreet have to travel to Banteer by road for their supplies twice a week. As a result, a combined force of 130 Irish Republican Army (IRA) volunteers from the Millstreet, Kanturk, Newmarket, Charleville and Mallow battalion columns are mobilised to attack the Auxiliaries as they return from Banteer. The volunteers are under the command of Paddy O’Brien from Liscarroll.

On the night before the ambush the IRA volunteers sleep at Rathcoole Wood, which overlooks the planned ambush position. Shortly after sunrise the following morning, Captain Dan Vaughan lays six land mines on the untarred road and covers them with dust. After a wait of several hours a convoy of four armour-plated lorries, each mounted with a machine gun and carrying ten men, is observed heading for Banteer.

The volunteers prepare themselves and at 6:20 in the evening, as the lorries pass through the ambush area on their return journey, three of the land mines explode with devastating results. One mine detonates as the last of the four lorries drives over it and another explodes under the leading lorry in the convoy. Both vehicles are out of action with the two other lorries trapped between them. A third mine explodes amid a party of Auxiliaries as they attempted to outflank the position. A bitter firefight develops. Each time Auxiliaries attempt to outflank the IRA they are driven back, suffering losses of more than twenty dead and over a dozen wounded.

When it becomes clear that the IRA cannot achieve a complete victory because of their limited ammunition supply, the order for withdrawal is given and the whole force retires without a single casualty. Although no arms are captured during the action, a reconnaissance party from the column returns the next day to search the ambush position and recovers 1,350 rounds of ammunition which the Auxiliaries had left behind them as they removed their dead and wounded.

The ambush at Rathcoole is one of the Irish Republican Army’s most successful actions during the War of Independence. A week after the ambush, British Forces from Kanturk, Buttevant, Ballyvonaire, Macroom, Ballincollig, Killarney and Tralee carry out a widespread search throughout the Rathcoole area. Michael Dineen, a Volunteer in Kilcorney Company is taken from his brother’s house at Ivale by a party of Auxiliaries and shot dead. On the evening of July 1, the Auxiliaries set fire to and destroy the wood at Rathcoole from where the ambush had been launched. That same day that they shoot and kill a local man, Bernard Moynihan, as he is out cutting hay.

(Pictured: Monument at the site of the Rathcoole Ambush)