Born Ann Teresa O’Donnell, she studies medicine at Trinity College Dublin (TCD). She drops out without taking a degree and later marries a young barrister, Ronan Keane. The couple separates in the 1990s, but never divorce. Ronan Keane goes on to become Chief Justice of Ireland (2000-2004).
Keane spends the majority of her career working for the Irish newspaper, the Sunday Independent, where she is the principal contributor of the newspaper’s long-running gossip column, “The Keane Edge.”
In “The Keane Edge” column there are often hints of a relationship with a prominent political figure, named in the column as Sweetie, and her relationship is apparently widely known in certain circles, though never openly confirmed. She leaves the paper on bad terms after selling the story of her 27-year affair with former TaoiseachCharles Haughey to the British newspaper The Sunday Times, a rival to the affiliated LondonIndependent newspapers, though she admits her affair on The Late Late Show in 1999.
Keane’s death on May 31, 2008, after a long illness is announced by her son-in-law, the Irish garden designer and television personality Diarmuid Gavin. She is survived by her children Jane, Madeleine and Justine, who is married to Gavin. Her son Tim dies in 2004. One of her granddaughters, Holly Carpenter, is Miss Ireland in 2011.
Frederick May, Irish composer and arranger, dies in Dublin on September 8, 1985. His musical career is seriously hindered by a lifelong hearing problem, and he produces relatively few compositions.
May is born on June 9, 1911, into a Dublin Protestant family who lives in the suburb of Donnybrook. His father, also named Frederick, is employed at the Guinness Brewery. He pursues his musical studies at the Royal Irish Academy of Music, where he is taught composition by John Larchet. In 1930, McCullough Pigott and Co. publishes his Irish Love Song. That same year he is awarded the Esposito Cup at the Feis Ceoil and as a result of this he is nominated as the first recipient of a new scholarship prize worth £100 to be spent on the further study of piano. In July 1930, he takes his preliminary examination for the Bachelor of Music at Trinity College Dublin (TCD) before departing Dublin to utilise his scholarship in London. In September he enrolls at the Royal College of Music (RCM) where his teachers include Charles Kitson, Ralph Vaughan Williams, R. O. Morris and Gordon Jacob. He takes his final TCD examination in December 1931 submitting a string quartet and on December 10 his degree is conferred. During 1932 his study is funded by the RCM’s Foli Scholarship and in October he is awarded the Octavia Travelling Scholarship.
May’s compositions are few in number and he produces most of his small output in the 1930s and early 1940s. His first significant work is the Scherzo for Orchestra, written while he is still a student in London. The first orchestral run through of Scherzo for Orchestra takes place on March 17, 1933, and it receives its first public performance on December 1 when it is heard as part of the Patron’s Concert. Between the months of May and October he composes his Four Romantic Songs, which receive their premiere in London at a Macnaghten-Lemare concert on January 22, 1934. At some point, probably in the second half of 1933, he follows in the footsteps of other Octavia Scholarship winners and travels to Vienna to study with Egon Wellesz.
On January 1, 1936, May takes up the position of Director of Music at the Abbey Theatre in Dublin, a position he retains until he is fired in 1948. His duties mainly consist of leading the piano trio which bears the title “The Abbey Orchestra” in music during the intervals of productions. In 1936, he composes what is today his best-known composition, the String Quartet in C Minor, described in the Grove’s Dictionary of Music and Musicians as “one of the most individual statements from an Irish composer in the first half of the 20th century.” He composes the quartet as his hearing is beginning to deteriorate and he later describes it as “an appeal for release.” String Quartet in C Minor is not premiered until 1948 when it is performed by the Martin Quartet in the Wigmore Hall, London. This is followed by Symphonic Ballad (1937), Suite of Irish Airs (1937), Spring Nocturne (1938), Songs from Prison (1941) and Lyric Movement for Strings (1942). He effectively ceases original composition at this point.
Following a long break from composition, May produces what is to be his valedictory work in 1955, the nine-minute orchestral piece Sunlight and Shadows. It is given its first performance on January 22, 1956, by the Radio Éireann Symphony Orchestra at Dublin’s Gaiety Theatre. Although this is his last original work, he does not abandon music completely. He produces arrangements of Irish music for Radio Éireann, which while not perhaps rewarding artistically, does help to alleviate his always precarious financial situation. He also composes a number of songs for voice and piano and a short piece entitled Idyll for violin and piano. The latter is chosen as a set work for the junior violin competition at the Feis Ceoil in 2017.
Throughout his life May suffers from significant mental health issues which result in hospitalisation. He also experiences otosclerosis, as a result of which he gradually becomes increasingly deaf. In addition, he suffers from severe tinnitus with constant ringing noises in his head. In later life he becomes homeless for a time due to alcoholism and sleeps at night in Grangegorman Asylum, Dublin. He is rescued by some friends led by Garech Browne whose record company, Claddagh Records, records the String Quartet in 1974.
Throughout his career May is an advocate of better musical education in Ireland and expresses his views on this and other musical matters through the medium of The Bell, a monthly journal dealing with the arts. He is a co-founder, along with Brian Boydell and Aloys Fleischmann, of the Music Association of Ireland (now “Friends of Classical Music”), set up in 1948 to promote art music as an integral part of the cultural life of Ireland. Later he becomes a member of Aosdána. He lives the last years of his life at Orthopaedic Hospital of Ireland, Clontarf, Dublin. He dies on September 8, 1985, at the age of 74 and is buried in Mount Jerome Cemetery.
The O’Neills and O’Donnells retain their lands and titles, although with much-diminished extent and authority. However, the countryside is laid bare in a campaign of destruction in 1602, which induces famine in 1603. Hugh O’Neill, Earl of Tyrone, is pardoned under the terms of the Treaty of Mellifont in March 1603 and submits to the crown.
When King James VI and I takes the English throne in 1603, he quickly proceeds to issue pardons for the Irish lords and their rebel forces. Already reigning as king of Scotland, he has a better understanding of the advantages from working with local chiefs in the Scottish Highlands. However, as in other Irish lordships, the 1603 peace involves O’Neill losing substantial areas of land to his cousins and neighbors, who would be granted freeholds under the English system, instead of the looser arrangements under the former Brehon law system. This is not a new policy but is a well-understood and longstanding practice in the Tudor conquest of Ireland.
On September 10, 1602, the Prince of Tyrconnell has already died, allegedly assassinated, in Spain, and his brother succeeds him as 25th Chieftain of the O’Donnell clan. He is later granted the Earldom of Tyrconnell by King James I on September 4, 1603, and restored to a somewhat diminished scale of territories in Tyrconnell on February 10, 1604.
In 1605, the new Lord Deputy of Ireland, Sir Arthur Chichester, begins to encroach on the former freedoms of the two Earls and The Maguire, enforcing the new freeholds, especially that granted in North Ulster to the O’Cahan chief. The O’Cahan had formerly been important subjects of the O’Neills and required protection; in turn, Chichester wants to reduce O’Neill’s authority. O’Cahan has also wanted to remove himself from O’Neill’s overlordship. An option is to charge O’Neill with treason if he does not comply with the new arrangements. The discovery of the Gunpowder Plot in the same year makes it harder for Catholics to appear loyal to both the crown and the papacy. A lengthy legal battle however finds in O’Neill’s favor.
By 1607, O’Neill’s allies the Maguires and the Earl of Tyrconnell are finding it hard to maintain their prestige on lower incomes. They plan to seek Spanish support before news of the Battle of Gibraltar arrives. When their ship drops anchor, O’Neill seems to have joined them on impulse. He had three options:
Flee with his friends and hope for a reinvasion by Spain
Go to London and stay at court until his grievances are redressed
Do nothing and live on a reduced income as a large landowner in Ulster
Fearing arrest, they choose to flee to Continental Europe, where they hope to recruit an army for the invasion of Ireland with Spanish help. However, earlier in 1607 the main Spanish fleet in Europe had been defeated by the Dutch in the Battle of Gibraltar. But the oft-repeated theory that they are all about to be arrested contradicts writer Tadhg Ó Cianáin, the main historical source on the Flight, who says at the start of his account that O’Neill heard news of the ship anchored at Rathmullen on Thursday September 6, and “took his leave of the Lord Justice (Chichester) the following Saturday.” They had been meeting at Slane for several days, and there is no proof that warrants for his arrest have been drawn up, nor is it a hurried departure.
Also, as the Anglo-Spanish War (1585–1604) has been ended by the Treaty of London in 1604, King Philip III of Spain wants to remain at peace with England under its new Stuart dynasty. As a part of the peace proposals, a Spanish princess is to marry James’ son, Henry, though this never happens. Spain had also gone bankrupt in 1598. Tyrone ignores all these realities, remains in Italy, and persists with his invasion plan until his death in exile in 1616.
The earls set sail from Rathmullan, a village on the shore of Lough Swilly in County Donegal, with some of the leading Gaelic families in Ulster. Several leave their wives behind, hoping either to return or retrieve them later. They travel down Lough Swilly on a French ship. Their departure is the end of the old Gaelic order, in that the earls are descended from Gaelic clan dynasties that had ruled their parts of Ulster for centuries. They finally reach the Continent on October 4, 1607.
Their destination is Spain, but they disembark in France. The party proceeds overland to Spanish Flanders, some remaining in Leuven, while the main party continues to Italy. Tadhg Ó Cianáin subsequently describes the journey in great detail. While the party is welcomed by many important officials in the Spanish Netherlands, he makes no mention of any negotiations or planning between the earls and the Spanish to start a new war to regain the earls’ properties.
James I soon plants the O’Neill and O’Donnell lands with Protestant settlers, helping to sow the seeds of the present “Troubles.” O’Donnell dies in Rome in 1608 and O’Neill dies there also in 1616.
Ó Cianáin’s diary is important as the only continuous and contemporaneous account of the Flight. Its original title, Turas na dTaoiseach nUltach as Éirinn – the departure of the Chiefs of Ulster from Ireland – has been changed since the creation of the more dramatic phrase “Flight of the Earls” to the latter’s modern literal translation, Imeacht na nIarlaí.
The Flight of the Earls is a watershed event in Irish history, as the ancient Gaelic aristocracy of Ulster goes into permanent exile. Despite their attachment to and importance in the Gaelic system, the Earls’ ancestors had accepted their Earldoms from the English-run Kingdom of Ireland in the 1540s, under the policy of surrender and regrant. Some historians argue that their flight is forced upon them by the fallout from the Tudor conquest of Ireland, while others that it is an enormous strategic mistake that clears the way for the Plantation of Ulster.
From 1616, a number of bards outside Ulster have a poetic debate in the “Contention of the bards” and one of the arguments celebrates King James’s Gaelic-Irish Milesian ancestry through Malcolm III of Scotland. So, it is debatable whether the Gaelic order has ended or is evolving.
(Pictured: A bronze sculpture commemorating the Flight in Rathmullan, County Donegal)
Several of Redmond’s relatives are politicians. He takes over control of the minority IPP faction loyal to Charles Stewart Parnell after Parnell dies in 1891. He is a conciliatory politician who achieves the two main objectives of his political life: party unity and, in September 1914, the passing of the Irish Home Rule Act.
The Irish Home Rule Act grants limited self-government to Ireland, within the United Kingdom. However, implementation of Home Rule is suspended by the outbreak of the World War I. Redmond calls on the National Volunteers to join Irish regiments of the New British Army and support the British and Allied war effort to restore the “freedom of small nations” on the European continent, thereby to also ensure the implementation of Home Rule after a war that is expected to be of short duration. However, after the Easter Rising of 1916, Irish public opinion shifts in favour of militant republicanism and full Irish independence, resulting in his party losing its dominance in Irish politics.
In sharp contrast to Parnell, Redmond lacks charisma. He works well in small committees but has little success in arousing large audiences. Parnell had always chosen the nominees to Parliament. Now they are selected by the local party organisations, giving Redmond numerous weak MPs over whom he has little control. He is an excellent representative of the old Ireland but grows increasingly old-fashioned because he pays little attention to the new forces attracting younger Irishmen, such as Sinn Féin in politics, the Gaelic Athletic Association in sports, and the Gaelic League in cultural affairs.
Redmond never tries to understand the unionist forces emerging in Ulster. He is further weakened in 1914 by the formation of the Irish Volunteers by Sinn Féin members. His enthusiastic support for the British war effort alienates many Irish nationalists. His party has been increasingly hollowed out, and a major crisis, notably the Easter Rising, is enough to destroy it.
Redmond is increasingly eclipsed by ill-health after 1916. An operation in March 1918 to remove an intestinal obstruction appears to progress well initially, but he then suffers heart failure. He dies a few hours later at a Londonnursing home on March 6, 1918.
Condolences and expressions of sympathy are widely expressed. After a funeral service in Westminster Cathedral his remains are interred, as requested in a manner characteristic of the man, in the family vault at the old Knights Templars‘ chapel yard of Saint John’s Cemetery, Wexford, amongst his own people rather than in the traditional burial place for Irish statesmen and heroes in Glasnevin Cemetery. The small, neglected cemetery near the town centre is kept locked to the public. His vault, which has been in a dilapidated state, has been only partially restored by Wexford County Council.
Educated at home in the upper-class style and by herself, Martin becomes fluent in Irish, English, French and a number of other languages. According to Maria Edgeworth, who meets her during her tour of Connemara in 1833, she is courted in 1834 by Count Adolphe de Werdinsky, whom she had met in London earlier in the year. She refuses to marry and de Werdinsky feigns a suicide attempt at Ballynahinch.
Martin publishes her first novel, St. Etienne, a Tale of the Vendean War, in 1845.
In 1847, Martin marries a cousin, Colonel Arthur Gonne Bell. He takes the name of Martin on marriage, by Royal Licence. In the same year, her father dies of famine fever contracted while visiting his tenants in the Clifdenworkhouse.
On the death of her father, Martin inherits a heavily encumbered estate of 200,000 acres. In the following two years, her remaining fortune is destroyed in the famine as she attempts to alleviate its effects on her tenants. Penniless, she emigrates with her husband to Belgium. There she contributes to a number of periodicals, notably Encyclopaedie Des Gens Du Monde.
In 1850, Martin’s autobiographical novel, Julia Howard: A Romance, is published. Martin and her husband sail to the United States in 1850, but she dies at the Union Place Hotel in New York City on November 7, 1950, ten days after arrival due to complications of premature childbirth in which the baby does not survive.
Martin’s husband returns to England. He arranges for the posthumous publication of her novel, Deed, not Words (1857). In 1883, he is killed in a railway accident.
Living in the nationalist Beechmount neighbourhood of the Falls, he stands for the Falls as a candidate for the Dock Labour Party in a city council by-election in 1956, but loses to Paddy Devlin of the Irish Labour Party, who later becomes his close ally. In 1958, he is elected to Belfast City Council as a member of the Irish Labour Party.
Many sympathetic British Members of Parliament (MPs) are present at a civil rights march in Derry on October 5, 1968, when Fitt and others are beaten by the Royal Ulster Constabulary. Fitt also supports the 1969 candidacy of Bernadette Devlin in the Mid Ulster by-election who runs as an anti-abstentionist ‘Unity‘ candidate. Devlin’s success greatly increases the authority of Fitt in the eyes of many British commentators, particularly as it produces a second voice on the floor of the British House of Commons who challenge the Unionist viewpoint at a time when Harold Wilson and other British ministers are beginning to take notice.
In August 1970, Fitt becomes the first leader of a coalition of civil rights and nationalist leaders who create the Social Democratic and Labour Party (SDLP). By this time Northern Ireland is charging headlong towards near-civil war and the majority of unionists remain hostile.
After the collapse of Stormont in 1972 and the establishment of the Northern Ireland Assembly in 1973 Fitt becomes deputy chief executive of the short-lived Power-Sharing Executive created by the Sunningdale Agreement.
Fitt becomes increasingly detached from both his own party and also becomes more outspoken in his condemnation of the Provisional Irish Republican Army. He becomes a target for republican sympathisers in 1976 when they attack his home. He becomes disillusioned with the handling of Northern Ireland by the British government. In 1979, he abstains from a crucial vote in the House of Commons which brings down the Labour government, citing the way that the government had failed to help the nationalist population and tried to form a deal with the Ulster Unionist Party.
In 1979, Fitt is replaced by John Hume as leader of the SDLP and he leaves the party altogether after he agrees to constitutional talks with British Secretary of StateHumphrey Atkins without any provision for an ‘Irish dimension’ and then sees his decision overturned by the SDLP party conference. Like Paddy Devlin before him, he claims the SDLP has ceased to be a socialist force.
In 1981, he opposes the hunger strikes in the Maze prison in Belfast. His seat in Westminster is targeted by Sinn Féin as well as by the SDLP. In June 1983, he loses his seat in Belfast West to Gerry Adams, in part due to competition from an SDLP candidate. The following month, on October 14, 1983, he is created a UK life peer as Baron Fitt, of Bell’s Hill in County Down. His Belfast home is firebombed a month later and he moves to London.
Gerry Fitt dies in London on August 26, 2005, at the age of 79, after a long history of heart disease.
Geraldine Dorothy Cummins, spiritualist medium, novelist and playwright, dies in Cork, County Cork, on August 24, 1969. She begins her career as a creative writer, but increasingly concentrates on mediumship and “channelled” writings, mostly about the lives of Jesus and Saint Paul, though she also publishes on a range of other topics. Her novels and plays typically document Irish life in a naturalist manner, often exploring the pathos of everyday life.
Cummins is born in Cork, on January 24, 1890, the daughter of the physician Ashley Cummins, professor of medicine at the National University of Ireland and sister to Mary Hearn and Iris Cummins. In her youth she is an athlete, becoming a member of the Irish Women’s International Hockey Team. She is also active as a suffragette. Her desire to follow her father in a medical career is vetoed by her mother, so she begins a literary career as a journalist and creative writer. From 1913 to 1917 she writes three plays for the Abbey Theatre in collaboration with Suzanne R. Day, the most successful of which is the comedy Fox and Geese (1917). She publishes the novel The Land they Loved in 1919, a naturalistic study of working class Irish life.
As she concentrates on mediumship, Cummins’s literary work tails off. However, she continues to publish creative literature in her later years. Her solo-written play, Till Yesterday Comes Again, is produced by the Chanticleer Theatre, London, in 1938. She also publishes another novel, Fires of Beltane (1936) and a short-story collection Variety Show (1959).
Literary critic Alexander G. Gonzalez says that Cummins work tries to encompass the full range of Irish social life, from the aristocracy to the lower classes. In this respect she is influenced by Somerville and Ross. Gonzalez considers her short story The Tragedy of Eight Pence to be the “finest” of her writings, the tale of a “happily married woman trying to shield her ill husband from the knowledge that his death will leave her penniless.”
Cummins begins to work as a medium following prompting from Hester Dowden and E. B. Gibbes. She receives alleged messages from her spirit-guide “Astor” and is an exponent of automatic writing. Her books are based on these communications. In 1928 she publishes The Scripts of Cleophas, which provides channelled material on early Christian history complementing Acts of the Apostles and St. Paul’s writings, supposed to have been communicated by the spirit of Cleophas, one of Paul’s followers. This is later supplemented by Paul in Athens (1930) and The Great Days of Ephesus (1933).
Cummins’s next work describes human progress through spiritual enlightenment. The Road to Immortality (1932) provides a glowing vision of the afterlife. Its contents are purportedly communicated from the “other side” by the psychologist and psychic researcher Frederic W. H. Myers. Unseen Adventures (1951) is a spiritual autobiography. She also publishes several books of spiritually-derived knowledge about details of the life of Jesus.
During World War II Cummins allegedly works as a British agent, using her personal contacts to identify pro-Nazi factions within the Irish Republican movement. She also employs her psychic activities to support the Allied cause, sending channelled messages from sympathetic spirits to Allied leaders to support the war effort. This includes information from Theodore Roosevelt, Arthur Balfour and Sara Roosevelt, Franklin D. Roosevelt‘s mother.
In the 1940s and 50s Cummins works with psychiatrists to develop a model for using spiritualism to treat mental illness, ideas she explores in Perceptive Healing (1945) and Healing the Mind (1957). She collaborates with a psychiatrist who uses the pseudonym R. Connell on both books. Their method is for her to “read” an object associated with the patient and thus identify either childhood traumas or experiences of ancestors which have created the problem. This includes treating a patient who is concerned about his homosexual desires by discovering that this derives from the fact that his Huguenot ancestors were humiliated by Catholics in the 18th century.
Cummins’s biography of writer and spiritualist Edith Somerville is published in 1952. She also writes The Fate of Colonel Fawcett (1955) which offers her psychic insights into the disappearance of the explorer Percy Fawcett in Brazil in 1925. She claims she had received psychic messages from Fawcett in 1936. He was still alive at that time, informing her that he had found relics of Atlantis in the jungle, but was ill. In 1948 she has a message from Fawcett’s spirit reporting his death. Her last book is an account of her conversations with the spirit of Winifred Coombe Tennant, Swan on a Black Sea; a Study in Automatic Writing; the Cummins-Willett Scripts (1965).
The automatic writing and alleged channeled material from Cummins have been examined and have been described by some psychical researchers to be the product of her own subconscious. For example, Harry Price, who studies various mental mediums including Cummins, writes that “there is no question that most of the automatic writing which has been published is the product of the subconscious.” Paranormal researcher Hilary Evans notes that unlike most spiritualists, Cummins does not accept the phenomena at face value and questions the source of the material.
According to the psychical researcher Eric Dingwall information published in Cummins’ scripts allegedly from Winifred Coombe Tennant are discovered to be erroneous. Biographer Rodger Anderson writes that although spiritualists consider Cummins completely honest “some suspected that she occasionally augmented her store of knowledge about deceased persons by normal means if by doing so she could bring comfort to the bereaved.”
Cummins’ book The Fate of Colonel Fawcett (1955), contains her automatist scripts allegedly from the spirit of Colonel Fawcett. Spiritualists claim the scripts are evidence for survival. However, the psychical researcher Simeon Edmunds notes that before his disappearance Fawcett had written articles for The Occult Review. Cummins also contributes articles to the same review and Edmunds suggests it is likely she had read the work of Fawcett. Edmunds concludes the scripts are a case of subliminal memory and unconscious dramatization.
Other researchers such as Mary Rose Barrington have suspected fraud as Cummins had long standing connections with friends and families of the deceased that she claimed to have contacted and could have easily obtained information by natural means. The classical scholar E. R. Dodds writes that Cummins worked as a cataloguer at the National Library of Ireland and could have taken information from various books that would appear in her automatic writings about ancient history. Her writings were heavily influenced by literature and religious texts. Dodds also studies her book Swan on a Black Sea which was supposed to be an account of spirit conversation but writes there is evidence suggestive of fraud as Cummins had received some of the information by natural means.
Hayes-McCoy is born to Thomas Hayes-McCoy and Mary Kathleen Hayes-McCoy (née Wallace). His grandfather, Thomas Hayes-McCoy, is a Dubliner who as a child came to Galway in 1834 and is later a well-known Parnellite. His maternal grandfather, Thomas Burke, is a Galway artist. He grows up on Eyre Square where his father runs a gentleman’s hairdressing business. His two older siblings are Ignatius and Marguerite. The latter receives a PhD-degree in History at University College Galway (UCG), and later teaches at the Galway Technical School.
Hayes-McCoy receives his early education from the Patrician Brothers, Galway. His earliest notebook of 1927 and a manuscript history of Poland of the same year, now at the National Library of Ireland (NLI), testify to an early interest in history and heritage. From 1928 to 1932 he is a student scholarship holder at University College Galway, graduating in 1932 with a Bachelor of Commerce, and a Bachelor of Arts, with first-class honours in both, and a specialisation in “History, Ethics, Politics” for the latter. Mary Donovan O’Sullivan is one of his professors of history, and Liam Ó Briain, professor of Romance languages, is a stimulating influence. At this time, Hayes-McCoy is a member of the Republican Club, a committee member of the Literary and Debating Society, and in 1931 he is one of the founding members of a new Irish Students’ Association.
Hayes-McCoy pursues his PhD at the University of Edinburgh, and then spends two years at the Institute of Historical Research, London, in the Tudor seminar of J. E. Neale, rewriting his PhD and eventually publishing it as Scots mercenary forces in Ireland, 1565–1603 (Dublin and London, 1937), with a foreword by Eoin MacNeill. This is characterised by meticulous archival research, and it anticipates by sixty years the much-vaunted New British History of the late twentieth century by tracing the interconnections between events in England, Ireland, and Scotland.
In the absence of an academic post, Hayes-McCoy becomes an assistant keeper in the Art and Industrial Division at the National Museum of Ireland (1939–1959), with a responsibility for the Military History, and the Irish War of Independence collections. One of his first tasks is to prepare a standing exhibition on Irish history before 1916. His research, long-standing personal interest in the military, and his curatorial experience, helps form an expert knowledge of historical Irish warfare. This leads to his role in co-founding The Military History Society of Ireland in 1949 whose journal, The Irish Sword, he edits. He describes the vagaries of setting up such a body, its reception, and the historiographical considerations attendant on it, in a paper published posthumously in The Irish Sword.
On August 19, 1941, Hayes-McCoy marries Mary Margaret “May” O’Connor, daughter of C.J. and M.B. O’Connor of New Ross/Enniscorthy. They have three daughters and two sons: Mary, Ann, Ian, Robert, Felicity. The family home is in Dublin.
Earning high reputation by continued research and by publishing leads to Hayes-McCoy’s receipt of the D.Litt. degree from the National University, and to his membership in the Royal Irish Academy in 1950. In his professional career, apart from the broad spectrum of press publications, he publishes prolifically. The works that are judged most influential, are his Scots mercenary forces in Ireland 1565–1603 (1937), the papers “The early history of guns in Ireland” (1938–1939), “Strategy and tactics in Irish warfare, 1593–1601” (1941), “The army of Ulster, 1593–1601” (1951), the controversial “Gaelic society in Ireland in the late sixteenth century” (1963), and the monographs “Irish battles” (London 1969), and “A history of Irish flags from earliest times” (Dublin 1979). A member of the Irish Manuscripts Commission, his most notable contribution is the publication “Ulster and other Irish maps, c.1600” (Dublin 1964).
In 1946, Hayes-McCoy is appointed to a committee of eight historians to advise on setting up the Bureau of Military History, a body established for the creation and compilation of material on the history of the Irish movements for independence, 1913–1921, specifically from witness statements. The committee is also to further offer guidance and oversee progress of the Bureau in coordination with the Ministry of Defence. It subsequently expresses concerns about the state’s role and methods in the collection of statements.
Having begun writing for the press at an early stage, Hayes-McCoy’s public position at the Museum encourages him to go further. He has broad involvement with local history groups to whom he presents papers, and also works for newspapers and for radio and television. To the national and Galway press he usually contributes articles on military aspects of Irish history, as well as book reviews, but he also uses them as a platform to engage with what he sees are flaws in the education of history in Ireland which during his lifetime is constrained by a certain degree of political and cultural state control.
During the 1940s and 1950s, Hayes-McCoy becomes involved in a number of paratheatrical events of national significance one of which – the “Pageant of St.Patrick” for which he writes the script (An Tóstal 1954) – is realised on an immense scale. He scripts these works to begin with and is later principally engaged as historical consultant. In that capacity, he collaborates in 1955 and 1956 with Micheál Mac Liammóir and Denis Johnston on their scripts for pageants on St. Patrick and on the Táin Bó Cuailgne, at times finding it difficult to square the historical liberties taken by these artists with his own role.
On Irish radio and television Hayes-McCoy is most active in the mid-1960s, editing and contributing to Thomas Davis lectures series, writing scripts for a series of thirty children’s programmes on all aspects of Irish history, and preparing/contributing on air to the television series “Irish battles” and “The long winter.” As well as writing for RTÉ, Ireland’s national broadcaster, he contributes scripts to BBC Northern Ireland‘s schools radio programmes.
In 1959, Hayes-McCoy succeeds to the chair of his former history professor at UCG with the full remit of lecturing, administering examinations to undergraduates, and supervising postgraduate theses. Among his students who continue in the field of history are Nicholas Canny, Martin Coen, Patrick Melvin, Peter Toner, Tony Claffey, and Breandán Ó Bric. After his appointment to UCG, the family home remains in Dublin, and he commutes to Galway weekly during term time.
In the early 1960s, Hayes-McCoy becomes a spokesperson for the movement rekindled by the Old Galway Society to preserve the landmark “Lion’s Tower” in the city. The ultimate failure of the campaign informs his regret, expressed a year later, that Ireland is forgetful about its past and that “we don’t bother to find out about it or to maintain our ancient heritage,” and, on a perceived spirit of conformity, “take my own city of Galway, it is now more prosperous than it was, but it is no longer distinctive. I do not believe that it is essential for progress that we should lose our heritage.”
While at one time member and secretary of the London Sinn Féin office and informed by a pride of country and place, Hayes-McCoy’s professional and private outlook are marked by a distrust of nationalism or of any antagonising national agendas compromising genuine scholarship. In a paper drafted on tendencies in modern historical studies, he criticises the two historiographical extremes, each to be avoided, each unfortunately characteristic of the moment – extreme de-bunking and extreme “adding for effect.” “A history is a record of fact; to add pseudo-facts is as grave a sin as to leave out real facts that may change the colour of the whole.”
Hayes-McCoy’s abiding pastime is drawing. Among his papers in the James Hardiman Library, NUI Galway are approximately 40 items with predominantly maritime subjects, and he has a special regard for the history of ships, and a romantic liking of the sea. He also has a lifelong interest in Robert Louis Stevenson, Sir Walter Scott, and their works, and in the Pre-Raphaelite movement.
Hayes-McCoy’s middle age is marked by intermittent ill health. He dies on November 27, 1975, in his room at the Great Southern Hotel, Eyre Square, Galway.
Hayes-McCoy’s papers are held at the James Hardiman Library, National University of Ireland, Galway.
Henry is born Emily Grace Mitchell at Kirktown St. Fergus, near Peterhead, Aberdeenshire, Scotland, on February 10, 1868. She is the ninth of ten children of the Rev. John Mitchell and Jane Mitchell (née Gardner). Lord Byron is a cousin of her maternal grandmother. She is educated at home, spending time at the family’s home in Piccadilly, where she experiences London society. After the death of her father, and the reduced circumstances she finds herself in, she leaves home in 1895 to pursue a career as an artist. The first record of her work being exhibited is with the Aberdeen Artists Society in 1896 and 1898. These paintings have not been traced since. In 1899, she leaves Scotland for the continent, visiting Holland and Belgium, studying at the Blanc‐Guerrins Academy in Brussels. She goes on to attend the Delacluze Academy in Paris. While in Paris, she meets Paul Henry, an Irish artist. The couple marries in September 1903 in London.
The Henrys live at a few different residences outside London until 1910. A small number of her works are known from this time, such as The Girl in White, which is in the collections of the Hugh Lane Gallery. This piece shows the influence of fellow artist James Abbott McNeill Whistler, whom she meets in Paris through her husband. The couple travels to Achill Island for the first time in 1910, intending to stay two-weeks, but going on to live there until 1919. During this time, she paints numerous night scenes, including Achill Cottages (Hugh Lane Gallery). One of her well-known works is Top of the Hill, on display in the Limerick City Gallery of Art, which shows a group of island women. The period spent on the island places a strain on the Henrys marriage, as she is not as happy living there.
The couple returns to Dublin in 1919 and are founding members of the Society of Dublin Painters in 1920 alongside Letitia Marion Hamilton, Mary Swanzy, and Jack Butler Yeats. The Society offers an outlet for younger Irish artists to exhibit. Five of Henry’s works are featured at the Irish Exhibition in Paris in 1922, and at a similar exhibition in Brussels in 1930.
Around 1920, Henry has a romantic association with Stephen Gwynn who is an important political, cultural and literary figure from the lost world of late-nineteenth and early-twentieth century Ireland. During this period, she travels with Gwynn in France and Italy and later paints a number of portraits of him. Invariably, during this time, the Henrys’ marriage continues to have problems, with the couple breaking up in 1924. Her affair with Gwynn, who she depicts in two known oil paintings including The Orange Man (Limerick City Gallery of Art) and Portrait of a Man, which depicts a much more distinguished Gwynn in later life, contribute to the breakup. The couple legally separates in 1930.
Henry develops her own style through the 1920s and 1930s, spending time in France and Italy. From 1924 to 1925, she studies with André Lhote, a cubist painter who also works with Mainie Jellett, Evie Hone, and Mary Swanzy. She goes on to display little of his influence in her work. She paints in Venice and in the environs of the Italian lakes, painting with the fauvist style, with free brushwork and vibrant colours. She also experiments with expressionism, which can be seen in Spring in Winter. Upon the outbreak of World War II, she returns to Ireland. She does not have a permanent residence during this period, instead stayed with friends or living in hotels. She also experiences periods of melancholy during these later years, though she continues to exhibit. Her work is regularly displayed at the Royal Hibernian Academy (RHA), and she has solo shows at the Waddington and Dawson galleries. She is made an honorary member of the RHA in 1949.
Henry dies in Dublin on August 11, 1953, and is buried at Mount Jerome Cemetery. During her career, and for a number of years after her death, she is largely overshadowed by her husband, sometimes being referred to as “Mrs. Paul Henry.” She is even omitted from Paul Henry’s two-volume autobiography. Her body of work is re-examined in the 1970s, which leads to wider public recognition and her inclusion in a number of exhibitions such as The Paintings of Paul and Grace Henry at the Hugh Lane Gallery in 1991. She is deemed to be a much bolder painter than her husband, incorporating more elements of the modernist movement, as evident in The Long Grey Road of Disting (1915). Her popularity has been growing since her rediscovery.
(Pictured: “Road to Destiny,” oil on board by Grace Henry)
seamus dubhghaill 