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Evie Hone Window Honours Name Of Co. Galway Surgeon
AN Evie Hone stained glass window has been erected in the Church at Kilmilkin, Maam Valley, in commemoration of a distinguished man of that place, John Francis O'Malley, the Harley St. surgeon.
It is a remarkable work and probably ranks with the artist's best. It enshrines in glass the story of a miracle of healing by St. Brendan the Navigator at the blessed well on the island of Inis Gloira. This story in various forms has come down over 1,000 years on the lips of the people.
The pagan Danes invaded the ancient kingdom of Umhal and were first repulsed with great slaughter, but later succeeded in slaying the chief of Umhal, and all his people with the exception of his sickly infant son. This boy was restored to health by the intercession of St. Brendan and grew into a warrior to lead the clansmen to victory on land and sea against the enemies of Christiandom.
The window shows the large central figure of the saint standing over the blessed well. In the background is the sea with St. Brendan's ship and to one side his stone dwelling, at his feet is the child restored to health by the power of prayer. Kneeling by the well is the chieftainess mother in the traditional red dress and blue cloak. A pilgrim's cross is scratched on a standing stone by the well.
A slab beneath the window bears the Irish inscription ancient symbols of Umhal—an Turc agus an Long. The whole picture fits into its surroundings the Mam Turc, and the Lomaire Ruadh mountains. The sure touch of a great artist expresses the deep religious traditions of those western mountains and islands of the sea, a faith patried down the Aughagower and fasted on Croagh Patrick.

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VIGNETTE: Sean O'Sullivan, R.H.A.
By KEES VAN HOEK
O'Sullivan). Of his pictures proper, I know none better than that "Dunquin Kitchen," now in the Reihill Collection. He likes frescoes—he did some for the Williams's headquarters in Tullamore, but he has only one church to his credit, the Stations of the Cross in Mountmellick.
The only neglect he complains of is that in 25 years of painting he has not been given nore opportunities of doing religious painting. But then (as the proud possessor of a Rouault, the personal gift of that great master) he consoles himself with the view that the tendency in sacred art is towards "a Christ as acted at
the Gate on a cross made by Hicks."
Of his famous portraits that of Yeats which hangs above the Abbey box office is probably the one best known to the public at large. Few have had the chance of seeing that recent opus, the portrait of the Marquess of Bute in that nobleman's Wiltshire castle. Sean is not the type of artist who can sell himself. He does not go about socially, and does not cultivate the social graces. Yet, he is intensely interested in people, and sizes them up quickly and shrewdly. He was not surprised at the stir which his portrait of Dr. Barbara Moran made at this year's Academy, and his typical explanation of the success was: "She is a woman of great intelligence."
He sees a portrait finished before he starts it, and all his effort goes towards that end. A portrait, he maintains, is a statement of what you think of your sitter; the integrity of the painter shows in his characterisation; the criterion is interest, not beauty. "The pattern that makes a person's identity and shows his character is written on his face, and the more subtle or vigorous that pattern is isolated in a painting the more human and living the portrait." Flattery is fatal: by improving on looks you only draw attention to what everybody knows is not there."
Choice Sitters
When I visited him for this pose sketch, the artist was working on a portrait of Madame Fitzgerald, the widow of the Knight of Glin. I could not help asking him who, in his opinion,
was the most beautiful woman he had ever painted. He replied spontaneously: "The wife of Judge Davitt," and added, "the Irish girl is pretty rather than good-looking, but when they are good-looking then they are extremely good-looking." His most interesting sitters? "James Joyce, who impressed me by his goodness, and "Dev," who impressed me by his greatness, both unintentionally as far as they were concerned. O'Sullivan spoke of his admiration for Jack Yeats and for Campbell, the sculptor, and especially singled out Patrick Hennessy with "great admiration." Concerning the state of art in Ireland, in general, he summed up: "There have never been more artists than nowadays, but most of them live on the sweat of their father's brow. Mind you, a good artist can still make his living, yet in itself the necessity for an artist to have to make his living is a curse; he should be independent and not have to pander to taste."
We were sitting in his studio, of which, incidentally, he made the "throne," the big table and some of the chairs with his own hands. He keeps a full-sized carpenter's bench, with all the tools, in his Blackrock house.
Artist's Profile
Against one of the walls of the studio hang fencing foils. Somehow, owing to his heavy build, I had thought boxing more in his line. Sean apologetically quoted Cyril Conolly in defence: "In every fat man there is a thin man screeching to be let out." He eats little, and for exercise he digs in his garden. He learned farmwork on holiday as a schoolboy. The O'Sullivans just happen to be naturally big-boned. Everything is proportionately big about him—the square, ruddy-complexioned face underneath the shock of jet-black long smooth hair; the broad torso and the well-padded hands.
The deep-set hazel eyes frown easily. It may at first seem, when he thinks aloud, as if he has difficulty in marshalling his thoughts. Yet, neither the severely sustained frown with which he will focus you, nor the measured tempo of his soothing voice, nor the absence of any attempt at Bohemian gesticulation, can hide the fact that Sean O'Sullivan is an amazingly well and widely read man, accustomed to do his own thinking. The only thing he never bothers his massive head about is politics. He speaks an excellently accented French and—when in high spirits—with an exuberance of colourful slang.
Sean O'Sullivan likes to get his sitters to talk—"then they forget they are posing and become themselves." Likewise the interviewer, out to sketch a portrait in prose, must get him to talk—only thus does one discover the real O'Sullivan behind that big physical hulk. Not merely the boy behind the bear, but the sensitive mind fighting with every picture anew that agonising battle of great artists to attain the unattainable, of which his formidable intellect knows that it must ever fall short of the perfection of his visions.
Dublin-London-Paris
When young Sean, a Synge Street schoolboy at the time, first set foot in the then School of Art, he came to see a collection of guns—but wandered down the wrong corridor and found himself confronted with pictures instead. With all the self-assurance of 13 years he realised that he could do that himself—had he not been drawing ever since he could remember? A few years later he enrolled as a pupil in the School of Art.
His teachers were Tfohy and Keating, instructors in the chemistry of painting, so to speak. From Dublin he went to London, where he studied lithography as a craft at a London County Council evening class. There he married, at the age of 19, a fellow student of Anglo-Dutch parentage, who worked by day in a gallery of fine art.
They went to Paris, which gave him all the artistic freedom he needed and unlimited opportunities for drawing and painting from a great variety of models, and of seeing a great deal. Derain, Vlaminck, Dufy and Rouault impressed him most. Among brother Irishmen who befriended him were James Joyce, Thomas McGreevy, now
Director of the National Gallery, and Sam Beckett.
On returning to London, he started designing book covers and went to Frank Brangwyn to print lithographs for him.
With Brangwyn's introductions, he returned to his home town, became the youngest Associate Academician, and already two years later a fully fledged R.H.A.
Art of Portraiture
O'Sullivan won his earliest—and still his widest—reputation with his portrait drawings, of which a Dublin solicitor, John Burke, has the finest collection. They cover every phase and aspect of Irish life of this century, from Pearse's mother to Patrick Kavanagh. He did etchings and dry points (a superb example is his Seamus

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Sunday Express Oct. 4. 1951.
Story told on panels takes the president two years
BEARDED JOHN KEATING, 62-year-old president of the Royal Irish Academy, is nearing the end of a two-year task painting 14 Stations of the Cross in oils on wood panels.
The paintings are for a new chapel at St Eunan's College, Letterkenny (Co. Donegal).
It is the second big job of its kind that Mr Keating has undertaken. The other was 31 years ago.
The figures in the 14 paintings have been drawn from living models. Mr Keating, seen here with the last of the 14 works, used his wife "as I remember her when young" as his model for the Virgin Mary.
For Pontius Pilate he "borrowed" the face of a clerk.
Before he started he spent months reading books on the Passion.
"My interpretation is fairly traditional," he said. "My aim is to excite devotion."

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MISS SHERIDAN'S CARVINGS
MISS CLARE SHERIDAN is a portrait sculptor of recognized talent. She has executed the busts of Lenin and Trotsky in the Kremlin, and of Winston Churchill in No. 10 Downing Street. She has travelled widely and written about the people she has met. In 1946, she was received into the Catholic Church at Assisi and enrolled into the Third Order of St. Francis. Latterly she has been living in Ireland, and the works now on view at the Ashley Gallery reflect the impression of her Faith. By far the most interesting thing about them is the variety of materials out of which they have been wrought. This gives, it is true, an effect of experimentation which prevents the achievement of a settled style. But it is instructive to see how beautifully a thousand-year-old slab of bog oak from Ennis lends itself to the Madonna, and how pompous the large Regina Pacis from an oak tree felled in Battle Abbey looks in comparison. The Winged Prayer in alabaster is very successful, and there are other works in painted limewood, terracotta, laburnum, bronze, and bleached oak. Most of these are skilfully done, but there is more energy than power in Miss Sheridan's method. One has the feeling that, aesthetically speaking, the Faith has not yet been digested, that the new accent of the sculptor has not yet been found. She is evidently moved by the manifold aspects of the Mother of God, but her expression of them is too multiform. It is very difficult to find a personal style of religious art, and more difficult still to reach out through this to an impersonality which shall be neither dead nor derivative, but shall carry the signature and accent the responsibility of the artist. Miss Sheridan is so flexible a sculptor and so adventurous a spirit that she will certainly find other solutions as happy as the Regina Apostolorum from County Clare. Meanwhile, the majority of these works, although their inspiration is not in doubt, seldom go beyond professional accomplishment.
R.W.S.
Table 6.X.51

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EXHIBITION OF NEW WORK
BY HARRY KERNOFF, R.H.A.
A ACADEMY SMALL GALLERY
15 ELY PLACE, DUBLIN SIDE
DOOR
OPEN: NOV. 12TH-NOV. 24TH, 1951
HOURS: 10.30 A.M.-6 P.M. FREE

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PORTRAIT GALLERY
WHEN Evie Hone went to Eton in the spring of this year, a few days before the unveiling of her now-famous window for the college chapel—commissioned to replace a stained glass window destroyed in the “blitz”—she saw her “Last Supper” in its complete form for the first time. Covering an area of 900 square feet, and comprising over 40,000 pieces of glass, the window was so big that no studio large enough to set it up could be found in Ireland. Her main anxiety—that the amount of stonework in the window would destroy the unity of her design—proved unfounded, and she noted with relief that the various devices she had used to offset this effect—for example, the elongation of Christ's arms through the intervening stonework—were entirely successful. The Eton College window confirmed her position as the finest contemporary strained glass designer, and Eton College commissioned two more windows from her.
Miss Evie Hone
Slight and frail, quiet and unassuming, Evie Hone strikes people who meet her for the first time as the sort of person to whom art might easily mean embroidered cushions or timid water-colour landscapes; certainly not many people would connect her with the savage strength, the Byzantine richness of her recent windows.
At 58, she spends most of her time in her Rathfarnham studio, preparing full-size cartoons, supervising the work of her glazier, Tom Kinsella, matching glasses against a tall window that looks out across a trim lawn on the foothills of the Dublin mountains. She is a Catholic convert in a Protestant family, which included two Nathaniel Hones—the first a foundation member of the Royal Academy, the other a famous landscape painter of the last century—and one Galyon Hone, glazier to King Henry VI. Her interest in art dates from early youth when infantile paralysis rendered her immobile for long periods and left her with a lot of spare time on her hands.
A journey to Italy confirmed her decision to make art her career, and on her return she studied in London under Walter Sickert and Meninsky, and in Paris, under André L'Hote and Albert Gleizes. Her ten student years in Paris left, perhaps, the deepest impression on her outlook. She still goes back twice a year, ostensibly to buy glass, and stays in her old pension in Montparnasse. At home in Rathfarnham, she smokes Cyprus cigarettes—the nearest thing to Gauloises available in Dublin; her dog, Silver, is a french poodle; and the only pictures on her studio walls are early Juan Gris and Picasso abstracts, bought in Paris in her student days.
On her return to Ireland in 1927, Evie Hone made a reputation first as an abstract painter. By 1934, the abstract influence had worn off—though her strongly developed sense of design undoubtedly owes much to her preoccupation, in these years, with abstract patterns—and she had begun to make her first experiments in stained glass. Her first commission was a window in Boyle, Co. Roscommon, for Major and Mrs. Kirkwood; her first minor success a prize-winning design for a window in Portobello Chapel; and her first major success a window for the Irish Pavilion at the New York World Fair. Since then, she has had enough commissions to keep her working continuously, though she still finds time to paint a few gouache landscapes.
Windows by Evie Hone can be seen in Blackrock College, Clongowes Wood College, and the Jesuit College at Tullabeg, as well as in numerous smaller churches through Eton College. At present, in addition to the two windows for Eton College, she is working on a window for Farm street Jesuit Church in London, and on a small window commissioned by the American art critic, James Johnston Sweeney, for his old family church in Donegal.

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Victor Waddington
THE people who sell pictures have always been almost as interesting—in some cases, indeed, many times as interesting—as the people who paint them. Duveens do not loom over the artistic horizon every day, any more than do Turners or Picassos. Hugh Lanes are few and far between. Nor, when they pass on, do they fail to leave their impressive memorials behind them. The public galleries of London display ample evidence that Duveen and Lane found the business of art-dealing profitable. But the just critic might argue that the dealer in the works of living artists contributes as much to art as the men whose works enrich him; that he, too, makes his act of creation—the creation of the artists.
The argument goes too far, of course, but it has the germ of truth. In Irish artistic life today there are quite a number of prominent figures who might never have been able to depend upon their painting for a livelihood without the aid of Mr. Victor Waddington.
Waddington has not created painters, but he has picked out talent and encouraged it, and provided artists with the stimulus of competition and the stimulus of profit. Suave, well-groomed, impeccably dressed, he plays the impresario of the art gallery to perfection. Underneath the studied façade, there are humour, kindliness, dynamic energy, and—surprisingly—an idealism which 47 years in the bitter world has never quenched.
There is. Waddington believes, a renaissance of painting in Ireland to-day, comparable with the renaissance of Anglo-Irish literature in the early years of the century. Our artists are individuals; they cannot be banded into a school. But, whether they come from North or South, each one has his roots in Irish soil.
Waddington is convinced that Dublin, more than any city in Europe, is destined to become the centre of painters and art-lovers from all over the world. "Already," he says, "many people come here just to see Ireland's paintings. And I cannot be accused of chauvinistic propaganda. I'm not even a fully fledged Irishman!"
What is he? Well, his father was a Scottish school-teacher, an historian who studied Judaism and became drawn more and more to the Jewish conception of ethics. Finally he took the step—most unpopular in a Scottish Presbyterian society—of becoming a convert to the Jewish religion. Soon afterwards he met and married a Jewish lady, and one of the children was Victor.
Having spent his early childhood in Bermuda, where his father was teaching, Victor moved first to Scotland and then to Ireland. Mr. Waddington, senior, believed that in this new young State, then emerging from the Black and Tan War, there was some spark, some flare which might bring a light to war-sick Europe.
By the age of fourteen, Victor knew that he wanted to devote his life to art—but that he never would be a painter. The solution was to own an art gallery. To attain this end he bent his already teeming energy.
Victor could do one thing reasonably well—he could box. He was Scottish schoolboy champion for his weight. He went in search of money to the boxing booths. It rather shocked him to discover that professional fights in provincial booths differed in some respects from the clear code of public school boxing; but he found the golden road to the public heart—when you are knocked down, just get up again. After four years of professional boxing, he had saved enough money to return to Dublin, and found the gallery which he had literally fought for.
Twenty-seven years ago the Waddington Gallery was started on the second floor of a premises in Anne street. Its first show was a black and white exhibition by John Keating. Soon it was able to take the first floor, then it moved across the street to its present site. Mounting, framing, all the crafts, as well as the arts of the trade, have been gra dually embraced.
Waddington has brought the world to Ireland, and he has brought Ireland to the world. He has repeatedly backed his own judgment, and, so far, he claims that he has never made a major mistake. He would be the first to agree that his adopted country has treated him well. But, the artists, even in their bitterest moments, would admit their debt to him. It is no small thing to preside, for so many, over the transmutation of art into bread and butter.

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PORTRAIT GALLERY
On the wall behind Jim Larkin's head is a picture of his father. On the desk, beside his hand, is a dictaphone. A visitor to his office can debate whether the machine symbolises the contrast between father and son, or merely reflects the trade union movement's new respectability—or both.
"Young Jim" is, in many ways, his father's antithesis. Clearly, he was never cut out to play the demagogue. In his early youth Communism attracted him; now, he has so far forgotten old Socialist shibboleths as to support a means test for health services, on the ingenious grounds that it will exclude from benefit the rich, furcoated mothers of Fitzwilliam Square. A less honest man would have taken the opportunity to cash in on his conversion from the extreme Left, in the hope of receiving a repented sinner's welcome—and bounty—from the extreme right. Jim Larkin has preferred to continue working unobtrusively as General Secretary of the Workers' Union of Ireland, and as a leading figure in the Irish T.U.C.
As a trade union representative, Jim Larkin is probably unrivalled in Ireland to-day. Federated Union of Employers awarding a prize for the union "with whom we least dislike to negotiate," it would almost certainly go to the team of Larkin and Ferguson, of the Workers' Union of Ireland. Not that Jim is malleable—far from it; but he is businesslike, reliable, prepared to enforce decisions. He leaves inflated oratorical flourishes to his colleagues in the Dail.
He gives the impression that his political work as a T.D. comes a poor second to his trade union activities, much to the annoyance of some of his supporters, and more of his exsupporters who have left the Labour Party in disgust. Nearly ten years ago, when the ranks of Labour split apart, leadership of the more militant section was ready to fall into Jim Larkin's
Mr. James Larkin, T.D.
lap. Hastily he stepped to one side, and allowed it to fall back into Mr. Norton's. At the time feared his past Communist affiliations might be used to smear the movement. Possibly they would; but in the years that have followed the excuse has begun to wear thin.
What at first seemed honourable self-effacement now strikes his followers as lack of courage or unwillingness to take the leadership of a moribund party into his hands. They remind him that the last time that Labour fought in Dublin on a militantly Larkinite programme—the local elections of ten years ago—it won more seats than any other party. Since then the party has managed to shed Larkinism and become respectable; as a result, it was hard put in 1951 to win even a single Dail seat in the city.
Not even Jim's brother, Denis,
could attract the working class vote in his father's North Dublin constituency. Perhaps this was not so surprising, in view of the fact that Labour's co-operation with Fine Gael led to the remarkable spectacle of a Larkin going up for election martin by side with a William Martin Murphy.
Yet in spite of his lack of real interest in Labour's political arm, Jim Larkin enjoys a considerable reputation in the Dail. He is no orator: few people would cross the road to hear him at a public meeting. But in the Dail, the quiet reasonableness of his down-to-earth exposition of the worker's view commands attention from all sides of the House. No other Labour T.D. earns the same respect. Most deputies would agree that only Jim Larkin has it in him to jerk his party out of its long torpor. But has he?

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Lusitania Memorial
THE late Jerome Connor's bronze figures of mourning fishermen, which will be added to the partly-constructed Lusitania memorial at Cobh, arrived there from Dublin, yesterday.
Delivery was accepted by Mr. A. J. Powell, Town Clerk, and Mr. F. W. Steele, Chairman of the Urban Council.
The figures, which weigh nearly two tons, are meant to commemorate the part which local fishermen played in the rescue of survivors when the liner was torpedoed off Kinsale on May 7, 1915.
During the first world war, the contract for the construction of the memorial was entrusted to Mr. Connor, who died in Dublin, in 1942, when working on the Angel of Peace figure, which he had planned as centre-piece of the monument.
The figures of the fishermen go to Cobh as a gift from the Friends of the National Collection, to whom representations were made some years ago by Mr. Powell and Mr. Dowling, then Chairman of the Urban Council.

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CYRIL CUSACK PRODUCTIONS PRESENT
THE PLAYBOY OF
THE WESTERN WORLD
BY J. M. SYNGE
AT THE GAIETY THEATRE
COMMENCING MONDAY, 20th JULY, 1953
NIGHTLY AT 8 O'CLOCK ☆ MATINEE : SATURDAY, 2.30 P.M.
Cahill & Co., Ltd., Printers, Dublin.
CYRIL CUSACK PRODUCTIONS PRESENT
THE PLAYBOY OF
THE WESTERN WORLD
with
SIOBHAN McKENNA
CYRIL CUSACK
WALTER MACKEN
NORA O'MAHONY
MAUREEN CUSACK
SEUMAS KAVANAGH
ARTHUR O'SULLIVAN
EELAGH NOONAN
JACK McGOWRAN
MAUREEN O'SULLIVAN
PAT O'HARA
CARROLL O'CONNOR
PRODUCTION BY - - JACK McGOWRAN
SETTINGS BY MICHAEL O'HERLIHY
PRICES - 7/6 5/- 3/6 1/-
FOLLOWING WEEK :
Commencing Monday, 27th July, 1953
ARMS AND THE MAN
BY BERNARD SHAW
HELLO ! OUT THERE - BY WILLIAM SAROYAN
C. & Co., Dublin.

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OUVERT
DIMANCHES DE 11 A 13 HEURES
OUVERT
best wishes
Jack
BRUXELLES
35, CHAUSSÉE D'IXELLES
DU THEATRE DE POCHE
La Direction a l'honneur de vous inviter à visiter l'exposition des œuvres du peintre
JACK HANLON
qu'elle organise du samedi 18 décembre au jeudi 6 janvier 1955
Sous le patronage de S. E. Monsieur Denis R. McDONALD, Ministre d'Irlande
VERNISSAGE LE SAMEDI 18 DECEMBRE, A 17 HEURES

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EASTER
1916
Have you
forgotten?
EASTER 1916
By Montagu Slater
"James Connolly is Ireland's first Socialist martyr," says Robert Lynd in his introduction to Labour in Ireland. "To say so is not a rhetorical flourish. It is a simple historical fact that must be admitted even by those who dispute the wisdom of his actions and the excellence of his ideals. He died as a witness to his faith in the brotherhood of man as he wished to see it brought into being and shape in Ireland."
That is twenty years ago—Easter 1916. Slater has written a play with Connolly as his hero. It tells of the origins and roots of his faith, his life as a labour leader in the big dispute which shook Dublin in 1913. It finishes with his execution. The play has many historical characters, including Countess Markowitz, Roger Casement, Padraic Pearse and others. The play has much humour and character. It was well received on its first production by the Left Theatre.
"There was an air of extraordinary reality about Montagu Slater's 'Easter 1916.' . . . The play gripped the attention.—Daily Telegraph (December 9, 1935.)
Easter 1916. Montagu Slater. 2/6.
We also publish a racy and authoritative account of the Easter rising, and the events that led up to it, written by Brian O'Neill (author of "War for the Land in Ireland") called Easter Week—price 2/-.
We publish all sorts of other books about Socialism and its theory. The EYE (sent post free) tells you all about them.
LAWRENCE & WISHART
2 Parton Street, London, W.C.1
THE PARLEIGH PRESS (T.U.), 17-29, CAYTON STREET, LONDON, E.C.1.

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IRISH WAR NEWSTHE IRISH REPUBLIC.
Vol. 1. No. 1
DUBLIN, TUESDAY, APRIL 25, 1916.
ONE PENNY
"IF THE GERMANS CONQUERED ENGLAND."
In the London "New Statesmap" for April 15, an article is published—"If the Germans conquered England," which has the appearance of a very clever piece of satire written by an Irishman. The writer draws a picture of England under German rule, almost every detail of which exactly fits the case of Ireland at the present day. Some of the sentences are so exquisitely appropriate that it is impossible to believe that the writer had not Ireland in his mind when he wrote them. For instance:—
"England would be constantly irritated by the lofty moral utterances of German statesmen who would assert—quite sincerely, no doubt—that England was free, freer indeed than she had ever been before. Prussian freedom, they would explain, was the only real freedom, and therefore England was free. They would point to the flourishing railways and farms and colleges. They would possibly point to the contingent of M.P.'s, which was permitted, in spite of its deplorable disorderliness, to sit in a permanent minority in the Reich-
stag. And not only would the Englishman have to listen to a constant flow of speeches of this sort; he would find a respectable official Press secret bought over by the Government to say the same kind of things over and over, every day of the week. He would find, too, that his children were coming home from school with new ideas of history.
They would ask him if it was true that until the Germans came England had been an unruly country, constantly engaged in civil war. The object of every schoolbook would be to make the English child grow up in the notion that the history of his country was a thing to forget and that the one bright spot in it was the fact that it had been conquered by cultured Germans.
"If there was a revolt, German statesmen would deliver grave speeches about 'disloyalty,' incartitude," reckless agitators who would ruin their country's prosperity. Prussian soldiers would be encamped in every barracks—one English causcripte having been sent out of the country to be trained in Germany, or to fight the Chinese—in order to come to the aid of German morality, should English sedition come to blows with it. "England would be exhorted to nondum her own genius in order to imitate the genius of her conquerors, to forget her own history for a larger history, to give up her own language for a 'aniversal' language—in other words, to destroy her horsehold gods one by one, and put in their place
alien gods. Such an England would be an England without a soul, without even a mind. She would be a nation of slaves, even though every slave in the country had a chicken in his pot and a golden dish to serve it on."
Put "Ireland" in the place of "England" in these extracts and "England" in the place of "Germany," and it will be admitted that the humiliating state of national subjection in which we live, and the cunning methods of spiritual conquest practised on us by England have seldom been better described. If the article was not written by an Irishman in a bitterly satiric mood, it shows how well Englishmen understand how the treatment they have been accustomed to apply to other nations would feel, applied to themselves. But my own opinion certainly is, that every sentence I have quoted stamps the article as the production of a very able Sinn Feiner.
THEN AND NOW
If there is one personality which the canting hypecracy of England is using more than another to play upon the religious susceptibilities of Catholics it is Cardinal Mercier. The British press and its Irish jackals are watching for everything that may give them a chance of using the Cardinal's name in a manner prejudicial to German methods. The British Government exploited him through London, and the saintly T. P. O'Connor, who has prostituted every religious and Nationalist principle he ever held, took the Cardinal under his Masonic wing, and on introducing him to an audience, was moved to tears—amply the greatest miracle in water since Moses struck the rock. One of the things that has struck most of us in connection with this exploiting of Belgium and her Cardinal by the British Press and politicians, is what must be the real honest opinion of the Belgians and his Emancience on this new-found friendship for their country.
We remember at the time of the death of King Leopold of Belgium, what an unholy lust these same politicians displayed for the grabbing of Belgium's territory, and to what depths of scurrilous mendacity they descended to belie the moral character of the country which they had hoped to plunder. Alfred Morce, and the other mainsprings, stired up the agitation for English intervention in the Congo, as the only hope for saving the hands
and heads of the natives from being cut off. English influence showed its power in manipulating the Press Agencies to prejudice world feeling against the Belgians. King Leopold was not cold in his grave when his private affairs and morals were laid bare to the gaze of the curious, and this kind of thing, with the usual garnish of pruriency, was served up ad nauseam. Had they wished the Belgians might have met this stirring up of stagnant streams by reminding the English of another Royal personage and a trip to Scarborough, and a cruise to India, which would not stand the light of day, according to the accepted standards of morality, but the Belgians though smarting under the indignities heaped upon them and their dead monarch, ignored "the war of filth," as one French newspaper called this British subsidized scandal-mongering.
A protest signed by all the leaders of political and religious thought in Belgium was sent to Washington for presentation to Congress, Cardinal Mercier appended his name as a protest against the foul-mouthed libels on his country. So did Mons. Beernagrt, President of the Executive Council, and other Ministers of State; Dr. Rochedier, President of the Synod of Evangelical Protestant Churches; Dr. Biech, Chief Rabbi; the Presidents of the House of Representatives, the Senate of the Supreme Court, the Court of Appeals, the Royal Academy, and all other important bodies.
That is not so long ago, and Belgium cannot be unmindful of the campaign of calumny which such hired ink-slingers as Alfred Morcel, Sir Conan Doyle, Stackpole, and the lesser fry carried on "to save humanity from Belgium barbarities," and incidentally, of course, handed over the Congo to the British Rubber monopolists. Belgium is in its present position as the result of a weak King, for Alfred has none of the strength which his father displayed in keeping out of the measless spread by British intrigue. British intrigue has made a catapaw of Belgium in this affair, and as a result the once prosperous little Kingdom is to-day shattered and broken. Britain has paraded her before the world, and begged some money for her from the charitable of all nations, and to-day, through her press and her press agencies, she calls on God and the world to witness what has been done for "destitute Belgium" by the power of "British benevolence."
A CHANGE OF FRONT
"N.D." writing in the orthodox "Frontier Sentinel" (Newyork), puts the Parliamentarian attitude towards the Irish Volunteers in a new and almost hitherto unheard of light. Referring to the famous Banishment Orders, he says:—
Not less odious than the attempt to disarm the MacNeill Volunteers is the attempt to banish the organisers—a prelude, I suppose, to the intended total disruption of the organisation. It is, of course, a policy which will never achieve success. It would be bad enough if this were the work of a native Parliament, but words are inadequate to describe its enormity when we consider it is engineered from Dublin Castle—that strange, und

--- Page 15 ---
FIRST ANNIVERSARY.
1 SCUIMNE AP
ÉAMONN CEANNT
(E. J. Kent),
Commandant, 4th Battalion, I.R.A.,
Signatory to the Declaration of Independence of the
Irish Republic
MICHAEL O MEALLAIN
(Michael Mallin),
Commandant, I.R.A.
CONCUBAIR O COLBAIRO
(Cornelius Colbert),
Captain, F. Co., 4th Batt, I.R.A.
SEAN MAC AOÓA
(Jack Heuston),
Captain, D Co., 1st Batt, I.R.A.
WHO DIED FOR IRELAND,
8th MAY, 1916.
So n'Deunfaid Dia Thócaipe ap
a n-anamnaib.

--- Page 16 ---
Fremour's Journal June 5th 1916.
THE LADY PRISONERS.
We understand that Miss Annie Higgins was released from Mountjoy Prison last evening. She had been detained in connection with the Sinn Fein insurrection. It is understood that Miss Nellie Gifford, Miss K. Ryan, Madeline French-Mullen, of Dublin, and Miss Kathleen Expwe, of Co. Wexford, will be released to-day.

--- Page 17 ---
The Insurrection in Dublin.—Armoured Motor Car in Bachelor's Walk.

--- Page 18 ---
Irish Rebellion, May, 1916.
Ruined Sackville Street, Dublin, barricaded with motor Cars

--- Page 19 ---
Before
O'Connell Bridge and Quays Dublin. (Before and After "Sinn Fein Rebellion.")
After

--- Page 20 ---
Irish Rebellion, May, 1916.
Liberty Hall, Dublin, the Rebel Headquarters, after the storming.

--- Page 21 ---
Irish Rebellion, May 1916
The interior of the Ballroom, Imperial Hotel, Dublin, after the Siege.

--- Page 22 ---
Irish Rebellion - May 1916.
Talbot Street, Dublin, held against a rebel charge. Picture taken under fire.

--- Page 23 ---
Irish Rebellion - May 1916.
Liberty Hall Dublin, the Rebel Headquarters,
after the storming.

--- Page 24 ---
Irish Rebellion - May 1916.
Soldiers bivouacking opposite Liberty Hall, the Rebel Headquarters in Dublin.

--- Page 25 ---
Liberty Hall, Headquarters of the Citizen Army, after Bombardment.

--- Page 26 ---
Irish Rebellion - May 1916.
Henry Street, Dublin, after the shelling of the Rebels

--- Page 27 ---
The Daily News
LONDON & MANCHESTER, WEDNESDAY, MAY 10, 1916.
INCIDENTS OF THE REVOLT.
The Suppressed Rising: Snapshots of Leaders. (Left to right) Interviewing Pearse (shot) in Parnellstreet before unconditional surrender. The Countess Markiewicz (life sentence) leaving, with a wardress, after Court-martial. "Major" McBride (shot), on left, being marched off under escort.

--- Page 28 ---
1. Press S.V. 48
1916 Dead are Honoured
Firing a volley at the
graves of the 1916
leaders in Arbour Hill
yesterday

--- Page 29 ---
DOMINICAN PRIEST'S
1916 DEATH
Entered G.P.O. During
1916 Rising 1916
Rev. Benedict Costello, O.P., Prior of St. Saviour's Hospital, Limerick, who has died at St. John's Hospital, Limerick, accompanied by the late Father Headley, entered the G.P.O. in Easter Week 1916, on a number of occasions to render spiritual aid to the Volunteers fighting there..
Father Costello, who was born in Limerick City in 1880, entered the Dominican Order in 1898, and was ordained in Rome.
On returning to Rome he served at various Houses of the Order in the country before becoming Editor of "The Irish Rosary" in Dublin, a position he held until 1920.
Father Costello also did Missionary Work in California from 1908 to 1913. After periods as Prior at Sligo, Athy and Tralee he was elected Prior at Limerick in 1946.

--- Page 30 ---
FLAG OF SURRENDER RETURNED
ENEMIES OF 1916 BECOME FRIENDS
By an "Irish Times" Reporter
SCENE: DUBLIN. Date: April 30th, 1916.
IN many parts of Dublin buildings are smouldering. Throughout the city the sound of rifle fire is heard intermittently, but in the vicinity of Boland's Mills the shooting is not so desultory. A Mount street, the 5th Lincolnshire Regiment is stationed in Lower County and their task is to force the occupants of the Mills to surrender. But the holders of the Mills—members of the Irish Republican Army—seem determined not to surrender.
Then word is brought to the officer commanding the Lincolns that a man wearing the uniform of a "rebel" is in Sir Patrick Dun's Hospital, and he investigates. Entering the hospital he finds the man and orders "Hands Up." The command is obeyed and the man is taken prisoner. He wears the epaulettes of an officer, and, although he holds himself proudly erect, he seems to be dead tired.
This, in brief, is an account of the little drama which was the prelude to the surrender of the men in Boland's Mills almost 32 years ago.
The British officer on that occasion was Captain E. J. Hitzen, captive was Eamon de Valera, who then commanded the I.R.A. forces in Boland's Mills. This historic event was recalled during the weekend with the arrival in Dublin of Captain Hitzen, who, on Saturday night, was the guest of honour at a dinner in Clery's Restaurant, then his engenies by men who were at the dinner.
At the dinner, Captain Hitzen was made a presentation by the E and M Companies, 3rd Battalion, and he handed over the white flag of surrender which was given to him by an I.R.A. when the white flag was evacuated. Then the bags, will be now included in the Museum.
"WORN OUT"
In hotel in Dublin on Saturday morning, some hours after he had landed from the mail boat, Captain Hitzen told me the occasion of what happened on that occasion.
"When I entered the hospital," he said, "I was not aware of the identity of the man inside. He raised his hands promptly when I ordered him to do so and said he was perfectly agreeable to surrender as he was tired out. I think that at that stage it was all up with the strength and the mills; we were too defenders and they were too too strong and they were worn out. I took possession of Mr. de Valera's arms and marched him out into Lower Mount street, him turned into Grattan street.
"Under cover of a machine-gun I ordered him to go to the mills and to whistle for his men to come out. He obeyed and shortly afterwards 117 men surrendered to my company. They seemed to be absolutely worn out from the struggle. We then marched them to Ballsbridge Barracks."
Captain E. J. Hitzen, who was the guest of honour at a dinner given by the men of Battalion, Dublin Brigade, I.R.A., hands to Major de Valera the white surrender flag he received from Mr. Eamon de Valera in 1916. The dinner was held in Clery's Restaurant, Dublin.
CHIEF WITNESS
Captain Hitzen said that when the men came out of the mills one of them carried a white flag which he handed to him. The ex-officer then showed me the flag. On it he had written the following inscription: "Sinn Fein Rebels Flag of Truce. Taken on April 30th, 1916, by B Company, 5th Lincolns, when Colonel de Valera and 117 rebels surrendered." He had been only three or four days in Ireland at the time of the surrender of the mills.
Later he was principal witness for the Crown when Mr. de Valera was charged with treason. It is now history, of course, that the I.R.A. leader was then sentenced to death, but later made a dramatic escape from Lincoln Jail.
The stolen of the organisers of Saturday night's function succeeded in getting in touch with Captain Hitzen was an interesting one. While he was marching his prisoners along Northumberland road a picture was taken, and he was subsequently approached by the man who took it and asked if he would like a copy. He was afterwards, and another copy found its way into the National Collection.
G.P.O. KEY LOST
When Mr. George Lalor, Secretary, E and M companies, wanted to secure a copy of the picture he was referred to Mr. J. A. M. Hurley, Gallway, a retired B. A. Official, who had the original negative, and Mr. Hurley then told Mr. Lalor where the British officer in it lived. The invitation to the function on Saturday night followed from E and M
Drish Limes
5/4/48.
companies. Captain Hitzen told me that when he arrested Mr. de Valera he took possession of his binoculars, but returned them to him over ten years ago when Mr. de Valera was in England.
It is understood that it was Mr. de Valera's intention to hand back the binoculars to Captain Hitzen on Saturday night as a souvenir, but as Mr. de Valera is in America this was not possible.
For several years the ex-officer had the key of the G.P.O. in his possession, but he lost it when his home was bombed in Coventry during the war years.
Captain Hitzen is accompanied by his wife and daughter.
At a dinner on Saturday night service certificates were presented to former members of E and M Companies by Mr. Oscar Traynor,
T.D. Among those who received them were Mrs. Lemass, on behalf of her son, the late Noel Lemass; the Rev. E. Lawless, C.S.Sp., a former member of E Company, and Major Vivion de Valera, T.D., on behalf of his father.
Mr. Traynor, in presenting the certificates, said their happiness was somewhat marred because they had not succeeded in the task of completely freeing the nation. So long as six of their most historic counties were withheld from them by force they could not regard their task as finished.
In a tribute to Captain Hitzen, he said that Mr. Eamonn de Valera would have liked to have grasped the hand of that chivalrous soldier. He (Mr. Traynor) knew how dearly Mr. de Valera would have loved to have been there to provide the theme that would have been worthy of any sculptor or artist—two chivalrous soldiers meeting in peace and showing that they could ooth fight for ideals and still become good friends.
Mr. Michael Tannam, who presided, said that Captain Hitzen had brought with him a souvenir that would be deeply treasured by the Irish nation for all time—the white flag behind which the Boland's Mills garrison marched out to surrender.
OFFICER PLEASED
Presenting the flag to Major de Valera, Captain Hitzen, who was greeted with applause, said he regarded the welcome as a tremendous tribute. For a very long time he had been hoping to make that pilgrimage to Dublin, and it was a hoped he could help to bring better feeling between the two great nations by coming here. He was sorry that Mr. de Valera was not there, but he was delighted that his son, Major Vivion de Valera, was there in his place. He hoped to meet Mr. de Valera very soon. The flag belonged to Dublin, and it was only right that it should be returned to Dublin.
Major de Valera, returning thanks, said that he was glad to feel that the man who was once their enemy was now their friend, and if the last physical barrier could be removed they could work together to achieve that harmony and friendship which Captain Hitzen offered, and make it permanent.
Mr. Traynor then presented a photograph of Mr. de Valera to Captain Hitzen.
Mr. G. Lalor read a telegram from Mr. de Valera expressing his good wishes to his old comrades.

--- Page 31 ---
Presented to
the President
The President receiving mementoes of the Rising from Major de Courcy Wheeler at Arus an Uachtarain yesterday.
The Countess's
Revolver
Mrs. Eamonn Ceannt (left) and Senator Margaret Pearsc examining a revolver which belonged to Countess Markievicz. This was one of the relics of the Rising which were handed over to the State yesterday.

--- Page 32 ---
1916 PROCLAMATION LINK
Printed Proclamation—from left: Mr. C. Brady, Mr. M. Molloy, and Mr. W. O'Brien. 17 25/x1/52
FRAMED COPIES
FOR PRINTERS
MESSRS. Christopher J. Brady, printing department, Bank of Ireland, College Green; Michael J. Molloy, Independent Newspapers, Ltd., and William P. O'Brien, Messrs. O'Reilly's printing works, Poolbeg Street, who set in type the 1916 Proclamation in Liberty Hall, were presented last night with framed copies of the Proclamation at the Typographical Institute, Dublin.
The Minister for Defence, Mr. Traynor, on behalf of the Dublin Typographical Provident Society, of which he is a member, made the presentations.
Mr. Traynor said they were paying tribute to three men who had taken a most important part in the preliminaries to the 1916 Insurrection, and it was also a unique occasion because the three men were still plying their craftsmanship.
Before the insurrection there had been quite an amount of secret work of the greatest importance carried out by the leaders of the movement, and the men they were honouring that night had been handed the document which was the equivalent of a declaration of war on the usurping forces in the country. The document provided them with the information that on the morrow there would be a rising.
With that precious document in their hands they carried out their task successfully under the most difficult circumstances that could be imagined by any member of the printing trade. Having completed the task they picked up their rifles, went into the fray and fought along with their comrades.
Mr. Traynor paid tribute to the D.T.P.S. and said that he thought it had supplied more men to the insurrection than any other crafts in the country. Their premises were historic from the national point of view, because it was there that the major portion of the Black and Tan war was planned, and it was from there that the late Dick McKee went, practically to his death.
Mr. Molloy, returning thanks for the presentation said that his associates and himself were chosen
by James Connolly to do the work because they were on the premises at the time. James Connolly pointed out to them the responsibility attached to it; he did not say that it was a secret document, but that they were going to be made prisoners and locked up under a Citizen Army guard, while the work was going on.
They were short of type, said Mr. Molloy, and they went to an English printer, named West, in Capel Street. They got the type there and they gave a guarantee that if it were not returned, Mr. West would be compensated. They selected all the type in the place and brought it to Liberty Hall.
The copy, he said, was handed to them by James Connolly, who was accompanied by Thomas McDonagh. Then they found that they had not enough type and they sent a messenger to James Connolly to ask what they were to do. He suggested working off the first half of the Proclamation and then beginning on the second. This was done and naturally led to some delay in the work. They were working on a very old machine and Mr. Brady, who was in charge of the machine, had an enormous amount of trouble. Eventually the work was completed. They felt very proud of the work they did and they thanked all those associated with the presentation.
Messrs. Brady and O'Brien associated themselves with Mr. Molloy's remarks.
Ald. P. S. Doyle, T.D.; Senator M. Colgan, Miss Helena Molony, Mr. B. O'Carroll, Treas., D.T.P.S.; Mr. W. J. Whelan, Sec., D.T.P.S., also spoke. Mr. R. Christie, Chairman of the D.T.P.S., presided.

--- Page 33 ---
She Was Unobtrusive ..... and
Yet a Great Leader
A WOMAN OF EASTER WEEK
By R. M. FOX
★
IRELAND has lost another of her veteran women fighters by the death of Commandant Margaret Kennedy of Cumann
na mBan. She was a woman of medium height lithe and active in build, and had a quiet, direct manner and a slow, whimsical smile. Her penetrating eyes had a shrewdness in them. She had the quiet, steely confidence upon which, in times of crisis, others come to rely.
When I asked her a few years ago about the Easter Rising when a handful of men and women, moved by their belief in national independence, rose in armed revolt, she said: "Yes, I remember Easter Monday, 1916, very well. I was one of 28 girls, one-half of the Inghinidhe branch attached to the 4th Battalion of the Irish Volunteers under the command of Eamonn Ceannt, who was afterwards executed. Our own O/C was Miss R. McNamara.
"We marched into the Marrowbone Lane Distillery, a rambling old building which the men at once put into a state of siege, smashing the windows and barricading them with sandbags.
"We started to fix up a first-aid dressing station and a kitchen. We were all trained in first aid and, for the last week, had been doing intensive work preparing dressings and bandages.
"Our first casualty was a volunteer whose hat was neatly drilled through with a sniper's bullet, which also nicked out a groove in his forehead.
"This was dressed, but the wound was not serious. After that we all ducked when passing the danger points where we knew bullets might come.
"From the first we had to commandeer food and supplies of all kinds. One baker's van drove round that way a few mornings, to the great relief of the garrison. Whether it was sympathy or just habit which made the van man come within range I don't know. But the bread was very acceptable." Her face lit with a smile
"Before linking up with the 4th Battalion, a squad of girls went to Dolphin's Barn to get stretchers, etc., and on the way back—in Cork Street—a section of the crowd, which had gathered, jeered: 'You'll be coming back in them soon!' they cried."
Other women, who lived in Marrowbone Lane, brought in big jugs of tea in the mornings to show their sympathy with the garrison. Among the various articles commandeered were a cow and two calves. One calf was killed for food and the cow was milked. So the garrison had plenty of fresh milk. Some of the girls with farm experience made butter and baked soda bread.
GIRLS WITH GRENADES
DESULTORY attacks were made by the enemy. The men held a bridge across the road, and the
girls were given hand-made grenades to drop over the bridge in case of need.
Some of the men bored a tunnel which led through to a house. They called the girls and showed them the entrance to the tunnel through which they could escape if the fighting became too fierce. But the girls did not receive this suggestion in a kindly way. They were disdainful. "And what do you suppose we came here for?" said one crushingly.
Apart from stray bullets there was discomfort enough. The garrison snatched an hour or two's sleep on straw or sacks of grain. Once, after she had been on duty on the bridge for the night, Miss Kennedy came in exhausted. On waking she found she had been sleeping on an iron grating.
The South Dublin Union—chief post of the area, where Eamonn Ceannt was personally in command—bore the main brunt of the attack. There was bloody hand-to-hand fighting here. But everywhere the Volunteers were confident of victory.
One man was sent out for cigarettes and fruit. "We may as well spend our English money," he said, emptying his pockets. "We'll be having our own Irish money next week!" He had the right idea but he was a bit premature. The Irish tricolour floated over the building.
ANTICIPATION
Source were all of them of winning that some of the girls made arrangements for a ceilidhe on Sunday. Many of them had their best frocks brought in and they made a selection of cakes ready for the occasion. Sunday brought, instead of the victory ceilidhe . . . surrender.
A British officer and a priest—Father Augustine, O.F.M., Cap.,—brought the order for general surrender. At first the fighters would not believe it. Some of the main posts—such as the G.P.O.—had been under heavy bombardment. But comparatively small attention had been given to others. Every day there was the hope that the country would rise.
Con Colbert, who was in charge at the Distillery, refused to surrender except by the personal command of Eamonn Ceannt. So the Commandant came from the South Dublin Union. Margaret Kennedy described him as looking like a broken man, all the life drained out of him.
The garrison marched out and proceeded, without British escort, to
Ross Road, at the junction of Patrick Street and Bull Road. A British military cordon held the remaining section clear.
The military refused to let the girls pass. But they had already agreed to surrender, though they could have dispersed to their homes.
Miss McNamara pushed through and insisted on her contingent accompanying the men of the garrison.
HOSTILE CROWD
AFTER all arms and equipment had been collected by the British military, they were marched to Richmond Barracks. On the journey through High Street and Thomas Street the guard had to protect them with fixed bayonets from the hostile crowd, which greeted them with hisses, jeers and threats.
They spent a night in Richmond Barracks, and were taken to Kilmainham Jail the next day. For a week they remained in Kilmainham, and after efforts were made to get them to sign a document recanting their activities, most of the girls were released
A grim feature of the Kilmainham captivity was being wakened each morning by the volleys which killed the leaders of the insurrection. "We used to count the volleys," said Margaret Kennedy, "and we knew then how many of our men had been shot."
It was in the after period that Margaret Kennedy proved her quality. In that time of defeat and dejection she set to work with other members of the Cumann na mBan, who were engaged in National Aid activities to rebuild the organisation. The women had the first opportunity to do this, as most of the active men were under arrest.
Quietly, patiently, she gathered together the broken strings, making them taut and firm. She was made Captain of her company, then District Secretary for the whole of Dublin. Later she became Commandant.
"ON THE RUN"
LIKE many others, she went "on the run," changing her name and seeking remote shelters in the Dublin mountains. Few outside the militant movement knew that she was an important key to rebel activities.
This quiet woman with the keen eyes, calm manner and implacable will, went about her work without being a public figure, though she was loyally obeyed by those in whom she had inspired a great confidence.
For the members of the Cumann na mBan, if Margaret Kennedy gave an order it was enough. In the country she worked doggedly at getting branches formed. At first, maybe, they had to be content with a secretary to a branch, but gradually this was transformed into a captain with a company.
After all the fighting was over she became President of the Old Cumann na mBan, the association of women who went through those perilous times together.
So when some people asked how it came about that this unobtrusive figure was the one woman nominated by Mr. de Valera for the Senate in 1938, the women who

--- Page 34 ---
CATHAL AS
A PATIENT
After periods of intensive fighting, Cathal O'Shannon was a patient in Dublin's Mater Hospital. Picture shows him being visited there by Father Augustine, of Church-street, Dublin. Author O'Shannon fought through the most exciting times in Ireland's troubled history, tells many secrets of her march to freedom.

--- Page 35 ---
6 Clonnore Rd,
Ballybough,
Dublin
EXECUTION OF JOHN HEUSTON
Monday 8th May, 1916
He was the grandson of the John Heuston whose brother, Philip Heuston, married my mother's sister, Frances — he being an uncle of mine. His father was John Heuston who married Marie McDonnell. They had 4 children, John, Michael, Mary and Theresa.
John was educated at the Christian Brothers, North Richmond Street. He was fond of his books and passed an examination for Railway Clerk. He entered the service of the Great Southern and Western and was sent to Limerick. He made many friends there and established a corps of the Fianna Boy Scouts, but before he went to Limerick he was a scout of the Dublin Corps. The Dublin Corps being founded by the Countess Markievicz.
He was next transferred to Dublin and took to training the Dublin Corps. He was an expert in ability as Scout Master and the Countess made him a Captain. He remained at this work until the Rebellion of Easter Week, 1916.
On Easter Monday morning he and Cornelius Colbert went to Liberty Hall and were made Commandants, both of them, by Com. Gen. Pearse. He was given 25 men and some 40 Scouts with orders to occupy Moria House or known as the Mendicity. That was Monday. Next day, Tuesday, he was reinforced by a body of 25 men from Swords. They arrived late and he sent them to bed as they were tired. During this day the place was encircled by the infantry and bombing-party of the forces.
Wednesday, the next day, the place was heavily bombed and fire was taking place in different parts of the building and also several wounded, one being his Lieutenant called Staines, a brother of Mr. Staines the present M. P. for the city. The whole place by this time was taking fire. He was asked and advised by several to surrender.
When the surrender was made the first question he put to the British officer was to have his Lieutenant conveyed to hospital. He was taken to the military prison, Arbour Hill, and confined there.
Thursday found him a prisoner here. A day or so later Con Colbert, who was taken from Watkin's Brewery, Ardee Street, which he held for the I.R.A., arrived here. So he had Colbert as a fellow-prisoner. The Provost Marshall demanded both their Rosary Beads but they would not give them up. They were then taken to Kilmainham Jail. John's stay here was about 2 weeks where he was tried, sentenced and shot.
During that time his mother, Marie, did not know where he was until about 6 days before his execution. She then heard he was in Kilmainham. On the 7th of April at 11 o'clock at night there came to 20 Fontency Street, her residence, a military motor car. It contained a King's messenger. He produced a paper signed by the Provost Marshall summoning her to come to Kilmainham. She and her sister Theresa, and her son Michael Heuston and her daughter Theresa Heuston, and a cousin Lily Heuston, got onto the car and were driven to Kilmainham. They arrived a little before 12 o'clock at night. They were shown into his cell. Three soldiers were guarding him in the cell. There was no light, only candles, as the gas was turned off in the City when the rebellion broke out. They had only planks and buckets to sit upon. They all knelt down and said the Rosary, the soldiers joining in, and one of the soldiers was crying. Jack was quite calm and happy. He wrote several things for them on pieces of paper, one which his sister Theresa has. He also wrote a letter to Mr. Walsh which was published in the press a day after his execution. He also wrote a letter to a Mr. Fegan, which Mr. Fegan kept. We do not know what it was as he kept it and it was not put in the press.
They remained with him until 2.30. The pen which he wrote with, his mother in returning it, the Provost Marshall said: "Keep the pen, Mrs. Heuston", which she has as a memento. They then bade
him good-bye and walked out of the dark, gloomy jail.
HIS EXECUTION
When he went to Kilmainham he went to Confession and Holy Communion, given to him by the prison chaplain, Father McCarthy, of St. James, James Street. But the government sent a Capuchin priest from Church Street to attend to him and to prepare him for his death. Father Albert Bibby, a native of Kilkenny, in religion known as Father Albert. He gave him all the spiritual wants.
He linked him blind-folded out of the cell to the yard where he was shot. In the mode of execution of both Heuston and Colbert it was different from that of Pearse, Kent or MacBride, the latter were old but the former were very young. The heads were blown off Pearse, Kent, MacBride and the others but in Heuston and Colbert's case they tied a white band around their bodies over the heart which was the target for the firing party.
When Father Albert led him out to the yard he was placed in front of the firing party, standing upright with hands joined clasping his Rosary Beads awaiting for the volley. Father Albert took up his position in an arch or recess in the wall of the yard out of the line of fire, thus having a side-view of the prisoner.
When he fell, Father Albert rushed over to him. Kneeling beside him he annointed him saying: "Jesus, receive your soul". He took the Rosary Beads out of his hands. On his beads were two crosses, one a little indulgenced cross which he took off, saying "I keep this in memory of a brave boy". The Rosary Beads he gave afterwards to his mother who sent them to his sister Mary who is a Nun at Taylor's Hill, Galway. He was brave and happy to the last. His dead body was with respect placed in a motor car and driven to Arbour Hill for burial. The body was received here and Father Carroll, a curate from Aughrim Street Chapel performed the Last Rites over him.
The position of the grave is a stable field about 50 yards
from the back of Arbour Hill Terrace and about 15 yards from the stable wall. All that were shot in Kilmainham were buried here, 9 in number.
A woman who lived in the Terrace told me that the grave fell in or sunk but some time after she saw soldiers come and fill it in with earth.
He was shot in the gloom of the dawn of day. They did not like to shoot him in the broad day light. Of course, soldiers have feelings as well as any other men.
A soldier told a girl friend of his that he looked lovely in death and could point out the spot in the prison yard where he fell in the dawn of day the 8th of May.

--- Page 36 ---
BRAVE IRISH GIRL.
Daily NEWS 26-2-1911
Heroine of the Rebellion to
Go Before the King.
The heroine of the Dublin rebellion was Louisa Nolan, a young Irish girl. To-day Miss Nolan, who is only 17 years of age, will attend at Buckingham Palace at the command of the King to receive a decoration for her gallant deed.
In the hottest moment of the rebellion the girl ran into the open under a hail of fire and dragged an officer and a number of men, who had been shot down, to a place of safety. Telling her story yesterday, Miss Nolan, who is at present appearing in the revue, "Three Cheers," said that at the time she was staying with friends in Dublin. The G.P.O. was being bombarded by the soldiers, and seeing an officer and several men fall, she ran out to help them.
"I called out for volunteers," she said, "but getting no replies I ran on, and reached an officer in the Sherwood Foresters, and managed to pull him behind the shelter of some hoardings." Then she dragged a number of men to safety, and, in spite of the warnings of doctors and nurses, crossed the Mountstreet Bridge, still under fire, and brought back a dying soldier. "He died with my hand in his," said Miss Nolan.
The mother of the officer whom the brave girl saved has presented her with a silver purse and the badge of the Foresters.

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ST. PATRICK'S DAY.
Daily NEWS 18 / nov / 1916
Cork Volunteers Honour 400
Comrades who are Fighting.
St. Patrick's Day was observed in Cork by a public procession through the streets, following High Mass at the Cathedral. Besides the Lord Mayor and Corporation, a number of religious associations, political and educational bodies, and trade societies were represented in the procession, which also included the Cork City Regiment of Irish National Volunteers, in whose ranks was a gap to represent the places of 400 Volunteers who are fighting for Ireland in the trenches. There was also a strong body of Sinn Fein Volunteers from the city and county of Cork.
In Dublin the occasion was observed as a general holiday. The religious side of the festival was carried out in the forenoon, and in the afternoon the customary sporting fixtures were largely attended. Sixteen hundred members of the Irish Volunteers paraded the city, and were subsequently inspected by Mr. John McNeill, president of the organisation.

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THE 1916 RISING
To the Editor, "Sunday Independent"
Sir—Mr. P. S. O'Hegarty in answering Mr. Cathal O'Shannon's query in his letter to the "Sunday Independent" last Sunday as to what authority he, Mr. O'Hegarty, had for stating that the 1916 Rising was planned for Dublin only gives as his authority Sean MacDiarmuida, at Welshpool in May, 1915.
I have a very distinct recollection of that visit of Sean MacDiarmuida to England and the reasons for it, also that he was deputed especially to visit Mr. P. S. O'Hegarty, and the report he brought back from that visit.
Of course, I must accept Mr. O'Hegarty's word that Sean MacDiarmuida told him the Rising was planned for Dublin only, but I am left guessing as to why Sean MacDiarmuida told him so, as I know the Rising was planned for all Ireland, and I can give proof of this. The plan was for the whole country as outlined to me.
It is true that Joseph Plunkett was responsible for the military plans for Dublin, which were considered very clever and adopted, but that fact did not confine the Rising to Dublin.
I am at present engaged in writing my recollections of that period, so I shall not go into details here. In those recollections I am stating all I know about Eoin MacNeil and Bulmer Hobson, which will, I hope, clear the air
of some of the myths which have grown up since 1916.
I agree with P. S. O'Hegarty when he says "there is no longer any justification for regarding the Rising, the men, the events, and the consequences as an article of faith immune from examination or criticism."
When someone remarked to me after the Rising that such men as those, meaning the leaders, would never be replaced, my answer was that I would be sorry to have such a poor opinion of my country as to think men like them would not be produced again and again.
(Mrs. Tom) KATHLEEN CLARKE.
40 Merlyn Road, Ballsbridge,
Dublin.
July 27, 1949.

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