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Death of R. M. “Bertie” Smyllie, Editor of “The Irish Times”

Robert Maire Smyllie, known as Bertie Smyllie, editor of The Irish Times for twenty years, dies on September 11, 1954.

Smyllie is born on March 20, 1893, at Hill Street, Shettleston, Glasgow, Scotland. He is the eldest of four sons and one daughter of Robert Smyllie, a Presbyterian printer originally from Scotland who is working in Sligo, County Sligo, at the time, and Elisabeth Follis, originally from Cork, County Cork. His father marries in Sligo on July 20, 1892, and later becomes proprietor and editor of the unionist Sligo Times. Smyllie attends Sligo Grammar School in 1906 and enrolls at Trinity College Dublin (TCD) in 1911.

After two years at TCD, Smyllie’s desire for adventure leads him to leave university in 1913. Working as a vacation tutor to an American boy in Germany at the start of World War I, he is detained in Ruhleben internment camp, near Berlin, during the war. As an internee, he is involved in drama productions with other internees. Following his release at the end of the war, he witnesses the German revolution of 1918–1919. During this period, he encounters revolutionary sailors from Kiel who temporarily make him a representative of the Workers’ and Soldiers’ Council, and he observes key events including the looting of the Kaiser’s Palace and violent clashes between rival factions in Berlin. It is also during this period that he secures a personal interview with David Lloyd George at the Paris Convention of 1919. This helps Smyllie gain a permanent position with The Irish Times in 1920, where he quickly earns the confidence of editor John Healy. Together, they take part in secret but unsuccessful attempts to resolve the Irish War of Independence.

Smyllie contributes to the Irishman’s Diary column of the paper from 1927. In 1927, he publishes an exclusive report outlining a draft government including both Labour Party and Fianna Fáil TDs, signaling the volatile politics of the early state years.

Smyllie’s knowledge of languages (particularly the German he had learned during his internment) led to numerous foreign assignments. His reports on the rise of National Socialism in 1930s Germany are notably prescient and instill in him a lasting antipathy towards the movement.

When Healy dies in 1934, Smyllie becomes editor of The Irish Times and also takes on the role of Irish correspondent for The Times (London), a position that brings significant additional income. Under Healy’s leadership, The Irish Times shifted from representing the Anglo-Irish ascendancy to becoming an organ of liberal, southern unionism, and eventually becomes a critical legitimising force in the Irish Free State. Smyllie enthusiastically supports this change. He establishes a non-partisan profile and a modern Irish character for the erstwhile ascendancy paper. For example, he drops “Kingstown Harbour” for “Dún Laoghaire.” He also introduces the paper’s first-ever Irish-language columnist. He is assisted by Alec Newman and Lionel Fleming, recruits Patrick Campbell and enlists Flann O’Brien to write his thrice-weekly column “Cruiskeen Lawn” as Myles na gCopaleen. As editor, he introduces a more Bohemian and informal style, establishing a semi-permanent salon in Fleet Street’s Palace Bar. This becomes a hub for journalists and literary figures and a source of material for his weekly column, Nichevo.

One of Smyllie’s early political challenges as editor concerns the Spanish Civil War. At a time when Irish Catholic opinion is strongly pro-Franco, he ensures The Irish Times coverage is balanced and fair, though advertiser pressure eventually forces the withdrawal of the paper’s young reporter, Lionel Fleming, from the conflict. His awareness of the looming European crisis earns him the Order of the White Lion of Czechoslovakia in 1939. However, during World War II, he clashes with Ireland’s censorship authorities, especially under Minister Frank Aiken. He challenges their views both publicly and privately, though his relationship with the editor of the Irish Independent, Frank Geary, is cold, reducing the effectiveness of their joint opposition to censorship.

During the 1943 Irish general election, Smyllie uses the paper to promote the idea of a national government that could represent Ireland with authority in the postwar world. He praises Fine Gael’s proposal for such a government and criticises Éamon de Valera for dismissing it as unrealistic. This leads to a public exchange between de Valera and Smyllie, with the latter defending The Irish Times’s role as a constructive voice for Ireland’s future rather than a partisan interest.

Following the war, Smyllie’s editorial stance shifts toward defending Ireland’s neutrality and diplomatic position. When Winston Churchill accuses de Valera of fraternising with Axis powers, Smyllie counters by revealing Ireland’s covert collaboration with the Allies, such as military and intelligence cooperation, despite official neutrality. In the same period, he continues to oppose censorship, particularly the frequent banning of Irish writers by the Censorship of Publications Board. This opposition features prominently in a controversy on The Irish Times letters page in 1950, later published as the liberal ethic. The paper also adopts a critical stance toward the Catholic Church, notably during the 1951 resignation of Minister for Health Noël Browne amid opposition from bishops and doctors to a national Mother and Child Scheme. His editorials suggest the Catholic Church is effectively the government of Ireland, though he maintains a cordial relationship with Archbishop of Dublin, John Charles McQuaid, who invites him annually for dinner.

Smyllie is also wary of American foreign policy, showing hostility particularly during the Korean War. American diplomats in Dublin allege that Smyllie is “pro-communist“. Despite growing readership among an educated Catholic middle class, The Irish Times’s circulation in 1950 remains under 50,000, far below the Irish Independent and the Fianna Fáil-aligned The Irish Press.

In later years, Smyllie’s health declines, prompting a quieter lifestyle. He moves from his large house in Pembroke Park, Dublin, to Delgany, County Wicklow. As he does not drive, he becomes less present in the newspaper office in D’Olier Street, contributing to a decline in the paper’s dynamism. His health deteriorates further, resulting in frequent absences from his editorial duties, though he retains his position despite management attempts to limit his authority, especially over finances. He dies of heart failure on September 11, 1954.

In 1925, Smyllie marries Kathlyn Reid, eldest daughter of a County Meath landowner. They have no children.

Smyllie is an eccentric: he hits his tee shots with a nine iron, speaks in a curious mix of Latin phrases and everyday Dublin slang, and weighs 22 stone (308 lbs.; 140 kg) yet still cycles to work wearing a green sombrero.


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Death of Leslie Mary de Barra, Irish Nationalist & Republican

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

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

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

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

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

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

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

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

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

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


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Birth of Sir James Comyn, Irish-born English High Court Judge

Sir James Peter Comyn, Irish-born barrister and English High Court judge, is born at Beaufield House, Stillorgan, County Dublin on March 8, 1921. Considered by many to be “the finest all-round advocate at the English bar”, he is appointed to the High Court of Justice in 1978, serving on the bench until his retirement in 1985.

Comyn is the son of Nationalist barrister James Comyn KC and of Mary Comyn. Through his father he is the nephew of the barrister Michael Comyn KC. Both his father and uncle had been political and legal advisers to Éamon de Valera, who at one point uses Beaufield House as a safe house. However, the Comyn brothers have a falling out with de Valera shortly before he comes to power in 1932, and Michael Comyn is passed over as Attorney General of the Irish Free State. As a result, James Comyn, who is then attending Belvedere College in Dublin, is sent by his father to attend The Oratory School in England. He spends six months as a trainee at The Irish Times under the editor R. M. “Bertie” Smyllie, but abandons journalism after a joke he added to an obituary is printed in the paper, leading to his demotion to the racing department.

Comyn then matriculates at New College, Oxford, where he reads law, graduating with Second Class Honours. In 1940, he defeats Roy Jenkins for the presidency of the Oxford Union, winning by four votes. After suffering the first of several breakdowns through his life, he briefly works for the BBC‘s Empire Service during World War II.

Comyn is called to the English bar by the Inner Temple in 1942, the Irish bar in 1947, and the Hong Kong bar in 1969. In 1944, he begins his pupillage with Edward Holroyd Pearce KC, later a law lord, and joins his chambers at Fountain Court. He practises in London and on the Western circuit, supplementing his earnings by teaching banking, a subject of which he knows nothing. On one occasion, he rises in Lambeth County court to cross-examine a female defendant in an eviction case. Just as he begins by saying “Madam,” the defendant opens her bag, takes out a dead cat, and throws it at him. The judge’s reaction is to tell the defendant, “Madam, if you do that again, I’ll commit you.” Comyn wins the case.

Comyn takes silk in 1961, and acquires a large practice as a senior, appearing in many high-profile cases. In 1964, he wins damages for libel for the former safe-breaker Alfred George Hinds against a Scotland Yard inspector by convincing the jury that Hinds is in fact innocent. In 1970, he successfully defends the Labour MP Will Owen, who is accused of providing information to the Czechoslovak intelligence services. In 1975, he defeats the government’s attempt to obtain an injunction against the publication of the diaries of former minister Richard Crossman.

Comyn is Recorder of Andover between 1964 and 1971 (honorary life recorder from 1972), commissioner of assize for the Western Circuit in 1971, and a Recorder of the Crown Court between 1972 and 1977. He is elected a bencher of the Inner Temple in 1968 and serves as chairman of the Bar council from 1973 to 1974.

Having refused a previous invitation by Quintin Hogg, Baron Hailsham of St. Marylebone to join the bench, Comyn is again nominated by Elwyn Jones, Baron Elwyn-Jones, in 1977, and is appointed a High Court judge in 1978, receiving the customary knighthood upon his appointment. Initially assigned to the Family Division, he does not take to the work and is reassigned to the Queen’s Bench Division in 1979. He has a reputation for leniency in sentencing, first acquired as Recorder of Andover. In 1980–81, he presides over an unsuccessful libel action by a member of the Unification Church, colloquially known as the Moonies, against the Daily Mail, the longest libel trial in England up to that time. His Irish background makes him the target of Irish Republican Army (IRA) action, and in 1981 the Provisional IRA burns his house in Tara.

Recurring bouts of depression lead to Comyn’s early retirement, on grounds of ill health, in 1985. In retirement, he divides his time between England and Ireland, whose citizenship he has retained. He writes a number of books, including memoirs, light verse, and books on famous trials. He also breeds Friesian cattle. He dies in Navan, County Meath on January 5, 1997, at age 75.


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Birth of Mary Swanzy, Landscape & Genre Artist

Mary Swanzy, Irish landscape and genre artist, is born in Dublin on February 15, 1882. Noted for her eclectic style, she paints in many styles including cubism, futurism, fauvism, and orphism, she is one of Ireland’s first abstract painters.

Swanzy is the second of three daughters of Sir Henry Rosborough Swanzy, an eye surgeon, and his wife Mary (née Denham). She attends Alexandra College, Earlsfort Terrace, a finishing school at the Lycée in Versailles, France, and a day school in Freiburg, Germany. This education means that she is fluent in French and German. She goes on to take art classes at Mary Manning‘s studio, under the direction of John Butler Yeats. Manning encourages her to study modelling with John Hughes at the Dublin Metropolitan School of Art.

Living within walking distance of the National Gallery of Ireland, she spends a lot of time studying and copying the great masters. Her first exhibition is with the Royal Hibernian Academy (RHA) in 1905 with Portrait of a child, continuing to exhibit portraits every year until 1910. In 1905 she goes to Paris and works at the Académie Delécluse, an atelier-style art school. She goes on to attend the studio of Antonio de La Gándara in 1906 and takes classes at Académie de la Grande Chaumière and Académie Colarossi. While in Paris she is exposed to the works of Gauguin, Matisse, and Picasso, which make a lasting impression on her.

On her return to Dublin, Swanzy paints portraits and genre scenes and holds her first show at Mill’s Hall, Merrion Row in 1913. She holds another show there in 1919, where she exhibits nearly 50 pieces. This exhibition is reviewed by Sarah Purser who notes the lack of melancholy and light optimism in Swanzy’s Irish landscapes. Swanzy paints in a number of styles, often reflecting the major art developments in Paris.

After the deaths of her parents, she is financially independent and can travel, spending her time between Dublin and Saint-Tropez during World War I while continuing to paint. She also exhibits with the Société des Artistes Indépendants in 1914 and 1916, being elected to the committee in 1920. While visiting her sister who is involved with the Protestant relief mission in Yugoslavia and Czechoslovakia, she paints landscapes, village life, and peasant scenes. These works are shown in the autumn of 1921 in the Dublin Painters’ Gallery with six other artists including Jack Butler Yeats, Paul Henry, and Clare Marsh with whom she shares a studio.

Swanzy begins to travel to more exotic countries from the 1920s, Honolulu around 1923, and later Samoa. As a result, she paints local tropical flowers, trees, and native women, with a palette and style similar to that of Fauvism. She stays for a time in Santa Barbara, California, working in a local studio and exhibiting some of her Samoan work at the Santa Barbara Arts Club Gallery. She returns to Ireland in February 1925 and exhibits three of her Samoan paints at the RHA, and 14 at her one-woman show in the Galerie Bernheim-Jeune, Paris in October 1925. Gertrude Stein writes her to congratulate her on her Paris exhibition.

In the mid 1920s Swanzy settles in Blackheath, London, making regular trips to Dublin and abroad. In 1932 Purser holds an exhibition of Swanzy’s work for invited guests in her house. At this time her painting is influenced by orphism and is reviewed positively. Her work becomes more allegorical in later years, with The message in the Hugh Lane Gallery demonstrating this. During World War II she stays with her sister in Coolock for three years. In 1943, she holds a one-woman show at the Dublin Painters’ Gallery, and is also featured at the first Irish Exhibition of Living Art. She is exhibited at St. George’s Gallery, London in 1946 along with Henry Moore, Marc Chagall, and William Scott.

Swanzy is made an honorary member of the RHA in 1949, showing with them in 1950 and 1951. She does not exhibit in Ireland for a number of years, but the Hugh Lane Gallery holds a major retrospective of her work in 1968. Following this she holds two one-woman shows at the Dawson Gallery in 1974 and 1976. In 1975 she is featured at the Cork ROSC art exhibition and resumes showing with the RHA. She continues to paint until her death at her home in London on July 7, 1978.

In 1982 the Taylor Galleries holds an exhibition to mark the centenary of Swanzy’s birth. More recently she is featured in the Irish Museum of Modern Art (IMMA) 2013 exhibition Analysing Cubism. From October 2018-February 2019, also in IMMA, she is the subject of the solo exhibition Mary Swanzy Voyages.

(Pictured: Sunlit Landscape, oil-on-canvas, by Mary Swanzy)