The agreement on January 28, 1610, between the Crown and the Irish Society of London to carry out the plantation of Derry, Coleraine, and part of Tyrone refers to a significant historical event known as the Plantation of Ulster. This event takes place in the early 17th century and is part of the broader policy of the English and later British colonization of Ireland.
The Plantation of Ulster is a process initiated by the English Crown, primarily under King James I, to colonize the province of Ulster in the north of Ireland with English and ScottishProtestant settlers to defend against a future attack from within or without. This follows the Flight of the Earls in 1607, when several Gaelic Irish lords leave Ireland, leading to the confiscation of their lands by the Crown.
In his survey, James I finds that the town of Derry (renamed Londonderry) can become either a great asset as a control over the River Foyle and Lough Swilly, or it can become an inviting back door if the people of the area are against him. He pressures the guilds of the City of London to fund the resettlement of the area, including the building of a new walled city.
The Irish Society is formed by the City of London in response to James I’s royal request to participate in the plantation. The Society is a consortium of Londonlivery companies, which are trade associations and guilds.
The Crown grants the Irish Society lands in Ulster, particularly in modern-day County Londonderry (then including what is now County Tyrone), to establish new settlements. The key areas are the city of Derry and the town of Coleraine.
The primary objective is to settle Ulster with loyal Protestant subjects, thus consolidating English influence in Ireland. The plantation aims to bring about economic development and to establish control over what is considered a rebellious and unruly region.
The livery companies of London undertake the establishment of new towns, fortifications, and the settlement of the land with tenants. However, the implementation faces various challenges, including resistance from the native Irish population, logistical difficulties, and issues of mismanagement.
The Plantation of Ulster has profound and lasting demographic, social, and political impacts. It leads to significant changes in land ownership and contributes to the religious and cultural diversification of the region. The plantation is also a root cause of the sectarian divide in Northern Ireland, contributing to centuries of conflict between the Protestant and Catholic communities.
The agreement between the Crown and the Irish Society of London to carry out the Plantation of Ulster is a pivotal event in Irish history. It plays a crucial role in shaping the historical trajectory of Ireland, particularly Northern Ireland, and its effects are still felt in the region’s complex socio-political landscape.
The Plantation of Ulster remains a subject of historical analysis and debate, reflecting the complex interplay of colonization, cultural identity, and conflict in Irish history.
(From: “The Crown and the Irish Society of London, Agree to Carry Out the Plantation of Derry, Coleraine and Part of Tyrone,” McManus Family History, http://www.mcmanusfamilyhistory.com | Pictured: The crest of the Irish Society of London)
Davidson is the sixth of ten children of clerk of petty session, Edward Ellice Davidson, and Lucy Rising Davidson (née Doe). Her mother dies in 1888, and it is presumed that she receives a private education but as the family are not affluent, the details are unclear. She goes on to attend the Dublin Metropolitan School of Art (DMSA) from 1895 to 1905. While at the DMSA, she wins prizes in 1895 and 1896 and is awarded a scholarship and free studentship at the Royal Dublin Society (RDS) in 1897, the same year her father dies. She completes her studies in 1905. In the early 1910s, she is living in Rathmines and spends some time in England and Wales.
Davidson is commissioned by Switzer’s department store on Grafton Street to draw costumes in 1899. In 1909, her painting After Rain is exhibited by the Dublin Sketching Club, with her continuing to show work there until 1920. She exhibits The Bonfire with the Water Colour Society of Ireland in 1912, becoming a committee member in 1934 and continuing to exhibit with them until 1954. In 1914, she is one of the artists included in a sale of paintings to aid Belgian refugees. She is first exhibited at the Royal Hibernian Academy (RHA) in 1914, with The Student. Her painting exhibited by the RHA in 1916, The Harbour, St. Ives, demonstrates an influence from Stanhope Forbes and the Newlyn School, with a bright palette and contrasting illumination, which become characteristic of her work. She illustrates C. H. Bretherton’s collection of humorous poems and recollections about London Zoo, A Zoovenir (1919).
Davidson holds a joint exhibition with Mainie Jellett in 1920, at Mill’s Hall, Merrion Row, Dublin. Jellett produces a pencil portrait of Davison (pictured above), which shows her in a straw hat she frequently wears. The RHA exhibits Davidson’s oil painting, The Flax Pullers, in 1921. This work shows an influence from Paul Henry and French Impressionism in her use of colour-blocking. In the early 1920s, she travels to Switzerland, Belgium, and France, producing works such as Fish Market, Bruges. She lives in Paris in the late 1920s, exhibiting at the Salon de la Societé Nationale in 1924 and 1930. She places a self-portrait in her depiction of a peasant gathering, The Country Races. Reproductions of her drawing of Leinster House and Christ Church Cathedral by Bulmer Hobson are included in A Book of Dublin (1929). Her landscape, Low Tide, Wicklow, which is exhibited at the RHA in 1934, and Boats at Wicklow, Dusk show her ability to depict reflections in water. She continues to paint scenes of rural life, including Cottages – Keel, Achill, which shows an influence from Jack Butler Yeats in her use of space and colour. The fact that her family is not wealthy likely influences her choice of poorer people as her subjects, depicting them in a sympathetic manner. Her work is part of the painting event in the art competitions at the 1928 Summer Olympics.
Davidson’s paintings are exhibited at the Contemporary Picture Galleries, Dublin in 1930, alongside Yeats, Evie Hone, and Harry Kernoff. She is a member of the Picture Hire Club, 24 Molesworth Street, Dublin from 1941 to 1942, and is a frequent contributor to the Munster Fine Arts Club. Her work is exhibited at the Salon des Beaux Arts, Paris, the Royal Academy of Arts, London, and in Amsterdam. A large number of her works from the 1930s show the Irish-speaking area of Galway, Claddagh, such as Night in Claddagh, exhibited with the RHA in 1933. Her Irish landscapes, such as Claddagh Cottages, are included in the Oireachtas Art Exhibitions from 1932 to 1946. From around 1934, she is a member of the Society of Dublin Painters, exhibiting with them from 1939 to 1954. She influences the Society’s move toward the avant-garde in the 1940s. She is elected associate to the RHA in 1940 and continues to exhibit there until her death. Her 1946 work, Gorta, shows influence from Zola, Rilke, Dostoyevsky and Picasso.
Davidson teaches drawing at her studio at 1 Earlsfort Terrace, Dublin. Her pupils include Bea Orpen, Anne Yeats, and Mo Irwin. She also is a teacher at a number of Dublin schools, such as Belgrave school, Rathmines, Wesley College, St. Stephen’s Green, and Castle Park School, Dalkey. She travels to Abbeyleix, County Laois, once a week to teach at Glenbawn boarding school.
As well as painting, Davidson writes a number of plays, short stories, and monologues under a pseudonym, “Ulick Burke.” In 1927, a collection of her poems and Donegal rhymes is published. In 1931, Hilton Edwards directs her stage play Bride, at the Gate Theatre. Her short story, Her Only Son, is published in The Bell under a pseudonym in 1942. In 1935, she is a founder-member of the Torch Theatre, Dublin. She designs scenery, and is the co-director with Hugh Hyland in 1936, under the stage name “Jennifer Maude.”
Davidson dies at her home at 4 Wilton Terrace, Dublin on March 29, 1954. She is buried in an unmarked grave in Mount Jerome Cemetery. The National Gallery of Ireland (NGI) holds her 1938 portrait of Yeats, as well as her crayon drawing of Sarah Purser. She is a regular attendee at Purser’s “Second Tuesdays” gatherings. The Abbey Theatre holds her portrait of Joseph Holloway. She bequeaths The Golden Shawl to the Hugh Lane Gallery, which is a large self-portrait. Two of her works are included in the NGI’s 1987 exhibition, Irish Women Artists from the Eighteenth Century to the Present Day.
Blount is born in 1563, the second son of James, 6th Baron Mountjoy, and Catherine, only daughter of Sir Thomas Legh. He is among the most distinguished of the family, succeeding as 8th Baron Mountjoy on the death in 1594 of his unmarried elder brother William, 7th Baron Mountjoy. The good fortune of his youthful and handsome looks find favour with Queen Elizabeth I which arouses the jealousy of Robert Devereux, 2nd Earl of Essex, leading to a duel between the two courtiers, who later become close friends.
The downfall of Lord Essex does not damage Blount’s career. After the failure of his rebellion, Essex shocks many by denouncing his sister Penelope, who is Blount’s mistress, as a traitor, which inevitably raises the question of his own possible involvement. But the Crown, anxious to retain Blount’s services, and also to show as much leniency as possible to the defeated rebels, simply ignore the accusation.
On February 24, 1600, Blount lands in Ireland as Lord Deputy following Lord Essex and in the ensuing years brings the Nine Years’ War to an end. The leader of the rebellion, Hugh O’Neill, Earl of Tyrone, writes about Blount’s “refined manners” that he would lose a whole season of campaigning “while waiting until breakfast is prepared to his mind!” Despite this, Blount proves that he is quite qualified to pursue the war.
In early 1600, Blount dispatches Sir Henry Docwra with an army of 4,200 troops to land at Culmore to erect a fortress commanding the shores of Lough Foyle in the northwest of Ulster. To prevent Hugh O’Neill from sending a strong force to repulse Dowcra’s forces, Blount advances in force from Dublin to Newry causing O’Neill to fear a southern advance into Tyrone.
Blount aims to avoid the mistakes of previous Lords-Deputy. After the Battle of Moyry Pass, he has it cleared, and a garrison is established there. It had long been a problem for English forces advancing into Ulster from the south. He also establishes posts with garrisons at Mountnorris and Armagh.
On July 13, 1601, Blount and his army along with Turlough McHenry O’Neill of the Fews who had recently switched to the English side in the war, have a stand-off with Hugh O’Neill’s forces at the River Blackwater. After a few shots in vain from either side, O’Neill’s forces withdraw, and Blount sends his forces to occupy the ruined Blackwater fort destroyed by O’Neill in 1595. Later O’Neill’s forces attack Blount’s camp before withdrawing. In response, the Lord-Deputy sends his forces across the river where they find strong artificially fortified fords, which would have held out against the English.
By July 15, 1601, the Lord-Deputy has secured the surrender of O’Neill’s ally Hugh Magennis. That month, he has a new fort near the old Blackwater fort erected.
Blount reports to the council in England that O’Neill is determined to prevent his forces from advancing into Tyrone and toward Dungannon. As such, he initiates a policy of burning large quantities of corn to induce a famine to drive the rebels out of their strongholds.
Blount sets about trying to entice Hugh’s forces to come out and attack by fetching some materials for the new fort from the Tyrone side of the river as well as burning more corn. Further skirmishes between Blount and O’Neill’s forces ensue during the summer of 1601.
Spanish forces land in Munster in August 1601, forcing Blount to send his forces southward leaving O’Neill remaining in his unbroken heartland of Tyrone. The Spanish arrival culminates in the Siege of Kinsale that December, which sees a major defeat of the rebels and their allies.
O’Neill during this time has also moved south to assist some of his allies, however, after some serious defeats at the hands of the forces of Richard Burke, 4th Earl of Clanricarde of Connacht, he is in no place to offer any effective resistance once Blount marches once more to Tyrone in the summer of 1602.
Blount advances to the location he found the previous summer at the River Blackwater, which commands safe and secure passage into Tyrone, previously inaccessible, and sets about erecting a new fort. Having observed this, O’Neill burns his capital at Dungannon and flees to his last refuge in Glenconkeyne.
Advancing northward through Tyrone, Blount erects a fort in the townland of Magheralamfield, afterward known as Mountjoy Castle. He also christens the new fort at the Blackwater Charlemont Fort after himself.
Once in Tyrone, Blount carries out a campaign of devastation throughout it resulting in the mass hunting of rebels, spoiling of corn, the burning of houses and the killing of churls so as to force the submission of O’Neill and his remaining allies. Most symbolically, Blount has the inauguration site of the O’Neill’s at Tullyhogue Fort destroyed.
On March 30, 1603, six days after the death of Elizabeth and the accession of James I, O’Neill makes peace with Blount, signing the Treaty of Mellifont. Blount continues in office with the more distinguished title of Lord-Lieutenant. He declares amnesty for the rebels and grants them honourable terms, which causes some severe criticism from England. He shows similar moderation in putting down the abortive risings in Cork, Waterford and Wexford, where the aldermen, apparently with some vague idea of gaining greater toleration for Roman Catholics, refuse to proclaim the new King. In Cork, three insurgents are hanged after a summary trial, but the rest are acquitted or pardoned.
As part of the Plantation of Ulster, the majority of the barony of Loughinsholin is detached from County Tyrone and made part of the newly created County Londonderry. The rest of Loughinsholin along with the northern parts of Dungannon barony are merged to create the short-lived barony of Mountjoy. It is later amalgamated with the barony of Dungannon.
On his return to England, Blount serves as one of Sir Walter Raleigh’s judges in 1603, and in the same year King James I appoints him Master-General of the Ordnance as well as creating him Earl of Devonshire, granting him extensive estates. He is one of the founder members of the Spanish Company re-founded by royal charter in 1605.
Toward the end of Blount’s life, on December 26, 1605, at Wanstead House near London, in a ceremony conducted by his chaplain William Laud, afterward Archbishop of Canterbury, he marries his long-time mistress Lady Penelope, formerly wife of Robert Rich, 3rd Baron Rich (later 1st Earl of Warwick) and sister of Robert Devereux, 2nd Earl of Essex.
Blount leaves no legitimate children, and so his hereditary titles become extinct at his death on April 3, 1606, at Savoy House, London.
Barry is the fourth of seven children born to Thomas Barry, dairyman, and Mary Barry (née Dowling), both originally from northeast County Carlow. His father dies of heart disease on February 8, 1908, at the age of 56. His mother then moves the family to the family’s farm at Tombeagh, Hacketstown, County Carlow, while retaining the family’s townhouse on Fleet Street. As a child he goes to the National School in Rathvilly. In 1915, he is sent to live in Dublin and attends the O’Connell Schools for three months, before enrolling in the Preparatory Grade at St. Mary’s College, Rathmines, in September 1915. He remains at that school until May 31, 1916, when it is closed by its clerical sponsors. With the closure of St. Mary’s College, he transfers to Belvedere College, a Jesuit school in Dublin. He joins the Irish Volunteers, the forerunner of the IRA, while still at Belvedere College, and enters University College Dublin (UCD) in 1919 to study medicine.
As a member of 1st Battalion, Dublin Brigade of the Irish Volunteers, he takes part in a successful raid for arms on the military post in King’s Inns, Dublin, on June 1, 1920. Within only six minutes the raiders secure rifles, light machine guns, and large quantities of ammunition, and depart the site with no casualties. He also takes part in an abortive attempt to burn Aughavanagh House, Aughrim, County Wicklow in July 1920, and an attack on a British ration party in Church Street, Dublin, on September 20, with the aim of seizing arms. The final operation fails. Gunfire breaks out, three soldiers of around Barry’s own age are killed or fatally wounded, and he becomes the first Volunteer to be captured in an armed attack since 1916.
During interrogation, Barry is threatened with a bayonet and is mistreated. A general court-martial on October 20, which he refuses to recognise, condemns him to death for murdering the three soldiers, although one of the bullets taken from Private Marshall Whitehead’s body is a .45 calibre, while all witnesses state that Barry was armed with a .38 Mauser Parabellum. Despite widespread appeals on grounds of both clemency and expediency, the cabinet in London and officials in Dublin decide separately against a reprieve, probably because of its likely effect on the morale of soldiers and police.
On October 28, the Irish Bulletin, the official propaganda newspaper produced by Dáil Éireann‘s Department of Publicity, publishes Barry’s statement alleging torture. The headline reads English Military Government Torture a Prisoner of War and are about to Hang him. The Irish Bulletin declares Barry to be a prisoner of war, suggesting a conflict of principles is at the heart of the conflict. The British do not recognise a war and treat all killings by the Irish Republican Army (IRA) as murder. The public learns on this day that the date of execution has been fixed for November 1.
He was hanged in Mountjoy Prison, Dublin, on November 1, after hearing two Masses in his cell. The timing of the execution, only seven days after the death by hunger strike of Terence MacSwiney, the republican Lord Mayor of Cork, brings public opinion to a fever-pitch. He is buried in unconsecrated ground on the jail property. His comrade and fellow student Frank Flood is buried alongside him four months later. A plain cross marks their graves and those of Patrick Moran, Thomas Whelan, Thomas Traynor, Patrick Doyle, Thomas Bryan, Bernard Ryan, Edmond Foley and Patrick Maher who are hanged in the same prison before the Anglo-Irish Treaty of July 1921 which ends hostilities between Irish republicans and the British. The graves go unidentified until 1934. They become known as the Forgotten Ten by republicans campaigning for the bodies to be reburied with honour and proper rites. On October 14, 2001, the remains of the ten men are given a state funeral and moved from Mountjoy Prison to be re-interred at Glasnevin Cemetery in Dublin.
Barry is the first person to be tried and executed for a capital offence under the Restoration of Order in Ireland Act 1920, passed twelve weeks earlier. Together with his youth, this makes him a republican martyr celebrated in many ballads and verses. The best-known, set to a tune popular with British servicemen, is recorded by the American singer Paul Robeson, among others. A memorial stained-glass window by Richard King of the Harry Clarke Studio is later installed in the former UCD council chamber (afterward called the Kevin Barry Room), Earlsfort Terrace, Dublin.
Blackham is born in London, England, on December 16, 1891. His father, William George Blackham, is an Ulster Protestant from Newry, while his mother is an Englishwoman named Evison Elizabeth Saunders. An uncle is Robert J. Blackham who is the Surgeon-General to the British Army in Ireland. The family are evangelical Protestants, against which he rebels. Having been brought up to take the Bible literally, he suffers a religious crisis upon the realisation his teachers at school do not. He finds the transition to adulthood difficult, particularly due to the early death of his father.
For a time, Blackham moves in socialist circles, under the influence of Ulster socialist Robert Wilson Lynd. However, upon the discovery that his father had been a Protestant who had been in favour of Irish home rule and also had some republican sympathies, he turns toward Irish nationalism.
Blackham becomes involved in the Gaelic League while in London. he Gaelicizes his name to Aodh Sandrach de Blácam or Hugh de Blácam, despite his non-Gaelic ethnic origin. He learns the Irish language from the essayist Robert Wilson Lynd. During this time, he seeks to synthesize his urge to reclaim his sense of Irish nationality with the works and thoughts of hardline Catholic author G. K. Chesterton. It is partially because of Chesterton’s influence that he converts to Catholicism, although the conversion of Protestant Irish Nationalists to Catholicism is common throughout the early 20th century. Another influence upon his decision to convert is his desire to marry Catholic Mary McCarville of County Monaghan.
In May 1914 de Blácam returns to Ireland and begins working as a freelance journalist. He joins the Enniscorthy Echo as a journalist in 1915.
During the Irish War of Independence de Blácam writes nationalist propaganda alongside Arthur Griffith and Herbert Moore Pim. He is interned by the British in 1919. During this time period he writes two political manifestoes: Towards the Republic; a study of new Ireland’s social and political aims (1918) and What Sinn Féin Stands For (1921). The two books argue that at their root, Catholic social teaching (CST) and Bolshevism are essentially identical and that Ireland, having only experienced feudalism and capitalism because of external forces, can skip many of the phrases normally described in the Marxist Trajectory of historical development and go straight to a soviet-type society, an idea not dissimilar to the two-stage theory. He imagines this soviet-type society to be an Irish-speaking decentralised rural cooperative commonwealth. Critics of Sinn Féin frequently cite his works as proof of the infeasibility of Sinn Féin’s aims.
De Blácam opposes the Anglo-Irish Treaty and subsequently aids the Anti-Treaty Irish Republican Army (IRA) during the Irish Civil War. For this he is interned by the newly created Irish Free State in 1922. Following his release, he continues to pin his flag to the mast of Éamon de Valera and his newly formed Fianna Fáil party. He believes De Valera fully embodies his own political ideas.
During the 1920s de Blácam joins The Irish Times, which he later leaves to become editor of The Catholic Standard. For seventeen years he writes a feature in the Fianna Fáil aligned The Irish Press called “Roddy the Rover.”
It was also during the 1920s that de Blácam moves to Dublin, where he begins to move in the same circles as George Bernard Shaw, George Russell, and W. B. Yeats. He hopes all three men might one day convert to Catholicism as he did and is sorely disappointed when each do not. Upon the death of Yeats, he goes so far as to refer to Yeats’ poem as “Demonic.” He has similar hopes for Peadar O’Donnell but is similarly disappointed in his lack of interest in conversion.
In 1938 de Blácam publishes The Black North, a book which carries an introduction by de Valera. In the book he argues that Ulster Protestants are in actuality both Irish and Catholic, but they simply do not realise it. Among his arguments to support this idea are the suggestions that the presbyterian emphasis on self-government is derived from the Gaelic clan tradition, that presbyterian “kailyard” writers of rural nostalgia such as Lydia Mary Foster exemplify the naturally Irish piety and purity of her co-religionists, and that the fact that some workers commute from the Armagh borderland to work in Dundalk factories prove that the south is better off economically than the north.
It is suggested de Blácam is an influence upon de Valera’s 1943 broadcast “The Ireland That We Dreamed Of.” Politically he is highly considered about rural depopulation and is involved in a number of organisations seeking to end it. He advocates more economic autarky and cultural protectionism to combat rural depopulation and lamented urbanisation and industrialisation. He also tries to convince the Fianna Fáil executive that they should ban women from emigration as well as ban women from factories in order to force women to remain in rural Ireland. His ideas fail to impress the executive, with Seán MacEntee in particular standing in strong disagreement.
De Blácam is a member of the Fianna Fáil executive until 1947, when he defects to the upstart Irish Republican party Clann na Poblachta. For this move he is immediately fired from The Irish Press. He stands for Clann na Poblachta in the Louth constituency at the 1948 Irish general election but is not elected.
During the brief period in which Clann na Poblachta is in government, de Blácam serves as an official spokesman for the Department of Health and as a speechwriter to Noël Browne, the embattled Minister for Health.
De Blácam dies while working in the Custom House on January 16, 1951. His funeral is attended by many dignitaries including TaoiseachJohn A. Costello and former Taoiseach Éamon de Valera. He is buried in New Mellifont Abbey, County Louth.
The youngest daughter of Captain Henry Butler, a grandson of the Edmund Butler, 11th Viscount Mountgarret, and Clara Butler (née Taylor) of the Newarke, Leicester, England. Her father is himself an enthusiastic painter, known for his publication South African sketches: illustrative of the wildlife of a hunter on the frontier of Cape Colony (1841). Her early artistic efforts are mainly copies of romantic subjects, but the influence of the London artist Paul Jacob Naftel, with whom she begins corresponding in the early 1880s, proves to be crucial to her artistic development. Studies with William Frank Calderon, an expert in animal painting, are also significant. She subsequently spends the summers of 1894 and 1895 in Newlyn, Cornwall, England, with the Irish artist Norman Garstin, who introduces her to contemporary French painting.
In 1885, Butler makes her first visit to the continent, traveling through France, Switzerland, and Italy. From 1905 to 1914 she travels regularly to Europe, most particularly Aix-les-Bains and Wiesbaden, during which time she produces genre views of French and German villages. After 1914 her life at the family home is interrupted only by visits to London exhibitions. She is best known for her paintings of Kilmurry and its environs, many of which display an interest in botany. Much of her work is dominated by detailed representations of animals and birds, often drawn from photographs and stuffed specimens.
Butler’s career as an exhibitor begins in 1882 with the Irish Fine Arts Society, later known as the Water Colour Society of Ireland (WCSI), with which she has a long association. She exhibits regularly with the society from 1892 onward and is a member of its committee for many years. She is also closely associated with the Dudley Museum and Art Gallery in London. Her work is first shown there in 1888, and on this evidence, she is elected to their society. The purchase by the Chantrey bequest for the Tate Gallery of The Morning Bath for £50 in 1896 is a high point in her career. The first painting by a woman to be selected by the council, its purchase is followed by almost consistently good press reviews for her work. The Athenaeum of May 5, 1897, writes: “The young lady knows how to look at her subjects with the eyes of a well-trained artist.”
Butler also comes to the attention of the American artistic press. She contributes to the portfolio of drawings given by the Society of Lady Artists to Princess May on her marriage to the Duke of York in 1893, while in 1922 her work is included in the portfolio presented to Princess Mary on her marriage. Her patrons include Queen Alexandra, and the grand duke of Hesse, who purchases two of her paintings after she is invited to exhibit in Hesse Darmstadt in 1911. In 1914 she is made a member of the Union Internationale des Beaux Arts, and in 1921 her paintings are shown in Japan. She regularly exhibits with the Belfast Ramblers, the Royal Ulster Academy, the Royal Academy of Arts (RA), the Royal Hibernian Academy (RHA), the Society of Lady Artists, and the Royal Watercolour Society, of which she is made an associate member in 1896, and a full member in 1937.
In her later years, severe rheumatism prevents Butler from painting. She has a keen interest in music. She survives all five of her siblings, and inherits Kilmurry, where she dies on October 11, 1941. She is buried at Thomastown, County Kilkenny. Her paintings are represented in the collections of the National Gallery of Ireland, Dublin City Gallery the Hugh Lane, the Ulster Museum, and the Tate, London.
(From: “Butler, Mildred Anne” by Frances Clarke, Dictionary of Irish Biography, http://www.dib.ie, October 2009)
Gray is the second son of Sir John Gray and his wife, Anna Dwyer. He has three brothers and two sisters. After receiving his education, he joins his father in managing the Freeman’s Journal, the oldest nationalist newspaper in Ireland. When his father dies in 1875, he takes over proprietorship of the Journal, and his family’s other newspaper properties such as the Belfast Morning News and the Dublin Evening Telegraph.
In 1868, Gray saves five people from drowning in a wrecked schooner at Killiney Bay, an action for which he receives the Tayleur Fund Gold Medal for bravery from the Royal Humane Society. By coincidence, the rescue is witnessed by his future wife, Caroline Agnes Gray, whom he meets shortly afterwards. Agnes is the daughter of Caroline Chisholm, an English humanitarian renowned for her work in female immigrant welfare in Australia, and although Gray is descended from a Protestant family, he converts to Catholicism to marry her. The wedding in London on July 17, 1869, is conducted by the Bishop of Northampton, Francis Amherst. The couple has one son, Edmund Dwyer-Gray, who eventually takes over from his father as proprietor of his newspapers and goes on to become Premier of Tasmania.
From 1875 to 1883, Gray serves as a member of the Dublin Corporation, and in 1880 serves a term as Lord Mayor of Dublin. Unusual for an Irish nationalist politician, he is very much focused on urban rather than rural affairs, and like his father is heavily involved in public health and water provision for Dublin. He also promotes reform in the municipal health system.
Gray is imprisoned for six weeks in 1882 for remarks made in the Freeman’s Journal with regard to the composition of the jury in the case of a murder trial. He is actually Sheriff of Dublin City at the time of his imprisonment and, because of the conflict of office, is taken into custody by the city coroner. The defendant in the case in question is later hanged.
A heavy drinker and asthma sufferer, Gray dies at his home, Pembroke House, Upper Mount Street, Dublin, on March 27, 1888, at the age of 42 following a short illness. He is buried at Glasnevin Cemetery in Dublin.
O’Hegarty is born on December 29, 1879, at Carrignavar, County Cork, to John and Katherine (née Hallahan) Hegarty. His parents’ families emigrate to the United States after the Great Famine, and his parents are married in Boston, Massachusetts. His father is a member of the Irish Republican Brotherhood (IRB).
He is educated at North Monastery CBS, where he forms an enduring friendship with Terence MacSwiney. In 1888, his father dies of tuberculosis at the age of 42. Left destitute, his mother pawns her wedding ring to pay for an advertisement looking for work, and eventually becomes a cook.
He serves at the main Postal Sorting Office in Mount Pleasant, London, from 1902 to 1913. Along with J. J. Walsh, he spends three years at King’s College London, studying for the Secretary’s Office. While he succeeds in his studies, Walsh does not and returns to Ireland. O’Hegarty becomes the IRB representative for South East England and joins the Gaelic League and Sinn Féin and becomes a strong advocate of the Irish language. In 1905, he is elected secretary of the local Dungannon Club, which draws in as members Robert Lynd, Herbert Hughes and George Cavan. In 1907, as Sinn Féin’s London Secretary, he approves and signs the membership card of Michael Collins, later becoming friend and mentor to Collins.
He has to return to Ireland for a break due to overwork in 1909 and gives up some of his work for the Gaelic League. However, he takes over as editor of the IRB publication, Irish Freedom. It is in this publication that he famously writes, concerning the visit of King George V to Ireland in 1911: “Damn your concessions, England: we want our country!” In 1912, at the height of the Playboy riots, he writes four articles entitled “Art and the Nation” in Irish Freedom, which take a very liberal and inclusionist approach to Anglo-Irish literature and art in general but invokes the wrath of many of the paper’s readers.
In 1913, he is re-posted to Queenstown (present-day Cobh) as postmaster. He continues editing nationalist newspapers such as Irish Freedom (founded in 1910 and suppressed in December 1914 on account of its seditious content) and An tÉireannach and joins the Irish Volunteers. At the outbreak of war he is moved to Shrewsbury, probably on account of his political activities. In 1915, he marries Wilhelmina “Mina” Smyth, a schoolteacher and suffragist, and is then moved to Welshpool, Montgomeryshire. In the aftermath of the 1916 Easter Rising, he is opposed to physical force. In 1918, he refuses to take the British Oath of Allegiance and resigns his position in the Post Office.
O’Hegarty feels that the Abbey Theatre is “doing good for Ireland” and supports W. B. Yeats against attacks from Arthur Griffith and like-minded Nationalists. He opposes the extremist views of D. P. Moran, who seeks a Roman Catholic Irish-speaking Ireland.
He is Secretary of the Irish Department of Post and Telegraphs from 1922 to 1945. He is elected a member of the Irish Academy of Letters in 1954.
His son, Seán Ó hÉigeartaigh, is a founder of the Irish-language publishing house Sáirséal agus Dill. His daughter Gráinne, a harpist, marries Senator Michael Yeats, son of W. B. Yeats.
Pim is born in Dublin on September 21, 1909, to a Quaker father and English mother. She is a twin, but her brother dies. She is sent to the French School in Bray, County Wicklow, before being sent to Lausanne, Switzerland to finishing school. She then goes on to Girton College, Cambridge to study modern languages, intending to graduate with a degree in French and Italian. Her mother’s ill health and ultimate death in 1940, causes her to return to Ireland to look after her and she remains there taking care of her father, who dies in 1958, and an older incapacitated brother, Tom.
But these are good years for Pim with time to write, and during the 1950s and early 1960s she writes no fewer than seven novels, mostly crime fiction in a lighthearted style. During this time, she is a member of Irish PEN. She is also an avid amateur horticulturalist and writes for the magazine My Garden. Her more serious undertaking is a biography of the Irish plant collector Augustine Henry, The Wood and the Trees: A Biography of Augustine Henry (Macdonald, London). Her brother Tom dies in an accident in 1964 leaving Pim with no further responsibilities. This allows her to spend significant time researching through Henry’s papers. The book is published in 1966.
When Pim has completed the biography, she focuses on philanthropy. She dedicates her time to the Friends Historical Society and is particularly interested in helping out in the traveller community. She supports a young group of children and their grandfather. They bring her considerable joy. The Royal Horticultural Society of Ireland awards her the Society’s Medal of Honour and makes her an honorary life member for her services to the study of horticulture.
In Pim’s later years increasing deafness makes socialising difficult for her, but she still keeps up with the world of books, the theatre and painting. She reads The Irish Times from cover to cover every day, and her reading includes the Bible, Marcel Proust (in French) and the stories of Roddy Doyle.
Pim’s deafness finally forces her to move into sheltered housing in Dublin where she dies on December 16, 1995.
The statute increases the sovereignty of the self-governing Dominions of the British Empire from the United Kingdom. It also binds them all to seek each other’s approval for changes to monarchical titles and the common line of succession. The statute is effective either immediately or upon ratification. It thus becomes a statutory embodiment of the principles of equality and common allegiance to the Crown set out in the Balfour Declaration of 1926. As the statute removes nearly all of the British parliament’s authority to legislate for the Dominions, it is a crucial step in the development of the Dominions as separate, independent, and sovereign states.
The Irish Free State never formally adopts the Statute of Westminster, its Executive Council (cabinet) taking the view that the Anglo-Irish Treaty of 1921 has already ended Westminster‘s right to legislate for the Irish Free State. The Constitution of the Irish Free State gives the Oireachtas “sole and exclusive power of making laws.” Hence, even before 1931, the Irish Free State does not arrest British Army and Royal Air Force deserters on its territory, even though the UK believes post-1922 British laws give the Free State’s Garda Síochána the power to do so. The UK’s Irish Free State Constitution Act 1922 says, however, “[n]othing in the [Free State] Constitution shall be construed as prejudicing the power of [the British] Parliament to make laws affecting the Irish Free State in any case where, in accordance with constitutional practice, Parliament would make laws affecting other self-governing Dominions.”
Motions of approval of the Report of the Commonwealth Conference had been passed by Dáil Éireann and Seanad Éireann in May 1931 and the final form of the Statute of Westminster includes the Irish Free State among the Dominions the British Parliament cannot legislate for without the Dominion’s request and consent. Originally, the UK government wants to exclude from the Statute of Westminster the legislation underpinning the 1921 treaty, from which the Free State’s constitution had emerged. Executive Council President (Prime Minister) W. T. Cosgrave objects, although he promises that the Executive Council will not amend the legislation unilaterally. The other Dominions back Cosgrave and, when an amendment to similar effect is proposed at Westminster by John Gretton, parliament duly votes it down. When the statute becomes law in the UK, Patrick McGilligan, the Free State Minister for External Affairs, states, “It is a solemn declaration by the British people through their representatives in Parliament that the powers inherent in the Treaty position are what we have proclaimed them to be for the last ten years.” He goes on to present the statute as largely the fruit of the Free State’s efforts to secure for the other Dominions the same benefits it already enjoys under the treaty. The Statute of Westminster has the effect of granting the Irish Free State internationally recognised independence.
Éamon de Valera leads Fianna Fáil to victory in the 1932 Irish general election on a platform of republicanising the Free State from within. Upon taking office, he begins removing the monarchical elements of the Constitution, beginning with the Oath of Allegiance. De Valera initially considers invoking the Statute of Westminster in making these changes, but John J. Hearne advises him to not do so. Abolishing the Oath of Allegiance in effect abrogates the 1921 treaty. Generally, the British believe that this is morally objectionable but legally permitted by the Statute of Westminster. Robert Lyon Moore, a Southern Unionist from County Donegal, challenges the legality of the abolition in the Irish Free State’s courts and then appeals to the Judicial Committee of the Privy Council (JCPC) in London. However, the Free State has also abolished the right of appeal to the JCPC. In 1935, the JCPC rules that both abolitions are valid under the Statute of Westminster. The Irish Free State, which in 1937 is renamed Ireland, leaves the Commonwealth in 1949 upon the coming into force of The Republic of Ireland Act 1948.
The Statute of Westminster’s modified versions are now domestic law in Australia and Canada. It has been repealed in New Zealand and implicitly in former Dominions that are no longer Commonwealth realms.
seamus dubhghaill 