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


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Birth of Mervyn Archdall, Antiquarian & Church of Ireland Clergyman

Mervyn Archdall, Irish antiquarian and clergyman of the Church of Ireland, is born on April 22, 1723, in Dublin, elder son among two sons and three daughters of William Archdall, goldsmith, and his wife Henrietta, a widow who is the daughter of Henry Gonne, curate of Finglas. His father is Dublin assay master from 1736 until his death in 1751, and is a member of the gentry family from Castle Archdale, County Fermanagh.

Archdall is educated by Dr. Keenane, and enters Trinity College Dublin (TCD) in 1739. He graduates with a Bachelor of Arts (BA) in 1744 and a Master of Arts (MA) in 1747, and is ordained in the Church of Ireland. He is curate of Howth from 1750 to 1753, and of Kilgobbin and Taney, also in Dublin, from 1753 to 1758, rector of Nathlash in the diocese of Cloyne from 1749 to 1758, and from 1756 domestic chaplain to Richard Pococke, Bishop of Ossory. In 1761 Pococke gives Archdall the livings of Agharney and Attanagh in Ossory which he holds until 1786, when he becomes rector of Slane in the Diocese of Meath. He is also prebendary of Cloneamary from 1762 to 1764 and of Mayne from 1764 to 1772, both in Ossory.

Archdall is interested, almost from his student days, in ancient history and antiquities, and for forty years he gathers material for a work similar to an earlier compilation, William Dugdale‘s Monasticon Anglicanum. He intends to publish two or more large folio volumes, but after Pococke’s death has no sponsor and has to pay for its publication himself causing him to cut back the scale of the project. Monasticon Hibernicum appears in 1786 as a quarto volume, though still of over 800 pages. Archdall attempts encyclopaedic coverage of the history of Ireland’s pre-reformation monasteries and abbeys. The work is ground-breaking and ambitious, though marred by mistakes and inadequacies. He receives help from friends, including scholars such as Pococke and Edward Ledwich, and with them and others is a founder member of the Royal Irish Academy (RIA) in 1786.

In 1789, Archdall publishes his second important work, a new edition of The Peerage of Ireland by John Lodge. Lodge’s original work in four volumes is expanded by Archdall into seven octavos, adding a good deal of material from his own research to update the genealogies, as well as incorporating manuscript additions unpublished by the original author. These had been left in a cipher or in a private form of shorthand which could not be decoded by any contemporary expert in Dublin, and Archdall is just about to abandon the attempt to read them when his second wife works on it and discovers the key.

Archdall’s first wife, Sarah Colles or Collis, whom he marries in Dublin on July 30, 1747, is said to have been a relative of Thomas Prior, though she may also – or instead – have been connected in some way to Pococke. The bishop is known to have educated Christopher Colles (1739–1816), who becomes an important engineer and entrepreneur in the United States. They have two sons and a daughter, the elder son dying young. Sarah dies on May 28, 1782. Archdall marries his second wife, Abigail Young, on November 25, 1782.

Archdall’s works are still of interest to historians and genealogists, and surviving copies are valuable collectors’ items. In an apologia in his preface to the Peerage he notes, “I have left that inaccurate which could not be exact, and that imperfect which cannot be completed.” He dies suddenly on August 6, 1791, and is buried in Slane churchyard.

(From: “Archdall, Mervyn” by Linde Lunney, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Death of Joseph Cooper Walker, Irish Antiquarian & Writer

Joseph Cooper Walker, Irish antiquarian and writer, dies on April 12, 1810, in Enniskerry, County Wicklow.

Walker is born in Dublin, son of Cooper Walker, merchant, and educated by Thomas Ball. He suffers from asthma, which prevents him from attending college. Instead he travels to Italy, where he possibly receives some private tuition in Latin, Greek, French, Italian, and Spanish. He takes a special interest in Italian literature and Irish antiquities, and on his return to Ireland (where he is employed in the Irish treasury as third clerk in the upper department) resides in an Italianate villa, St. Valerie, on the road from Bray to Enniskerry.

In 1785, Walker is elected one of the original members of the Royal Irish Academy (RIA) and on March 17, 1786, is requested to sit on its committee of antiquities. In this capacity he submits several essays to the Academy’s Transactions. However, his best-known work is Historical Memoirs of the Irish Bards (1786). His interest in poetry, and in eighteenth-century vernacular survivals of the ancient bardic tradition, suggests important new contemporary and literary dimensions for what had previously been antiquarian and scholarly pursuits. He also breaks new ground by considering modern as well as historical Irish culture, and introduces it to an Anglo-Irish audience by providing English translations of Gaelic songs and poems.

The authorities Walker cites covers the entire range of Irish and Anglo-Irish scholarship on Irish antiquities. He includes excerpts from his correspondence with Charles O’ConorCharles Vallancey, and Sylvester O’Halloran and carries out an extensive correspondence with Thomas Percy after he becomes Bishop of Dromore in 1782. He focuses on both poetry and music, which according to the popular eighteenth-century view has been the two traditional pursuits of the Irish bards. He presents a historical outline of their progress from the earliest times to the eighteenth century and ends with nine appendices, which are almost as lengthy as the main text. In these, his appreciation of what he considers to be the contemporary survivals of the ancient Irish bardic tradition is apparent in his including an account of Cormac Common, a blind eighteenth-century poet from Mayo, as well as a lengthy biographical notice of Turlough O’Carolan, together with translations of several of his songs. The book brings together many of the literary, scholarly, popular, Celtic, antiquarian, political, and musical dimensions of eighteenth-century Irish culture and prefigures the synthesis of literary modes, cultural theories, and musical styles that would occur in the literary productions of the United Irishmen.

Despite his linguistic skills, Walker has little knowledge of the Irish language, yet he (a member of the Anglo-Irish elite) is consistent in his praise of Gaelic culture, portraying it as sophisticated and literate and, although he highly romanticises his work, he does help to challenge negative appraisals of the Irish character. By the standards of the time it is a work of great erudition. However, today the book is judged to be of limited academic merit as Walker is severely hampered by a shortage of primary documents and by his limited grasp of the Irish language. This is illustrated by his ambiguous use of James Macpherson‘s volumes of Ossianic poems, published in the 1760s, which he quotes as authentic in the text while hinting in the footnotes that they are unreliable.

Charlotte Brooke translates three poems, and in return Walker encourages her to produce her Reliques of Irish Poetry (1789). Her work reflects Walker’s influence and she thanks him in the preface for affording her “every assistance which zeal, judgment and extensive knowledge, could give” as well as for prevailing on people to subscribe to her work and for being a subscriber himself. He is part of a literary circle that includes Edward Ledwich, Charles O’Conor, Edward BerwickJohn Philpot Curran, and Henry Grattan. He also writes Historical essay on the dress of the ancient and modern Irish (1788), dedicated to his friend James Caulfeild, 1st Earl of Charlemont, for which he interviews the older generation, consults manuscripts, and even visits tombs to examine the clothing of corpses, and admits he has received copious aid from Elizabeth Rawdon, Countess of Moira. The English Review receives it warmly but Richard Gough, the reviewer for The Gentleman’s Magazine, states he is “much disappointed in the perusal of this high priced history.” Other works by Walker include “an historical essay on the Irish stage,” RIA Trans., ii (1788), Historical Memoir on Italian Tragedy (1799) and contributions to Vallancey’s Collectanea de rebus Hibernicis (Dublin, 1770–1804). In the 1790s he subscribes to Anthologia Hibernica: a monthly collection of science, belles lettres and history and in December 1794 submits an “Historical essay on the Irish stage” which surveys Irish drama from bardic times through to contemporary folk plays.

Walker dies on April 12, 1810, in Enniskerry, County Wicklow, leaving a fine gallery of pictures, a library containing Irish manuscripts, and a collection of antiquities. He is buried on April 14 in St. Mary’s Churchyard, Dublin. His memoirs of Alessandro Tassoni are published posthumously in London in 1815 (with a lengthy preface by his brother Samuel), as is the second edition of Historical Memoirs of the Irish Bards (2 vols., Dublin, 1818).

(From: “Walker, Joseph Cooper” by Rosemary Ritchie, Dictionary of Irish Biography, http://www.dib.ie, October 2009)