Early Christian Ireland Flashcards
(75 cards)
1
Q
Early Christian Ireland sections
A
metalwork
manuscripts
stone work
2
Q
Relic
A
Object associated with a saint, can be body part
3
Q
Reliquaries
A
vessels to hold relics
4
Q
Shrine
A
decorated case for enclosing a relic that would be put on display in a monastery
5
Q
True Cross
A
name for physical remnants which are believed to be from cross upon which Jesus was crucified
6
Q
Motif
A
design/pattern used to decorate an artefact
7
Q
Tapering
A
to gradually widen/become narrower
8
Q
Zoomorphic
A
deco of stylised animal/beast forms
9
Q
interlacing
A
decoration of intertwined lines that create an illusion of woven strands passing over + under each other (line basketry)
10
Q
insular art
A
type of art found in Ireland, Scotland, England, Mediterranean + La Tene styles, contributed to Insular Art style
11
Q
metalwork techniques
A
casting chipcarving (kerbshnitt) enamelling champleve cloisonne engraving/incision/die stamping gilding/silvering gold filigree millefiori
12
Q
casting`
A
3D form created by pouring molten metal into clay/stone mould left to harden
13
Q
chipcarving / kerbschnitt
A
small chips of gold carved out from flat gold surface w/ fine chisels + knives.
creates patterns in high relief, imitate wood carving
14
Q
enamelling
A
enamel - glaze made from powdered glass fused by intense heat to metal surface
colours achieved by mixing in minerals eg. cobalt. long-lasting gloss finish
15
Q
two methods of enamelling
A
champleve
cloisonne
16
Q
champleve
A
hollows made in metal + filled with paste of powdered enamel
17
Q
cloisonne
A
method of enamelling that separates the colours w/ thin strips of metal
18
Q
engraving/incision/die stamping
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cutting lines into metal w/ pointed metal scriber
19
Q
gold filigree
A
fine metal wires used to create geometric patterns or intertwined creatures + were delicately soldered to a sheet of same metal
20
Q
gilding/silvering
A
done by overlaying copper/bronze w/ thin sheet of gold/silver
21
Q
millefiori
A
millefiori glass produced by fusing glass rods of diff colours in intense heat.
Millefiori glass stretches into thin lengths.
Cross sections sawn out yielding flower like patterns
22
Q
5th - 10th century artefacts
A
Ballinaderry Brooch Tara Brooch Rinnegan Crucifixion Plaque Ardagh Chalice Derrynaflan Chalice Derrynaflan Patten
23
Q
11th - 12th century artefacts
A
Cross of Cong
St Patricks Bell Shrine
Lismore Crozier
St Lachtin’s Arm Shrine
24
Q
Period in which 5th to 10th century artefacts were produced
A
- St Patrick came to Ireland
- Ireland gradually became Christian
- Mediterranean, La Tene, Anglo Saxon art styles fused by Irish artists to create Insular Art style
25
Period in which 11th to 12th century artefacts were produced
- Irish Artists adopted aspects of Viking decorative Urnes style which was typified by intersecting zoomorphic imagery
- Vikings brought new metalwork techniques, large supply of silver, new brooch designs
- Most of artefacts were commissioned by church or local kings/chieftanssz
26
Ballinaderry Brooch - LOCATION
Co. Offaly
27
Ballinaderry Brooch - FORM
-Pennanular brooch (has a gapped ring) with sharp pin through it
28
Ballinaderry Brooch - FUNCTION
ed to hold garment closed
29
Ballinaderry Brooch - DECORATION
-Decorated w/ bands of lines, hatchings, herringbone design
30
Ballinaderry Brooch - METALWORK TECH
- Millefiori glass inlaid in little plate on terminals of brooch, along w/ sunken areas of red enamel
- Millefiori -'thousand flowers' in Italian
- Millefiori glass produced by fusing glass rods of diff. colours in intense head. Molten glass streatched into thin lengths. Cross-secions sawn out yielding flower-like patterns
31
Tara Brooch - LOCATION
Bettystown, Co. Meath
32
Tara Brooch - FORM
-No gap in ring
-Three main sections:
•Pin w/ traingular head + swivel mechanism
•Ring w/ crescent-shaped decorative area on one side + empty space in remaining area
•Woven silver chain attached to stylised head
33
Tara Brooch - FUNCTION
- Decorative than functional
- High quality brooches (like this) reserved for high social statues.
- Woven silver chain shows - probably one of pair
34
Tara Brooch - DECORATION
-Done in minute detail, only clearly visible when magnified
-Front shows:
•Gold filigree panels w/ zoomorphic interlaced animals
•Panels separated by amber, glass, enamel studs
-Reverse shows:
•Cast gold spirals + interlaced serpents
•Black + red cloisonne enamel studs
•La Tene triskeles
-Pin shows:
•Elaborately deco w/ filigree panels
•Cast head of creatures w/ spirals
-Chain swivel mech. shows:
•cast animal heads + human heads of moulded glass
35
Tara Brooch - METALWORK TECH
- Parts individually soldered to ring + pin
- Techniques: filigree, enamelling, gilding, inlaying, casting
- Materials: gold, silver, gilded bronze, enamel, amber, glass
36
Rinnegan Crucifixion Plaque - LOCATION
Co. Roscommon
37
Rinnegan Crucifixion Plaque - FORM
- Metal plaque w/ Crucifixion scene in low relief
| - Cut away copper alloy sheeting around shapes of Christ, angels, soldiers
38
Rinnegan Crucifixion Plaque - FUNCTION
-Small holes show - originally attached to book cover/shrine/altar/wooden cross
39
Rinnegan Crucifixion Plaque - DECORATION
-Use of La Tene spirals, trumpets, triskeles.
-Interlaced strapwork on Christ's tunic.
-Herringbone pattern on angels' wings
-Human figure:
•stylised figures
•Christ larger, emphasise importance
•soldiers' heads tilted (sorrow?)
40
Rinnegan Crucifixion Plaque - METALWORK TECH
- Copper alloy sheet chased + engraved on front
- Motifs applied using repousse
- Finished plaque gilded w/ gold leaf
41
Ardagh Chalice - LOCATION
Co. Limerick
42
Ardagh Chalice - FORM
```
-4 main sections:
•Broad bowl, nearly hemispherical
•2 looped handles
•central stem joining base + bowl
•broad conical base w/ foot ring for balance
```
43
Ardagh Chalice - FUNCTION
- Sacred altar vessel
- Used for dispensing wine during Christian sacrament of Eucharist
- Lavish ornamentation suggest only used on religious feast days
44
Ardagh Chalice - DECORATION
- Decorative panels contrasted against plain silver areas
- Bands of ten gold filigree panels separated by coisonne enamel studs
- Interlaced abstract patterns + stylised animal forms
- Names pf apostles (excl. Judas) engraved below decorative band
- Two circular medallions containing shape of Greek cross on each side
- Crosses decorated w/ cloisonne enamel studs
- Ring of La Tene triskeles at stem + around rock crystal
45
Ardagh Chalice - METALWORK TECH
- Over 250 parts
- Materials: gold, brass, bronze, copper alloy, silver, silver gilding, enamel, malachite, amber, coloured glass, natural rock crystal
- Bowl + base made of hammered silver polished on a lathe
- Stem cast in copper alloy + gilded w/ gold foil
46
Derrynaflan Hoard
- Comprises: silver chalice, silver paten, paten stand. bronze wine strainer
- Found buried under bronze basins in Derrynaflan monastery
47
Derrynaflan Chalice - LOCATION
Co. Tipperary
48
Derrynaflan Chalice - FORM
- Taller than Ardagh Chaice, similar form + decorated similarly
- Decorative panels on rim, handles, central stem, foot ring + underneath base
49
Derrynaflan Chalice - DIFF BETWEEN DERRYNAFLAN + ARDAGH CHALICE
- No ing
- Amber studs instead of enamel
- No circular medallions on each side
- Underside not as lavishly deco
- Filigree more free flowing, somewhat crudelu executed
- Less complex animal motifs in filigree panels
- Use of cast ornamental panels on foot-ring
50
Derrynaflan Chalice - METALWORK TECH
- Assembled from over 300 parts
- Made using same techniques as Ardagh Chalice
- Use of amber studs new development, shows viking influence
51
Derrynaflan Paten - LOCATION
Co. Tipperary
52
Derrynaflan Paten - FORM
-3 main sections:
•Silver dish
•Circle of gold panels encircling dish rim
•Supporting gilded bronze ring under dish
53
Derrynaflan Paten - FUNCTION
-Sacred plate, used for distributing Communion bead, possibly only on religious feast days
54
Derrynaflan Paten - DECORATION
- Ring of gold filigree panels along rim of dish
- Ring of panels framed by intricately woven silver wire
- Filigree panels have interlaced stylised animals + snakes
- Panels separated by circular blue, red, yellow enamel studs
- Pairs of kneeling men w/ interlaced beards on some panels
55
Impact of Viking invasions
- After worst of Viking raids, monasteries became centres of learning + art again
- 11th + 12th centuries - irish arts - adopted Viking decorative Urnes style (typified by intersecting zoomorphic imagery)
- Vikings brought new metalworking techniques, large supply of silver, new brooch designs
- Surviving metalwork consists: croziers, reliquaries, shrines
56
Cross of Cong - LOCATION
Co. Mayo
57
Cross of Cong - FORM
-Large cross decorated w/ zoomorphic interlacing + rock crystal in centre
58
Cross of Cong - FUNCTION
- Commissioned by High King of Ireland, to enshrine piece of True Cross
- Used for outdoor processions + as altar cross
59
Cross of Cong - DECORATION
- Panels of cast bronze w/ Urnes-style fig-of-8 interlaced gold filigree animals
- Deocrative glass + enamel studs
- Large, polished rock crystal set into smeiconical mount on front
- Head of biting creature - shaft joins cross
- Ornamental animal heads cover nails attacking parts of cross to oak core
60
Cross of Cong - METALWORK TECH
- Strapwork intelacing - cast in bronze + gilded
- Cross outlined by fluted silver edging
- Used bronze, rock crystal, glass, gold, oak, silver, niello
- Niello - black paste made from mix of silver, copper, lead, sulphur. Rubbed into engraved designs + after heating, leaves black line on metal
61
St Patrick's Bell Shrine - LOCATION
Co. Armagh
62
St Patrick's Bell Shrine - FORM
- Sloping body w/ curved top (covers handle)
- Front, back, sides - decorated panels
- Rings on two sides (carring shrine)
63
St Patrick's Bell Shrine - FUNCTION
- Commissioned by High King of Ireland
| - Hold a bell said to belong to St. Patrick
64
St Patrick's Bell Shrine - DECORATION
-Mainly Viking Urnes-style
-Front:
•Panels of gold filigree
•Zoomorphic fig-of-eight deco
•Circular + oval amber studs
-Top, sides, back
•Curved, stylised peacocks on top
•Silver panel of hollowed-out crosses on back
•Inscription in Irish engraved on silver panel
•Zoomorphc fig-of-eight filigree panels w/ interlaced snakes, elongated beasts on sides
65
St Patrick's Bell Shrine - METALWORK TECH
- Amber, bronze, gold, rock crystal, silver used
- Body constructed from bronze
- Bronze plates joined by fluted copper/edging
- Decorative panels riveted to bronze body
66
Lismore Crozier - LOCATION
-Found Lismore Castle
67
Lismore Crozier - FORM
- Similar to shepherd's staff, ending w/ curved crook
| - Name of Neachtain (craftsman) inscribed on crook
68
Lismore Crozier - FUNCTION
- Made for Bishop of Lismore
| - Symbol for his high power + authority
69
Lismore Crozier - DECORATION
- Gilt w. fine gold sheet
- Circular panels - blue, red, white millefiori glass
- Cord pattern around panels
- Animal head w/ blue glass eyes + 3 creatures w/ open mouths, forms decorative crest on crook
- Zoomorphic deco - Viking influence
70
Lismore Crozier - METALWORK TECH
- Bronze, glass, millefiori, silver, wood used
- Hollow crook cast in single piece
- Cylindrical sheets bronze fixed around oak staff
71
Shrine of St. Lachtin's arm - LOCATION
Donaghmore, Co. Cork
72
Shrine of St. Lachtin's arm - FORM
- Shape of forearm
| - Extends from elbow to closed hand
73
Shrine of St. Lachtin's arm - FUNCTION
- Hold bone of St. Lachtin's forearm
- Inscription on vertical bronze strip
- Commemorate three kings of Munster
74
Shrine of St. Lachtin's arm - DECORATION
- Hand section - interlacing on triangular silver panels
- Fingers - silver nails
- Arm- Urnes style interlaced beasts + serpents
75
Shrine of St. Lachtin's arm - METALWORK TECH
- Cast bronze
- Bronze plates held by cast decorative panels
- Hand + plates secured to wooden core w/ riverts
- Interlaced panels filled w/ black niello + made to stand out
