seamus dubhghaill

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


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Birth of Pearse Hutchinson, Poet, Broadcaster & Translator

Pearse Hutchinson, Irish poet, broadcaster and translator, is born in Glasgow, Scotland, on February 16, 1927.

Hutchinson’s father, Harry Hutchinson, a Scottish printer whose own father had left Dublin to find work in Scotland, is Sinn Féin treasurer in Glasgow and is interned in Frongoch internment camp in 1919–21. His mother, Cathleen Sara, is born in Cowcaddens, Glasgow, of emigrant parents from County Donegal. She is a friend of Constance Markievicz. In response to a letter from Cathleen, Éamon de Valera finds work in Dublin for Harry as a clerk in the Labour Exchange, and later he holds a post in Stationery Office.

Hutchinson is five years old when the family moves to Dublin, and is the last to be enrolled in St. Enda’s School before it closes. He then goes to school at Synge Street CBS where he learns Irish and Latin. One of his close friends there is the poet and literary critic John Jordan. In 1948 he attends University College Dublin (UCD) where he spends a year and a half, learning Spanish and Italian.

Having published some poems in The Bell in 1945, Hutchinson’s poetic development is greatly influenced by a 1950 holiday in Spain and Portugal. A short stop en route at Vigo brings him into contact for the first time with the culture of Galicia. Later, in Andalusia, he is entranced by the landscape and by the works of the Spanish poets Federico García Lorca, Emilio Prados and Luis Cernuda.

In 1951 Hutchinson leaves Ireland again, determined to live in Spain. Unable to get work in Madrid, as he had hoped, he travels instead to Geneva, where he gets a job as a translator with the International Labour Organization, which brings him into contact with Catalan exiles, speaking a language then largely suppressed in Spain. An invitation by a Dutch friend leads to a visit to the Netherlands, in preparation for which he teaches himself the Dutch language.

Hutchinson returns to Ireland in 1953, and becomes interested in the Irish language poetry of writers such as Piaras Feiritéar and Aonghus Fionn Ó Dálaigh, and publishes a number of poems in Irish in the magazine Comhar in 1954. The same year he travels again to Spain, this time to Barcelona, where he learns the Catalan and Galician languages, and gets to know Catalan poets such as Salvador Espriu and Carles Riba. With the British poet P. J. Kavanagh, he organises a reading of Catalan poetry in the British Institute.

Hutchinson goes home to Ireland in 1957 but returns to Barcelona in 1961, and continues to support Catalan poets. An invitation by the publisher Joan Gili to translate some poems by Josep Carner leads to the publication of his first book, a collection of thirty of Carner’s poems in Catalan and English, in 1962. A project to publish his translation of Espriu’s La Pell de brau (The Bull-skin), falls through some years later. Some of the poems from this project are included in the collection Done into English.

In 1963, Hutchinson’s first collection of original poems in English, Tongue Without Hands, is published by Dolmen Press in Ireland. In 1967, having spent nearly ten years altogether in Spain, he returns to Ireland, making a living as a poet and journalist writing in both Irish and English. In 1968, a collection of poems in Irish, Faoistin Bhacach (A Lame Confession), is published. Expansions, a collection in English, follows in 1969. Friend Songs (1970) is a new collection of translations, this time of medieval poems originally written in Galician-Portuguese. In 1972 Watching the Morning Grow, a new collection of original poems in English, comse out, followed in 1975 by another, The Frost Is All Over.

In October 1971, Hutchinson takes up the Gregory Fellowship in Poetry at the University of Leeds, on the recommendation of Professor A. Norman Jeffares. There is some controversy around the appointment following accusations, later retracted, that Jeffares had been guilty of bias in the selection because of their joint Irish heritage. He holds tenure at the University for three years, and during that time contributes to the University’s influential poetry magazine Poetry & Audience.

From 1977 to 1978 Hutchinsonn compiles and presents Oró Domhnaigh, a weekly radio programme of Irish poetry, music and folklore for Ireland’s national network, RTÉ. He also contributes a weekly column on the Irish language to the station’s magazine RTÉ Guide for over ten years. A collaboration with Melita Cataldi of Old Irish lyrics into Italian is published in 1981. Another collection in English, Climbing the Light (1985), which also includes translations from Irish, Italian and Galician, is followed in 1989 by his last Irish collection, Le Cead na Gréine (By Leave of the Sun). The Soul that Kissed the Body (1990) is a selection of his Irish poems translated into English. His most recent English collection is Barnsley Main Seam (1995). His Collected Poems is published in 2002 to mark his 75th birthday. This is followed in 2003 by Done into English, a selection of many of the translated works he produced over the years.

A co-editor and founder of the literary journal Cyphers, Hutchinson receives the Butler Award for Irish writing in 1969. He is a member of Aosdána, the state-supported association of artists, from which he receives a cnuas (stipend) to allow him to continue writing. He describes this as “a miracle and a godsend” as he is fifty-four when invited to become a member and is at the end of his tether. A two-day symposium of events is held at Trinity College Dublin, to celebrate his 80th birthday in 2007, with readings from his works by writers including Macdara Woods, Eiléan Ní Chuilleanáin, Paul Durcan and Sujata Bhatt. His most recent collection, At Least for a While (2008), is shortlisted for the Poetry Now Award.

Hutchinson lives in Rathgar, Dublin, and dies of pneumonia in Dublin on January 14, 2012.

(Pictured: Pearse Hutchinson in 1976, photographed by Eve Holmes, © RTÉ Archives 2032/078)


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Birth of Luis de Lacy, Spanish Soldier of Irish Descent

Luis Roberto de Lacy, a Spanish professional soldier of Irish descent who serves in the Spanish and French Imperial armies, is born on January 11, 1775 in San Roque, Cádiz, Spain.

De Lacy is born to Lieutenant-Colonel Patrick de Lacy, an officer in the Ultonia or Ulster Regiment, a foreign unit or Infantería de línea extranjera of the Spanish army. Patrick dies sometime before 1785 and his wife, Antonia, remarries Jean Gautier, another Ultonia officer. His grandfather, General Patrick de Lacy y Gould, came from Limerick. Along with many relatives, he was part of the post-1691 Irish diaspora known as the Flight of the Wild Geese.

De Lacy is commissioned into the Ultonia regiment when he is ten, although his age is recorded as thirteen to satisfy minimum requirements. Issuing commissions to children is not unusual, as they are considered private investments and often used to provide pensions for orphans. Although by now the Ultonia is no longer “Irish,” many of the officers are Spanish-born descendants of the original Irish emigrants, including his uncle Francis and various cousins.

In 1789, de Lacy joins an expedition to Puerto Rico, accompanied by his stepfather. They apparently quarrel and on their return, de Lacy walks to Porto, in Portugal, intending to take ship to the Maluku Islands, before his stepfather brings him home.

Promoted captain, de Lacy takes part in the War of the Pyrenees against France, which ends with the April 1795 Peace of Basel. He is posted to the Canary Islands in 1799, where he fights a duel with the local Capitán-General. Despite being transferred to El Hierro, he continues their feud. He is court-martialed as a result and sentenced to one year in the Royal Prison at the Concepción Arsenal at Cádiz.

De Lacy’s jailers allegedly consider him mentally unbalanced. As a result, he is stripped of his commission and barred from re-enlisting in the Spanish army. He moves to France in order to continue his career and is appointed captain in the Irish Legion, a French army unit formed in Brittany and intended to support an Irish rising. Although many of its officers are Irish exiles or of Irish descent, the rank and file are mostly Polish.

When the proposed rebellion fails to materialise, the Legion is posted to the Netherlands, where it remains until the War of the Third Coalition ends in 1806. De Lacy is appointed commandant of the second battalion, which participates in the 1807 Invasion of Portugal. In March 1808, Charles IV of Spain abdicates in favour of his son, Ferdinand, who is replaced in May by Joseph Bonaparte and held in France.

De Lacy arrives in Madrid shortly before the May 1808 revolt known as the Dos de Mayo. He deserts and is reinstated in the Spanish army as colonel of the Burgos regiment.

In July 1809, de Lacy is given command of the Isla de León, an important defensive position in Cádiz, home of the Regency Council that rules Spain in Ferdinand’s absence. He leads the 1st Division at the Battle of Ocaña on November 19, 1809. The collapse of the Spanish cavalry under Manuel Freire de Andrade exposes him to a flank attack that practically annihilates his division. A second defeat at Alba de Tormes on November 29 leaves the Spanish unable to confront the French in open battle and they resort to guerrilla tactics.

Although Cádiz is besieged by the French from February 1810 to August 1812, support from the Royal Navy allows the Council to send small amphibious expeditions intended to bolster resistance elsewhere. De Lacy leads landings in Algeciras, Ronda, Marbella and Huelva and although unable to hold them, this absorbs French resources. In March 1811, his troops support an Anglo-Spanish attempt to break the siege of Cádiz. The resulting Battle of Barrosa is a significant victory, although command failures mean the siege continues.

After the loss of Tarragona in June 1811, de Lacy replaces the Marquess of Campoverde as Capitán-General of Catalonia, a position held by his uncle Francis from 1789 to 1792. French efforts to capture Valencia weaken them elsewhere and provide the Spanish opportunities for partisan warfare. He leads a series of incursions into the French departments of Haute-Garonne and Ariège. These restore local morale and force the French to send reinforcements.

Most major towns, including Barcelona, Tarragona and Lleida, remain in French hands and in early 1812, Napoleon makes Catalonia part of France. The focus on guerrilla tactics lead to an increasingly bitter war of reprisals and executions by both sides, which severely impact the civilian population. Many of the partisan bands are beyond central control and their operations often indistinguishable from simple brigandage. This leads to conflict between de Lacy and local Catalan leaders and in January 1813, he moves to Santiago de Compostela as Captain General of the Kingdom of Galicia. He assumes command of the Reserva de Galicia, which he focuses on disciplining and reorganising. Following Allied victory at Vitoria in June 1813, the French withdraw from Spain and Ferdinand returns to Madrid in April 1814.

Ferdinand rejects a previous commitment to accept the Spanish Constitution of 1812 and establishes an absolutist regime. Spain also faces colonial wars in the Americas, which begin in 1810 and continue until 1833. This destabilises the regime and leads to a series of attempted coups, by military officers like de Lacy backed by progressive civilian elements, often linked by Freemasonry.

Following failed attempts in 1815 and 1816, de Lacy returns to Barcelona and assisted by a former subordinate, Francisco Milans del Bosch, plan another. This begins on April 5, 1817 but quickly collapses. De Lacy is captured, court-martialed, and sentenced to death. Following public protests against the sentence, he is secretly taken to Palma de Mallorca, held at Bellver Castle and executed there by firing squad on July 5, 1817.

In 1820, a revolt led by Colonel Rafael del Riego forces Ferdinand to restore the 1812 Constitution. This begins the Trienio Liberal, a period of liberalisation that ends in 1823, when a French army allows Ferdinand to re-assert control. However, in 1820 the reconstituted Cortes Generales declares de Lacy a martyr. Along with others including Riego, he is commemorated on a plaque in the Palacio de las Cortes, Madrid, which can still be seen today. De Lacy is buried at the Cementiri de Sant Andreu, in Barcelona.


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Death of Flaithrí Ó Maolchonaire, Archbishop of Tuam

Flaithrí Ó Maolchonaire, Irish Franciscan and theologian, founder of St. Anthony’s College, Leuven, and Archbishop of Tuam, dies in Madrid, Spain on November 18, 1629.

Ó Maolchonaire is born in the townland of Figh, civil parish of Tibohine, barony of Frenchpark, County Roscommon. His father and mother are Fíthil and Onóra Ó Maolchonaire. Two other sons survive to adulthood, Maoilechlainn and Firbisigh. They belong to a well-known family of historians and poets. He is brought up in the family profession.

Ó Maolchonaire studies for the priesthood at Salamanca, entering the Irish college founded in 1592. He first studies the liberal arts and philosophy. In 1593 he translates into Irish a short Castilian catechism by Jerónimo de Ripalda SJ. The original is a simple catechetical work written in Aristotelian master-pupil dialogue. According to Mícheál Mac Craith, Ó Maolchonaire’s translation pointedly refers to the Irish as Eirinnach rather than Gaedheal.

After five years at the Salamanca Irish college, Ó Maolchonaire leaves to join the Franciscan province of Santiago. Aodh Mac Cathmhaoil is among his classmates in the Salamanca Franciscan friary. They and nine of their peers in the Santiago province are later raised to the episcopacy, an unprecedented development in the history of the order.

At the height of the Nine Years’ War, Ó Maolchonaire sails to Ireland where he serves as a confessor and preacher to troops under the command of Hugh O’Neill and Hugh Roe O’Donnell. In 1601, they request a bishopric for Ó Maolchonaire “in recognition of his diligence, commending his sound judgment on Irish affairs.” After the disaster of Kinsale in 1601, he accompanies O’Donnell to Spain as his confessor and adviser, hoping to see a renewal of Spanish military intervention in Ireland.

In 1602, Ó Maolchonaire attempts to get approval for O’Donnell to meet Philip III in person but they are kept at arm’s length by the Spanish court. During this time, they also drafted an official complaint against the Jesuit superiors of the Irish college at Salamanca over presumed discrimination in favour of Old English students at the expense of students from Connacht and Ulster.

While waiting for a response to his repeated calls for military support in Ireland, O’Donnell becomes seriously ill and dies at Simancas, being assisted on his deathbed by Ó Maolconaire. In keeping with his patronage of the order of friars minor in Donegal, O’Donnell is buried in the Franciscan habit. Ó Maolchonaire accompanies the remains to their last resting place in the Franciscan church at Valladolid. He continues to press for military support after O’Donnell’s death. He participates in an abandoned maritime expedition which reaches Achill Sound in 1603 but never lands in Ireland. He subsequently assists the Spanish councils of state and war to stem the flow of Irish military migrants and their dependents in Spain.

As adviser to Puñonrostro, the king’s appointee as protector of Irish exiles in Spain, Ó Maolchonaire helps to secure funds for widows, orphans and clerics. Trained as a chronicler and genealogist, he sponsors the entry of Irish soldiers into Spanish military orders and successfully calls for the promotion of Henry O’Neill, second eldest son of the earl of Tyrone, as colonel of Irish infantry units in Flanders, the O’Neill tercio in 1604.

In 1606, the Franciscan general chapter is held in Toledo where Ó Maolchonaire is selected as minister-provincial of the Irish friars minor. The most notable act of his tenure as provincial is the founding of a new Irish Franciscan college at Leuven in the Habsburg Netherlands. A year before his appointment, he begins his efforts in earnest with an appeal to the Spanish king. The loss of five Franciscan houses during the Nine Years’ War makes a new foundation essential. In response, Philip III instructs Albert VII, Archduke of Austria, to provide a perpetual grant for a new college in the university town of Leuven. Ó Maolchonaire’s part in founding the college clearly influences the Catholic pastoral mission to Ireland during the seventeenth century. The first and most active Irish printing press on the continent is long in operation at Leuven.

After Hugh O’Neill and Rory O’Donnell leave Ireland in 1607, Ó Maolconaire accompanies them from Douai to Rome as interpreter and advisor. Christopher St. Laurence, baron of Howth, implicates him in a plot to seize Dublin Castle and raises a new rebellion just before the Flight of the Earls. In recognition of his losses, Philip III and Paul V offer O’Neill the concession of Ó Maolchonaire’s promotion to the archbishopric of Tuam. On Sunday, May 3, 1609, he is consecrated archbishop by Cardinal Maffeo Barberini in the centre of Rome at the Chiesa Santo Spirito in Sassia. He remains in Rome until his appointment as archbishop of Tuam before returning to Madrid on behalf of Hugh O’Neill.

In response to the 1613–15 Parliament of Ireland, Ó Maolchonaire writes from Valladolid a remonstrance to the Catholic members of the parliament, rebuking them for assenting to the bill of attainder that confiscated the estates of O’Neill, O’Donnell and their adherents. As Archbishop of Tuam, he never takes possession of his episcopal see, governing through vicars general. He continues to live in Madrid and Leuven, as is the case with many Irish clergy at the time. Like his fellow-Franciscan, Luke Wadding, and Peter Lombard, Archbishop of Armagh, he serves as a key intermediary and his influence in Irish matters is considerable. In 1626, a year after Charles I declared war on Spain, he makes the case for an invasion of Ireland under the joint leadership of the earls of Tyrone and Tyrconnell.

Ó Maolconaire dies at the Franciscan friary of San Francisco el Grande in Madrid on November 18, 1629. In 1654, two Irish friars bring his remains back to St. Anthony’s College in Leuven where he is buried near the high altar in the collegiate chapel.


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Birth of Sean Scully, Painter, Printmaker, Sculptor & Photographer

Sean Scully, Irish-born American-based artist working as a painter, printmaker, sculptor and photographer, is born in Dublin on June 30, 1945. His work is held in museum collections worldwide and he has twice been named a Turner Prize nominee.

Four years after his birth, Scully’s family moves to London where they live in a working-class part of South London, moving from lodging to lodging for a number of years. By the age of 9, he knows he wants to become an artist. From the age of 15 until he is 17, he is apprenticed at a commercial printing shop in London as a typesetter, an experience that greatly influences his future artwork.

Scully studies at Croydon School of Art between 1965-67 and at Newcastle University between 1967-71. He is awarded the Frank Knox Memorial Fellowship in 1972 to attend Harvard University. It is during this first stay in the United States that he begins to experiment with new techniques such as tape and spray paint. In 1975 he is awarded a Harkness Fellowship and establishes a studio in New York, where he settles, becoming an American citizen in 1983.

Over the years, Scully develops and refines his own recognisable style of geometric abstraction and most notably his characteristic motif of the ‘stripe.’ Although he is predominately known for his monumental paintings, he is also a gifted printmaker who has made a notable body of woodcuts and etchings.

Scully has his first solo exhibition at the Rowan Gallery, London in 1973. He has his first retrospective at the Ikon Gallery in Brindleyplace, Birmingham, in 1981, which travels throughout the United Kingdom. In 1989 his first solo exhibition in a European museum travels from the Whitechapel Gallery in London to Palacio Velázquez in Madrid and Städtische Galerie im Lenbachhaus in Munich. He has further solo exhibitions at Kunstsammlung Nordrhein Westfalen in Düsseldorf (2001) which travels to Haus der Kunst in Munich and the Institut Valencià d’Art Modern in Valencia; The Phillips Collection in Washington, D.C. (2005) travels to the Modern Art Museum of Fort Worth in Texas, the Cincinnati Art Museum in Ohio and finally the Metropolitan Museum of Art in New York City. A major retrospective tours multiple venues in China between 2015 and 2017.

Scully’s paintings and prints are held in the collections of Tate in London, the Albertina in Vienna, Museo Nacional Centro de Arte Reina Sofía in Madrid, Instituto Valencia d’Arte Modern in Valencia, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York City, the National Gallery of Art in Washington D.C., Modern Art Museum of Fort Worth in Texas, Guangzhou Museum of Art in Guangzhou, China, and the Central Academy of Fine Arts in Beijing, China.

Scully has held teaching positions at Chelsea College of Arts and Goldsmith’s College of Art and Design, both in London, Princeton University in New Jersey, Parsons School of Design in New York, and most recently at the Akademie der Bildenden Künste in Munich. He is shortlisted for the Turner Prize in 1989 and in 1993, and is elected a Royal Academician in 2013. He participates for the first time at the Venice Biennale in 2014.

Sean Scully lives and works in New York and in Bavaria, Germany.


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Battle of Campo Santo

battle-of-campo-santoDuring the War of Austrian Succession, the Irish Brigade of Spain fights at the Battle of Campo Santo in Camposanto, Italy on February 8, 1743. The regiments of Ultonia, Irlanda, and Hibernia form the Irish Brigade fighting in Italy in a Spanish army, led by Gen. Jean Bonaventure Thierry du Mont, comte de Gages. The Spaniards and their Neapolitan allies are fought to a standstill by the Austrians and their Sardinian allies under Field Marshal Otto Ferdinand Graf von Abensperg und Traun on the Panaro.

In January 1743, General De Gages’ 13,000 strong Spanish army lay at Bologna, south of the Panaro. Count Traun’s Austrian and Piedmont-Sardinian army of 11,000 lay to the north of the river, blocking De Gages’ attempts to cross the formidable barrier. Traun prefers a maneuvering defense to risking his army in a pitched battle with his opponent, but concerns in Madrid are more political than strategic. Needing a victory, Philip V of Spain and his Queen Elisabeth Farnese demand that De Gages launch an offensive or tender his resignation. Accordingly, leaving Bologna on the night of February 3, De Gages slips across the Panaro and enters the Duchy of Modena, seeking a decisive encounter with Traun.

Fortunately for De Gages, Marshal Traun is ready to oblige him. Aware of the criticism leveled at him in Vienna where his enemies are trying to relieve him of his command, and also that Spain’s recent seizure of Savoy might well induce the King of Sardinia to negotiate with the Spanish Crown, the Marshal decides that a victory will quell the uproar and induce Austria’s allies to think twice about negotiating. Gathering up his army, Traun moves to block De Gages’ path and prevent him from advancing further into Modena. The two armies meet at the village of Camposanto.

On the morning of the battle, De Gages draws up his army on the outskirts of the village in the traditional fashion with his infantry in the center and the cavalry on the wings. Traun also draws up his army in the same manner, but being slightly outnumbered, he chooses to gamble with an unorthodox strategy. Instead of aligning himself directly opposite the Spaniards, he shifts his troops to the northwest, which means that the center of Traun’s infantry is directly opposite the gap between Gages’ infantry and the right wing of cavalry. Although this means that Traun would have a greater superiority of numbers on this wing and that he could also deliver a flank attack on the Spanish right, his own right flank would, however, be vulnerable to a Spanish flank attack. Marshall is relying on the troops of that wing to delay the Spanish long enough for the action on his other wing to be decisive.

Matters are helped when De Gages chooses 4:00 in the afternoon to launch the attack, which leaves only a few hours of daylight for a battle. The Spanish are initially successful on both wings, where their cavalry drives off the Austro-Piedmontese cavalry, wounding Count Aspremont in the process and leaving the Austrian infantry vulnerable. However instead of reforming to attack the infantry, the Spanish chase them off the field. Traun stabilises his left flank, and leads his infantry into the attack against the Spanish. Meanwhile, Count Schulenberg regroups the Austrian cavalry on the Austrian right, and launches a counterattack against the Spanish cavalry. On the other flank Aspremont’s replacement, General Leutrum, leads his wing forward as well, smashing the Spanish right wing. Due to darkness it is necessary for both armies to withdraw the field. The Spanish back across the Panaro towards Bologna. Due to the smoke and darkness, many units lose their way. The 1st Guadalaxara marches in the direction of the advancing austro-sardian infantry columns, and it has to surrender after a short defence inside the walls of a farm.

Casualties in the battle are 1,755 dead, 1,307 wounded and 824 prisoners for the Spanish, while the Austro-Piedmontese lose 397 dead and 1,153 wounded or prisoners. Traun himself has two horses shot from under him during the battle.

De Gages retreats to Bologna but on March 26 he is also forced to retreat to Rimini. Despite this, the battle is widely considered a victory in Madrid, and de Gages is awarded a victory title, Count of Campo Santo. Following the battle, France promises support and co-operation with the Spanish, but for the moment Traun has saved North Italy for Maria Theresa.

Once again hundreds of Irishmen die many miles from home for “every cause but their own.”


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The Battle of Brihuega

File source: https://commons.wikimedia.org/wiki/File:Vendome-and-PhilipV.jpgThe Irish “Hibernia” regiment and other Irish units of Spain fight at the Battle of Brihuega on December 8, 1710 in the War of the Spanish Succession, during the allied retreat from Madrid to Barcelona. The British rearguard under James Stanhope, 1st Earl Stanhope, is cut off within the town of Brihuega and overwhelmed by a Franco-Spanish army under Louis Joseph de Bourbon, Duke of Vendôme. Brihuega with other events brings an end to the British participation in the war.

The Duke of Vendôme sets out from Talavera de la Reina with his troops and pursues the retreating British army with a speed perhaps never equalled in such a season and in such a country. The middle-aged Frenchman leads his Franco-Spanish army day and night. In typical Vendôme style, he swims, at the head of his cavalry, the flooded Henares and in a few days overtakes Stanhope, who is at Brihuega with the left wing of the Grand Alliance army.

“Nobody with me,” said the British general, “imagined that they had any foot within some days’ march of us and our misfortune is owing to the incredible diligence which their army made.” Stanhope has barely enough time to send off a messenger to the centre of the army, which is some leagues from Brihuega, before Vendôme is upon him on the evening of December 8. The next morning the town is invested on every side.

Blasting the walls of Brihuega with heavy cannon, a mine is sprung under one of the gates. The British keep up a terrible fire until their powder is spent. They then fight desperately against overwhelming odds as Vendôme’s men storm the city with bayonets fixed and begin to take the town by bloody close quarters fighting, street by street. The British set fire to the buildings which their assailants have taken but in vain. The British general sees that further resistance will produce only a useless carnage. He concludes a capitulation and his army becomes prisoners of war on honourable terms.

Scarcely had Vendôme signed the capitulation, when he learns that General Guido Starhemberg is marching to the relief of Stanhope. On December 10 the two meet in the bloody Battle of Villaviciosa, after which Starhemberg continues the allied retreat.

The British troops do not remain in captivity for very long before they are exchanged and sent home in October 1711.

The defeat helps justify the Harley ministry‘s plan to agree to a compromise peace with France at the Treaty of Utrecht. Opponents of the deal protest on the grounds of “No Peace Without Spain.” Nonetheless Allied forces are withdrawn, with the final action taking place at the Siege of Barcelona in 1714.


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Birth of Figurative Painter Francis Bacon

francis-baconFrancis Bacon, Irish-born British figurative painter known for his bold, emotionally charged and raw imagery, is born in Dublin on October 28, 1909.

Bacon is best known for his depictions of popes, crucifixions and portraits of close friends. His abstracted figures are typically isolated in geometrical cage like spaces, set against flat, nondescript backgrounds. Bacon says that he sees images “in series,” and his work typically focuses on a single subject for sustained periods, often in triptych or diptych formats. His output can be broadly described as sequences or variations on a single motif, beginning with the 1930s Pablo Picasso-informed Furies, moving on to the 1940s male heads isolated in rooms or geometric structures, the 1950s screaming popes, and the mid-to-late 1950s animals and lone figures, the 1960s portraits of friends, the nihilistic 1970s self-portraits, and the cooler more technical 1980s late works.

Bacon takes up painting in his late 30s, having drifted as an interior decorator, bon vivant and gambler. He says that his artistic career was delayed because he spent too long looking for subject matter that could sustain his interest. His breakthrough comes with the 1944 triptych Three Studies for Figures at the Base of a Crucifixion, which seals his reputation as a uniquely bleak chronicler of the human condition. From the mid-1960s he mainly produces portraits of friends and drinking companions, either as single or triptych panels. Following the 1971 suicide of his lover, George Dyer, his art becomes more sombre, inward-looking and preoccupied with the passage of time and death. The climax of this later period is marked by masterpieces, including Study for Self-Portrait (1982) and Study for a Self-Portrait—Triptych, 1985–86.

Despite his bleak existentialist outlook, solidified in the public mind through his articulate and vivid series of interviews with David Sylvester, Bacon in person is highly engaging and charismatic, articulate, well-read and unapologetically gay. He is a prolific artist, but nonetheless spends many of the evenings of his middle age eating, drinking and gambling in London‘s Soho with like-minded friends such as Lucian Freud, John Deakin, Muriel Belcher, Henrietta Moraes, Daniel Farson, Tom Baker, and Jeffrey Bernard.

After Dyer’s suicide he largely distances himself from this circle, and while his social life is still active and his passion for gambling and drinking continues, he settles into a platonic and somewhat fatherly relationship with his eventual heir, John Edwards. The art critic Robert Hughes describes him as “the most implacable, lyric artist in late 20th-century England, perhaps in all the world” and along with Willem de Kooning as “the most important painter of the disquieting human figure in the 50’s of the 20th century.” Bacon is the subject of two Tate retrospectives and a major showing in 1971 at the Grand Palais.

While on holiday in Madrid in 1992, Francis Bacon is admitted to the Handmaids of Maria, a private clinic, where he is cared for by Sister Mercedes. His chronic asthma, which has plagued him all his life, has developed into a respiratory condition and he is unable to talk or breathe very well. He dies of a heart attack on April 28, 1992, after attempts to resuscitate him fail.

Bacon bequeaths his estate, then valued at £11 million, to John Edwards and Brian Clark, executors. In 1998 the director of the Hugh Lane Gallery in Dublin secures the donation of the contents of Bacon’s chaotic studio at 7 Reece Mews, South Kensington. The contents of his studio are moved and reconstructed in the gallery. Most of his works remain in the Hugh Lane in Dublin today.

Since his death his reputation and market value have grown steadily, and his work is among the most acclaimed, expensive and sought-after. In the late 1990s a number of major works, previously assumed destroyed, including early 1950s popes and 1960s portraits, reemerge to set record prices at auction. In 2013 his Three Studies of Lucian Freud sets the world record as the most expensive piece of art sold at auction.


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Birth of Bing Crosby

bing-crosbyHarry Lillis “Bing” Crosby Jr., American singer and actor and descendant of Irish immigrants, is born on May 3, 1903 in Tacoma, Washington. His trademark warm bass-baritone voice makes him one of the best-selling recording artists of all time, selling over one billion analog records and tapes, as well as digital compact discs and downloads around the world.

Crosby’s parents are Harry Lillis Crosby Sr. (1870–1950), a bookkeeper of English descent, and Catherine Helen “Kate” (née Harrigan; 1873–1964), a second generation Irish American. An ancestor, Simon Crosby, emigrates to America in the 17th century, and one of his descendants marries a descendant of Mayflower passenger William Brewster.

The first multimedia star, from 1931 to 1954 Crosby is a leader in record sales, radio ratings, and motion picture grosses. His early career coincides with technical recording innovations such as the microphone. This allows him to develop a laid-back, intimate singing style that influences many of the popular male singers who follow him, including Perry Como, Frank Sinatra, Dick Haymes, and Dean Martin. Yank, the Army Weekly magazine says that he is the person who has done the most for American soldiers’ morale during World War II.

The biggest hit song of Crosby’s career is his recording of Irving Berlin‘s “White Christmas,” which he introduces on a Christmas Day radio broadcast in 1941. The song then appears in his 1942 movie Holiday Inn. His record hits the charts on October 3, 1942, and rises to No. 1 on October 31, where it stays for eleven weeks.

In 1948, American polls declare him the “most admired man alive,” ahead of Jackie Robinson and Pope Pius XII. Also in 1948, Music Digest estimates that his recordings fill more than half of the 80,000 weekly hours allocated to recorded radio music.

Crosby wins an Academy Award for Best Actor for his role as Father Chuck O’Malley in the 1944 motion picture Going My Way and is nominated for his reprise of the role in The Bells of St. Mary’s opposite Ingrid Bergman the next year, becoming the first of six actors to be nominated twice for playing the same character. In 1963, he receives the first Grammy Global Achievement Award. He is one of 33 people to have three stars on the Hollywood Walk of Fame, in the categories of motion pictures, radio, and audio recording.

Crosby influences the development of the postwar recording industry. After seeing a demonstration of an early Ampex reel-to-reel tape recorder he places a large order for their equipment and convinces ABC to allow him to tape his shows. He becomes the first performer to pre-record his radio shows and master his commercial recordings onto magnetic tape. Through the medium of recording, he constructs his radio programs with the same directorial tools and craftsmanship (editing, retaking, rehearsal, time shifting) used in motion picture production, a practice that becomes an industry standard. In addition to his work with early audio tape recording, he helps to finance the development of videotape, purchases television stations, breeds racehorses, and co-owns the Pittsburgh Pirates baseball team.

On October 13, 1977, Crosby flies alone to Spain to play golf and hunt partridge. The following day, at the La Moraleja Golf Course near Madrid, he plays 18 holes of golf. As Crosby and his party head back to the clubhouse, Crosby says, “That was a great game of golf, fellas.” At about 6:30 PM, he collapses about 20 yards from the clubhouse entrance and dies instantly from a massive heart attack. At Reina Victoria Hospital he is administered the last rites of the Catholic Church and is pronounced dead. On October 18, following a private funeral Mass at St. Paul’s Catholic Church in Westwood, he is buried at Holy Cross Cemetery in Culver City, California. A plaque is placed at the golf course in his memory.


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Death of Figurative Painter Francis Bacon

francis-baconFrancis Bacon, Irish-born British figurative painter known for his bold, emotionally charged and raw imagery, dies of a heart attack while on holiday in Madrid, Spain on April 28, 1992.

Bacon is born in Dublin on October 28, 1909. He is best known for his depictions of popes, crucifixions and portraits of close friends. His abstracted figures are typically isolated in geometrical cage like spaces, set against flat, nondescript backgrounds. Bacon says that he sees images “in series,” and his work typically focuses on a single subject for sustained periods, often in triptych or diptych formats. His output can be broadly described as sequences or variations on a single motif, beginning with the 1930s Pablo Picasso-informed Furies, moving on to the 1940s male heads isolated in rooms or geometric structures, the 1950s screaming popes, and the mid-to-late 1950s animals and lone figures, the 1960s portraits of friends, the nihilistic 1970s self-portraits, and the cooler more technical 1980s late works.

Bacon takes up painting in his late 30s, having drifted as an interior decorator, bon vivant and gambler. He says that his artistic career was delayed because he spent too long looking for subject matter that could sustain his interest. His breakthrough comes with the 1944 triptych Three Studies for Figures at the Base of a Crucifixion, which seals his reputation as a uniquely bleak chronicler of the human condition. From the mid-1960s he mainly produces portraits of friends and drinking companions, either as single or triptych panels. Following the 1971 suicide of his lover, George Dyer, his art becomes more sombre, inward-looking and preoccupied with the passage of time and death. The climax of this later period is marked by masterpieces, including Study for Self-Portrait (1982) and Study for a Self-Portrait—Triptych, 1985–86.

Despite his bleak existentialist outlook, solidified in the public mind through his articulate and vivid series of interviews with David Sylvester, Bacon in person is highly engaging and charismatic, articulate, well-read and unapologetically gay. He is a prolific artist, but nonetheless spends many of the evenings of his middle age eating, drinking and gambling in London‘s Soho with like-minded friends such as Lucian Freud, John Deakin, Muriel Belcher, Henrietta Moraes, Daniel Farson, Tom Baker, and Jeffrey Bernard.

After Dyer’s suicide he largely distances himself from this circle, and while his social life is still active and his passion for gambling and drinking continues, he settles into a platonic and somewhat fatherly relationship with his eventual heir, John Edwards. The art critic Robert Hughes describes him as “the most implacable, lyric artist in late 20th-century England, perhaps in all the world” and along with Willem de Kooning as “the most important painter of the disquieting human figure in the 50’s of the 20th century.” Bacon is the subject of two Tate retrospectives and a major showing in 1971 at the Grand Palais.

While on holiday in Madrid in 1992, Francis Bacon is admitted to the Handmaids of Maria, a private clinic, where he is cared for by Sister Mercedes. His chronic asthma, which has plagued him all his life, has developed into a respiratory condition and he is unable to talk or breathe very well. He dies of a heart attack on April 28, 1992, after attempts to resuscitate him fail.

Bacon bequeaths his estate, then valued at £11 million, to John Edwards and Brian Clark, executors. In 1998 the director of the Hugh Lane Gallery in Dublin secures the donation of the contents of Bacon’s chaotic studio at 7 Reece Mews, South Kensington. The contents of his studio are moved and reconstructed in the gallery. Most of his works remain in the Hugh Lane in Dublin today.

Since his death his reputation and market value have grown steadily, and his work is among the most acclaimed, expensive and sought-after. In the late 1990s a number of major works, previously assumed destroyed, including early 1950s popes and 1960s portraits, reemerge to set record prices at auction. In 2013 his Three Studies of Lucian Freud sets the world record as the most expensive piece of art sold at auction.


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The Retreat of Donal Cam O’Sullivan Beare

donall-cam-osullivan-beareDonal Cam O’Sullivan Beare and his clan begin their epic march to Ulster on December 31, 1602. O’Sullivan has supported Hugh O’Neill, Earl of Tyrone, in his fight against Elizabethan England‘s attempts to destroy Gaelic Ireland once and for all. The cause O’Neill and O’Sullivan fight for is probably doomed after O’Neill’s defeat in the Battle of Kinsale in 1601, but the fight goes on, nonetheless.

O’Sullivan Beare conceals 300 of the women, children and aged of his community in a stronghold on Dursey Island, but this position is attacked, and the defenders hanged. In what is later termed the Dursey Massacre, Philip O’Sullivan Beare, nephew of O’Sullivan Beare, writes that the women and children of the Dursey stronghold are massacred by the English, who tie them back-to-back, throw them from the cliffs, and shoot at them with muskets.

After the fall of Dursey and Dunboy, O’Sullivan Beare, Lord of Beara and Bantry, gathers his remaining followers and sets off northwards on December 31, 1602 on a 500-kilometre march with 1,000 of his remaining people. He hopes to meet Hugh O’Neill on the shores of Lough Neagh.

O’Sullivan Beare fights a long rearguard action northwards through Ireland, through Munster, Connacht and Ulster, during which the much larger English force and their Irish allies fight him all the way. The march is marked by the suffering of the fleeing and starving O’Sullivans as they seek food from an already decimated Irish countryside in winter. They face equally desperate people in this, often resulting in hostility, such as from the Mac Egans at Redwood Castle in County Tipperary and at Donohill in O’Dwyer’s country, where they raid the Earl of Ormonde‘s foodstore.

O’Sullivan Beare marches through Aughrim, where he raids villages for food and meets local resistance. He is barred entrance to Glinsk Castle and leads his refugees further north. On their arrival at Brian Oge O’Rourke‘s castle in Leitrim on January 4, 1603, after a fortnight’s hard marching and fighting, only 35 of the original 1,000 remain. Many had died in battles or from exposure and hunger, and others had taken shelter or fled along the route. O’Sullivan Beare had marched over 500 kilometres, crossed the River Shannon in the dark of a midwinter night, having taken just two days to make a boat of skin and hazel rods to carry 28 at a time the half-kilometre across the river, fought battles and constant skirmishes, and lost almost all of his people during the hardships of the journey.

In Leitrim, O’Sullivan Beare seeks to join with other northern chiefs to fight the English, and organises a force to this end, but resistance ends when Hugh O’Neill, 2nd Earl of Tyrone signs the Treaty of Mellifont. O’Sullivan Beare, like other members of the Gaelic nobility of Ireland who flees and seeks exile, making his escape to Spain by ship. O’Sullivan Beare settles in Spain and continues to plead with the Spanish government to send another invasion force to Ireland. King Phillip III gives him a knighthood, pension, and the title Earl of Bearhaven, but never that which he desires most, another chance to free his homeland.

Many generations of O’Sullivan Beare’s family later achieve prominence in Spain. In 1618, Donal Cam O’Sullivan Beare is killed in Madrid by John Bathe, an Anglo-Irishman, but the legend of “O’Sullivan’s March” lives on.

The Beara-Breifne Way long-distance walking trail follows closely the line of the historical march.