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Death of Leo Whelan, Portrait & Genre Painter

(Michael) Leo Whelan, portrait and genre painter, dies from leukemia on November 6, 1956, at the Mater private nursing home in Dublin.

Whelan is born on January 17, 1892, at 20 St. George’s Villas, Fairview, Dublin, one of two sons and three daughters of Maurice Whelan, a draper, of County Kerry ancestry, and Mary Whelan (née Cruise), from County Roscommon. The family subsequently moves to 65 Eccles Street, where his parents operated a small hotel. Educated at Belvedere College, Dublin, he then attends the Dublin Metropolitan School of Art (DMSA) (1908–14), where he is a student of William Orpen, who has a huge influence on his artistic style. His fellow students at the school include Patrick Tuohy and Séan Keating.

Whelan is awarded many prizes in the Royal Dublin Society (RDS) Taylor art competitions, including one in 1912 for a portrait of his sister Lena, entitled On the Moors, rendered in a strongly academic technique. In 1916, he wins the Taylor scholarship for the Royal Hibernian Academy (RHA) schools for his finest early work, The Doctor’s Visit, an adroitly executed composition of contrasting shadows and light. Typical of many of his genre interiors, the painting depicts a room in the family home, with relatives as models: Whelan’s mother sits by the bed watching over his ill cousin, while his sister, dressed in a Mater hospital nurse’s uniform, is in the background opening the door for the doctor. The subtly evoked atmosphere of restrained emotion foreshadowed a hallmark of his mature style.

Whelan exhibits annually at the RHA for forty-five years (1911–56), averaging six works per year. He is elected an RHA associate in 1920, becoming a full member in 1924. He participates in the Exposition d’art irlandais at the Galerie Barbazanges in Paris in 1922. A visiting teacher at the RHA schools in 1924, he also teaches in the DMSA for a time. He has studios at 64 Dawson Street (1914–27) and 7 Lower Baggot Street (1931–56). Beginning in the 1910s, he receives regular commissions for portraits, constituting his primary source of income. Having become the family’s main breadwinner following his parents’ deaths in the 1920s, he concentrates most of his production on this lucrative activity, portraying numerous leading figures in the spheres of politics, academia, religion, society, medicine, and law.

Coming from a family of militant nationalist sympathies, in 1922 he begins a large group portrait, GHQ Staff of the Pre-Treaty IRA, including Michael Collins, Richard Mulcahy, Rory O’Connor, Liam Mellows and nine others, composed from individual studies of the men rendered during clandestine sittings in his home and studio. The painting, which he leaves unfinished, is in McKee Barracks, Dublin. He receives special praise for his portraits of John Henry Bernard, Provost of Trinity College Dublin (TCD) and of Louis Claude Purser, TCD vice-provost. The latter is awarded a medal at the 1926 Tailteann Games. He exhibits seventeen paintings at the Royal Society of Portrait Painters, London, of which he is a member, and shows two works at the Royal Academy of Arts, London. His 1929 portrait of John McCormack, one of his major patrons, is presented by the tenor’s family some fifty years later to the National Concert Hall, Dublin.

Situated securely in the academic tradition, in most of his portraits Whelan favours a sombre, restricted palette, with the sitter placed, in grave demeanour, against a monotone background with few accessories. In a 1943 interview he asserts that twentieth-century portraiture suffers from the drabness of modern costume, for which the artist must compensate by careful rendition of the subject’s hands. He tends to depart from his prevailing portrait style when painting women, whom he characteristically depicts in meticulously observed interiors, a notable example being his portrait of Society hostess Gladys Maccabe (c.1946; NGI).

Whelan’s commercial concentration on portraiture notwithstanding, he expresses his true talent in genre compositions, especially kitchen interiors, in which he emulates the technique of the Dutch painter Johannes Vermeer. Two of the most accomplished of these depict his sister Frances in the basement kitchen of the family home: The Kitchen Window (1927; Crawford Art Gallery, Cork) demonstrates a particularly skillful use of light, while Interior of a Kitchen (1935) is notable for the dexterous handling of objects of varied shapes and textures. His genre works include both urban and rural scenes, with a distinctive interest in portraying occupations and other activities. Gypsy (1923), an Orpenesque composition of a shawled woman in a west-of-Ireland landscape with a caravan in the background, receives wide contemporary critical acclaim. Jer (c.1925), depicting a man seated by the fire in a cottage interior, is reproduced in J. Crampton Walker’s Irish Art and Landscape (1927). The Fiddler (c.1932), a naturalistic, sensitively characterised study, is first shown at an Ulster Academy exhibition at Stranmillis, Belfast. A Kerry Cobbler is reproduced in Twelve Irish Artists (1940), introduced by Thomas Bodkin, as among the works denoting the development of a distinctively Irish school of painting.

In 1929, Whelan designs the first Irish Free State commemorative stamp, a portrait of Daniel O’Connell for the centenary of Catholic emancipation. Commissioned by the Thomas Haverty trust to paint an incident from the life of Saint Patrick for the 1932 Eucharistic Congress, he executes The Baptism by St. Patrick of Ethna the Fair and Fedelmia the Ruddy, Daughters of the Ard Rí Laoghaire, a work highly conservative in style. He rapidly completes an oil study of the papal legate, Lorenzo Lauri, also for the Eucharistic Congress. He is represented in the art competitions at the 1932 Summer Olympics in Los Angeles. His depiction of Saint Brigid, shown at the Academy of Christian Art exhibition (1940), becomes a familiar image owing to the wide circulation of reproductions.

Whelan’s political portraits are influential in creating a strong, assured image of the newly formed Irish state, and thus retain an historical significance. His posthumous portrait, The Late General Michael Collins, exhibited at the RHA in 1943 and now held in Leinster House, is an iconic, heroic image of the fallen leader. His portraits of Arthur Griffith and Kevin O’Higgins – commissioned posthumously, as is the Collins, by Fine Gael – also hang in Leinster House, while that of John A. Costello, exhibited at the RHA in 1949, is now held in the King’s Inns, Dublin. He paints two presidents, Douglas Hyde and Seán T. O’Kelly, both works currently in Áras an Uachtaráin. A portrait of Éamon de Valera, painted in 1955 when the sitter is Leader of the Opposition, is in Leinster House. In 1954, he designs a second commemorative stamp, picturing a reproduction of a portrait bust of John Henry Newman, to mark the centenary of the Catholic University of Ireland.

Whelan is elected an honorary academician of both the Ulster Academy of Arts (1931), and the Royal Ulster Academy (1950). He becomes a member of the United Arts Club in 1934. As a representative of the RHA, he sits on the board of governors of the National Gallery of Ireland for many years, and is on the advisory committee of the Municipal Gallery of Modern Art. Unmarried, he resides until his death at the Eccles Street address, with two sisters who continue to manage the family hotel. He dies on November 6, 1956, from leukemia at the Mater private nursing home in Dublin. He is buried in Glasnevin Cemetery.

(From: “Whelan, (Michael) Leo,” by Carmel Doyle, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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Death of Columba, Founder of the Monastery of Iona

Columba (or Colum Cille), Irish abbot and missionary evangelist credited with spreading Christianity in what is today Scotland at the start of the Hiberno-Scottish mission., dies on June 9, 597.

He is born into the Cenél Conaill, a branch of the Northern Uí Néill, then Ireland’s most powerful dynasty. His place of birth is reputedly Gartan in modern day County Donegal, though there is no contemporary evidence for this.

His is the son of Fedlimid, who is said to be a great-grandson of Niall Nóigiallach, and his wife Eithne. The Irish form of his name, Colum Cille, has been taken to mean ‘Dove of the Church’. He is fostered and baptised by a priest named Cruithnechán, who lives near his birthplace. It is reputed that he undergoes schooling in bardic studies. His biographer, Adomnán (c. 624–704), states that he receives monastic training under a bishop whom he names variously as Findbarr or Finnio, who can most likely be identified as Finnian of Movilla. Otherwise little is known of his early life.

Adomnán states that Columba leaves Ireland in his forty-second year. Later tradition records that his departure is an act of penitence for instigating the battle of Cúl Dreimhne in 561, supposedly because he surreptitiously copies a Psalter lent to him by his former master, Finnian. Adomnán simply states, however, that he leaves Ireland to become a “pilgrim for Christ.” He probably also wishes to sever himself from the secular concerns arising from his family connections. Whatever the reason, he remains in Scotland for the rest of his life, returning to Ireland only on a few occasions.

His choice of Iona, an island off the Ross of Mull on the western coast of Scotland, as a monastic refuge is influenced by the contacts that his family has with the kingdom of Dál Riata and its rulers. Certainly it is under Dál Riata patronage that he subsequently founds the island monasteries of Campus Lunge (on Tiree) and Hinba, which more recent opinion takes to have been the island of Colonsay. He also founds churches in Inverness, probably following on his meeting with and likely conversion of Bridei I, king of the Picts. All of Iona’s foundations, on both sides of the Irish Sea, are under the headship of the abbot of the mother-house, and many of the abbots of the most important houses of the paruchia of Iona are of Columba’s kin-group. Although many foundations elsewhere in Scotland and in Northumbria are later attributed to him, it is doubtful whether Iona evangelises outside of Ireland, Dál Riata and Pictland. Yet there can be no doubt of his political influence. He “ordains” Áedán king of Dál Riata, and his influence and connections enable him to strengthen the alliance between the Uí Néill and Dál Riata.

One of the few, if not the only, times he leaves Scotland is toward the end of his life, when he returns to Ireland to found the monastery at Durrow.

According to traditional sources, Columba dies in Iona on Sunday, June 9, 597, and is buried by his monks in the abbey he created. However, Dr. Daniel P. McCarthy disputes this and assigns a date of 593 to Columba’s death. The Annals record the first raid made upon Iona in 795, with further raids occurring in 802, 806 and 825. Columba’s relics are finally removed in 849 and divided between Scotland and Ireland.

Colmcille is one of the three patron saints of Ireland, after Patrick and Brigid of Kildare. He is the patron saint of the city of Derry, where he founded a monastic settlement in c. 540. The Catholic Church of Saint Colmcille’s Long Tower, and the Church of Ireland St. Augustine’s Church both claim to stand at the spot of this original settlement. The Church of Ireland Cathedral, St. Columb’s Cathedral, and the largest park in the city, St. Columb’s Park, are named in his honour. The Catholic Boys’ Grammar School, St. Columb’s College, has him as Patron and namesake.

St. Columba’s National School in Drumcondra is a girls’ school named after the saint.

St. Colmcille’s Primary School and St. Colmcille’s Community School are two schools in Knocklyon, Dublin, named after him, with the former having an annual day dedicated to the saint on June 9.

The town of Swords, Dublin is reputedly founded by Colmcille in 560 AD. St. Colmcille’s Boys’ National School and St. Colmcille’s Girls’ National School, both located in the town of Swords, are also named after the Saint as is one of the local Gaelic teams, Naomh Colmcille.

The Columba Press, a religious and spiritual book company based in Dublin, is named after Colmcille.

Aer Lingus, Ireland’s national flag carrier has named one of its Airbus A330 aircraft in commemoration of the saint (reg: EI-DUO).

(Pictured: Columba banging on the gate of Bridei, son of Maelchon, King of Fortriu)


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Birth of John D’Alton, Cardinal of the Roman Catholic Church

John Francis D’Alton, Irish Cardinal of the Roman Catholic Church who serves as Archbishop of Armagh and thus Primate of All Ireland from 1946 until his death, is born in Claremorris, County Mayo, on October 11, 1882. He is elevated to the cardinalate in 1953.

D’Alton is born to Joseph D’Alton and his wife Mary Brennan, at the height of the Land Wars in Ireland. He is baptised four days later, on October 15, 1882, with Michael and Mary Brennan acting as his godparents. His mother has a daughter, Mollie Brennan, from a previous marriage, she remarries again after the Cardinal’s father dies in 1883.

D’Alton obtains an extensive education at Blackrock College, Holy Cross College in Drumcondra, University College Dublin (UCD) and the Irish College in Rome. He is a contemporary of Éamon de Valera, whom he befriends at Blackrock College. In his first year in Blackrock, de Valera beats D’Alton in two subjects – Maths, which he later goes on to teach, and Religion.

D’Alton is ordained to the priesthood on April 18, 1908, for service in the Archdiocese of Dublin. He undertakes further postgraduate studies in Rome from 1908 to 1910, gaining a Doctor of Divinity and is appointed to teach Ancient Classics, Latin, and Greek at St. Patrick’s College, Maynooth.

D’Alton occupies important roles at the National Seminary and is successively Professor of Ancient Classics (1912), Greek (1922), Vice-President (1934), and President (1936). He is raised to the rank of Monsignor on June 27, 1938.

On April 25, 1942, D’Alton is appointed coadjutor bishop of Meath and titular bishop of Binda. He receives his episcopal consecration on the following June 29 from Cardinal Joseph MacRory, with Bishops Edward Mulhern and William MacNeely serving as co-consecrators, in the chapel of St. Patrick’s College. He succeeds Thomas Mulvany as Bishop of Meath on June 16, 1943.

D’Alton is named Archbishop of Armagh and thus Primate of All Ireland on June 13, 1946, and is created Cardinal Priest of Sant’ Agata de’ Goti in Rome by Pope Pius XII in the consistory of January 12, 1953. As a cardinal elector in the 1958 papal conclave, he gives a hint of the difficulties involved in that papal conclave and achieving unanimity in the voting.

D’Alton is a member of the Central Preparatory Commission of the Second Vatican Council but lives long enough to attend only the Council’s first session in 1962.

One highlight of D’Alton’s time in Armagh is the Patrician Year Celebrations in 1961, marked by the Irish Catholic hierarchy as the 1,500th anniversary of the death of Saint Patrick and as such an opportunity to promote the “spiritual empire” created by the Irish Catholic church in the wider anglophone world. He writes a pastoral letter to mark the occasion.

Cardinal D’Alton is seen to be more ecumenical in outlook than other members of the Irish hierarchy. He tries to broker talks between the Irish Free State and the United Kingdom to ease the tensions between both countries, even going so far as to address the situation regarding the Irish ports, but to little avail.

In 1952, D’Alton becomes the first individual from the Republic of Ireland to receive an honorary degree from Queen’s University Belfast (QUB), when he is conferred with a Doctorate in Literature. He already possesses a Doctor of Divinity, so this degree is a recognition of his earlier works such as Horace and His Age: A Study in Historical Background (1917), Roman Literary Theory and Criticism: A Study in Tendencies (1931), and Selections from St. John Chrysostom (1940).

D’Alton dies from a heart attack in Dublin at age 80 on February 1, 1963, and is buried on the grounds of St. Patrick’s Cathedral, Armagh. He is succeeded by his auxiliary bishop, William Conway.

In D’Alton’s hometown of Claremorris, the Dalton Inn Hotel and Dalton Street (formerly Church Street) are named after him. A plaque commemorating him is unveiled at the Dalton Inn Hotel on September 28, 2023. Plans to canonise him have been discussed.


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Birth of Cathal O’Byrne, Antiquarian, Writer & Entertainer

Cathal O’Byrne, an antiquarian, writer, and entertainer, is born on June 1, 1876, in Kilkeel, County Down.

O’Byrne is the son of James Burns, a farmer, and his wife Isabella (née Arnett). His biographer states that his parents came from County Wicklow, which would imply that their name had been anglicised from the form “O’Byrne,” which their son readopts. He never marries and spends most of his life living with his unmarried sister Teresa. He has other siblings, as he is survived by four nieces and two nephews.

O’Byrne’s childhood is spent in the Balmoral district of south Belfast in a comfortable but slightly precarious middle-class Catholic environment. Although sparse in direct autobiographical references, his writings contain references to excursions around the Malone and Stranmillis areas, with particular reference to the Botanic Gardens. He is educated at St. Malachy’s College. After leaving school, he manages a spirit grocery on the Beersbridge Road in east Belfast and is active in the Sexton Debating Society, named after Thomas Sexton, then home rule MP for Belfast West, and led by Joseph Devlin, who remains a lifelong friend despite their later political differences. He also studiess music with Carl Hardebeck, acquiring an extensive knowledge of Irish folk music and becoming an accomplished singer of Irish tunes in Hardebeck’s arrangements.

O’Byrne subsequently joins the Belfast Gaelic League, becoming a leading member, though he never masters the Irish language. He moves in the literary and antiquarian circles around Francis Joseph Bigger, whose friendship becomes central to his career and self-definition. He is a regular participant in Bigger’s soirées and establishes friendships with many prominent political and cultural figures, among them Roger Casement and Alice Milligan. Although he is usually seen as a specifically northern writer, he draws extensively on a wider Irish tradition of defensively self-glorifying Catholic-nationalist antiquarianism, including the works of W. H. Grattan Flood and Archbishop of Tuam, John Healy, a major source for his later pamphlet on Saint Patrick and for the descriptions of Ulster monasteries in As I Roved Out: A Book of the North (1946).

In 1900, O’Byrne publishes a collection of verses, A Jug of Punch, of which no copies are known to survive, and in 1905 collaborates with Cahir Healy on another collection, The Lane of the Thrushes, which applies Celtic revival imagery to rural Ulster. He publishes another collection, The Grey Feet of the Wind, in 1917. The manuscript of his unpublished Collected Poems (1951) is in the Public Record Office of Northern Ireland.

In 1902, O’Byrne gives up the spirit grocery to work full time as a journalist, singer, and storyteller. He appears at a wide variety of concerts, where he cuts a striking figure in Gaelic dress with saffron kilt. He provides musical interludes at productions by the Ulster Literary Theatre, and his recitation of Eleanor Alexander’s humorous piece on the battle of Scarva inspires Harry Morrow’s celebrated satirical play Thompson in Tir-na-nOg (1912). In 1913, he founds and manages the Celtic Players, a theatre company which stages some plays of his own composition, including The Dream of Bredyeen Dara, possibly a nativity story incorporating Saint Brigid of Kildare.

During World War I O’Byrne achieves immense cross-community success with a weekly dialect column in the Unionist paper Ireland’s Saturday Night, describing the domestic activities of “Mrs. Twigglety” and her working-class friends. At the same time, he has abandoned his earlier support for Devlin’s home rule politics to embrace physical-force republicanism under the influence of Denis McCullough. During Casement’s imprisonment and trial, he carries on an intense correspondence with him, comforting him, urging him to convert to Catholicism, and sending him religious icons. Some commentators have detected homoerotic undertones in their exchanges, though this is a matter of opinion.

After the Easter Rising of 1916, O’Byrne is active in the reconstituted Irish Republican Army (IRA), and in 1919–20 he smuggles arms from Belfast to Dublin. In August 1920, he emigrates to the United States, where he goes on a six-month lecture tour to raise funds for victims of the Belfast pogroms. He allegedly raises $100,000 and funds the construction of Amcomri Street in west Belfast. He spends the next eight years in the United States as a speaker and entertainer, contributing to American Catholic publications. He develops an abiding fondness for Chicago and considers applying for American citizenship. At one point he corresponds with the film star Rudolph Valentino, who admires his verses on Italian themes.

O’Byrne returns to Belfast in September 1928 with the intention of opening a bookshop in Dublin, but this has to be abandoned after the loss of his savings in the Wall Street crash of October 1929. He settles into respectable semi-poverty in Cavendish Street, off the Falls Road, and remains a presence on the fringes of Belfast literary life. In 1930, he founds the Cathal O’Byrne Comedy Company, which performs plays of his own composition, notably the slight comedies The Returned Swank and The Burden, drawing on The Drone, by Samuel Waddell. In 1932, he sings at a concert in the Dublin Mansion House held to mark the Eucharistic Congress. He writes extensively for Catholic publications in Ireland and elsewhere, in particular the Capuchin Annual, Irish Monthly, and Irish Rosary, and publishes several pamphlets with the Catholic Truth Society (CTS). The sensibility displayed in these writings has much in common with that of Brian O’Higgins, Aodh de Blácam, Daniel Corkery and Gearoid Ó Cuinneagáin.

O’Byrne also publishes The Gaelic Source of the Brontë Genius (1932), Pilgrim in Italy (1930), and the story collection From Far Green Hills (1935), which retells gospel episodes in the style of an Irish storyteller with elements of Wildean orientalist exoticism. Pilgrim in Italy is published by the Three Candles Press of Colm Ó Lochlainn, an old friend through the Bigger circle, as is his last story collection, Ashes on the Hearth (1948), a series of slight reveries in which the narrator, wandering the back streets of Dublin, relives such resonant moments as the last days of James Clarence Mangan.

O’Byrne is best remembered, however, for As I Roved Out (1946), a collection of 128 articles on Belfast history originally published from the late 1930s in the Belfast Irish News. It displays considerable knowledge of Belfast history, drawn from lifelong reading and from conversations with Bigger, and can be seen as at once the summation of and a lament for the northern branch of the Irish revival associated with such figures as Bigger and Alice Milligan. The pieces, moving out from central Belfast to surrounding rural districts are held together by the storyteller surveying the landscape. Surveys of Belfast by journalistic flâneurs are not unprecedented, O’Byrne dismisses the mercantile and unionist establishment of Belfast as hopelessly materialistic and oppressive, casting himself and, by implication, his Catholic/nationalist readers as internal exiles forced into the side streets of history, treasuring a martyred religious faith and gazing back wistfully to the bright and fleeting hope represented by the Society of United Irishmen and the cultural revival. The book is punctuated by expressions of anger against the whole heritage of the Ulster plantation. The economic success of the planters is attributed solely to their plunder of the natives. The textile industry is discussed solely in terms of exploitation and starvation wages. Shipbuilding is dismissed with a remark that ships were built in Ulster long before the planters arrived. Finally, the history of Belfast is summed up in the confrontation between the Belfast merchant, ancestor of the unionist “establishment,” and would-be slave-trader Waddell Cunningham and the United Irishman and self-declared “Irish slave” William Putnam McCabe.

There are numerous contemptuous references to the Sabbatarianism and respectable dullness of late Victorian Belfast, contrasted with the lively artistic activities of the volunteer period. The book is reprinted three times in O’Byrne’s lifetime and is seen by nationalists as an underground classic. Its image of Belfast layered with fragmentary and hidden memories has been drawn on by authors as diverse as Ciaran Carson and Gerry Adams, and in the early twenty-first century O’Byrne is commemorated as one of the city’s significant writers. A plaque is placed on his Cavendish Street house in 2004. It is ironic that his reputation should rest on his memorialisation of Belfast, for he denounced it as “interminable miles of mean streets . . . one of the ugliest cities in the world.”

O’Byrne is believed by some, though not all, of his acquaintances to be homosexual. This view is supported by references to the descriptions of male beauty (based on Gaelic saga models) which recur in his writings and by the expressions of longing which permeate his work (which might also reflect a wider sense of loneliness or cultural displacement). His last years, 1954–57, are spent in the Nazareth Nursing Home in Ormeau Road, Belfast, where he dies on August 1, 1957, a month after suffering a stroke. His funeral is crowded, and his gravestone describes him as “singer, poet and writer who brought joy into the lives of others.”

(From: “O’Byrne, Cathal” by Patrick Maume, Dictionary of Irish Biography, http://www.dib.ie, October 2009)


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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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Death of Dúnán, First Bishop of Dublin

Dúnán, the first bishop of Dublin, appointed under Dublin‘s Hiberno-Norse kings, dies on May 6, 1074. He is known also as Donatus or Donat. The diocese is put on a regular basis, in 1028, at the request of Sigtrygg Silkbeard. In his obituary in the Annals of Ulster, Dúnán is described as “chief bishop of the foreigners.”

It has been traditionally said that Dúnán was consecrated by Æthelnoth, the Archbishop of Canterbury. This is now disputed, with scholars saying that his successor, Gilla Patráic, was the first to be consecrated in this way.

Dúnán is an Easterling or Östman, and the first of the line of prelates who occupy the see. James Ware, who mentions several so-called bishops of Dublin of an earlier date, is supported by the Martyrology of Donegal, but John Lanigan is of opinion that there are no sufficient grounds for so regarding them, except in the case of Siadhal or Sedulius, who appears to have been a bishop. Dúnán is, however, termed abbot of Dublin in the Annals of the Four Masters (AD 785), and from this it would seem he is only a monastic bishop. Diocesan episcopacy has not been established in Ireland in his time. Dúnán, therefore, must be regarded as the first bishop of Dublin in the modern sense of the title.

The Annals of the Four Masters term him “ardeasbog”, which Dr. John O’Donovan translates archbishop, but James Henthorn Todd points out that the correct rendering of the word is “chief or eminent bishop,” and that it includes no idea of jurisdiction. His diocese is comprised within the walls of the city, beyond which the Danish power does not extend.

The chief event of Dúnán’s life appears to be the foundation of the Cathedral of the Holy Trinity, commonly called Christ Church, or more properly its endowment and reorganisation in accordance with the views of the Danish settlers. For it appears, from an inquisition held in the reign of Richard II, that a church is “founded and endowed there by divers Irishmen whose names were unknown, time out of mind, and long before the conquest of Ireland.” This ancient site is bestowed on Dúnán by Sitric, king of the Danes of Dublin, and with it “sufficient gold and silver” for the erection of the new church, and as an endowment he grants him “the lands Bealduleek, Rechen, and Portrahern, with their villains, corn, and cattle.”

Sitric, according to the annalist Tigernach Ua Braín, had gone over the sea in 1035, probably for the sake of religious retirement, leaving his nephew as king of Dublin in his place. This is three years before Dúnán’s appointment, and as the king dies in 1042, it must be when he becomes a monk, if Tigernach is right, that he makes the grant referred to, and therefore the new foundation of Christ Church appears to have taken place between 1038 and 1042.

The site is described in the Black Book of Christ Church as “the voltæ i.e. arches founded by the Danes before the arrival of Saint Patrick in Ireland, and it is added that Saint Patrick celebrated mass in an arch or vault which has been since known by his name.” This story, as it stands, cannot be accepted as authentic history, for Saint Patrick died according to the usual belief in 490, whereas the earliest mention of Danes in Ireland is in 795. In the recent discovery made at Christ Church of a crypt hitherto unknown, some very ancient work is found, which is probably part of the buildings. If so, they may be the remains of the ecclesiastical structures originally occupied by the abbots of Dublin. The legendary connection of the place with Saint Patrick belongs to the period when, as Dr. O’Donovan observes, “the christian Danes refused to submit to the ecclesiastical jurisdiction of Armagh, and when it was found useful by the Danish party to have it believed that their ancestors had been settled in Dublin as early as the fifth century, and were converted to christianity by Saint Patrick.”

When the church is built, and the secular canons by whom it is to be served are installed, Dúnán furnishes it with a liberal supply of relics, of which a list is given in the Book of Obits of Christ Church, published by Dr. Todd. Other buildings erected by him are the church of St. Michael (now the Synod House), hard by the cathedral, and a palace for himself and his successors. He enters into a correspondence with Lanfranc on some ecclesiastical questions about which he desires information. Lanfranc’s answer is preserved, and is published by Archbishop James Ussher. It is highly probable that this deference to the Archbishop of Canterbury may have something to do with the claim put forward by the latter in a synod held in 1072, two years before Dúnán’s death, in which, on the supposed authority of Bede, he asserts his supremacy over the church of Ireland – a claim which Dúnán’s successor admits in the most explicit manner at his consecration in Canterbury Cathedral.

Dunan died on May 6, 1074, and is buried in Christ Church, at the right-hand side of the altar. There is another who also bears the alternative name of Donat (1085), but he is more generally known as Dungus.


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The 31st International Eucharistic Congress Begins in Dublin

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The 31st International Eucharistic Congress begins in Dublin on June 22, 1932, and runs through June 26. The congress is one of the largest eucharistic congresses of the 20th century and the largest public event to happen in the new Irish Free State. It reinforces the Free State’s image of being a devout Catholic nation. The high point is when over a million people gather for Mass in Phoenix Park.

Ireland is then home to 3,171,697 Catholics. It is selected to host the congress as 1932 is the 1500th anniversary of Saint Patrick‘s arrival. The chosen theme is “The Propagation of the Sainted Eucharist by Irish Missionaries.”

The city of Dublin is decorated with banners, bunting, garlands, and replica round towers. Seven ocean liners moor in the port basins and along Sir John Rogerson’s Quay. Five others anchor around Scotsmans Bay. The liners act as floating hotels and can accommodate from 130 to 1,500 people on each. The Blue Hussars, a ceremonial cavalry unit of the Irish Army formed to escort the President of Ireland on state occasions, first appears in public as an honor guard for the visiting Papal Legate representing Pope Pius XI.

John Charles McQuaid, President of Blackrock College, hosts a large garden party on the grounds of the college to welcome the papal legate, where the hundreds of bishops assembled for the Congress have the opportunity to mingle with a huge gathering of distinguished guests and others who have paid a modest subscription fee.

The final public mass of the congress is held at 1:00 PM on Sunday, June 26 in Phoenix Park at an altar designed by the eminent Irish architect John J. Robinson of Robinson & Keefe Architects, and is celebrated by Michael Joseph Curley, Archbishop of Baltimore. A radio station, known as Radio Athlone, is set up in Athlone to coincide with the Congress. In 1938 it becomes Radio Éireann. The ceremonies include a live radio broadcast by Pope Pius XI from the Vatican. John McCormack, the world-famous Irish tenor, sings César Franck‘s Panis Angelicus at the mass.

Approximately 25% of the population of Ireland attend the mass and afterwards four processions leave the Park to O’Connell Street where approximately 500,000 people gather on O’Connell Bridge for the concluding Benediction given by the Papal Legate, Cardinal Lorenzo Lauri.

The English Catholic writer G. K. Chesterton is also present, and observes, “I confess I was myself enough of an outsider to feel flash through my mind, as the illimitable multitude began to melt away towards the gates and roads and bridges, the instantaneous thought ‘This is Democracy; and everyone is saying there is no such thing.'”

On the other hand, such an overwhelming display of Catholicity only confirms to Protestants in the North the necessity of the border.

(Pictured: the closing ceremony of the Eucharistic Congress that was held in Dublin in June 1932)


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Birth of Edmund Ignatius Hogan, Jesuit Scholar

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Jesuit scholar Edmund Ignatius Hogan S.J. is born in Cork, County Cork on January 25, 1831.

Hogan joins the Society of Jesus and studies for the priesthood in Belgium and France. He returns to Ireland where he teaches German for a year at Clongowes Wood College and then languages and music in the Sacred Heart College, Limerick.

After extensive research in Rome Hogan publishes a history of the Jesuits in Ireland and a life of Saint Patrick. He lectures on Irish language and history at University College Dublin and is Todd Professor (Celtic) at the Royal Irish Academy.

Hogan’s works include Distinguished Irishmen of the 16th Century (1894), the Irish Phrase Book (1899) and Onomasticon Goedelicum: An Index to Irish Names of Places and Tribes (1910), a standard reference based on the research of John O’Donovan, The Irish Wolfhound, A Description of Ireland in 1598 and Chronological list of the Irish members of the Society of Jesus, 1550-1814. He also contributes to the editing and compilation of other works in his field.

Edmund Ignatius Hogan dies on November 26, 1917.


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Birth of St. Columba

St. Columba, also called Colum or Columcille, Irish abbot and missionary Evangelist is born on December 7, 521, in Tír Chonaill (mainly modern County Donegal) in the north of Ireland. He is credited with spreading Christianity in what is today Scotland at the start of the Hiberno-Scottish mission. He also founds the important abbey on Iona, which becomes a dominant religious and political institution in the region for centuries. He is the Patron Saint of Derry and is highly regarded by both the Gaels of Dál Riata and the Picts. Today he is remembered as a Catholic saint and one of the Twelve Apostles of Ireland.

Columba studies under Saints Finnian of Movilla and Finnian of Clonard and is ordained into the priesthood around 551. He founds churches and the famous monasteries Daire Calgaich, in Derry, and Dair-magh, in Durrow.

Columba and his twelve disciples erect a church and monastery on the island of Iona (c. 563) as their springboard for the conversion of Scotland. It is regarded as the mother house and its abbots as the chief ecclesiastical rulers even of the bishops. Columba gives formal benediction and inauguration to Áedán mac Gabráin of Dunadd as king of Dál Riata.

Columba accompanies Aidan to Ireland in 575 and takes a leading role in a council held at Druim Cetta, which determines the position of the ruler of Dál Riata in relation to the king of Ireland. The last years of Columba’s life are apparently primarily spent in Iona, where he is already revered as a saint. He and his associates and successors spread the gospel more than any other contemporary group of religious pioneers in Britain.

Columba dies on Iona and is buried in 597 by his monks in the abbey he created. In 794 the Vikings descend on Iona. Columba’s relics are finally removed in 849 and divided between Scotland and Ireland. The parts of the relics which go to Ireland are reputed to be buried in Downpatrick, County Down, with St. Patrick and St. Brigid or at Saul Church neighbouring Downpatrick.

Three Latin hymns may be attributed to Columba with some degree of certainty. Excavations in 1958 and 1959 revealed Columba’s living cell and the outline of the original monastery.

St. Columba’s Feast Day, 9 June, has been designated as International Celtic Art Day. The Book of Kells and the Book of Durrow, great medieval masterpieces of Celtic art, are associated with Columba.