Early Christian Ireland part 5 The Development of

Early Christian Ireland part 5 The Development of Stone Crosses Sixth Century – Twelfth Century

Stone Carving so far • • Entrance stone Standing stone Turoe stone Castlestrange stone

• Standing stones were a very significant part of Pre-Christian Ireland 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.

th – 8 th Early Christian 6 Cross inscribed Stone slabs Duvillaun Slab, Co. Mayo Reask Pillar, Co. Kerry Aiglish Pillar, Co. Kerry Duvillaun Slab Reask Pillar Co. Kerry Aiglish Pilar Co. Kerry

Carved Crosses 7 th Century Carndonagh cross, Co. Donegal Fahan Mura Slab, Co Donegal

High Crosses 8 th Century High cross at Ahenny, Co. Tipperary

Crosses of Scripture 9 th Century Cross of Moone, Co. Kildare Cross of Muireach, Co. Louth

11 th and 12 th Century Crosses Dysart O Dea cross, Co Clare Kilfenora cross, Co. Clare

Cross inscribed slabs

• • • There 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.

th Century stone 7 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.

• • 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 Chi. Rho 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 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 4 th-5 th 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 5 th century, • was a prosperous center of learning in later centuries (10 th and 11 th). • Its round tower, with books and treasures, was burned in the early 12 th 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 on the left (Christ's right--his "good" side) seated frontally, the 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 postresurrection 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 8 th-10 th 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 1980 s) 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 1980 s 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 730 s. 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. • .