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Tag Archives: Milan (Italy)


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The Irish Brigade Fights at the Battle of Chiari

On September 1, 1701, the Irish Brigade of France fights at the Battle of Chiari in northern Italy during the War of the Spanish Succession. The engagement is part of Prince Eugene of Savoy‘s campaign to seize the Spanish controlled Duchy of Milan in the Italian peninsula, and follows his victory over Marshal Nicolas Catinat at the Battle of Carpi in July. Marshal François de Neufville, 2nd Duke of Villeroy, replaces Catinat as commander of the Franco–Spanish–Savoyard forces in the theatre, carrying with him orders from King Louis XIV to push the Imperialists out of Italy.

Eugene welcomes the prospect of a decisive battle, and waits on the eastern side of the Oglio to be attacked. The Imperial commander has chosen his ground carefully, entrenching his troops and guns in front of the small fortress of Chiari. Streams protect his position on three sides so, as there is not enough room for a cavalry engagement, Eugene can count on a frontal attack by the French infantry. Two battalions and a few pieces of artillery are placed in Chiari itself.

Villeroy ignores Catinat’s warning that Eugene is in a strong position, remarking that the King, “had not sent so many brave men just to look at the enemy through their spy glasses.” On September 1, the Franco-Spanish infantry advances. Deceived by the report of spies that the Imperialists are retiring, Villeroy crosse the Oglio and pushes on to Chiari expecting to attack their rearguard. The attack begins around 2:00 p.m. when three French brigades approach Chiari and overpower the Imperial troops there without much difficulty. However, instead of facing the rearguard, the French commander encounters the whole Imperial army securely entrenched in their positions. As the Bourbons’ army approaches the Imperial positions, Eugene forbids his men to fire. Loading their artillery with canister shot, they only unleash a withering fire when the Bourbon army enters point-blank range. This disorders the attackers and chaos ensues which the French and Spanish commanders cannot suppress. While this is going on, Chiari is recaptured by the Imperials after a fierce struggle. The Bourbons are driven back with heavy casualties in a contest as destructive as any battle during the war in Italy. With only minor losses, the Imperial army inflicts over 3,000 casualties in the ranks, and over 250 officers. This number grows rapidly as fever attacks the wounded.

Villeroy loses personal control during the battle, and Catinat, despite being wounded, has to organise a retreat. The French dig themselves in only a mile or so away from the Austrians on the same side of the Oglio. Here, the two opposing sides remain for the next two months: the French are too much discouraged by their repulse to resume the assault, and Eugene is unwilling to risk the advantages he had gained by attacking the French in their strong defensive position. However, as autumn advances, conditions deteriorate in both camps: fodder is so short that Eugene’s horses are forced to eat fallen leaves. But the French, whose camp is built on marshy ground, suffers most, and they move out first in mid-November, crossing the Oglio before entering winter quarters in the Duchy of Milan.

In Milan, the French presence proves increasingly unpopular: five million French livres for soldiers’ pay and lodgings, and two million for fodder, has soon been imposed on the local population, most of which has to be taken by force. For his winter quarters, Eugene proceeds to reduce the whole Duchy of Mantua, except the capital and Goito, which he closely blockades. Shortly after he occupies Mirandola and Guastalla. Eugene’s relationship with the local population has been good and he has kept a tight control: he has executed 48 of his men for looting, telling the Emperor that he had “imposed more severe discipline than has possibly ever been seen in an army.” Eugene receives little cash from the Emperor, far less than he expects, but he secures a sound footing in northern Italy and, as hoped, his success helps to encourage the Maritime Powers to come to the aid of Leopold I. Since the beginning of the year Count Johann Wenzel Wratislaw von Mitrowitz has been in London as Imperial minister, pressing for assistance. With Eugene’s two victories (Carpi and Chiari), Leopold I has proven he would fight to protect his interests, giving Wratislaw the arguments he needs to push through the alliance with the Maritime Powers. On September 7, 1701, within a week of the battle, England and the Dutch Republic sign the second treaty of the Grand Alliance, backing the Emperor’s claims to the Spanish possessions in Italy.

The French are still in Milan, but their position is weak: morale is poor and desertion is high. Louis XIV writes to Villeroy urging him to work closely with Catinat and “not again to attack the enemy without advantage.” “If you do … the King, my grandson, will lose Italy.” By October, French optimism for the campaign is gone, but Louis XIV hopes to send reinforcements for the next year’s campaign, believing the Emperor will not be able to make a comparable increase in Eugene’s strength. However, the campaign season is not yet over. As Villeroy settles down for the winter, Eugene is preparing to attack him at his headquarters in Cremona.




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Birth of Linda Martin, Singer & Television Presenter

Linda Martin, Northern Irish singer and television presenter, is born in Belfast, Northern Ireland on March 27, 1952. She is best known as the winner of the 1992 Eurovision Song Contest during which she represents Ireland with the song “Why Me?,” the first of a record three consecutive wins by Ireland. She is also known within Ireland as a member of the band Chips.

Martin is of Irish, Scottish and Italian ancestry. Her father’s family’s surname is originally Martini. Her paternal great-grandfather, Francis Martini, is born in Dublin to immigrants from Saronno, north of Milan, Italy. Two of her maternal great-grandparents, William Green and Elizabeth Nangle, have a coal-mining background and transferred to Belfast from Larkhall, Scotland.

Martin begins her musical career when she joins the band Chips in Omagh in 1969. They quickly become one of the top bands in Ireland on the live circuit, and release hit singles “Love Matters,” “Twice a Week” and “Goodbye Goodbye” during the mid-to-late 1970s. In 1972, she leaves Chips to be a vocalist with the new group Lyttle People but rejoins her former bandmates the following year.

The group appears on Opportunity Knocks in 1974 and appears a number of times on British television promoting their singles, but never scores a UK hit. With multiple entries to the Irish National finals of the Eurovision Song Contest, the band carries on into the 1980s. They score a final Irish hit in 1982 with “David’s Song (Who’ll Come With Me),” after which Martin leaves when she wins the Castlebar Song Contest with “Edge of the Universe” in 1983. From this point, she concentrates on a solo career as well as occasional live appearances with Chips until they recruit a new lead singer, Valerie Roe, in the late 1980s.

Martin participates in the National Song Contest four times as a member of Chips; however, they do not score successfully. She participates another four times in the contest as a soloist and once more as part of the group “Linda Martin and Friends.” With nine participations, she has been the most frequent entrant in the National Song Contest’s history. She wins the contest twice, going on to represent Ireland twice at the Eurovision Song Contest.

The first of these victories is in 1984 with the song “Terminal 3,” written by Johnny Logan. The song comes in second in the final, being beaten by eight points. “Terminal 3” reaches No. 7 in the Irish charts. The second victory is in 1992 when her song “Why Me?,” also written by Logan, goes on to win the final in Sweden. This becomes Ireland’s fourth victory in the Eurovision Song Contest, and the song reaches No. 1 in the Irish chart as well as becoming a hit in many European countries.

Martin is, at the time, one of only three artists to finish both first and second at Eurovision, behind Lys Assia and Gigliola Cinquetti. Since then, only Elisabeth Andreassen and Dima Bilan have achieved this, raising the number to five.

Martin is one of the hosts on the RTÉ quiz show The Lyrics Board and also serves as one of Louis Walsh‘s behind-the-scenes team on the first series of ITV‘s The X Factor. She also serves as a judge on the first, second and fourth seasons of RTÉ’s You’re a Star and on Charity You’re a Star in 2005 and 2006. While she is dismissed from later seasons, speaking on Saturday Night with Miriam on RTÉ television on July 28, 2007, she says that she is “open” to being invited back to the show. She does not rule out a return to Eurovision following Ireland’s dismal performance in the 2007 contest, finishing last with only five points.

Martin is a guest performer at Congratulations: 50 Years of the Eurovision Song Contest concert in Copenhagen, Denmark, in October 2005. She is also the Irish spokesperson for Eurovision Song Contest 2007 and is one of the five judges for Eurosong 2009. In 2012, she is the mentor for Jedward in the Irish Eurovision final Eurosong 2012.

During the interval of Eurovision 2013, the host Petra Mede presents a light-hearted history of the contest, during which she explains to viewers that Johnny Logan had won the competition three times, in 1980, 1987 and 1992. Appearing alongside Linda Martin in some vintage footage she jokes that he had won the third time disguised as a woman, saying, “I recognise a drag queen when I see one.” The joke proves controversial, particularly in the Irish media. However, on June 1, 2013, during an appearance on RTÉ’s The Saturday Night Show Martin says that she has actually benefited from all the publicity. On the same show she performs a cover of the song “Get Lucky” by Daft Punk.

Martin also appears in pantomime, in Dublin. She stars in Cinderella as the Wicked Stepmother, Snow White as the Evil Queen and Robin Hood as herself, at the Olympia Theatre. She tours Menopause The Musical with Irish entertainer Twink. While on tour, Twink describes Martin as a “cunt” during a tirade in May 2010. The two had been friends for 30 years but both say afterwards that they have no plans to speak to each other again.


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Death of Opera Singer Margaret Burke Sheridan

Irish opera singer Margaret Burke Sheridan dies in Dublin on April 16, 1958. She is known as Maggie from Mayo and is regarded as Ireland’s second prima donna, after Catherine Hayes (1818–1861).

Sheridan is born in Castlebar, County Mayo, on October 15, 1889. She has her early vocal training while at school at the Dominican Convent in Eccles Street, Dublin, with additional lessons from Vincent O’Brien. In 1908, she wins a gold medal at the Feis Ceoil. From 1909 to 1911 she studies at the Royal Academy of Music in London, during which time she is introduced to the Italian inventor Guglielmo Marconi, who is instrumental in arranging further studies for her in opera in Rome.

With Marconi’s help, Sheridan auditions in 1916 for Alfredo Martino, a prominent singing teacher attached to the Teatro Costanzi, and she makes her début there in January 1918 in Giacomo Puccini‘s La bohème. In July 1919 she appears at the Royal Opera House in Covent Garden in the title role in Iris by Pietro Mascagni.

Sheridan returns to Italy, where her career continues to grow, with performances at the Teatro Dal Verme in Milan and at the Teatro di San Carlo in Naples, primarily in Puccini roles. In 1922 she first sings at La Scala, Milan, in La Wally by Alfredo Catalani under the direction of Arturo Toscanini. For the next few years, she sings at La Scala with great success. Perhaps her greatest role is Madama Butterfly, which she sings extensively in Italy and at Covent Garden. When she plays the part of Madama Butterfly, Puccini is said to be spellbound.

Despite her successes, Sheridan’s career is short. Suffering vocal difficulties, she goes into retirement around 1930 except for a few concerts. Bríd Mahon, in her 1998 book While Green Grass Grows, states that “It was rumoured that an Italian whose overtures she had rejected had blown his brains out in a box in La Scala, Milan, while she was on stage and that after the tragedy, she never sang in public again.”

Margaret Sheridan dies in relative obscurity on April 16, 1958, having lived in Dublin for many years, and her remains are buried in Glasnevin Cemetery, Dublin.

(Pictured: Margaret Burke Sheridan meets Italian conductor Vincenzo Bellezza in London, 1938. Photograph by Erich Salomon)


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Birth of Evelyn Gleeson, Designer & Co-founder of Dun Emer Press

Evelyn Gleeson, English embroidery, carpet, and tapestry designer, is born on May 15, 1855, in Knutsford, Cheshire, England. Along with Elizabeth and Lily Yeats, she establishes the Dun Emer Press.

Gleeson is the daughter of Irish-born Edward Moloney Gleeson, a medical doctor, and Harriet (née Simpson), from Bolton, Lancashire. Her father has a practice in Knutsford but on a trip to Ireland he is struck by the poverty and unemployment and, with the advice of his brother-in-law, a textile manufacturer in Lancashire, he founds the Athlone Woollen Mills in 1859, investing all his money in the project. The family moves to Athlone in 1863, but Gleeson is educated in England, where she trains as a teacher. She later studies portraiture in London at the Atelier Ludovici from 1890–92. She goes on to study design with Alexander Millar, a follower of William Morris, who believes she has an exceptional aptitude for colour-blending. Many of her designs are bought by the exclusive Templeton Carpets of Glasgow.

Gleeson takes a keen interest in Irish affairs and, as a member of the Gaelic League and the Irish Literary Society, mixes with the Yeats family and the Irish artistic circle in London and is inspired by the Gaelic revival in art and literature. She is also involved in the suffrage movement and is chairwoman of the Pioneer Club, a women’s club in London. In 1900, an opportunity arises to make a practical contribution to the Irish renaissance and the emancipation of Irish women. She is suffering from ill-health, but her friend Augustine Henry, botanist and linguist, suggests she move away from the London smog to Ireland and open a craft centre with his financial assistance. She seizes the opportunity and discusses her plans with her friends the Yeats sisters, Elizabeth and Lily, who are talented craftswomen and have direct contact with William Morris and his followers. They have no money to contribute to the venture but are enthusiastic and can offer their skills and provide contacts. She seeks advice from W. B. and Jack Yeats, from Henry, who loans her £500, and from her cousin, T. P. Gill, secretary of the Department of Agriculture and Technical Instruction.

During the summer of 1902 Gleeson finds a suitable house in Dundrum, County Dublin, ten minutes from the railway station. The house, originally called Runnymede, is renamed Dun Emer, after the wife of Cú-Chulainn, renowned for her craft skills. The printing press arrives in November 1902, and soon three craft industries are in operation. Lily Yeats runs the embroidery section, since she had trained with Morris’s daughter May. Elizabeth Yeats operates the press, having learned printing at the Women’s Printing Society in London. Gleeson manages the weaving and tapestry and looks after the financial affairs of the industries. W. B. Yeats acts as literary adviser, an arrangement that often causes friction, and Gleeson’s sister, Constance McCormack, is also involved.

Local girls are employed and trained, and the industries seek to use the best of Irish materials to make beautiful, high-quality, lasting products of original design. Church patronage accounts for most of their orders and, in 1902–03, Loughrea cathedral commissions twenty-four embroidered banners portraying Irish saints. They also make vestments, traditional dresses, drapes, cushions and other items, all beautifully crafted and mostly employing Celtic design. The first book published is In the Seven Woods (1903), by W. B. Yeats, cased in full Irish linen.

Gleeson is in demand as an adjudicator in craft competitions around the country and at Feis na nGleann in 1904 she praises the workmanship of the entries but is critical of the lack of teaching in design. She gives lectures and tries to raise the status of craftwork from household occupation to competitive industry. There are tensions with the Yeats sisters, who complain that she is bad-tempered and arrogant. In truth she had taken on too much of a financial burden, even with the support of grants, and she is anxious to repay her debt to Augustine Henry, which he is prepared to forego. The sisters snub her and omit her name in an interview about Dun Emer in the magazine House Beautiful. Millar, her design teacher in London, likens the omission to Hamlet without the prince. In 1904, it is decided to split the industries on a cooperative basis: Dun Emer Guild Ltd. under Gleeson and Dun Emer Industries Ltd. under the Yeats sisters.

Work continues, and the guild and industries exhibit separately at the Royal Dublin Society (RDS) and other craft competitions. In 1907, the National Museum of Ireland commissions a copy of a Flemish tapestry. It takes far longer than anticipated to complete, but the result is beautiful and is exhibited at the Arts and Crafts Society of Ireland in 1910. The guild wins a silver medal at the Milan International exhibition in 1906. The guild and industries both show work at the New York exhibition of 1908. The guild alone shows work in Boston. By now cooperation has turned to rivalry, and there is a final split as the Yeats sisters leave, taking the printing press with them to their house in Churchtown, Dublin. Gleeson writes off a debt of £185 owed to her, on condition that they do not use the name Dun Emer.

The business thrives at Dundrum, with her niece Katherine (Kitty) MacCormack and Augustine Henry’s niece, May Kerley, assisting with design. Later they move the workshops to Hardwicke Street, Dublin. In 1909, Gleeson becomes one of the first members of the Guild of Irish Art Workers and is made master in 1917. The Irish Women Workers’ Union commissions a banner from her about 1919, and, among numerous other notable successes, a Dun Emer carpet is presented to Pope Pius XI in 1932, the year of the Eucharistic Congress of Dublin.

Gleeson dies at the age of 89 at Dun Emer on February 20, 1944, with Kitty carrying on the Guild after her death. The final home of Dun Emer is a shop on Harcourt Street, Dublin, which finally closes in 1964.

(From: “Gleeson, Evelyn” by Ruth Devine, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Birth of Alice Curtayne, Writer & Lecturer

Alice Curtayne, Irish writer and lecturer, is born on November 6, 1898, in Upper Castle Street, Tralee, County Kerry.

Curtayne is the youngest child of John Curtayne, founder and proprietor of the Tralee Carriage Works, and his wife Bridget Curtayne (née O’Dwyer). She receives her initial education at local convents before attending La Sainte Union College in Southampton, England. Having taken a typing course, she is engaged as a secretary in Milan, where she remains for four and a half years. This proves to be a formative period in her life. She comes to regard Italy as a second home and is greatly influenced by the work of the Italian Catholic philosopher, Giovanni Papini.

On leaving Italy Curtayne works for a time in Liverpool. She joins the Liverpool Catholic Evidence Guild, from where she receives her diploma as a diocesan catechist. While in England she also develops an interest in public speaking. Her first book, Catherine of Siena (1929), is followed by numerous publications on religious and historical subjects, including Lough Derg (1933), Patrick Sarsfield (1934), The Trial of Oliver Plunkett (1953), Twenty Tales of Irish Saints for children (1955), and The Irish Story (1962).

Curtayne’s enthusiasm for Italy is reflected in her many publications of Italian interest, including a scholarly work on Dante, and a novel House of Cards (1940), which centres on the experiences of a young Irish woman living in Italy. In 1972 she produces Francis Ledwidge: A Life of the Poet, her well regarded biography of the poet Francis Ledwidge, and in 1974 it is followed by an edition of his complete poems, The Complete Works of Francis Ledwidge. Throughout her journalistic career she is a contributor to various magazines and papers, among them The Irish Times, Irish Independent, The Irish Press, Books on Trial, The Spectator, and The Standard.

During the 1950s and early 1960s Curtayne makes five lecture tours in the United States, speaking on Irish life, history, and literature. In 1959 she receives an honorary doctorate in Humane Letters from Anna Maria College in Paxton, Massachusetts, where she briefly teaches. She is presented with the Key to Worcester City by Mayor James D. O’Brien. She also gives a course of lectures on Dante at Craiglockhart College, Edinburgh, in 1956, and in 1965 she again speaks on Dante in a Radio Éireann Thomas Davis lecture.

In December 1954 The Irish Press sends Curtayne to Rome to write daily reports on the close of the Marian year. She goes to Rome again for the final session of the Second Vatican Council. She is commissioned to send weekly reports to local newspapers, The Nationalist (Carlow) and The Kerryman. She also sends a series of profiles of outstanding personages of this Vatican Council to The Universe and an article for Hibernia journal.

In 1935, Curtayne marries the English-born writer and broadcaster Stephen Rynne, with whom she has two sons and two daughters. They run a farm at Prosperous, County Kildare, and are well known advocates of the values of rural living. One son, Andrew Rynne, becomes a medical practitioner and well known for his liberal views on birth control. Daughter Brigid Rynne later illustrates some of her mother’s books.

Curtayne dies on August 9, 1981, in the Hazel Hall Nursing Home in Clane, County Kildare, and is buried at Killybegs Cemetery.


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Death of John McCormack, Renowned Irish Tenor

Papal Count John Francis McCormack, KSG, KSS, KHS, Irish tenor celebrated for his performances of the operatic and popular song repertoires, and renowned for his diction and breath control, dies in Booterstown, Dublin, on September 16, 1945.

McCormack is born on June 14, 1884, in Athlone, County Westmeath, the second son and fifth of the 11 children of Andrew McCormack and his wife Hannah Watson. His parents are both from Galashiels, Scotland, and work at the Athlone Woolen Mills, where his father is a foreman. He is baptised in St. Mary’s Church, Athlone, on June 23, 1884.

McCormack receives his early education from the Marist Brothers in Athlone and later attends Summerhill College, Sligo. He sings in the choir of the old St. Peter’s Church in Athlone under his choirmaster Michael Kilkelly. When the family moves to Dublin, he sings in the choir of St. Mary’s Pro-Cathedral where he is discovered by Vincent O’Brien. In 1903 he wins the coveted gold medal of the Dublin Feis Ceoil. He marries Lily Foley in 1906 and they have two children, Cyril and Gwen.

In March 1904, McCormack becomes associated with James Joyce, who at the time has singing ambitions himself. He persuades Joyce to enter the Feis Ceoil that year, where the not yet famous writer is awarded the Bronze Medal.

Fundraising activities on his behalf enable McCormack to travel to Italy in 1905 to receive voice training by Vincenzo Sabatini, father of the novelist Rafael Sabatini, in Milan. Sabatini finds McCormack’s voice naturally tuned and concentrates on perfecting his breath control, an element that becomes part of the basis of his renown as a vocalist.

In 1906, McCormack makes his operatic début at the Teatro Chiabrera, Savona. The next year, he begins his first important operatic performance at Covent Garden in Pietro Mascagni‘s Cavalleria rusticana, becoming the theatre’s youngest principal tenor. In 1909, he begins his career in the United States.

In February 1911, McCormack plays Lieutenant Paul Merrill in the world premiere of Victor Herbert‘s opera Natoma with Mary Garden in the title role. Later that year, he tours Australia after Dame Nellie Melba engages him, then at the height of his operatic career, aged 27, as a star tenor for the Melba Grand Opera Season. He returns for concert tours in subsequent years.

By 1912, McCormack is beginning to become involved increasingly with concert performances, where his voice quality and charisma ensures that he becomes the most celebrated lyric tenor of his time. He does not, however, retire from the operatic stage until after his performance of 1923 in Monte Carlo, although by then the top notes of his voice have contracted. Famous for his extraordinary breath control, he can sing 64 notes on one breath in Mozart‘s “Il mio tesoro” from Don Giovanni, and his Handelian singing is just as impressive in this regard.

McCormack makes hundreds of recordings, his best-known and most commercially successful series of records being those for the Victor Talking Machine Company during the 1910s and 1920s. He is Victor’s most popular Red Seal recording artist after tenor Enrico Caruso. In the 1920s, he sings regularly on radio and later appears in two sound films, Song o’ My Heart (1930), playing an Irish tenor, and as himself appearing in a party scene in Wings of the Morning (1937), the first British three-strip Technicolor feature.

McCormack is one of the first artists to record the popular ballad “I Hear You Calling Me” written in 1908 by Harold Harford and Charles Marshall. He records it twice for Odeon Records starting in 1908 and a further four times for Victor between 1910 and 1927, becoming his best seller. He is the first artist to record the famous World War I song “It’s a Long Way to Tipperary” in 1914. He also records a best-selling version of another popular World War I tune, “Keep the Home Fires Burning,” in 1917. He also sings songs expressive of Irish nationalism and endorses the Irish Nationalist estrangement from the United Kingdom. He is associated particularly with the songs of Thomas Moore, notably “The Harp That Once Through Tara’s Halls,” “The Minstrel Boy,” “Believe Me If All (Those Endearing Young Charms),” and “The Last Rose of Summer.” Between 1914 and 1922, he records almost two dozen songs with violin accompaniment provided by Fritz Kreisler, with whom he also tours. He records songs of Hugo Wolf for the Hugo Wolf Society in German. In 1918, he records the song “Calling Me Home to You.”

In 1917, McCormack becomes a naturalised citizen of the United States. In June 1918, he donates $11,458 toward the U.S. World War I effort. By then, his career is a huge financial success, earning millions in his lifetime from record sales and appearances.

By 1920, Edwin Schneider has become McCormack’s accompanist and the two are “inseparable.” When Schneider retires, Gerald Moore takes over as accompanist from 1939 to 1943.

In 1927, McCormack moves into Moore Abbey, Monasterevin, County Kildare, and adopts a very opulent lifestyle by Irish standards. He also owns apartments in London and New York. He hopes that one of his racehorses, such as Golden Lullaby, would win The Derby, but this never occurs.

McCormack also purchases Runyon Canyon in Hollywood in 1930 from Carman Runyon. He sees and likes the estate while there filming Song o’ My Heart (1930), an early all-talking, all-singing picture. He uses his salary for this movie to purchase the estate and builds a mansion he calls ‘San Patrizio,’ after Saint Patrick. He and his wife live in the mansion until they return to England in 1938.

McCormack tours often, and in his absence, the mansion is often let to celebrities such as Janet Gaynor and Charles Boyer. The McCormacks make many friends in Hollywood, among them Errol Flynn, Will Rogers, John Barrymore, Basil Rathbone, Ronald Colman, Charles E. Toberman and the Dohenys. After his farewell tour of America in 1937, the McCormacks deed the estate back to Carman Runyon expecting to return to the estate at a later date. World War II intervenes and he does not return.

McCormack originally ends his career at the Royal Albert Hall in London, during 1938. However, one year after that farewell concert, he is back singing for the Red Cross and in support of the war effort. He gives concerts, tours, broadcasts and records in this capacity until 1943 when poor health finally forces him to retire permanently.

Ill with emphysema, McCormack purchases a house near the sea, “Glena,” Booterstown, Dublin. After years of increasingly poor health, and a series of infectious illnesses, including influenza and pneumonia, he dies at his home in Booterstown on September 16, 1945. He is buried in Deans Grange Cemetery, St. Patrick’s section, plot reference E/120.


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Birth of Charles Edward Jennings, Soldier & Revolutionary

General Charles Edward Saul Jennings, Irish soldier and revolutionary who serves France in the eighteenth century and is sometimes romanticised as Brave Kilmaine, is born on October 19, 1751, in Sauls Court, Dublin.

Jennings is the second son of Theobald Jennings, a physician of Polaniran (Ironpool), Tuam, County Galway, and Eleonore Saul, daughter of Laurence Saul, a wealthy Dublin distiller. Educated privately in Dublin, he leaves Ireland in 1769, settling in Tonnay-Charente in the south of France, where his father had set up practice. His father had, several years previously, assumed the fictitious title of ‘baron of Kilmaine’ in the hope of improving his position in French society, and he subsequently assumes the same title.

In 1774 Jennings joins the Royal Dragoons as a trooper, transferring in 1778 into the Légion de Lauzun, a corps made up mostly of foreign volunteers. After the campaign in Senegal (1778–79) he returns to France and is commissioned as a sous-lieutenant. He then campaigns with Gilbert du Motier, Marquis de Lafayette, during the American Revolutionary War and teaches cavalry tactics at Metz on his return. Promoted to captain in 1788, at the outbreak of the French Revolution, he is stationed at Verdun and, despite a short period in prison, continues to serve with his regiment. In 1791, when several of the regiment’s officers flee from France, he remains and is one of the first officers to swear allegiance to the national assembly.

Promoted to Chef d’escadron in April 1792, Jennings serves under Charles François Dumouriez during the invasion of the Netherlands, distinguishing himself at the Battle of Valmy and the Battle of Jemappes, where he reinforces the French centre at a critical point, ensuring victory. A series of rapid promotions follow. He is made a colonel in January 1793, a general of brigade in March 1794, and a general of division in May1794.

After a series of reverses in the summer of 1793, in which the French lose the fortress-towns of Condé and Valenciennes, the committee of public safety appoints Jennings to command the Armée du Nord on May 15, 1793, with the rank of full general. In August, in order to preserve his force in the face of overwhelming opposition, he retreats from a position 120 miles north of Paris known as ‘Caesar’s camp.’ Although the allied army swings away to invest Dunkirk, he is arrested and imprisoned for endangering the city, and remains in prison until after the fall of Robespierre in July 1794. Within a few days, due to the turbulent political situation, he is rearrested and not released until December 1794. In May 1795 he cooperates with Napoléon Bonaparte in suppressing the Jacobin uprising in Faubourg Saint-Antoine in Paris and, having reestablished his credentials, commands the cavalry during the invasion of Italy (1796). Bonaparte regards him highly, and he distinguishes himself at the Battle of Lodi on May 10, 1796, seizing the city of Milan five days later. He defeats a large Austrian force in the Battle of Borghetto before investing and taking the fortress-town of Mantua in February 1797.

When peace terms are agreed with Austria, Jennings returns to France, taking command of the centre column of the Armée d’Angleterre, which had been raised to invade Britain and Ireland. However, his deteriorating health makes some observers question his suitability for such an appointment. An associate of Thomas Paine and James Napper Tandy, and a friend of Wolfe Tone, he is forced to watch the gradual reduction of his army as Napoleon diverts troops for his campaign in Egypt. Tone is at first suspicious of him, given that many Irish-born French officers had deserted the revolutionary cause but comes to admire him.

After the defeat of Admiral Bombard’s expedition to Ireland and Tone’s arrest on November 3, 1798, Jennings requests that the French government should take a senior British prisoner as hostage and subject him to the same treatment as Tone. After Tone’s death he assists Matilda Tone and her children. In early 1799 he is appointed military governor of Switzerland but is forced to resign due to his failing health.

In a fragile condition Jennings leaves Switzerland and returns to Passy in Paris, where his domestic griefs and chagrins add to the poignancy of his bodily sufferings, for his constitution is now completely broken up. He dies of dysentery on December 11, 1799, at the age of 48. He is buried with full military honours.

Jennings is historically honored at the Arc de Triomphe in Paris, where his name can be seen on the inside triumphal arch, on the Northern pillar, Column 05. Underneath the Arc is the Tomb of the Unknown Soldier (World War I). There is a personal portrait of Jennings in the ‘Hotel de Ville’ (City Hall) at Tonnay-Charente, where his father Dr. Theobald Jennings practiced as a physician.

A monument was erected in Jennings’s memory in Tonnay-Charente in the 19th century. Rue du Général Kilmaine, a street in Tonnay-Charente, is named in his honour in the 19th century.


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The Battle of Cassano

battle-of-cassano

Units of the Irish Brigade of France fight at the Battle of Cassano on August 16, 1705, during the War of the Spanish Succession. The battle is fought at the town of Cassano d’Adda, in Lombardy, Italy, between a French army commanded by Louis Joseph, Duke of Vendôme and an Imperial army under Prince Eugene of Savoy.

By August 1705, the French occupy most of Savoy, with the exception of Turin. In order to relieve the pressure, Prince Eugene tries to cross the river Adda at Cassano and threaten Milan. Although the French are taken by surprise, they manage to hold the bridge after six hours of intense conflict, both sides suffering heavy casualties.

The deep and fast-flowing river Adda has limited crossing points, especially for large bodies of men. The town of Cassano is on the right bank, with a stone bridge protected by a small fortification or redoubt. The area is also divided by numerous small streams and irrigation channels, the most significant being the Retorto, an irrigation canal running parallel to the Adda. This is connected to the left bank by another bridge, protected by another strongpoint.

Assuming Prince Eugene is still heading for Mantua, Vendôme orders his brother Philippe to leave his positions around Cassano and intercept him. In fact, the Imperial troops had marched overnight from Romanengo and are approaching the town when spotted by one of Vendôme’s cavalry patrols early the next morning. Realising their intentions, Vendôme heads to Cassano, along with approximately 2,000 reinforcements.

On arrival, he finds Philippe’s troops unprepared and in an extremely dangerous position, the bulk of their force caught between the Retorto canal and the Adda, and the main bridge blocked by their transport. Vendôme orders the baggage thrown into the river and forms a line running from the Retorto on the left, his centre around the main bridge, and his extreme right resting on the road leading to the nearby village of Rivolta d’Adda. Armand St. Hilaire, the French artillery commander, positions his guns inside the town, allowing him to fire directly on the bridge.

Around 2:00 in the afternoon, Austrian grenadiers attack the French positions around the Retorto. They initially succeed in capturing the bridge before being repulsed by St. Hilaire’s guns and a counterattack. Vendôme sends four regiments of the French Irish Brigade to reinforce his left, but after a fierce struggle, the Imperialists capture the canal’s sluice gates. After these are closed, the water level in the canal is lowered enough for men to wade across it.

Prince Eugene orders Leopold I, Prince of Anhalt-Dessau, and his Prussians into the canal to assault the French left. They manage to seize the further bank but suffer heavily in doing so. The battle surges back and forth across the river for several hours, in the course of which Vendôme has his horse killed under him, while Prince Eugene is wounded twice and has to leave the field. The fighting lasts another four to five hours, until ended by sheer exhaustion, with the opposing forces back at their starting positions.

The battle is inconclusive. While the French prevent the Imperialists crossing the Adda, Prince Eugene succeeds in delaying an assault on Turin until June 1706. Combined with having to transfer forces to Northern France following their defeat at Ramillies in May 1706, the French siege is broken in September, and fighting in Northern Italy ends in March 1707.

(Pictured: The battle of Cassano 1705 (War of the Spanish Succession), painted by Jean Baptiste Martin (1659-1735). Oil on canvas, Heeresgeschichtliches Museum, Vienna, Austria)


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Birth of Singer Jimmy McShane

jimmy-mcshane

James Harry McShane, Irish singer best known as the front man of Italian band Baltimora that had the hit song “Tarzan Boy,” is born in Derry, County Londonderry, Northern Ireland on May 23, 1957.

McShane learns at a young age to play bass and guitar. As a teenager, he is allegedly shunned by his family after they learn of his homosexuality. Later as a young man in the late 1970s, he leaves Northern Ireland to study at a stage school in London, where he learns to dance, sing and recite.

Hired as a stage dancer and backing singer, McShane soon goes around Europe with Dee D. Jackson and her band. During a visit to Italy with the band, he is attracted to the country’s underground dance scene, which leads to him settling in Milan in 1984. He tells Dick Clark on American Bandstand in 1986 that he fell in love with Italy from that moment. He also learns the Italian language.

McShane makes his debut playing in small clubs in his hometown and is presented to various audiences, without success. In view of his low artistic success, he decides to work as an Emergency Medical Technician (EMT) for the Red Cross until he meets Italian record producer and keyboardist Maurizio Bassi, with whom he creates Baltimora. The act finds success with its most popular single, “Tarzan Boy”, released in 1985.

In the United States, McShane is overwhelmed with the success of “Tarzan Boy”. Some sources state lead vocals are performed by Maurizio Bassi, the group’s keyboardist, with McShane actually providing the backing vocals. This still remains uncertain, and McShane lip synchs while appearing in the “Tarzan Boy” music video, and not Bassi. Both the music and the lyrics of Baltimora are written mostly by Bassi and Naimy Hackett, though McShane writes the lyrics to some of their songs, such as the single “Survivor in Love.”

After the release of “Survivor in Love,” with no label support for a follow-up album and due to its poor success, Bassi decides it is time to move on to other projects and Baltimora disbands.

The single “Tarzan Boy” bounces back into the Billboard Hot 100 chart in March 1993 as a remix, climbing to No. 51, at the time of its appearance in a Listerine commercial. The song is also featured in the films Teenage Mutant Ninja Turtles III (1993), Beverly Hills Ninja (1997) and is then referenced in A Million Ways to Die in the West (2014).

McShane is diagnosed with AIDS in Milan in 1994. A few months later he returns to Northern Ireland to spend his final year, and dies in his native Derry on March 29, 1995 at the age of 37. A family spokesman issues the following statement after his death: “He faced his illness with courage and died with great dignity.” In the centre of Derry, a commemorative plaque is bestowed upon the grave of McShane and his father, who had died three years prior.


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Birth of Charlotte Milligan Fox, Composer & Music Collector

charlotte-milligan-fox

Charlotte Milligan Fox, Irish composer and music collector, is born on March 17, 1864 in Omagh, County Tyrone in what is now Northern Ireland.

Milligan is the eldest of eleven children born to Methodist parents Seaton Milligan (1837–1916) and Charlotte Burns (1842–1916), with nine surviving including Alice Milligan and Edith Wheeler. All nine children enroll at Methodist College Belfast which provides a privileged and exceptional education. She studies classical piano and composition at the Royal College of Music in London and the Conservatoires of Frankfurt and Milan. Following her marriage to Charles Eliot Fox in 1892, she settles in London.

In 1904 Fox co-founds with Alfred Perceval Graves the Irish Folk Song Society, an offshoot of the Folk-Song Society formed in 1898. Its aim is to collect and publish Irish airs and ballads, in addition to holding lectures and concerts on the subject. She acts as the society’s honorary secretary. The rules of the Society are collected in volume 4 of the Journal of the Irish Folk Song Society. The subscription is 5 shillings payable every January and committee meetings are held at the Rooms of the Irish Literary Society in London.

Fox is a musician in her own right and tours Ireland collecting folk songs and airs. She undertakes a series of tours of County Antrim between 1909 and 1910 with her sisters Edith Wheeler and Alice Milligan. The sisters record and transcribe songs by Irish singers, then publish articles and musical scores in The Journal of Irish Folk Song.

In 1910 Fox visits the east coast of the United States where the New York branch of the Irish Folk Song Society is formed. “The Bardic Recital” is produced on March 16 at the National Theatre in Washington, D.C. She collects and arranges the music for the play.

Fox rediscovers Edward Bunting‘s papers, and under the provision of her will they come to Queen’s University Belfast in 1916. From these papers she writes The Annals of the Irish Harpers. The publication of The Annals of the Irish Harpers stimulates a revival of interest in both the Irish harp and Edward Bunting. Alice Milligan nurses her sister prior to Fox’s death in London on March 25, 1916. An obituary of Charlotte Milligan Fox is in The Irish Booklover (1916). The Journal of the Irish Folk Song Society (1917) has a poem in remembrance of Charlotte Milligan Fox. The same issue has a memoir of Fox by Alice Milligan and an appreciation of Fox by Alfred Perceval Graves.

During 2010 and 2011, the Ulster History Circle mounts plaques for famous Ulster figures. Charlotte Milligan Fox and Alice Milligan have a plaque mounted on Omagh Library, 1 Spillar’s Place, Omagh, County Tyrone.