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

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Founding of the Catholic Association by Daniel O’Connell

The Catholic Association, an Irish Roman Catholic political organization, is founded by Daniel O’Connell on May 12, 1823, to campaign for Catholic emancipation within the United Kingdom of Great Britain and Ireland. It is one of the first mass-membership political movements in Europe. It organizes large-scale public protests in Ireland.

The Catholic Association is the latest in a series of similar associations formed over the previous ten years or so, none of which had prospered. Like the other associations, this new association is composed mainly of the middle class elite: an annual subscription amounting to a guinea, an amount equivalent to what an average farmer would pay for six months’ rent. In 1824, the Catholic Association begins to use the money that it has raised to campaign for Catholic emancipation.

In 1824, the association creates a new category of associate members at the cost of a penny per month, the so-called Catholic Rent. The reasoning behind the creation of this new membership category is to stimulate a swelling in association numbers. This new, cheaper category ensures Catholics from a poorer background can join, and thus the association’s initial class-based entry barriers are removed. The Catholic rent transforms the association and Catholic political advocacy more broadly. In terms of the association, the rent catalyzes a transformation in a number of ways. Firstly, as previously mentioned, it gives the Catholic Association a constant source of money, which enables O’Connell to run a consistent campaign. Secondly, it facilitates easy calculation of total association membership numbers so that O’Connell can say with confidence that he has the support of so many people. This is important as it can be used to apply pressure against the British government. Third, and perhaps most importantly, however, it announces the arrival of mass mobilization politics, being the first such populist movement in Europe. O’Connell decides to add this additional membership level, at a reduced price of a penny a month, deliberately. The benefits are clear. With the membership subscription set at a relatively cheap price, a large number of the peasant and working classes can join. Affordability ensures large numbers. In effect, it becomes a universal Catholic organization that is transparent and populist. The fact that each member contributes financially to the association also ensures that they are more deeply involved in pushing the cause of Catholic emancipation. People want value for their money. Thus, this ensures a cheap method for O’Connell to get the message of Catholic emancipation spread throughout Ireland.

The Catholic Association’s funds are diffused widely in a variety of areas. Some is spent campaigning for Catholic emancipation, defraying the costs of sending petitions to Westminster, and training of priests. Following the 1826 election campaign, funds are used to support the members of the organization who had voted against their landlords. The money is used for those who have been evicted from land by the landlords because of their connection to the Catholic organization or for those who were boycotting absentee landlord. For the Catholic peasants that are in this situation, the future would be grim as they would be unable to continue the boycott without food and money, and they would be unable to lease land from any landlord as the peasants would be boycotted against in return. The Catholic Association’s funds are used to support these boycotts so that they can continue and live well enough to have enough food to survive.

The Catholic Association is originally aristocratic in its composition, and some of the gentry (such as Richard Lalor Sheil) hold relatively conservative views. However, O’Connell holds an enormous influence over society and largely dictates the policies it pursues. It is radical in nature but also extremely loyal to the Crown in appearance. This had been the strategy of the previous major Catholic group, the Catholic Committee of the 1790s, which achieved major Catholic Relief in 1793.

Since the aims of the Catholic Association are fairly moderate and the organization remains loyal to the monarch, British MPs are conceptually more willing to pass Catholic emancipation. The matter had been discussed in London since the Acts of Union 1800, when Prime Minister William Pitt and most of his colleagues resign from the cabinet when emancipation is denied by the king. Henry Grattan continues to support the cause, and Catholic emancipation had been passed by the House of Commons previously by a majority of six, but it is rejected in the House of Lords and generally by King George III, who reigns until 1820.

The biggest strength of the Catholic Association is that the Catholic Church helps in the collection of the Catholic rent. Catholic priests also hold sermons in favor of Catholic emancipation. This means that it is easy for the members to pay the Catholic rent, and it will attract more members as the message of Catholic emancipation is being spread throughout Ireland. Sir Robert Peel believes the alliance of the Catholic Association and the Catholic Church is a “powerful combination.”

In 1826, the Catholic Association begins to use its funds to support pro-emancipation MPs in elections. They use their money and manpower to campaign for the candidate to be elected into parliament to pressure the government from within to pass Catholic emancipation.

The turning point comes in 1828, when two factors come into play. The first is that the Catholic Church takes over the collection of the Catholic Rent and effectively the Catholic Association itself. The other is that by 1828, O’Connell’s reputation has increased dramatically. He is an internationally recognized figure and is seen as one of the leading figures in liberal thinking. This successful campaign leads on to, but is distinguished from, his later efforts to end the union with Britain, to increase the franchise, and to end the payment of tithes. His particular talent is to push the emancipation process along in an organized way.

In May 1828, the Sacramental Test Act 1828 repeals the Test Acts 1673 & 1678 against non-Anglican Protestants. This gives non-Catholic non-conformists greater political freedom and equality in Britain. The repeal has two effects: it gives Catholics hope that a similar act will be passed that will include Catholics; it also alienates Catholics, as they have become the only Christians not to have political freedom and equality.

In May 1828, William Huskisson resigns from the cabinet, and William Vesey-Fitzgerald is chosen as the President of the Board of Trade. According to the law, there is to be a by-election in his constituency of Clare. O’Connell decides to exploit a loophole in the Acts of Union 1800. It requires MPs to take the Oath of Allegiance, but the oath is not required of candidates for election. He stands in the by-election and wins. Since he is a Catholic, he cannot take his seat in parliament. Demand rises to allow him to become an MP for Clare, as it does not have representation.

Sir Robert Peel and Arthur Wellesley, 1st Duke of Wellington, see that if O’Connell is not allowed to take his seat, then there could be a revolution in Ireland. While using non-violent methods, O’Connell hints that he will get more Catholics elected to force the situation. In an emotive speech, he says, “They must crush us or conciliate us.”

Peel decides to change the government’s approach and submits the Roman Catholic Relief Act 1829 in February 1829. The bill is passed. It is a momentous victory for O’Connell and the Catholic middle class, and he becomes known as “the liberator” and the “uncrowned king of Ireland.” However, the simultaneous enactment of the Parliamentary Elections (Ireland) Act 1829 restricts the franchise in the county constituencies in Ireland. The archive of the Catholic Association is housed with the archives of Dublin Diocese in Holy Cross College, Dublin.

(Pictured: “Daniel O’Connell: The Champion of Liberty” poster published in Pennsylvania, 1847)


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First Non-Stop Transatlantic Flight

alcock-and-brown

British aviators John Alcock and Arthur Brown complete the first non-stop transatlantic flight, landing at Clifden, County Galway on June 15, 1919. They fly a modified World War I Vickers Vimy bomber from St. John’s, Newfoundland, to Clifden. The Secretary of State for Air, Winston Churchill, presents them with the Daily Mail prize for the first crossing of the Atlantic Ocean by aeroplane in “less than 72 consecutive hours.” A small amount of mail is carried on the flight, making it the first transatlantic airmail flight.

Alcock and Brown take off from Lester’s Field at around 1:45 PM on June 14. They fly the modified Vickers Vimy, powered by two Rolls-Royce Eagle 360 hp engines which are supported by an on-site Rolls Royce team led by engineer Eric Platford.

It is not an easy flight. The overloaded aircraft has difficulty taking off from the rough field and only barely misses the tops of the trees. A short time later the wind-driven electrical generator fails, depriving them of radio contact, their intercom and heating. An exhaust pipe bursts shortly afterwards, causing a frightening noise which makes conversation impossible without the failed intercom.

At 5:00 PM they have to fly through thick fog. This is serious because it prevents Brown from being able to navigate using his sextant. Blind flying in fog or cloud should only be undertaken with gyroscopic instruments, which they do not have, and Alcock twice loses control of the aircraft and nearly hits the sea after a spiral dive. Alcock also has to deal with a broken trim control that makes the plane become very nose heavy as fuel is consumed.

At 12:15 AM on June 15 Brown gets a glimpse of the stars and is able to use his sextant and finds that they are still on course. By this point, their electric heating suits have failed, making them very cold in the open cockpit.

Then at 3:00 AM they fly into a large snowstorm. They are drenched by rain, their instruments ice up, and the plane is in danger of icing and becoming unflyable. The carburetors also ice up.

Alcock and Brown make landfall in County Galway at 8:40 AM on June 15, not far from their intended landing place, after less than sixteen hours of flying time. The aircraft is damaged upon arrival because of an attempt to land on what appears from the air to be a suitable green field, but which turns out to be a bog, near Clifden, but neither of the airmen is hurt. Brown says that if the weather had been good, they could have pressed on to London.

Alcock and Brown are treated as heroes on the completion of their flight. In addition to the Daily Mail award of £10,000, the crew receives 2,000 guineas (£2,100) from the Ardath Tobacco Company and £1,000 from Lawrence R. Phillips for being the first British subjects to fly the Atlantic Ocean. The two aviators are awarded the honour of Knight Commander of the Most Excellent Order of the British Empire (KBE) a week later by King George V at Windsor Castle.

Alcock and Brown fly to Manchester on July 17, where they are given a civic reception by the Lord Mayor and Corporation of Manchester, and awards to mark their achievement.

John Alcock is killed on December 18, 1919, when he crashes near Rouen while flying the new Vickers Viking amphibian to the Paris Air Show. Arthur Brown dies on October 4, 1948. Two memorials commemorating the flight are sited near the landing spot in County Galway. The first is an isolated cairn four kilometres south of Clifden, around 500 metres from the spot where they land, on the site of Guglielmo Marconi‘s first transatlantic wireless station from which the aviators transmit their success to London. In addition, there is a sculpture of an aircraft’s tailfin on Errislannan Hill two kilometres north of their landing spot, dedicated on June 15, 1959, the fortieth anniversary of their landing.


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Birth of John Brougham, Actor & Dramatist

john-brougham

John Brougham, Irish American actor and dramatist, is born in Dublin on May 9, 1814.

Brougham’s father is an amateur painter and dies young. His mother is the daughter of a Huguenot, whom political adversity has forced into exile. He is the eldest of three children. Both of his siblings die in youth, and the father being dead, and the widowed mother left penniless, he is reared in the family and home of an uncle.

Brougham is prepared for college at an academy at Trim, County Meath, twenty miles from Dublin, and subsequently is sent to the University of Dublin. There he acquires classical learning and forms interesting and useful associations and acquaintances. He also becomes interested in private theatricals. He falls in with a crowd that puts on their own shows, cast by drawing parts out of a hat. Though he most always trades off larger roles so he can pay attention to his studies, he takes quite an interest in acting. He is a frequent attendant, moreover, at the Theatre Royal in Hawkins Street.

Brougham is educated with the intention of his becoming a surgeon and walks the Peth Street Hospital for eight months. However, misfortune comes upon his uncle, so he is obliged to provide for himself. Before leaving the university he, by chance, becomes acquainted with the actress Lucia Elizabeth Vestris.

Brougham goes to London in 1830 and, after a brief experience of poverty, suddenly determines to become an actor. He is destitute of everything except fine apparel, and he has actually taken the extreme step of offering himself as a cadet in the service of the East India Company. But, being dissuaded by the enrolling officer, who lends him a guinea and advises him to seek other employment, and happening to meet with a festive acquaintance, he seeks recreation at the Tottenham Theatre where Madame Vestris is acting.

Brougham’s acquaintance with Madame Vestris leads to him being engaged at the theatre, and he thus makes his first appearance on the London stage in July in Tom and Jerry, in which he plays six characters. In 1831 he is a member of Madame Vestris’s company and writes his first play, a burlesque. He remains with Madame Vestris as long as she and Charles Mathews retain Covent Garden Theatre, and he collaborates with Dion Boucicault in writing London Assurance, the role of Dazzle being one of those with which he becomes associated. His success at small or “low” comic roles such as Dazzle earn him the nickname “Little Johnny Brougham,” a moniker which he embraces, and which boosts his popularity with working-class audiences.

In 1840 Brougham manages the Lyceum Theatre, for which he writes several light burlesques, but in 1842 he moves to the United States, where he becomes a member of William Evans Burton‘s company, for which he writes several comedies, including Met-a-mora; or, the Last of the Pollywogs, a parody of John A. Stone and Edwin Forrest’s Metamora; or The Last of the Wamponoags, and Irish Yankee; or, The Birthday of Freedom.

Later Brougham is the manager of Niblo’s Garden, and in 1850 opens Brougham’s Lyceum, which, like his next speculation, the lease of the Bowery Theatre, is not a financial success, despite the popularity of such works as Po-ca-hon-tas; or, The Gentle Savage. He is later connected with James William Wallack‘s and Augustin Daly‘s theatres and writes plays for both.

In 1860 Brougham returns to London, where he adapts or writes several plays, including The Duke’s Motto for Charles Fechter. In November 1864 he appears at the Theatre Royal in his native Dublin in the first performance of Dion Boucicault’s Arrah-na-Pogue with Boucicault, Samuel Johnson and Samuel Anderson Emery in the cast.

After the American Civil War Brougham returns to New York City. Brougham’s Theatre is opened in 1869 with his comedies Better Late than Never and Much Ado About a Merchant of Venice, but this managerial experience is also a failure due to disagreements with his business partner, James Fisk. He then takes to playing the stock market. His last appearance onstage is in 1879 as “O’Reilly, the detective” in Boucicault’s Rescued.

John Brougham dies in Manhattan on June 7, 1880.


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Birth of Landscape Painter Francis Danby

Francis Danby, Irish painter of the Romantic era, is born near Killinick, County Wexford, on November 16, 1793. His imaginative, dramatic landscapes are comparable to those of John Martin. Danby initially develops his imaginative style while he is the central figure in a group of artists who have come to be known as the Bristol School. His period of greatest success is in London in the 1820s.

The death of Danby’s father in 1807 causes the family to move to Dublin. He begins to practice drawing at the Royal Dublin Society‘s schools and, under an erratic young artist named James Arthur O’Connor, he begins painting landscapes. Danby also makes acquaintance with George Petrie.

In 1813 Danby leaves for London together with O’Connor and Petrie. This expedition, undertaken with very inadequate funds, quickly comes to an end, and they have to get home again by walking. At Bristol they make a pause and Danby, finding he can get trifling sums for watercolor drawings, remains there working diligently and sending pictures of importance to the London exhibitions. There his large oil paintings quickly attract attention.

Around 1819, Danby becomes a member of the informal group of artists which become known as the Bristol School, taking part in their evening sketching meetings and sketching excursions visiting local scenery. He remains connected with members of the Bristol School for about a decade, even after leaving Bristol in 1824.

The group initially forms around Edward Bird, and Danby eventually succeeds Bird as its central figure. The Bristol artists, particularly the amateur Francis Gold, are also important in influencing Danby towards a more imaginative and poetical style. George Cumberland, another of the amateurs, has influential London connections. In 1820 when Danby exhibits The Upas Tree of Java at the British Institution, Cumberland uses his influence to promote its favourable reception. Danby’s atmospheric work An Enchanted Island, successfully exhibited in 1825 at the British Institution and then back in Bristol at the Bristol Institution, is in turn particularly influential on other Bristol School artists.

The Upas Tree of Java (1820) and The Delivery of Israel (1825) bring him his election as an Associate Member of the Royal Academy of Arts. He leaves Bristol for London, and in 1828 exhibits his Opening of the Sixth Seal at the British Institution, receiving from that body a prize of 200 guineas.

In 1829 Danby’s wife deserts him, running off with the painter Paul Falconer Poole. Danby leaves London, declaring that he will never live there again. For a decade he lives on the Lake Geneva in Switzerland, becoming a Bohemian with boat-building fancies, painting only occassionaly. He later moves to Paris for a short period of time. He returns to England in 1840.

Francis Danby lives his final years at Exmouth in Devon, where he dies on February 9, 1861. Along with John Martin and J. M. W. Turner, Danby is considered among the leading British artists of the Romantic period.