EARLY CHRISTIAN ART: METAL WORK.
DEVELOPMENT OF EARLY CHRISTIAN ART--BELLS--THE BELL OF ST.
PATRICK--THE SHRINE OF ST. PATRICK’S BELL--THE SHRINE OF
ST. SENAN’S BELL--THE SHRINE OF ST. MURA’S BELL--BRONZE
BELLS--THE BELL OF CHUMASCACH--CUMDACHS--THE CATHACH--THE
DOMNACH AIRGID--THE BREAC MOEDOC--CROSIERS--THE CROSS OF
CONG--CHALICES--THE ARDAGH CHALICE--THE TARA BROOCH.
We have seen that in the Bronze Age a great advance had been
made in metal work among the Celtic tribes of Europe, showing
great technical skill, taste in design, and delicacy of touch in
manipulation--qualities not excelled in the early part of the
succeeding Christian period. The type of ornament which characterised
the Later Bronze Age and the Early Iron period seems to have flourished
longer in Ireland than elsewhere; and with the introduction of new
elements by Christianity, it found, in time, its expression, not only
in metal work, but in the stone work of ecclesiastical buildings, and
in the illumination of copies of the Scriptures. The latter flourished
especially, as we know, and the manuscripts which were executed by the
early scribes in Irish schools are the finest of the kind now existing.
* * * * *
_Bells._--With the introduction of Christianity came new needs; and
bells were among the first articles provided for ecclesiastical
purposes. Considering, as we have shown, the skill that had been
attained in metal work in pagan days, it is strange that the earliest
examples in Christian times were of a very rude kind. That no fine
example of metal work of the Christian period in Ireland can be
assigned to an earlier date than about the tenth century, may be due to
the fact that the country was repeatedly swept by Norse invaders, and
all such objects became their prey.
We read, in the Lives of St. Patrick, St. Columba, and others, of
the names of various artificers who made bells, crosses, crosiers,
and shrines for churches. Frequent mention is made of bells by the
Annalists. The early bells were of a peculiar quadrangular form,
and made of pieces of sheet-iron fastened together with rivets. The
oldest example of the kind in Ireland is the _Bell of St. Patrick_,
or Bell of Armagh, now in the Academy collection. It is of the rudest
description, and its antiquity apparent. The space between the edges
of the overlapping pieces seems to have been filled in with bronze to
give the body complete cohesion; and the whole coated with a thin layer
of a fusion of the same metal, which not only improved its tone, but
preserved it from decaying by rust. There is good reason to believe
that, as its name implies, it had belonged to St. Patrick himself.
For many ages it was one of the chief treasures preserved in Armagh;
here it was highly revered, so much so, that, about the year 1091,
it was enclosed in a magnificent and costly _Shrine_, which is also
preserved in the same collection. The bell had its own keeper, and
was handed down, as was the custom, from generation to generation in
the same family, with the most scrupulous regard for its safety. The
shrine, which is characteristic of the metal work of the period, is
formed of bronze plates, to which decorated panels are attached by
rivets. The front panel is divided into thirty-one spaces filled with
gold ornament, crystals, and jewels; the setting of the crystals is
evidently later work. The back consists of a fine and perfect silver
plate, in open fret pattern. The sides are of gilt bronze, with
open-work ornament of a highly complicated interlaced pattern. There
are two arms at the sides, pierced, with rings inserted; the arms have
a circular plate setting, and the spaces between them and the rims are
filled with heavily-plated gold ornament. The handle portion of the
shrine is highly ornamented with bird forms and interlaced design,
in different treatment from the faces and sides. The shrine bears
an inscription, in the Irish character and language, of which the
following is a translation:--‘A prayer for Domnall O’Loughlin, by whom
this Bell (or Bell-shrine) was made; and for Domnall, the successor
of Patrick, with whom it was made; and for Cathalan O’Maelchalland,
the keeper of the Bell; and for Cudulig O’Inmainen, with his sons, who
covered it.’
There are many other ancient iron bells in Ireland, examples of which
will be seen in the National Museum. Of bell shrines, several others
exist: that of St. Senan’s is in possession of Mr. Marcus Keene,
whose family have been the hereditary custodians of the Saint’s bell.
The shrine of St. Mura’s bell from Fahan, Co. Donegal, after various
wanderings and changing of hands, is now in the Wallace collection,
London.
[Illustration: Bell of Chumascach Mac Ailello.]
About the tenth century, iron gave place to bronze as the more
satisfactory material in metal for bells. The date of one example at
least is ascertained by an inscription on its outer surface. This is
the Bell of Chumascach, and is also from Armagh. It is 12 inches high
and 8 inches across the mouth, and is of cast bronze, but the handle
and clapper are of iron. It bears the following inscription in Irish:--
[Illustration]
(Pray for Chumascach, son of Ailello). The death of the person
mentioned in the inscription is recorded in the _Annals of the Four
Masters_ as occurring in A.D. 909.
* * * * *
_Cumdachs._--The copies of the Gospels and other sacred writings which
had been used by the early saints of Ireland were generally preserved
by their successors, enclosed in cases formed of yew or some wood
equally durable. Many of those cases were subsequently enshrined or
enclosed in boxes of silver, or of bronze, called _Cumdachs_, richly
plated with silver and occasionally gilt; and in several instances
a third case appears to have been added. Sir William Betham, in his
_Irish Antiquarian Researches_, describes several of those evidences
of early Irish piety still extant and remaining in a state of
preservation. There are two in Trinity College Library, the shrines of
the Book of Dimma, and the Book of Mulling.
The fine shrine of Molaise’s Gospels in the Academy collection dates
from the first quarter of the eleventh century, and is the oldest
of the Cumdachs. The shrine of the Stowe Missal, dating a little
later, and the shrine of St. Columba’s Psalter, are also in the same
collection. A description of one example of these shrines will suffice.
The Cumdach of St. Columba’s Psalter, called the _Cathach_, or _Caha_,
and also known as the ‘Battler,’ is a box about nine inches and a half
in length, eight in breadth, and two in thickness, formed of brass
plates riveted one to the other, and ornamented with gems and chasings
in gold and silver. It was long supposed to contain the bones of
Columba; and a superstitious belief was held as to the evil befalling
him who opened it. This, however, was done by Sir William Betham, and
it was found to contain the customary rude wooden box enclosing a MS.
on vellum, consisting of fifty-eight membranes. The MS. is a copy of
the second revision of the Psalter by St. Jerome, and has been commonly
attributed to St. Columba. The sheets were found to be incomplete
and much injured: they began with the 31st and ended with the 106th
Psalm. The decoration displayed upon the top of the box shows the
comparatively late date of this portion of the relic. The top consists
of a silver plate richly gilt, and divided into three compartments by
clustered columns supporting arches. The central space is somewhat
larger than the others, and contains the figure of an ecclesiastic,
probably St. Columba, who is represented in a sitting posture, giving
the benediction, and holding a book in his left hand. The arch of this
compartment is pointed, while the others are segmental. The space to
the left of the central figure is occupied by that of a mitred abbot,
giving the benediction with his right hand, while in his left he holds
a crosier. The compartment to the right of the central figure contains
a representation of the Passion. There are figures of angels with
censers over each of the side-arches. A border, within which the whole
is enclosed, is formed at the top and bottom of a variety of fabulous
animals; the sides represent foliage, and in each angle there is a
large rock crystal. A fifth setting of crystal surrounded with smaller
gems occurs immediately over the figure, which, as we have said, was
probably intended to represent St. Columba. The sides and ends of the
box are also richly chased. An inscription in the Irish character upon
the bottom desires ‘a prayer for Cathbar Ua Domnaill, for whom this
case was made; for Sitric, son of Mac Aeda, who made it; for Domnall,
son of Robartach; for the successor of Kells, for whom it was made.’
The Domnall here referred to as ‘successor’ of St. Columba is named in
a charter, dating about 1084, in the _Book of Kells_: the end of the
eleventh century was probably, therefore, the date of the shrine.
The Cathach appears to have been handed down from a very early period
in the O’Donnell family, of which St. Columba, the supposed writer of
the manuscript which it was made to enshrine, was a member. It was the
custom to wear it round the neck as a breastplate; and, before engaging
in warfare, it was exhibited in exhortation to the clan, and hence its
name the ‘Battler.’
The _Domnach Airgid_, also preserved in the Academy collection, is
a very interesting relic of the kind under notice. It contained a
considerable portion of the copy of the Gospels which was supposed to
have been used by St. Patrick during his mission in Ireland, and which
was presented by him to St. Mac Carthen. Unfortunately, when opened in
1832, the membranes of which the manuscript is composed had, through
the effects of time and neglect, become firmly attached to each other.
In 1892 the sheets were separated under the supervision of Dr. Maunde
Thompson of the British Museum, and examined by Dr. J. H. Bernard. It
was shown that the box was not made for the MS., being too small; and
the writing and text gave evidence that the copy was not earlier than
the eighth century.
The manuscript has three distinct covers: the first and most ancient
is of yew; the second of bronze plated with silver, of about the
eleventh or twelfth century; and the third of silver plated with gold,
dating about 1350. The outer and latest cover possesses many features
in common with that of the Cathach. It has an inscription to John
O’Karbri, who ordered it; and to John O’Barrdan, who made it. The
former, according to the _Annals of the Four Masters_, was abbot of
Clones, and died in 1353.[128]
_The Breac (Speckled) Moedoc_, from the Petrie collection, subsequently
passing to the Royal Irish Academy, is one of the most curious of the
ancient shrines. It is called after St. Moedoc, or Mogue, Bishop of
Ferns, and is supposed to have contained relics from Rome brought by
St. Molaise. It was preserved in Drumlane, County Cavan, until the
middle of the last century. It is valuable on account of the details
of ancient costumes which appear on eleven of the twenty-one figures
originally attached to its sides. These were gilt or plated with gold;
the case is bronze: the date is doubtful. A leather satchel which
contained it is also preserved in the National Museum.
* * * * *
_Crosiers._--In like manner to the bells, the pastoral crooks and
crosiers which had belonged to the early fathers of the Irish Church,
appear to have been regarded as holy. Their possession was also
hereditary, and certain privileges, such as grants of land, were given
to the custodians. Notwithstanding the frequent pillage of church
property by the Danes, and the destruction of ‘superstitious’ relics
in a later time, numerous examples, remarkable for the beauty of their
decoration and the excellence of their workmanship, have been preserved
to our own day. The Irish crosier has simply the curved handle of a
staff, which seems originally to have belonged to a saint or founder of
a church, on which the metal covering was subsequently laid. It is not
the shepherd’s crook, so familiar as the emblem of episcopal office.
The crosier usually exhibits a profusion of ornament, consisting of
elaborately interwoven bands terminating generally in serpents’ heads,
or in some equally singular device. In several specimens occur settings
formed of stones or an artificial substance, variously coloured;
but this is supposed to indicate a comparatively recent date. The
continental type was probably introduced in the twelfth century, under
the influences already referred to in the foundation of monastic
establishments. A well-known example is the Crosier of Cashel, with
enamelled circular head and figure, one similar to which, and ascribed
to above period, is in the Cluny Museum, Paris.
An interesting and perhaps the oldest crosier in the Academy collection
is that of St. Berach of Termonbarry, which was handed down through
its hereditary custodians the O’Hanlys. The date of the Irish crosiers
is probably not earlier than the end of the tenth century. From the
inscription the crosier of Lismore, it doubtless dates about the
beginning of the twelfth century, during the time in which Niall Mac
Mic Aeducain, or Mac Gettigan, held the bishopric.
* * * * *
_The Cross of Cong._--This Cross is the chief gem of the Academy
collection, not only from its historical associations, but also as it
affords striking evidence of the advancement which the Irish artificers
had made in several of the arts, and in general manufacturing skill,
previous to the arrival of the English. It was made in Roscommon
by native Irishmen, about the year 1123, by order of King Turlough
O’Conor, father of Roderick, the last monarch of Ireland.
This the _Annals of Inisfallen_ state, and the evidence is supported
by inscriptions on the edges of the cross; one is in Latin, mentioning
that it contained a piece of the ‘true Cross’; the others are in Irish,
praying for Archbishop Muiredach O’Duffy of Tuam, who died in 1150; for
King O’Conor; for Domnal O’Duffy, Archbishop of Connaught, and for the
artificer Maelisa Mac Bratdan O’Echan. The cross seems to have been
brought to Cong either by the Archbishop, who died there, or by King
Roderick, who founded and endowed the abbey.
The cross is 2½ feet high, the arms 1 foot 6¾ inches in width, and
it is 1¾ inches thick. It ends in the grotesque head of an animal,
and below this is a large ball, highly decorated, forming the head of
the socket for the shaft when the cross was carried in procession.
The frame is of oak, and over this are laid plates of copper richly
covered with gold tracery. The edges are formed into a raised rim by
a covering of silver, and divided into sections, which are marked by
eighteen rounded projections set with stones or enamels, thirteen of
which remain. A thin silver ribbon is set between the rims, upon which
are the inscriptions in punched lettering.
[Illustration: The Cross of Cong.]
The ornaments generally consist of tracery and grotesque animals,
fancifully combined, and similar in character to the decorations found
upon crosses of stone of about the same period. A large crystal is set
in the centre at the intersection of the arms and shaft, behind which
the relic was set. The cross had been carefully preserved after the
suppression of the monasteries, and was found in an oak chest in the
village of Cong early in the last century. It was purchased by the late
Professor Mac Cullagh for the sum of one hundred guineas, and presented
to the Academy in 1839.
* * * * *
_Chalices._--Among the more singular relics in the Academy collection
is a chalice of stone. Though formed of so rude a material, there is
nothing in its general form or in the character of its decorations
to warrant a supposition that it belongs to a very early period. Few
chalices of an age prior to the twelfth century remain in Ireland; and
any of a later date are not very remarkable as objects of antiquarian
interest. Cups of stone appear to have been not uncommon among the
Irish. An ancient vessel of this material, of a triangular form, was to
be seen by the side of a holy well in Columbkill’s Glen, in the County
of Clare; and another was found some years ago in the County of Meath,
near the ruins of Ardmulchan Church.
The most remarkable object of the chalice class known to have been
found in Ireland is the famous _Ardagh Cup_, or _Chalice_, which
figures amongst the choicest examples of metal-work preserved in the
collection of the Academy. It, together with a plain bronze cup and
some fine silver brooches, was discovered in 1868 in a rath situated
not far from Ardagh, County Limerick.
[Illustration: Chalice of Ardagh.]
We take the following particulars from a description furnished by the
late Mr. Johnson to Lord Dunraven:--The bowl is of silver; but gold,
bronze, brass, copper, and lead are used in the fittings and ornament.
The latter consists of an inscription, interlaced pattern terminating
in dogs’ heads, and at the bottom a circular band with Greek pattern.
The ornamentation is punched, as is shown by the raised edges. A band
of two semi-cylindrical rings of silver ornamented with small annular
dots runs round the cup. Twelve plaques of gold _repoussé_ work fill
the space between the rings, with beautiful ornamentation of fine
filigree work of the usual interlaced pattern. Twelve round enamelled
beads are set between the plaques. The handles are also ornamented
with enamels and filigree work, but in different designs. On the sides
of the bowl are two circular ornaments, with central enamelled bosses
surrounded by gold filigree work. The stem and supports of the bowl
are of gilt bronze engraved in interlaced pattern. The foot of the
bowl is circular; the outer rim of the framework is divided into eight
spaces, filled alternately with gold and bronze gilt plaques of open
work, the designs of which are clearly shown by pieces of mica set as
a background. The inside of the foot is also elaborately executed with
a circular piece of crystal in the centre, enamelled spaces and fine
filigree work.
There are no fewer than 354 pieces of metal, if we include twenty
rivets, in the composition of this most remarkable Cup. The
inscription, in peculiar square-formed letters, is a remarkable
feature, and gives the names of the Twelve Apostles--St. Paul being
included. It runs round the cup under the band already mentioned; the
letters are not easily legible, as the outline is faint. ‘The spaces
between are stippled so as to form a shaded background.’ The late
Lord Dunraven in his interesting paper was inclined to attribute the
Cup to the ninth or tenth century, taking into account the ornament,
lettering, and style of workmanship.
We have already referred to the development of the bronze brooch and
ring-pin (p. 237), and the process can be clearly traced from the
numerous specimens arrayed in the National Museum. The earlier brooch
had open and expanded ends between which the pin passed, and the brooch
was made fast by twisting it round upon the pin. The ornamentation was
Late Celtic, often with enamelled design. In time the enlarged ends
were closed by a bar, and in the latest form the ends became a complete
plate and the pin of great length, to which a chain was attached for
safety. These were highly ornamented with filigree work and enamel; the
design is varied and beautiful in elaborate Celtic pattern.
[Illustration: The Tara Brooch.]
Of the many brooches of this class discovered, the finest without
exception is that known as the _Tara Brooch_. It was found in 1850 on
the sea-shore near Bettystown, Co. Louth, and was bought by Waterhouse,
who gave it the name of ‘Tara’ on account of the beauty of its
workmanship and the associations connected with the celebrated hill. It
was purchased from him for the Academy by the Government in 1867. It is
made of white bronze, a metal harder than silver and composed of copper
and tin. It is gilt and divided into a number of panels, most of which
are filled with filigree work in gold, with settings of amber, glass,
and enamel. The fastening of the gold filigree is hardly perceptible
to the naked eye, and a strong glass is needed to see the full beauty
of the ornament of this work. ‘The Tara brooch,’ says Petrie, ‘is
superior to any hitherto found in the variety of its ornaments, and
in the exquisite delicacy and perfection of its execution.’ Attached
to the brooch is a chain of the work known as ‘Trichinopoli,’ which
was used to fasten the brooch when worn. The divergent spiral, or
trumpet, pattern, which is so characteristic of the decoration of Early
Christian Art in Ireland, is carried to great perfection on the reverse
side of the brooch. If we are to judge by the general disappearance of
this ornament about the beginning of the eleventh century, we get a
probable date for this object.
We have in this chapter only briefly indicated the nature of the metal
art of the Early Christian period, and dealt with but a few of the
best-known examples, as indeed a special work would be required to
cover so wide a field.