Early Christian Ireland part 5
The Development of
Stone Crosses
Sixth Century – Twelfth Century
Stone Carving so far
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Entrance stone
Standing stone
Turoe stone
Castlestrange stone
• Standing stones were a very
significant part of Pre-Christian
Ireland and many can still be seen
dotted around the country.
• The tradition continued with the
use of Christian symbols on rough
standing stones.
• Carving was applied only to the
surface, possibly because of an
early fear in pre-Christian Ireland
that carving the stone itself might
interfere with the ‘spirit’ of the
stone.
• A large number of cross-inscribed
pillars are to be found along the
west coast and on some of the
Islands, which are difficult to date
but thought to be early.
• There is quite a variety in the
design of these engraved crosses,
but a Greek cross in a circle is the
most common.
Early Christian
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Cross inscribed Stone slabs
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Duvillaun Slab, Co. Mayo
Reask Pillar, Co. Kerry
Aiglish Pillar, Co. Kerry
Duvillaun Slab
Reask Pillar
Co. Kerry
Aiglish Pilar
Co. Kerry
Carved Crosses 7th Century
Carndonagh cross, Co. Donegal
Fahan Mura Slab, Co Donegal
High Crosses 8th Century
High cross at Ahenny, Co. Tipperary
Crosses of Scripture 9th Century
Cross of Moone, Co. Kildare
Cross of Muireach, Co. Louth
11th and 12th Century Crosses
Dysart O Dea cross, Co Clare
Kilfenora cross, Co. Clare
Cross inscribed
slabs
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There are about 300 crosses in Ireland which are over 1,000 years old.
The early stone crosses were carved on flat stone slabs or pillars
Before stone crosses were made early crosses were made from wood
Most of the big crosses were carved out of one big rock around the year 1100. This was the
time of the Vikings and the Normans
Most of them show stories from the Bible carved on the rock. People would gather around the
crosses to listen to monks explain about the life of Jesus. Most people could not read.
These later crosses are called High Crosses
The art on the High Crosses is like that on gold ornaments also made by the monks
An early cross can be seen at Fairy Hill in Bray and another at Fassaroe. There used to be
an old church near Fairy Hill and the monks were buried at Fairy Hill. It was called Fairy Hill
because the local people used to say that they could hear bells ringing in the graveyard and
they thought it was the fairies.
The monk who built this church was Saran. He had trained as a monk with Kevin in
Glendalough. The road by the church was called Bóthar Cill Saran and in English this is
called Killarney Road.
The base of a High Cross was found at Oldcourt, in Bray
Duvillaun Slab
• A Greek cross is found on the reverse face of the Duvillaun
slab, Co. Mayo
• A rare early representation of the crucifixion is engraved on the
front.
• The early Christian site at
Reask near the end of the
Dingle Peninsula is
marked with this tall pillar
bearing a cross in a circle
that is supported on a
stand of Celtic spiral
ornament that may have
had an iron prototype. The
stone may have been set
up for pilgrims to pray at
some twelve hundred
years ago.
Reask Pillar Cross
From the windswept Dingle Peninsula in Cty. Kerry,
Ireland, this simple yet powerful testament to
Christianity includes the inscription,
"DNE",
Domine meaning Lord.
If it is looked at in the landscape in which it was
carved, one notices that the upper portion of the
monument mirrors the horizon line, indicating an
attempt to merge the monument with the surrounding
landscape
• A Maltese cross on the Reask
pillar, Co. Kerry is supported
by lines and spirals of
decoration.
• Here we see evidence of the
celtic influence on the early
Christian period, the spirals
were used consistently
throughout the Stone age,
Bronze age and Iron age.
• Their Christian missionary
travels to Europe and the East
is evident in their use of the
Maltese cross.
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Century stone
crosses
St. Patrick's Cross
• The ancient Irish cross from Carndonagh, Co.
Donegal.
• Shows Christ in Majesty and pilgrims beneath
interlace woven as the Tree of Life.
• The knotwork was traditionally a protection device
and is similar to the St. Brigid's crosses woven out
of rushes.
• Patrick is one of the patron saints of Ireland.
• A native Briton, he was captured and served as a
slave in the western part of Ireland.
• After his escape from slavery, he returned to his
native Britain, returning to Ireland after being told
in a dream to return and preach Chrisitianity to the
Irish.
• This is the first free-standing cross.
• Where the stone itself is cut into the shape of the
cross.
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The Fahan Mura Slab
One of the first free-standing
stone crosses.
Found near-by the Carndonagh
cross, Co. Donegal.
The stone itself is cut into the
shape of the cross.
The cross shape is formed by the
little shoulders, in place of arms.
It bears the only early inscription
of Greek in Ireland.
This cross is carved with broad
ribbon interlace similar that
found in the Book of Durrow.
This is also dated to the seventh
century.
• What is a high cross?
• At its simplest, the high cross is a standing
cross with a circle. At its most complex, it
involves a stepped base, a shingled roof or
an elaborate capstone, carved pictoral
scenes, and other ornaments. A ringed cross
silhouetted against the sky has come to
characterize Ireland, hence the ringed cross
is often called an "Irish cross." However, the
ringed cross motif is shared with other Celtic
nations such as Scotland, so the ringed
cross may more properly be termed the
"Celtic cross."
Artistic elements and their origins
•Artistic motifs of gravestones at Clonmacnois
– base
– stepped base
– boss
– volute
– ring
– roof
– capstone
– IHS motif
– radial motif
– ringed cross motif
“IHS”
• The "IHS motif," the "radial motif," and the
"ringed cross motif" are three elements often
occurring together. These three elements
characterize the modern gravestones (of the
past few centuries), and all of the other
elements can be seen throughout the entire
1400-year sequence.
“IHS”
The "IHS motif" is simply the letters "IHS,"
often super-imposed on each other to assume
the form of a single icon or emblem.
"IHS" is an abbreviation for "in hocs sign,"
which is in turn the abbreviated version of "in
hocs
“IHS”
Latin, translated to mean "in this sign, thou shalt
conquer."
Other accounts identify "IHS" as representing the
words "In His Service.“
Yet another important note is that it might represent
the first three letters of the name "Jesus" in the Greek
alphabet.
What was the significance of the "IHS" insignia for the
Clonmacnois gravestones, and why is it so closely
associated with the motifs of a radial display and a
ringed cross?
“IHS”
• The phrase "in hocs sign vinces" (or "in this sign, thou shalt
conquer") is traced back to AD 312. Constantine reportedly saw
this phrase in the sky along with a cross of light over the sun.
• So the "sign" is "a cross over the sun." In this case, the "cross"
may more accurately be called a "Chi-Rho emblem," associated
with the development of the Christian "cross" cult.
• Immediately after this spiritual encounter, Constantine met great
success at the Battle at the Milvian Bridge.
• This event marked Constantine's complete conversion to
Christianity.
• During his post-war celebrations, Constantine ordered the ChiRho monogram to be placed on his battle standard and
decorated with a victor's laurel wreath.
• The result was reportedly a replica of what Constantine saw in
his vision, and it is thought to be the protoype of the ringed
cross.
“IHS”
• The "radial" motif associated with the "IHS" motif
sometimes explicitly depicts the sun's rays,
emanating out from the "IHS" insignia.
• In other instances, the representation of the sun's
radiance is not as obvious.
• In any case, though, the "radial" motif (just like the
"IHS" motif) can be traced to the Constantine
legend.
• The same can be said for the "ringed cross" motif
(as well as for the high cross itself).
“IHS”
• The Constantine story explains the origins of
the ringed cross, but it does not explain why
the ringed cross gained such prevalence in
Ireland.
• The ringed cross also was popular in
Scotland, perhaps for similar reasons.
Christianity was brought to both of these
places around the same time and via the
same methods.
• Also, both Ireland and Scotland shared a
common Celtic culture prior to Christianity.
“IHS”
• The Constantine story is an example of the triumph of the
Christian faith, thought to appeal to the pagan Celtic
people's taste for folklore relating to magic and warfare.
• The Constantine story would therefore have been an
important part of a Christian missionary's repertoire when
converting the Irish people to the Christian religion. Under
these circumstances, the ringed cross and the IHS motif
understandably became key elements in Irish Christian
art.
• The same case can be made for Scotland.
• Although this story about Constantine and the "IHS"
insignia may sound convincing, it must be considered
critically. Certainly, other viewpoints exist.
“IHS”
• For example, origins of the "IHS" symbol might be
traced to the fact that these letters are the first three
letters of the name "Jesus" in the Greek alphabet.
• Whatever perspective is adopted to explain the
origins of the "IHS" insignia, the plausibility of the
story must be examined, and also the likelihood of
this explanation rather than others must be
considered.
• At present, no single perspective can be proven
correct beyond reasonable doubt.
• "Roofs" (and to a lesser
extent "capstones") have
been interpreted as a
reference to gravestones
as "houses" for the dead.
Unfortunately, little other
material evidence
suggests that these
structures were perceived
as "houses."
• A "boss" is sometimes classified as a
"skeuomorph," meaning that it artistically
represents something whose utilitarian
function has been lost in its present
structural form.
• In this case, the "boss" element
represents the head of a nail which
would be necessary if the cross were
made of wood.
• Reportedly, ringed crosses were
commonly made of wood in the past,
although none of them have survived
archaeologically.
• Wood does not preserve well, especially
after many centuries. Decorated nail
heads added artistic value to a functional
aspect of a wooden ringed cross.
• This form was retained stylistically with
stone crosses, despite the loss of the
functional value.
• A "base" or a "stepped base"
serves a very practical functional
purpose to support the large
gravestone.
• A possible interpretation is that a
"stepped base" refers to the steps
at the entrance to a house, further
likening high crosses to houses for
the dead.
• However, this interpretation lacks
any foundation.
• In fact, a "base" serves a much
more practical utilitarian function.
The cross of Moone
• Tall slender tapering cross
• One of the earliest to introduce
biblical scenes
• Elegant granite cross
• Has a narrow ring and is
missing its capstone
• Covered on four sides with
figurative scenes from the new
and old testements which
occupy only the base
Christ on
the cross
The twelve
Apostles
Daniel and the lions
On the east face:
The sacrifice of Abraham by
Issac
Adam &
Eve
Loaves &
The Flight from Bethlehem
The loaves and the fishes
The cemetery
of the Monastery of Monasterboice
Nativity scene: Adoration of the
Magi Scenes from the life of David
These high crosses often consisted of separate
pieces of stone—
• a massive block serving as the base,
• a shaft and ringed cross head which fit
into the socket at the base,
• and a cap (sometimes a miniature
house with a gabled roof) from a
smaller piece of stone.
• Some taller crosses used an additional
joint just below the ring.
• The mortice and tenon system,
reminiscent of carpentry, was used to
join the separate pieces.
• The ring is a distinctive feature--or the
circle intersected cross, and within the
arcs are sometimes small rolls.
• Some art historians believe the
rings were introduced as a method
of support for the cross arms since
the lower sections can provide
reinforcement.
• Others point out that the circle, or
wreath, was a symbol of triumph,
used in the 4th-5th century in
Roman and Early Christian art.
• The ring would have been difficult
to carve; sometimes the ring was
left as a solid block. This famous
high cross, the so-called
Muiredach Cross, is at
Monasterboice, County Louth,
Ireland.
• A heavy base with socket for the tenon of the shaft
• The heavy bases of the Irish crosses may allude to the rock of
Golgotha, especially since often (see above) they are larger
than necessary for support.
• The cemetery of the Monastery of Monasterboice
and the west side of the Muiredach cross
• The Monastery of Monasterboice,
• founded by St. Buithe mac Bronach (died 521) in the late
5th century,
• was a prosperous center of learning in later centuries
(10th and 11th).
• Its round tower, with books and treasures, was burned in
the early 12th century and by 1122 the monastery
community probably ended, even though Monasterboice
continued to be a secular parish.
• Perhaps as many as six high crosses existed at this site.
• The so-called Muiredach Cross (south cross) and west
cross still stand, almost undamaged, and a third cross,
the north cross, survives in part.
• The west side with
the central
crucifixion scene
• The west side with
the central
crucifixion scene
• The Crucifixion
• A young beardless Christ occupies the center. As is
typical in medieval and Irish depictions, He is the
Christus Triumphans type--alive and without suffering.
Above his arms are two angels. Above and below the
scene are spiral bosses and intertwined animals. Two
soldiers stand symmetrically on each side of Christ,
one the spearbearer who pierces His left side while
the other holds a cane with a cup, perhaps a
substitute for the spongebearer. Between the soldiers
and Christ's knees are two heads, perhaps indicating
the two thieves.
• Detail of the Crucifixion
• The bird under Christ's feet may represent the
phoenix, a common symbol for the resurrection.
Between the spiral bosses and the two soldiers are
two small figures, the one on the left (Christ's right--his
"good" side) seated frontally, the one on the right
(Christ's left and "bad" side) with its back turned.
• These probably are personifications of the sun and
moon, regular features of medieval crucifixions.
• Adopted from pagan imagery, they came to prefigure
the relationship of the New and Old Testaments since
the Old Testament (the moon) was only to be
understood by the light of the New (the sun).
• The right cross
arm with the
Resurrection
• The right cross
arm depicts the
Resurrection with
guards kneeling
on each side of
the tomb and
three angels
behind them
holding in a
napkin a small
figure
representing the
soul.
• Christ as Ruler of the World
• Christ is enthroned between St. Peter and
St. Paul. He gives the keys to Peter on His
right and a book to Paul.
• Doubting Thomas
• In the center Christ holds up His right hand as
if saying to Thomas on his right,
• "Reach your finger here; see my hands.
Reach your hand here and put it into my side.
Be unbelieving no longer, but believe" (John
20:27).
• The figure on the right with the book may be
St. John the Evangelist, who alone tells this
post-resurrection story.
• The Arrest of Christ (or the Ecce Homo)
• A young beardless Christ stands in the center
held by two soldiers; thus, this could be a
depiction of the arrest of Christ.
• Because Christ is dressed in regal fashion with
a large, ornate brooch and because he carries
a wand (sceptre), this may represent the
mocking of Christ when the soldiers dressed
Him in a purple robe and crown of thorns and
gave him a mock sceptre of reed, hailing Him
as "King of the Jews." (John 19:4-6)
• The lowest part of the shaft
• Two felines, one with a kitten, the other with a bird, sit in
high relief before an inscription which is usually translated
"a prayer for Muiredach for whom the cross was made [or
who caused the cross to be erected]." The Muiredach in
this inscription is generally thought to be the abbot who
died in 922/23, thus giving
Irish High Crosses
8th-10th century CE
• Other High Crosses on this site include: the Muiredach Cross at Monasterboice (many
details), the west and north cross at Monasterboice, the South Cross and the Ruined Cross
at Kells, and two high crosses at Kilfenora. Freestanding, monumental crosses (sometimes
up to 17 feet high) are associated with many of the early medieval monasteries of Ireland.
Remnants of more than 200 of these so-called high crosses remain, often with several at
the same site, although repetition of design was apparently avoided. Although they are
found elsewhere in the Great Britain, the style is characteristically Irish. Some are relatively
plain; others are decorated with abstract ornament (Celtic interlace and spirals, geometric
patterns, inhabited vines, and entangled figures). The most sophisticated have panels with
figural sculpture on Christian themes. These, however, do not "illustrate" the Bible; rather,
the stories were chosen for their symbolic meaning (especially the Crucifxion and Christ's
Passion) or their typological significance (stories from the Old Testatment which
foreshadowed events associated with Christ). The iconographic sources include early
Christian art (especially maunuscript illumination), Coptic Egyptian art (textiles), and animal
motifs from the Near East and Migration period art and artifacts. Most of the crosses were
made of various types of sandstone, which is somewhat easy to carve. Today many are in
an eroded state with details barely discernible.
THE SOUTH SIDE
The South side
Narrative scenes occur on
the side only in two places-the gable end of the house
cap (top) with the Entry into
Jerusalem and in a panel at
the end of the arm with
Pilate Washing his Hands.
The other panels have
decorative abstract motifs.
Entry into Jerusalem
The top of the cross
looks like a small
house or shrine with
its own gabled roof.
Here the first scene of
Christ's Passion is
depicted. As He
enters Jerusalem on a
horse, not an ass,
angels look down on
Him. The angle of the
gable has decorative
spiral bosses.
Pilate Washes his
Hands
The end of the cross
arm has a panel
depicting Pilate seated
on a high-backed chair
while his servant
pours water over his
hands. Soldiers with
shields stand in the
background.
Interlace motifs and portrait heads
Interlace motifs under the ring arc border
three portrait heads framed by two snakes
coiled to form a guilloche or cable pattern.
The human heads have round faces with
expressive eyes.
The snakes have scales, ears, and fish tails.
(See below--on the north side--where the hand of
God extends from this design.)
The inhabited vine
Christian artists adopted
this pagan motif--the
sinuous vine with birds and
animals among its twisting
curves. Originally
associated with Bacchus,
the classical god of wine,
the vine became
associated with Christ ("I
am the real vine. . . ."
[John 15:1-17]) and the
Eucharist.
Interlace
pattern with
eight men
Lowest part of the shaft
Two monsters in high relief have semi-human faces. Their bodies are crossed but each has short front legs.
THE NORTH SIDE
St. Paul and St. Anthony in the
Desert
The gable end of the house cap
depicts the two saints holding two
staves crosswise. A large raven flies
downward with a circular loaf of
bread. A chalice is on the ground
between the two saints. Although this
event does not occur in the Bible, it
was popular in medieval art because
of its Eucharistic significance
The Hand of God
Under the cross arm the
hand of God surrounded
by a "glory" is depicted.
The hand is symbolic of
the mighty power of
God. Portrait heads, like
those on the south side,
are under the ring.
• The lowest part of the shaft
The East Side of the Muiredach Cross, Monasterboice, County Louth
900-923 CE
16' High
• Click here for the introduction on high crosses and other images of high crosses. Click here to see details of the west side of the Muiredach
Cross. Click here to see details of the north and south side.
The east side of the Muiredach cross
This east side depicts several seemingly disparate Old and
New Testament subjects. From the base up are the fall of
man and the murder of Abel, David's victory over Goliath,
Moses drawing water from the rock, the adoration of the
Magi, and the Last Judgment. However, these subjects were
chosen for their doctrinal and typological significance and
underscore the connections between sin, atonement, and
judgment.
The Last Judgment
The whole crossing is filled with this scene. On the left of Christ an angel blows the trumpet while on his right a figure holds an open book, presumably one recording the deeds of
humankind. On the left cross arm (Christ's right) the saved face Christ and are led by David with a harp. On the right cross arm (Christ's left and "bad" side) are the damned. Satan goads
them with a pronged instrument and another devil seems to kick them on their way to Hell.
Detail of the Last
Judgment
Christ occupies the center,
holding a cross and
flowering rod, symbolic of
His eternal priesthood.
The large bird above his
head may be the mythical
phoenix, symbolic of His
resurrection, or an eagle,
symbolic of His ascension
The Weighing of the Souls (or the Psychostasis)
Below the central scene the scales of justice hang. A righteous soul (generally the heavier one) is in one pan while a devil who had tried to tip the scales is on the ground,
attacked by St. Michael. See a stylistically more sophisticated example of this scene in the Gothic west tympanum of Notre Dame Cathedral in Paris.
The Adoration of the Magi
This scene has important doctrinal significance: the manifestation of Christ to the Gentiles. An old bearded Joseph leads the Magi to the Virgin seated on a throne with the infant Jesus.
The Magi seem about ready to kneel. The star is above Jesus' head
.
Moses Drawing Water from the Rock
The life-giving water of the rock relates symbolically to the spiritual refreshment of the church and the saving blood from Christ's sacrifice. A bearded Moses strikes the rock
with a long rod while the Israelites sit in two rows, each one holding a drinking vessel.
David and Goliath David, as author of the Psalms which were often recited and studied in Irish monasteries, was held in great esteem.
Helen M. Roe explains this panel which "shows from left to right King Saul, armed with sword and round buckler seated on a small
throne; at centre David, clad in short sleeveless tunic, holds in one hand his shepherd's crooked stick, the open sling hanging from the
other, the shepherd's scrip looped round his neck, while the stone (now almost imperceptible) flies through the air and Goliath, wearing
his helmet of brass and armed with a sword and round shield with a central umbo, presses his hand to his forehead and with knees
buckling under him sinks to the ground. At his back his armour-bearer looks on in amazement" (40).
The Fall of Adam and Eve and the Death of Abel
Adam and Eve stand beneath the heavily laden limbs of the Tree of Knowledge. Adam moves toward Eve to take the fruit. The second incident, a result of the former, is
Cain's murder of Abel. Cain, with a long beard, strikes his innocent brother. This Old Testament event had typological significance, foreshadowing
Clonmacnoise
• Dysert O'Dea is renowned for its wealth of historical and archelogical remains.
• St Tola founded a monastery here in the seventh or eight century. The present church on the site is a late Medieval reconstruction of an earlier,
Romanesque building whose magnificent west doorway is incorporated in the south wall. The finely carved motifs of the arch include geometric
designs and unusual human masks. Close behind the north wall of the church is a shattered Round Tower built in the twelfth century. On rising
ground not far to the east of the church is an interesting High Cross. It also dates from the twelfth century and comes right at the end of the Celtic
High Cross series. It is of the ringless type found elsewhere in Co. Clare, and is elaborately decorated with interlace and geometric designs, as
well as figurative panels in high relief. An inscription on the base records that it was repaired in 1683 by a member of the O'Dea family.
•
Within a mile from the main road you will come to Dysert O'Dea Castle, built between 1470 and 1490 by Diarmuid O'Dea, Lord of Cineal
Fearmaic. It is a typical fifteenth century Irish tower house and, although ownership varied due to politics and various skirmishes, basically
remained the home of the O'Dea chiefs until 1692. At that time the chiefs bet wrong against the Crown forces, their lands were forfeited and the
castle fell into ruin. Arriving on the scene much later (the late 1980s) were some direct descendants in the form of Jack and Anola O'Day from
Wisconsin in the USA, who bought the ruin in 1970. They restored the castle in the late 1980s with the help of Risteard Ua Cronin, the Dysert
O'Dea Development Association and Bord Failte. The castle houses a small tearoom, museum, and audiovisual orientation room.
• But the history of the clan and area, and other archeological ruins in the immediate vicinity, are equally fascinating. St. Tola of Clonard founded his
monastery in Dysert (The Hermitage) during the eighth century, the O'Deas of Dysert fought alongside Brian Boru against the Danes in 1014, and
the Battle of Dysert O'Dea occurred on May 10, 1318. That battle against Richard De Clare ended in his defeat and his death, along with that of
many influential English knights. Dysert has apparently also been the scene of clan feuds with the O'Briens. Good thing we didn't mention Janis's
O'Brien connections during our visit, especially as we gaped up into the 'murder hole.'
• St. Tola's church is along the archeological trail, and actually a quicker walk than drive. St. Tola himself died in the 730s. The present church ruin
probably stands on the ruin of the first but is dated from the twelfth century. The most interesting feature is a Romanesque doorway. The nineteen
stones in this arch represent twelve human heads and seven animal heads. Next to the church also stands the ruin of an eleventh century round
tower.
• In an adjacent field we approached the St. Tola's High Cross. This twelfth century artifact is reputedly one of the finest examples of stone high
crosses in the country. On one side of the shaft is a representation of a bishop, believed to be St. Tola. He's the local saint and now I know why
St. Tola's Goat Cheese (made outside the nearby village of Inagh) bears that name.
• .