McLachlan is the featured composer in the RTÉ National Symphony Orchestra‘s “Horizons” series in 2003 and 2008. He also represents Ireland at international festivals, including the ISCM World Music Days in Slovenia in 2003 and Croatia in 2005. In 2006, his work Grand Action is commissioned as a test-piece for the AXA Dublin International Piano Competition.
McLachlan’s musical aesthetic is largely shaped by a desire to impart a sense of narrative and expectation to his music without recourse to pastiche rhetorical devices. A critic writes of a recording of McLachlan’s piano piece Nine: “The style of each little piece sends one’s imagination and musical memory reeling, some of them evoking French Impressionism, some jazzy in feel, some reminiscent of the miniatures for piano of Webern, and none of them in any way, shape or form derivative.” Much of his music is structured in contrasting and suddenly changing block-like sections of homogeneous material. The material within these sections is propelled by a rigorous focus on subtle rhythmic and melodic permutations, which result in both surface opacity and gradually increasing tension.
Dalton is born to Irish American parents James F. and Katharine L. Dalton. The family moves back to Ireland when he is two years old. He grows up in a middle-class Catholic background in Drumcondra in North Dublin and lives at No. 8 Upper St. Columba’s Road. He is educated by the Christian Brothers at O’Connell School in North Richmond Street. He joins the nationalist militia, the Irish Volunteers, in 1913 and the following year, though only fifteen, is involved in the smuggling of arms into Ireland.
Dalton joins the British Army in 1915 for the duration of the Great War. His decision is not that unusual among Irish Volunteers, as over 20,000 of the National Volunteers join the British New Army on the urgings of Nationalist leader John Redmond. His father, however, disagrees with his son’s decision. He initially joins the 7th battalion of the Royal Dublin Fusiliers (RDF) as a temporary 2nd Lieutenant. By 1916 he is attached to the 9th Battalion, RDF, 16th (Irish) Division under Major-General William Hickie, which contains many Irish nationalist recruits.
During the Battle of the Somme in September 1916, Dalton is involved in bloody fighting during the Battle of Ginchy, in which over 4,000 Irishmen are killed or wounded. He is awarded the Military Cross for his conduct in the battle. Afterwards he is transferred to the 6th Battalion, Leinster Regiment, and sent to Thessaloniki then Palestine, where he commands a company and then supervises a sniper school in el-ʻArīsh. In 1918 he is re-deployed again to France, and in July promoted to captain, serving as an instructor.
On demobilisation in April 1919, Dalton returns to Ireland. There, finding that his younger brother Charlie had joined the IRA, he himself follows suit. He later comments on the apparent contradiction of fighting both with and against the British Army by saying that he had fought for Ireland with the British and fought for Ireland against them.
Dalton follows Collins in accepting the Anglo-Irish Treaty in 1922 and is one of the first officers, a Major General, in the new National Army established by the Irish Provisional Government of the Irish Free State. The Treaty is opposed by much of the IRA and Civil War between pro and anti-treaty factions eventually results.
Dalton is in command of troops assaulting the Four Courts in the Battle of Dublin which marks the start of the war in June 1922. At Collins’ instigation he, as Military liaison officer with the British during the truce, takes control of the two 18 pounder guns from the British that are trained on the buildings. He becomes commander of the Free State Army under Richard Mulcahy‘s direction. He is behind the Irish Free State offensive of July–August 1922 that dislodges the Anti-Treaty fighters from the towns of Munster. He proposes seaborne landings to take the Anti-Treaty positions from the rear and he commands one such naval landing that takes Cork in early August. In spite of firm loyalty to the National Army, he is critical of the Free State’s failure to follow up its victory, allowing the Anti-Treaty IRA to regroup resuming the guerrilla warfare started in 1919.
On August 22, 1922, he accompanies Collins in convoy, touring rural west Cork. The convoy is ambushed near Béal na Bláth and Collins is killed in the firefight. He had advised Collins to drive on, but Collins, who is not an experienced combat veteran, insists on stopping to fight.
Dalton is married shortly afterwards, on October 9, 1922, to Alice Shannon in Cork’s Imperial Hotel. By December 1922 he has resigned his command in the Army. He does not agree with the execution of republican prisoners that mark the latter stages of the Civil War. After briefly working as clerk of the Irish Senate, Seanad Éireann, he leaves the job to work in the movie industry.
Dalton dies in his daughter Nuala’s house in Dublin on March 4, 1978, his 80th birthday, never having seen the film that Cathal O’Shannon of RTÉ had made on his life. During the making of the film, they visit the battlefields in France, Kilworth Camp in Cork, Béal Na Bláth, and other places that Dalton had not visited since his earlier years. He wishes to be buried as near as possible to his friend Michael Collins in Glasnevin Cemetery in Dublin and is buried there in March 1978 after a military funeral. None of the ruling Fianna Fáil government ministers or TDs attend.
(Pictured: Dalton photographed in lieutenant’s uniform, Royal Dublin Fusiliers, taken circa. 1914-1918)
Murdoch is born on July 15, 1919, in Phibsborough, Dublin, the daughter of Irene Alice (née Richardson) and Wills John Hughes Murdoch. Her father, a civil servant, comes from a mainly Presbyterian sheep farming family from Hillhall, County Down. In 1915, he enlists as a soldier in King Edward’s Horse and serves in France during World War I before being commissioned as a second lieutenant. Her mother trains as a singer before Iris is born and is from a middle-class Church of Ireland family in Dublin. Her parents first meet in Dublin when her father is on leave and are married in 1918. Iris is the couple’s only child. When she is a few weeks old the family moves to London, where her father had joined the Ministry of Health as a second-class clerk. She is a second cousin of the Irish mathematician Brian Murdoch.
From 1947 to 1948 Murdoch studies philosophy as a postgraduate at Newnham College, Cambridge. She meets Ludwig Wittgenstein at Cambridge but does not hear him lecture, as he had left his Trinity College professorship before she arrives. In 1948 she becomes a fellow of St. Anne’s College, Oxford, where she teaches philosophy until 1963. From 1963 to 1967 she teaches one day a week in the General Studies department at the Royal College of Art.
In 1956 Murdoch marries John Bayley, a literary critic, novelist, and from 1974 to 1992 Warton Professor of English at Oxford University, whom she had met in Oxford in 1954. The unusual romantic partnership lasts more than forty years until Murdoch’s death. Bayley thinks that sex is “inescapably ridiculous.” She in contrast has “multiple affairs with both men and women which, on discomposing occasions, Bayley witnesses for himself.”
Murdoch’s first novel, Under the Net, is published in 1954 and is selected in 1998 as one of Modern Library’s 100 best English-language novels of the 20th century. She had previously published essays on philosophy, and the first monograph about Jean-Paul Sartre published in English. She goes on to produce 25 more novels and additional works of philosophy, as well as poetry and drama.
Murdoch’s last novel, Jackson’s Dilemma, is published in 1995. She is diagnosed with Alzheimer’s disease in 1997 and dies on February 8, 1999, in Oxford. There is a bench dedicated to her in the grounds of Lady Margaret Hall, Oxford, where she enjoyed walking.
Patrice de MacMahon, a descendant of an Irish family, resigns as president of France on January 30, 1879, and retires to private life. His resignation comes after he dissolves the Chamber of Deputies, resulting in public outrage and a Republican electoral victory earlier in the month.
Born Marie Edme Patrice Maurice de MacMahon on July 13, 1808, in Sully, France, he serves as Marshal of France and second president of the French Third Republic. During his presidency the Third Republic takes shape, the new constitutional laws of 1875 are adopted, and important precedents are established affecting the relationship between executive and legislative powers.
MacMahon begins his army career in 1827 in Algeria and distinguishes himself during the Siege of Constantine (1837) and in the Crimean War (1853–56). The climax of his military career comes in the Italian campaign of 1859, when his victory at Magenta results in his being created Duke of Magenta. In 1864 he becomes Governor General of Algeria. Commanding the I Army Corps in Alsace during the Franco-Prussian War (1870–71), he is wounded and defeated at the Battle of Wörth. After a short convalescence at Sedan, he is appointed head of the army of the French Third Republic, which defeats the Paris Commune revolt in May 1871.
When Adolphe Thiers resigns as president of the republic on May 24, 1873, French rightists turn to MacMahon as his successor. He is elected president the same day. On November 20, 1873, the National Assembly passes the Law of the Septennate, conferring upon him presidential power for seven years. He assumes his presidential duties somewhat reluctantly, for he dislikes publicity and lacks an understanding of the complex political issues of his day.
During MacMahon’s term the French Constitutional Laws of 1875 are promulgated. The National Assembly dissolves itself, and the elections of 1876 returns a large majority of republicans to the new chamber. The first crisis comes in December 1876, when the republican chamber compels him to invite the moderate republican Jules Simon to form a government. The conservative Senate disapproves of Simon because he had purged some rightist officials, and, on May 16, 1877, MacMahon posts a letter to Simon that is tantamount to dismissal. Premier Simon’s resignation precipitates the crise du seize mai. When MacMahon commissions conservative Albert de Broglie to form a ministry and wins the Senate’s assent to dissolve the chamber on June 25, 1877, the question of whether the President or Parliament would control the government is squarely posed.
The new elections to the chamber return a majority of republicans, and the de Broglie ministry is given a vote of “no confidence.” The succeeding ministry, headed by Gaëtan de Rochebouët, also collapses. By December 13, 1877, MacMahon gives in to the extent of accepting a ministry led by conservative republican Jules Dufaure and composed mostly of republicans. On January 5, 1879, the republicans gain a majority in the Senate, and MacMahon resigns on January 30. The constitutional crisis during his presidency is resolved in favour of parliamentary as against presidential control, and thereafter during the Third Republic the office of president becomes largely an honorific post.
From 1887 to 1893, MacMahon directs the Société de secours aux blessés militaires (S.S.B.M) – Rescue Society of Wounded Military, which in 1940 becomes the French Red Cross.
Gill is born on October 25, 1858, in Ballygraigue, Nenagh, County Tipperary, the first of four sons of Robert Gill, a civil engineer who is assistant county surveyor, and Mary (née Clampett), daughter of a woolen merchant, James Clampett of Mount Kennett, County Limerick. He attends St. Joseph’s CBS Nenagh, St. John’s College, Kilkenny, and Trinity College Dublin becoming a journalist, firstly as editor of the Catholic World magazine of New York, and an associate editor of the North American Review (1883–85). He marries Annie Fennell of Dublin in 1882 and they have two sons, Donat and Roy, and a daughter Finola.
Gill is a friend and political ally of Charles Stewart Parnell. After the death of Parnell, he remains with the Irish Parliamentary Party. He works with Horace Plunkett in developing the Irish co-operative movement. He is member and honorary secretary to the 1895 Recess Committee which leads to the formation of both the Department of Agriculture and Technical Instruction (DATI), forerunner of the Irish Department of Agriculture, and the Vocational Education Committee (VEC). His key work for the Recess Committee is research into the state aid to agriculture in France and Denmark. In February 1900, he is appointed Secretary of the new Department of Agriculture and Technical Instruction in Ireland. In 1907, he is appointed Chairman of the Departmental Committee on Irish Forestry. He also serves on a number of governmental committees concerning agriculture and agricultural production. He is President of the Irish Technical Instruction Association from 1925 to 1929.
A raconteur with, in the words of R. A. Anderson, ‘a queer charm about him,’ Gill moves in Dublin literary circles, and in his retirement, he makes a translation of Louis Paul-Dubois’ Le drame irlandais et l’Irlande nouvelle (1927), published posthumously as The Irish struggle and its results (1934).
(Pictured: “Portrait of T.P. Gill, Journalist, Secretary, Department of Agriculture and Technical Instruction,” oil on canvas by Sarah Purser, 1898, National Gallery of Ireland)
Brady leaves little record of his life before photography. Speaking to the press in the last years of his life, he states that he was born between 1822 and 1824 in Warren County, New York, near Lake George. He is the youngest of three children to Irish immigrant parents, Andrew and Samantha Julia Brady. In official documents before and during the war, however, he claims to have been born in Ireland.
At age 16, Brady moves to Saratoga, New York, where he meets portrait painter William Page and becomes Page’s student. In 1839, the two travel to Albany, New York, and then to New York City, where he continues to study painting with Page, and also with Page’s former teacher, Samuel F. B. Morse. Morse had met Louis-Jacques-Mandé Daguerre in France in 1839 and returned to the United States to enthusiastically push the new daguerreotype invention of capturing images. At first, Brady’s involvement was limited to manufacturing leather cases that hold daguerreotypes. But soon he becomes the center of the New York artistic colony that wishes to study photography. Morse opens a studio and offers classes. Brady is one of the first students.
In 1844, Brady opens his own photography studio at the corner of Broadway and Fulton Street in New York, and by 1845, he begins to exhibit his portraits of famous Americans, including the likes of Senator Daniel Webster and poet Edgar Allan Poe. In 1849, he opens a studio at 625 Pennsylvania Avenue in Washington, D.C., where he meets Juliet Handy, whom he marries in 1850 and lives with on Staten Island. His early images are daguerreotypes, and he wins many awards for his work. In the 1850s ambrotype photography becomes popular, which gives way to the albumen print, a paper photograph produced from large glass negatives most commonly used in American Civil War photography.
In 1850, Brady produces The Gallery of Illustrious Americans, a portrait collection of prominent contemporary figures. The album, which features noteworthy images including the elderly Andrew Jackson at the Hermitage, is not financially rewarding but invites increased attention to his work and artistry. In 1854, Parisian photographer André-Adolphe-Eugène Disdéri popularizes the carte de visite and these small pictures rapidly become a popular novelty, with thousands being created and sold in the United States and Europe.
At first, the effect of the American Civil War on Brady’s business is a brisk increase in sales of cartes de visite to departing soldiers. He readily markets to parents the idea of capturing their young soldiers’ images before they might be lost to war by running an ad in The New York Daily Tribune. However, he is soon taken with the idea of documenting the war itself. He first applies to an old friend, General Winfield Scott, for permission to have his photographers travel to the battle sites, and eventually, he makes his application to President Abraham Lincoln himself. Lincoln grants permission in 1861, with the proviso that Brady finances the project himself.
His efforts to document the American Civil War on a grand scale by bringing his photographic studio onto the battlefields earns Brady his place in history. His first popular photographs of the conflict are at the First Battle of Bull Run, in which he gets so close to the action that he barely avoids capture. While most of the time the battle has ceased before pictures are taken, he comes under direct fire at the First Battle of Bull Run, Petersburg, and Fredericksburg.
Brady also employs Alexander Gardner, James Gardner, Timothy H. O’Sullivan, William Pywell, George N. Barnard, Thomas C. Roche, and seventeen other men, each of whom is given a traveling darkroom, to go out and photograph scenes from the American Civil War. He generally stays in Washington, D.C., organizing his assistants and rarely visiting battlefields personally.
This may be due, at least in part, to the fact that Brady’s eyesight has begun to deteriorate in the 1850s. Many of the images in Brady’s collection are, in reality, thought to be the work of his assistants. He is criticized for failing to document the work, though it is unclear whether it is intentional or due simply to a lack of inclination to document the photographer of a specific image. Because so much of his photography is missing information, it is difficult to know not only who took the picture, but also exactly when or where it was taken.
In October 1862 Brady opens an exhibition of photographs from the Battle of Antietam in his New York gallery, titled The Dead of Antietam. Many images in this presentation are graphic photographs of corpses, a presentation new to America. This is the first time that many Americans see the realities of war in photographs, as distinct from previous “artists’ impressions.”
Brady, through his many paid assistants, takes thousands of photos of American Civil War scenes. Much of the popular understanding of the Civil War comes from these photos. There are thousands of photos in the U.S. National Archives and Records Administration and the Library of Congress taken by him and his associates. The photographs include Lincoln, Ulysses S. Grant, and soldiers in camps and battlefields. The images provide a pictorial cross reference of American Civil War history. He is not able to photograph actual battle scenes, as the photographic equipment in the day is still in the infancy of its technical development and requires that a subject be still for a clear photo to be produced.
Following the conflict, a war-weary public loses interest in seeing photos of the war, and Brady’s popularity and practice decline drastically.
During the war, Brady spends over $100,000 (equivalent to $1,691,000 in 2020) to create over 10,000 plates. He expects the U.S. government to buy the photographs when the war ends. When the government refuses to do so he is forced to sell his New York City studio and go into bankruptcy. The United States Congress grants Brady $25,000 in 1875, but he remains deeply in debt. The public was unwilling to dwell on the gruesomeness of the war after it has ended, and so private collectors are scarce.
Depressed by his financial situation and loss of eyesight and devastated by the death of his wife in 1887, Brady dies penniless in the charity ward of Presbyterian Hospital in New York City on January 15, 1896, from complications following a streetcar accident. His funeral is financed by veterans of the 7th New York Infantry Regiment. He is buried in the Congressional Cemetery, which is located in Barney Circle, a neighborhood in the Southeast quadrant of Washington, D.C.
Brady photographs 18 of the 19 American presidents from John Quincy Adams to William McKinley. The exception is the 9th President, William Henry Harrison, who dies in office three years before Brady starts his photographic collection. He photographs Abraham Lincoln on many occasions. His Lincoln photographs have been used for the $5 bill and the Lincoln penny. One of his Lincoln photos is used by the National Bank Note Company as a model for the engraving on the 90c Lincoln Postage issue of 1869.
(Pictured: “Mathew B. Brady,” oil on canvas by Charles Loring Elliott, 1857, Metropolitan Museum of Art, New York)
Armstrong is the son of a house painter and attends Strandtown Primary School. Later he studies architecture at Queen’s University Belfast, but after two years he moves to study art at Belfast School of Art. The influence of Cubism and the School of Paris can be clearly seen in his work, which takes him to England, France and Spain. He also travels and paints in the west of Ireland and Connemara inspires some of his best work. In 1950 his work is exhibited in the Grafton Gallery in Dublin, and subsequent exhibitions take place in England, Spain and the United States, as well as in Belfast and Dublin. In 1957 he is awarded a travelling scholarship from the Council for the Encouragement of Music and the Arts (CEMA), a forerunner of the Arts Council of Great Britain, and goes to Spain. He eventually settles in Dublin in 1962 and begins showing work at the Royal Hibernian Academy.
In 1968 Armstrong is awarded the Douglas Hyde Gold Medal at the Oireachtas Exhibition. In 1969 he designs sets, with George Campbell and Gerard Dillon, for the Seán O’Casey play, Juno and the Paycock, at the Abbey Theatre in Dublin. He becomes a member of the Royal Hibernian Academy in 1972 and in 1973 he is awarded the Art in Context prize from the Arts Council of Northern Ireland. He becomes a member of Aosdána in 1981, the same year that a retrospective exhibition of his work from 1950 to 1980 is held by the Arts Council of Northern Ireland.
From 1971 Armstrong lives at 28 Chelmsford Avenue, Ranelagh, Dublin, in a house he shares with Gerard Dillon. A bachelor, Armstrong dies in a Dublin hospital on January 13, 1996. The contents of his studio are sold February 3, 1998.
(Pictured: “Glendalough” by Arthur Armstrong, oil on board)
Luis Roberto de Lacy, a Spanish professional soldier of Irish descent who serves in the Spanish and French Imperial armies, is born on January 11, 1775, in San Roque, Cádiz, Spain.
De Lacy is born to Lieutenant-Colonel Patrick de Lacy, an officer in the Ultonia or Ulster Regiment, a foreign unit or Infantería de línea extranjera of the Spanish army. Patrick dies sometime before 1785 and his wife, Antonia, remarries Jean Gautier, another Ultonia officer. His grandfather, General Patrick de Lacy y Gould, came from Limerick. Along with many relatives, he was part of the post-1691 Irish diaspora known as the Flight of the Wild Geese.
De Lacy is commissioned into the Ultonia regiment when he is ten, although his age is recorded as thirteen to satisfy minimum requirements. Issuing commissions to children is not unusual, as they are considered private investments and often used to provide pensions for orphans. Although by now the Ultonia is no longer “Irish,” many of the officers are Spanish-born descendants of the original Irish emigrants, including his uncle Francis and various cousins.
In 1789, de Lacy joins an expedition to Puerto Rico, accompanied by his stepfather. They apparently quarrel and, on their return, de Lacy walks to Porto, in Portugal, intending to take ship to the Maluku Islands, before his stepfather brings him home.
Promoted captain, de Lacy takes part in the War of the Pyrenees against France, which ends with the April 1795 Peace of Basel. He is posted to the Canary Islands in 1799, where he fights a duel with the local Capitán-General. Despite being transferred to El Hierro, he continues their feud. He is court-martialed as a result and sentenced to one year in the Royal Prison at the Concepción Arsenal at Cádiz.
De Lacy’s jailers allegedly consider him mentally unbalanced. As a result, he is stripped of his commission and barred from re-enlisting in the Spanish army. He moves to France in order to continue his career and is appointed captain in the Irish Legion, a French army unit formed in Brittany and intended to support an Irish rising. Although many of its officers are Irish exiles or of Irish descent, the rank and file are mostly Polish.
De Lacy arrives in Madrid shortly before the May 1808 revolt known as the Dos de Mayo. He deserts and is reinstated in the Spanish army as colonel of the Burgos regiment.
In July 1809, de Lacy is given command of the Isla de León, an important defensive position in Cádiz, home of the Regency Council that rules Spain in Ferdinand’s absence. He leads the 1st Division at the Battle of Ocaña on November 19, 1809. The collapse of the Spanish cavalry under Manuel Freire de Andrade exposes him to a flank attack that practically annihilates his division. A second defeat at Alba de Tormes on November 29 leaves the Spanish unable to confront the French in open battle and they resort to guerrilla tactics.
Although Cádiz is besieged by the French from February 1810 to August 1812, support from the Royal Navy allows the Council to send small amphibious expeditions intended to bolster resistance elsewhere. De Lacy leads landings in Algeciras, Ronda, Marbella and Huelva and although unable to hold them, this absorbs French resources. In March 1811, his troops support an Anglo-Spanish attempt to break the siege of Cádiz. The resulting Battle of Barrosa is a significant victory, although command failures mean the siege continues.
After the loss of Tarragona in June 1811, de Lacy replaces the Marquess of Campoverde as Capitán-General of Catalonia, a position held by his uncle Francis from 1789 to 1792. French efforts to capture Valencia weaken them elsewhere and provide the Spanish opportunities for partisan warfare. He leads a series of incursions into the French departments of Haute-Garonne and Ariège. These restore local morale and force the French to send reinforcements.
Most major towns, including Barcelona, Tarragona and Lleida, remain in French hands and in early 1812, Napoleon makes Catalonia part of France. The focus on guerrilla tactics lead to an increasingly bitter war of reprisals and executions by both sides, which severely impact the civilian population. Many of the partisan bands are beyond central control and their operations often indistinguishable from simple brigandage. This leads to conflict between de Lacy and local Catalan leaders and in January 1813, he moves to Santiago de Compostela as Captain General of the Kingdom of Galicia. He assumes command of the Reserva de Galicia, which he focuses on disciplining and reorganising. Following Allied victory at Vitoria in June 1813, the French withdraw from Spain and Ferdinand returns to Madrid in April 1814.
Ferdinand rejects a previous commitment to accept the Spanish Constitution of 1812 and establishes an absolutist regime. Spain also faces colonial wars in the Americas, which begin in 1810 and continue until 1833. This destabilises the regime and leads to a series of attempted coups, by military officers like de Lacy backed by progressive civilian elements, often linked by Freemasonry.
Following failed attempts in 1815 and 1816, de Lacy returns to Barcelona and assisted by a former subordinate, Francisco Milans del Bosch, plan another. This begins on April 5, 1817, but quickly collapses. De Lacy is captured, court-martialed, and sentenced to death. Following public protests against the sentence, he is secretly taken to Palma de Mallorca, held at Bellver Castle and executed there by firing squad on July 5, 1817.
In 1820, a revolt led by Colonel Rafael del Riego forces Ferdinand to restore the 1812 Constitution. This begins the Trienio Liberal, a period of liberalisation that ends in 1823, when a French army allows Ferdinand to re-assert control. However, in 1820 the reconstituted Cortes Generales declares de Lacy a martyr. Along with others including Riego, he is commemorated on a plaque in the Palacio de las Cortes, Madrid, which can still be seen today. De Lacy is buried at the Cementiri de Sant Andreu, in Barcelona.
Lynch is born in Dublin on March 25, 1859. Her father, who is a committed, non-violent Fenian, dies when she is young. Her mother, Anna Theresa Calderwood, is married twice. She grows up in a very female house with her mother and ten sisters and half-sisters. Her stepfather is James Cantwell, also a Fenian, who runs the Star and Garter Hotel. After finishing school, she works as a sub-editor for a provincial paper and as a governess in Europe.
A nationalist like her father and stepfather, Lynch is an executive member of the Ladies’ Land League and as a result closely associates with Fanny Parnell. She writes extensively, producing short stories and satirical sketches, as well as Land War fiction, travel writing, translations and literary criticism. Her satirical pieces include “A Dublin Literary Coterie Sketched by a Non-Pretentious Observer” (1888) and “My Friend Arcanieva” (1895). She publishes William O’Brien‘s paper United Ireland from France, after it is suppressed in Ireland. She disagrees with William Butler Yeats on the literary merit of Emily Lawless, calling her work “highly polished literary stories.”
Lynch also writes fiction on the subject of political and cultural affairs in Ireland, sometimes meeting controversy. Her first novel, Through Troubled Waters (1885), is a fictionalised version of a real-life incident in Galway in which the daughters of a prosperous landowning family are murdered to make way for the sons to inherit the land. The novel also depicts the rural clergy as complicit, by denouncing the victims from the pulpit. The newspaper United Ireland strongly criticises the novel, claiming it peddles in anti-Irish stereotypes for a British audience. She responds by stating that she had intended the book for an Irish publisher and audience, and that she should not be asked “to prove my patriotism at the expense of truth.”
Lynch publishes across Ireland, the United Kingdom and from Paris. By 1896, she has settled in Paris, having also lived in both Spain and Greece. She speaks Greek and French. She then returns to lecture in Ireland and is a part of the salons of Paris in the Belle Époque as well as the Irish Literary Revival in Dublin. She is friends with the historian, biographer and literary critic Arvède Barine (pseudonym of Louise-Cécile Vincens), the writers Mabel and Mary Robinson, and the medievalist Gaston Paris. Her work however does not bring significant income, and she is forced to apply to the Royal Literary Fund for help on multiple occasions. Eventually it takes a toll on her health. She spends time in hospital in Margate, England in 1903.
One of five children born to Archibald McNeill, a Roman Catholic working class “baker, sailor and merchant,” and his wife, Rosetta (née McAuley) McNeill, McNeill is the brother of nationalist leader Eoin MacNeill. He serves as a high-ranking member of the Indian Civil Service in Calcutta.
When the first Governor-General of the Irish Free State, Tim Healy, retires in December 1927, McNeill is proposed as his replacement by the Irish government of W. T. Cosgrave and duly appointed by King George V as Governor-General of the Irish Free State.
In office, McNeill clashes with the King’s Private Secretary when he insists on following the constitutional advice of his Irish ministers, rather than that of the Palace, in procedures relating to the receipt of Letters of Credence accrediting ambassadors to the King in Ireland. He also refuses to attend ceremonies in Trinity College, Dublin, when some elements in the college try to ensure that the old British national anthemGod Save the King is played, rather than the new Irish anthem, Amhrán na bhFiann.
However, McNeill’s tact is not reciprocated by de Valera’s government, and some of its ministers seek to humiliate him as the King’s representative by withdrawing the Irish Army‘s band from playing at functions he attends and demanding he withdraw invitations to visitors to meet him. In one notorious incident in April, two ministers, Seán T. O’Kelly (a future President of Ireland) and Frank Aiken, publicly walk out of a diplomatic function when McNeill, there as the guest of the French ambassador, arrives. In a fury, McNeill writes to de Valera demanding an apology for this treatment. When none is forthcoming, apart from an ambiguous message from de Valera that could be interpreted as partially blaming McNeill for attending functions at which ministers would be present, he publishes his correspondence with de Valera, even though de Valera had formally advised him not to do so. De Valera then demands that George V dismiss him.
The King engineers a compromise, whereby de Valera withdraws his dismissal request and McNeill, who is due to retire at the end of 1932, will push forward his retirement date by a month or so. McNeill, at the King’s request, resigns on November 1, 1932.
seamus dubhghaill 