Alongside his older brother, Connor Maguire, Maguire is a prime mover in the conspiracy which leads to the outbreak of rebellion in Ireland on October 23, 1641. He is tasked with securing County Fermanagh for the rebels, but is only partially successful, with several key fortresses in the county, including Enniskillen Castle, remaining under Protestant settler control. His attempt to murder Sir William Cole immediately prior to the rising fails, but the landowner Arthur Champion is killed in one of the first actions of the rebellion. In November 1641, he joins Felim O’Neill of Kinard at Newry to issue a proclamation in which the rebels claim they are acting in defence of King Charles and Catholicism. In December 1641, the Fermanagh army under Maguire slaughters many of the garrison and refugees in Tully Castle, apparently in retaliation for the killing of the garrison of a Maguire castle which had been taken by assault some days previously. He also destroys Castle Archdale and its neighbouring settler village, and kills eight Protestant settlers at Monea Castle. In early 1642, he is expelled from the Irish Parliament and in the summer of the same year he is made a colonel in Owen Roe O’Neill‘s army in Ulster.
Maguire is appointed Governor of Fermanagh by the authorities of the newly established Confederate Ireland. He commands the rebel reserve in the Battle of Benburb in June 1646. He leads raids into Protestant-held areas in east Ulster, before joining O’Neill in his campaigns in Leinster in the autumn of 1646. Later that year, he raids lands in Connacht controlled by the Royalist commander, Ulick Burke, 1st Marquess of Clanricarde. In August 1647, O’Neill and Maguire move the army to Leinster, where Maguire quarrels so vigorously with O’Neill over the payment of troops that the general orders his arrest and court-martials him. After the court-martial, Maguire and his supporters, about five or six regiments, draw up their forces and threaten to desert. The mutiny soon dissipates and Maguire remains allied to O’Neill.
In 1648, Maguire joins O’Neill in opposing the truce between the Confederates and Royalists. He plays a prominent role in the skirmishes and evasive manoeuvrings that occur between the two sides in central Ireland. In the winter of 1648, Maguire withdraws north and on November 13 he is killed while leading an attack on a fortress near Jamestown, County Leitrim.
Henry is born in Belfast on January 15, 1902, the daughter of the tea merchant George Adams Henry. She attends Mount Pottinger National School, and Victoria College, before expanding her studies at night classes at the Belfast School of Art.
Henry completes an apprenticeship at Clokey Stained Glass Studios founded by Walter Francis Clokey where she is to work for over fifty years designing stained glass windows. Her appointment in the autumn of 1919 comes by a chance visit to Victoria College by the firm’s owner who is seeking a suitable apprentice. She retires from the firm at Easter 1972.
Henry exhibits at the Belfast Art Society for the first time in 1928. She exhibits four works, all landscapes in oil, and then a further two works in the following year. In 1931, she shows a further two works with the successor to the Belfast Art Society, the Ulster Academy of Arts. In 1932, she shows A Derbyshire Village, described by one critic as “a delightful English rural scene.” Between 1931 and 1942 she shows with more than twenty paintings at the Ulster Academy of Arts, exhibiting at each annual show in that time.
Henry has a keen interest in photography from an early age and wins various awards for her photographs. In 1934, she wins the August prize from the Photographic Dealers’ Association for a shot of a child playing with toys in the bath, having received a consolation prize of five shillings in September of the previous year for a shot of a traditional market scene in Boulogne. She goes on to write a regular column for Amateur Photographer throughout the 1930s.
In January 1935, Henry is appointed leader of a local sketching group by the Youth Hostel Association. In December 1935, she is commended for a sketch called River Pool, submitted to a competition judged by James Humbert Craig on behalf of the Youth Hostel Association, presented alongside Port Muckin a show with the sketching group. Maurice Canning Wilks contributes Skernaghan Point, Brown’s Bay to the same show.
The Robinson and Cleaver Art Gallery stages a display of works from Four Ulster Artists in 1936 consisting of paintings from Henry, her sister Marjorie, Theo Gracey and F. H. Hummel. She contributes Green Boat, which she had presented earlier in the year to the Ulster Academy of Arts, and includes Off the Scilly Isles among pictures from Brittany and Bavaria. The reviewer in Belfast’s News Letter refers to her style as “Post-Impressionism.”
In 1937, Henry is elected an Associate of the Ulster Academy of Arts and presents three watercolours to the institution the following year. The exhibition is opened by Oliver St. John Gogarty with participants such as John Luke, Maurice Wilks, James Humbert Craig, Rosamund Praeger and Colin Middleton, who shows three Surrealist works including Angelus.
The Royal Hibernian Academy displays two small works, Flight, 1941 and Lakeside, among an unusually large contingent of Ulster artists in the annual exhibition in the spring of 1942. The Ulster Academy of Arts is united in their commitment to raise funds for the bomb damaged Ulster Hospital for Children and Women in their Spring Exhibition of 1942. Henry displays a sense of humour in her use of black-out paint, roadblocks and air raid shelters in one of the watercolours on show.
Henry is a regular exhibitor with the Water Colour Society of Ireland, and contributes more than one hundred works to their exhibitions between 1943 and 1986.
Henry joins Violet McAdoo in a joint exhibition at the Belfast Museum and Art Gallery in 1944. McAdoo presents with watercolours, however, Henry also presents oils. The paintings are primarily of landscapes but included a number urban scenes.
In 1945, Henry and her sister Margaret join Arthur and George Campbell, Colin Middleton, Gladys and Max Maccabe, Thomas Carr, Maurice Wilks, James McIntyre and others, in the only official exhibition from the Ulster branch of the Artists’ International Association sponsored by the Council for the Encouragement of Music and the Arts (NI) at the Belfast Museum.
The MacGaffin Gallery at Pottinger’s Entry is the venue for a group exhibition of experimental and modernist works with Nevill Johnson, Aaron McAfee and the MacCabes in 1946, where Henry exhibits seven paintings. Quayside is one of three pictures that she presents at the Ulster Academy in 1946. She also shows it with the Water Colour Society of Ireland in the following year and at CEMA’s Some Ulster Paintings exhibition in that same year.
In 1946, the Council for the Encouragement of Music and Art (CEMA) purchases a painting by Henry, in addition to works by other contemporary Ulster artists. Twenty-four of the works from the CEMA collection, including her painting, are later presented at their Donegall Place gallery in 1954.
Henry debuts at the 1948 Irish Exhibition of Living Art with one painting and returns in each of the subsequent ten years with a total of 20 paintings. She is also elected as an Honorary Academician of the Ulster Academy of Arts in 1948.
Henry displays one work, Harbour, Northern Ireland, with Violet McAdoo at the 88th exhibition of the Society of Women Artists at the Royal Institute Galleries in London during the summer of 1949. Just a few months later her work is back in London for the United Society of Artists annual exhibition where she shows Gossip and Shell and Sail.
Henry is awarded a travel scholarship from the Soroptomists of Belgium in 1957, which enables her to study stained glass in the country. She is the President of Soroptomist Club of Belfast from 1960 to 1961, where she had been a member since its foundation in 1932.
Upon her return from Belgium, CEMA stages a solo exhibition with thirty-five of Henry’s oils and watercolours at their Belfast gallery. The exhibition is arranged at short notice when another is unexpectedly cancelled. Writer Nesca Robb opens the exhibition where it is claimed a new painting technique, “monopainting,” is revealed, described as paint drawn through a gauze over glass. The exhibition includes a ‘Breton’ series, Kerry Tangle, Ship Pattern, Barrack Shapes, Lough Shapes, and Backs. In addition, she displays In the Park, an oil previously seen at the Royal Ulster Academy in 1955 and at the Irish Exhibition of Living Art in 1956, and a second oil, City Lunch Hour, exhibited at the Royal Ulster Academy in 1956.
The Ulster Society of Women Artists is founded in 1957 by Gladys Maccabe with the support of Henry and a number of others at a time when no arts societies are accepting female artists into their ranks. The main objective is to ensure the development of quality art and women artists in Ulster. The organisation begins with ten invited artists. Henry exhibits with the society throughout her life.
Henry receives a mention in the local press referring to her exhibits in the Royal Ulster Academy show of 1959 with Kenneth Jamison comparing her work with that of Deborah Brown, “Olive Henry is more decadent by instinct, a fine formaliser. Her pictures Man and Ropes and Riviera Port, well defined and carefully abstracted, contrast in form with Deborah Brown’s freer Oil Over Tempra,[sic] 1959.”
A group exhibition in 1964 at the New Gallery in Belfast includes work from Henry alongside Neil Shawcross, Max Maccabe, Kathleen Bell, Richard Croft and Helen Ross. Among other works she shows Easter and Long Garden.
In 1981, the Ulster Society of Womens Artists elects Henry as President. A retrospective of her studio works is hosted by the Shambles Gallery in Hillsborough, County Down in 1986, some thirty years since her last solo exhibition. Henry shows at the Royal Ulster Academy Annual Exhibition in 1987 for the last time.
Henry dies on November 8, 1989, at Crawfordsburn, County Down. Her paintings are held in the collections of the Northern Ireland Civil Service, Ulster Museum, Irish Linen Centre & Lisburn Museum, and the Royal Ulster Academy of Arts Diploma Collection.
(Pictured: “The Gardener,” watercolour by Olive Henry)
Dorrian is born in Downpatrick, County Down, on March 29, 1814, one of four sons of Patrick Dorrian and his wife Rose (née Murphy). He is educated first by a Unitarian minister in the classical school in the town, where he excels, and then in St. Patrick’s College, Maynooth, where he is ordained in 1833.
Dorrian’s first appointment is as a curate in the then developing town of Belfast, attached to St Patrick’s Church, Belfast, where he ministers for ten years. At a relatively young age he is appointed parish priest in Loughinisland, County Down, (1847-60) at which time he becomes Bishop of Gabala (Qabala) and Coadjutor Bishop of the Diocese of Down and Connor to assist the ailing, frail and irenic Bishop Cornelius Denvir.
Dorrian is consecrated bishop on August 19, 1860, in St. Malachy’s Church, Belfast, and eventually succeeds as bishop five years later on May 4, 1865. He is known for his authoritarian style of leadership, referred to as “Cullenite“. As the post-famine population of Belfast grows, so too does sectarian attitudes, especially among those moving into the city from rural districts all over Ulster looking for work. He seeks to defend Catholic interests, insisting on the necessity of separate Catholic education and seeking, where possible, to influence the social and political interests of his church.
In this respect, historiansSean Connolly and Gillian McIntosh refer to Dorrian’s “pugnacious” presiding over the rapid expansion in priests, churches and religious houses in contrast to the “scholarly but ineffective” Bishop Denvir.
It is estimated Dorrian is responsible for doubling the number of Catholic churches in the city of Belfast, and in 1866, early in his episcopate, St. Peter’s Cathedral, Belfast in Derby Street in the Lower Falls area is first used as a pro-cathedral. His episcopal chair, placed in that church for the occasion, is still in use by the bishops of the Diocese of Down and Connor. He attends the First Vatican Council and is one of the leading Irish delegation to the event.
Dorrian dies at the Episcopal Palace, Chichester Park, Belfast, at 7:00 a.m., on November 3, 1885. His remains are interred within the chancel of St. Patrick’s Church, Belfast, on Friday, November 6.
At a meeting of the parish priests held in the chapel of St. Malachy’s College, on November 6, 1885, immediately after Dorrian’s funeral, Patrick MacAlister is elected Vicar Capitular of Down and Connor. McAllister is then named by Pope Leo XIII as Dorrian’s successor as the 24th Lord Bishop of Down and Connor.
In November 2017, the historic chapel of Belfast’s Mater Infirmorum Hospital is re-opened after extensive refurbishment. It has, as a result of its connection with Dorrian, become known as the Dorrian Chapel.
Morrow is born on April 26, 1863, in Comber, County Down, the second son of George Morrow, a painter and decorator from Clifton Street in west Belfast. Of his seven brothers, four, George, Jack, Edwin, and Norman, are also illustrators and all but one are artists. He is a keen ornithologist in his youth. In later life he is a keen walker and paints landscapes for leisure.
While studying under T. M. Lindsay at the Government School of Art in 1880, Morrow is awarded a £10 prize for drawing from the eminent publishers Cassell, Petter and Galpin. In 1881, while still learning his trade, he paints a mural of Belfast for the Working Men’s Institute in Rosemary Street, where his father is chairman. Later in that same year he exhibits a watercolour sketch of a standing figure entitled Meditative at the gallery of Rodman & Company, Belfast.
Morrow then wins a three-year scholarship worth £52 per year which he takes to the National Art Training School at South Kensington in 1882, where he begins a lifelong friendship with the British sculptor Albert Toft. In 1883, while still attending South Kensington, he joins the staff of The English Illustrated Magazine in preparation for the launch of the first edition. Two of his works are published in the Sunday at Home magazine in September of the same year.
J. Comyns Carr, first editor of TheEnglish Illustrated Magazine, commissions Morrow to complete a series on English industry when he has yet to complete his studies at South Kensington.
In 1890, Morrow begins illustrating for Bits and Good Words. He exhibits nine works at the Royal Academy of Arts between 1890 and 1904, all of which are watercolours, and another in 1917, and an offering in chalk at the 159th Exhibition, in the year of his death.
Morrow becomes a member of the Belfast Art Society in 1895, exhibiting with them in the same year. In 1896, a Morrow print is published in Volume 2 of the limited-edition print-collection Les Maîtres de l’Affiche selected by “Father of the Poster” Jules Chéret. In the same year he shows a watercolour of a Gurkha at the Earls Court in the Empire of India and Ceylon exhibition. In 1900, he exhibits with two Ulster artists, Hugh Thomson and Arthur David McCormick, at the Linen Hall Library in Belfast, who along with Morrow had contributed to the early success of TheEnglish Illustrated Magazine.
Morrow is one of the founders of the Ulster Arts Club in November 1902 along with five of his brothers, an organisation that has a nonsectarian interest in Celtic ideas, language and aesthetics. In November 1903, he exhibits at the first annual exhibition of the Club when he shows alongside John Lavery, Hans Iten, James Stoupe and F. W. Hull. He exhibits The Itinerant Musician, a watercolour that he had previously shown at the Royal Academy in 1902. Honorary membership is conferred upon him the following year. Three years later he is honoured with a solo exhibition of sketches and posters in conjunction with the Ulster Arts Club, at the Belfast Municipal Gallery.
In 1908, Morrow joins his brothers in an exhibition at 15 D’Olier Street, Dublin, an address which is later registered to the family business in 1913. Among his contributions to the family exhibition is his painting of Brandon Thomas, The Clarionette Player, which had previously been exhibited at the Royal Academy, and a poster entitled Irving in Dante.
In 1917, Morrow joins his brother George and 150 artists and writers, in petitioning the British Prime MinisterDavid Lloyd George to find a way of enacting the unsigned codicil to Hugh Lane’s will and establish a gallery to house Lane’s art collection in Dublin. Among the 32 notable artists who sign this petition are Jack B. Yeats, Sir William Orpen, Sir John Lavery, and Augustus John.
Morrow illustrates books for children and adults, but he is best known for the hundreds of posters he designs for the theatre, with the bulk of his commissions coming from just one lithographical printer, David Allen and Sons. As a cartoonist he draws for children’s annuals, and contributes three cartoons to Punch in 1923, 1925 and posthumously in 1931.
Morrow dies at his home in West Hoathly, West Sussex, on October 26, 1927, at the age of 64. He is survived by his wife and two children. His headstone in the local churchyard at All Saints Church, Highbrook is designed by his friend, the sculptor and architect, Albert Toft.
Clery is the son of Arthur Clery (who also uses the names Arthur Patrick O’Clery and Arthur Ua Cléirigh), a barrister, and Catherine Moylan. His father, who practises in India, publishes books on early Irish history.
Clery’s principal themes include the difficulties of Roman Catholic graduates seeking professional employment, dramatic criticism (he hails Lady Gregory‘s play Kincora as the Abbey Theatre‘s first masterpiece but is repulsed by the works of John Millington Synge), Catholic-Protestant rivalry, tension within the Dublin professional class, and the vagaries of the Gaelic revival movement.
Clery advocates partition on the basis of a two nations theory, first advanced in 1904–1905, possibly in response to William O’Brien‘s advocacy of securing Home Rule through compromise with moderate Unionists. Several of his articles on the subject are reprinted in his 1907 essay collection, The Idea of a Nation.
Clery derives this unusual view for a nationalist from several motives, including a belief that arguments for Irish nationalists’ right to self-determination can be used to justify Ulster Unionists’ right to secede from Ireland, fear that it might be impossible to obtain Home Rule unless Ulster is excluded, and distaste for both Ulster Protestants and Ulster Catholics, whom he sees as deplorably anglicised. He remains a partitionist for the rest of his life. He is not particularly successful as a barrister, but on the establishment of University College Dublin (UCD) in 1909, he is appointed to the part-time post of Professor of the Law of Property.
Clery does not take his seat and does not contest the September 1927 Irish general election since new legislation obliges candidates to pledge in advance that they will take their seat. He is one of the lawyers who advises Éamon de Valera that the Irish Free State is not legally obliged to pay the Land Annuities which had been agreed in the Anglo-Irish Treaty of 1922.
Clery was a close friend of Tom Kettle, with whom he founds a dining club, the “Cui Bono.” Hugh Kennedy is also a lifelong friend. As Auditor of the L & H, he tries to prevent James Joyce from reading a paper praising Henrik Ibsen, asserting that “the effect of Henrik Ibsen is evil,” but Joyce succeeds in reading it after he argues his case with the college president. The principal influence on Clery is the Irish Ireland editor D. P. Moran, to whose weekly paper, The Leader, Clery becomes a frequent contributor. In addition to The Idea of a Nation, he publishes Dublin Essays (1920) and (as Arthur Synan) The coming of the king.
Following the trial and execution of the Lord Deputy of Ireland, Thomas Wentworth, 1st Earl of Strafford, in May 1641, Ireland is in a state of turmoil. There is growing tension between Catholics and Protestants (particularly those of a Puritan tendency) with the former generally sympathetic to King Charles while the latter supports the English Parliament and the ScottishCovenanters in the dispute that shortly leads to the outbreak of the English Civil War. This forms part of the wider War of the Three Kingdoms.
On October 23, a major uprising breaks out in Ulster organised by leading members of the Gaelic aristocracy. The rebels attack Protestant plantation settlements as well as native Irish Protestants and take garrison towns held by the Irish Army. Irish government authorities in Dublin struggle to contain the insurgency with the limited number of troops they have at their disposal. A last-minute warning saves Dublin Castle from a surprise attack, although O’Neill is clearly unaware of the failure of the Dublin plot when he issues his proclamation.
After seizing several key strategic points in Ulster over the previous twenty-four hours, O’Neill makes his proclamation in Dungannon, a town that has symbolic importance as the traditional capital of the O’Neill dynasty.
In support of his actions, O’Neill claims to have a document from King Charles commissioning him. The Commission is supposedly signed under the Great Seal of Scotland. By declaring their loyalty to the Crown and defence of the Catholic religion, O’Neill and his followers adopt a political stance which is taken up by the subsequent Irish Confederation which governs rebel-controlled territory in the name of the King from 1642 until 1649. The Proclamation encourages many Catholics to believe they can lawfully join the rising with the King’s blessing, while Protestants are left demoralised.
O’Neill’s second and more trenchant proclamation is made “from our camp at Newry” on November 4, 1641 alongside Rory Maguire. He also publishes the actual royal commission that gives authority for his earlier proclamation. It is subtly different, in that it empowers him to arrest and seize property from all of Charles’s English Protestant subjects living in Ireland, but exempts his Irish and Scottish subjects.
Until the late nineteenth century historians generally accept that the commission is genuine, or at the very least Charles had secretly encouraged the Irish Catholics to launch a rising. Since then, for a variety of reasons, it has been considered to be a forgery produced by O’Neill and his associates without the knowledge of the King. They may well have acquired a copy of the Great Seal of Scotland when they captured the garrison town of Charlemont on October 23.
The historian David Stevenson notes that it would be unlikely that the commission would have been addressed to O’Neill. Had it been genuine it would almost certainly have been issued to more senior Irish Royalists such as the James Butler, 1st Duke of Ormond, or the leading Catholic noble of Ulster, Randal MacDonnell, 1st Marquess of Antrim. It is also unlikely to have been issued at Edinburgh as O’Neill claimed. However, King Charles was in Edinburgh on October 1, dealing with Scottish political matters.
Forgery or not, King Charles publicly proclaims all the Irish rebels as traitors on January 1, 1642.
That the Commission is genuine is widely accepted in England and Scotland by the King’s opponents and even some of his own supporters. It seems to tie in with earlier rumours of an army plot which had suggested that Charles might bring over the New Irish Army, made up largely of Ulster Catholics, to impose his will on England and Scotland. Anger at the King’s alleged links with the insurgents grow – particularly as horror stories of atrocities committed, such as the Portadown Massacre, begin to filter across the Irish Sea. Tensions arising from news of the Irish rebellion is a factor in the English push to Civil War in early 1642.
The Scottish authorities dispatch an Army which quickly retakes much of Ulster from the insurgents. Once the English Civil War breaks out in October 1642, Charles’ emissaries begin negotiations with the Irish rebels for their support, which seems to present further evidence to his opponents of his links with the Catholic Ulster leaders. Many of these later dealings are exposed when Charles private letters are captured during the Battle of Naseby (1645) and published as King’s Cabinet Opened.
When O’Neill is captured in 1653 following the Cromwellian conquest of Ireland, he is put on trial for his life. The authorities offer to spare him if he will repeat his earlier claims that Charles had ordered the Catholics to rise in 1641. O’Neill now refuses to implicate the King, who had been executed four years earlier, and is put to death himself. Nonetheless, the English Republicans continue to use O’Neill’s earlier claims of the King’s involvement to justify their decision to commit regicide.
Following the sudden death of his father in 1918, Bell is brought at the age of seven to live near Raffery in the Strangford Lough area of County Down. He lives with his mother and two brothers in a cottage with no electricity or running water. This is the setting of his acclaimed novel of Ulster rural life, December Bride (1951). He moves to Belfast in 1921, where he works at a variety of manual jobs before securing a post with the BBC in 1945. He is a co-founder of the left-leaning literary journal, Lagan, in 1943.
Bel’s first collection of short stories, Summer Loanen and Other Stories, is published in 1943. His novels include December Bride (1951), The Hollow Ball (1961), A Man Flourishing (1973) and Across the Narrow Sea (1987).
Bell is recruited to the BBC in 1946, along with fellow writer, W. R. Rodgers, by poet and radio producer, Louis MacNeice. Some of his work as a radio producer is highly innovative. This is Northern Ireland, An Ulster Journey (1949) is a classic radio feature incorporating actuality, poetry, music and narration. In later work, Bell incorporates the voices of “ordinary people” in his attempt to paint a picture of Ulster as rooted in the lives and traditions of its people. His collaboration with W. R. Rodgers, The Return Room (1955), is one of the most important post-war Irish radio features and shows the influence of Dylan Thomas on Rodgers, the poet.
In 1977, Bell is honoured with an MBE in recognition of his contribution to the cultural life of Northern Ireland.
December Bride is made into an acclaimed film in 1990. Reviewing the film, The Irish Times columnist and literary critic Fintan O’Toole says it is “not just a remarkable artistic achievement, but also a remarkable political one…restoring a richness and complexity to a history that has been deliberately narrowed.” In April 1999, December Bride is selected by award-winning novelist and critic Colm Tóibín and publisher, writer and critic Dame Carmen Callil, for inclusion in The Modern Library: The 200 Best Novels in English Since 1950 (Picador).
Bell dies on February 9, 1990, at 190 King’s Road, Knock, Belfast, aged 80, shortly before the premiere of the film of December Bride. On October 15, 2009, the eve of what would have been Bell’s centenary, a blue plaque is unveiled by Northern Ireland Minister of Culture, Arts and Leisure Nelson McCausland on the Belfast house where Bell had written December Bride. Such plaques are erected to commemorate and honour notable people.
Doire Leathan is on the eastern shores of Teelin Bay, being just across from the village of Teelin. The battle is part of the ongoing succession dispute for the leadership of the Gaelic lordship of O’Donnell. A combined force of Irish clans and ScottishRedshankmercenaries hired by Iníon Dubh (pronounced “In-neen Doo”) defeat and kill Sir Domhnall Ó Domhnaill (Sir Donnell O’Donnell). The Tanist of Tír Conaill, Sir Domhnall’s younger half-brother and Iníon Dubh’s son, Red Hugh O’Donnell, is still imprisoned in Dublin Castle, but later rises following a subsequent escape to lead Clan O’Donnell and is a prominent figure during the Nine Years’ War.
According to the Annals of the Four Masters, “The son of O’Donnell, i.e. Donnell, the son of Hugh, son of Manus, son of Hugh Duv, son of Hugh Roe, son of Niall Garv, son of Turlough of the Wine, attempt to depose his father, after he had grown weak and feeble from age, and after his other son had been imprisoned in Dublin; so that Donnell brought under his power and jurisdiction that part of Tirconnell from the mountain westwards, i.e. from Bearnas to the River Drowes; and also the people of Boylagh and Tir-Boghaine. It was a cause of great anguish and sickness of mind to Ineenduv, the daughter of James Mac Donnell, that Donnell should make such an attempt, lest he might attain the chieftainship of Tirconnell in preference to her son, Hugh Roe, who was confined in Dublin, and who she hoped would become chief, whatever time God might permit him to return from his captivity; and she, therefore, assembled all the Kinel-Connell who were obedient to her husband, namely, O’Doherty, with his forces; Mac Sweeny-na dTuath (Owen Oge), with his forces; and Mac Sweeny Fanad, with his forces; with a great number of Scots along with them. After Donnell O’Donnell had received intelligence that this muster had been made to oppose him, he assembled his forces to meet them. These were they who rose up to assist him on this occasion: Mac SweenyBanagh (Donough, the son of Mulmurry); a party of the Clan Sweeney of Munster, under the conduct of the three sons of Owen, the son of Mulmurry, son of Donough, son of Turlough, and their forces; and O’Boyle (Teige Oge, the son of Teige, son of Turlough), with all his forces, assembled. The place where the son of O’Donnell happened to be stationed along with these chieftains was Doire-leathan at the extremity of Tir-Boghaine, to the west of Gleann Choluim Cille. The other party did not halt until they came to them to that place; and a battle ensued between them, which was fiercely fought on both sides. The Scots discharged a shower of arrows from their elastic bows, by which they pierced and wounded great numbers, and, among the rest, the son of O’Donnell himself, who, being unable to display prowess or defend himself, was slain at Doire-leathan, on one side of the harbour of Telinn, on the 14th of September. Seldom before that time had his enemies triumphed over him; and the party by whom he was slain had not been by any means his enemies until they encountered on this occasion; and although this Donnell was not the rightful heir of his father, it would have been no disgrace to Tirconnell to have elected him as its chief, had he been permitted to attain to that dignity. In this conflict were slain along with Donnell the three sons of Owen, son of Mulmurry, son of Donough above mentioned, together with two hundred others, around Donnell.”
(Pictured: Hugh Roe O’Donnell, otherwise known in history and lore as Red Hugh O’Donnell)
Humbert crosses the River Shannon at Ballintra Bridge on September 7, destroying it behind them, and continues to Drumshanbo where they spend the night – halfway between his landing-point and Dublin. News reaches him of the defeat of the Westmeath and Longford rebels at Wilson’s Hospital School at Multyfarmham and Granard from the trickle of rebels who have survived the slaughter and reached his camp. With Cornwallis’ huge force blocking the road to Dublin, facing constant harassment of his rearguard and the pending arrival of General Gerard Lake‘s command, Humbert decides to make a stand the next day at the townland of Ballinamuck on the Longford/Leitrim county border.
Humbert faces over 12,000 Irishmen and English forces. General Lake is close behind with 14,000 men, and Cornwallis is on his right at Carrick-on-Shannon with 15,000. The battle begins with a short artillery duel followed by a dragoon charge on exposed Irish rebels. There is a brief struggle when French lines are breached which only ceases when Humbert signals his intention to surrender and his officers order their men to lay down their muskets. The battle lasts little more than an hour.
While the French surrender is being taken, the 1,000 or so Irish allies of the French under Colonel Bartholomew Teeling, an Irish officer in the French army, hold onto their arms without signaling the intention to surrender or being offered terms. An attack by infantry followed by a dragoon charge breaks and scatters the Irish who are pursued into a bog where they are either bayoneted or drowned.
A total of 96 French officers and 746 men are taken prisoner. British losses are initially reported as 3 killed and 16 wounded or missing, but the number of killed alone is later reported as twelve. Approximately 500 French and Irish lay dead on the field. Two hundred Irish prisoners are taken in the mopping-up operations, almost all of whom are later hanged, including Matthew Tone, brother of Wolfe Tone. The prisoners are moved to the Carrick-on-Shannon Gaol. The French are given prisoner or war status however the Irish are not and some are hanged and buried in St. Johnstown, today known as Ballinalee, where most are executed in a field that is known locally as Bully’s Acre.
Humbert and his men are transported by canal to Dublin and exchanged for British prisoners of war. Government forces subsequently slowly spread out into the rebel-held “Irish Republic,” engaging in numerous skirmishes with rebel holdouts. These sweeps reach their climax on September 23 when Killala is captured by government forces. During these sweeps, suspected rebels are frequently summarily executed while many houses thought to be housing rebels are burned. French prisoners of war are swiftly repatriated, while United Irishmen rebels are executed. Numerous rebels take to the countryside and continue guerrilla operations, which take government forces some months to suppress. The defeat at Ballinamuck leaves a strong imprint on Irish social memory and features strongly in local folklore. Numerous oral traditions are later collected about the battle, principally in the 1930’s by historian Richard Hayes and the Irish Folklore Commission.
(Pictured: Watercolour plan by an I. Hardy of the Battle of Ballinamuck in County Longford on September 8, 1798, showing position of the English & French Armies previous to the surrender of the latter at Balinamuck)
In the 19th century, association football outside of Ulster is largely confined to Dublin and a few provincial towns. The British Army teams play a role in the spread of the game to these areas, especially in Munster, as local clubs are initially reliant on them to form opposition teams, leading to the nickname “the garrison game.” Association football is played in relatively few Catholic schools as middle-class schools favour rugby union while others favour Gaelic games. The Irish Football Association (IFA) had been founded in 1880 in Belfast as the football governing body for the whole of Ireland, which was then a part of the United Kingdom and considered a Home Nation. The Leinster Football Association was an affiliate, founded in 1892 to foster the game in Leinster, outside of the Ulster heartlands. This was followed by the establishment of the Munster Football Association in 1901.
By 1913, the Leinster FA becomes the largest divisional association within the IFA, displacing the North East Ulster Football Association, yet all but two clubs in the 1913–14 Irish League are based in Ulster. While this largely reflects the balance of footballing strength within Ireland, southern members feel the IFA is doing little to promote the game outside of the professional clubs in its northern province. In the other provinces, association football is also under pressure from the Gaelic Athletic Association (GAA), which has banned members from playing or watching the sport as it is considered a “foreign” game. Furthermore, there is a growing feeling in Dublin of alleged Belfast bias when it comes to hosting matches and player selection for internationals. This view is not helped by the composition of the IFA’s sub-committees, with over half of the membership consisting of delegates hailing from the North-East, and the International Committee, who chooses the national team, containing just one member from Leinster. The Belfast members are mainly unionist, while the Dublin members are largely nationalist. World War I increases the gulf between the northern teams and the clubs in the south as the Irish League is suspended and replaced by regional leagues, foreshadowing the ultimate split. Tensions are then exacerbated by the Irish War of Independence of 1919–21, which disrupts contact between northern and southern clubs further and prevents resumption of the Irish League. The security situation prompts the IFA to order the March 1920-21 Irish Cup semi-final replay between Glenavon and Shelbourne to be replayed in Belfast, rather than in Dublin as convention dictates. This proves to be the final straw and the Leinster FA confirms their decision to disaffiliate from the IFA at a meeting on June 8, 1921.
The Football Association of Ireland (FAI) is formed in Dublin on September 2, 1921, by the Leinster FA. The Free State League (originally the Football League of Ireland and now the League of Ireland) is founded in June of that year when the Leinster FA withdraws from the IFA. This is the climax of a series of disputes about the alleged Belfast bias of the IFA. Both bodies initially claim to represent the entire island. The split between Southern Ireland (which becomes the Irish Free State in December 1922) and Northern Ireland (which comes into existence as a jurisdiction in 1921) does not produce a split in the governing bodies of other sports, such as the Irish Rugby Football Union (IRFU). The Munster Football Association, originally dominated by British Army regiments, falls into abeyance on the outbreak of World War I, and is re-established in 1922 with the help of the FAI, to which it affiliates. The Falls League, based in the Falls Road of nationalist West Belfast, affiliates to the FAI, and from there Alton United wins the FAI Cup in 1923. However, when the FAI applies to join FIFA in 1923, it is admitted as the Football Association of the Irish Free State (FAIFS) based on a 26-county jurisdiction. (This jurisdiction remains, although Derry City, from Northern Ireland, are given an exemption, by agreement of FIFA and the IFA, to join the League of Ireland in 1985.) Attempts at reconciliation followed. At a 1923 meeting, the IFA rejects an FAIFS proposal for it to be an autonomous subsidiary of the FAIFS. A 1924 meeting in Liverpool, brokered by the English FA, almost reaches agreement on a federated solution, but the IFA insists on providing the chairman of the International team selection committee. A 1932 meeting agrees on sharing this role, but founders when the FAIFS demands one of the IFA’s two places on the International Football Association Board (IFAB). Further efforts to reach agreement are made through a series of conferences between the IFA and FAI from 1973 to 1980 during the height of the Troubles in Northern Ireland.
The IFA does not feel obliged to refrain from selecting Free State players for its international team. The name Football Association of Ireland is readopted by the FAIFS in 1936, in anticipation of the change of the state’s name in the pending Constitution of Ireland, and the FAI begins to select players from Northern Ireland based on the Constitution’s claim to sovereignty there. A number of players play for both the FAI “Ireland” (against FIFA members from mainland Europe) and the IFA “Ireland” (in the British Home Championship, whose members had withdrawn from FIFA in 1920). Shortly after the IFA rejoins FIFA in 1946, the FAI stops selecting Northern players. The IFA stops selecting southern players after the FAI complains to FIFA in 1950.
From the late 1960s, association football begins to achieve more widespread popularity. Donogh O’Malley, TD and then Minister for Education, begins a new programme of state-funded schools in 1966, many with association football pitches and teams. The Gaelic Athletic Association’s ban on members playing “foreign” games is lifted in 1971. RTÉ television, founded in 1962, and British television (available nearly everywhere on cable or microwave relay from the 1970s), broadcast association football regularly. Above all, the increasing success of the international side from the late 1980s gives increased television exposure, more fans, and more funds to the FAI.
However, increased media exposure also highlights some inadequacies of its hitherto largely amateur organisation. In January 1999, the FAI announces a planned national association football stadium, to be called Eircom Park after primary sponsors Eircom. This is to be a 45,000-seat stadium in City West, modeled on the GelreDome in Arnhem. It gradually becomes apparent that the initial forecasts of cost and revenue have been very optimistic. FAI and public support for the project is also undermined by the announcement of the Stadium Ireland in Abbotstown, which would have 65,000 seats and be available free to the FAI, being funded by the state. The Eircom Park project is finally abandoned in March 2001, amid much rancour within the FAI.
During preparation for the 2002 FIFA World Cup, the captain of the senior football team, Roy Keane, leaves the training camp and returns to his home. He is critical of many aspects of the organisation and preparation of the team for the upcoming games, and public opinion in Ireland is divided. As a result of the incident, the FAI commissions a report from consultants Genesis into its World Cup preparations. The “Genesis Report” makes a number of damning criticisms regarding corruption and cronyism within the association, but is largely ignored. The complete report is never published for legal reasons. The FAI subsequently produces its own report of itself titled “Genesis II” and implements a number of its recommendations.
In 2002, the FAI announces a deal with British Sky Broadcasting to sell broadcasting rights to Ireland’s international matches, as well as domestic association football, to be televised on its satellite subscription service. The general public feels it should be on RTÉ, the free-to-air terrestrial service, in spite of their offering much lower rates. Faced with the prospect of the government legislating to prevent any deal, the FAI agrees to accept an improved, but still lower, offer from RTÉ.
Following the respectable performance of the national team in the 2002 FIFA World Cup, the team’s fortunes decline under the management of Mick McCarthy, Brian Kerr and Steve Staunton.
In September 2006, Lars-Christer Olsson, CEO of UEFA, is quoted as anticipating that Lansdowne Road in Dublin (actually owned by the Irish Rugby Football Union) will stage the UEFA Cup Final in 2010, and that the FAI and the IFA will co-host the 2011 UEFA European Under-21 Championship. The 2010 final is ultimately awarded to Hamburg, but in January 2009, UEFA nameS Lansdowne Road as the host stadium for the renamed 2011 UEFA Europa League Final. In August 2010, an FAI spokesman says they will have repaid all of their stadium debt of €46 million within 10 years despite the disastrous sale of 10-year tickets for premium seats at the Aviva Stadium.
In November 2007, the FAI moves to new headquarters at the National Sports Campus in Abbotstown. Its headquarters since the 1930s had been a Georgian terraced house at 80 Merrion Square, which is sold for a sum variously reported as “in excess of €6m” and “almost €9m.”
seamus dubhghaill 