Like William Orpen, Lavery is appointed an official artist in World War I. Ill-health, however, prevents him from travelling to the Western Front. A serious car crash during a Zeppelin bombing raid also keeps him from fulfilling this role as war artist. He remains in Britain and mostly paints boats, aeroplanes, and airships. During the war years he is a close friend of H.H. Asquith‘s family and spends time with them at their Sutton Courtenay Thames-side residence, painting their portraits and idyllic pictures like Summer on the River (Hugh Lane Gallery).
After the war Lavery is knighted and in 1921 he is elected to the Royal Academy of Arts.
During this time, he and his wife, Hazel, are tangentially involved in the Irish War of Independence and the Irish Civil War. They give the use of their London home to the Irish negotiators during the negotiations leading to the Anglo-Irish Treaty. After Michael Collins is assassinated, Lavery paints Michael Collins, Love of Ireland, now in the Hugh Lane Gallery. In 1929, Lavery makes substantial donations of his work to both the Ulster Museum and the Hugh Lane Gallery and in the 1930s he returns to Ireland. He receives honorary degrees from the University of Dublin and Queen’s University Belfast. He is also made a free man of both Dublin and Belfast. A long-standing member of Glasgow Art Club, Lavery exhibits at the club’s annual exhibitions, including its exhibition in 1939 in which his The Lake at Ranelagh is included.
The first clash of the Tithe War takes place on March 3, 1831, in Graiguenamanagh, County Kilkenny, when a force of 120 yeomanry attempts to enforce seizure orders on cattle belonging to a Roman Catholic priest. Encouraged by his bishop, he has organised people to resist tithe collection by placing their stock under his ownership prior to sale.
The Tithe War is a campaign of mainly nonviolent civil disobedience, punctuated by sporadic violent episodes, in Ireland between 1830 and 1836 in reaction to the enforcement of tithes on the Roman Catholic majority for the upkeep of the established state church – the Church of Ireland. Tithes are payable in cash or kind and payment is compulsory, irrespective of an individual’s religious adherence.
After Emancipation in 1829, an organized campaign of resistance to collection begins. It is sufficiently successful to have a serious financial effect on the welfare of established church clergy. In 1831, the government compiles lists of defaulters and issues collection orders for the seizure of goods and chattels. Spasmodic violence breaks out in various parts of Ireland, particularly in counties Kilkenny, Tipperary and Wexford. The Royal Irish Constabulary, which had been established in 1822, attempts to enforce the orders of seizures. At markets and fairs, the constabulary often seize stock and produce, which often results in violent resistance.
A campaign of passive resistance is proposed by Patrick “Patt” Lalor, a farmer of Tenakill, Queen’s County (now County Laois), who later serves as a repeal MP. He declares at a public meeting in February 1831 in Maryborough that he would never again pay tithes and, although the tithe men might take his property and offer it for sale, his countrymen would not buy or bid for it if offered for sale. Lalor holds true to his word and does not resist the confiscation of 20 sheep from his farm but is able to ensure no buyers appear at subsequent auctions.
Following the clash at Graiguenamanagh, the revolt soon spreads. On June 18, 1831, in Bunclody, County Wexford, people resisting the seizure of cattle are fired upon by the Royal Irish Constabulary, who kill twelve and wound twenty. One yeoman is shot dead in retaliation. This massacre causes objectors to organise and use warnings such as church bells to signal the community to round up the cattle and stock. On December 14, 1831, resisters use such warnings to ambush a detachment of 40 Constabulary at Carrickshock, County Kilkenny. Twelve constables, including the Chief Constable, are killed and more wounded.
Regular clashes causing fatalities continue over the next two years. On December 18, 1834, the conflict comes to a head at Rathcormac, County Cork, when armed Constabulary reinforced by the regular British Army kill twelve and wound forty-two during several hours of fighting when trying to enforce a tithe order reputedly to the value of 40 shillings.
Finding and collecting livestock chattels and the associated mayhem creates public outrage and proves an increasing strain on police relations. The government suspends collections. In 1838, parliament introduces a Tithe Commutation Act. This reduces the amount payable directly by about a quarter and makes the remainder payable in rent to landlords. They in turn are to pass payment to the authorities. Tithes are thus effectively added to a tenant’s rent payment. This partial relief and elimination of the confrontational collections ends the violent aspect of the Tithe War.
On May 15, 1346, Butler marries Elizabeth Darcy, daughter of Sir John Darcy and Joan de Burgh. They have five children: James Butler, 3rd Earl of Ormond (1362-1405), Thomas Butler (1359-1396), Justice of Cork, Eleanor Butler (1350-1392), Joan Butler (1360-1393), and Ralph Butler (1356-1367).
In the 1360s Butler clashes with Maurice FitzGerald, 4th Earl of Kildare. In 1364 the Irish House of Commons sends a delegation to England, headed by Kildare, to complain of misgovernment, and to ask for the removal of “corrupt” officials, some of whom have links to Butler. A number of these officials are removed, but Butler’s position is not seriously threatened.
Butler is Lord Justice by July 24, 1376, with a salary of £500 per year, in which office he is continued by King Richard II of England. On April 2, 1372, he is made constable of Dublin Castle, with the fee of £18 5s per year. He is summoned to the Parliaments held by Richard II.
James Butler dies October 18, 1382 at Knocktopher Castle in Kilkenny, Leinster, near which he had founded a priory for Carmelite friars in 1356. He is buried in St. Canice’s Cathedral, Kilkenny.
Born Carlo Bianconi, in Tregolo, Costa Masnaga, Italy on September 24, 1786, he moves from an area poised to fall to Napoleon and travels to Ireland via England in 1802, just four years after the Irish Rebellion of 1798. At the time, British fear of continental invasion results in an acute sense of insecurity and additional restrictions on the admission of foreigners. He is christened Carlo but anglicises his name to Charles when he arrives in Ireland in 1802.
At the age of 16, Bianconi works as an engraver and printseller in Dublin, near Essex Street, under his sponsor, Andrea Faroni. In 1806 he sets up an engraving and print shop in Carrick-on-Suir, moving to Clonmel in 1815.
Bianconi eventually becomes famous for his innovations in transport and is twice elected mayor of Clonmel. He is the founder of public transportation in Ireland, at a time preceding railways. He establishes regular horse-drawn carriage services on various routes beginning in 1815. These are known as “Bianconi coaches” and the first service, Clonmel to Cahir, which takes five to eight hours by boat, takes only two hours by Bianconi’s carriage. Travel on a coach costs one penny farthing a mile.
Bianconi’s carriage services continue into the 1850s and later, by which time there are a number of railway services in the country. The Bianconi coaches continue to be well-patronised, by offering connections from various termini, one of the first and few examples of an integrated transport system in Ireland. By 1865 Bianconi’s annual income is about £35,000.
In 1832 Bianconi marries Eliza Hayes, the daughter of a wealthy Dublin stockbroker. They have three children. Bianconi dies on September 22, 1875 at Longfield House, Boherlahan, County Tipperary.
Having donated land to the parish of Boherlahan for the construction of a parish church, Bianconi wishes to be buried on the Church grounds. He, and his family, are buried in a side chapel, separate from the parish church in Boherlahan, approximately 5 miles from Cashel, County Tipperary.
On June 4, 1798, the rebels advance from their camp on Carrigbyrne Hill to Corbet Hill, just outside the town of New Ross. The battle, the bloodiest of the 1798 rebellion, begins at dawn on June 5 when the Crown garrison is attacked by a force of almost 10,000 rebels, massed in three columns outside the town. The attack has been expected since the fall of Wexford to the rebels on May 30 and the British garrison of 2,000 has prepared defences both outside and inside the town. Trenches are dug and manned by skirmishers on the approaches to the town while cannon are stationed facing all the rapidly falling approaches and narrow streets of the town to counter the expected mass charges by the rebels, who are mainly armed with pikes.
Bagenal Harvey, the United Irish Leader recently released from captivity following the rebel seizure of Wexford, attempts to negotiate surrender of New Ross but the rebel emissary Matt Furlong is shot down by Crown outposts while bearing a flag of truce. His death provokes a furious charge by an advance guard of 500 insurgents led by John Kelly who has instructions to seize the Three Bullet Gate and wait for reinforcements before pushing into the town. To aid their attack, the rebels first drive a herd of cattle through the gate.
Another rebel column attacks the Priory Gate but the third pulls back from the Market Gate intimidated by the strong defences. Seizing the opportunity, the garrison sends a force of cavalry out the Market Gate to attack and scatter the remaining two hostile columns from the flanks. However, the rebel rump has not yet deployed and upon spotting the British manoeuvre, rally the front ranks who stand and break the cavalry charge with massed pikes.
The encouraged rebel army then sweeps past the Crown outposts and seizes the Three Bullet Gate causing the garrison and populace to flee in panic. Without pausing for reinforcement, the rebels break into the town attacking simultaneously down the steeply sloping streets but meet with strong resistance from well-prepared second lines of defence of the well-armed soldiers. Despite horrific casualties the rebels manage to seize two-thirds of the town by using the cover of smoke from burning buildings and force the near withdrawal of all Crown forces from the town. However, the rebels’ limited supplies of gunpowder and ammunition force them to rely on the pike and blunts their offensive. The military manages to hold on and, following the arrival of reinforcements, launches a counterattack before noon which finally drives the exhausted rebels from the town.
No effort to pursue the withdrawing rebels is made but when the town has been secured, a massacre of prisoners, trapped rebels and civilians of both sympathies alike begins which continues for days. Hundreds are burned alive when rebel casualty stations are torched by victorious troops. More rebels are believed to have been killed in the aftermath of the battle than during the actual fighting. Reports of such atrocities brought by escaping rebels are believed to have influenced the retaliatory murder of over 100 loyalists in the flames of Scullabogue Barn.
Casualties in the Battle of New Ross are estimated at 2,800 to 3,000 Rebels and 200 Garrison dead. Most of the dead Rebels are thrown in the River Barrow or buried in a mass grave outside the town walls a few days after the Battle. The remaining rebel army reorganises and forms a camp at Sliabh Coillte some five miles to the east but never attempts to attack the town again. They later attack General John Moore‘s invading column but are defeated at the Battle of Foulksmills on June 20, 1798.
(Pictured: The 1845 illustration “The Battle of Ross” by George Cruikshank)
The Riordans, a drama about life in a rural Irish village and the most successful serial in the history of Raidió Teilifís Éireann (RTÉ), running from 1965 to 1979, comes to an end on May 11, 1979. It is the second Irish soap opera made by RTÉ (then called Telefís Éireann).
In 1964 the fledgling Telefís Éireann launches Tolka Row, a soap opera set in a working class part of Dublin. Its success is immediate, with its actors becoming household names. One year later, aware that Ireland is still a largely rural country, and of the immense popularity of rural-based radio shows on RTÉ Radio (then called Radio Éireann), Telefís Éireann decides to create a new rural soap opera, set on a family farm. Located in Dunboyne, The Flathouse, owned by the Connolly family, is the setting for this programme.
The show is called The Riordans after the name of the central family, who are two middle-aged parents, Tom Riordan and his wife Mary Riordan, together with their oldest son, Benjy and other siblings, including brother Michael and sister Jude, all of whom except Benjy have left farming for other careers and have more adventurous personal lives.
The Riordans is set in the fictional townland of Leestown in County Kilkenny and proves to be a revolutionary television programme, both in Ireland and internationally. Its most dramatic innovation is in the use of Outside Broadcast Units (OBUs) to film most of each episode on location in the countryside. This is a marked innovation. Previously soap operas had all been studio-based, with even supposed exterior filming all done with studio sets built in sound stages. This breaks the mould of broadcasting in the soap opera genre and inspires the creation of its British equivalent, Emmerdale Farm (now called Emmerdale) by Yorkshire Television in 1972. In 1975 The Riordans begins to be filmed and transmitted in colour, having been available in monochrome only up to then.
The show undergoes a number of changes in the mid-1970s, most notably moving from a half-hour to one-hour format, as well as a change in theme tune. The decision of actor Tom Hickey to leave the series causes some problems. His character, Benjy is not killed off but goes abroad “on the missions.” While the show has declined somewhat from its heyday, it still regularly battles with The Late Late Show to top the TAM ratings. The production team is surprised when one episode, which unusually departs from the 1970s and focuses on Tom Riordan as a young man in the 1930s at a family céilí, is critically acclaimed by the media and many older viewers, who view it as an accurate representation of life on an Irish farm in the 1930s and 1940s.
With its considerable popularity, large cast of respected actors and high production values, and its central location on the schedules of RTÉ 1, few expect the show to be axed, let alone so suddenly. There is considerable surprise, and a lot of criticism, when the new Director of Programming at RTÉ, Muiris Mac Conghail, decides that the show has run its course and so axes it in May 1979. Part of the justification is cost as it is one of RTÉ’s most expensive shows to produce.
By 1326 FitzGerald’s influence is such that there are rumours of a conspiracy to make him King of Ireland. Modern historians tend to dismiss the story, on the ground that the alleged conspirators were other magnates who were more interested in increasing their own power than aggrandising FitzGerald.
FitzGerald is created Earl of Desmond by Letters Patent dated at Gloucester, England, August 27, 1329, by which patent also the county palatine of Kerry is confirmed to him and his male heirs, to hold of the Crown by the service of one knight’s fee. This is part of a Crown policy of attempting to win the support of the magnates by conferring earldoms on them.
In January 1330 FitzGerald is summoned by Sir John Darcy, Lord Justice of Ireland, to fight armed Irish rebels, with a promise of the King’s pay. It is FitzGerald who introduces the practice of Coigne and Livery, the quartering of troops on the inhabitants of the district they are sent to protect.
Accepting the King’s proposal, in addition to dealing with Munster and Leinster, FitzGerald routs the O’Nolans and O’Murroughs and burns their lands in County Wicklow and forces them to give hostages. He recovers the castle of Ley from the O’Dempsies, and has a liberate of £100 sterling dated at Drogheda August 24, 1335, in return for the expense he has incurred in bringing his men-at-arms, hobelars, and foot-soldiers, from various parts of Munster to Drogheda, and there, with Lord Justice Darcy, disperses the King’s enemies.
In 1331 there are further rumours of an attempt to make him King. Although there seems to be no foundation for them, the Crown takes them seriously enough to imprison FitzGerald for several months. He is released when a number of fellow nobles stand surety for his good behaviour.
In 1339 FitzGerald is engaged against Irish rebels in County Kerry where it is said he slays 1,400 men, and takes Nicholas, Lord of Kerry, prisoner, keeping him confined until he dies as punishment for siding with the rebels against the Crown.
The same year FitzGerald is present in the parliament held in Dublin. He is summoned by Writ dated at Westminster July 10, 1344, with Maurice, Earl of Kildare, and others, to attend the King at Portsmouth “on the octaves of the nativity of the Virgin Mary,” with twenty men-at-arms and fifty hobelars, at his own expense, to assist in the war against Philip V of France.
FitzGerald, who has long been acting “with a certain disregard for the niceties of the law” now decides on open rebellion. In 1345 he presides at an assembly of Anglo-Irish magnates at Callan, County Kilkenny, ignores a summons to attend the Irish Parliament and attacks Nenagh. He is a formidable opponent, and for the next two years his defeat is the main preoccupation of the Crown. He surrenders on a promise that his life will be spared. He is imprisoned and his lands forfeited. He is allowed to go under guard to England to answer the charges against him.
By no means for the last time, the Crown evidently decides that it cannot govern Ireland without the magnates’ support. In 1348 FitzGerald is released and pardoned in 1349. His loyalty does not seem to have been in question during the last years of his life.
In July 1355 FitzGerald is appointed Lord Justice of Ireland for life, dying, however, the following January in Dublin Castle. He is interred in the Church of the Friars-Preachers in Tralee.
Hoban is an Irish Catholic raised on an estate belonging to the Earl of Desart in Cuffesgrange, near Callan, County Kilkenny. He works there as a wheelwright and carpenter until his early twenties, when he is given an “advanced student” place in the Dublin Society‘s Drawing School on Lower Grafton Street. He studies under Thomas Ivory. He excels in his studies and receives the prestigious Duke of Leinster‘s medal from the Dublin Society for drawings of “Brackets, Stairs, and Roofs” in 1780. Later, Hoban finds a position as an apprentice to Ivory, from 1779 to 1785.
Hoban is in South Carolina by April 1787, where he designs numerous buildings including the Charleston County Courthouse. President George Washington admires Hoban’s work on his Southern Tour and summons the architect to Philadelphia, the temporary national capital, in June 1792.
In July 1792, Hoban is named winner of the design competition for the White House. His initial design seems to have had a 3-story facade, nine bays across, much like the Charleston courthouse. Under Washington’s influence, Hoban amends this to a 2-story facade, eleven bays across, and, at Washington’s insistence, the whole presidential mansion is faced with stone. It is unclear whether any of Hoban’s surviving drawings are actually from the competition.
In 1800, President John Adams becomes the first president to reside in the executive mansion, which soon becomes known as the “White House” because its white-gray Virginiafreestone contrasts strikingly with the red brick of nearby buildings.
Ireland is known for his progressive stance on education, immigration and relations between church and state, as well as his opposition to saloons and political corruption. He promotes the Americanization of Catholicism, especially in the furtherance of progressive social ideals. He is a leader of the modernizing element in the Roman Catholic Church during the Progressive Era. He creates or helps to create many religious and educational institutions in Minnesota. He is also remembered for his acrimonious relations with Eastern Catholics.
Ireland is appointed pastor at Saint Paul’s cathedral in 1867, a position which he holds until 1875. In 1875, he is made coadjutor bishop of St. Paul and in 1884 he becomes bishop ordinary. In 1888 he becomes archbishop with the elevation of his diocese and the erection of the ecclesiastical province of Saint Paul. Ireland retains this title for thirty years until his death in 1918. Before Ireland dies, he burns all of his personal papers.
Ireland is awarded an honorary doctorate (LL.D.) by Yale University in October 1901, during celebrations for the bicentenary of the university.
Ireland is personal friends with Presidents William McKinley and Theodore Roosevelt. At a time when most Irish Catholics are staunch Democrats, Ireland is known for being close to the Republican party. He opposes racial inequality and calls for “equal rights and equal privileges, political, civil, and social.” Ireland’s funeral is attended by eight archbishops, thirty bishops, twelve monsignors, seven hundred priests and two hundred seminarians.
A friend of James J. Hill, Archbishop Ireland has his portrait painted in 1895 by the Swiss-born American portrait painter Adolfo Müller-Ury almost certainly on Hill’s behalf, which is exhibited at M. Knoedler & Co., New York, January 1895 and again in 1897.
At the age of 21, he makes his stage debut in a Cincinnati production of Dion Boucicault‘s The Colleen Bawn (1867). Also in 1867, he has a minor part in Edwin Forrest‘s production of Virginius, and then joins a travelling repertory company. By the age of 24 he has already established a reputation among theater managers as a box-office draw, particularly with the ladies. But he is also working doggedly at his craft, ridding himself of all vestiges of brogue and learning to pitch his voice resonantly. He is considered a promising actor, quickly working his way up the ranks to become a matinée idol.
On June 14, 1877, while in New York City, O’Neill marries Mary Ellen Quinlan, daughter of Thomas and Bridget Quinlan. In the fall of 1877, three months after his marriage, a woman by the name of Nettie Walsh sues O’Neill, claiming that he had married her five years earlier, when she was only 15, and that he is the father of her three-year-old son. Nettie Walsh loses her case and the publicity, although it wounds his bride, enhances his reputation as a romantic leading man.
As early as 1875, while a stock star at Hooley’s Theatre in Chicago, O’Neill plays the title role in a stage adaptation of Alexandre Dumas‘ The Count of Monte Cristo. In early 1883 he takes over the lead role in Monte Cristo at Booth’s Theater in New York, after Charles R. Towne dies suddenly in the wings after his first performance. O’Neill’s interpretation of the part caused a sensation with the theater-going public.
O’Neill soon tires of the Count and his lines come out by rote and his performances become lackadaisical. Monte Cristo remains a popular favorite, so he continues the role on tour as regular as clockwork. He goes on to play this role over 6,000 times.
seamus dubhghaill 