Irish Art
Early Christian Ireland
Intro to Christianity
• St. Patrick came to Ireland in 432 A.D. and
with him brought Christianity to Ireland.
Ogham
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Although the Romans never
invaded Ireland their influences
travelled through trade and
contact with them. One feature
that travelled was writing based on
the Roman alphabet known as
‘ogham’.
We developed into a civilisation
getting the island the title of
‘Saints and Scholars’.
The merging of Roman designs
onto our brooches, jewellery,
manuscripts and the use of
precious stones inserted into
metal objects.
Two phases of Early Christian Irish
Art
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From 5th to mid 8th century
Early monastic settlements.
Few objects remain except some
brooches and some pins and the
first decoration of capital letters in
manuscripts i.e. in the Cathach.
8th century huge development of
Irish Art with the early stone
crosses and the Book of Durrow.
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From mid 8th to the 9th century.
Golden Age of Irish Art.
Technical skills reached
perfection.
Tara Brooch.
Book of Kells.
Crosses of Monasterboice and
Moone.
The Church
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St. Patrick and other missionaries established small communities ruled over
by their own bishop.
This system changed gradually during the 6th and 7th centuries to monastic
foundations.
The result…..a Church organisation. Recognising the authority of the abbot
of the monastery more than the bishop of the diocese.
Abbots were usually laymen and the monastery was usually passed down
father to son. The monasteries also became places of learning and endless
days were often spent on the art of manuscripts.
Abbots had high social standing and strong connection with the Secular
rulers who lived in ring forts or raths or crannogs. These secular rulers were
their patrons to the arts for hundreds of years.
Skellig Michael
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Skellig Michael, Co. Kerry
Monastic settlement perched high
on a rocky island 7 miles off the
coast of Kerry.
Dedicated to St. Michael, the
patron saint of high places.
Stones steps lead 180m up to a
little stone church of St. Michael
also surrounded by 6 beehive huts
Built with Corbelling technique.
The 2 small oratories are built the
same but in a rectangular shape.
Both have one window and a low
doorway.
9th to 11th century????
Gallarus Oratory
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Dingle Peninsula, Co. Kerry.
Between 8th and 12th century.
Rectangular church built with the
corbelling technique. With this
shape it was important to select
well-shaped stones which fitted
together.
Walls slope inwards for strength.
Has a low door and one window
on the gable wall.
Not far from the church is a flat
stone Cross Marker. Asking
people to pray in memory of
someone. Stone with a cross in a
circle
Round Towers
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Round Tower at Ardmore, Co.
Waterford.
10th century started from.
Not bell towers but a feature of the
monasteries. Probably to mark the
status of wealth and
sophistication. Stored valuables or
places of refuge maybe.
Tall, slender and tapering with a
cone shaped corbelled cap.
Usually four windows facing diff
directions at the top with one
window for each storey below.
The doorway 2 or 3m from the
ground reached by ladder and the
wooden floors inside.
Glendalough tower 31.4m high.
Metalwork 8th-12th
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During the Christian era, new artistic traditions developed in Ireland fusing Germanic art with
traditions from the Roman world and traditions around the Mediterranean. These fused to the La
Tene style art. This style was found in manuscript illumination i.e. the Book of Durrow. And so
began the link between the style of manuscripts and metalwork of the 7th and 8th centuries.
600 A.D. fine Irish craftsmen changed considerably from the late Iron Age. Solid silver objects had
appeared, enamel was used more and the new technique of millefori glass (method of producing
motifs by covering a cane of glass with layers of different coloured glass and cutting into short
lengths) had been adopted.
Now new types of objects were fashionable i.e. large pins for fastening garments and penannular
brooches. There were workshops all over the country i.e. monastic site at Armagh and Ballinderry
crannog Co. Offaly. Penannular brooch got its name because of the gap in the ring which was
developed from a Roman military-style brooch.
Motifs in metalwork were also suitable for manuscripts. The colouring in manuscripts was
approached in the coloured enamel in metalwork.
8th century shows a huge range of techniques, all over decorations various effects found in other
traditions.
New techniques such as gold filigree, gilding and silvering, die-stamping and a variety of new
colours in glass and enamel were added to the native skills of bronze casting, engraving and
colouring with red enamel.
Early 8th century era known as the ‘Golden Age’…… time of perfection. Examples the Tara
Brooch and the Ardagh Chalice.
Ballinderry Brooch
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Ballinderry Brooch, Co. Offaly
600A.D. National Museum of
Ireland.
Millefori glass in the little plate on
the terminals, along with sunken
areas of red enamel.
Decorated with bands of lines,
hatching and herringbone design.
Full circle of bronze with a pin
attached which would fasten
through the garment.
Rinnagan Crucifixion Plaque
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Rinnagan, Co. Rosscommon. National
Museum of Ireland. Late 7th century.
Also known as St. John’s crucifixion
plaque.
Possibly acted as a book cover
suggested by several holes
surrounding the piece.
Made from bronze. Main attention
directed to the face of Christ. Nailed
feet point downwards, arms
outstretched and nailed to the cross.
Design combines herringbone pattern,
spirals and zigzags. Ornament on the
garment is La Tene style. Christ wears
a long sleeved garment with interlace
at the wrists. Around Christ small
angels, the lance bearer and the
sponge bearer. They attend to Christ
with spiral designs on their wings too.
Ardagh Chalice
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Ardagh Chalice, National Museum of Ireland
Found in 1868 near Ardagh, Co. Limerick by
a boy digging potatoes. It was found with
four brooches and a bronze chalice. Must
have been part of the collection of a rich
monastery.
Simple design using gold and silver,
moulded coloured glass and light engraving.
There are large areas free of decoration. But
the decoration used elsewhere involves
plain interlace and animal interlace, scrolls,
plaits and frets in gold wire filigree. Other
techniques used are engraving, casting,
enamelling and cloisonne, a method of
enamelling which separates the colours with
thin strips of metal.
The three main elements of the chalice are
the bowl, stem and broad foot.
Ardagh Chalice
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Complex gold filigree work forms a band
around the chalice broken by red and blue
glass studs. Under this band, engraved
lightly into the silver, are the names of all the
apostles except Judas.
The bowl of the chalice is joined to the base
by a thick bronze stem. Stem is heavily
gilded (thin layer of gold impressed on to the
metal). Here the decoration is the most
intricate and involved of all. The base is
formed by a cone-shaped foot around which
is a decorated flange for extra stability. This
flange has square blocks of the blue glass
separated by panels of interlace and
geometric ornament.
In the centre of the underside of the base is
a circular crystal surrounded by gold filigree
and green enamels. The outer edge of the
flange underside is divided into eight, with
six copper studs and two silver.
Ardagh Chalice
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The handles on both sides are a
concentrated area of rich colours and
patterns. Decorated with coloured
glass panels in red, blue, green and
yellow, in between are tiny panels of
complex and skilled gold wire filigree
work, coloured glass and a cloisonne
enamelled stud in the centre.
The gold filigrees of the Ardagh
Chalice and the Tara Brooch were
apparently derived from Germanic
work, reaching new heights of
elaboration and minuteness.
Tara Brooch
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Tara Brooch, National Museum of Ire, 8th century
Found near the seashore of Bettystown Co. Meath after the
cliff collapsed by a jeweller and named it Tara and it remained.
It’s a form of penannular brooch based on a Roman design.
No particular Christian connection. Most likely to be made for
the personal adornment of a queen or king or bishop.
It is tiny and is a ring brooch. And there is no gap which the pin
can pass through so it is called a pseudo-brooch chains and
loops are needed for fastening a chain like this.
The point where the chain joins the brooch is beautifully
decorated: two glass studs in the form of human heads.
Made of bronze, back covered in copper and glass studs, front
with gold, amber and glass. Gold is worked into filigree panels,
some of which have fallen off.
Decorated with spirals, loops, animal and bird heads.
Back of brooch is also highly decorated. There are two plates.
La Tene style is dark against a silver background. Chain is
attached to the brooch by two animal heads at each end of a
little plate. Two human heads lie in the centre of this plate.
These human faces are purple.
Straight pin with triangular head with gold filigree, amber and
glass.
Cast and gilded kerbschnitt ornament appears on the shaft
and head of the pin. Occurs also on the inner and outer edges
of the ring. Kerbschnitt is a method of casting which imitates
wood carving.
Derrynaflan Hoard
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National Museum of Ire, mid 8th
century. Found at an ancient
monastery of Derrynaflan, Co.
Tipperary in recent years.
The hoard contained a chalice very
similar to the Ardagh Chalice.
Suggesting this may have been a
common design to the Irish Church.
The hoard also contained a silver
paten and a beautiful strainer-ladle
The paten contains such techniques
as filigree, enamelling, casting,
stamping of thin gold and knitting of
wire mesh.
Metalwork 11th and 12th century
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Cross of Cong, early 12th century
Artistic production declined during the 9th and 10th
century but continued in the production of stone
crosses.
The 11th and 12th century was a period of peace
between the Vikings and the coming of the
Normans, stoneworkers and metalworkers
produced works of art equally.
Almost all metalwork was produced for the church
consisting mainly of highly ornamented shrines and
reliquaries connected with Irish saints.
Shrines like the Cross of Cong and the Shine of St
Patrick’s Bell were made to hold objects or relics
associated with the saints such as books or bells.
While objects like the Shrine of St Lachtin’s arm
may have been to hold bones of a saint.
Processional cross, in the centre a crystal rock set
in the silver mount and surrounded by gold filigree.
Tubular silver edging surrounds the gently curved
outline of the cross punctuated by bossed rivets.
Cross surface divided into sections of cast bronze
thread-like snakes holding animal shapes.
The staff and cross are linked by animal jaws biting
the base of the cross. animals have scaled heads,
pointed ribbed snouts, little curved ears and blue
glass eyes. Below these heads is an ornate knob
similar to that found on croziers.
Metalwork 11th and 12th century
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Shrine of St Patrick’s Bell (first picture)
Clonmacnoise crozier (second picture)
Great care was taken creating these objects.
In the Irish Christian Church, croziers were held in great
reverence. It is one of the finest in Europe of this time.
One notable feature of the metalwork is the blend of
Scandinavian influences, seen through the use of animal
imagery, with native Irish work.
Craftsmanship shows high patronage by the rich and well-todo clans and royalty.
Shrine of St Patrick’s Bell, early 12th century. Has a tapering
body and curved top. Front covered with a gilt silver frame in
which there were originally 30 gold filigree panels. Variety of
intertwined single or animal pairs forming regular figure eight
shapes. Large rock crystal occupies the centre space. On the
back, series of interlocking crosses pierced into a silver frame
against a bronze background. Sides are decorated with panels
of animal interlace separated by a circular cross. Rings at
sides suggest it was meant to be carried.
Clonmacnoise crozier, early 12th century
Formed by two tubes of bronze wrapped around a wooden
staff finished with a curved crook. Crook is hollow with animal
interlace in silver, edged with niello inlay down the sides. Front
of crook, grotesque bearded human head with staring eyes.
Behind this a crest running down the curve of the crook. The
crest formed by a series of dog-like animals. Base of the
crook, front and back formed with grotesque animal heads.
Under the base, two pairs of cat-like animals standing with
arched backs and legs entertwined and twisted tails.
Carved stone crosses
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Dunvillaun slab, Co. Mayo, 6th to 12th
century.
Early Christian Ireland there was no
great tradition of building or carving in
stone. Standing stones were a feature
of pre-Christian Ire and the tradition
continued into the first Christian
symbols of the cross. The shape of the
stone never changed maybe because
of the old irish belief if interfering with
the spirit of the stone.
In this particular stone and common to
others we find a Greek cross on the
reverse face of the slab and rare early
representation of the crucifixion is
engraved in the front.
Carved stone crosses
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Reask pillar Co. Kerry, 6th to 12th
century.
Maltese cross supported by lines and
spirals of Celtic decoration and
imagery in the form of a Greek cross.
Large numbers of engraved grave
slabs survive near important
monasteries like Clonmacnoise.
Carved stone crosses
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Cardonagh cross, Donegal, 7th century
First free standing cross.
Idea of the Christian cross inscribed
on a pillar goes further and the cross
itself is cut out of the stone.
Decorated all over with broad ribbon
interlace edged with a double line
similar to that found in the Book of
Durrow. On one side this is combined
with figures. This is the first cross to
but cut in a cruciform shape.
High Crosses
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Most Irish High Crosses have the distinctive shape of the ringed Celtic Cross, and they are generally larger and
more massive, and feature more figural decoration, than those elsewhere. They have probably more often
survived as well; most recorded crosses in Britain were destroyed or damaged by iconoclasm after the
Reformation.
The ring initially served to strengthen the head and the arms of the High Cross, but it soon became a decorative
feature as well. The High Crosses were status symbols, either for a monastery or for a sponsor or patron,
Preaching crosses, and may have had other functions. The early 8th century crosses had only geometric motifs,
but from the 9th and 10th century, biblical scenes were carved on the crosses. There were no crosses made after
the 12th century, until the Celtic Revival, when similar crosses began to be erected in various contexts.
Muirdeach High Cross
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Muiredach's High Cross is a high cross from the
10th or possibly 9th century, located at the ruined
monastic site of Monasterboice, County Louth,
Republic of Ireland
Muiredach's High Cross is one of three surviving
high crosses located at Monasterboice
These crosses are all made of sandstone and are
referred to as the North, West, and South Crosses.
It is not certain whether they stand in their original
locations. The South Cross is commonly known as
Muiredach's cross because of an inscription on the
bottom of the west-face.
The cross measures about 19 feet (5.8 m) high;
including the base, which measures 2 feet 3 inches
(0.69 m). The cross is made of sandstone which is
yellow in colour. The main shaft of the cross is
carved from a single block of sandstone; the base
and the capstone on the top are carved from
separate stones. The base is the shape of a
truncated pyramid of four sides. It measures 2 feet
2 inches (0.66 m) high and 4 feet 9 inches (1.45 m)
at the bottom
Muiredeach High Cross
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Every piece of the cross is dived into panels which
are decorated with carvings. The carvings are
remarkably well preserved, however, they certainly
would have originally had much finer detail. Even
so, certain details about clothing, weapons, and
other things, can still be clearly made out. Biblical
themes dominate the carved panels; though there
are pieces which feature certain geometric shapes
and interlace ornaments.[4]
All, except one, of the figures is depicted bareheaded. The lone figure with headgear is Goliath,
who wears a conical helmet.[7] Generally the hair is
worn clipped in a straight line over the forehead,
though in some cases it is shown to be distinctly
curly. Many of the figures have no facial hair,
though several of them wear very long moustaches,
with heavy ends which hang down to the level of the
chin. There are very few beards represented; those
shown with beards are Adam, Cain, Moses and
Saul.[8] Macalister considered that the artist excelled
in the geometric and abstract patterns which appear
on the cross. On the ring surrounding the head of
the cross, there are 17 different patterns. Macalister
stated that Celtic geometric patterns fall into three
categories: spiral, interlace, and key-patterns.
East Face of Muiredach
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Central Panel across the middle:This panel represents The Last Judgement.
It contains more than 45 figures; in the centre, Jesus is standing, holding a
floriated sceptre in the right hand and the Cross of the Resurrection in the
left. On the head of Christ there is a bird—possibly a phoenix, the symbol of
the Resurrection. At the foot of Christ is a small, kneeling figure with an
open book over the head.[13] Macalister considered that this likely represents
an angel with the Book of Life.[14] On the right of Christ is David enthroned,
playing a harp, upon which the Holy Spirit rests in the form of a dove; behind
are a choir of angels playing instruments. On the left of Christ are the Lost
Souls, being driven away from Christ by a devilish creature holding a
trident.[13]
First under the arm of the ring:This panel represents the Adoration of the
Magi. Usually the Magi are represented as three, because of their three gifts
of gold, frankincense, and myrrh. However, in some cases, likely for
symmetry's sake, they are also depicted in a group of four—as in this panel.
Over the head of Christ is the Star of Bethlehem.[17]
Second last panel:This panel depicts the battle between David and Goliath. The
two combatants stand in the middle of the panel are likely meant to be in the
foreground; there is figure on either side of the combatants which are likely
meant to be seen as in the background. David has a shepherd's crook over
one shoulder, and in the other hand he holds a sling, hanging open to show
that the stone has already been cast. Over his shoulder is suspended a
wallet in which the stones were stored. Goliath is depicted on his knees,
with a hand against his forehead, to indicate that he has been struck there.
He wears a conical helmet; being the only one character depicted on the
cross to wear any kind of head-covering. He bears a round shield and a
short dagger. To the left of the two combatants is a seated figure, likely King
Saul, who also has a round shield and carries a short sword, and is drinking
from a horn. The fourth figure, to the right of the combatants, is according to
Macalister, likely Jonathan, though this figure may also represent Goliath's
armourer
West face of Muiredach
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Central Panel of ring:This panel depicts the Crucifixion of
Christ. The central figure is Christ upon the cross. He is
fully clothed, which is normal in European representations
of the Crucifixion at this date. His arms are stretched
straight and horizontal. The lance-bearer and spongebearer are placed symmetrically on either side of Christ.
Macalister thought that the two circular knobs appearing
between them and Christ propably represent the sun and
moon, referring to the darkness at the Crucifixion.
Macalister stated that it was uncertain what the bird at the
foot of the cross represented. He stated that some thought
it is a symbol of the resurrection, and that others thought it
represents the dove of peace. There is a similar bird above
the Crucifixion on the high cross at Kells. On the outside of
the lance-bearer and sponge-bearer are two small
figures—a woman, and a man kneeling on one knee,
probably representing the Virgin Mary and John.
Last panel:his panel shows three men; it is thought to
represent the seizure of Christ in the garden of
Gethsemane. The panel shows Christ, in the middle,
holding a staff and being arrested by two men with military
equipment. A similar representation of this scene occurs in
the Book of Kells, and is also pictured on the Cross of King
Flann at Clonmacnois.[27]
Ahenny High Cross
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Location: In Ahenny, County Tipperary, near the Kilkenny
border.
Dimensions: North cross 3.65 meters tall. South cross
3.35 meters tall
Features: The two sandstone Ahenny crosses are
impressive and both date from the 8th to 9th century,
among the earliest of the ringed high crosses. These
crosses reproduce in stone what would have been patterns
in earlier wooden crosses, complete with patterns that
mimic the metalwork that held the wooden cross together.
While later high crosses concentrated on biblical scenes,
these earlier crosses carried intricate interlace designs on
almost every surface. Only the bases carry any panels with
figure carving which is considerably worn and difficult to
make out. Many interpretations of these carvings have
been proposed. The north cross base is said to carry
scenes of (north) a procession with a chariot, (south) a
funeral procession with a cleric holding a processional
cross followed by a horse bearing a headless body which
is being attacked by ravens and a man carrying the head
which is seen full face, (east) Adam naming the animals
and (west) the mission of the apostles and/or the Seven
Bishops (apparently a local tradition). The base of the
south cross is worn beyond most recognition. It is said to
depict (north) hunting scenes, (east on the left) Daniel in
the Lion's Den and (south on left) The Fall of Man. Another
odd feature of these crosses are the removable cap stones
known as miters (bishop's hats).
High Cross of Moone
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In Moone, Co Kildare stands the second tallest
high cross in Ireland. The shape of which is
quite unique, and consists of three parts, the
upper part and base were discovered in the
graveyard of the abbey in 1835 and re-erected
as a complete cross, but in 1893 the middle
section of the shaft was discovered and the
cross was finally reconstructed to its original
size, now standing at 17.5 feet the cross has
been erected inside the ruins of the medieval
church. The theme of the cross is the help of
God, how God came to their assistance in their
hour of need, Daniel in the lions pit, the three
children in the fiery furnace and the miracle of
the loaves and fishes amongst the scenes
depicted. The monastery is believed to have
been founded by St Palladius in the 5th century
and dedicated to St Columcille in the 6th
century, and the cross constructed from granite
during the 8th Century.
Cross of Moone details:
The 12 Apostles are carved on the base of the west
side, below the crucifixion.
The Temptation of St Anthony and a six-headed
beast on the North base.
Cross of Moone details:
East face showing Daniel in the Lions pit and the
sacrifice of Isaac.
South side, the miracle of the loaves and fishes, the
flight into Egypt.
Irish Illuminated Manuscripts
Book of Durrow
Book of Durrow
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The Book of Durrow (Dublin, Trinity College
Library, MS A. 4. 15. (57)) is a 7th-century
It is possibly the oldest extant complete illuminated
gospel from Ireland. The text includes the Gospels
of Matthew, Mark, Luke and John, plus several
pieces of prefatory matter
It contains a large illumination program including six
extant carpet pages, a full page miniature of the
four evangelist's symbols, four full page miniatures,
each containing a single evangelist symbol, and six
pages with decorated text.
Each Gospel begins with an Evangelist's symbol - a
man for Matthew, an eagle for Mark (not the lion
traditionally used), a calf for Luke and a lion for
John (not the eagle traditionally used). Each
evangelist symbol, except the Man of Matthew is
followed by a carpet page, followed by the initial
page.
Book of Durrow
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The first letter of the text is enlarged
and decorated, with the following
letters surrounded by dots. Parallels
with metalwork can be noted in the
rectangular body of St Matthew, which
looks like a millefiori decoration, and in
details of the carpet pages.
There is a sense of space in the
design of all the pages of the Book of
Durrow. Open vellum balances
intensely decorated areas. Animal
interlace of very high quality appears
on folio 192v. Other motifs include
spirals, triskeles, ribbon plaits and
circular knots in the carpet pages and
borders around the Evangelists